• <b>19th Century Shop:</b> Charles Darwin on sexuality and the transmission of hereditary characteristics: Autograph Letter Signed to Lawson Tait. Down, 17 January [1877].
    <b>19th Century Shop:</b> MILTON, JOHN. <i>Paradise Lost. A Poem written in ten books.</i> London: 1667. A very rare example with the contemporary binding untouched and with a 1667 title page.
    <b>19th Century Shop:</b> Hamilton secures the ratification of the Constitution: <i>The Debates and Proceedings of the Convention of the State of New-York, assembled at Poughkeespsie, on the 17th June, 1788.</i>
    <b>19th Century Shop:</b> The social contract “Man is born free, and everywhere he is in chains”: ROUSSEAU, JEAN-JACQUES. <i>Principes du Droit Politique [Du Contract Social]</i>. Amsterdam: Michel Rey, 1762
    <b>19th Century Shop:</b> “The first English textbook on geometrical land-measurement and surveying”: BENESE, RICHARD. <i>This Boke Sheweth the Maner of Measurynge All Maner of Lande…</i>
  • <b>Swann Auction Galleries Dec 6:</b> Maria Louise Kirk, 4 pen, ink, watercolor & gouache illustrations for <i>Alice’s Adventures in Wonderland,</i> 1904. $5,000 to $7,500.
    <b>Swann Auction Galleries Dec 6:</b> H.A. Rey, <i>“Do You Want To Get Across?”</i> colored pencil, charcoal & watercolor, 1939. $10,000 to $15,000
    <b>Swann Auction Galleries Dec 6:</b> Norman Rockwell, <i>The Pharmacist,</i> study for cover of <i>The Saturday Evening Post,</i> 1939. $70,000 to $100,000.
    <b>Swann Auction Galleries Dec 6:</b> Sir William Russell Flint, illustration for Homer’s <i>Odyssey,</i> gouache & watercolor, 1914. $10,000 to $15,000.
    <b>Swann Auction Galleries Dec 6:</b> Ludwig Bemelmans, <i>“And everyone was in his bed,"</i> gouache, watercolor & ink on board, 1961. $30,000 to $40,000.
    <b>Swann Auction Galleries Dec 6:</b> Charles M. Shulz, <i>Woodstock is Searching for His Identity,</i> original pen & ink 4-panel <i>Peanuts</i> comic strip, 1972. $7,000 to $10,000.
    <b>Swann Auction Galleries Dec 6:</b> Eric Carle, <i>The Very Hungry Caterpillar,</i> painted collage, 1990. $8,000 to $12,000.
    <b>Swann Auction Galleries Dec 6:</b> Jerry Pinkney, <i>The Lion & The Mouse,</i> watercolor & graphite, illustration for <i>School Library Journal,</i> 2009. $7,000 to $10,000.
    <b>Swann Auction Galleries Dec 6:</b> Maurice Sendak, watercolor & graphite illustration for <i>Little Bear's New Friend,</i> 2001. $30,000 to $40,000.
    <b>Swann Auction Galleries Dec 6:</b> Peter Arno, <i>Circus Tricks,</i> ink, wash & watercolor, cover illustration for <i>The New Yorker,</i> 1964. $4,000 to $6,000.
    <b>Swann Auction Galleries Dec 6:</b> Garry Trudeau, Doonesbury: <i>“Is Rufus Ready for his Lesson?”,</i> watercolor, pen & ink, circa 1970s. $6,000 to $9,000.
  • <b>Chiswick Auctions: Rare Books and Works on Paper, including Judaica. November 28, 2018</b>
    <b>Chiswick Auctions, Nov 28:</b> Huttich (Johann) & Grynaeus (Simon). <i>Novus orbis regionum ac insularum veteribus …</i> FIRST EDITION, large woodcut folding map, text illustrations, folio, 1532. £8,000 to 12,000
    <b>Chiswick Auctions, Nov 28:</b> Warhol (Andy) and Frankfurt (Suzie). <i>Wild Raspberries,</i> ONE OF FEWER THAN 100 COPIES, PRESENTATION COPY, inscribed by Warhol in pencil, 1959. £10,000 to 12,000
    <b>Chiswick Auctions, Nov 28:</b> Meulen (Adam Frans, van der). Collection of Hunting, Genre and Battle Scenes, 27 copper-engraved views, folio, Paris [c. 1685]. £8,000 to 12,000
    <b>Chiswick Auctions: Rare Books and Works on Paper, including Judaica. November 28, 2018</b>
    <b>Chiswick Auctions, Nov 28:</b> Tyndale's Bible.- Bible, English. <i> [The Newe Testament yet once agayne Corrected by Willyam Tindale],</i> many woodcut text illustrations and initials, 1536. £8,000 to 10,000
    <b>Chiswick Auctions, Nov 28:</b> Jacobson (Ruth Taylor, artist). <i>Messiah's Feast,</i> original stained glass panel, image approx. 1020 x 615 mm., [c.1990]. £8,000 to 10,000
    <b>Chiswick Auctions, Nov 28:</b> Wallerstein-Braun (Gitl, sculptor-photographer). 'Jeremiah', original bronze of the Jewish prophet, approx. 210 x 470 (at base) mm., [c. 2010]. £6,000 to 8,000
    <b>Chiswick Auctions: Rare Books and Works on Paper, including Judaica. November 28, 2018</b>
    <b>Chiswick Auctions, Nov 28:</b> Kadishman (Menashe, artist). <i>Goats Head,</i> original acrylic on canvas painting, [Israel], 2002. £2,000 to 3,000
    <b>Chiswick Auctions, Nov 28:</b> Wyllie (W. L.) & Brewer (H. W.). <i>Bird's Eye View of London as seen from a balloon,</i> hand-coloured wood engraving, image 870 x 1100 mm., 1884. £1,800 to 2,200
    <b>Chiswick Auctions, Nov 28:</b> Stained glass window of Jewish interest.- Pilkington glass stained glass window from a demolished synagogue, approx. 580 x 1430 mm. [c.1950]. £1,500 to 2,000
    <b>Chiswick Auctions: Rare Books and Works on Paper, including Judaica. November 28, 2018</b>
    <b>Chiswick Auctions, Nov 28:</b> Auerbach (Tauba, artist). <i>[2,3],</i> #129 of 1000 copies, with card numbered and signed by the artist/author, 6 vol., one cut-out pop-up figure in each volume, different coloured boards. £1,500 to 2,000
    <b>Chiswick Auctions, Nov 28:</b> Costumes. <i>Costumi di Roma e dei Contorni,</i> engraved vignette title and 30 plates, Santarello, Rome, 1846; and 3 others (4). £1,000 to 1,500
    <b>Chiswick Auctions, Nov 28:</b> Morris (William). <i>The Well at the World’s End,</i> one of 350 copies, The Kelmscott Press, 1896. £800 to 1,200
  • <b>Ketterer Kunst Hamburg, Rare Books Auction on November 26th</b>
    <b>Ketterer Rare Books, November 26:</b><br>H. Schedel, <i>Buch der Chroniken,</i> 1493. Est: € 120,000
    <b>Ketterer Rare Books, November 26:</b> Latin and Book of Hours, around 1500. Est: € 50,000
    <b>Ketterer Rare Books, November 26:</b> Biblia latina, Koberger printing 1493. Est: € 4,000
    <b>Ketterer Kunst Hamburg, Rare Books Auction on November 26th</b>
    <b>Ketterer Rare Books, November 26:</b><br>P. de Medina, <i>Libro de grandezas,</i> 1549. Est: € 6,000
    <b>Ketterer Rare Books, November 26:</b><br>C. J. Trew, <i>Plantae selectae,</i> 1750-73. Est: € 28,000
    <b>Ketterer Rare Books, November 26:</b><br>A. de Laborde, <i>Voyage pittoresque,</i> 1806-20. Est: € 8,000
    <b>Ketterer Kunst Hamburg, Rare Books Auction on November 26th</b>
    <b>Ketterer Rare Books, November 26:</b><br>G. Klimt, <i>Eine Nachlese,</i> 1931.<br>Est: € 10,000
    <b>Ketterer Rare Books, November 26:</b><br>W. Kandinsky, <i>Klänge,</i> 1913.<br>Est: € 20,000
    <b>Ketterer Rare Books, November 26:</b><br>F. Léger, <i>Les illuminations,</i> 1949.<br>Est: € 2,000
    <b>Ketterer Kunst Hamburg, Rare Books Auction on November 26th</b>
    <b>Ketterer Rare Books, November 26:</b> Master binding by E. Maylander, 1945. Est: € 1,000
    <b>Ketterer Rare Books, November 26:</b> Master binding by G. Cretté, 1934. Est: € 6,000
    <b>Ketterer Rare Books, November 26:</b><br>S. Dalí, <i>Après 50 ans des surréalisme,</i> 1974. Est: € 8,000
  • <b>Forum Auctions: Fine Books, Manuscripts and Works on Paper. November 29, 2018</b>
    <b>Forum Auctions, Nov. 29:</b> Buffon (G.L.M.L., Comte de). <i>Histoire Naturelle des Oiseaux,</i> 10 vol., large paper copy, 973 hand-coloured engraved plates drawn and engraved by Franz Nicolaus Martinet, Paris, 1770-86. £70,000 to 90,000
    <b>Forum Auctions, Nov. 29:</b> Bible (English). The Holy Bible, first edition of the King James Bible, the Great 'He' Bible, [Robert Barker], 1611. £30,000 to 40,000
    <b>Forum Auctions, Nov. 29:</b> Marlborough (John Churchill, 1st Duke of).- [Parker (Robert, army officer)] <i>[Memoirs of the remarkable military transactions from the year 1688 to 1718],</i> ?autograph manuscript, 300pp., [c. 1718]. £20,000 to 30,000
    <b>Forum Auctions: Fine Books, Manuscripts and Works on Paper. November 29, 2018</b>
    <b>Forum Auctions, Nov. 29:</b> France.- Paris.- Turgot (Michel Etienne). <i>Plan de Paris,</i> engraved maps, contemporary red morocco, gilt, Paris, 1739. £10,000 to 15,000
    <b>Forum Auctions, Nov. 29:</b> Mongolia.- Pallas (Peter Simon). <i>Sammlungen Historischer Nachrichten uber die Mongolischen Volkerschaften,</i> first edition, complete with 31 plates, St. Petersburg, 1776-1801. £10,000 to 15,000
    <b>Forum Auctions, Nov. 29:</b> Brant (Sebastian). <i>Stultifera Navis... The Ship of Fooles, wherein is shewed the folly of all States...,</i> large woodcut title and numerous woodcuts in the text, [London], [John Cawood], 1570. £8,000 to 12,000
    <b>Forum Auctions: Fine Books, Manuscripts and Works on Paper. November 29, 2018</b>
    <b>Forum Auctions, Nov. 29:</b> Aldus.- Boccaccio (Giovanni). <i>Il Decamerone,</i> Venice, House of Aldus & Andrea Torresani, 1522. £8,000 to 12,000
    <b>Forum Auctions, Nov. 29:</b> Wallace (Alfred Russel). 77pp. of Autograph letters (and 1 postcard) to various people, 1894-1904, on various palaeontological, geological and natural history matters. £8,000 to 12,000
    <b>Forum Auctions, Nov. 29:</b> DNA.- Watson (James D.) and Francis Crick, <i>Molecular Structure of Nucleic Acids: A Structure for Deoxyribose Nucleic Acid,</i> 1953 [and others]. £5,000 to 7,000
    <b>Forum Auctions: Fine Books, Manuscripts and Works on Paper. November 29, 2018</b>
    <b>Forum Auctions, Nov. 29:</b> Optics.- Molyneux (William). <i>Dioptrica nova. A Treatise of Dioptricks, in Two Parts,</i> first edition, for Benj. Tooke, 1692. £5,000 to 7,000
    <b>Forum Auctions, Nov. 29:</b> Economics.- Mississippi & South Sea Bubbles.- <i>Het Groote Tafereel der Dwaasheid,</i> 74 engraved plates and 3 maps, Amsterdam, 1720. £4,000 to 6,000
    <b>Forum Auctions, Nov. 29:</b> Asia.- Clouet (Jean Baptiste Louis). <i>Carte D'Asie Divisée en ses Principaux Etats,</i> engraved map with hand-colouring, on wooden rollers, 1782. £3,000 to 5,000

Rare Book Monthly

Articles - October - 2014 Issue

Brantôme & the Art of Duels - Wan’ my picture?

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Seigneur de Brantôme.

I had an idiotic argument in the street the other day, with a guy who considered I had stared at him. Wan’ my picture? he said. Push never came to shove, and we wisely went our separate ways. I couldn’t help thinking that such a nonsense behaviour would have led us, some two hundred years ago, to a deadly fight—a duel! Thus our brutal ancestors defended their honour at the slightest provocation. But how come such a barbaric custom became so generally established among them? When I look for an answer, I have a conditioned reflex: I open a book. The one I picked up on this occasion is a volume of the memoirs of Brantôme (circa 1540-1614); the one Contenans les anecdotes (...) touchant les duels—about the anecdotes linked to duels (A Leyde, chez Jean Sambix—1722). It plunged me into a world of honour, absurdity, and brutal deaths—and it also reminded me of an old ripped coat.

 

 

When the Roman Empire fell, the Barbarians left the North of Europe to invade the rest of the continent, taking their customs with them—including duels. Among these new migrants were the Lombards—from the current Germany—, who took over Italy in the late 6th century. “These people were fierce to the extreme,” reads L’Esprit de l’Encyclopédie (Paris, 1798). “They knew no laws, no discipline and had no social rules. All their virtue was at the point of their swords, and they knew no right but might. They settled their problems with swords: the belligerents fought one another, and the winner was always right.” This practice, known as the art of duel, spread like a disease; mainly in France, Spain and Italy, “where,” stated Mr de Saintfoix in his Essais historiques sur Paris (Londres, 1759), “people were a little bit too proud to be men.” Christianity soon justified duels. The idea was simple: God would rather make a miracle than to let injustice prevail. When a quarrel occurred, and when it was impossible to decide who was right from wrong, the belligerents resorted to fight before God. Of course, the winner was sometimes convincted of felony later on. But as our author Brantôme put it: “God moves in a mysterious way, and His gifts of justice, equity and mercy are not to be discussed.” Others claimed that the innocent victims paid for earlier crimes, while their wicked executioners would soon pay for theirs—including this one.

 

Thus governed by holy and social rules, duels gave birth to fighters as well as theorists. Brantôme wasn’t a specialist, so to speak; and he wisely bowed to the Italian masters, who published numerous books on the matter—he respectfully called them the Duelists. But he was a warlike young man, who almost joined the Knights of Malta at one point, and who knew what he was talking about as well as who he was talking about. While at Court, he collected many stories and anecdotes from the great Captains of his time. His posthumous memoirs weren’t printed before 1655-56, in Leyde, chez Jean Sambix (1), and didn’t enjoy success until reprinted in 1722. They are still sought-after today, and the different titles—including the lives of the great French Captains of his time, of the great foreign Captains, and anecdotes about duels—are often sold independently. The one about duels never came out before 1722. “We don’t know who was the true publisher of Discours sur les Duels,” stated the Notice sur Brantôme (Paris, 1824). “So many reprints appeared in its wake that it would be hard, but also useless, to name them all. Several bear the false indication Chez Jean Sambix (2), including the first one of 1722, which is well-printed.”

 

Brantôme “wrote just like he spoke,” once said a writer; as a matter of fact, his style is suffocating. The volume about duels features no chapters, no titles. From top to bottom, it is laid on paper like one long breath. But it’s stuffed with incredible details and thrilling anecdotes. “No matter the disorder of his writings,” confessed Anquetil in the 18th century, “Brantôme’s book pleases, because it’s entertaining.” As a matter of fact, this book is a breath-taking reading featuring fierce people cutting each other’s throat over matters of honour that sometimes seem so ridiculous that we hardly believe one could die over them. And yet.

 

Two bulls in a pen

 

Until 1546, duels took place in a camp clos, or closed pen—usually located in a churchyard. In the 9th century, Pope Nicolas I considered duels as legitimate and lawful, and many religious got involved—when necessary, they hired the arms of fighters to represent their church. In the early 14th century, the French king Philippe le Bel ordered the pens to be 40 feet wide and 80 feet long. As stated by Brantôme about the duel that cost the life of Don Alonzo, in Italy—defeated by the famous Bayard—, the pens were often “simply bounded by some piles of big stones.” He who stepped outside the limits had lost. The ceremonial was quite complex and the fighters were expected to ride from their places, with “any reasonable offensive and defensive weapon” carried before them by their kinsmen. Upon reaching the pen, they swore on the crucifix and on the holiness of baptism that they considered to be in their own right. Then the fight started, usually in front of a consequent audience. Duels were barbaric in the way that the winner could dispose at will of the loser—be he dead or alive! Not only did you lose your quarrel when defeated, but you also lost all your goods, your life and your spiritual salvation, as the law adapted from the Lombards’ made it clear that a loser couldn’t be given a Christian burial; “just like an Arab or a Sarasin,” deplored Brantôme. “How cruel!” But you were lucky if you died on the battlefield; because if you survived your wounds, you became less than a beast in the hands of the winner. “He had the right to drag you all through the pen (a jolly idea deriving for the sane reading of Homer’s Iliad, editor’s note), to hang you, burn you, to hold you prisoner,” enumerated Brantôme. “In a word, he could treat you worse than a slave.” But in 1547, a tricky fight put an official end to duels.

 

The trick of Jarnac

 

The last duel officially authorized by the King of France took place on July 10, 1547; and it opposed two friends, namely Gui Chabot de Jarnac and François Vivonne de la Châtaigneraie. It all started the day the former boasted of having sex with his mother-in-law to the latter, who repeated it to François I; the King later teased Jarnac, who firmly denied, and demanded justice—but François I opposed the duel. A few months after the King’s death, Henri II gave them the permission, as La Châtaigneraie was his favourite. Several thousands of people gathered the said day on the terrace of the castle of Saint-Germain, near Paris. Five hundred men supported La Châtaigneraie, all wearing his colours—white and rosy pink; Jarnac had 100 men with him, all dressed in black and white. Nobody expected Jarnac to win this fight; indeed, although smaller and younger than his friend, La Châtaigneraie was “one of the strongest and the most skilful gentlemen of France with any weapon; and there was no better wrestler in the kingdom,” wrote his nephew Brantôme. But Jarnac teamed up with a clever master of arms, Captain Caize, who imposed many constraints to La Châtaigneraie. First, he insisted that both fighters should carry a specific shield that restrained the mobility of the left arm; “this was of great disadvantage to my uncle,” wrote Brantome, “who was still recovering from a shot of harquebuse received in his right arm during the assault of the city of Cony, in Piémont.” The Judges of the pen didn’t oppose this constraint; neither did the relatives of La Chataigneraie, who were probably overconfident “in the bold courage of my uncle.” (Brantôme) Then, as he had the choice of arms, Jarnac asked his opponent to equip himself with “more than thirty different weapons; he imposed various horses, such as steeds, Turkish, Barb horses, (...) all harnessed in various fashions (...). He did it to take his enemy by surprise, but also to force him to spend a lot of money.” As a matter of fact, the King had to support La Châtegneraie so he could attend the fight with all the required equipment. And the duelist publicly complained that Jarnac was trying to fight him both “spiritually and financially.”

 

Nonetheless, the duel took place, and despite being feverish, Jarnac was ready. Most duelists aimed at the head or chest of their opponent, but Jarnac acted in a different way. Thanks to a skilful bout he had practiced with Captain Caize, he wounded La Châtaigneraie a little above the left knee. He did it twice in a row, eventually forcing the King to throw his baton; this gesture instantly put an end to the fight—should any fighter hit after that, he would immediately be put to death. “The Jarnac’s trick has now became an adage,” underlines the Dictionary of Feller (Liège, 1790). “It is used to describe a trick, or an unexpected response from an opponent.” The King intervened, yes; “but too late,” deplored Brantôme. Indeed, his cousin was badly hurt—but mostly in his pride. He refused to have his wound correctly bandaged, and died from it a few days later. Though all parties agreed to declare that it had been a fair duel, “Henry II was so mortified that he solemnly swore he would never permit any more duel,” stated L’Esprit de l’Encyclopédie. But men of honour were stubborn, and a few days later, two soldier friends had a fight in Piémont simply because the first one couldn’t believe what the second one was telling him about the circumstances La Châtaigneraie’s death—“both of them ended up seriously wounded,” underlined Brantôme. This was a foretelling fight. Indeed, the ban on duels curiously made them more frequent.

 

Combatere a la mazza

 

The successors of Henri II all reinforced the laws against duels, and the Council of Trent made it clear that the Church no longer supported this custom: “If an Emperor, King or any other Prince or Lord, enables some Christians to fight a duel on his lands, he shall be excommunicated and deprived of his lordship,” read L’Histoire du Concile de Trente (Pierre Chouët, 1635). The same treatment was to be applied to “those who advise the duelists”, and to “the mere spectators”. Notwithstanding this dreadful warning, duels grew more numerous, especially in France where the King never ratified the Council of Trent. Mr de Saintfoix had an explanation: “Before that, upon fighting surreptitiously, a man lost his honour, and was considered a petty murderer. Furthermore, when officially asking for a duel, he informed of his quarrel; and people around him always tried to end it in a peaceful way. The man who was wrong was also necessarily impressed at the oath he had to take before the fight; and you had no choice but to win or die without honour.” Less regulated, duels flourished as duelists started to call each other at la mazza—in the open field. According to Brantôme, this new form of duel originated in Naples, Italy, where “people started to call each other outside the cities, in the fields, in the forests or among hedges and bushes—hence the expression “combatere a la mazza.” The beginning of the end for the learnt theorists, who unanimously condemned this new savage way—mainly, stated Brantôme, because it meant fighting without protection, “like gross beasts”. Things even got worse as the witnesses started to wonder: What are we doing while our friends are fighting? Let’s fight as well! Thus, duels became pitched battles! And all these people killed each other “for the pleasure rather than out of animosity” (Brantôme). The winner ran a penalty risk, but was usually granted a complacent royal pardon—Henry IV issued more seven thousands in less than 18 years. That’s probably why Mr Feller wrote, in 1791: “These duels between individuals (at la mazza, editor’s note) have shed more blood in the last two hundred years, than the duels in closed pens since their origins.” It looks like people were wholeheartedly cutting each other’s throat at the slightest remark, fearing no danger, and standing as true heralds of honour in a world long disappeared. Yet, throughout Brantôme’s book, it seems that man has been man ever since David slew Goliath in a duel; and that when it comes to defend one’s life, all is fair.

 

Gentle Merciful Men

 

Duels might have taken place in the Bush, they still obeyed complex and unwritten rules. For instance, suppose you decided to spare your enemy’s life once he was at your mercy. What were the proper words to utter on such an occasion? Brantôme seriously reasoned about the matter. “To say “Ask for mercy and I’ll spare you!” or “Beg for your life, and I won’t kill you!” is a terrible thing to do, as no man of heart will ever accept to utter them, and would rather suffer a hundred deaths.” Really and truly, it was nicer “to gently and gracefully spare your opponent’s life.” Some went as far as pretending to be wounded, to belittle the shame of their victim. It happened, reported Brantôme, with two Captains in Piémont. The first one wounded the second one and decided to let him live, as both men were friends. But the defeated soldier asked another favour, probably as important as life to him: “Please, be merciful all the way, and wear a bandage for a few days, so it won’t be said that I was wounded without wounding.”

 

But “too good, too dumb”, goes the French saying; and a hold hand at duels such as Matas should have known better than to leave his opponent unarmed after he had disarmed him in the Bois de Vincennes in the late 16th century. “You can go, young man,” he said. “And learn to hold your sword firmly, and not to attack a man like me; go away, I forgive you.” But as he was mounting his horse, the young man took up his arm, ran to him, “and pierced him to death on the spot.” (Brantôme) Matas was mourned, and blamed for his lack of foresight. Other duelists, especially the Italians—the most cruel, said Brantôme—, left a mark on the face of their victims, or left them lying on the ground, half-dead and, ideally, definitely maimed; thus they could neither retaliate nor deny their defeat—as most of these duels took place without witnesses, the two versions of the same fight often varied. After all, honour and precaution can go together, cant’ they? Well, let’s put it straight: when it comes to fight for your life, honour comes second—even when you fight over it.

Rare Book Monthly

  • <b>Sotheby’s Paris: Livres et Manuscrits. November 21, 2018</b>
    <b>Sotheby’s Paris, Nov, 21:</b> ANDRÉ BRETON, <i>La Lampe dans l’horloge.</i> Paris, Robert Marin, 1948. Binding by Rose Adler, dated 1959. €15,000 to €20,000
    <b>Sotheby’s Paris, Nov, 21:</b> ARTHUR RIMBAUD, <i>Une Saison en enfer.</i> Bruxelles, Alliance typographique, 1873. Binding by Rose Adler. €25,000 to €35,000
    <b>Sotheby’s Paris, Nov, 21:</b> TRISTAN TZARA, <i>La Bonne heure.</i> Paris, Raymond Jacquet 1955. Binding by Rose Adler, dated 1958. €8,000 to €12,000
    <b>Sotheby’s Paris: Livres et Manuscrits. November 21, 2018</b>
    <b>Sotheby’s Paris, Nov, 21:</b> PIERRE REVERDY, <i>La Lucarne ovale.</i> Paris, 1916. Binding by Rose Adler, dated 1949. €20,000 to €30,000
    <b>Sotheby’s Paris, Nov, 21:</b> RENÉ CHAR, PABLO PICASSO, <i>Le Marteau sans maître and Moulin Premier.</i> 1927-1935. Paris, José Corti, 1945. Binding by Rose Adler, dated 1947. €20,000 to €30,000
    <b>Sotheby’s Paris, Nov, 21:</b> MARCEL PROUST, Friendly correspondence to the count Louis Gautier-Vignal. 1914-1921. €20,000 to €30,000
    <b>Sotheby’s Paris: Livres et Manuscrits. November 21, 2018</b>
    <b>Sotheby’s Paris, Nov, 21:</b> JEAN COCTEAU, Portrait of the Baron de Charlus, circa 1921-1923. Original drawing signed. €7,000 to €10,000
    <b>Sotheby’s Paris, Nov, 21:</b> PAUL ÉLUARD, JOAN MIRÓ, <i>À toute épreuve.</i> Genève, Gérald Cramer, 1958. First illustrated edition. €15,000 to €25,000
    <b>Sotheby’s Paris, Nov, 21:</b> PAUL VERLAINE, PIERRE BONNARD, <i>Parallèlement.</i> Paris, Imprimerie nationale, Ambroise Vollard, 1900. €15,000 to €25,000
    <b>Sotheby’s Paris, Nov, 21:</b> GUILLAUME APOLLINAIRE, ANDRÉ DERAIN, <i>L’Enchanteur pourrissant.</i> Paris, Henry Kahnweiler, 1909. €30,000 to €50,000
  • <b>Christie’s Paris, Nov 20:</b> GAZA, Theodorus. <i>Introductivae grammatices libriquatuor.</i> Venice: Aldus Manutius, 25 December 1495. €40,000 to 50,000
    <b>Christie’s Paris, Nov 20:</b> MACHIAVELLI, Niccolo. <i>Historie di Nicolo Machiavegli cittadino, et segretario fiorentino</i>... Rome: Antonio Blado, 25 March 1532. €15,000 to 20,000
    <b>Christie’s Paris, Nov 20:</b> BELLMER, Hans -- ELUARD, Paul. <i>Les Jeux de la Poupée. Illustrés de textes par Paul Eluard.</i> Paris : les Editions Premieres, 1949. €30,000 to 40,000
    <b>Christie’s Paris, Nov 20:</b> [BONNARD, Pierre] - VERLAINE, Paul. <i>Parallèlement.</i> Paris : Imprimerie nationale & Ambroise Vollard, 1900. €30,000 to 40,000
  • <b>Christie’s London, 28 November:</b><br>The first edition, in the original wrappers, of the first part of Pushkin’s masterpiece – ‘a bibliographical rarity of the highest order’ (Smirnov-Sokol’skii). £25,000 to £35,000
    <b>Christie’s London, 28 November:</b><br>The very rare first edition of Gogol’s first masterpiece and his first obtainable book. £50,000 to £70,000
    <b>Christie’s London, 28 November:</b><br>The first edition of Dostoevsky's <i>Brat'ia Karamazovy</i> (1830) in a superb contemporary cloth presentation binding. £22,000 to £30,000
    <b>Christie’s London, 28 November:</b><br>The first edition of the first version of the opening of <i>War and Peace,</i> with the original paper covers. £15,000 to £20,000
    <b>Christie’s London, 28 November:</b><br>An early corrected typescript of Akhmatova's <i>Poema bez geroia</i> (July 1946) £20,000 to £30,000
    <b>Christie’s London, 28 November:</b><br>A presentation copy of the first edition of <i>Kamen</i> (1913) inscribed by Mandel'shtam to his early mentor the poet Viacheslav Ivanov. £60,000 to £90,000
    <b>Christie’s London, 28 November:</b><br>Rare autograph correspondence from Vladislav Khodasevich, including a manuscript of his long poem 'Sorrento Photographs' (1921). £10,000 to £15,000
    <b>Christie’s London, 28 November:</b><br>An important letter from Marina Tsvetaeva to the poet Nikolai Tikhonov (1935) in which she challenges Pasternak and his views on poetry. £12,000 to £18,000
  • <b>Bonhams New York: Fine Books and Manuscripts Including the World of Hilary Knight. December 5, 2018</b>
    <b>Bonhams, Dec 5:</b> KNIGHT, HILARY. The Original Portrait of Eloise that Hung at the Plaza Hotel. $100,000 to 150,000
    <b>Bonhams, Dec 5:</b> WARHOL, ANDY. "Iced Lemon Delight," an Original Watercolor Presented to Hilary Knight's cat, Phoebe $8,000 to 12,000
    <b>Bonhams, Dec 5:</b> SENDAK, MAURICE. <i>Where the Wild Things Are.</i> PRESENTATION COPY, INSCRIBED with drawing to Hilary Knight in the month following publication. $10,000 to 15,000
    <b>Bonhams New York: Fine Books and Manuscripts Including the World of Hilary Knight. December 5, 2018</b>
    <b>Bonhams, Dec 5:</b> NOLAND, KENNETH. Original circle painting, untitled, acrylic and ink on cloth, for cover of monograph $8,000 to 12,000
    <b>Bonhams, Dec 5:</b> TOULOUSE-LAUTREC. <i>Histoires Naturelles,</i> 1899. With 22 original lithographs. $10,000 to 15,000
    <b>Bonhams, Dec 5:</b> SHAKESPEARE, WILLIAM. <i>A Collection of Poems,</i> [1711]. The first authoritative and complete collected Sonnets.$15,000 to 20,000
    <b>Bonhams New York: Fine Books and Manuscripts Including the World of Hilary Knight. December 5, 2018</b>
    <b>Bonhams, Dec 5:</b> LONDON, JACK. <i>The Call of the Wild.</i> 1903. First edition, first state jacket. $2,000 to 3,000
    <b>Bonhams, Dec 5:</b> FROST, ROBERT. Autograph Manuscript of "Build Soil," 12 pp, 1932-1936. $15,000 to 20,000
    <b>Bonhams, Dec 5:</b> GOULD, GLENN. Glenn Gould's extensively annotated copy of Bach's Goldberg Variations $100,000 to 150,000
    <b>Bonhams New York: Fine Books and Manuscripts Including the World of Hilary Knight. December 5, 2018</b>
    <b>Bonhams, Dec 5:</b> PLATH, SYLVIA. EARLY Autograph Letter Signed, about her beginnings as a writer, Northampton, MA, 1951. $7,000 to 10,000
    <b>Bonhams, Dec 5:</b> HOUDINI, HARRY. A collection of 11 cast iron shackle and lock items from Houdini's personal collection. $20,000 to 30,000
    <b>Bonhams, Dec 5:</b> M4 ENGIMA MACHINE, with very rare RARE HYDRA KEY ENVELOPE. $400,000 to 600,000

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