u/Hammer_Price

https://www.nebookauctions.com/auction/catalogue-553-first-editions-childrens-illustrated-bindings-347/item/mccarthy-cormac-48456/

https://www.rarebookhub.com/articles/4082

https://www.rarebookhub.com/articles/4084

Stanley Kubrick, A Clockwork Orange, Warner Bros.
4to. 97 pp. rectos only. Potter and Potter sale of Hollywood Collectibles on June 25, for $6,875. The presale high estimate was $400.

Photocopied unspecified draft (draft is dated May 15, 1970, but production didn't begin until September of the same year). In brad-bound folder.

Condition Some rubbing, minor occasional soiling.

Fine. Offered with: an original program from the film. [Hollywood: Warner Bros., 1971]. Pictorial front page, stapled at upper left to loose sheets, as issued (unclear if there was a matching rear page). 6 pp. rectos only. Worn, soiled, final page of text chipped. Good. Provenance:

From the personal collection of Louis Blau, literary and film attorney for Stanley Kubrick.

Collection of a Florida Bibliophile

O'RIELLY, HENRY First Organization of Colored Troops in the State of New York, to aid in suppressing the Slaveholders' Rebellion. New York: Baker & Godwin, 1864. First edition, a presentation copy from the author to Charles Sumner.

Original orange printed wrappers, 9 1/4 x 5 1/2 inches (23.5 x 14 cm). 24 pp. Wrappers lightly soiled, with a small chip to the lower rear corner and a very short marginal tear to the front cover. Internally quite clean, with ex-library markings to the first leaf. The inscription on the bottom of the printed wrapper reads "Hon. Chas Sumner with respects of Henry O'Rielly."

This pamphlet compiles letters and documents leading to the creation of the first colored regiments in New York State. There were three regiments of Black troops from New York, all of which saw combat during the war. This pamphlet is especially interesting in its documentation of the controversy surrounding the creation of these units, especially in the wake of the draft riots of the previous summer.

Charles Sumner was a prominent abolitionist, famous today for suffering a cowardly beating at the hands of Preston Brooks on the Senate floor after delivering a speech against slavery. This work is very scarce. We trace only one sale at auction in the last century. Sabin 57594n.

Benjamin Franklin Experiments and Observations on Electricity, made at Philadelphia in America, … and Commuinicated in several Letters to Mr. P. Collinson, of London, F.R.S. London: Printed and sold by E. Cave, at St. John’s Gate, 1751

[bound with:] Supplemental Experiments and Observations on Electricity, made at Philadelphia in America, Part II. London: Printed and sold by E. Cave, at St. John’s Gate, 1753

[and with:] New Experiments and Observations on Electricity. Made at Philadelphia in America. … To which are added A Paper on the same Subject by J. Canton … and another in defence of Mr. Franklin against the Abbe Nollet, by Mr. D. Colden, of New York. Part III. London: Printed and sold by D. Henry, and R. Cave, at St. John’s-Gate, 1754, 3 parts in one volume, 4to (228 x 170 mm).

First work with folding engraved plate by T. Jefferys and final leaf of advertisements for Cave’s publications, part II with errata to first part on P4v, part III with woodcut text illustration; some scattered minor foxing and soiling, P4 with repaired tear at lower margin, part III evidently added to the first two parts at a somewhat later date and its final page quite soiled.

Handsome retrospective calf-backed marbled boards using period materials, red edges to first two parts; rebacked. Half brown morocco folding-case gilt.First editions.

“The most important scientific book of eighteenth-century America” (Printing and the Mind of Man). Franklin's published reports of his experiments in electricity, written as a series of letters addressed to Peter Collinson, made him the first American scientist to secure an international reputation and led to his election as the first colonial American member of the Royal Society.

In addition to the famous kite and key experiment, Franklin's work with Leyden jars, lightning rods, and charged clouds is summarized. The three publications of Experiments and Observations were issued with continuous pagination and signatures despite their irregular publication.“

The letters that Franklin had been sending to Collinson in London contained such novel and provocative experimental results and such a clear explanation of complex electrical phenomena, especially in using the recently discovered Leyden jar, that his letters were read at meetings of the Royal Society, and correspondence flourished with European savants engaged in electrical experimenting.

Edward Cave, London publisher, perceived in Franklin's letters readership potential. With the sponsorship of Collinson, and Dr. John Fothergill as editor and writer of the unsigned preface,

Franklin's Experiments and Observations on Electricity Made at Philadelphia, was published in London in 1751. The contents span a period reaching from a letter from Franklin to Collinson dated 28 July 1747; they discuss the properties of the Leyden jar and suggest eleven experiments in support of his conclusions. The book ends with ‘Opinions and Conjectures Concerning the Properties and Effects of the electrical Matter made in Philadelphia, 1749.’

In the 37 paragraphs of this lengthy letter Franklin emphasized the ‘operation of points’ in drawing off the electrical fire. He conjectured, ‘Now if the fire of electricity and that of lightning be the same, as I have endeavour'd to show at large in a former paper …’” (Dibner, 1976, pp. 13–14)

.Franklin’s experimental proof of his theory “that the Electrical Fire was not created by Friction, but collected, being an Element diffused among, and attracted by other Matter, particularly by Water and Metals,” was termed by Robert Andrews Millikan, the 1923 Nobel Prize winner in physics, “probably the most fundamental thing ever done in the field of electricity” (quoted in Lemay, Life 3:69).

REFERENCES Dibner 57; Grolier/American 10; Grolier/Horblit 31a; Norman 830; Printing and the Mind of Man 199; Sabin 25505; Streeter sale 7:4151; cf. Dibner, Benjamin Franklin Electrician (1976)

PROVENANCE Wakefield Mechanics Institute (ink stamp to title-page of Part III)

From the catalog notes:

Poignant, large photograph of the President with his son Tad, SIGNED BY LINCOLN ON THE MOUNT.

Printed & Manuscript Americana LINCOLN, ABRAHAM. 1809-1865. BRADY, MATTHEW, photographer.

Original portrait photograph of Lincoln seated with a book and his son Tad, taken February 9, 1864, at Brady's studio by Superintendent Anthony Berger.

Albumen print, 135 x 95 mm, on its original mount, 295 x 245 mm, signed "A. Lincoln" on mount beneath, verso inscribed. In old frame.

On February 9, Lincoln visited Matthew Brady's studio, where he was joined by his son Tad. With Brady at the front, the studio manager Anthony Berger took a number of photographs of Lincoln, including many of Lincoln's most famous images. During a pause for Berger to change the plate, Lincoln began looking through one of Brady's large albums with Tad.

The tableau caught Berger's eye and he decided to pose them with the album, Lincoln seated with Tad standing next to him looking at the book. Lincoln enjoyed the moment with his favorite son, even donning his eyeglasses for effect. The result was the most intimate of the photographs of Lincoln.

Lincoln famously worried about the posed nature of the photograph. According to Noah Brooks, "Lincoln explained to me that he was afraid that this picture was a species of false pretense. Most people, he thought, would suppose the book a large clasped Bible, whereas it was a big photograph album which the photographer, posing the father and son, had hit upon as a good device to use in this way to ring the two sitters together.

Lincoln's anxiety lest somebody should think he was 'making believe to read the Bible to Tad,' was illustrative of his scrupulous honesty" ( Washington, D.C., in Lincoln's Time , p 252).

In spring 1864, Franklin W. Pitcher visited the White House and had a number of photographs of Lincoln signed, some of which were likely for to be sold to benefit Union soldiers in a sanitary fair.

As annotated on the verso (back): "This picture was bought in Washington in the Spring of 1864 by F. W. Pitcher who took it to President Lincoln and asked him to add his autograph which he kindly did. He afterward took the picture to Minneapolis and framed it in scrut[?] oak himself." Franklin W. Pitcher traveled extensively for his lumber business. A beautiful example of the most intimate of Lincoln's portraits, pictured as a father with his beloved son Tad, the only time he was photographed with a family member, very rare signed.

Provenance : Franklin W. Pitcher (note tipped to verso of the mount in the hand of); Anna Cornelia Pitcher (Franklin W. Pitcher's sister); Mary "Molly" Pitcher Lewis (inscription on mount dated January 15 1951, indicating gift to); James Pitcher Lewis; by descent.

From catalog notes:

FIRST EDITION, WITH BRIGHT FIRST ISSUE DUST JACKET.

Dune. Philadelphia: Chilton Book Company, 1965. 8vo. Publisher's light blue cloth, spine printed in white, publisher's pictorial dust jacket illustrated by John Schoenherr with publisher's imprint printed in 4 lines on rear inside flap.

Light sunning to edges, spine ends slightly bumped. Dust jacket with price clipped, minor soiling to rear panel, light wear and a few neat repairs to reverse along folds and edges. Housed in custom green cloth slipcase.

This first entry into the monumental Dune saga won the 1965 Nebula and 1966 Hugo awards for best novel, making it the first work to win both. The enduring popularity of the novel spawned film adaptations by David Lynch (1984) and a two-part adaptation by Denis Villeneuve (2021 and 2024). Anatomy of Wonder (2004) II-524; Currey, p. 238; Pringle, Science Fiction: The 100 Best Books 48.

Frankenberg/ Eder, Gebr. Thonet, 1930. Portfolio w. 53 loosely inserted cards, all w. photographs of tubular steel furniture, mostly designs by Marcel Breuer, but also by Ludwig Mies van der Rohe, Le Corbusier, Pierre Jeanneret and Charlotte Perriand, Emile Guyot and Bewe (Bruno Weil), in the orig. portfolio des. by Kurt Schmidt.

A good copy, with a large number of cards. The first issue of this catalogue; a later issue has the word “Stahlrohr Mobel” on the front.

Copies are known with greatly varying numbers of cards, probably because sellers could assemble their own sets with the cards of the furniture they sold.

The catalogue features many examples of furniture designs that are now iconic, such as the Thonet B 3 by Breuer, the B 306 by Le Corbusier, Jeanneret and Perriand and designs by Bewe, Guyot and Lurcat.

Fitzgerald, F. ScottThe Great Gatsby. New York: Charles Scribner's Sons, 1925, 8vo. Publisher's green cloth, upper cover lettered in blind, spine gilt. Original dust-jacket with Cugat illustration, the J corrected by hand; some restoration. Click on arrow for pix of title page and back of dust jacket.

It sold for It sold on June 20 for $9,525.

Excerpts from the catalog notes

Excerpts from catalog notes

Full-length standing studio portrait albumen CDV. Alexandria, Virginia: Gorman & Jordan, Army Photographers, 1864. Photographer's imprint to mount verso. Period ink inscription to mount verso reads: "Ellis Spear / 20th Maine Vols." Faded period pencil inscription at top reads: "for Hannah."

This museum-quality full-length portrait captures Ellis Spear, one of the most legendary figures of the 20th Maine Volunteer Infantry. Photographed in the field in 1864 by Army Photographers Gorman & Jordan, Spear strikes a commanding, resolute pose with his hands on his hips and his sword resting at his side. He wears a double-breasted officer's frock coat prominently displaying a Fifth Corps Maltese cross badge on his chest, standing before a highly detailed painted backdrop of a military encampment featuring tents and an American flag.

The reverse of the mount bears the Alexandria, Virginia, photographer's imprint alongside the unmistakable period ink signature and regimental identification of Spear himself, with a poignant pencil dedication likely to his sister, Hannah.

Spear's name is inextricably linked to the legendary defense of Little Round Top at the Battle of Gettysburg. As the commander of the regiment's left wing on 2 July 1863, then-Capt. Spear anchored the extreme left flank of the entire Union army against repeated, desperate Confederate assaults by Alabama and Texas regiments.

When the 20th Maine's ammunition was completely exhausted, it was Spear who helped coordinate and lead the famous downhill bayonet charge, alongside Joshua Lawrence Chamberlain, that shattered the Confederate attack and secured the high ground.

Spear would go on to command the 20th Maine during the brutal Overland Campaign, ultimately rising to the rank of brevet brigadier general.

Portraits of the primary heroes of Little Round Top are the apex of Civil War photography collecting; finding an identified, field-stamped image of Spear wearing his Fifth Corps badge is a monumental discovery. ...

The image is in very good condition. The albumen surface exhibits a warm, pleasing tonality with excellent contrast, beautifully highlighting his facial features and the Fifth Corps badge. There is minor surface wear, slight edge wear and a few small surface blemishes typical of period, field-taken photography.

Provenance: Rick Carlile collection.

Excerpts from catalog notes

Full-length standing studio portrait albumen CDV. Alexandria, Virginia: Gorman & Jordan, Army Photographers, 1864. Photographer's imprint to mount verso. Period ink inscription to mount verso reads: "Ellis Spear / 20th Maine Vols." Faded period pencil inscription at top reads: "for Hannah."

This museum-quality full-length portrait captures Ellis Spear, one of the most legendary figures of the 20th Maine Volunteer Infantry. Photographed in the field in 1864 by Army Photographers Gorman & Jordan, Spear strikes a commanding, resolute pose with his hands on his hips and his sword resting at his side. He wears a double-breasted officer's frock coat prominently displaying a Fifth Corps Maltese cross badge on his chest, standing before a highly detailed painted backdrop of a military encampment featuring tents and an American flag.

The reverse (see 2nd photo) of the mount bears the Alexandria, Virginia, photographer's imprint alongside the unmistakable period ink signature and regimental identification of Spear himself, with a poignant pencil dedication likely to his sister, Hannah.

Spear's name is inextricably linked to the legendary defense of Little Round Top at the Battle of Gettysburg. As the commander of the regiment's left wing on 2 July 1863, then-Capt. Spear anchored the extreme left flank of the entire Union army against repeated, desperate Confederate assaults by Alabama and Texas regiments.

When the 20th Maine's ammunition was completely exhausted, it was Spear who helped coordinate and lead the famous downhill bayonet charge, alongside Joshua Lawrence Chamberlain, that shattered the Confederate attack and secured the high ground.

Spear would go on to command the 20th Maine during the brutal Overland Campaign, ultimately rising to the rank of brevet brigadier general.

Portraits of the primary heroes of Little Round Top are the apex of Civil War photography collecting; finding an identified, field-stamped image of Spear wearing his Fifth Corps badge is a monumental discovery. ...

The image is in very good condition. The albumen surface exhibits a warm, pleasing tonality with excellent contrast, beautifully highlighting his facial features and the Fifth Corps badge. There is minor surface wear, slight edge wear and a few small surface blemishes typical of period, field-taken photography.

Provenance: Rick Carlile collection.

Excerpts from catalog notes

Full-length standing studio portrait albumen CDV. Alexandria, Virginia: Gorman & Jordan, Army Photographers, 1864. Photographer's imprint to mount verso. Period ink inscription to mount verso reads: "Ellis Spear / 20th Maine Vols." Faded period pencil inscription at top reads: "for Hannah."

This museum-quality full-length portrait captures Ellis Spear, one of the most legendary figures of the 20th Maine Volunteer Infantry. Photographed in the field in 1864 by Army Photographers Gorman & Jordan, Spear strikes a commanding, resolute pose with his hands on his hips and his sword resting at his side. He wears a double-breasted officer's frock coat prominently displaying a Fifth Corps Maltese cross badge on his chest, standing before a highly detailed painted backdrop of a military encampment featuring tents and an American flag.

The reverse (see 2nd photo) of the mount bears the Alexandria, Virginia, photographer's imprint alongside the unmistakable period ink signature and regimental identification of Spear himself, with a poignant pencil dedication likely to his sister, Hannah.

Spear's name is inextricably linked to the legendary defense of Little Round Top at the Battle of Gettysburg. As the commander of the regiment's left wing on 2 July 1863, then-Capt. Spear anchored the extreme left flank of the entire Union army against repeated, desperate Confederate assaults by Alabama and Texas regiments.

When the 20th Maine's ammunition was completely exhausted, it was Spear who helped coordinate and lead the famous downhill bayonet charge, alongside Joshua Lawrence Chamberlain, that shattered the Confederate attack and secured the high ground.

Spear would go on to command the 20th Maine during the brutal Overland Campaign, ultimately rising to the rank of brevet brigadier general.

Portraits of the primary heroes of Little Round Top are the apex of Civil War photography collecting; finding an identified, field-stamped image of Spear wearing his Fifth Corps badge is a monumental discovery. ...

The image is in very good condition. The albumen surface exhibits a warm, pleasing tonality with excellent contrast, beautifully highlighting his facial features and the Fifth Corps badge. There is minor surface wear, slight edge wear and a few small surface blemishes typical of period, field-taken photography.

Provenance: Rick Carlile collection.

From auction catalog notes:

Rare Edition of Important Gothic Novel

Shelley (Mary Wollstonecraft) Frankenstein: or The Modern Prometheus, 8vo, 2 vols. in one, L. (G. & W.B. Whittaker, Ave-Maria-Lane, London) 1823, Second Edn., (A New Edition) [XI, 249, 280] contemporary hf. calf, marbled boards, blind design paneled spine, mor. label. good copy. Ex. Scarce. (1)

Note: Second Edition of Mary Shelley's horror masterpiece, and the first to bear the author's full name and include her preface in which she briefly mentions the well-documented occasion on which she and her friends "amused ourselves with some German stories of ghosts, which happened to fall into our hands. These tales excited in us a playful desire of imitation." 

The incredibly Scarce Second Edition of one of the most famous works in English literature; the first was published in 1818. Shelley penned this Gothic sci-fi blockbuster at the tender age of 19 after a literary gathering at Lord Byron's rented vacation manor Villa Diodati near Geneva. Often called the first of its kind, the ever poignant and thought provoking Frankenstein paved the way for science fiction writing. With its themes of loneliness and terror amid human technology gone awry, it continues to resonate deeply within popular culture.

There were  108 auctions archived to the Rare Book Hub data base for the week ending June 28, 2026.

Eleven auctions saw their totals reach $1 million. Not all of the high value auctions were book related.

Of the book related auctions multiple events focused on rare Americana including an all Benjamin Franklin sale at Sotheby's. Fleischer's had a stand out Civil War Photography sale which was a sellout.

The photo shows a 1734 Imperial Chart published in St. Petersburg from the Alde (France) sale on June 19 of Antiquarian and 19th Century Books which sold for over $106,000, far exceeding the presale estimate of $30,000.

Other notable items included high value letters by French artist Monet at International Auctions Europe, lots of Ibsen at the Norwegian houses, a pricey signed photo of Lincoln and his son Tad at Bonhams, and an unusual trade catalog from the 1930s at Zwiggelaar (Netherlands) illustrating tubular furniture designed by famous architects including Breuer, Mies van der Rohe, Le Corbusier and others.

For the week turnover was $43.9 million, a big uptick compared with $18.46 million last week. The average lot brought $2,473. There were 21,147 lots offered, of these 16,980 found new homes. For the week 84.06% of all lots offered were sold.

Though these numbers sound impressive, they are comparatively small change compared to the June art sales in London, which so far this month have realized more than $500 million.

The calendar for the coming week includes 72 sales, not all of them are book related.

Reports were denominated primarily in Dollars ($), Pounds (£), and Euros (€) as well as a variety of Scandinavian and other currencies.

Here is the Rare Book Hub FREE LINK - use this link to see the complete report for the past week and list of upcoming auctions.
https://www.rarebookhub.com/auction_updates/1112

Two photos above, one of book, other of signature.

From catalog notes

William Heinemann, 1898, first issue with 16 pp. advertisements at rear (dated 1897), occasional light spotting and marks to margins, original cloth, spine slightly toned, spine ends and joints very lightly rubbed, 8vo, author's presentation copy, inscribed to front endpaper ''To Mrs J. B. Pinker, from the unworthy author', with a caricature of the author as a bald man with spectacles below, signed 'H. G. Wells', with an autograph letter by James Ralph Pinker loosely inserted, addressed to Ruth (Gollancz), and dated 11 Belgrave Road, Barnsley, 14 February 1950:

'When I was rummaging yesterday, I found this first edition of Wells' War of the Worlds - which he inscribed to my Mother. I am sending it to you in the hope that you & Victor may get some little pleasure in adding it to your library. I remember Mother telling us when we were little how she & Father, Wells & his wife used to take it in turns reading it aloud going down the river one summer day' (Quantity: 1)

Provenance: James Brand Pinker (1863-1922), literary agent who represented H. G. Wells, and was also a close friend. One of the first literary agents, Pinker represented a remarkable number of major literary figures including Arnold Bennett, Joseph Conrad, George Gissing, Oscar Wilde, Somerset Maugham, James Joyce, Henry James, and D. H. Lawrence. The Pinkers had three children, including sons Eric Seabrooke Pinker and James Randolph "Ralph" Pinker who continued their father's literary agency until 1944.

This copy was gifted by Ralph Pinker to Ruth and Victor Gollancz in 1950 (see letter). Thence by descent via their daughter Francesca Gollancz (born 1929). Important presentation copy of the first edition of Wells' dystopian work of science fiction, which was set in and around Woking in Surrey, where Wells then lived.

Lagerfeld, Karl

*The Imaginary Journey of Coco Chanel and Inès de La Fressange Through the History of Fashion.*

Set of 33 original drawings. [1987]. Ink and black felt-tip pen (the last drawing enhanced with colored pencils). Executed on the verso of 33 large quarto leaves (289 × 198 mm), the rectos of which are printed (with visible frames and various 18th-century ornaments), mounted onto larger white sheets (sometimes bearing layout instructions).

The first drawing (title page) bears the inscription “illustrated by Karl Lagerfeld”; the last (dated March 28, 1987) is signed “Karl.”

An exceptional journey of Coco Chanel and Inès de La Fressange through time and fashion.

Drawings for the magazine *Egoïste*, 16 of which are unpublished.

This set of drawings was created for *Egoïste* magazine, 17 of them having been published in issue no. 10 in 1987.

Through this series, Karl Lagerfeld creates a history of fashion and its evolution that is at once erudite, humorous, and deeply personal. The two heroines, Coco Chanel and Inès de La Fressange, travel through the centuries—from prehistory to 1987, the year this issue of *Egoïste* was published—across civilizations and countries: Egypt, Crete, Spain, Italy, England, and, of course, France.

Adorned in the emblematic attire of the periods explored (prehistoric fashion appears particularly charming), the two women converse with figures who left their mark on history: Cleopatra, Messalina, Louis XVI’s brother, Empress Theodora, the Duke of Buckingham, Henry IV, Marie Antoinette, Empress Joséphine, Madame de Pompadour, Voltaire, Isadora Duncan, and even Nicole Wisniak herself, editor-in-chief of *Egoïste*.

The drawings and dialogues imagined by Lagerfeld highlight Coco Chanel’s decisive role in liberating the female silhouette—to the point of appearing overly revolutionary at times, as Marie Antoinette ironically remarks: “Mademoiselle Chanel, your ideas are too revolutionary. You’ve lost your head...!”

Thanks to Chanel, women wear shorter dresses, trousers, and handbags—which Messalina prefers to have carried by her slaves—equipped with chain handles (deemed particularly practical for falcon hunting at the Burgundian court). Useless trinkets disappear, to the great dismay of Madame de Pompadour, who regrets the absence of flowers on her bodice.

Black fabrics inspired by 18th-century Spain replace overly ornate textiles; cuts become simpler and more fitted, while 19th-century fashion is mocked for its distorted silhouettes. Hair can now be worn short; jewelry no longer needs to be precious—Empress Theodora is scandalized by Coco’s imitation stones—and military decorations are worn as ornaments.

The drawings also emphasize Chanel’s many sources of inspiration. Lagerfeld notably evokes the costumes of Watteau’s era, from which Coco supposedly “borrowed” ideas for her 1939 collection, a process Inès calls “Chanelizing.” Also summoned are the great precursors of this modernization of women’s clothing: Isadora Duncan, who claims some of the advances attributed to Chanel, as well as Vionnet, Paul Poiret, and Schiaparelli.

Yves Saint Laurent, Lagerfeld’s rival, is mentioned as copying Coco’s creations.

The final stage of this journey through time is dated March 28, 1987. Coco Chanel comments on *Egoïste* magazine with Nicole Wisniak, mentions the Wertheimer family, even that “idiot Karl” [Lagerfeld], takes jabs at Yves Saint Laurent, and so forth. A private joke intended to amuse the commissioner of the series, this last drawing is the only one enhanced with colored pencils, framed by a gold felt-tip border.

For this *Journey*, Coco Chanel’s privileged interlocutor is Inès de La Fressange. Karl Lagerfeld had chosen her as the face of the House of Chanel, notably because of her physical resemblance to the founder of the fashion house he then directed. The first model to sign an exclusive contract with a haute couture house, Inès de La Fressange became one of the great fashion icons of the 1980s.

Three of the drawings depict Coco topless.

Founded in 1977 by Nicole Wisniak, *Egoïste* remains one of the most celebrated fashion magazines of its era. Dedicated to the arts, culture, fashion, and photography, the publication is distinguished by its very large format and exclusive use of black-and-white printing. It enlisted the greatest contemporary photographers: Helmut Newton, Richard Avedon, Bettina Rheims, Paolo Roversi, Ellen von Unwerth, and Pamela Hanson Vadukul. Some images became iconic, such as Avedon’s photographs of nude Yannick Noah and Newton’s portrait of Ava Gardner.

The magazine also attracted major writers and intellectuals, including Marguerite Duras, Emil Cioran, Françoise Sagan, Jean d'Ormesson, Michel Tournier, and J.M.G. Le Clézio.

As editor-in-chief, Nicole Wisniak supervised every aspect of each issue, including advertising campaigns custom-designed for major fashion houses, which viewed *Egoïste* as an exceptional showcase. In 1990, Chanel named one of its perfumes after the magazine.

The suite of original drawings sold for for €115,200 ($133,094).

See photos- one of volume, other of signature

From catalog notes

William Heinemann, 1898, first issue with 16 pp. advertisements at rear (dated 1897), occasional light spotting and marks to margins, original cloth, spine slightly toned, spine ends and joints very lightly rubbed, 8vo, author's presentation copy, inscribed to front endpaper ''To Mrs J. B. Pinker, from the unworthy author', with a caricature of the author as a bald man with spectacles below, signed 'H. G. Wells', with an autograph letter by James Ralph Pinker loosely inserted, addressed to Ruth (Gollancz), and dated 11 Belgrave Road, Barnsley, 14 February 1950:

'When I was rummaging yesterday, I found this first edition of Wells' War of the Worlds - which he inscribed to my Mother. I am sending it to you in the hope that you & Victor may get some little pleasure in adding it to your library. I remember Mother telling us when we were little how she & Father, Wells & his wife used to take it in turns reading it aloud going down the river one summer day' (Quantity: 1)

Provenance: James Brand Pinker (1863-1922), literary agent who represented H. G. Wells, and was also a close friend. One of the first literary agents, Pinker represented a remarkable number of major literary figures including Arnold Bennett, Joseph Conrad, George Gissing, Oscar Wilde, Somerset Maugham, James Joyce, Henry James, and D. H. Lawrence. The Pinkers had three children, including sons Eric Seabrooke Pinker and James Randolph "Ralph" Pinker who continued their father's literary agency until 1944.

This copy was gifted by Ralph Pinker to Ruth and Victor Gollancz in 1950 (see letter). Thence by descent via their daughter Francesca Gollancz (born 1929). Important presentation copy of the first edition of Wells' dystopian work of science fiction, which was set in and around Woking in Surrey, where Wells then lived.

Wells (H. G.) The War of the Worlds, 1st edition, 1st issue, London:

See photos- one of volume, other of signature

From catalog notes

William Heinemann, 1898, first issue with 16 pp. advertisements at rear (dated 1897), occasional light spotting and marks to margins, original cloth, spine slightly toned, spine ends and joints very lightly rubbed, 8vo, author's presentation copy, inscribed to front endpaper ''To Mrs J. B. Pinker, from the unworthy author', with a caricature of the author as a bald man with spectacles below, signed 'H. G. Wells', with an autograph letter by James Ralph Pinker loosely inserted, addressed to Ruth (Gollancz), and dated 11 Belgrave Road, Barnsley, 14 February 1950:

'When I was rummaging yesterday, I found this first edition of Wells' War of the Worlds - which he inscribed to my Mother. I am sending it to you in the hope that you & Victor may get some little pleasure in adding it to your library. I remember Mother telling us when we were little how she & Father, Wells & his wife used to take it in turns reading it aloud going down the river one summer day' (Quantity: 1)

Provenance: James Brand Pinker (1863-1922), literary agent who represented H. G. Wells, and was also a close friend. One of the first literary agents, Pinker represented a remarkable number of major literary figures including Arnold Bennett, Joseph Conrad, George Gissing, Oscar Wilde, Somerset Maugham, James Joyce, Henry James, and D. H. Lawrence. The Pinkers had three children, including sons Eric Seabrooke Pinker and James Randolph "Ralph" Pinker who continued their father's literary agency until 1944.

This copy was gifted by Ralph Pinker to Ruth and Victor Gollancz in 1950 (see letter). Thence by descent via their daughter Francesca Gollancz (born 1929). Important presentation copy of the first edition of Wells' dystopian work of science fiction, which was set in and around Woking in Surrey, where Wells then lived.

Catalog notes computer translated from French to English

Details: VOLTAIRE, François-Marie Arouet de (1694–1778). Complete Collection of the Works of Mr. de Voltaire. 30 volumes. Geneva: Cramer, 1768–1777. Correspondence. 15 volumes. Paris: Jean-François Bastien, 1796.

An attractive copy of this illustrated collected edition, bound with the arms of the Empress of Russia Maria Feodorovna for the Works, and later with the imperial arms for the Correspondence.

The future empress consort (1759–1828) received a careful education, shared with Catherine II (1729–1796), the preceding Empress and mother of her husband Paul I of Russia (1754–1801). Catherine, a famous correspondent of Voltaire, had purchased almost the entirety of the philosopher’s library; their exchanges appear in the last fifteen volumes of the edition, devoted to correspondence. The series bears the arms of the imperial couple on the first 24 volumes, then those of Tsar Paul I on the subsequent ones. The differences in leather and decoration in the bindings are explained by the publication history of the edition: the correspondence appeared nearly twenty years after the works, and the volumes were probably bound as they came off the presses.

Voltaire’s correspondence, for which he had at least reviewed the first volumes of the edition, is regularly punctuated with complaints: “I have just opened for the first time,” he wrote to Cramer in 1771, “the eighteenth volume of my supposed complete works. If you had consulted me, I would have asked you to let me make a selection, and not ruin yourself by publishing so many works unworthy of being read [...] But why do you add to my rhapsodies other rhapsodies that are not mine? [...] You print everything that is gathered up and attributed to me [...] There are many little bastards running around the world under the name of my legitimate children.”

Georges Bengesco strongly qualified Voltaire’s criticisms: “The quarto edition contains very few writings that are not his; it is far from inaccurate, and as for the ‘disorder that disfigures several volumes,’ how could it have been avoided, since the Cramers printed the patriarch’s works as they escaped from his pen? The truth is that Voltaire, fearing on the one hand that his polemical works would further inflame the flood of anger unleashed against him, and on the other hand that his light poetry would be judged unworthy [...] systematically disavowed most of these productions” (IV, pp. 81–82).

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45 quarto volumes (262 × 198 mm). Frontispiece, 42 engraved plates after Gravelot by Launay, Duclos, Filipart, Janet, and others, and 6 portraits (Voltaire, Henry IV, Gravelot, Charles XII, Louis XIV, Louis XV).

Contemporary binding: red morocco (the bindings differ slightly and vary in decoration) with the arms of Maria Feodorovna, then those of the Romanovs, decorative border roll, gilt-decorated raised bands on the spine, vols. I–XXIV with title and volume labels in blue morocco and light blue vellum, vols. XXV–XLV with title and volume labels in green and sienna morocco, gilt edges.

Provenance: Sophie Dorothea of Württemberg-Montbéliard, Empress Consort of Russia under the name Maria Feodorovna (binding with her arms).

A princely set of this important illustrated collective edition of Voltaire—the Works are stamped with the gilt arms of Empress Maria Fedorovna, and the Correspondence volumes, issued twenty years later, are in a slightly different binding with the Russian imperial arms.