Unique copy from the collection of the wealthiest man in the Habsburg monarchy

Spalowsky, Joachim Johann Nepomuk Anton. Beytrag zur Naturgeschichte der Vögel. Vols. 1, 4,... 5, and 6 (of 6). Vienna, Selbstverlag, 1790-1795. Vienna, Selbstverlag, 1790-1795. 4to. 4 vols. (10), 20 pp. (10), 40 pp. (14), 33 pp. (12), 19 pp. With 2 watercoloured and 4 coloured engraved coats of arms, 1 coloured engraved dedication plate, 183 (instead of 186) plates of birds, 15 of which in watercolour and 168 on splendidly illuminated engraved plates, partly heightened in gold, silver and copper, with lavish watercolour borders. Contemporary glazed red morocco binding with double gilt engraved spine labels, splendid floral spine and cover gilding. Vols. 4-6 with coloured armorial supralibros to upper covers. Calico endpapers, all edges gilt.

EUR 250,000.00

Unique copy of one of the rarest works of zoological book illustration, from the library of the banker, art collector, and patron Moritz von Fries (1777-1826), for whom the set was in all likelihood specially produced. Around 1800, Fries was considered without doubt the richest man in the Habsburg monarchy. The splendid engraved plates were elaborately illuminated, each with rich botanical and architectural decoration extending even beyond the engraved matter. In addition, the copy at hand was enhanced by 15 original watercolours (all in vols. 5 and 6), whereas the regular copies include merely prints. The only verifiable complete copies, in the Austrian National Library (ÖNB) and the Bavarian State Library (BSB), show less splendid decoration, with only three watercolours each in the respective volumes and no watercolour borders whatsoever. The Fideicommissum collection in the ÖNB holds 5 illuminated volumes of Spalowsky's work, with volume 5 containing the highest traceable number of watercolours among all copies available for comparison. As the final volume is lacking in the Fideicommissum collection, the eight watercolours and splendid framings of vol. 6 of Fries's copy are probably unique. - Since 1932, the only copies traceable at auction were those at Ketterer, 2017 (vols. 1-4) and Christie's, 2012 (vols. 1-3). The volumes sold in 2017, along with the ones at the ÖNB and BSB, belong to the normal edition without the watercolour embellishment and the artist's colouring, while the copy sold at Christie's would seem to have been at least comparable to Fries's in respect to its décor. However, neither the Christie's copy nor any of the others discussed above include any original watercolours, which are to be found in that of Fries's alone. - The splendid avian illustrations surrounded by landscape motifs and architectural decoration are labelled in red ink, identifying the animals' German and scientific names. The labelling is sometimes overpainted, suggesting that the decision to extend the watercolour décor was made at a later stage. The engravings were produced by five artists, among which were Benedikt Piringer and Sámuel Czetter. In vol. 5 of the Fideicommissum copy, Piringer signed one of the watercolours, proving that he provided templates for the engravers and contributed to the colouring. - Spalowsky's "Naturgeschichte der Vögel" was planned as part of a large natural history publication. In a subscription announcement from 1791 the surgeon and army physician advertised the plates showing species "previously not illustrated by any author" and promises the vivid, realistic colour "of the originals". A large proportion of the species depicted, including four falcons, originate from Asia, mostly from India and China, and are not to be found in Brisson's or Buffon's works. The present copy constitutes a special edition of the most expensive version of decoration, priced at 36 guilders - 15 times the cost of the plainest version. The eventual failure of this ambitious project was undoubtedly due not alone to the author's untimely death in 1797, although Spalowsky did succeed in wooing several prominent dedicatees for his elaborate publication. The "Naturgeschichte der Vögel" is dedicated to Alois I Joseph von Liechtenstein and Caroline von Manderscheid-Blankenheim (vol. 1), Beethoven's patron Franz Joseph Maximilian von Lobkowitz and Caroline Theresa von Schwarzenberg (vol. 4), Wenzel count Paar and Maria Antonia Princess Liechtenstein (vol. 5), as well as Anton Theodor von Colloredo-Waldsee-Mels, archbishop of Olmütz (vol. 6). - Provenance: 1) Maurice count Fries, with his library stamps, "EX BIBL(iotheca) MAVR(icii) COM(es) FRIES" to title-page (verso), now obscured by monogrammed red seals ("MF"); 2) Dorotheum sale, 12 Feb. 1932, lot 44, 75 ATS (description mounted to lower flyleaf of vol. 6); 3) Austrian private collection; 4) Dorotheum sale, 18 Dec. 2019, lot 222, not mentioning the Fries provenance or the 15 watercolours. - Marginal flaw to armorial supralibros of vol. 5. Lacks 3 plates (plate 2 in vol. 1, plates 6 and 39 in vol. 5). Index and plate 42 in vol. 4 have small flaws. Plate 31 in vol. 1, plate 43 in vol. 4, and plate 44, as well as one armorial engraving in vol. 5 slightly smudged.
¶ Nissen, IVB 888. Schlenker 345.1. Wurzbach XXXVI.56. Sitwell/Buchanan p. 143. Not in Nissen, ZBI. Not in Anker.

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An 18th century lady's friendship album

Album amicorum of Charlotte Heine, née Chatillon (1778-1852). Dresden, Leipzig and environs, mainly 1794-1816, with addenda to ca. 1850. Dresden, Leipzig and environs, mainly 1794-1816, with addenda to ca. 1850. 12mo (95 x 105 mm). German and French manuscript on paper. 95 ff. with more than 90 entries, 3 gouaches, 6 watercolours, 4 drawings, and 2 silk embroideries. Near-square contemporary red morocco with gilt spine, cover borders, gilt inner dentelle and leading edges. Lacqured endpapers. All edges gilt. Stored in contemporary green slipcase.

EUR 4,500.00

The friendship album of Charlotte Chatillon (born 19 April 1778, died 24 May 1852), who married the Dresden architect Heine (1769-1831); one of her children was the later theologian Emil Heine. Among the more prominent contributors are the bookseller Friedrich August Leo (1764-1842, editor of the "Magazin für Freunde des guten Geschmacks", co-written by the contributors Coudray and Klinsky) and his wife Friederike, née Breitkopf, with an entry containing a fine flower embroidery, dated 13 May 1795; the Dresden church musician Franz Anton Schubert (1768-1824) with a watercolour entry dated 23 Feb. 1793; the architect Clemens Wenzeslaus Coudray (1775-1845) with an entry dated 27 Oct. 1797; Johann Gottfried Kinsky, another Dresden architect: "3 Tage vor seiner Abreise nach Rom am 31. October 1793", with a watercolour showing a romantic riverscape and humorous verses: "Mit Gunsten, geehrte Frau Hein! / Sing' doch nicht dein Liedchen allein, / Lieb Weibchen, laß uns dazu pfeifen; - / Die Sache ist so zu begreifen: / Erst mußt du Großmutter seyn, / Dann soll Dir der alte Freund Hein / das lieblichste Schlummerlied pfeifen. / Wohl möcht'ich Kalkante dann seyn / Wie wollt ich mich freun!" Signed "Zschiederitz", illustrated with a danse macabre scene. - Includes seven delicate green and white paper cuttings of flowers. Also, entries by Karl Bursian; Henri and Louise Gaudi; "Votre sincere ami Himmler"; Augusta Carolina and August Friedrich Jasper; A. X. V. Jungnickel; Johanna Dorothea Lindner; "Pitschel dis altere den 16. März 1796 Zwey Stunden vor der Abreise nach dem Rhein", with a watercolour showing a farewell in the forest; in red ink: Johanna Charlotte Töpfer, née Schach, and, in green ink, Carl Friedrich Töpfer (1 Dec. 1793); Charlotte von Vitzthum (Dresden, 29 Jan. 1802). - Some foxing and fingerstaining. One bifolium is loose, another leaf glued in. The slipcase is rather severely bumped and chafed, having well protected the pretty binding.

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Composed exclusively of entries by women

Album amicorum of Sophie Beate Maximiliane von Seydlitz (1772-1853). Strzegom (Striegau), Wroclaw (Breslau), Wolow (Wohlau), Warmbrunn, Pilgramshain, Altwasser and other places, 1794-1822. Strzegom (Striegau), Wroclaw (Breslau), Wolow (Wohlau), Warmbrunn, Pilgramshain, Altwasser and other places, 1794-1822. Oblong 8vo (180 x 114 mm). German manuscript on paper. 111 ff. with 85 entries, 10 watercolour paintings (9 full-page, 1 very small), and 1 pencil drawing. Contemporary marbled calf with richly gilt spine and spine label, giltstamped borders and initials "S.M.E.v.S." to upper board. Coloured endpapers. All edges gilt.

EUR 8,500.00

Charming 18th and early 19th century ladies' friendship album of Sophie Beate Maximiliane von Seydlitz, née von Wiese auf Kayserswaldau, abbess of the Czernina (Tschirnau) convent in Silesia. Among the contributors are friends and relations from various noteworthy and noble German families, including Charlotte von Hirsch, Caroline and Julie von Holtei, Friederike von Humboldt née von Buttlar, Friederike von Nickisch, Charlotte von Seydlitz, Julie von Rabenau née von Tschammer, Charlotte von Falkenhayn, Caroline von Pfuhl, Baroness von Nostitz, van der Velde, von Haugwitz, von Studnitz, etc. - The endearing and painstakingly executed watercolours, some of which are coloured over ink, show landscapes, allegories to friendship, a nocturnal river with a grotto and small waterfall, pastoral scenes, etc. - Loosely inserted are a coloured costume lithograph of King George IV and a small steel engraving showing a view of the Pilgramshain estate in Silesia, owned by the Seydlitz family until 1884. - Boards show very insignificant rubbing. 3 watercolours and 1 album leaf loose. Sporadic light staining, but well preserved in all. A fine survival of the type, composed exclusively of entries by women.

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Lascivious eyes, breast pumps, prurience, cold baths

Tribolet, Albert (Albrecht) von. Sorgfalt für die Brüste junger Frauen sowohl in... Rücksicht ihrer Erhaltung als ihrer Verschönerung. Leipzig, (Carl August Buder für) Friedrich Gotthelf Baumgärtner, 1795. Leipzig, (Carl August Buder für) Friedrich Gotthelf Baumgärtner, 1795. 8vo. (2), 195, (1) pp. With engraved frontispiece and 1 folding engraved plate. - (Bound after) II: Essich, Johann Gottfried. Kleines medizinisches Taschenbuch für's ledige schöne Geschlecht. Oder: Wie können junge Frauenzimmer ihre Schönheit und Gesundheit erhalten? Augsburg, Nikolaus Doll, 1784. 91, (3) pp. - (Bound with) III: Wenzel, Gottfried Immanuel. Wörterbuch der Gesundheit, welches alle diejenigen Dinge kurz und deutlich erkläret, die die Erhaltung des gesunden Zustandes entweder befördern, oder demselben nachtheilig sind. Vienna, Albert Anton Patzowsky, 1795. 82 pp. - (Bound with) IV: An Monarchen. Von einem ächten Unterthan. Vienna, Georg Philipp Wucherer, 1789. 21, (1) pp., final blank leaf. With woodcut monogram to title-page and a headpiece. Contemporary half calf with giltstamped spine label. Coloured endpapers.

EUR 2,500.00

Four late 18th century medical works in a single volume, all very rare, two specifically treating female hygiene and healthcare. The treatise by the Berne physician Samuel Albrecht Tribolet (1771-1823), entitled "Care for the Breasts of Young Women in Respect to Their Preservation and Titivation", discusses the care of the nipple, breastfeeding and its advantages for mother and child, and how to induce and stop milk production, as well as various ailments of the female breast; it also contains medical notes on the fashion of exposing the bust, by means of cushions or bodices, to the "lascivious male eye". The folding plate shows several varieties of early breast pumps. - Bound first is the first edition of a healthcare manual for young female readers by the prolific popular physican J. G. Essich from Augsburg (a single copy recorded in libraries: Munich University Library, shelfmark 0001/8 Med. 423). Treats proper breathing, clothes, personal hygiene and hair care, make-up, exercises, food and drink, but also the emotions and affects. - The "Healthcare Dictionary" by the versatile Bohemian educator Wenzel (1754-1809), hailed as the "Austrian Eckhartshausen", discusses the sanitary effects of various meats and vegetables, drinks, dishes, and even spiritual nourishment (arcana: "not be be suffered in the house by any reasonable person"; prurience: "undermines one's health; remedies: avoiding the sight of objects which arouse one's love, including not only dainty women and young gentlemen, but also drawings, engravings, pictures, books, etc."). A single copy known in libraries (Kremsmünster monastery, shelfmark 8°L 934). - The final item in the sammelband must be considered unique: an anonymous pamphlet addressed "To Monarchs", in which a physician gives his own case history and the story of his cure through a cold bath, and recounting several other case histories and their unexpected remedies. The Viennese publisher Wucherer, born in Reutlingen, is best known for his radically enlightened pamphlets produced in the age of relaxed censorship under Emperor Joseph II between 1784 and 1789. The present work is unknown even to his bibliographer Winter. - Binding rubbed, corners and spine-ends bumped. Some browning; an old handwritten table of contents and notes on the works' individual prices on the endpapers. Old bookplate.
¶ I: Blake 459. VD 18, 1068087X. OCLC 312872273. - II: OCLC 634278467. Cf. VD 18, 90464796 (1785, 2nd ed.). - III: Wurzbach LV, 14. - IV: Not in Wernigg or Winter. None of the works in Engelmann, Waller oder Lesky.

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The Passion and Resurrection of Christ in Word and Image

[Folk Art]. The Passion and Resurrection of Christ. Probably Austria, late 18th or early 19th century. Probably Austria, late 18th or early 19th century. Ink and colours on vellum. Palimpsest on an older certificate of apprenticeship, entitled "Lehr Brief dem Joseph Pischinger Betr. Anno 1744" on verso, overpainted in white on recto and then overwritten. Ca. 610 x 390 mm, framed and glazed.

Pretty calligraphic depiction of the passion and resurrection of the Christ: sixteen consecutive lines of rhyming verses containing ca. 88 illustrations, offering a vivid visual aid for children or reading novices. Every term so illustrated is additionally captioned underneath the image. Written on an old journeyman's certificate document from 1744, overpainted with white paint and then re-used. - Some staining. Occasional scuffing and bumping, some loss to text especially in the lower half and near the right edge. A very appealing document of Austrian folk art and culture.


Alexander von Humboldt's detailed study of the salt mines of Zipaquirá

Humboldt, Alexander von, naturalist, geographer, ethnographer and scientific traveller (1769-1859). Memoire raisonné sur la Saline de Zipaquira. Autograph... manuscript signed twice ("F. A. de Humboldt" and "Humboldt"). [Zipaquirá, Cundinamarca, Colombia], Sept. 1801. [Zipaquirá, Cundinamarca, Colombia], Sept. 1801. Tall 4to (156 x 246 mm). French ms. on paper. 47 pp. (including autograph title-page). Near-contemporary giltstamped full calf with giltstamped title in English to upper cover and author's last name to spine. Leading edges gilt.

EUR 65,000.00

An exceptional report and a fine example of the observational and analytical skills that marked Humboldt's work on his celebrated expedition to Spanish America, authorized by the Spanish monarchy in 1799. Accompanied by Aimé Bonpland he arrived in Colombia, after having spent three months in Cuba, in July 1801. In September he visited the vast salt mines of Zipaquirá in the Cundinamarca Department, thirty miles north of Bogotá, resulting in the report at hand. These salt deposits were formed 250 million years ago and had been exploited by the pre-Columbian Muisca people since the 5th century B.C. Humboldt's description, written in French in his diminutive hand, covers 46 tightly-packed pages. After three pages of introductory remarks, he divides his work into sections titled "Vues géologique. Exploitation de la mine", "Sources salées et leur Concentration", and "Cuite de Sel et Transport du Produit". - In his account Humboldt notes that the mine was bigger than those found in Spain, Switzerland, Poland, and the Tyrol, with a calculated resource estimation of one million cubic meters. He also describes the traditional halite mining at the site and recommends a switch to drift mining, following the principle used at Berchtesgaden, Hallein and Aussee, where the conditions are similar: "Voici la methode de laquelle on s'y prendrait, d'après l'analogie de Berchtesgaden, Hallein, Aussee dont le local est absolument semblable à celui de Zipaquira". He proposes driving corridors through the mountain towards the South and Southwest, thus reaching deeper levels where the purest salt is located. Once this fertile level is reached, large areas of 90,000-150,000 square feet need to be excavated, as far as the rock's solidity permits, creating 15-20 chambers on different levels, their number depending on the amount of salt produced and the richness of the mine. In these chambers, or "Wöhre", the miner will encounter fresh water running down the walls nibbling at the salt they contain, enriching itself up to a salinity of 25%. The water then merely needs to be channeled away and heated: "On percera la montagne de Sel par des galleries (Socabones) que l'on poussera en avant au Sud et Sudouest vers les points ou le Sel gemme est le plus riche. On fait, par ce qui a été dit antérieurement que le sel le plus pure est a une profondeur a laquelle la fouille actuelle n'att[e]int pas [...] Arrivé dans une partie de la mine bien abondontée on fera de grandes excavations de plus de 90,000 à 150,000 piés quarrés de superficie selon que la solidité de la Roche, (de Sel gemme) le permet. Ces excavations qu'en langue de mineur en nomme Wöhre ou Sinkwerke, sont de grandes Sal[l]es souterraines de 2-3 toises de haut [...] On a, selon la quantité de Sel que l'on produit et la richesse de la mine 15-20 de ces Chambres dans une Montagne de Sel, a differentes hauteurs [...] C'est dans ces Wöhre que par des puits ou des galleries superieurs selon que l'on rencontre les eaux douces [...] Elles y dissolvent, en rongeant, le Sel gemme contenu dans les parois [...] Lorsque l'Arcometre annonce au mineur que les eaux douces se sont enrichis à 24-25 p. C. [...] on fait découler ces pour ces artificielles qui ne necessite, plus que d'être cuites [...]". - Title-page and final page lightly duststained, minor ink stains in places. Spine and hinges professionally repaired.

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From the collection of the future King William IV

[Eben, Christian Adolph Friedrich Frhr. von, military officer (1773-1825)]. Observations on the Utility of good Riflemen both... in Infantry & Cavalry, with Instructions for Acquiring the Art of Taking a Good Aim, and Description of Targets [...] To which is added A Short Manual Exercise for Mounted Chasseurs as well as for Dragoons or Hussars, who are Armed with Rifle Pieces [...]. Translated from the Original German Manuscript Under the Inspection of the Author. No place, ca. 1802. No place, ca. 1802. Large 4to (211 x 260 mm). English manuscript on paper (watermarked 1797). (2), 86 pp., 1 blank leaf. Text within woodcut margins. With an additional 20 hand-coloured engraved plates (some signed "Merkl", one bound as a frontispiece), many with manuscript captions, and one hand-drawn and uncoloured diagram (numbered "Plate XIV). Contemporary half green morocco over marbled boards.

EUR 8,500.00

A manuscript from the royal library of the Duke of Clarence; a fair copy in a single hand. "Very interesting qua rifle details, targets etc. (including moving target of a man or deer)" (inserted old collector's note). Neither the author's German manuscript nor the present translation saw publication, but another copy of this manuscript, with the plates, is kept in the Royal Armories Collection (EBEN 1). - Christian Adolph Friedrich Frhr. von Eben (1773-1825) was a Silesian nobleman who trained in the Prussian military. He entered the English service in 1800 (where he was styled Frederic, Baron Eben) and composed this manual in 1802, upon receiving a commission in the 10th (Prince of Wales's) Regiment of Light Dragoons. He went on to fight in the Peninsular War in the Portuguese service and became involved in a conspiracy against the government in 1817. Exiled from Portugal, he served in South America under Bolivar in the 1820s. - Binding rubbed at extremeties. Nicks to some plates, some light discolouring. Provenance: 1) William, Duke of Clarence (later King William IV), bookplate (WH within Garter, coronet above); 2) his natural son George FitzClarence, 1st Earl of Munster (1794-1842), book label ("Col. Fitz Clarence"), armorial bookplate, and gilt stamp on spine; 3) Sidney Young, armorial bookplate; acquired in 1930 by 4) Thomas Fremantle, 3rd Baron Cottesloe (1862-1956), commander of the Territorial Army and president of the Society for Army History Research.

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Russian trade with Nanking: unpublished account of a Russian embassy to China

Suchtelen, Rochus van. The Russian embassy to China 1805-1806. China, 1805-1806. China, 1805-1806. Folio (ca. 305 x 400 mm). French manuscript in the author's hand. 80 pp. (including 3 blank pages and one with only two lines of text). Brown calf-backed boards covered with marbled paper in imitation of tree calf, spine lettered in gold. Engraved armorial bookplate of Jan Peter van Suchtelen.

EUR 25,000.00

An apparently hitherto unpublished account of the Russian embassy to China in 1805-06, written by the embassy's historiographer Rochus van Suchtelen. - The Russian minister of commerce, Nikolai Rumiantsev, supported a policy to continue the work of his father, Marshal Rumiantsev, that aimed to foster the Russian advance on the southern frontier. He was also determined to challenge Japan in the Pacific and to assert Russia's authority along the entire inland border from the Kazakh steppe to the Pacific (cf. Le Donne, p. 173). "In January 1805, [Rumiantsev] advised Alexander I to broaden the scope of an expedition to Peking [...] The embassy would seek China's agreement to open up both Canton and Nanking to Russian trade, to allow that trade not only on the tiny Bukhtarma but also along the entire Irtysh Line, and to let Russian caravans cross Chinese Turkestan on their way to India through the Karakoram Pass. The choice of ambassador fell on Count Iurii Golovkin [...] His instructions incorporated several of Rumiantsev's proposals. They also called for the opening of trade at Ili and Tarbagatai, the opening of the Amus to Russian shipping and the appointment of a consul at the river's mouth, the establishment of diplomatic relations with Peking with an ambassador in the Chinese capital, and the sending of 'supervisors' with Kalmyk pilgrims going to Lhasa in Tibet" (ibid., p. 174). - Politically, Golovkin's mission was a total failure: the Chinese kept the ambassador waiting at the border, parleying for some weeks over the size of the party (more than 200 men). After the embassy had finally proceeded to Urga, protocol issues of such complexity arose that the entire Russian party returned to Siberia. Yet the expedition was not without importance from a scientific point of view, for research conducted during the expedition by several participating scholars and scientists would give an impetus to further important investigations. The most noteworthy scholars among the embassy to China were Heinrich Julius Klaproth, who served as interpreter; Nikita Yakovlevich Bichurin, generally regarded as the founder of Russian sinology; Joseph Rehmann; and the botanist Ivan Ivanovich Redovski. - Provenance: Jan Peter van Suchtelen, count of Liikkala (1751-1836), with engraved armorial bookplate and inscription on front flyleaf: "This account is in the hand of my uncle the educator Roch van Suchtelen - historiographer attached to the embassy" (transl.). - Binding somewhat worn. From the library of Swedish antiquarian bookdealer Björn Löwendahl (1941-2013). Another manuscript copy of van Suchtelen's diary is kept at the Rossiiskii gosudarstvennyi arkhiv diplomaticheskikh aktov (RGADA), 188, MS collection, op. 5. no. 425.
¶ Löwendahl, China illustrata nova, Supplement, MS7. John P. LeDonne, The Russian Empire and the World, 1700-1917. The Geopolitics of Expansion and Containment, New York & Oxford, OUP, 1997.

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''The Revenge of Hatred and of Love''

Goethe, Johann Wolfgang von, poet (1749-1832). Handwritten schedule for actors and employees of the... Weimar Court Theater, signed ("JWvGoethe"). Weimar, 18. IV. 1816. Weimar, 18. IV. 1816. Folio. 1 p.

EUR 12,500.00

A rare and interesting document from Goethe's final year as artistic director of the Weimar Courth Theatre, containing his instructions for the week of Monday, 22 April, until Saturday, 27 April: "Montag, den 22ten April 1816 frühe um 10 Uhr Probe von dem Lustspiel: Die Brandschatzung; um 11 Uhr von der Nacht im Walde. Am Abend die Vorstellung davon. Dienstag, den 23. ej[usdem] frühe um 10 Uhr, und Nachmittag um 4 Uhr Clavierprobe von der Oper: Theodor. Mittwoch den 24ten ej. frühe um 10 Uhr Probe; am Abend die Vorstellung von dem Schauspiel: Reue und Ersatz [durchgestrichen und seitlich korrigiert zu: Des Hasses und der Liebe Rache]. - Donnerstag den 25ten ej. frühe um 10 Uhr Clavier[probe]; Nachmittag um 4 Uhr Quartettprobe von König Theodor [...]". - Slight staining and traces of mounting on verso.

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A To-Do List for Beethoven's Servant

Beethoven, Ludwig van, composer (1770-1827). Autograph document. [Vienna, ca. 1817]. [Vienna, ca. 1817]. Oblong 4to (248 x 230 mm). 1 page (9 lines). Ink on paper. Watermark: "Iglau Alten Berg".

EUR 95,000.00

A shopping list, written for a servant, comprising six items to be obtained in Vienna: "Beym Met Uhrmacher den Metronomm. / MäuseFall / ZündMaschine / BalbierMeßer 3 / WaschSeife an der Bognergaße / Bücher Maschin in der Wohn[un]g des Hr. Bruders" ("Metronome at the watchmaker's; mousetrap; lighter; 3 razors; washing soap from Bognergasse; book machine in my brother's flat"). Below are some pen tests in another hand. - The "metronome watchmaker" must be the mechanic Johann Nepomuk Mälzl, the inventor of this device, who also had long built ear trumpets for the increasingly deaf composer. The soap was very probably purchased at the well-known spice store and druggist "Zum schwarzen Kameel" in Vienna's Bognergasse (no. 340). The last item on the list gives an indication of the date of the autograph: after his brother Kaspar's death in Vienna in 1815, Beethoven took his nephew Karl, then nine years of age, under his tutelage. In 1816 he entrusted Karl to the private school of Cajetan Giannattasio del Rio in Vienna. The item referred to as the "book machine in my brother's flat" could be a so-called reading machine - a wooden letter case with letter boards and a reading board, used for reading instruction. This would be consistent with Beethoven's efforts to educate his young nephew, around the year 1817. The commissioning of a metronome would correspond well to this dating: Beethoven closely followed Mälzel's work on his metronome project, which then had just been completed, and he was the first composer to publish a work with metronomic times. - Traces of old folds; somewhat irregularly torn along the edges. Provenance: auctioned in Cologne in 2011 as "the world's most expensive shopping list"; since kept in a private French collection, from which it was acquired.

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Beethoven, Chopin, Liszt, Mendelssohn-Bartholdy, Rossini, Schubert, Schumann, Spontini and many others

Fuchs, Aloys, Austrian musicologist and collector (1799-1853). Musikalisches Album zur Erinnerung an günstige Freunde, angelegt... von Aloys Fuchs. A magnificent album containing 115 autograph musical manuscripts by famous composers and musicians of the 19th century, almost all entries written for Fuchs personally. Various places, (1817-)1830-1850. Various places, (1817-)1830-1850. Large 4to (199:228:25 mm). XIV, 242 numbered pages (some leaves bound out of order, including 14 blank pages). Original dark auburn morocco with giltstamped cover rules, blindstamped cover borders, and attractively gilt spine and leading edges. Green endpapers. All edges gilt.

EUR 1,800,000.00

An extraordinary album assembling 115 musical manuscripts signed by many of the foremost composers of the first half of the 19th century, focusing on but not limited to the Viennese musical scene, including Beethoven, Chopin, Liszt, Lortzing, Mendelssohn-Bartholdy, Rossini, Schubert, Robert and Clara Schumann. - Aloys Fuchs was a civil servant in the Vienna Hofkriegsrat (Aulic War Council), where his immediate superior was the distinguished musicologist Raphael Georg Kiesewetter. Fuchs compiled important early catalogues of the works of Gluck, Haydn, Mozart, and others, occasionally sang as a bass in the court chapel choir, and was appointed a member of the Gesellschaft der Musikfreunde in 1829. He began to assemble his enormous musical collection and library around the year 1820. For the plentiful valuable autographs and manuscripts it contained, it was hailed as "one of the largest and most valuable private collections in Europe" (cf. MGG IV, p. 1074). It was dispersed by sale after his death, but "the greater part went to the Deutsche Staatsbibliothek in Berlin; lesser amounts were acquired by the Bendictine Foundation at Göttweig (Lower Austria); others were sold through second-hand booksellers" (New Grove VII, p. 1). Only a small fraction remains in private hands. - "A singular feature of the Fuchs Collection were four guest-books (albums)" (Schaal, Autographen der Wiener Musiksammlung, p. 13), of which the present book was by far the largest and most encompassing specimen. Fuchs began the album in 1830 with 85 leaves (170 pages) of eight-stave paper as a musical friendship album for his famous guests: the first entry was penned by Ignaz Lachner on 4 September 1830, the last by G. D. Duprato on 28 December 1851. In all, 80 entries are dated. Several entries (some in-8vo) were added and intercalated, bringing the final page count to 242. Three items were transferred from another of Fuchs's albums, formerly owned by the musicologist Franz Sales Kandler and acquired by Fuchs after Kandler's death in 1831: those of Archduke Rudolph, Beethoven, and H. Woržischek. The Schubert song "Der Blumen Schmerz" is transferred from an unidentified album, as may also be the "Canone" by Muzio Clementi. With these few exceptions, all entries were inscribed for Fuchs personally. - The fine calligraphy of the title-page and index are the work of the same calligrapher whom Kandler had employed for his own album. A "collector's note" prefixed to the title was added by the same scribe in 1832, advising the reader that the contributions of Archduke Rudolph and Beethoven were acquired after the title was composed and Fuchs did not presume to a personal friendship with either of these eminent men, but had wished to glorify his album by including these relics. The six-page index lists 108 contributors (from no. 98 onwards they are in Fuchs's own hand), and seven more are added in pencil, bringing the sum to 115. - Detailed description available upon request.
¶ Georg Kinsky, Manuskripte, Briefe, Dokumente von Scarlatti bis Stravinsky. Katalog der Musikautographen-Sammlung Louis Koch (Stuttgart, 1953), no. 349 (pp. 330-337). Richard Schaal, Quellen und Forschungen zur Wiener Musiksammlung von Aloys Fuchs (Graz, 1966), p. 67, Album no. III. The same, "Die Autographen der Wiener Musiksammlung von Aloys Fuchs", in: Haydn Yearbook VI (1969), pp. 5-191, here at pp. 7 f., 13 f. (album III) and passim s.v. Katalog der autographischen Sammlung von Sigismund Thalberg (Naples, Iride, 1872), p. 20 ff. Wurzbach vol. 44 (1882), p. 130 ("das dritte Volumen"). Ingrid Fuchs, "Aloys Fuchs (1799-1853): A Private Collector As a Public Institution", in: Collecting Music: Stories of a Passion (Turnhout, 2010).

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The desirable large paper edition, finely hand-coloured

Laborde, Alexandre de. Voyage pittoresque en Autriche. Paris, P. Didot l'ainé, 1821-1822. Paris, P. Didot l'ainé, 1821-1822. Elephant folio (351 x 497 mm). 3 vols. 3 hand-coloured title-pages; 491 pp.; 16 engraved, mostly hand-coloured, and a few tinted headpieces; 12 engraved tailpieces (mostly hand-coloured, a few tinted); 101 engraved plates (two double-sized) with 145 hand-coloured illustrations; 18 maps, of which 12 double-sized, 16 hand-coloured, and one with an additional folding insert; two double-sized lithographed tables. Uniform contemporary straight-grain green quarter calf over marbled boards; spines with ornamental gilt lines and red morocco labels with gilt title.

EUR 45,000.00

Very rare complete set, in fine contemporary colour, of a monumental and richly illustrated work on the state of Austria, with far more information than one would expect from a "voyage pittoresque". Louis Joseph Alexandre de Laborde (1773-1842) was a French writer, archaeologist, military officer and politician. Young Laborde had been dispatched to Vienna by his father at the outbreak of the French Revolution; there he joined the Austrian army, in which he was named an officer at the age of 17, by personal intervention of the Emperor Joseph II. In 1800 he was an attaché of Lucien Bonaparte’s embassy in Madrid. Laborde's Austrian experience and his perfect command of German suited him for a place as secretary of the delegation under Marshal Berthier to ask on behalf of Napoleon for the hand of the archduchess Marie Louise. - The first and second volume have no sub-title; the first deals largely with the history and archaeology of Austria, and in particular with its rulers, while the second volume deals largely with the topography, with detailed maps and fine views, including many of Vienna and other towns. The third volume has the sub-title "Précis historique de la Guerre", that is, the Franco-Austrian War of 1809 (War of the 5th Coalition, between Napoleon and Bavaria on one side and the Austrian Empire and Great Britain on the other). It contains many fine (battle) maps, views and scenes. In the few descriptions of this work, sometimes a map is listed as a plate, but the combined total of plates and maps should be 119 as in this set. In addition to plates and maps, this work is embellished with fine, large head- and tailpieces, illustrating towns, buildings, and antiquities. - Inscribed on the first front free endpaper, "de la part de l'auteur". Boards rubbed at edges, a few skilful repairs; scattered, mostly light and marginal foxing; one partly coloured map in Part 3 toned; short, marginal tear in one plate; otherwise in very good condition, with the printing strong and the hand-colouring detailed and accurate. Only five complete copies in auction records since WWII.
¶ Nebehay/Wagner II, 348 & 349. Brunet III, 713f. Graesse IV, 58. Querard IV, 344. Vicaire IV, 752. UCBA II, 1065. Mayer coll. 271 (only the normal edition).

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Written in the year of "Ulalume", one of Poe's most powerful tragic ballads

Poe, Edgar Allan, American writer (1809-1849). Autograph letter signed ("Edgar A. Poe"). New York, 31. VIII. 1847. New York, 31. VIII. 1847. 4to. 1 page on bifolium with address on verso of fol. 2. Includes F. T. Stuart's 1885 steel-engraved portrait of the author.

EUR 135,000.00

Poe's final letter to the Philadelphia lawyer and playwright Robert Taylor Conrad (1810-58), of "Graham's Magazine": "It is now a month since I wrote you about the two articles I left with you - but, as I have heard nothing from you, I can only suppose that my letter has not reached you - or, at all events, that, in the press of other business, you have forgotten it and me. In it, after thanking you (as I do again most sincerely) for your late kindness to me in Phil[adelphi]a, I begged an answer in respect to the articles - mentioning $40 as the sum in which the Magazine would be indebted to me in case of their acceptance, and asking permission to draw for that amount. - I owed Mr. Graham $50 (as nearly as I can remember) and the papers, at the old price, would come to 90. May I beg of you to reply, as soon as convenient [...]". Not quite a month previously, on August 10, Poe had written to Conrad about the two articles he had offered to "Graham's Magazine" during his last visit to Philadelphia, where he had travelled to re-establish his magazine contacts: "[...] I obtained an advance of $10 from Mr G[raham] in order that I might return home at once - and thinking it, also, more proper to leave you time in which to look over the articles. I would be deeply obliged if you could now give me an answer respecting them. Should you take both, it will render me, just now, the most important service. I owe Mr G. about $50. The articles, at the old price ($4 per page) will come to $90 - so that, if you write me that they are accepted, I propose to draw on Mr G. for $40 - thus squaring our account [...]". During this stay in Philadelphia, Poe had been taken seriously ill, and Conrad had provided assistance. In the same letter of August 10, Poe had thanked the lawyer for his "considerate kindness": "[...] Without your aid, at the precise moment and in the precise manner in which you rendered it, it is more than probable that I should not now be alive to write you this letter [...]". - Traces of original folds. Recipient's notes on address sheet: "Edgar A. Poe / Answered / Paid". - Provenance: formerly in the collection of Capt. Pleadwell and in the Doheny collection; donated to Saint John's Seminary, Camarillo, CA, by Countess E. Doheny (c. 1940), but sold at the 1988 Doheny auction at Christie's (lot 1546). - The portrait, originally published as the frontispiece to George E. Woodberry’s "Edgar Allan Poe" (Boston: Houghton, Mifflin, 1885), was engraved by Frederick T. Stuart, active in Boston from 1857 until his death in 1913. Stuart based his engraving on a daguerreotype lent him by Woodberry’s occasional collaborator E. C. Stedman, apparently the one now owned by the Henry E. Huntington Library.
¶ Phillips, 2:1229. John Ward Ostrom, Revised Check List of the Correspondence of Edgar Allan Poe 688. Poe's Letters no. 256.

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A Hamburg Three-Master in the East China Sea

[China - logbook]. Journal geführt an Bord des Bark Schiffes Anna... / Capitain C. Eisenmenger / auf der Reise von Hamburg / nach Shanghay. (Printed form: Hamburg, C. Plath, D. Filby Nachfolger), 1869-1872. (Printed form: Hamburg, C. Plath, D. Filby Nachfolger), 1869-1872. Small obling folio (ca. 276 x 210 mm). German manuscript on paper (letterpress form). 188 ff. Contemporary brown half cloth over marbled boards with giltstamped red cover label reading "Journal. 12 Monate".

EUR 6,500.00

Diligently kept naval log of a long China voyage on a Hamburg-based ship undertaken soon after the Second Opium War, at the time of the Tianjin Massacre, during the early years of the rule of the Tongzhi Emperor. The Chinese ports of call range from Hong Kong on the South China Sea and Shanghai on the East China Sea to Tianjin (near Beijing) on the Yellow Sea. - The journal entries begin with the schooner barque Anna weighing anchor in Hamburg on 17 January 1870; they cross the Sunda Strait on 23 April and reach Shanghai on 1 June. After a layover, the course is set for Tamsui, then for Chifoo (Yantai) and Tientsin (Tianjin), and onwards to Hong Kong, Amoy (Xiamen), and Taku, bringing the ship to the island of Penang (George Town) on the Straits of Malacca on 12 March 1872. 14 pages prefixed to the printed form describe how the Anna is taken over at Geestemünde (Bremerhaven) on 20 November 1869, as well as the travel preparations, but also events in the port of Yantai. Apart from precise position readings, weather notes, and other navigational records, the book also contains information in brief regarding disciplinary measures, damage suffered from ice jams, celebrations on board, etc. Until 21 June 1870 the logbook is maintained by the chief helmsman Thomas Brügeman, after which date a different writer takes over. - The Anna (ex Malvina), built and launched in 1859, was a barquentine of 227 register tonnes, sailed by a crew of ten men under captain Carl Eisenmenger, who was also the owner of the ship. - Binding slightly rubbed; paper occasionally browned, but well-preserved altogether.

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To Archduchess Marie Valérie

Elisabeth, Empress of Austria (1837-1898). Autograph telegram signed. No place or date. 262 x 143 mm.

EUR 4,500.00

In German: "S. A. I. R. l'Archiduchesse Valérie. How are things? Elisabeth".

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''Vegetable Cellar''

Heinrich Vogeler, painter, designer and architect (1872-1942). Three interior design drawings. N. p. o. d. Two pen-and-ink and watercolour drawings (195 x 140 mm and 193 x 140 mm) on cardboard signed ("HVogeler") and one pen-and-ink drawing (187 x 140 mm) on cardboard.

EUR 2,500.00

The pen-and-ink and watercolours are entitled "Halle in der Villa der Kunstgewerblerin" ("hall in the artisan's mansion") and "Gemüsekeller" ("vegetable cellar"). In the lower right margin of the cellar design Vogeler has added a floor plan of the room in pen and ink. Both drawing boards are folded. - Despite the simpler execution of the untitled and unsigned third sheet, the three drawings very probably constitute a set. All three are executed in the same sketchy style, on the same cardboard in like sizes. A pencil drawing on the reverse of the untitled design appears to show a floor plan of the "hall in the artisan's mansion". - All three drawings have the same ownership pencilled to the reverse: "Eigentum: Fogarasi". - The present drawings must date from before the First World War, a period when Vogeler was successful as an architect and designer. Apart from the his famous Barkenhoff mansion in Worpswede, Vogeler's most important project at the time was the "Güldenkammer" in Bremen's City Hall (1904-05). In 1907 Vogeler co-founded the "Deutscher Werkbund" and participated in several of its projects. After the First World War, Vogeler began to distance himself from Art Nouveau and its doctrines, instead turning to expressionism.

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Memorial album for Vienna's first women's shelter

[Marie Valerie, Archduchess of Austria (1868-1924)]. Erzherzogin Marie Valerie Wiener Frauenheim. Memorial album for... the 25th anniversary of Vienna's women's shelter. Probably Vienna, 1907. Probably Vienna, 1907. Folio. 19 ff. of thick dark cardboard. With 7 pen-and-ink drawings and 7 photographs. Contemporary brown calf with brass corner fittings. All edges gilt.

EUR 9,500.00

The splendid album celebrating the 25th anniversary of the women's shelter and retirement home, which was established in 1883 and rebuilt in 1906/07 after plans by Karl Holzer. It begins with a portait photograph of Archduchess Marie Valerie, who functioned as the institution's patron in 1903. The portrait is followed by a history of the building on ff. 2-5. Seven pen-and-ink drawings on ff. 6-12 show an exterior view, the hall, parlour with hall, dining hall, bedroom, kitchen and garden front, while ff. 13-19 show seven photographs of the main front, dining hall, parlour, hall with staircase, kitchen, chancery and the old building existing until 1906/07. - The album describes the history of the women's home, tracing its existence back to 1881, when several Viennese women joined to found an association aiming at providing single elderly, poor but educated poor women with affordable flats and meals in a Viennese home for women. - Located near Schönbrunn, the shelter in the Frauenheimgasse today is operated by the Catholic relief and social service organisation Caritas. - Lacks the clasp. Binding slightly rubbed and a little cracked inear the upper joint. Flyleaves somewhat waterstained, cardboard leaves rubbed at the edges.

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Alan Turing's copy

[Turing, Alan]. Jeans, J[ames] H[opwood]. The Mathematical Theory of Electricity and Magnetism. Cambridge, University Press, 1927. Cambridge, University Press, 1927. Royal 8vo. VII, (1), 652 pp. Original dark blue cloth.

EUR 25,000.00

Fifth edition. - Alan Turing's copy, acquired by him (from Galloway & Porter), shortly after going up to Cambridge. The front free endpaper is signed "A. M. Turing", with the date, "November 1931", at the foot. An advantage of the slight browning of the half-title, is that the signature appears on it as an inverse shadow. Not only was this one of his earliest acquisitions at Cambridge, the book was sufficiently important to him to refer to it (this specific edition) in one of his last works, "The Chemical Basis of Morphogenesis" (morphogenesis being Turing's coinage) in the Phil. Trans. in 1952 (cf. Chapter 34 of The Turing Guide, Turing's Theory of Morphogenesis). The paper explained how natural patterns such as stripes, spots and spirals, like those of the giant pufferfish, may arise naturally ("Turing instability"). - "From 1905 to 1909 Jeans was professor of applied mathematics at Princeton University, where he wrote two textbooks, 'Theoretical Mechanics' (1906) and 'Mathematical Theory of Electricity and Magnetism' (1908). The latter work, written in Jeans's fluent style, was widely used and went through many editions" (DSB). This is the first reprint of the fifth edition of 1925, with the Prefaces to each edition. - First and last pages slightly browned, binding a little worn at extremities.

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"the life of an artist is (financial speaking) very often like riding in a Berg&Thalbahn - up & down - up & down again"

Grosz, George, painter (1893-1959). 75 (49 autograph and 26 typed) letters and... 10 autograph (picture) postcards, mostly signed. Mostly New York and Long Island, but also Berlin, London and Ronchi (near Florence), 1930s to 1950s. Mostly New York and Long Island, but also Berlin, London and Ronchi (near Florence), 1930s to 1950s. Altogether (50¼+22¼+10 =) 82½ pp. on (49+26+10 =) 85 ff. Various formats. Includes 3 autograph letters from his wife Eva.

EUR 22,500.00

Amicable correspondence with his friends and patrons Bernard and Rebecca Reis about diverse matters, including paintings he has made, bestowed, or sold (some of which are still unpaid), John Dos Passos, his financial situation, and the arrival of Hermann Borchardt, who (as a result of the efforts of Grosz, Brecht, and Max Warburg) had been released from the Dachau concentration camp in May 1937 and was allowed to emigrate to the USA. - a) "[...] (You see Dos Passos is in town and so I must go to him, as he has no time in the afternoon leaving for Cap Code [!] - we [are] working together on those titles for the plates in the book)" (undated; the book mentioned is probably "George Grosz", edited by Imre Hofbauer in 1948, with a preface by Dos Passos). - b) "Thursday John Dos Passos came for a visit and stayed overnight. He was in good spirits and one hardly recognised that one eye is artificial. He seems to work on a new novel and that is very good for his mind I think" (3 Jan. 1948; Dos Passos had lost his wife and one eye in a car accident on 12 September the previous year). - c) "This year seems not to[o] good - but the life of an artist is (financial [!] speaking) very often like riding in a Berg&Thalbahn - up & down - up & down again" (28 March 1945). - d) "I got word, the friend of ours you signed the affidavit for - is coming now on the Deutschland 18th of June this week - Bernard now it is necessary in order to get him from the boat, that you have to come down to the pier - and please, anyway, take some money with you - you know sometimes (if they are nasty) they ask for that - I d'ont [!] think we will have any difficulties - but Eva wrote me about our friend and I think she got that advice from the U.S. consul in Berlin. Hans [Hermann] Borchardt was released recently from the conc. camp - and he was still trembling and shaking - and one hand is still hurt (something happened to him) he is going to stay with us [...]" (15 June [1937]).

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Alfred Hitchcock's storyboard for "Stage Fright" in 340 pencil drawings

Hitchcock, Alfred, film director (1899-1980). Sketches with autograph annotations: storyboard for "Stage Fright". No place, [circa 1949]. No place, [circa 1949]. 340 pencil drawings, drawn by Alfred Hitchcock, one drawing highlighted in blue, each sheet with three boxes (or cells) with 3 pencil sketches, 46 cells are left blank and 22 drawings were crossed out. Numbering in the left-hand margin in pencil and red crayon (1-152, 240-293, plus 8 leaves numbered in Roman numerals at the end for the final scenes: pursuit in the theatre; decapitation by the theatre's security curtain and final scene), autograph annotations, directions and revisions throughout, one or two "camera angle" diagrams sketched out on left-hand pages. In all 130 loose sheets (208 x 262 mm), in pencil, mostly only recto, but three leaves are drawn also on verso. Sketch of a profile behind scenes 103 and 104; sketch of a stage setting behind scenes 98 A, 98 B and 99. Original black cloth folder-binder, blindstamped with paper label on the front cover and inscription "J. Martin" in faded red ink and "Stage Fright / R.Todd / M. Dietrich / M. Wilding" in blue ink. Preserved in a fitted case.

EUR 150,000.00

Extraordinary autograph pre-production storyboard for Hitchcock's 1950 film "Stage Fright", comprising preparatory sketches for some three quarters of the film, including the infamous "false flashback" initial sequence, the rest of the first half of the film, the garden party scene and the finale. A rare collection of sketches and comments detailing how the legendary director crafted his scenes. - "Stage Fright" is a 1950 British noir thriller directed and produced by Alfred Hitchcock and starring Jane Wyman, Marlene Dietrich, Michael Wilding, and Richard Todd. The film was shot in London and Elstree in 1949, on a brief sojourn from California where Hitchcock had been working since 1940, and in some ways it was a return to the style (and humour) of his earlier British films. The crime thriller, centered on a killer who dupes a woman friend into helping him try to escape police after he murdered his actress lover's husband, was much criticised on release for the extraordinary "unreliable flashback" or "false flashback" scene, which Hitchcock famously considered his second greatest career mistake (after the death of the little boy in "The Secret Agent"). Posterity has been rather kinder: the device has influenced later generations of filmmakers more interested in artifice than truth, and the film as a whole has seen a partial critical reassessment in recent years - Hitchcock had trained as a draughtsman and worked in advertising before turning to film, and his use of extensive storyboards, down to the finest detail of production, is well known. One of the myths to have built up around his career maintains that, after planning and storyboarding his films so thoroughly, once on set Hitchcock never so much as peeked through the camera viewfinder, bearing each scene from start to finish precisely in his head. - The sketches for "Stage Fright" include very precise directions for the actors and for camera angles which would have left the crew with little room for imagination ("pan up from stain", "CU" (close-up), "Dolly in to a dolly", "Back to Eve. Pan then out until the couple are in waist-shot going through the door"). Some of the most memorable shots of the film were clearly planned in advance and can be seen here: the car driving up to the camera at the beginning, the first shot of Alistair Sim framed in a lead window, the blood-stained dress shots, the blurring as Doris Tinsdale tries on her glasses, the umbrellas at the garden party and the finale with the stage curtain. But at the same time there are significant differences from the finished film, and this storyboard demonstrates that sequences and shots were dropped, added or amended during production. - The production files for all the other post-1940 films are in the Hitchcock Archives at the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverley Hills. - In excellent condition throughout notwithstanding one or two dampstains; the last few leaves a little creased and frayed at edges. Provenance: 1) Jack Martin (1899-1969), first assistant director on "Stage Fright" (his credits also include assistant director on "Moby Dick" and production manager on "This Happy Breed"); 2) Hugh Harlow (b. 1939), assistant director and production manager on many films.

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