Georgie

Georgie — marelibri

Collection of Thirty-One Loose Original Gelatin Silver and Cyanotype Photographs of Tbilisi & Mtskheta Taken by the Amateur Photographer S. S. Didarov in the 1890s-1930s Showing the Infamous Metekhi Prison the Shah Ismail Mosque the Largest Mosque in the Caucasus Alexander Nevsky Cathedral the Didube Temple of the Virgin Maryʹs Birth the Church of the Red Gospel Tbilisi Funicular Old Metekhi & Avlabari Bridges etc.; also with the Photos of High-Ranking Georgian Officials Noe Zhordania Noe Ramishvili Noe Khomeriki etc. the Last Military Parade of the Democratic Republic of Georgia Annual Epiphany-Day Celebrations Local Merchants & Peasants Residential Buildings etc. Ca. 1890s-1920s.

réf. PC37Thirty one loose original gelatin silver and one cyanotype photographs including three large photos ca. 125x17 cm 5 x 6 ¾ in comprising a panorama two large photos from ca. 15x20 cm 5 ¾ x 8 in to ca. 12x17 cm 4 ¾ x 6 ¾ in and the rest of the photos from ca. 9x115 3 ½ x 4 ½ in to ca. 65x9 2 ½ x 3 ½ in; with eighteen photos mounted on period card eight with period ink stamps on verso “Amateur Photographer S. S. Didarov” In Russian; nine photos with period pencil or ink captions on recto or verso including four photos with dates indicated. One photo lacks a small fragment in the upper right corner ca. three photos with small closed tears a couple of photos very mildly faded but overall a very good collection with strong photos. An important collection of thirty-one photographs taken by the amateur photographer S. S. Didarov in the 1890s-1930s capturing Georgia in the Russian Empire during its brief period of independence 1918-1921 and as part of the Soviet Union. The photos eight with period ink stamps “Amateur Photographer S. S. Didarov” on verso were attributed to Didarov based on the digital photo archive of the National Parliamentary Library of Georgia which features the identical twenty-nine photographs credited to him two other photos from our collection were also attributed to Didarov. The collection contains twenty-nine vibrant views of Tbilisi including eight interesting photos of local landmarks – the Tbilisi funicular the Didube Temple of the Virgin Maryʹs Birth Alexander’s Garden and the now-demolished Alexander Nevsky Cathedral & Mukhransky Bridge. Several candid urban scenes portray two peasants in local attire securing a bull to a wooden stick uniformed militaries & merchants strolling along Metekhi bridge toward a nearby bazaar with the Shah Ismail Mosque in the background and a couple enjoying one of the earliest car rides in Georgia the first car was imported in 1901. Two rare photos capture the patriotic spirit of the last military parade held in the Democratic Republic of Georgia in 1920 celebrating two years of Georgian independence. Especially interesting is the image of the Chairman of the Georgian Parliament Noe Zhordania & his ministerial cabinet Noe Ramishvili Noe Khomeriki etc. posing for a memorable photo amidst a cheerful flag-waving crowd on Gogol St. The photograph was taken less than a year before Georgia’s Soviet occupation forced most government members including Zhordania into permanent exile abroad. The collection also contains three lively scenes of the Epiphany-day procession January 6 showing civilians uniformed militaries & robed clergy carrying the Grapevine Cross along Golovinsky Avenue now Rustaveli with several soldiers on horseback likely ensuring order. Most of the other photos feature general views of the city. An excellent three-part panorama of Kala and Avlabari the earliest local districts aka “Old Town” documents Metekhi Church and its adjacent infamous jail demolished after WWII the Church of the Red Gospel ruined in 1989 the Shah Ismail Mosque demolished in 1950 the caravanserai of Iakob Zubalashvili & Farseg Ter-Mosenyan demolished in the 20th century the old Metekhi & Avlabari bridges demolished in the 20th century the Botanical Garden the ancient Narikala fortress and numerous charming residential buildings with distinctive openwork balconies. There are also two views of Mtskheta showing Svetitskhoveli cathedral and its nearby residential buildings. Overall a historically important collection of early well-preserved vernacular photos of Georgia. unknown

Globus Rare Books & Archives · États-Unis2 250,00 $US≈ 2 006,24 €

Truman, Harry S [Georgia Neese Clark Gray]Biblio.com

Public Papers of the Presidents of the United States: Harry S. Truman 1945-1953 Volumes I – VIII Containing the Public Messages Speeches and Statements of the Presidents.

1961réf. 150130Washington D.C: United States Government Printing Office 1961-1966. First editions of the complete set of Truman’s papers from 1945-1953. Imperial octavo eight volumes original publisher's cloth with gilt titles to the spine frontispieces. Presentation copy inscribed by President Truman in the fifth volume 1949 on the half-title page "Kindest regards to Georgia & Andy Gray from Harry S. Truman 3-2-65." The recipient Georgia Neese Clark Gray 1898-1995 was the first woman to hold the office of the Treasurer of the United States. Gray was active in the state Democratic Party and was elected Democratic National Committee member from Kansas in 1936 a position she held until 1964. She was an articulate and well-liked representative of the party and an early supporter of Harry S. Truman. It was this support that brought about her nomination as the first woman to be Treasurer of the United States a post she held from 1949 to 1953. In fine condition with light rubbing to the extremities. Housed in the original cardboard shipping boxes with each box sealed except for volume five 1949 and volume eight 1952-1953. After serving as a United States Senator from Missouri 1935–45 and briefly as Vice President 1945 Harry S. Truman succeeded to the presidency on April 12 1945 upon the death of Franklin D. Roosevelt. Germany surrendered on Truman's 61st birthday just a few weeks after he assumed the presidency but the war with Imperial Japan raged on and was expected to last at least another year. Truman approved the use of atomic bombs to end the fighting and to spare the millions of American and Japanese lives that would inevitably be lost in the planned invasion of Japan and Japanese-held islands in the Pacific. Although this decision and the numerous issues that arose as a result of it remain the subject of debate to this day it was one of the principal factors that forced Japan's unconditional surrender. Truman presided over an unexpected surge in economic prosperity as America sought readjustment after long years of depression and war. His presidency was a turning point in foreign affairs as the United States engaged in an internationalist foreign policy and renounced isolationism. Truman helped found the United Nations in 1945 issued the Truman Doctrine in 1947 to contain Communism and got the $13 billion Marshall Plan enacted to rebuild Western Europe. His political coalition was based on the white South labor unions farmers ethnic groups and traditional Democrats across the North. Truman was able to rally these groups of supporters during the 1948 presidential election and win a surprise victory that secured a presidential term in his own right. United States Government Printing Office hardcover

Raptis Rare Books · États-Unis2 800,00 $US≈ 2 496,66 €

O'KEEFFE GEORGIAABAA

Original Typed Letter Signed by Artist Georgia O’Keeffe

1972réf. 22337EAlbuquerque NM March 29 1972. Original Typed Letter Signed by the famed contemporary artist Georgia O’Keeffe to the Los Angeles opthalmologist and surgeon Glenn O. Dayton referencing her failing eyesight. Single sheet 8 1/2” x 11”. The letter reads in full: “Abiquiu New Mexico March 29 1972 - Dear Mr. Dayton: When I was in your office someone asked me if anyone in my family had any eye trouble like mine and I said no. Later I remembered I had a grandfather in Budapest who went blind. That’s all I know about it - it might be an item of vague interest. My left eye has become much more cloudy and it’s as if my right eye is beginning to be cloudy. I assume that I should know there is nothing that could be done about if - am I correct I have gone to the doctor here again just last week and he tells me that my eye is no worse so I assume that nothing has happened to it. I would go to see you again but from what I understand there would be no real reason for me to go. Sincerely Georgia O’Keeffe”. Very minor creases from folding and with “File” written in an unknown hand next to Dr. Dayton’s name and address else fine. Georgia O’Keeffe 1887 - 1986 was an American artist best known for her paintings of flowers New York skyscrapers and New Mexico landscapes. She continued to paint into the 1970s when her almost complete loss of eyesight due to macular degeneration which began in 1968 significantly curtailed her ability to work. On March 6 1986 O'Keeffe died in St. Vincent's Hospital in Santa Fe having almost reached her goal of living to 100; she was 98 years old. The Georgia O'Keeffe Museum opened in Santa Fe in 1997. The assets included a large body of her work photographs archival materials and her Abiquiu house library and property. The Georgia O'Keeffe Home and Studio in Abiquiu was designated a National Historic Landmark in 1998 and is now owned by the Georgia O'Keeffe Museum. unknown books

James Pepper Rare Books, Inc. · États-Unis3 000,00 $US≈ 2 674,99 €

O'KEEFFE GEORGIA; CHAGALL MARC; DE KOONING WILLEM; MIRA JOAN; ALBRIGHT IVANABAA

The Art Institute of Chicago: 100 Masterpieces

1978réf. 2392Chicago: Art Institute of Chicago 1978. First edition. Fine. DELUXE SIGNED LIMITED FIRST EDITION ONE OF ONLY 100 COPIES. INSCRIBED BY MARC CHAGALL "Pour Art Inst. Chicago Marc Chagall 1979" AND SIGNED BY WILLEM DE KOONING IVAN ALBRIGHT JOAN MIRÓ AND GEORGIA O'KEEFFE FEATURING 100 COLOR REPRODUCTIONS OF THE ART INSTITUTE'S MOST FAMOUS WORKS. Issued as part of the festivities surrounding the Art Institute's 100th birthday in 1979 The Art of Institute of Chicago: 100 Masterpieces celebrates the museum's 100 most beloved masterpieces and the artists behind these great works. In addition to the valuable signature pages each on a separate preliminary page this book contains beautiful color reproductions of 100 of the most magnificent works held by world-renown museum. There was much fanfare surrounding the 100th anniversary of the Art Institute. In addition to this book's publication the institute was feted with a Centennial Birthday party and a month-long exhibition in March 1979 entitled "The Art Institute of Chicago: 100 Years". David C. Hilliard a life trustee who helped produce 100 Masterpieces explains that the deluxe limited editions were sold in large part to buy an Indian sculpture for the Institute in honor of Board Chairman James Alsdorf and his wife Marilyn. Devoted art fans themselves the couple's private collection of Indian and East Asian art helped academics and collectors contribute enormously to the scholarship surrounding this field. The process of getting the artists' signatures had its difficulties - particularly when it came to approaching the more irascible ones like Georgia O'Keeffe who was a student at the School of the Art Institute of Chicago. Per Hilliard: "There is a good story connected with the book. We sent a young man down to visit Georgia O'Keeffe and ask for her agreement to participate. Georgia could be prickly so we chose as our envoy a young man whose father had given her the land on which she had her house and studio. And indeed he was given a warm reception and tour. When they parted Georgia said she would sign. but then added "If you will tell me the location of my painting that I gave to the Art Institute 'East River from the Shelton.'" We were overjoyed and asked the American Arts Department to let us see it. As Georgia knew it had presumably been stolen years before and a full search could not locate it. But she relented I think she enjoyed her joke and signed the books anyway!" A rare and extraordinary work that powerfully encapsulates the growth and development of the Art Institute of Chicago from a tiny academy to a "hub of the city's artistic life" Encyclopedia of Chicago . All the more desirable with the signature of five of the 20th century's greatest artists. Chicago: The Art Institute of Chicago 1978. Folio 10.5x14 inches; with box 12x15 inches original burgundy morocco watered silk endpapers all edges gilt. Housed in original box covered in matching morocco with gilt lion on front. Printed and bound by R.R. Donnelley & Sons at The Lakeside Press. Designed and composed by Rand McNally. A few spots of wear to box otherwise fine. A MAGNIFICENT PRODUCTION CELEBRATING ONE OF THE WORLD'S GREAT MUSEUMS WITH LARGE SIGNATURES OF SOME OF THE MOST IMPORTANT ARTISTS OF THE 20TH CENTURY. Art Institute of Chicago unknown books

The Manhattan Rare Book Company · États-Unis5 300,00 $US≈ 4 725,81 €

O'KEEFFE, GEORGIABiblio.com

Typed Letters Signed

1969réf. 2925Abiquiu New Mexico: np 1969. first edition. Fine. GEORGIA O’KEEFFE AS ART DEALER FOR HER OWN WORK: A fascinating correspondence between O’Keeffe and disgraced art dealer Andrew Crispo revealing O’Keeffe’s reluctance to sell her paintings. On September 27 1969 the 24-year-old art dealer Andrew Crispo who later became infamous through his connection with the “Death Mask Murder” case visited O’Keeffe at her home in Abiquiu New Mexico. While there Crispo – perhaps trying to make a big splash in the art world – negotiated with O’Keeffe to purchase three of her paintings: “Lake George – Blue” for $6000; “White Birches” for $40000; “Mule’s Skull and Pink Poinsetta” for $50000. The first letter in the correspondence dated September 29 is from O’Keeffe to Crispo outlining the terms for the sale of “Lake George – Blue” for $6000. This is no simple sale however – Crispo wants payment terms and O’Keeffe outlines them here: $100 paid already $1900 due in January 1970; $2000 in January 1971; $2000 in January 1972. The most interesting part of the letter however is O’Keeffe reluctance to let go of her work. She proposes a deal where she has the right of first refusal to buy it back from Crispo for $6000 should he wish to sell it to anyone. She originally wanted no time limit on this but Crispo successfully negotiated a window reflected in a “Note” at the bottom of the letter of four years for O’Keeffe’s right of first refusal. This letter signed by both O’Keeffe and Crispo retains its original envelope with September 30 1969 postmark. The negotiations get more complicated when considering two significantly more expensive O’Keeffe paintings. In an October 2 1969 letter from Crispo included here he notes that he gave her deposits $100 each on the two paintings and understood the checks and their verbal agreement bound her to sell the painting “White Birches” for $40000 and “Skull and Poinsettas” later renamed “Mule’s Skull and Pink Poinsetta” for $50000. O’Keeffe was clearly getting uncomfortable with the sale of these paintings; hence Crispo’s insistence that the deal had been made. This hesitancy comes to the fore in the final letter signed by O’Keeffe in the collection. Dated December 11 1969 the letter – after confirming the details of the “Lake George” sale reads in part: “You may recall that when we first met I told you that I did not wish to sell any paintings. As I have thought things over it seems best to leave things that way. I would rather keep the two paintings than send them to you.” She then notes that she is returning his two checks for $100 deposits on the paintings and the two torn checks are included with this letter along with the original envelope. O’Keeffe at the time of this letter was 82 years old and it is surprising that she turned down a substantial amount of money for the two paintings. The $90000 for the two paintings is approximately $760000 in today’s dollars. Perhaps she really couldn’t bear to let them go or perhaps she sensed something unsavory about Andrew Crispo. In 1969 Crispo had been working at New York City’s ACA Galleries and was likely laying the foundation for his namesake gallery which he opened a few years later but in the 1980s and 90s Crispo became notorious for his involvement in the gruesome “Death Mask Murder” case and later served time in prison for extortion. Over time all three paintings passed through various private collections. “Lake George - Blue” the only painting Crispo successfully purchased from O’Keeffe remains in a private collection. “White Birches” is now housed at the Amon Carter Museum of American Art in Fort Worth Texas while “Mule’s Skull with Pink Poinsetta” is part of the Georgia O’Keeffe Museum’s collection in Santa Fe New Mexico. –––––––– In total this archive includes two O’Keeffe typed letters signed one unsigned O’Keeffe typed letter and one Andrew Crispo typed letter signed with a duplicate retained copy a retained copy of a Crispo letter Dec. 5 two torn checks signed by Crispo and two transmittal envelopes from O’Keeffe. All letters on standard 8 1/2 x 11 sheets. Mailing fold lines a few creases otherwise fine condition with strong O’Keeffe signatures in black ink. np unknown

The Manhattan Rare Book Company · États-Unis6 500,00 $US≈ 5 795,81 €

O'KEEFFE, GEORGIA; STIEGLITZ, ALFREDBiblio.com

Alfred Stieglitz Presents One Hundred Pictures: Oils Water-Colors Pastels Drawings by Georgia O’Keeffe American

1923réf. 3037New York: Anderson Galleries 1923. first edition. Very Good. EXHIBITION PROGRAM FOR O’KEEFFE’S FIRST MAJOR ART SHOW SIGNED AND INSCRIBED BY O’KEEFFE. Inscribed by O’Keeffe on cover in pencil: “I am sorry you cant come – / Hope all is well with you / Sincerely / Georgia O’Keeffe.”. O’Keeffe’s first major show – opening at Anderson Galleries in New York on January 29 1923 –was a sensation. “The reviews were excellent. Henry McBride pleased O’Keeffe ‘immensely’ when his piece for the New York Herald stated that in the show ‘there is a great deal of clear precise unworried painting’ which Stieglitz was calling ‘color music.’ The Sun’s critic Alan Burroughs marveled that in the concurrent exhibition of still lifes and flower pieces by the likes of Cézanne Manet Monet and Renoir at Durand-Ruel ‘one sees no canvases with the intensity of Miss O’Keeffe’s.â€™” “As many as five hundred people a day thronged the galleries. Although many went out of curiosity aroused by Stieglitz’s photographs of the artist once there they mostly liked what they saw. O’Keeffe’s work was sensuous easily understandable greatly appealing often decorative and much of it seemed quite overtly sexual in a fashionably liberated way. Some twenty paintings were sold for a total of about $3000â€¦” Whelan. There was no catalog for the show - for as Stieglitz wrote explicitly on the back page of the program “There is no catalogue. The pictures have no titles but are numbered and dated” – so this program is the only significant printed documentation of the exhibition. And significant it is for it opens with an artist’s statement by O’Keeffe that is one of the most important and revealing things she ever wrote. She opens with a blunt almost anti-romantic autobiography: she “grew up pretty much as everybody else grows up” and then describes a turning point “one day seven years ago” when she realized she couldn’t keep living by other people’s rules — “I can’t live where I want to… I can’t even say what I want to.” She identifies painting as “the only thing I could do that didn’t concern anybody but myself” and discovered that she could say things “with color and shapes” that she couldn’t say any other way — “things that I had no words for.” She almost cheekily anticipates some criticism “Some of the wise men say it is not painting some of them say it is. Art or not Art – they disagree. Some of them do not care.” before shifting her narrative to credit Stieglitz not only for this exhibition but for her famous introduction to the art world when Stieglitz exhibited the drawings shown to him by O’Keeffe’s friend Anita Pollitzer years earlier. In a bluntly forthright final paragraph she expresses her ambivalence but also her need to have her paintings shown: “I say that I do not want to have this exhibition because among other reasons there are so many exhibitions that it seems ridiculous for me to add to the mess but I guess I’m lying. I probably do want to see my things hang on a wall as other things hang so as to be able to place them in my mind in relation to other things I have seen done. And I presume if I must be honest that I am also interested in what anybody else had to say about them and also in what they don’t say because that means something to me too.” –––––––– New York: The Anderson Galleries 1923. 6.25x9.5 inches. Two sheets making eight pages when folded as issued. With a printed extract on O’Keeffe by Marsden Hartley headed: “Extract from ‘Some Women Painters’ in ‘Adventures in the Arts’ by Marsden Hartley.” on pages 5-6. Mailing folds some general light soiling. Housed in custom presentation folder. RARE: We are not aware of another signed copy that has been on the market. References: Whelan Richard. Alfred Stieglitz: A Biography. Boston: Little Brown 1995 pp. 437-9. Anderson Galleries unknown

The Manhattan Rare Book Company · États-Unis9 500,00 $US≈ 8 470,80 €

GEORGIABiblio.com

Letiyu Sovetskoy Vlasti v Gruzii For the 15th Anniversary of Soviet Rule in Georgia - presentation photograph album.

1936réf. 125466Tbilisi: Gosfoto Advice of National Commissioners 1936. Superb album produced to commemorate the 15th anniversary of the Georgian Soviet Republic established 1921 one of perhaps a handful put together and presented to leading dignitaries; this copy with the gilt presentation supralibros of Valerian Bakradze 1901-1971 at the time Second Secretary of the Georgian Communist Party and a protégé of Stalin's right hand man Lavrentiy Beria. 1936 was also the year in which Georgia emerged as a Union Republic; prior to this it had been a part of the Soviet Transcaucasian Federation. The album opens with "exhibition" size portraits of Lenin Stalin Kliment Voroshilov and Sergo Ordzhonikidze a close friend of Stalin who was instrumental in the founding the Socialist Republic of Georgia. These are followed by two impressively large and crisp panoramic views of Tbilisi with many landmarks clearly discernible including the Funicular Railway constructed 1905 that climbs up to the Mtatsminda plateau and affords superb views of the city and the Sioni cathedral. The most prominent official figure to attend the celebrations was Marshal Voroshilov at the time People's Commissar for Defence pictured here giving a speech and shaking hands with the head of the Georgian Republic at the time Filip Makharadze; alongside an exterior view of the Tbilisi opera house decorated with banners and a portrait of Stalin. The next 19 prints are dedicated to the ceremonial parade 10 of these of an imposing size 290 x 450 mm and taken from the same elevated point of view showing the crowd an army band and several film crews in attendance; in the background Georgian shops are clearly visible the building draped with banners in Russian and Turkic carrying slogans declaring brotherhood. The celebrations took place in was was then Lenin Square now Freedom Square and included a military march past by infantry cavalry units of the tachanka the Russian horse-drawn machine gun and tanks the single-turret T-26 the backbone of Soviet armour at this period followed by processions of sportsmen and gymnasts one group shown on a parade float displaying a portrait of Stalin. Several images show people in costume among these the bogatyr heroic figures from East Slavic legend others from Georgian myth and folklore dancers and singers. Others are the archetype of such rallies of the 1930s in showing men and women marching one group bearing banners another carrying the image of Lenin and in particular one of a young woman posed inside an enormous tyre bearing the legend "Rubber Concern USSR". The last six leaves focus on the Soviet modernization of the city and show new buildings roads and bridges. From 1937 to 1946 Valerian Bakradze was Chairman of the Soviet Council of People's Commissars known as Sovnarkom. He served on the Central Committee of the Communist Party 1939-1954 was Deputy Chairman of the Council of Ministers of Georgia 1946-1954 and in 1947 Minister of Food. "Bakradze whose son was married to a niece of Nino Beria Lavrentiy Beria's wife was personally close to Beria and always went out of his way to please him. He organized a lavish banquet in Beria's honour before his departure for Moscow in 1938 and at a plenum of the Georgian CC on 31 August he was effusive in declaring his devotion to his former chief"; but Bakradze was passed over by Stalin for promotion as he probably "wanted the new party chief to be independent from Beria" Amy Knight Beria: Stalin's First Lieutenant 1993 p. 89. However with Beria's star on the wane and amid the paranoia and power struggles that followed Stalin's death in 1953 Bakradze "continued to take the lead in denouncing Beria giving the main report on his alleged crimes at a joint session of the Georgian Central Committee and the Tbilisi Party Committee held on 13-14 July 1953. Bakradze assailed Beria as a 'foul criminal' and an 'agent of international capitalism' for whom no punishment would be too severe" ibid. p. 213. In turn Bakradze was removed from office in the early 50s by the new First Secretary of the Georgian Communist Party Akaki Mgeladze. A remarkable possibly unique record with a fine provenance containing some superb images that typify the Soviet festival of the period before Stalin's Great Terror of 1936-38 would cast its long shadow across his native land. Landscape folio 600 x 410 mm. 57 original photographs 113 x 65 mm up to 450 x 350 mm on 29 linen-hinged heavy card leaves. Presentation binding of red skiver over bevelled boards titled in gilt on front cover red silk endleaves edges stained red. A few light scuffs and abrasions to binding a few creases to prints some silvering to a number of images otherwise very good. hardcover

Peter Harrington · Royaume-Uni9 500,00 £GB≈ 11 305,75 €

Georgie

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