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Thu 09 May

Baroque literature - Weise, Christian. Der Grünenden Jugend nothwendige Gedancken, denen uberflüßigen Gedancken entgegen gesetzt und zu gebührender Nachfolge, so wol in gebundenen als ungebundenen Reden allen curiösen Gemüthern recommendirt. With copper title. Leipzig, Gleditsch, 1684. 7 p., 304 p., pp. 305-686. 17 x 10 cm. Contemporary vellum binding over wooden boards with handwritten spine title (somewhat stained, edges and spine cover partially detached). Second edition, first published in 1675. - Dünnhaupt 30, 2 - Goedeke III, 279, 5b. - "With this work, which is significant in many respects, Weise wanted to soften the apparently not universally favorable impression that his first opus, the Superfluous Thoughts of the Greening Youth of 1668 ... had made. ... The first part of this book (pp. 1-304) contains the lyrical poems written since around 1668 during Weise's time in Leipzig and above all in Weißenfels, mostly occasional poems about people, weddings, birthdays, funerals, etc. Some of them are libretti. Some of them are intended as libretti for musical compositions ... The second part (pp. 305-433) contains a poetics in prose with numerous examples of poems (from Weise's pen), in which Weise develops his thoughts on the art of verse and rhyme, rhetoric, the use of words and foreign words in lyrical poetry." (Seebass I, 1807). - Partly browned, first few leaves with surrounding tidemark, copperplate and printed title loose, the former somewhat trimmed at the sides and bottom, one sheet with crease at the foot. VAT: *

Estim. 400 - 600 EUR

Sat 11 May

Genzken, Isa. Tri-Star. Vinyl single with recordings of engine sounds of a Tri-Star airplane. On the yellow and red record label with the details of the publisher "düsselton" and "Hersteller: Ton-Atelier Wolfgang Schmitz, Düsseldorf". Signed, dated and numbered in black fiber pen on the protective sleeve. Copy: 4/40. 1979. diameter: 17.5 cm (6 7/8 in.). Protective cover dimensions: 18 x 18 cm. Rare early work by Isa Genzken (born 1948), who has just been named the most influential artist of 2023 by the art magazine "Monopol". - Copies of the first edition, limited to 40 pieces, are owned by MoMA (770.2013), the Hamburger Kunsthalle (A-1982-91) and the Kunstsammlung NRW, which presented her "Tri-Star" at the major Genzken double exhibition at K21 in 2021: "The engine sounds of Tri-Star airplanes, which Isa Genzken recorded at Düsseldorf Airport, are played from a record. ... At the time, the sound of airplane engines seemed to capture the sound of modern life and the promise of mobility and make it available. The idea that the sound could be released from this small geometric object and spread beyond the boundaries of the architecturally defined space corresponded with the new idea of the effect of sculptures on the surrounding space, as it was laid out in the early works of Isa Genzken."- In 1981, Genzken brought out another edition in cooperation with Gerhard Richter, in which Richter painted the backs of the records with gray nitrocellulose lacquer. - The protective sleeve minimally rubbed and creased, the record unplayed.

Estim. 800 - 1 200 EUR

Wed 15 May

Harp from Cousineau Ebonized and gilded wood, maple veneer, wrought iron, fire-gilt bronze, brass, ivory fillet, wire. Engraved at the top "COUSINEAU PERE ET FILS À PARIS", embossed and gilded number "E 277". H 176.3, D 81 cm. Paris, Georges (1733 - 1800) and Jacques-Georges (1760 - 1836) Cousineau, 1775 - 1800. Sound and beauty The young Marie-Antoinette, who came to Paris in 1770 as the bride of the heir to the French throne, triggered a veritable fashion for the instrument as an enthusiastic harpist. The most sought-after harp makers of this era were Sébastien Erard, Georges Cousineau and Jean-Henri Naderman. All three worked closely with Jean Baptiste Krumpholtz, perhaps the greatest harpist of his time. Marie Antoinette's own harp was also made by Jean-Henri Naderman and is on display in Versailles, where it can be viewed. The harp presented here is signed by Cousineau Père et fils. The company was founded by Georges Cousineau in 1766. His son Jacques-Georges Cousineau became a partner in 1775. Like this example, their harps were usually equipped with seven pedals. These pedals operated a series of béquilles or double levers via a crutch mechanism, which allowed each string to be raised a semitone more precisely than was previously possible. Jacques-Georges continued to make instruments after his father's death, but traded under his own name as "Luthier et Maître de Harpe de l'impératrice Joséphine". He also performed as a harpist and wrote compositions. Harps by Cousineau can be found in the following museum collections, among others: Victoria and Albert Museum London, acc. no. 8531-1863. The Metropolitan Museum of Art New York, acc. no. 52.105, Gift of Mrs. Simon Guggenheim, 1952. Expert opinion Marketing authorization for the EU internal market available (DE-K-230201-14). This object was produced using materials for which a CITES permit is required for export to countries outside the EU. We would like to point out that a permit is not usually issued.

Estim. 4 000 - 6 000 EUR

Thu 16 May

Marcel DUCHAMP (1887-1968). Alert box. Missives Lascives - 1959 / 1960. Set of documents contained in a 28.5 x 18 cm green cardboard letter box with opening, mobile cap, title on front followed by a label printed in red: "Missives lascives" and, on the left side, printed on a line "Exposition internationale du Surréalisme". Surrealist box composed by André Breton and Marcel Duchamp as a receptacle for the catalog of the Exposition internationale du Surréalisme (1959-1960) organized at the Galerie Daniel Cordier, and various other documents detailed below:. 1 - The exhibition catalog, large, 144 pp. narrow In-8, heavily illustrated, paperback,. illustrated cover, numbered 5/200. 2 - Nine Missives lascives including: - 1. Robert Benayoum, pink envelope "À ne ouvrir sous aucun prétexte" containing. Le Corridor, illustrated booklet in four parts. - 2 Micheline Bounoure, yellow envelope "Sois ardent en forêt" containing two original compositions in symmetrical colors on a single sheet obtained by folding. - 3 Alain Joubert, pale green envelope containing "La Perle fine", text printed on four sheets. - 4. red envelope "Avez-vous pensé à donner un peu de sang" (Have you thought of giving a little blood?) containing a printed brochure: La Pointe. - 5 R. Benayoum, white "Strictly personal" envelope containing an authorization to republish a redacted text. - 6 Octavio Paz, aerogram "Huis clos" containing Edemira B. printed on two sheets and two photographs. - 7. transparent envelope "Avis de souffrance" containing an anonymous booklet. "Letters from a sadist". - 8 André Pieyre de Mandiargues, orange envelope "Usage externe" containing a brochure "La Marée" - 9. A white window envelope containing a woman's black stocking marked "Haut" by Mimi Parent. 3 - A cable on pink paper by Marcel Duchamp "À vous chez André Breton"... 4 - A double-sided 45 rpm vinyl record with texts by: side a. J. Mansour, "L'ivresse religieuse des grandes villes"; side b. B. Péret, "La Brebis galante"... 5 - Six color postcards by Bellmer, Dali, Gorky, Miró, Svanberg, Clovis Trouille... 6 - Four original lithographs numbered 52/200 signed by the artists: Marie Toyen, Max Walter Svanberg, Adrien Dax and Joan Miro and one etching numbered 52/200 and signed by Jacques Le Maréchal... Note: Rare, perfect condition, with original black packaging.

Estim. 3 000 - 4 000 EUR

Thu 23 May

Brian Jones Autograph Letter Signed, Sent to the First Secretary of the Rolling Stones Fan Club - ALS signed “Brian,” penned in black ballpoint on both sides of a 5 x 5 section of a very rare handbill promoting the Rolling Stones’ Sunday residency at the Ken Colyer Jazz Club (Studio 51) in London in June 1963. The handwritten letter, which is addressed to Doreen Pettifer, the first secretary of the Rolling Stones Fan Club, reads: “Sorry, no photos of us - but I’m sending a few others for you to go on with plus a few other items which may be of interest to you.” Interestingly, Jones has crossed out the ‘Studio 51’ club name and address and replaced them with “Palladium” and “Argyll St. W.1.” Jones continues on the reverse: “With compliments, the Stones. All completed love. The things we do for you! (The things we’d like to do for you!!) Can I open an account at you bank?” In very good to fine condition, with paper loss to the bottom, a tape stain, and central horizontal fold. Accompanied by a certificate of authenticity from Tracks and the original hand-addressed mailing envelope, which was postmarked in Chelsea on June 25, 1963. The consignor notes that the letter originates from the collection of Doreen Pettifer, the Surrey-based teenager who would go on to set up The Rolling Stones Fan Club and become the group’s first-ever fan club secretary after meeting them at the Wooden Bridge Jazz Club in Surrey, England on March 29, 1963. Pettifer was so impressed by the Stones's performance that she approached Mick Jagger and mentioned that she could put the group in touch with the disc jockey David Jacobs and get them an audition to be on television. Pettifer had previously been on the panel of Juke Box Jury and was still in contact with the presenter, Jacobs. After returning home on the evening of March 29th she immediately typed her first letter to Jacobs to promote her discovery. In the coming months, Pettifer would selflessly write to almost every television station, radio station, and music-related magazine to let them know about The Rolling Stones; she even approached the BBC to try to get the group an audition. During this period she was constantly in direct contact with the members of the group keeping them informed about her promotional activities. In early June 1963 Pettifer approached Stones manager Andrew Loog Oldham to request that she be allowed to set up the first official Rolling Stones Fan Club. Oldham passed the request on to Eric Easton who handled the Rolling Stones business matters. On June 14, 1963, Easton replied to Pettifer to give her the go-ahead to set up the fan club and offered her any help necessary to start the club. In July 1963 the first ever Rolling Stones fan club newsletter was mailed out. Wishing to remain anonymous, Pettifer adopted the pseudonym Diane Nelson in her position as fan club secretary. Doreen Pettifer pioneered the Stones and their music throughout 1963 and 1964 and wrote an authorized and still unpublished manuscript documenting the genesis of the group. In the second half of the sixties, she became involved in fan club work for a host of groups including Eric Clapton and John Mayall’s Bluebreakers.

Estim. 5 000 - 6 000 USD

Thu 23 May

Prince's Stage-Used Yamaha C5 Grand Piano from the 'Piano & a Microphone Tour' - Prince's stage-used black Yamaha C5 grand piano from the Australia/New Zealand leg of the 'Piano & a Microphone Tour,' played during his shows in Melbourne, Sydney, and Auckland from February 16-24, 2016. The piano is serial no. X6376754, and originates from the collection of Prince's tour promoter. Renowned for their delicate attack, rich harmonics, and beautiful resonance, Yamaha's C-series pianos are the most widely recorded pianos in the music industry: the C5 grand piano features a large 6' 7" cabinet that offers increased volume and boldness, and was Prince's personal choice for the Piano & a Microphone Tour—concert series that focused exclusively on his voice and his instrument. In addition to his two shows at the Sydney Opera House, Prince played this piano at the State Theatre in Melbourne, the State Theatre in Sydney, and the ASB Theatre in Auckland. The piano currently resides in France, from where it will be crated and shipped; the buyer is responsible for all associated costs. In a December 2015 interview in anticipation of the tour, Prince said: 'I'm doing it to challenge myself, I won't know what songs I'm going to do when I go on stage. I won't have to, because I won't have a band.' Among the classics he played during his Australian shows were 'Let's Go Crazy,' 'Little Red Corvette,' 'Raspberry Beret,' 'Kiss,' 'Nothing Compares 2 U,' 'Diamonds and Pearls,' and 'Purple Rain.' Each was an act of remixing and reinvention, with Prince forgoing his usual electric guitar for the Yamaha C5. The Sydney Morning Herald's review praised Prince's piano playing on the 'extraordinary tour,' which would prove to be his last: 'You've seen him play the guitar like Jimi Hendrix, dance like James Brown and, if you're getting on a bit, do everything from shoot basketball hoops to (ahem) hump his microphone during his spectacular full-band shows. What you probably haven't seen is Prince, the last musical genius of his enigmatic, obscenely talented kind, sing to you while playing a piano for a couple of hours, brilliantly reinventing selections popular and otherwise from his vast catalogue and showing why he caused a national incident for music fans when this brief Australian tour was announced a mere three weeks ago...He's a virtuoso on piano, to be sure, as adept at getting you on your feet to the irresistible funk of Girls & Boys (yes, on only a piano), as at playfully seducing you (How Come U Don't Call Me Any More) or even just playing beautifully (Venus de Milo).' An exquisite stage-used concert piano from Prince's final tour, representing his unrivaled showmanship, versatility, and legacy of popular music.

Estim. 200 000 - 400 000 USD