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Wilhelm V., der Fromme, Herzog von Bayern (1548-1626).
Schriftstück mit eigenh. U. München, 22. II. 1582.
Kl.-Folio (210:310 mm). (20) SS. Gesuch an Kaiser Rudolf II., die den Klöstern Vornbach und St. Nicola sowie den herzöglichen Untertanen gewährten Rechte und Freiheiten zum Holzschlag im Neuburger Wald und zur Bestellung der Felder, die wiederholt durch seinen Nachbarn und Besitzer des Waldes, Graf Julius von Salm-Neuburg veletzt wurden, zu bestätigen: "Unnd obwol ich darauf gännzlichen verhofft, Graf Julius von Salben, sollte nun mer auf meine hievor gethane ausfüerliche berichten, solliches Holzschlages und Newfännge halber, zu rhue [!] in gueter Nachbarschafft gesessen [...] So will doch sollches alles bey Ime gannz und gar nit stat haben, noch angestehen sein, sonnder ferth Imer Zu, mit seinem Hochmuet, trug, und gewaltthättigen ungebürlichen hanndlungen [...] forth". - Die Verstöße des Grafen, der unter anderem von den Klöstern verlangt, ihn vor jeder Holzgewinnung um Erlaubnis zu bitten, und der die Ernte der Untertanen zertreten ließ, werden auf den folgenden Seiten genau angeführt: "Dann sovil erstlichen, berürter meiner Gottshäuser ehrallten Holzschlag anlanngt, understeet sich gedachter Graf [...] Sye dahin mit gewallt zudringen, und Zunöttigen, das Sye die Notdurft Holz, Zu Iren d[en] Gottshäusern in dem Neuburgischen Walde [...] weiter nit schlagen, noch nemen, sonnder Zuvor, so offt [...] Sye desselbigen bedurftige, die Gräfischen darumben ersuechen [...] Was dann nun Zum anndern, die Newfännge obgedachter meiner armen unnderthanen Zu Sampach und Heyninge betrifft, hat mer ernannter Graf [...] Inen [...] Ire aufberuerten Neufängen erbaute frucht, darvon sich die armen Leuth, sambt Iren Weibern unnd Kindern, das Jahr hierumb, den merern theill erhallten [...] ganntz erbärmlicher weiß zertretten [...]". - Seit Karl dem Großen war der größte Teil des Neuburger Waldes Königsgut. 887 wurden dem Bischof von Passau die Hoheitsrechte verliehen, danach waren die Grafen von Formbach und die Grafen von Andechs im Besitz des Waldes, 1248 übernahm das Herzogtum Bayern das Gebiet. Bereits im Mittelalter war der Neuburger Wald ein Wildbannforst, und das Kloster Vornbach gewährte für geleistete Dienste ein Nutzungsrecht. - Etwas braunfleckig; die erste und letzte Seite leicht angestaubt.
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Aragon, Louis, French poet (1897-1982).
Autograph letter signed. No place, 28 July [1945].
4to. 1½ pages. To the journalist and literary critic André Rousseaux (1896-1973) about a discussion of Victor Hugo's poem "Booz endormi" by Charles Péguy (1873-1914), an admirer of Hugo's, considering current poetic criticism in the Revue Critique to be in desperate need of some humor: "Péguy a discuté le coup de Jerimadeth... et je sais bien qu'il aimait Hugo, et qu'il le défendait [...] j'ai voulu simplement dire que le pont-aux-ânes inventé par la Revue Critique ne relève pas de la discussion sérieuse, mais qu'il fallait lui opposer ce vieil humour des familles dont la critique poétique est de nos jours si étrangement démunie [...]". - Further about travelling to Switzerland shortly, having missed the writer Georges Bernanos (1888-1948), who recently visited a mutual friend along with the priest and screenwriter Raymond Léopold Bruckberger (1907-98), mentioning his wife Elsa and himself fleeing Paris due to the Prix Goncourt, and considering a stay in occupied Germany more agreeable than witnessing the award ceremony. Aragon goes on to complain about the silence of the critics regarding his book "Servitude et Grandeur des Français" published three months earlier, and concludes with his intention of allaying his anger by consuming Swiss milk, chocolate, and nescafé, having lost much weight since the war: "Nous partons tout à l'heure pour la Suisse [...] Je n'ai pas vu Bernanos, signalé dans ces pages par les hebdomadaires, et qui est allé avant-hier avec le R. P. Brückberger chez une dame chez qui j'ai été moi hier [...] Elsa et moi avions fui Paris rendre invivable par le Goncourt. Un séjour en Allemagne occupée, zone franque, vaudrait mieux que cette mention peu honorable [...] A part ça, je vous signale le silence croissant fait autour de ce que je publie. 4 articles [...] pour Servitude et Grandeur après trois mois d'envoi du S. P. Pas mal, hein? Parlons de la glorie. Mais comme je pèse 62 kgs, pour 75 avant guerre et 69 en septembre, je vais passer ma bile sur le lait, le chocolat, le nescafé de Suisse [...]".
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Brossard, Chandler, American novelist, writer, editor, and teacher (1922-1993).
5 autograph letters signed and 6 typescript letters signed. [New York, ca. 1953].
4to and 8vo. Together 10½ pp. on 3 bifolia and 8 single sheets. The ALS in pen and pencil. With typescript envelope. Amicable letters to the French artist and writer Boris Vian (1920-59) about his literary career, from which he struggled to make a living, as well as family affairs and Vian's writing. - Several letters mention a piece on the Maginot Line which Vian was doing for the US magazine "Reporter", where Brossard worked as a journalist: "There is a lot of European stuff they are interested in and maybe you could do it. Namely, they are very interested in seeing a piece on the Maginot Line revisited [...] What is happening with the Line now, are people living in it, has it been dismantled, have the rats taken over, and so on. It would be a semi symbolic visit, as though you were visiting an idea about life you held as a child and found, in the adult world, that is was totally impracticable [...]". - Having left the "Reporter", he refocuses on his novels, expressing confidence that Vian's 1946 crime novel "I Spit on Your Graves" would be a huge success in the U.S.: "Forget the Maginot Line piece. I'm no longer working for the Reporter. Hope the whole thing did not upset you [...] My novel - published about 4 weeks ago - is slowly selling but will not make me any dough. Meanwhile I am trying to write a sexxy little novel under a different name - maybe Vernon Sullivan! - to make some money. My second novel ["The Bold Saboteurs", 1953] is all finished, on it I will stand or fall as a writer up to now [...] would you ask [Raymond] Queneau how he feels about the second novel [...] please send me another copy of I shall spit on your graves [...] I want to turn it over to my agent, who is the best in New York. I am positive it would sell like crazy here [...] My personal life stinks, as usual. But that is my destiny at the moment. My child, however, is very rewarding. A completely adorable beast [...]". - Hoping to score a secure job with the international broadcaster "Voice of America" funded by the U.S. Congress: "I am trying now to get a big job in the government, in the Voice of America. It would pay well, about $10,000 a year, and if they hire me they would want to send me to Europe for a couple of years. I go to Washington D.C. this week to see if my family can pull some wires in the government [and] use some influence on my behalf. It is too hard and too nerve wracking to try to make a full time living as a writer or an editor [...]". - About his financial situation and literary productivity: "I have a new novel coming out in the spring [...] It was just sold to the reprint people [...] for $7500. This is what we're living on. I have begun a third novel, called The Double Dealers [...]" (no such novel was published; Brossard's third novel was titled "All Passion Spent"; his fifth novel is titled "The Double View"). - About his family's difficult situation: "Very little new with me worth talking about, lots of minor bad luck - wife broke her ankle, then we found out she was pregnant, so had to have an abortion, which took all the money I had left. Still waiting on a job. Sent Queneau the rest of my second novel, but have not heard from him [...]". - Wondering about Sartre's intentions to publish two works: "The next time you see Queneau would you ask him if Jean Paul Sartre is going to publish those 2 stories [...]". - A few tiny marginal flaws; small portion of one letter torn, not affecting text.
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Hesse, Hermann.
Aus vielen Jahren. Gedichte, Erzählungen und Bilder von Hermann Hesse. Bern, Privatdruck, Druck bei "Stämpfli & Cie. im 150. Jahre ihres Bestehens", 1949.
(14), (2)-129, (5) SS. Originalbroschur mit handgeschöpftem Papier mit rustikaler Struktur. Mit 2 ganzseitigen Textillustrationen, 3 halbseitigen montierten farbigen Abbildungen (davon ein Frontispiz) und unregelmäßigem Schnitt. 4to. Erstausgabe mit eigenh. U. auf dem zweiten vorderen Vorsatzblatt: "H. Hesse". Das Frontispiz und die Textillustrationen nach Zeichnungen und Aquarellen von H. Hesse. - Mit größerem Rückeneinriss in der Broschur, ansonsten sehr gut erhalten. Waibler A14. WG² 338.
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List, Guido, Schriftsteller und Esoteriker (1848-1919).
"Ein modernes Weihnachtsmärlein". Eigenh. Manuskript mit Namenszug im Titel und U. Wien, 1895.
(Titel + 4 =) 5 SS. auf 2 Doppelbll. Folio. Mit mehrfarbig kalligraphiertem Titelblatt, Imitation einer gotischen Buchhandschrift mit quadratischem Initialfeld auf S. 1 und Fließtext in Kurrente mit kalligraph. Rubrizierungen. Klebegeheftet. Unveröffentlicht. Guido List gründete 1893 die "Literarische Donaugesellschaft" zur Förderung neoromantisch-nationalistischer Literatur. - Gestempelt "Präsident der 'Literarischen Donaugesellschaft"; teilweise mit Leimdurchsatz, einem kleinen Ausriss durch Klebestelle und leichtem Tintenabklatsch.
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Abbado, Claudio, Dirigent (1933-2014).
Portraitpostkarte mit eigenh. U. O. O. u. D.
8vo.
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Bernstein, Leonard, Komponist, Dirigent und Pianist (1918-1990).
Portraitkarte mit eigenh. U. O. O. u. D.
8vo.
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Chabrier, Emmanuel, French composer and pianist (1841-1894).
Autograph correspondence card signed. 13 avenue Trudaine [Paris], 1. II. 1889.
Oblong 12mo. 2 pp. To the composer Jules Massenet (1842-1912), asking him to visit the following day, as he is in a hurry to thank him in person, refusing to do so by writing on "plain carton": "Venez donc, demain samedi, vers 3h, me voir un instant. Si cela ne vous dérange pas. J'ai vraiment - vous en pourriez douter, mais cela n'est pas, je vous expliquerai - grand hâte de vous remercier, et je le voulais faire autrement que sur un carton banal […]". - Small traces of former mounting; a vertical crease.
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Cortot, Alfred, French pianist, conductor, and teacher (1877-1962).
"Hector Berlioz". Typescript signed. No place or date.
4to. 3 ff. Eulogy in French for the composer Hector Berlioz (1803-69), whom he considers "the greatest of our musicians", trusting his work to become a rich source of inspiration for young musicians, imagining a bright musical future re-evoking feelings of virtue, noblesse, and infinity, following Berlioz' example: "L'oeuvre de Berlioz, virile, émue, poignante ou chaleureuse, est encore prête à attester de la part qu'elle a prise dans cette métamorphose […] des données traditionnelles de l'art musical. Elle pourrait redevenir pour nos jeunes musiciens […] la source jaillissante où puiser les éléments d'un art accordé de plus près aux évènements démesurés dont ils demeurent encore les témoins curieusement silencieux […] Et one se plaît à imaginer, sous le symbole ‚Berlioz', une musique française de l'avenir, qui dirait à nouveau, à son exemple sinon selon sa formule, la vertu stimulante des puissantes résonances chargées du poids des rythmes altiers, la noblesse émouvante de ces longs déroulements sonores qui, sous sa plume, ont si profondément rêvé l'infini […]". - A few autograph corrections in felt pen. Small marginal flaws.
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Davis, Miles, Jazzmusiker (1926-1991).
Eigenh. Signatur ("Miles") auf Rückseite des Covers von: Miles Davis. Quiet Nights. Arranged and conducted by Gil Evans. Mit 8 weiteren U. Dortmund, Köln, Den Haag u. a., 1976 bis 1981.
LP, CBS, italienische Pressung, o. J. (1963). Das Cover an den Rändern mit unbedeutenden Gebrauchsspuren, sonst tadellos erhalten. Das 1962/63 in New York aufgenommene Studioalbum war die vierte und letzte Zusammenarbeit von Miles Davis und Gil Evans und wurde 1964 durch Columbia Records veröffentlicht (Kat.-Nr. CL 2106 and CS 8906). Nachdem in etwas weniger als vier Monaten, vom 27. Juli bis 6. November 1962, lediglich 20 Minuten an verwertbaren Aufnahmen zustandegekommen waren (genug für eine Albumseite, aber nicht für ein ganzes Album), entschloss sich der Produzent Teo Macero, eine Aufnahme des Miles Davis Quintet aus dem Jahr 1963 hinzuzufügen ("Summertime"), um die LP mit zumindest knapp 30 Minuten Spiellänge veröffentlichen zu können. Die Verstimmung zwischen Macero und Davis, der die Veröffentlichung eines Projekts ablehnte, das er als noch unvollendet ansah, sollte knapp zwei Jahre bis zur gemeinsamen Arbeit an "Miles Smiles" andauern. Das knapp über 40 Minuten lange Album wurde dann im Oktober 1966 in nur zwei Tagen eingespielt. - Davis' Unterschrift findet sich auf der Rückseite; auf der Vorderseite unterschrieben Gil Evans, George Coleman, Steve Lacy, Elvin Jones, Bobby Rosengarden, Jimmy Knepper, Jerome Richardson und Ron Carter. Am Innersleeve vermerkte der einstige Autogrammjäger zu jeder Unterschrift, wo und wann er sie erhalten hatte. Dass sich das Cover in fast verlagsfrischem Zustand erhalten hat, ist umso erstaunlicher, als es der Sammler zu insgesamt acht (oder neun) Konzerten mitgenommen hatte (zu Miles Davis' Unterschrift gibt es weder Ort noch Datum).
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[Dirigenten].
Sammlung von 49 Portraitpostkarten und Photographien mit eigenh. U. O. O., meist 1960er und 1970er Jahre.
In schwarz-braunem Steckalbum. Qu.-8vo. Hübsche Sammlung von signierten Portraitpostkarten und Photographien namhafter Dirigenten, namentlich von Claudio Abbado, Bruno Amaducci, Serge Baudo, Dieter Berhet, Leonard Bernstein, Richard Bonynge, Karl Böhm, Miltiades Caridis (2), André Cluytens (2), Werner Egk, Alberto Erede, Janos Ferencsik, Carlo Franci, Gianandrea Gavazzeni, Vittorio Gui, Robert Heger, Egon Hilbert, Eliahu Inbal, Herbert v. Karajan (Autopen), Joseph Keilberth, Rudolf Kempe, Berislav Klobucar (2), Josef Krips, Jaroslav Krombholz, Rafael Kubelik, Mathias Kuntsch, Ferdinand Leitner, Walter Ludwig, Peter Maag, Dusan Miladinovic, Seiji Ozawa, Giuseppe Patané, Georges Pretre, John Pritchard, Argeo Quadri (2), Nino Sanzogno, Wolfgang Sawallisch, Thomas Schippers, Sir Georg Solti, Horst Stein, Hans Swarowsky, Silvio Varvisio (2), Nino Verchi und Heinz Wallberg. - Beiliegend einige unsignierte Karten oder Kopien von signierten.
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[Kufferath, Hubert Ferdinand, Komponist (1818-1896).
Visitenkarte. O. O. u. D.
Kleines Visitkartenformat. Aus Holz.
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Massé, Victor, French composer (1822-1884).
Autograph letter signed. Paris, 5. XI. 1877.
8vo. 3 pp. on bifolium. To the composer Jules Massenet (1842-1912) about the reprise of his 1877 opera "Le roi de Lahore", his poor health not allowing him to attend the show, hoping to be able to listen to the two pieces which Massenet added, admitting to feeling a heavy weight on his shoulders, as all the composers he worked with in his role as a conductor of the opera choir sent him their works with an autograph note - all but Massenet, whom he encourages to unburden him and provide "Le roi de Lahore" for his library as well, announcing to enclose 21 recently published compositions of his own: "Je suis heureux de voir qu'on reprend votre bel ouvrage le Roi de Lahore et je déplore que ma santé ne m'est pas permis d'être là pour vous donner un coup de main. J'apprends que vous avez ajouté deux morceaux nouveux, je voudrais bien les connaître! Votre cordiale épitre me permet de vous avouer aujourd'hui que j'ai un plomb dans l'aile depuis la publication de votre partition, et voici pourquoi: c'est que depuis que je dirige les choeurs de l'opéra tous les compositeurs […] m'ont envoyé leurs oeuvres avec un autographe en tête. Vous seul, mon cher Massenet, faites exception […] Enlevez légèrement avec des pinces subtiles le plomb dont je viens de vous parler, et faite que je puisse mettre le Roi de Lahore dans ma bibliothèque […] P. S. Pour vous encourager je vous envoi moi-même les 21 morceaux de chant que je viens de faire paraître".
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Novotná, Jarmila, Sopran (1907-1994).
Eigenh. Albumblatt mit U. O. O. u. D.
1 S. Qu.-kl.-8vo. In tschechischer Sprache für Evelyn Popper "zum Gedenken". - In Bleistift. Mit kleinen Montagespuren.
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Rattle, Sir Simon, Dirigent (geb. 1955).
Portraitkarte mit eigenh. U. O. O. u. D.
8vo.
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Schumann, Clara, Pianistin und Komponistin (1819-1896).
2 eigenh. Briefkarten mit U. Frankfurt a. M. und o. O., 1886 und 22. XI. o. J.
Zusammen (2+1 =) 3 SS. auf 2 Bll. Qu.-kl.-8vo. Mit einigen Beilagen (s. u.). Beide Schreiben an eine Antonie, wohl die mit ihr befreundete Sängerin Antonie Kufferath, verheiratete Speyer. "Herzlichen Dank liebe Antonie - und Ihrem lieben Mann für die wundervollen Blumen. Bald hoffe [ich] Sie zu sehen (vielleicht komme ich, wenn's schöne bleibt, mal zu Ihnen) [...]" (27. IX. 1886). - "Herzlich gern nehme ich Eure Einladung an, werde aber wohl allein kommen, da Fillunger nicht hier ist u. Marie Eugenie nicht gern allein läßt [...]" (22. XI. o. J.). Die Sängerin Marie Fillunger war die Lebensgefährtin ihrer Tochter Eugenie. - Beiliegend 2 unterschiedliche Visitenkarten von Clara Schumann (die eine mit Spuren alter Montage, die andere am oberen Rand etwas gebräunt) und je eine ihrer Töchter Marie und Eugenie (die von Marie ebenfalls mit Spuren alter Montage).
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Schumann, Robert, Komponist (1810-1856).
Eigenh. Visitenkarte. "Hotel de Russie" (Weimar), [Ende November 1841].
2 SS. Kleines Visitkartenformat. Die wohl an den seit 1829 am Weimarer Hoftheater wirkenden Sänger, Regisseur und Theaterdirektor Eduard Genast gerichtete Karte dürfte von Ende November 1841 stammen, als die frischgebackenen Eltern Robert und Clara Schumann (ihre Tochter Marie war am 1. September geboren worden) die im Sommer nicht zustande gekommene "erste gemeinsame Künstlerfahrt" nachholten: "Wir wünschen", schreibt Robert verso, "Sie zu sehen und wiederzusehen - sind von 6-7 Uhr zu Hause im Gasthof". - Nach ihrer Ankunft in Weimar am 19. November absolvierte Clara zwei Konzerte, "am 21. November 1841 ein öffentliches im Schauspielhaus und am 25. November 1841 ein Privatauftritt bei der Großherzogin in der Galerie im Schloss in der Stadt [...] Wichtiger aber als die Konzerte war in diesem Jahr das zufällige Zusammentreffen mit Franz Liszt, den Clara Wieck 1838 in Wien und Schumann im März 1840 in Leipzig persönlich kennengelernt hatten. Eigentlich waren die Schumanns schon auf dem Sprung nach Hause, als sich nach dem Konzert im Hotel 'Russischer Hof' folgende Szene ereignete" (Seibold, S. 14-16): "An einem dunklen Abende, während der Nordwind in den entlaubten Bäumen, die den Karlsplatz umgeben, unheimlich rauschte, saß ich mit dem Künstlerpaare Klara und Robert Schumann im Speisesaale des Russischen Hofs traulich zusammen, als ein Mann von hohem, schlankem Wuchse, mit einem ausdrucksvollen Gesichte und langen, zurückgestrichenen, hellbraunen Haaren hereintrat und sich mit dem Zurufe: 'Bon soir, Ihr Lieben!' meiner Gesellschaft näherte. 'Liszt!' rief diese wie aus einem Munde aus. Da war also der Mann leibhaftig vor mir, nach dessen Bekanntschaft ich mich so lange gesehnt hatte, über den die Fama das Außergewöhnlichste und Erstaunenswürdigste seit Jahren in die Welt hinausposaunt hatte, seine enorme Virtuosität, dabei seine Bescheidenheit und Liebenswürdigkeit, auch seine großartige Freigebigkeit preisend. Nachdem Frau Schumann mich ihm vorgestellt hatte, wobei er mich artig begrüßte, setzte er sich an ihre Seite und ließ sich, ohne besondere Notiz von meiner Gegenwart zu nehmen, in ein eifriges Gespräch mit ihr ein. Im Verlaufe der Unterhaltung fesselte die Genialität des Mannes immer mehr meine Aufmerksamkeit, so daß ich zuletzt nur noch für ihn Augen und Ohren hatte. Auch von seiner Freigebigkeit sollte ich schon an diesem Abend Zeuge sein. Frau Schumann bewunderte die geschmackvolle emaillierte Weltkugel mit Sternen besäet, die von einer goldenen Adlerklaue gehalten wurde. Sofort überreichte Liszt ihr dieselbe mit feiner Galanterie als Andenken. Anfangs weigerte sie sich, dieselbe anzunehmen, konnte aber schließlich der höchst liebenswürdigen Art und Weise, mit welcher Liszt zu spenden wußte, nicht widerstehen und nahm mit gleich feinem Takte das Kleinod an" (Genast, S. 308). - Die Handschrift stark verblasst und in der Transkription stillschweigend ergänzt; ein Drittel der Karte durch Feuchtigkeitseinwirkung stärker fleckig und angeschmutzt. Wolfgang Seibold, Nach Weimar zieht es die Deutschen gewaltig hin. Eduard Genast, Aus Weimars klassischer und nachklassischer Zeit. Erinnerungen eines alten Schauspielers. Stuttgart, 1905.
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Slezak, Leo, Kammersänger und Filmschauspieler (1873-1946).
Eigenh. Postkarte mit U. Egern am Tegernsee, o. D.
1½ SS. Qu.-8vo. Mit eh. Adresse. An die Lebensversicherungsgesellschaft New York in Wien, "am Graben", mit der Bitte um Überprüfung der "Prämienquittung meiner Polize No. 1530502" in der Niederösterreichischen Escompte-Gesellschaft, Kärntnerstraße 7. - Mit gestempeltem Absender. Tadellos erhalten.
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Strauß, Johann (Sohn), Komponist (1825-1899).
Portraitphotographie mit eigenh. Notenzitat, Widmung und U. verso. Wien, 5. III. 1881.
139:97 mm auf Trägerkarton (166:109 mm). "À Madame Convairy amicalement de la part de Johann Strauß". Das Notenzitat mit vier Takten ohne weitere Bezeichnung. - Aus dem Atelier Reichard & Lindner, Berlin, mit dessen gedr. Signet am Trägerkarton.
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Wieck, Marie, Sängerin und Pianistin (1832-1916).
3 eigenh. Briefe mit U. Stockholm und Dresden, 1894 und 1895.
Zusammen (4+4+3¾ =) 11¾ SS. auf 6 Bll. 8vo. An einen namentlich nicht genannten Herren: "Ich bin wieder nach Stockholm zurückgekehrt, nach meinem Trauerfall. Hatte auch soeben eine Concerttournee in Stockholm gespielt. Es giebt hier auch viel schwedische Nationalmusik. Der Aufsatz in der Stuttgarter Zeitung von Ihnen ist wohl noch nicht erschienen? Es wäre mir sehr interessant ihn zu lesen. Es sollte wohl eine Schumann Nummer sein? Bitte, senden Sie mir ihn doch! Unsere Biographie haben Sie wohl gelesen. Behalten Sie dieselbe nur. Ich bleibe noch lange hier und kehre erst im Herbst zurück nach Dresden, wo noch zu neue schmerzliche Erinnerungen sind. [...] Kennen Sie Verleger Laurencic in Leipzig. Er hat eine Internationale Verlags- und Kunst Anstalt und giebt enorm Bücher heraus für billige Preise. Jetzt auch über Geschichte der Gewandhaus Concerte etc. Vielleicht erscheint bei ihm eine neue Biographie über uns, hoffentlich ohne Druckfehler. Er wollte sie von Reissmann machen lassen. Den scheint er gut zu kennen [...]" (Stockholm, 16. V. 1894; harmonisierte Umschrift). - Der erwähnte "Trauerfall" und die "schmerzlichen Erinnerungen" beziehen sich auf den Tod ihrer jüngsten Schwester Cäcilie. Anders als angekündigt, kam Marie "nun doch erst" im Jänner 1895 nach Deutschland zurück "und bin erst seit 4 Wochen in Dresden, nachdem ich in Hamburg, Berlin und Leipzig sehr lange mich aufhielt" (Dresden, April 1895). Die geplante neue Biographie aus der Feder des Musikschriftstellers August Reißmann, der 1865 "Robert Schumann. Sein Leben und seine Werke" veröffentlicht hatte, sollte nie in der Internationalen Verlags- und Kunstanstalt erscheinen: "Herr Laurencic, den ich in Leipzig endlich besuchen wollte, hat mit seinem, allerdings sehr nützlichen Unternehmen 'Universal Bibliothek [für Musiklitteratur]' sofort bankrott gemacht, natürlich hat er ohne Überlegung gehandelt, und war verschwunden [...]" (ebd.). Einige Jahre später sollte Julius Laurencic allerdings wieder auftauchen und mit ihm auch einige Bücher, für deren Herausgeberschaft er verantwortlich zeichnet, darunter 1897/98 "Die österreichischen Kronländer zur Zeit des fünfzigährigen Regierungs-Jubiläums seiner k. u. k. apostol. Majestät Franz Joseph I.". - Der Brief aus Dresden von April 1895 mit kleineren Randläsuren, sonst sehr gut erhalten.
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[Wiener Künstler des frühen 20. Jhdts.].
Albumblatt mit 25 eigenh. U. von namhaften Musikern, Malern und Schriftstellern. [Österreich, um 1920].
1 S. Gr.-4to. Hochkarätig besetztes Albumblatt mit den eh. U. von John Quincy Adams, Heinrich von Angeli, Raoul Auernheimer, Hermann Bahr, Anna Bahr-Mildenburg, Julius Bittner, Hugo Darnaut, Edmund Eysler, Selma Halban-Kurz, Hugo von Hofmannsthal, Maria Jeritza, Emmerich Kalman, Wilhelm Kienzl, Erich Wolfgang Korngold, Franz Lehár, Joseph Marx, Alfred Piccaver, Franz Schalk, Ferdinand Schmutzer, Arthur Schnitzler, Arnold Schönberg, Leo Slezak, Karl Hans Strobl, Felix Weingartner und Anton Wildgans. - Leicht gebräunt und verso stellenweise gering fleckig; von geringfügigen Randläsuren abgesehen gut erhalten.
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Zemlinsky, Alexander v., Komponist (1871-1942).
Eigenh. Brief mit U. Wohl Wien, [12. XI. 1908].
1 S. auf Doppelblatt. 8vo. Mit eh. adr. Kuvert. An den Musikwissenschaftler Hugo Botstiber: "Wollen u. können Sie mir 2 Sitze zur Probe der 'Missa' schicken? Ich wäre Ihnen sehr verbunden. Sollte jedoch schon 'ausverkauft' sein, danke ich Ihnen für den guten Willen u. ich kaufe mir dann Samstag die Sitze für die Probe [...]". - Hugo Botstiber wurde 1896 Amanuensis der Bibliothek der Gesellschaft der Musikfreunde, 1900 Sekretär des neugegründeten Wiener Konzertvereins und 1905 Sekretär und Kanzleidirektor des Konservatoriums der Gesellschaft der Musikfreunde. Von 1912 bis zu seiner Emigration 1938 nach Großbritannien war er Generalsekretär der Wiener Konzerthausgesellschaft.
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Chevalier, Maurice, French actor, singer and entertainer (1888-1972).
1 autograph manuscript and 2 typed manuscripts for "Ma route et mes chansons. Tome II". [London, Hollywood, Paris, ca. 1947].
4to. 174 pp., 173 pp., 43 pp. Two typed manuscripts bound in original wrappers, with parts loosely inserted. Autograph manuscript loose. Manuscripts for the second volume of his memoirs "Ma route et mes chansons", which is subtitled "Londres, Hollywood, Paris" and was published in 1947 by Éditions Julliard. - The ensemble consists of 18 chapters, of which 17 are typed and one is handwritten. Compared to the published work, three chapters are missing: the introduction "Je vais sur mon chemin", chapter XV "La Petite Marcelle", and XVIII "My American Best Pote". - The first typed manuscript comprises 13 chapters bound in wrappers and 4 loosely inserted chapters. The end of the chapter entitled "It Was So Beautiful" is lacking (the last three pages have been removed with scissors). There are numerous small autograph corrections in blue ink, and an autograph page in pencil inserted. - The second typed manuscript is identical to the first, but was corrected by another hand in red pen. The end of chapter "It Was So Beautiful" is also cut out from this volume, but inserted loosely. - The autograph manuscript is entitled "Des souvenirs et des roses" (chapter XIX of the published work) and bears corrections in red pen from the same hand as the corrections in the second typed manuscript. Chevalier remembers his time in America: "Allongé sur une chaise longue - au milieu des autres voyageurs, l'horizon me semble un écran de dimensions gigantesques, où défilent des foules de visages et où des scènes, des sketches s'interposent comme si, au moment de remettre pour de bon les pieds dans mon pays, la mer américaine avant de les engloutir, tenait à me les faire bouillonner, sautiller dans mon cœur, devant les yeux. Comme un immense lot de souvenirs à triller, à choisir. Comme des artistes qui viennent saluer à la fin d'une représentation pour se rappeler à la mémoire du spectateur et pour venir quêter leur petite part d'applaudissements. Tous ces visages, Maurice, ont été des visages estimables, et il est juste qu'ils laissent en ton "toi-même" des traces de ce qu'ils ont ajouté à ton jugement des hommes et des femmes [...]".
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Flatters, Paul, French colonial officer and explorer (1832-1881).
Autograph letter signed. Tebessa, 10. I. 1862.
Folio. 6 pp. on bifolia. With autograph address. In French. Comprehensive proposal for an expedition to French Sudan (now Mali), written to the influential geologist Léonce Élie de Beaumont (1797-1874). Flatters presents his plan enthusiastically and in ample detail, although it had already been rejected by his superiors at the Ministry of War, hoping that Beaumont might use his political influence to reverse the decision. - Flatters' plan was to disguise himself as an Algerian merchant and join the caravans heading south-west. Departing from Tamacine or Ouargla, he would have taken the traditional trade route via the Algerian Tuat region to Timbuktu and traversed French Sudan in 18 to 24 months, eventually reaching French Senegal. The purpose of the expedition was to "visit remote tribes, to inquire into their customs, the resources of their lands, to prepare paths for more stable relations between them and more civilized nations, to contribute [...] to the trade relations that we have the right to establish one day between ourselves and the rich areas of Sudan". As Flatters "had always thought of an exploration of Sudan", he stresses that he employed his leisure time "to study natural history, principally in what concerns botany, geology, and minerology", and although he had "no pretentions to the name of a botanist or geologist", Flatters believed that he would be able "to determine the principal points, the most important facts, in a word, to plant some stakes that will be of future use". - In disguising as a Muslim, Flatters would have followed the examples of Auguste René Caillé and Heinrich Barth, the only Europeans who had at the time visited Timbuktu and returned safely. He mentions both men, as well as Major Gordon Laing, the first European who had reached Timbuktu but "was assassinated for having neglected to take the same precaution" a few days after he had left the famed city in 1826. Despite the apparent dangers and the questionable success of any disguise, Flatters was highly motivated, as he had "long desired to visit central Africa" and looked forward to an "adventurous expedition". He lays out his plan to Beaumont with great certainty: "I will leave without noise, without letters of recommendation, and I will be a simple merchant travelling for business without any official character; [...] lost among all the indigenous people who take the route south frequently, nobody will pay attention to me, my security will only be greater, and I will be able to observe more easily". - Although Flatters was willing to take the risk of an unofficial expedition as a "simple private person", as long as he would "recover his two epaulets" upon his return, the Ministry of War deemed the risk to great, arguing that it would have had to retaliate in case of an assassination of a French officer. Flatters suspected that the true reason for the refusal were the costs of the expedition. He therefore tried to obtain funding from the Société de Géographie and enjoyed the support of the philanthropist Isidore Taylor who had supported the plan at the Ministry of War. - While Flatters' pleas to Beaumont came to nothing, his plan proved anticipatory of the colonization of Mali from 1880. Initially called "Upper River", the colony started as an extension of French Senegal. In 1890 the establishment of French Sudan followed, adding to the vast territories that constituted the Federation of French West Africa from 1895 to 1958. - Paul Flatters' fate was inextricably connected with the French colonial project. In the letter he describes his military career, his position in the Arab Bureau in Tebessa, and his purported familiarity with the locals: "For a long time in Arab affairs, I have had frequent contact with the indigenous peoples; I speak and write Arabic; the manners and customs of the various tribes are familiar to me; the history and the geography as well as the ethnography have not been neglected [...]". In 1879 he was finally able to undertake an expedition to explore the potential for a railway through the Sahara. The small expedition soon met local resistance and withdrew. A second expedition of 93 men with the same objective that left Ouargla on 4 December 1880 ended in tragedy: several participants, including Paul Flatters, were killed on 16 February 1881 by Tuaregs in the Hoggar Mountains. The survivors were left without their camels and had to return under catastrophic circumstances, eventually ending in cannibalism. No Frenchman was among the few survivors of the expedition. Flatters might have been right about the ulterior motives of the Ministry of War in preventing his 1862 expedition plan, as there was no retaliation for the violent deaths of nine Frenchmen and their local companions. - Some browning to the first page, minimal foxing and several minor tears.
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Humboldt, Alexander von, German naturalist and explorer (1769-1859).
Autograph letter signed ("Humboldt"). N. p. o. d.
Small 8vo. 3 pp. on bifolium. In French. Highly interesting letter to an unidentified recipient who appears to have served as an intermediary in a sale or an auction with which Humboldt was concerned. The sale might have been in connection with the death of Humboldt's former publisher John Hurford Stone (1763-1818). As early in 1812 Stone had to file for bankruptcy due to the enormous costs of the publication of Humboldt's monumental "Relation historique", the travelogue and scientific report of his Spanish American expedition. Stone's name is mentioned in a short postscript to the letter: "Everything from before the time of the contract with Vendryès is from M. Stone". - In the letter, Humboldt talks about the potential date of the sale and some objects that are in London: "Concerning the sale, Lannoy thinks that it could take place in the end of July and that the customs information will be sufficient to know what is in London. Since my intervention is only due to my personal interests and since only Mr. Lannoy needs to recognize what is necessary for the good of the creditors, I can only hope that the sale will be effected as quickly as possible. Please send me two lines as soon as your work is entirely finished so that we can meet at M. Lannoy's and arrive at a definite decision about the time of the sale and make the necessary announcements". - John Hurford Stone moved to France in 1792 and saw success as an industrialist. He had to leave France temporarily during the Reign of Terror in 1793/94; upon his return he started a successful publishing house. Following Stone's bankruptcy, the Parisian publisher R. Vendryès, mentioned twice in the letter, briefly took over Humboldt's great project. Vendryès only published the "Atlas gégraphique et historique" as part of to the "Relation historique". The first sentence of the letter probably refers to this publication: "My request with M. Maze was futile; he does not remember the posters published by Vendries [!] but he [Vendryès] could easily inform you about them". Nicolas Maze was the most successful publisher of the "Relation historique": between 1814 and 1826 he published several volumes of Humboldt's ultimately unfinished travelogue. - With collector's note in pencil. Well preserved.
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Humboldt, Alexander von, German naturalist and explorer (1769-1859).
Autograph letter signed ("Humboldt"). Paris, 20 Sept. 1824.
4to. 1 p. on bifolium. Charming letter of recommendation for the Russian astronomer Ivan Michailovic Simonov (1794-1855). The letter was probably addressed to the Italian astronomer and director of the Osservatorio Astronomico di Brera in Milan, Oriani Barnaba (1752-1832). Humboldt expresses his regret that he was unable to call on the recipient during a visit to Italy with the Prussian King Frederick William III in 1822 and asks him to welcome the "skillful Professor" Simonov, who "had undertaken the journey around the world with captain Bellingshausen": "J'ai été assez malheureux de ne pas pouvoir Vous offrir mes hommages, mon illustre confrère, lorsque j'étais à Milan accompagnant mon Roi : aujourd'hui je charge mon digne ami, Mr le Professeur de Simonof, Géometre et Astronome très distingué qui a fait le tour du globe avec le Capitaine Bellingshausen, d'être auprès de Vous l'organe de mes sentiments d'admiration et de dévouement. Daignez recevoir cet habile Professeur avec la bienveillance qui Vous caractérise et dont il sentira tout le prix [...]". - As mentioned in the letter, Simonov was a scientific member of the important First Russian Antarcitic Expedition led by Fabian Bellingshausen (1819-21). In 1822 he was confirmed as a Professor of Astronomy at the University of Kazan. From 1823 to 1824 Simonov stayed in Paris, where he was introduced to Alexander von Humboldt. During Humboldt's eight-month expedition to Russia in 1829 the two men met again in Kazan; together they performed geomagnetic experiments. - No direct contact between Alexander von Humboldt and Oriani Barnaba has so far been established, but Humboldt is known to have been familiar with Barnaba's publications. A mutual acquaintance of Humboldt and Barnaba is the Austrian astronomer Karl Kreil. - With traces of folds. Well preserved.
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Humboldt, Alexander von, German naturalist and explorer (1769-1859).
Autograph letter signed ("A Humboldt"). [Paris], n. d.
8vo. 1 p. on bifolium. With autograph address and traces of seal. To the sculptor Pierre-Jean David, known as David d'Angers (1788-1856), ahead of a visit to his workshop. Humboldt assumes that an earlier letter had not reached David and kindly asks for an appointment, as he is eager to visit his atélier and personally to express his admiration for the artist: "Je commence à croire, mon illustre et respectable confrère, que Vous n'avez pas reçu mon petit billet jetté [!] il y a 3 jours à la Petite Porte sous l'adresse R. Vaugirard n 20. J'ose Vous réitérer le vif désir que j'ai de pouvoir Vous offrir dans Votre atelier l'hommage de ma constante admiration et je Vous supplie de me fixer, par deux lignes, le jour et le lieu et l'heure que Vous désirerez, je pourrai tous les jours depuis mercredi de 11h à 3h [...]". - The letter was probably written during Humboldt's Paris years (1807-26). However, David sculpted a bronze medal with the profile of the great naturalist dated 1831, five years after Humboldt's return to Berlin. A small bronze bust followed in 1844. A copy of the medal is held in the Numismatic collection of the Berlin State Museums. - With traces of folds and small loss to paper through breaking of the seal. Minimal browning and foxing.
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Humboldt, Alexander von, German naturalist and explorer (1769-1859).
Autograph letter signed "Humboldt". Paris, 3 July 1826.
Oblong 8vo. 1 p. on bifolium. With autograph address. In French. To a secretary or confidant of Denis-Luc Frayssinous (1765-1841), bishop of Hermopolis in partibus and French minister of public instruction, asking for an audience. The reason for Humboldt's unusual request was the search for the child of a Seigneur Guénot "whom we desire to see placed in Paris". The letterhead is capotioned "Bourges", followed by an illegible address and the information: "The child is thought to be in Bourges". Humboldt reminds the recipient of an earlier request to the bishop and asks for "a few moments' audience" with him: "Je ne sais varier les tours de mes supplications importunes et presque périodiques. Vous avez daigné me permettre avec une bienveillance extrême de Vous rapeller [!], Monsieur, au milieu de l'été la prière que j'avez osé adresser à S. E. le digne Évêque de Hermopolis relativement à l'enfant du Sr Guénot que nous voudrions voir placé à Paris. J'ose Vous supplier d'accorder quelques instants d'audience à cet excellent homme et d'agréer l'hommage de la considération et du dévouement affectueux avec lequel j'ai l'honneur d'être [...]". - No further links between Alexander von Humboldt and Denis-Luc Frayssinous are documented. Although the circumstances of the letter and the identity of Seigneur Guénot remain obscure, the text bears testimony to Humboldt's generosity and helpfulness, especially since he alludes to several earlier, "almost regular" supplications to the recipient. A few months after the letter was written, Humboldt had to return to Berlin on the personal orders of King Frederick William III of Prussia, having spent close to twenty years in Paris. - With traces of folds, two large tears, touching the date and text without loss, and one restored tear. One large brownstain from the faulty restoration of one of the tears and minimal foxing.
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Humboldt, Alexander von, German naturalist and explorer (1769-1859).
Autograph letter signed "Humboldt". [Paris], "vendredi" [1823-26].
Small 8vo. 1 p. on bifolium. With autograph address and traces of seal. To the German oriental scholar and archaeologist Friedrich Eduard Schulz (1799-1829), requesting a meeting. Apparently, Schulz had attempted to visit Humboldt the previous day, but the two men had missed each other by a few minutes. In his charming letter, Humboldt announces a return visit in order to apologize for "the imprudent pedantry of my new doorman" and to embrace Schulz before his departure: "Un malheureux hazard [!] a voulu que je suis rentré hier quelques minutes après Vous, mon cher et excellent ami, et que par l'imprudente pédanterie de mon nouveau Portier Vous n'avez pu entrer chez moi. Permettez que je me présente demain matin (Samedi) à dix heures chez Vous, pour Vous faire mes excuses et pour Vous embrasser avant Votre départ [...]". - After studies in Göttingen and Gießen, Schulz relocated to Paris in 1823 to deepen his knowledge of oriental languages. In Paris he was in contact with important scholars such as Alexander von Humboldt and Antoine Isaac Silvestre de Sacy. The letter at hand was probably written ahead of Schulz' departure, in 1826, on a scientific expedition of several years to Asia Minor and Persia. The rediscovery of the Kingdom of Urartu and its language are largely due to this expedition. The expedition ended in tragedy when Schulz and his companions were assassinated in the Kurdish town Baskale. Some of his important records, including copies of 42 inscriptions from the Van Fortress, were later recovered and published. - With a minor tear from breaking the seal.
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Humboldt, Alexander von, German naturalist and explorer (1769-1859).
Autograph letter signed ("Humboldt"). Paris, "Samedi" [1824-25].
Small 8vo. 2¾ pp. on bifolium. In French. Charming letter to a close friend, asking for "minuscule corrections" of a text. In a self-described "grand prelude" Humboldt expresses his deep attachment to the unnamed recipient: "in the past weeks you were missed by my spirit and my heart more than ever". The letter can be dated to 1824-25 due to comments about the passing of King Louis XVIII on 16 September 1824 and the beginning of the rule of Charles X: "We had talked about the strength of character that Louis XVIII has so nobly exhibited during his long and painful agony, about that worthy attitude that the people have shown, and about those wise and just measures that the new king has taken from the first days of his rule". Humboldt comments, perhaps jokingly, that "the entire world is content except for my illustrious friend from Jerusalem, who is agitated and believes that the graces are rather distant". The "illustrious friend from Jerusalem" could not be identified. The text that he originally sent with the letter was apparently "riddled with proper names and numbers". Humboldt urges the recipient to perform his corrections "with the despotism that makes life so easy for a work-shy subject". In closing, Humboldt asks the recipient to indicate a time for their next possible meeting and sends warm greetings to his family. - Two French publications by Humboldt are likely candidates for his corrections. In the summer of 1825, the fifth instalment of his important "Relation historique" appeared: this part of the monumental report of Humboldt's Spanish American expedition comprises several scientific essays and measurements that would fit the facetious description of a "sheet riddled with proper names and numbers". His 1825 geological essay "Esquisse d'un tableau géognostique de l'Amérique méridionale, au nord de la rivière des Amazones et à l'est du méridien de la Sierre Nevada de Mérida" falls in the same category. - Humboldt's most intimate friend in Paris was the astronomer François Arago. From a diary entry of the German geographer Carl Ritter we know that Humboldt was keenly interested in the events surrounding the death of Louis XVIII. The day after the King's passing, Humboldt belatedly joined a soirée of Arago's, bringing the latest news from the palace. - With small loss to paper through breaking of the seal, trace of old restauration and recipient's note in brown ink "M. de humboldt". Cf. U. Leitner, Humboldt, Cotta, Ritter. Eine Miszelle über die Arbeit an einer Edition. In: International Review for Humboldt Studies 16, 2008.
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Humboldt, Alexander von, German naturalist and explorer (1769-1859).
Autograph letter signed ("Humboldt"). N. p., "mercredi".
4to. ½ p. Thanking an unidentified recipient prior to a publication. Humboldt announces "some observations" concerning the manuscript or proofs that he had received and asks the recipient to send him his "final proof of the letter" before going to press: "Je Vous rends mille et mille grâces Monsieur, de Votre obligeant envoi. Je sais bien, que vous préférez mes conseils a des éloges insignifians [!]. Je ne saurais Vous prouver mieux mon intérêt. Voici quelques observations : je vous en adresserai d'autres avec la même franchise. Veuillez bien m'envoyer avant le tirage Votre dernière épreuve de la lettre et agréez l'expression de ma considération affectueuse [...]". - With traces of folds and minimal foxing.
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Albrecht, Carl, German painter (1862-1926).
Autograph signature. Königsberg, 26. VII. 1917.
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau. - Applying himself mainly to landscape painting, Albrecht specialized in the scenery of Thuringia, Schleswig-Holstein, Northern Germany, and the Taunus mountains, but also created portraits, still lifes and interior paintings. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Amiet, Cuno Peter, Swiss painter, illustrator, graphic artist and sculptor (1868-1961).
Autograph quotation signed. [Postmark: Oschwand, 13 Sept. 1913].
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Hiermit erfülle ich Ihren Wunsch […]". - A pioneer of modern art in Switzerland, Amiet was a member of Gauguin's Pont-Aven school, as well as of the expressionist artists' society "Brücke" in Dresden. His work comprises more than 4,000 paintings, of which more than 1,000 are self-portraits. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Ancher, Michael, Danish painter (1849-1927).
Autograph signature. Skagen, 10. VII. 1916.
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau. - A co-founder of the artists' group "Skagen Painters", Ancher is widely known for his paintings of fishermen and the Skagen scenery, combining realism with the notions of classical composition. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Angeli, Heinrich von, Austrian painter (1840-1925).
Autograph quotation signed. Vienna, 12. IV. 1911.
Oblong 8vo (postcard). ½ page. Inscribed to the German dermatologist Alwin Scharlau: "Komme mit Vergnügen Ihrem Wunsche nach […]". - After studying in Vienna, Düsseldorf and Munich, Angeli became one of the most important portraitists of European nobility and royalty, creating several portraits of Queen Victoria as well as of her daughter, his patron Victoria, Princess Royal. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Apol, Louis, Dutch painter (1850-1936).
Autograph signature. [Postmark: The Hague, 29 Aug. 1917].
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau. - One of the most prominent representatives of the Hague School, Apol specialized in winter landscapes, his impressions of an 1880 journey to Spitsbergen on the "SS Willem Barents" serving him as a rich source of inspiration. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Bachmann, Hans, Swiss painter and art teacher (1852-1917).
Autograph quotation signed. Luzern, [postmark: 4 Oct. 1917].
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Der Zweck der Kunst ist nicht nur auffallen zu wollen! Die Kunst sollte wieder deutsch werden, dem Wesen u. Volksempfinden der b[r]eiten Schichten des deutschen Volkes entsprechen. Die Streber sind die verachtungswürdigsten u. schädlichsten Menschen, sie sind ein Hindernis für die Strebsamen, die doch wohl das Gute u. Wahre anstreben […]". - Starting with Rokoko interiors, Bachmann specialized in landscape and genre painting from the 1880s, his stays in the Swiss mountains, where he travelled to cure a lung ailment, inspiring many of his works. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Baer, Fritz, German painter (1850-1919).
Autograph quotation signed. Pasing, 9. VIII. 1917.
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Kunst wird wohl das Letzte sein, wofür Bezugsscheine ausgegeben werden! […]". - Mostly self-taught and specializing in landscape painting, Baer was a member of the "Münchner Künstlergenossenschaft", the editor of their gazette until 1894, and their president in 1895, before joining the "Luitpold-Gruppe" in 1896. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Bahner, Hermann, German painter (1867-1938).
Autograph quotation signed. Oberursel, 1. X. 1917.
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Höchstes ist nur durch Mühe und Fleiss zu erreichen! […]". - After travelling the Netherlands between 1888 and 1896, Bahner settled in Hesse in 1901 and applied himself to landscape painting, specializing in forest and town scenery. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Balmer, Wilhelm, Swiss painter (1865-1922).
Autograph postcard signed. Rörswil, 22. VIII. 1917.
Oblong 8vo. 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Hochachtend grüsst Sie […]". - Balmer travelled Paris, the Netherlands, London and Rome before returning to Switzerland in 1892 to create portraits and several murals on the fronts of the Basel city hall, as well as the monumental "Landsgemeinde" fresco in the Bern Bundeshaus in collaboration with his friend Albert Welti (1862-1912). - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Baluschek, Hans, German painter, graphic artist and writer (1870-1935).
Autograph signature. [Postmark: Berlin, 12 Sept. 1917]
Oblong 8vo (postcard). ½ page. Inscribed to the German dermatologist Alwin Scharlau. - Although best known for his illustrations of the popular 1919 children's book "Peterchens Mondfahrt", Baluschek was a member of the Berlin Secession and a prominent representative of German Critical Realism, his paintings centering on the working class of Berlin. - Traces of stamps. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Bantzer, Carl, German painter, professor and art critic (1857-1941).
Autograph signature. Willingshausen, 6. VII. 1910.
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau. - Influenced by Impressionism, Bantzer was a member of the Willingshaus artists' colony (the Schwalm peasantry inspiring many of his works) and served as president of the Kassel Academy between 1918 and 1923. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Bartels, Hans von, German painter (1856-1913).
Autograph quotation signed. Munich, [postmark: 11 Sept. 1909.
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "'Rust baart lust' [...] Zurück auf eine alte Leidener Weis". - One of the leading German watercolourists, Bartels specialized in maritime scenery, excelling in storm scenes and motifs of fishing life, and was a pioneer of large-scale watercolours. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Barth, Carl Georg, German sculptor (born 1859).
Autograph postcard signed. Munich, 14. III. 1910.
Oblong 8vo. ½ page. Inscribed to the German dermatologist Alwin Scharlau: "Mit bestem Gruße […]". - After studying at the Munich Academy, Barth regularly exhibited his marble and bronze sculptures at the Munich annual exhibition, winning a Gold Medal in 1905. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Bartholdi, Frédéric-Auguste, Bildhauer (1834-1904).
Druck mit eigenh. U. [Paris], o. D.
1 Zeile. 12mo. Die Abbildung (55:88 mm) auf Untersatzkarton (64:106 mm) des Pariser Photoateliers Pierre Petit. Die Abbildung zeigt eine Graphik von Bartholdis berühmtestem Werk, der Freiheitsstatue auf Liberty Island, aus der Vogelperspektive. Bartholdi hatte ab 1875 an der Gestaltung und an Entwürfen der Freiheitsstatue gearbeitet, bis "Lady Liberty" schließlich 1886 vor Ort eingeweiht wurde.
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Bartholomé, Paul-Albert, French painter and sculptor (1848-1928).
Autograph signature. [Postmark: Vezelay, 23 July 1912].
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau. - Starting out as a painter, Bartholomé turned towards sculpture in 1887 when he created a stirring figure for his wife's grave, before creating his masterpiece, the cenotaph at Père Lachaise Cemetery in Paris, on which he worked from 1889 to 1899. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Baum, Paul, German painter, draftsman and printmaker (1859-1932).
Autograph quotation signed. Neustadt, 7. X. 1917.
Oblong 8vo (postcard). 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Aus Versehen war Ihre Karte in St. Anna ter Muiden liegen geblieben und erhalte ich dieselbe eben jetzt erst. Hiermit die gewünschte Unterschrift […]". - Starting out as an impressionist painter, Baum turned towards Pointillism from 1900, creating landscape paintings inspired by Flemish and Dutch scenery, and is considered one of the few prominent German artists of this style. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Bazzaro, Ernesto, Italian sculptor (1859-1937).
Autograph postcard signed. Milano, 30. XI. 1921.
Oblong 8vo. 1 page. Inscribed to the German dermatologist Alwin Scharlau: "Viele Grüße [...]". - Bazzaro applied himself to genre sculpture as well as monumental and sepulchral sculpture, obtaining important commissions including the monument to Giuseppe Garibaldi in Monza in 1886, and, twenty years later, the monument to Felice Cavallotti in Milan. - Tiny marginal tear; traces of a stamp. Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Becker, Benno, German painter and art critic (1860-1938).
Autograph signature. Munich, 7. XI. 1910.
Oblong 8vo (postcard). ½ page. Inscribed to the German dermatologist Alwin Scharlau. - Inspired by the scenery of East Prussia, Southern Germany and Tuscany, Becker specialized in landscape painting, was a co-founder of the Munich and Berlin Secessions, as well as a member of the German Künstlerbund, and a collector of artworks from the Far East. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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Becker-Gundahl, Carl Johann, German muralist and draftsman (1856-1925).
Autograph quotation signed. [Postmark: Solln, 25 Aug. 1908].
Oblong 8vo (postcard). ½ page. Inscribed to Cora Scharlau, a relative of the German dermatologist Alwin Scharlau: "Etwas spät aber doch sendet Ihnen das Gewünschte […]". - One of the most successful German muralists of his time, Becker-Gundahl created monumental frescoes and mosaics in several Munich churches from 1900 onwards, was a co-founder of the Munich Secession, and taught drawing and monumental art at the Academy. - Self-addressed by the collector on the reverse. The Mecklenburg physician Scharlau (b. 1888) assembled a collection of artists' autographs by personal application.
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