Null Mercedes-Benz 1957 190 SL
Historical French certificate

Undoubtedly one of…

Description

Mercedes-Benz 1957 190 SL Historical French certificate Undoubtedly one of the most beautiful and elegant convertibles of the 1950s, the Mercedes-Benz 190 SL was presented alongside the 300 SL Gullwing at the 1955 Geneva Motor Show; its styling, very similar to that of its sumptuous big sister, its 105 hp overhead camshaft engine, its high degree of refinement and its ease of driving made it a real commercial success that is still confirmed today on the collector’s market Completely restored between 2016 and 2017, the car’s bodywork has no apparent flaws; its elegant dark grey metallic finish, enhanced by burgundy leather upholstery, lends the car a special refinement, while the quality of the paintwork is beyond reproach, as is that of the alignments and chromes The interior has also been fully restored, the upholstery has been reupholstered in top quality leather, as have the carpets, which are also in keeping with the original; all the instrumentation on the dashboard is functional and in very good condition, with the only departure from the original being a more modern clock on the glovebox; the soft top is in good condition: easy to fit, it ensures a perfect seal in the passenger compartment The engine was also restored in 2018 before it joined the collection of the current owner: it starts at the first request, emits no parasitic noise and its gearbox is a delight of precision; an important photo file will be given to the purchaser attesting to the work carried out On the road, it behaves in a manner befitting a car of this standing; the refinement of its lines, its driving pleasure and Mercedes’ reliability have made it an icon of the 1960s: this is certainly one of the finest examples currently on the market

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Mercedes-Benz 1957 190 SL Historical French certificate Undoubtedly one of the most beautiful and elegant convertibles of the 1950s, the Mercedes-Benz 190 SL was presented alongside the 300 SL Gullwing at the 1955 Geneva Motor Show; its styling, very similar to that of its sumptuous big sister, its 105 hp overhead camshaft engine, its high degree of refinement and its ease of driving made it a real commercial success that is still confirmed today on the collector’s market Completely restored between 2016 and 2017, the car’s bodywork has no apparent flaws; its elegant dark grey metallic finish, enhanced by burgundy leather upholstery, lends the car a special refinement, while the quality of the paintwork is beyond reproach, as is that of the alignments and chromes The interior has also been fully restored, the upholstery has been reupholstered in top quality leather, as have the carpets, which are also in keeping with the original; all the instrumentation on the dashboard is functional and in very good condition, with the only departure from the original being a more modern clock on the glovebox; the soft top is in good condition: easy to fit, it ensures a perfect seal in the passenger compartment The engine was also restored in 2018 before it joined the collection of the current owner: it starts at the first request, emits no parasitic noise and its gearbox is a delight of precision; an important photo file will be given to the purchaser attesting to the work carried out On the road, it behaves in a manner befitting a car of this standing; the refinement of its lines, its driving pleasure and Mercedes’ reliability have made it an icon of the 1960s: this is certainly one of the finest examples currently on the market

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Estim. 400 - 600 EUR

John Huston (2) Documents Signed for A Farewell to Arms DS, eleven pages, 8.5 x 11, December 20, 1956. Agreement between John Huston and The Selznick Company for employment "as a director, in directing and...otherwise assisting in the production and creation of our motion picture entitled 'A Farewell to Arms,'" for the sum of $250,000. Signed at the conclusion in ink by John Huston, and countersigned by a Selznick representative. Includes a second DS, three pages, April 16, 1957, in which they mutually agree to terminate the contract, also signed at the conclusion in ink by Huston, as well as a carbon copy of a legal letter pertaining to the employment agreement and the payment of Huston's expenses. All are stapled together into a brown paper folder. In fine condition. For many years, David O. Selznick had wanted to film an adaptation of Ernest Hemingway's novel A Farewell to Arms, but Warner Bros. owned the property and refused to sell it to him. He found himself in an advantageous bargaining position when Warner Bros. bought the remake rights to A Star is Born, to which he owned the foreign rights. Without them, the studio could not release their intended remake with Judy Garland overseas. Selznick offered to relinquish his rights to Star in exchange for the rights to Farewell, and Warner Bros. agreed. It was to be Selznick's first film in four years. On October 25, 1956, Selznick contacted director John Huston and enthusiastically welcomed him to the project. He advised him his contract with 20th Century Fox called for severe financial penalties if the film went over schedule and/or budget, and urged him to concentrate wholly on the film until principal filming was completed. Selznick's concerns increased as Huston began to tinker with the script and spend an inordinate amount of time on pre-production preparations, and on March 19, 1957, he sent the director a lengthy memo outlining the problems he foresaw arising from Huston's lack of cooperation. Two days later, Huston announced he could not agree with Selznick on any of the issues he had raised and quit the project.

Estim. 2 700 - 3 000 EUR

[BEAUVAU-CRAON (Charles-Juste de)]. Essai sur la campagne de 1757, pour Monseigneur le Duc d'Orléans premier Prince du sang. [Campagne de l'armée françoise sur le bas Rhin, en Westphalie et sur le Weser en 1757]. [MANUSCRIT]. Sl, sd. In-4, [2] ff. 115 pp. in average, very neat handwriting, with no cross-outs or erasures (approx. 15 lines per page). Red morocco, smooth spine decorated with gilt filleting, triple gilt filleting on covers, gilt edges (period binding). A very interesting account of the operations at the start of the Seven Years' War, which led to the victory of French troops, commanded by Marshal Louis-Charles-César d'Estrées, over those of Hanover and Hesse-Cassel, under the Duke of Cumberland, at the Battle of Hastenbeck on July 26, 1757. The French occupation of the Electorate of Hanover was a direct consequence. Charles-Juste de Beauvau-Craon (1720-1793), Marshal of France and second Prince de Beauvau in 1754, came from the eldest branch of his family and may well have written this succinct memoir of operations in Germany at the start of the Seven Years' War: having entered French service as a volunteer (he was a prince of Lorraine), he was appointed lieutenant of cavalry on December 10, 1738, colonel of the Gardes Lorraines on May 1, 1740, and distinguished himself under Marshal de Belle-Isle at the siege of Prague in 1741. Brigadier on May 16, 1746, maréchal de camp on May 10, 1748, lieutenant-general on December 28, 1758, he was appointed governor of Bar-le-Duc and commander-in-chief of the troops sent to Spain in 1762. Above all, at the head of a large force, he served in the German army described in this memoir, fighting at Hastenbeck (1757), Crefeld (1758) and Corbach (1760). A very fine copy. The morocco binding attests that the manuscript was intended for the Duc d'Orléans.

Estim. 450 - 500 EUR

Italy - LILII (Camillo). Dell'Historia di Camerino, parte prima [- seconda]. Sl [Rome], sn [Antonucci], sd [1719]. 2 parts in one vol. in-4 of [254] pp. miscalculated 256 (jump in cipher from 175 to 178, without missing), the missing pp. 219-224 have been replaced by blank ff., ; 360 pp. Half blond calf, spine ribbed and decorated, cream title page, blue speckled edges (19th century binding). Freckling, scattered wetness. Extremely rare, this book seems to have had several editions, but they are all extremely uncommon, and all present gaps or mutilations which we do not know whether to attribute to the fundamental incompleteness of the manuscript or to the typographical conditions under which they were produced. Here, notebook Ee is missing. In any case, there is no title page, and page 256 of the first part ends abruptly without its natural continuation. It would seem that no complete copy can be found. Only two copies in the CCF (BnF and Strasbourg).

Estim. 400 - 600 EUR

BARBET (Jean) & BOSSE (Abraham). Livre d'architecture d'Autels et de Cheminées, dédié à Monseigneur l'Eminentissime Cardinal Duc de Richelieu etc., De l'invention et dessin de J. Barbet, Gravé à l'eau forte par A. Bosse. Paris, chez l'auteur et Tavernier, 1633. Small folio (30 x 20.5 cm) contemporary vellum with laces. [18] engraved leaves: [1] f. dedication, [1] notice to the reader, [1] f. title in an architectural frame, 5 plates of altars and 10 (of 12) plates of fireplaces. First edition of this very rare suite, here incomplete with 2 fireplace engravings. Stains and soiling, lower corner of ff. restored. "The conditions under which this work, engraved by Bosse after drawings by Jean Barbet (circa 1605 - before 1654), was produced are well documented, since, as Emmanuel Coquery points out, "it is the only French collection of ornaments from this period for which we still have a market". This archive document, dated February 25, 1630, mentions that Barbet undertook to work for Tavernier for two years on drawings commissioned from him. [...] The work bears a lengthy dedication by the author to Cardinal de Richelieu, as well as a particularly interesting warning to the reader, since Barbet specifies: "Having spent some time teaching what is beautiful in Paris, I have since practiced making this little Work, which I give you." It is therefore likely that examples of these fireplaces can be found in Parisian buildings. In 1630, when Barbet began working on this project, he was not yet the eminent architect he would become a few years later. First employed by Gaston d'Orléans in Blois in 1636, Jean Barbet, accompanied by his brother Denis, worked alongside Le Mercier on Richelieu's building sites. He was "contractor and architect to Monsieur, the King's only brother, and to the Richelieu buildings", before being appointed "architect to the King in Touraine". Several collections of fireplace designs were published in the 17th century, the most famous being those of Jean Marot (Livre des cheminées, Paris, 1661) and Jean Lepautre (Cheminées à la moderne, Paris, 1661), but the most important is that of Pierre Collot (Pièces d'architecture où sont compris plusieurs sortes de cheminées, Paris, 1633, drawings engraved by Antoine Lemercier), published in 1633, the same year as Barbet's work. E. Coquery points out that "the only piece of furniture that is really considered in engraving is the fireplace". Jean Barbet enlisted the collaboration of Abraham Bosse for this book, although it is possible that this choice was made by Tavernier, since he commissioned the work and Bosse was still engraving in his workshop at the time. The work contains five altar plates and twelve fireplace plates. Altars and fireplaces are, by their very nature, destined to decorate places of very different character, but they are brought together in the same book, without any incompatibility, as Barbet treats them with the same somewhat ostentatious opulence. These monumental mantels, with their luxurious, even exuberant decor, bear witness to the influence of the Fontainebleau school. The architectural and ornamental motifs are borrowed from the antique repertoire but interpreted in the Bellifont style. Cartouches, garlands of fruit and coiled leather frame a painting on the trumeau, the subject of which is borrowed from the Fable. Barbet, aided by Bosse's talent, thus offers us, in the course of the plates, the representation of an aulic and erudite art. [...]" BnF. "Jean Barbet (1605-before 1654), undoubtedly from Normandy, had a relatively fruitful career as a builder, working mainly on the Loire Valley sites in the shadow of Jacques Lemercier, Cardinal de Richelieu's architect. In 1633, he signed a contract with the Cardinal as "maître maçon à Paris" for the construction of thirty-two houses in Richelieu, where his presence is attested in 1634 as "entrepreneur des bastiments de ladite ville". In the same years, he also worked in Saumur, on the Notre-Dame des Ardilliers site, where, under the direction of Pierre Lemercier, he executed the plans of the latter's half-brother Jacques. He continued to work for the Lemercier clan from 1643 in Orléans, where he clashed with the architect over the construction of the Sainte-Croix spire. He also worked for Gaston d'Orléans in Blois from 1636. The Livre d'architecture project may have been linked to the construction of Notre-Dame des Ardilliers, which Richelieu had decided to renovate in 1632. Indeed, the sanctuary's high altar, completed in 1634, presented

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