1st Edition Of Emancipation Proclamation & Final Edition Of Lincoln's Hair

by Stephen J. Gertz

A copy of the first edition in book form of the Emancipation Proclamation, the document that freed the slaves in the Southern states during the American Civil War, will be offered by Heritage Auctions in its Americana and Political Signature sale May 24, 2014. It is estimated to sell for $5,000-$7,000.

The Proclamation in its preliminary form was issued by President Lincoln on September 22, 1862. It stressed military necessity as the basis for the freeing the slaves. The revised and final Proclamation became official on January 1, 1863. It was published as a broadside and simultaneously as a  seven-page booklet (3 1/8 x 2 1/8 in.) in pink wrappers in December 1862 by John Murray Forbes, a Boston Unionist who helped to raise troops, including the famous 54th Massachusetts Regiment. The booklet, seen above, was intended for distribution to Union troops who, in turn, could distribute copies to slaves in regions of the South occupied by Union forces.

It has the original thread binding and a brass grommet through pages 5-7 and the back cover. It is estimated that less than ten copies have survived.

Collectors of celebrity and historical hair will have their own stand on end and dance a jig in their follicles when Heritage offers five strands of Abraham Lincoln's scalp hair, part of a lock clipped while The Great Emancipator was on his deathbed. The hairs are estimated to sell for $1,000-$1,500.

The lock was originally owned by Dr. Charles Sabin Taft who was the second surgeon to treat Lincoln on the evening of his assassination. The five hairs are part of the most authenticated lock of Lincoln's hair extant. It was originally removed by Dr. Charles Leale, the first surgeon to arrive in aid of the dying President, so he could have clear access to examine and treat Lincoln's wound.

The lock was given to Mrs. Lincoln who soon returned it to Dr. Taft as a gift in appreciation of his efforts. Taft was a young surgeon who attended wounded Union troops at a Washington hospital and had become acquainted with the President during Lincoln's visits to the recovering soldiers. Dr. Taft willed the hair to his son, Charles C. Taft, who sold it to William H. Lambert in 1908.

Upon Lambert's death, the Lincoln hair was sold to Henry C. Hines, in whose possession it remained until 1993 when it was discovered in his estate. The small hairs are preserved in a plastic sleeve and barely perceptible in the image above. Copies of dozens of letters, documents and articles accompany the strands of hair as well as a Certificate of Authenticity from John Reznikoff of University Archives, holder of the Guinness World Record for the largest and most valuable collection of celebrity hair. A dubious distinction to the artifact-jaded, perhaps but I, for one, think DNA testing on literary celebrities' hair could be quite revealing; I'd like to get a load o' Georges Sand's genome, for historical purposes only, of course.

Included is a letter from Charles C. Taft to Civil War sergeant, writer, and famed collector of Lincoln memorabilia, Osborn H. I. Oldroyd (1842-1930), offering the lock of hair in 1907.

Dear Sir,

I am in receipt of yours from the 13th and contents noted. in reply will state that I will sell you the Lock of Hair and cuff button from the late President Abraham Lincoln for one thousand dollars. I consider this a very low figure for such precious articles, and were it not that I can use the money, I would not part with them at any price. Awaiting your reply.

Very truly yours,

Charles C. Taft

It is unknown how many strands of hair were in the original lock. Charles C. Taft split hairs, presenting six strands to John Hay, Lincoln's personal assistant and, later, Secretary of State. Hay had his six strands put inside a ring and in 1905 presented them to President Theodore Roosevelt upon the occasion of his inauguration with a letter that read "The hair in this ring is from the head of Abraham Lincoln. Dr. Taft cut it off the night of his assassination." The rest of the lock remained in Taft's possession.

His offer to Oldroyd declined, in 1908 Taft wrote to General James Grant Wilson offering the Lincoln Hair and a cuff button for sale. Wilson couldn't purchase the items but he alerted Major William H. Lambert. Lambert purchased the Lincoln items in a well documented sale on March 12, 1908.

For collectors of Americana, particularly of Lincolniana, these five strands of Lincoln's hair should be tantamount to five leaves from a Gutenberg Bible yet they are being offered for only $200-$300 per strand.

For perspective, a lock of Elvis Presley's hair sold in 2009 for $15,000. Our cultural priorities appear to be twisted; sic semper tyrannis, Jack. Perhaps if Lincoln had  sung Heartbreak Hotel while  wearing blue suede shoes on the night of the assassination his hair would be  appraised at higher price.

Not too long ago twelve strands of Michael Jackson's hair sold for $2,000, a price that seems rather low but the hairs were singed in 1984 while Jackson was shooting a Pepsi commercial and his head accidentally caught fire during the pyrotechnical display: condition is everything. Michael Jackson hair in fine condition would surely have been a thriller and fetched a great deal more.

Hair today, gone tomorrow, the auctioneer declared then ducked a tomato thrown his way.

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Images courtesy of Heritage Auctions, with our thanks.
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Mark Twain, Collector Of Compliments

by Stephen J. Gertz

Little Montana Girl's Compliment
"She was gazing thoughtfully at a photograph of Mark Twain
on a neighbor's mantelpiece. Presently she said, reverently,
'We've got a Jesus like that at home only ours has more trimmings.'"

On January 11, 1908, The Lotos Club in New York City, one of the oldest literary associations in the United States, held a dinner in honor of one of its members, Samuel L. Clemens, aka Mark Twain.

Founded in New York City in 1870 by a group of young writers, journalists and critics, the Lotos Club initiated Twain to membership in 1873, who, waggish card that he was, immediately declared it “The Ace of Clubs.” At the dinner - attended by many luminaries - the guest of honor gave a speech announcing that he had become a collector of compliments. PBA Galleries is offering one of those compliments, in Twain's hand, in its Historic Autographs & Manuscripts with Archival Material sale May 8, 2014. It is estimated to sell for $2,500-$4,000.

As reported in the New York Times, January 12, 1908, Twain told the gathering:

"I wish to begin at the beginning, lest I forget it altogether. I wish to thank you for your welcome now and for that of seven years ago, which I forgot to thank you for at the time, also for that of fourteen years ago which I also forgot to thank you for. I know how it is; when you have been in a parlor and are going away, common decency ought to make you say the decent thing, what a good time you have had. Everybody does it except myself.

"I hope that you will continue that excellent custom of giving me dinners every seven years. I had had it on my mind to join the hosts of another world - I do not know which world - but I have enjoyed your custom so much that I am willing to postpone it for another seven years.

"The guest is in an embarrassing position, because compliments have been paid to him. I don't care whether you deserve it or not, but it is hard to talk up to it.

"The other night at the Engineers' Club dinner they were paying Mr. Carnegie here discomforting compliments. They were all compliments and they were not deserved, and I tried to help him out with criticisms and references to things nobody understood.

"They say that one cannot live on bread alone, but I could live on compliments. I can digest them. They do not trouble me. I have missed much in life that I did not make a collection of compliments, and keep them where I could take them out and look at them once in a while. I am beginning now. Other people collect autographs, dogs, and cats, and I collect compliments. I have brought them along.

"I have written them down to preserve them, and think that they're mighty good and exceedingly just."

[Twain began to read a few. The first, by essayist, critic, and editor Hamilton W. Mabie, declared that La Salle might have been the first man to make a voyage of the Mississippi, but that Mark Twain was the first man to chart light and humor for the human race].

"If that had been published at the time that I issued that book [Life on the Mississippi] it would have been money in my pocket. I tell you it is a talent by itself to pay complements gracefully and have them ring true. It's an art by itself.

"Now, here's one by my biographer. Well, he ought to know me if anybody does. He's been at my elbow for two years and a half. This is Albert Bigelow Paine:

"'Mark Twain is not merely the great writer, the great philosopher, but he is the supreme expression of the human being with its strengths and weaknesses.'

"What a talent for compression!"

[Novelist, editor, and critic William Dean Howells, Twain said, spoke of him as first of Hartford and ultimately of the solar system, not to say of the universe].

"You know how modest Howells is. If it can be proved that my fame reaches to Neptune and Saturn, that will satisfy even me. You know how modest and retiring Howells is, but deep down he is as vain as I am."

"Edison wrote: 'The average American loves his family. If he has any love left over for some other person he generally selects Mark Twain.'

"Now here's the compliment of a little Montana girl, which came to me indirectly. She was in a room in which there was a large photograph of me. After gazing at it steadily for a time, she said:

"'We've got a John the Baptist like that.' 

"She also said: 'Only ours has more trimmings.'

"I suppose she meant the halo.

[Since the offered "compliment" is numbered “4” and the Times reported the little girl’s compliment after three prior, this sheet was most likely Twain’s reading copy; he extemporaneously changed some of the words but it was basically the same story].

"Now here is a gold miner's compliment. It is forty-two years old. It was my introduction to an audience to which I lectured in a log schoolhouse. There were no ladies there. I wasn't famous then. They didn't know me. Only the miners were there with their breeches tucked into their boot tops and with clay all over them. They wanted someone to introduce me, and then selected a miner, who protested that he didn't want to do on the ground that he had never appeared in public. This is what he said:

"'I don't know anything about this man. Anyhow, I only know two things about him. One is he has never been in jail and the other is I don't know why...'"

The dinner was Twain-themed. As tasty as his speech was, the meal was tastier, a feast for those whose tongue for Twain went all the way. On the menu that evening:

Innocent Oysters Abroad.
Roughing It Soup.
Huckleberry Finn Fish.
Joan of Arc Filet of Beef.
Jumping Frog Terrapin.
Punch Brothers Punch.
Gilded Duck.
Hadleyburg Salad.
Life on the Mississippi Ice Cream.
Prince and the Pauper Cake.
Pudd'nhead Cheese.
White Elephant coffee.
Chateau Yquem Royals.
Pommery Brut.
Henkow Cognac.

Dishes served only in spirit included:

Double-Barrelled Detective Mystery Vegetable.

Connecticut Yankee Stew.

Mysterious Stranger Souvlaki.

Our compliments to the chef - and honoree.
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Image courtesy of PBA Galleries, with our thanks.
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The Awful Visitation Of Four Dreadful Monsters To Four Young Women

by Stephen J. Gertz

The awful Visitation of 

Four Dreadful 

Monsters,  

To four Young Women, at one of 

their Houses in this Town, where 

they had met for the Purpose of 

seeing their intended Husbands.

On the 21st ult. JANE SMITH, MARY STEWART, ANN THOMPSON, and MARY RELL, agreed to meet according to the old rule and custom, to see if possible they could make their sweethearts appear. They all accordingly assembled at one of their houses, each of them provided with a clean shift, likewise a plentiful supply of bread, cheese, and ale, in order if their sweethearts should arrive. At length the long wished for time drew near and on its striking twelve, they all began to repeat the following words:

May our sweethearts, if far or near,
At this moment before us appear,
And turn our shifts, if love they bear.

They had no sooner uttered the above words than four men entered their apartment with ghastly appearance, each of them having a lighted torch in their hands, and like Banquo's ghost unceremoniously seated themselves in the vacant chairs. Mirth, like a coward, vanished at their presence, and every smiling feature of the face was changed to an expression of consternation and horror. At length one bolder than the rest retreated, and she immediately followed by the whole females in the house; and the host remained as if riveted by some magic spell to his seat.

We shall leave him there to enjoy the company of his visitors, and return to those who fortunately found asylum in the house of a neighbor. After their alarm has a little subsided, and the power of utterance was restored, they began to conjecture who their visitors might be, and what the purport of their arrant? Unlike many momentous considerations, there was little diversity of opinion, for they unanimously agreed that it could be bno other than his satanic majesty and three of his imps which had fled with their bread, cheese, and ale.

Fordyce, Printer, 29, Sandhill.

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The awful Visitation of Four Dreadful Monsters, to four Young Women, at one of their Houses in this Town, where they had met for the Purpose of seeing their intended Husbands [caption title]. Woodcut vignette of devil at top. Handbill, printed on one side only. 340x128 mm. [Newcastle upon Tyne]: Fordyce, Printer, 29, Sandhill, early 1800s.

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Image courtesy of Swann Galleries, offering this handbill in its Early Printed, Medical & Scientific Books sale, May 1, 2014, with our thanks.

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Spectacular Simone de Beauvoir Archive $380,000-$470,000 At Christie's

by Stephen J. Gertz

An outstanding trove of over 350 original and unpublished signed autograph letters and postcards written by French writer, intellectual, existentialist philosopher, political activist, feminist, social theorist, and author of the major work of Feminist theory, The Second Sex (Le Deuxième Sexe, 1949; 1953 in English), Simone de Beauvoir (1908-1986), is being offered by Christie's-Paris in it Importants livres anciens,  livers d'artistes & manuscrits sale, April 30, 2014. It is estimated to sell for $380,000-$470,000 (€280,000-€350,000; £250,000-310,000).

Spanning the years 1918-1957, the letters, each 1-10 pages in length and written to her mother, Françoise de Beauvoir (1887-1963), constitute an informal book by de Beauvoir, discussing her childhood and adolescence, life as an independent teacher, her emancipation, etc., and in detail recounts her daily life, travels, her readings (Dumas, Dostoevsky, Saint- Exupery, Faulkner, Celine, Virginia Woolf, D.H. Lawrence, and many detective novels), meetings, and the progress of her literary work.

As the letters progress from youth to adulthood, discussion of her blood family ebbs and the tide flows to the "small family" she was adopted into, whose members, cited many times, included Jean-Paul Sartre, Jacques-Laurent Bost, Olga Zuorro, Bianca Bienenfelds, Nathalie Sorokin Fernand, and Stephan Gerassi, and also Merleau-Ponty, Nizan,  Colette Aubry, the Morels, the Guilles, the Leiris, Raymond Aron,  etc.  

There is much discussion of Jean-Paul Sartre, whom she met in 1929, opening "a new era" in her life. Several letters detail her life with Sartre: a trip together to Spain in 1931; sojourns in Spain, Italy, Germany - where she joined Sartre  in an internship at the French Institute in Berlin in 1939 - in Greece (July-August 1937) and Morocco (summer 1938). She finds Nuremberg "covered with swastikas," and Morocco "horribly lousy, but extremely attractive." 

She discusses her June 1940 exodus from Paris - Sartre was taken prisoner and would not be released until April of the following year; Simone took refuge in La Poueze. She writes of taking a long bicycle trip with Sartre in the free zone to organize a resistance movement. "There is a dearth here," she wrote Sept. 13, 1940 from Cannes, "and twice I had a breakfast of dry bread." The Liberation and her immediate post-war life are covered.

She writes of her 1947 lecture tour in the United States, where she met novelist Nelson Algren, who took her for a walk on the wild side and became her lover. "New York absolutely delights me and life is delicious" (January 28, 1947). She talks about a trip to Sweden with Sartre, and another in the United States and Mexico with Algren in 1948, then Algeria  the following autumn, and with a ferocious appetite for life she describes her discoveries and impressions. Concurrently, she began The Second Sex: "J’ai envie de travailler le plus possible parce que ce livre sera très long à faire et je voudrais quand même bien qu’il soit fni dans un an," she writes in September 1948; the book would be published a year later. 

Additional Sartre, Algren, an important trip to China in 1955, and more through 1957 when the correspondence ends.

The provenance to the archive is rock-solid: from Henriette, Simone's sister, aka Helene de Beauvoir. Her adopted daughter, Mrs. Sylvie Le Bon de Beauvoir, assisted Christie's with the dates to many  letters otherwise dateless.

The significance of this archive cannot be underestimated: it constitutes an epistolary autobiography of one of the towering figures in feminist thought and a major figure in twentieth century French literature.

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Images courtesy of Christie's, with our thanks.
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Primo Copy Of Piranese's Imaginary Prisons $270,000-$400,000 At Christie's

by Stephen J. Gertz

"I need to produce great ideas, and I believe that if I were commissioned to design a new universe, I would be mad enough to undertake it" (Piranese).

A magnificent copy of the scarce first edition of Italian artist and printmaker Giovanni Battista Piranese's (1720-1778) celebrated suite of designs for an imaginary prison, Invenzioni Capric di Carceri (Rome: Giovanni Bouchard, n.d. [c. 1750]) - which has had an enormous influence upon literature - is being offered by Christie's-Paris in its Importants livres anciens, livres d'artistes & manuscrits sale, April 30, 2014.

With all of its fourteen beautifully designed and etched plates in their first impression, second state (except one), before numbering and retouching, on un-watermarked paper, and in excellent condition, it is estimated to sell for $270,000-$400,000.

The plates depict fanciful subterranean vaults and machines somewhat Kafkaesque in nature, with surreal distortion later found in the work of M.C. Escher, featuring bizarre, labyrinthine structures that are chemerical mash-ups of monumental architecture, epic caprices depicting "ancient Roman or Baroque ruins converted into fantastic, visionary dungeons filled with mysterious scaffolding and instruments of torture" (Encyclopedia Britannica).

Only the engravings of Goya and William Blake have inspired writers as much as those of Piranesi's Carceri.  Their roots lie in the theatrical dioramas that Piranese designed for the Galli da Bibiena family of stage set designers in Bologna as well as those for his father, a stonemason.

The rare second edition, later published by Piranese himself with the plates reworked, contains an extra two plates yet here "in Bouchard's edition the plates are more lightly etched throughout with none of the strong contrasts of light and shade seen in the later edition. There is a wonderful simplicity in the design in the early states, and none shows this quality in greater beauty than plate four of the series" ( Hind ).

The haunting, dream-like quality to the plates fired the imagination of the Romantics.

"The fascination of Piranese's Imaginary Prisons for the literary mind is attested by transmutations in story, poem, and essay. In a recent attempt to explain the appeal, Aldous Huxley remarks that the etchings express obscure psychological truths: they represent 'metaphysical prisons, whose seat is within the mind, whose walls are made of nightmare and incomprehension, whose chains are anxiety and their racks a sense of personal and even generic guilt.' Whatever the explanation may be, the influence of the Prisons on writers of the last two centuries, particularly on the Romantics, will one day make a chapter of literary history which will include the names of Walpole, Beckford, Coleridge, De Quincey, Balzac, Gautier, Baudelaire, and doubtless many others" (Paul F. Jamieson. Musset, de Quincey, and Piranese. Modern Language Notes, Vol. 71, No. 2, Feb. 1956).

"Many years ago, when I was looking over Piranesi's Antiquities of Rome, Mr. Coleridge, who was standing by, described to me a set of plates by that artist...which record the scenery of his own visions during the delirium of a fever: some of them (I describe only from memory of Mr. Coleridge's account) representing vast Gothic halls, on the floor of which stood all sorts of engines and machinery, wheels, cables, pulleys, levers, catapults, etc., etc., expressive of enormous power put forth, and resistance overcome. Creeping along the sides of the walls, you perceived a staircase; and upon it, groping his way upwards, was Piranesi himself: follow the stairs a little further, and you perceive it come to a sudden abrupt termination, without any balustrade, and allowing no step onwards to him" (Thomas De Quincey, Confessions of an English Opium Eater).

The Plates:

I - Title
II - The Round Tower
III - The Grand Piazza
IV - The Smoking Fire
V - The Drawbridge
VI - The Staircase with Trophies
VII - The Giant Wheel
VIII - Prisoners on a Projecting Platform
IX - The Arch with a Shell Ornament
X - The Sawhorse
XI - The Well
XII - The Gothic Arch
XIII - The Pier with a Lamp
XIV - The Pier with Chains

"One of the greatest printmakers of the eighteenth century, Piranesi always considered himself an architect. The son of a stonemason and master builder, he received practical training in structural and hydraulic engineering from a maternal uncle who was employed by the Venetian waterworks, while his brother, a Carthusian monk, fired the aspiring architect with enthusiasm for the history and achievements of the ancient Romans. Piranesi also received a thorough background in perspective construction and stage design. Although he had limited success in attracting architectural commissions, this diverse training served him well in the profession that would establish his fame" (Metropolitan Museum of Art).

This copy, formerly in the collection of the National Gallery of Art (with small stamp on the back of each plate with stamp cancellation), was last seen at Christie's-London July 2, 2003 when it sold for $140, 506 (£83,650; €101,704).

Grégoire Dupond created the below animated film for Factum Arte, based upon Piranesi's engravings for Invenzioni Capric di Carceri, as a walk through the artist's amazing spaces:

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Images courtesy of Christie's, with our thanks.
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First Printed Edition Of The Torah In Hebrew $1,400,000 - $2,000,000 At Christie's

by Stephen J. Gertz

"The educated man knows, indeed, from his knowledge of history that the art of Gutenberg saw its inception with a Latin Bible in the middle of the XVth century. Yet what layman knows when the original text appeared for the first time? Not even the bibliophile knows; although a non-Jewish expert, Count Giacomo Manzoni, asserts in his enthusiasm for the book that the first edition of the Hebrew Bible is the most precious book on earth" (Lazarus Goldschmidt, 1950)

A newly discovered, large and complete copy in very fine condition of the first printed edition of the Pentateuch - the first five books of the Bible aka Torah - in Hebrew is being offered by Christie's-Paris in its Importants livres anciens, livres d'artistes & manuscrits, Wednesday, April 30, 2014.


Printed on vellum in Bologna by Abraham ben Hayim of Pesaro for Joseph ben Abraham Caravita, this, the Hamishah humshe Torah was published on January, 25, 1482 with Aramaic paraphrase (Targum Onkelos) and commentary by Rashi (Solomon ben Isaac).


Rarer than copies of the Gutenberg Bible (49, per last census), and one of only twenty-eight surviving copies on vellum (with eleven survivors on paper), most incomplete, it is estimated to sell for $1,400,000 - $2,000,000 (€1,000,000-1,500,000; £900,000-1,300,000).

Arguably the most important book in the history of Hebrew printing and publishing, it incorporates the first appearance in print of the ancient Targum attributed to Onkelos. Rashi’s commentary, also included, was first published in Rome around a dozen years earlier. This first edition of the Pentateuch in its original language is the first Hebrew book with printed vowel and cantillation signs (those symbols beneath the letters).

Abraham ben Hayim may have started as a textile printer and dyer and/or bookbinder in Pesaro. His first recorded printing press stood at Ferrara in 1477, which produced two books, beginning with Levi ben Gershom’s Be’ur sefer lyov (Commentary on the Book of Job), edited and/or financed by Nathan of Salò; then it completed - about two thirds of the text - Jacob ben Asher’s Tur yoreh de’ah (Teacher of Knowledge), which had been started at the press of Abraham ben Solomon Conat in Mantua. At his second press, in Bologna, Abraham ben Hayim worked for Joseph ben Abraham, a member of the Caravita, an influential Jewish family of bankers.

In Bologna, Abraham ben Hayim first printed this fully vocalized biblical text with cantillation marks, a landmark in the history of Hebrew book production not only for the importance of its text, but no less for its pioneering technique of casting and setting accents; this fully developed typographical accomplishment can only be compared with Francesco Griffo’s solution for adding accents to the Aldine Greek founts some dozen years later.


Abraham ben Hayim da Pesaro and Francesco Griffo da Bologna are likely to have known each other and it's possible that Griffo cut Abraham’s punches; both were subsequently associated with the Soncino family of printers in Italy, although at dates about two decades apart. An earlier typographical attempt at adding Hebrew accents, in a 1477 folio edition of the Psalms printed by a consortium of typographers in Northern Italy, was aborted after a few pages. The only other surviving Bolognese production by Abraham ben Hayim is slightly later in date than this Torah, a folio edition of the Five Scrolls (Megillot), now recorded in two copies (Vatican and Parma Bibl. Palatina).


Liturgical readings of the Torah in synagogue, then as now, must be done from manuscript scrolls. This, the Bologna editio princeps, combining the text with the Aramaic targum and Rashi’s commentary, was aimed at an educational market, the codex format being most efficient for study.

Rashi’s commentary was first printed in Rome c. 1470 as a separate edition by three Jewish contemporaries of the Christian proto-typographers, Conrad Sweynheym and Arnold Pannartz. The second separate edition - the first dated Hebrew printed book - appeared on February 18, 1475 from the press of Abraham ben Garton at Reggio di Calabria (a single copy known), while the third edition of 1476 is the first Hebrew book printed in Spain.

Another edition of the Pentateuch with Targum Onkelos, Haftarot and Megillot, also vocalized and with cantillation accents, was printed somewhere in Italy by Isaac ben Aron d’Este and Moses ben Eliezer Raphael (3 copies extant and 7 single leaves); its date has in the past been assigned to c. 1480 (Goff Heb-13; Offenberg 25), based on research on by A. Spanier (Soncino Blätter I, 77), but it is now more accurately dated to c. 1489 from paper and watermark evidence in the Vatican Library copy (Piccard, Wasserzeichen Lilie II, 945).

Two obscure Iberian editions of the Torah - little known because of their extreme rarity - may also belong to the early 1480s, and may also be candidates for the first printed edition of the Torah in Hebrew: Offenberg 23=Goff Heb-16(III) recorded only in fragments of eight leaves (New York JTSL), one leaf (Oxford Bodleian) and a partial leaf (Jerusalem NLI); Offenberg 26=Goff Heb-16(II) surviving in a single copy (Florence Laurenziana) and a fragment of of 4 leaves (JTSL).

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BIBLE, Pentateuch, in Hebrew – Hamishah humshe Torah, with Aramaic paraphrase (Targum Onkelos) and commentary by Rashi (Solomon ben Isaac). Edited by Joseph Hayim ben Aaron Strasbourg Zarfati. Bologna: Abraham ben Hayim of Pesaro for Joseph ben Abraham Caravita, 5 Adar I [5]242 = 25th January 1482.

Median folio (320 x 230 mm). Printed on vellum (flesh side to flesh side, hair side to hair side, the sheets highly polished to minimize contrast). Collation: 110 28 310 48(-7) 58(-8) 62 710 8-98 106 1110 124 13-146 (Genesis-Exodus); 1510 168 176 18-218.10 228 234 248 256 2610 27-288 296 (Leviticus-Deuteronomy, 19/1v beginning of Numbers, 29/5v colophon, 29/6 blank). 219 leaves: Complete (but without final blank).

Vocalized biblical text with accents, surrounded by paraphrase in a narrow outer column and commentary in long lines above and below, the pages set in formes (the outer forme of the outermost vellum sheet of each quire printed on the fesh side). Square Hebrew type 1:180 (text, headlines), semi-cursive Hebrew type 2:90 (paraphrase, commentary and colophon). 20-21 lines of text and headline and 40-42 lines of paraphrase to the full page, numbers of commentary lines varying, no printed signatures or catchwords. (Light yellowing of the hair sides of the sheets, some minor stains, a few small wormholes at beginning and end, but in VERY FINE CONDITION, WITH LARGE MARGINS.) 18th-century binding of brown sheep over pasteboard (front cover and spine gone, back cover preserved but worn and detached, original sewing somewhat defective, frst quire detached from the book block). Modern folding box.

Provenance: inscribed, signed and dated by three Italian censors. Luigi da Bologna, Dominican friar, March 1599 – Camillo Jaghel 1613 – Fra Renato da Modena 1626. Individual words or short phrases censored, scored through in ink on 1/2r, 1/6r, 2/3v, 5/2v and 22/4r and several words erased on 10/6v and 11/3v, all in Rashi’s commentary. – There is no evidence of more recent provenance, except for the modest 18th-century binding, which is probably French. – French Private Collection, by descent to the present owner.

Hain 12568; GW M30624; BMC XIII, 26-27 (C.49.d.2); Proctor 6557; Goff Heb-18; CIBN Heb-4; IDL 2440; IGI E-12; Oates 2482; Bod-inc Heb-8. De Rossi I, 7; Steinschneider 2; Thesaurus A15; Van Straalen p. 29; Zedner p. 106; Marx 7; Goldstein 20; HSTC 22; Offenberg 13. ISTC ib00525570.

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5/1/2014: UPDATE: Sold for €2,785,500 ($3,850,679).
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Images courtesy of Christies, with our thanks.
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Two Great Typewriter Posters From 1909

by Stephen J. Gertz

Paul Scheurich, 1909.

A copy of Paul Scheurich's 1909 poster for Oliver typewriters is being offered by Swann Auction Galleries in its Modernist Posters sale, April 24, 2014. It is estimated to sell for $800-$1,200.

Printed by the renowned Berlin shop, Hollerbaum & Schmidt, which, in the years before World War I, was known not only for the quality of its lithography but for its impressive stable of artists, including Lucian Bernhardt, Hans Rudi Erdt and Julius Klinger, as well.

Scheurich (1883-1945) was born and raised in New York City but settled in Germany to work. A painter, sculptor and prolific graphic designer, he was a professor of porcelain painting in Meissenand and worked in Dresden as a graphic designer before moving to Berlin.

Much like his fellow artists, Scheurich's style was heavily influenced by contemporary British graphic design, which emphasized flat tones and no outlining. That is certainly the case in this Sachs Plakat (Object Poster), in which the object being advertised is depicted against a flat background as Lucian Bernhard did in his series of posters for Adler typewriters.

Lucian Bernhard, 1909.

"Bernhard recognized that the image of the typewriter itself, with its potential for speed and efficiency, was an effective way to advertise the product.  This poster, the first of several that Bernhard designed for the Adler company, embodies the simplicity of the Sachplakat while maintaining certain elements of the same late nineteenth century graphic style that overpowered and inspired Bernhard as an adolescent, such as the bold, flat planes of color and the shadow line that emphasizes the curving forms of the letters" (Caitlin Condell, Seduced by an Object Poster).

Caitlin Condell

Caitlin Condell

Note, however, that Bernhard's seminal poster for Adler typewriters was, as Scheurich's for Oliver typewriters, also designed in 1909. According to Nicholas D. Lowry of Swann, it is impossible to determine which image influenced the other.

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Oliver image courtesy of Swann Auction Galleries, with our thanks.
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Foujita's Great Rare Book Of Cats Est. $60K-$80K At Bonham's

by Stephen J. Gertz

A copy of Michael Joseph's Book of Cats, published in New York by Covici Friede, 1930, with drawings by Tsuguharu Foujita (1886-1968), is being offered by Bonham's in its Fine Books and Manuscripts sale on Monday, February 10, 2014, in Los Angeles as lot 103, It is estimated to sell for $60,000 - $80,000.

The book, comprised of twenty prose poems by Joseph with twenty accompanying full-page etched plate drawings by Foujita is here in its limited edition of 500 copies, this being copy no. 333. It is signed by Foujita on the limitation page and features a plate signed by Foujita, Semiramis. This copy includes an additional suite of the plates on Japanese vellum with fragments of the original envelope they were housed in.

Tsuguharu Foujita was the most important Japanese artist working in the West during the 20th century.

Foujita by Madame D'Ora, 1927.

And he loved cats.

"His name in Japanese means "field of wisteria, heir to peace." He was the son of a general, and a black belt in judo. In Paris during the 1920s - where he was known as Fou-Fou or Mad-Mad - Tsuguharu Foujita was the most famous (and most eccentric) artist in Montparnasse. He had a haircut modeled on an Egyptian statue and a wristwatch tattooed on his wrist. He wore earrings, a Greek-style tunic, a "Babylonian" necklace, and on occasion a lampshade instead of a hat. (He claimed it was his national headdress)...

"He arrived in Paris from Tokyo in 1913 and soon rented a studio in the Cité Falguière, where Modigliani and the Lithuanian-born painter Chaim Soutine were working. Foujita was a good cook; he was meticulously clean - he tried to teach Soutine to brush his teeth and to use a knife and a fork. Foujita had frequented Isadora and Raymond Duncan's school of movement and dance (hence the Greek-style tunics). He'd favored the Café La Rotonde, where Trotsky used to play chess, over the Dôme, the favorite haunt of the Fauvists" (Durden-Smith. Lost Art, Departures, July/August 1999).

He and Modigliani hung out together. He was pals with Leger, Gris, Braque, and Matisse, By 1918 he was the most famous artist in Paris, at his peak more successful than Picasso, another good friend. When he installed a bathtub with hot running water in his studio he became everybody's best friend; female models flocked to his studio. Alice Ernestine Prin, aka Kiki, when not posing for him was a fixture in his tub. He was the cleanest man in town and the toast of Montparnasse. In 1925 he won France's Legion de Honneur and the Belgian Order of Leopold I.

In 1926, the French state bought its first Foujita. Not quite twenty-five years later, France bought its first Picasso. He was married three times.

Foujita's artwork at auction has reflected his strength and reputation, with prices in the low-four to mid-five figures for drawings, and upwards of $400,000 for paintings. Prices for the Book of Cats in its original limited edition have been very healthy. This is a book that appears to be recession-proof, with art collectors and cat fanciers vying for precious few copies in collectible condition. Without the extra suite of plates auction prices have lately ranged from $25,000 - $30,000. Within the last few years copies with the additional suite have sold for $42,000 - $60,000. This is a book that will never lose its value as long as cat people with a bankful o' kibble desire it. This volume is certainly the most popular and desirable book on cats ever published.

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UPDATE 2/11/2014: Sold for $77,500 incl. premium. 

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Foujita cat images courtesy of Bonham's, with our thanks. Some images may appear here in different tone than in the copy offered. 

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Leonard Cohen: You Do Not Have To Love Me At Auction (Or Anywhere Else)

by Stephen J. Gertz

A copy of Canadian poet and songwriter-singer Leonard Cohen's poem, You Do Not Have To Love Me is being offered by PBA Galleries in its Beats, Counterculture & the Avant Garde, Richard Synchef Collection Part II sale tomorrow, January 30, 2014. It is estimated to sell for $400 - $600.

In letterpress designed and printed by Bill Roberts (of Bottle of Smoke Press) and tipped-in to black paper card, it is copy "N" of 26 lettered copies signed by Cohen of a total edition of 126. Originally published in 1968, it is here issued as Sore Dove Press Broadside Series Number 33, published in 2008. It has already become quite collectible.

Facing the poem is an original oil painting by artist-poet Soheyl Dahl.

Included in the lot are seven Sore Dove Press postcards celebrating Cohen, two duplicated with black lettering.

As part of the lot, a copy of singer-songwriter (and Leonard Cohen collaborator) Anjani Thomas' poem, Holy Ground, is being offered. No. 31 of 100 signed copies, it, too, is in letterpress designed and printed by Bill Roberts. It was published by Sore Dove Press in 2009.

"Sore Dove Press is edited and published by Soheyl Dahi, an artist and poet living in San Francisco. It is a progressive press that publishes poetry chapbooks and broadsides by established poets ranging from Lawrence Ferlinghetti, Diane di Prima, and Jack Hirschman to newcomers like the talented actress and poet Amber Tamblyn. The press also actively looks for and publishes poets to make their debut in print. The chapbooks and broadsides are printed in small editions. A limited number are signed by the poets and when possible a lettered edition with an original painting by the poets is included" (website).

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Images courtesy of PBA Galleries, with our thanks.
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James Thurber Illustrates Poetry

by Stephen J. Gertz

The four original illustrations by celebrated American humorist, cartoonist, author, and journalist, James Thurber (1894-1961) to accompany Charles Kingsley's poem The Sands o' Dee, as published in The New Yorker magazine March 25, 1939, have come to auction. Offered by Swann Galleries in its 20th Century Illustration sale January 23, 2014, they are estimated to fall under the hammer at $4,000-$6,000.

Executed in ink on paper, the artwork and poem appeared as part of The New Yorker's popular Thurber feature, Famous Poems Illustrated. Each drawing appeared above one of the four six-line stanzas:

 O Mary, go and call the cattle home,
          And call the cattle home,
          And call the cattle home,
      Across the sands of Dee."
    The western wind was wild and dank with foam
      And all alone went she.

 The western tide crept up along the sand,
          And o'er and o'er the sand,
          And round and round the sand,
      As far as eye could see.
    The rolling mist came down and hid the land;
      And never home came she.

Oh! is it weed, or fish, or floating hair,--
          A tress of golden hair,
          A drownèd maiden's hair,
      Above the nets at sea?
    Was never salmon yet that shone so fair
      Among the stakes on Dee.

They rowed her in across the rolling foam,

          The cruel crawling foam,
          The cruel hungry foam,
      To her grave beside the sea.
    But still the boatmen hear her call the cattle home
      Across the sands of Dee.

Each original illustration is 279 x 216 mm (11x8 1/2 or smaller). Thurber's signature appears at lower left on the final drawing. Three of the illustrations possess faint preliminary drawings on their versos.

Thurber illustrated nine poems for The New Yorker, the others being  Excelsior (Henry Wadsworth Longfellow); Lochinvar (Sir Walter Scott); Locksley Hall (Lord Alfred Tennyson); Oh When I Was ... (A. E. Housman); Curfew Must Not Ring To-Night (Rose Hartwick Thorpe); Barbara Frietchie (John Greenleaf Whittier); The Glove and the Lions (Leigh Hunt); and Ben Bolt (Thomas Dunn English). They were collected in Thurber's 1940 anthology, Fables For Our Time and Famous Poems Illustrated.

Established in 1997, the annual Thurber Prize honors outstanding examples of American humor.

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With an affectionate tip o' the hat to Thurber keeper of the flame, fanatic and collector, Jay Hoster, who knows more about the man and his books than anyone alive.

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Images courtesy of Swann Galleries, with our thanks.

Sands o' Dee reprinted via WikiSource under the Creative Commons Attribution/Share-Alike License.

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Spectacular Th. Jefferson Letter On Lewis & Clark Est. $500,000-$700,000

by Stephen J. Gertz

A historically rich and highly significant signed autograph letter from Thomas Jefferson to Dr. William Eustis of Massachusetts, a political ally, is being offered by Sotheby's in its Fine Books and Manuscripts, Including Americana sale, December 5, 2013. It is estimated to sell for $500,000-$700,000.

On two pages dated June 25, 1805, Jefferson, three months into his second term as President, refers to politics and the decline of the Federalists, news from Merriweather Lewis, information on the Indians encountered by the Corps of Discovery, receipt of a barge with Indian tribal deputies sent back by Lewis, the new Michigan Territories, trade with the Indians as a means to peace, negotiations with Spain, the French and British navies in American waters; it just goes on. It is a supremely succulent historical document, bountiful Americana, and, further, one of only two letters by Jefferson discussing the Lewis and Clark expedition to come to auction in over sixty years.

The letter was part of the collection of Lady Bird Johnson, former First Lady of the United States. Jefferson composed it on a bifolium of wove paper watermarked "J. Larking."

The letter reads in full:

Washington June 25 05

Dear Sir

Your two favors of the 2d & 10th inst. have been duly received with respect to Mr. […], as he was to obtain the testimonies of his character in the Eastern states, & was himself in the same place with Genl Hull in whose gift the office of Marshall for Michigan was, I left him to satisfy General Hull himself on that point, I thought it best to add no bias by expressing any wish of mine to the General. I therefore did not write to him on the subject. - I believe, with you, that the Boston maneuver has secured the death of federalism at the end of the present year. The steady progression of public opinion, aided by the number of candid persons who had voted with them this year, but will be displeased with this measure, cannot fail to join Massachusetts to her sister states at the first election. The arrangement you suggested in your letter of the 10th could not be adopted, because a prior one had been initiated. The person appointed is very distant & will not be here till Autumn. Within a month from this time our annual […] will take place, for the months of Aug & Sep. I have the pleasure to inform you that one of Capt. Lewis's barges returned to St. Louis brings us certain information from him. He wintered with the Mandanes, 1609 miles up the Missouri, Lat. 47 Long. 107 with some additional minutes to both numbers, all well and peculiarly cherished by all the Indian nations. He has sent in his barge 45 deputies from 6 of the principal nations in that quarter who will be joined at St. Louis by those of 3 or 4 nations between the Missouri & Mississippi and will come on here. Whether before our departure or after our return we do not yet know. We shall endeavor to get them to go on as far North as Boston, being desirous of […] them correctly as to our strength and resources. This with kind usage and a commerce advantageous to them, & not losing to us, will better know their & our peace & friendship than an army of thousands.

I receive with due sentiments of thankfulness the invitations of my Eastern friends to visit that portion of our country. The expected visit from the deputations of so many distant nations of the Indians, provisional arrangements with Spain in lieu of the permanent ones proposed, in which we are not likely to concur, the presence of English & French fleets in the American seas, which will probably visit & purplex our harbors during the hurricane season will not permit me to be so far from the seat of government this summer. Add to this that should I ever be able to make the visit I would probably be more generally agreeable when there shall be less division of public sentiment than at present among you.

Accept my friendly salutations, & assurances of great esteem & respect.
 
Th. Jefferson.

•  •  •

Jefferson's mention of General William Hull refers to his recent (March 22, 1805) appointment of the soldier-politician as Governor of the newly created Michigan Territory as well as its Indian Agent.

At the time Jefferson wrote to Eustis the Federalists (who lost the presidential election of 1804) were in decline, having little support outside of New England. They would not regain strength until 1812.

Dr. William Eustis.

William Eustis (1753-1825) was an early American physician, politician, and statesman from Massachusetts. A practicing doctor, he served as a military surgeon during the American Revolutionary War (notably at the Battle of Bunker Hill), and resumed his medical career after the war. He soon, however, entered politics, and after several terms in the Massachusetts legislature, Eustis served in the United States House of Representatives March 1801 - March 1805  as a moderate Democratic-Republican, the party of Jefferson.  He later served as Secretary of War 1809-1813 under President James Madison. In 1823 he became the 12th Governor of Massachusetts.

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Images courtesy of Sotheby's, with our thanks.

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Robert E. Lee, Gentleman & George McClellan, Jerk

by Stephen J. Gertz

Two signed autograph letters by the American Civil War's commanding generals, Robert E. Lee of the Confederate Army and George B. McClellan, commander of the Union Army at the war's onset, are coming to auction at Swann Galleries Autograph sale, November 26, 2013.

The Lee letter, dated March 13, 1855
, is estimated to sell for $25,000-$35,000. The McClellan letter, composed May 14, 1854, is estimated for $100-$200. Both were written to Captain George W. Callum (1809-1892), a supervisor in the Corps of Engineers and instructor of engineering at West Point.

Each is indicative of their personalities. Lee is humble and gracious; McClellan is stilted, egotistical, and condescending, deigning to accept an offer.

Lee, a colonel at the time and Superintendent of West Point, expresses regret at his departure from the Corps of Engineers to accept an appointment as Lt. Colonel of the 2nd Cavalry, stating his preference for Engineer duty to that of Cavalry during peacetime, and remarking on West Point business including his assurance to Callum that he will continue his work on the Register of [the Officers and] Graduates.

...I assure you my separation from the Corps of Engrs is attended with bitter regret…


While acknowledging the compliment bestowed on me by the Pres: as unexpected as undeserved, I confess my preference in time of peace for Engr duty over that of Cavalry; But so long as I continue an Officer of the Army, I can neither decline promotion or service...


...The item introduced into my estimate for the Register of Graduates has been granted. I shall give to my successor your Mem: & inform him of our understanding as to your undertaking its preparation…


"Mr. Newlands has not yet been able to finish the record of changes in the Register he loaned us. I will endeavor to have it completed and returned to you before I leave...

I am as yours,

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McClellan, then a lieutenant and writing from Philadelphia, was bored to tears with peacetime service. He commanded an engineering company while serving at West Point. In 1853, at the behest of Jefferson Davis, then U.S. Secretary of War, he was assigned to survey an appropriate route for the nascent transcontinental railway. He flubbed the job, overlooking three hugely superior routes. He was insubordinate to political figures: when the governor of the Washington Territories ordered McClellan to turn over his expedition logbooks so he could determine just what the hell had happened, the short in stature, long on ego lieutenant refused. It is believed that he did so because of embarrassing comments he recorded throughout the log.  He had a big mouth.


After mature deliberation upon the testimony adduced I have come to the conclusion that if you still want my very valuable assistance at the Assay office I am perfectly willing to accede to your offer. It is desirable for me, for many reasons, to be in the East for a while. I would be glad if you would move in the matter as soon as possible, for should this project fail I will apply for a leave of absence for six months [...] before I am bagged for any out of the way service...

Sincerely your friend,

Geo B. McClellan

Translation: "After condescending to think about it I've decided that if you still require the wonderfulness of myself and all that my majesty can contribute, I will deign to accept your request."

McClellan's desire to to stay in the East (Philadelphia) for a while refers to his courtship of Mary Ellen Marcy, his future wife. The reference to applying for a six-month leave "before I am bagged for any out of the way service" was prescient. In June 1854, a month after this letter was written,  he was bagged for out of the way service by Jefferson Davis, who ordered him to embark on a secret reconnaissance mission in Santo Domingo in Haiti. Jefferson Davis saw something in McClellan that others failed to observe, and in 1855 McClellan was promoted to Captain.

The estimates for the letters reflect the value and esteem that collectors (and history) have placed upon these two major figures. Robert E. Lee is considered to be one of the greatest generals of all time. His brilliant, often audacious maneuvers and battlefield instincts led to victory after victory - as long as George B. McClellan commanded the Union forces.

McClellan knew how to build an army but was reluctant to use it. Insecure behind a facade of confidence, he was loathe to admit mistakes and accept responsibility; he offered President Lincoln nothing by excuses for his inaction and timidity, and he never hid his disdain for his Commander-in-Chief. Until Lincoln relieved him of duty, the position of the Union army was dire.

How badly has McClellan fared in the marketplace? The letter offered above is one of two being offered in the same lot estimated at $100-$200. Only his Civil War correspondence fetches decent prices but compared to Lee, Grant, Sherman, Stonewall Jackson, and other War Between the States luminaries, prices for McClellan letters are lame. According to ABPC, $8,500 is the top price paid for a McClellan ALS within the last thirty-seven years (To Gen. Ambrose Burnside on May 21, 1862, expressing pride in his past victories & preparing for battle at Richmond). In 2004, a McClellan autograph letter signed fetched $3,200. Two years later, in 2006, the same letter sold at auction for 3,000.

In 2011, a signed copy of Robert E. Lee's farewell letter to his troops ("General Order #9), dated April 10, 1865, sold at Christie's for $80,000. "After 4 years of ardous service...I bid you all an affectionate farewell. [Sgd] R.E. Lee Genl.

McClellan never seemed to accept responsibility for his failures; he blamed others. Lee, in contrast, wore his shortcomings - such as they were - heavily. When Robert E. Lee was appointed Commander of the Army of Northern Virginia he accepted with solemnity. When George B. McCellan was promoted to Commander of the Army of the Potomac he reveled in his newly acquired power and fame.

One was a gentleman, the other a jerk.

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Images courtesy of Swann Galleries, with our thanks.
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