2677 - 2864 MANUSCRIPTS, AUTOGRAPHS, DOCUMENTS
= Short note, accompanying payment (not present) for rendered service (unread), under many thanks.
Rubinstein, A. (1829-1894). SIGNATURE, pen and ink, on letterpress postal receipt printed on blue paper, dated "Wien den 24 Januar 1872".
= Asking mr Ochs to send him the score of the Jubiläums Ouverture as soon as possible.
Stockhausen, J. (1826-1906). AUTOGRAPH LETTER SIGNED "J. Stockhausen", to an unnamed gentleman, pen and ink, dated "Hamburg 3 Xbr 1865", folded leaf, recto and verso, (3)p.
= Apologising effusively for his late answer to a letter sent to him a year earlier. The letter contained an invitation to Julius Stockhausen to become a corresponding member of the Dutch Maatschappij tot Bevordering der Toonkunst. Stockhausen gladly accepts the invitation, but also points out that he is a very busy man.
AND 3 others similar, i.a. an AUTOGRAPH LETTER SIGNED by HEINRICH HOFMANN (dated "Berlin, 9.9.75", (1)p.) and a letterpress carte de visite w. AUTOGRAPH NOTE by F. KULLAK (dated "23.4.84").
= Short note to Pauline Röntgen, mother of Julius Röntgen. SEE ILLUSTRATION PLATE CIV.
= Strauss thanks his correspondent for his kind letter, "die ich, soeben von Bayreuth zurückkommend, erhalten habe". He writes on his inability to meet him soon, but offers various other options/ times for a meeting. SEE ILLUSTRATION PLATE CIV.
- Trifle foxed.
= Short note to the Maatschappij tot bevordering der Toonkunst, thanking them for the receipt of "eene eere premie (één Dukaat)". Verhulst autographs are rare.
Hol, R. (1825-1904). Short AUTOGRAPH NOTE SIGNED to "Mejufvrouw" (unidentified), pen and ink, not dated, folded leaf w. blindstamped letterhead of Richard Hol in top left corner, recto only, 1p.
= Concerning the postponement of a lesson.
AND 5 other AUTOGRAPH LETTERS SIGNED by Dutch composers/ musicians: JOHAN COENRADUS BOERS (violinist and composer), HENRY COENEN (pianist), 2 letters by SAMUEL DE LANGE (composer, organist and pianist) and WILLEM F.G. NICOLAÏ (composer).
= Letter of recommendation for "Aafken Kuijpers", stating that she is "un excellente cantatrice (...) son intelligence est grande (J'ai pu en juger pendant les quelques leçons je lui ai donnée) (...)". Aafke Kuijpers eventually became a singing teacher in Amersfoort, where in the summer of 1890 she was prime suspect in a notorious murder case.
= Letter concerning i.a. the intended purchase of the manuscript of Rienzi at an auction by Van Santen Kolff (journalist, art critic, and close follower of Richard Wagner), and asking him to send the manuscript to Adolf Gross, the trusted adviser and intimate friend of the Wagner family. SEE ILLUSTRATION PLATE CV.
Bülow, D. von (1860-1940). AUTOGRAPH LETTER SIGNED "Daniela von Bülow", pen and ink, dated "Bayreuth, am 3.Juny 1886", 1 leaf, recto and verso, (2)p.
= Daniela von Bülow, daughter of Hans and Cosima von Bülow, stepdaughter of Richard Wagner after his marriage with Cosima, writes to thank her correspondent for the work that he has done for the family and asks him to thank Mr Viotta[?] too for "die Abschrift und Uebermittlung der uns so [...?] Papiere."
- Mounted on once folded paper mount.
= "Das von Herrn Lindeman gebaute Cello, auf welchem ich durch Herrn Van Wezel das Boccherini-Konzert vorgetragen hörte, ist ein ganz vorzügliches Instrument. Ich habe noch nie ein neues Cello von solchen Klang-Qualitäten gehört (...) [signed]."
WITH mounted on verso: Busch, F. (1890-1951). AUTOGRAPH LETTER SIGNED, "Dr. h.c. Fritz Busch", dated "15.3. 1934", pen and green ink on 1 leaf w. printed letterhead of the "Carlton Hotel Amsterdam", recto only.
= Strongly positive comment on the qualities of the cello on which "Herr Konzertmeister van Wezel" played: "(...) ist ein hervorragendes Instrument. Sauber und einwandfreigebaut besitzt es einen grossen, herrlichen Ton in allen Lagen (...) [signed]."
Cassado i Moreu, G. (1897-1966). AUTOGRAPH LETTER SIGNED "Gaspar Cassado", to "Monsieur Jan W. Lindeman Luthier à Amsterdam", dated "16-III-1931", pen and ink on 1 leaf w. printed letterhead of "N.V. Brack's Doelen Hotel Amsterdam", (1)p., with orig. autograph addressed envelope.
- Yellowed. Letter under passepartout; tear in blank lower left corner.
= A very pleased letter to the string-instrument builder Jan W. Lindeman (1890-1971): "J'ai rarement vu des instruments modernes, aussi beaux que les votres; votre lutherie est très personelle et de haute qualité, tant au point de vue, formes et vernis, comme au point de vue de la sonorité [signed]."
AND 2 similarly positive testimonies of the qualities of Lindeman's violoncello's, one by ENRICO MAINARDI (Italian cellist; traces of glue in upper corners verso) and one by MAURICE MARÉCHAL (French cellist, on paper w. printed letterhead of "Henk van Wezel solo-violoncellist v.h. Concertgeb. Orkest (...)"), each laid down on paper mount.
- Formerly folded three times, with sm. holes at intersection of folds; trifle foxed; sm. contemp. number and date in pen and ink in upper left corner.
= Augusta Amelie of Bavaria married Eugène de Beauharnais, stepson of Napoleon, in 1806 in what was to all intents and purposes a succesfull marriage arranged by Napoleon in return for the upgrading of the state of Bavaria to the Kingdom of Bavaria. Originally Augusta Amelie had been promised in marriage to Charles, the Grand Duke of Baden. It was not to be: he, on his turn, was forced into a (less succesfull) marriage with Napoleon's adopted daughter Stéphanie De Beauharnais (they married three months after Augusta Amelie). The present announcement opens with the words: "Très chers et grands Amis, Alliés et confédérés, nous vous informons avec plaisir du marriage de notre cher fils, le Prince Eugêne Napoléon, avec la Princesse Auguste Amélie de Bavière, qui a été célébré à Munich, le 14 Janvier dernier." SEE ILLUSTRATION PLATE CV.
- Upper pastedown loose and drawing behind window loosening; the gold on the title-drawing partly worn away; drawings otherwise w. a few occas. small stains. Album waterstained in upper corners.
= 'Dreams. So ghosts do exist; death is not the end of all'. Series of exquisite drawings, in which Nauta recounts, with rhythm, wit and irony, a dream in which he dies and gets dragged into Hell by the Devil. There he is flogged and tortured, but the thought of his beloved wife makes him forget the pain and laugh. The Devil is impressed by this man who can be happy in Hell, and makes him an offer he can't refuse: if during the days he works in Hell as a stoker, he is allowed to dine and sleep in Heaven, where he can play cards with the Saints (careful, they are mighty good at cardgames), warble psalms with the Devout (especially if your voice is nasal enough), or drink wine with Noach (provided he watches his time and is back in the morning to open Hell at eight o'clock sharp). Nauta, who died on 30 January 1928, may have made this album for his wife on his sickbed. The cheerful story must have offered her some consolation. SEE ILLUSTRATION PLATE CV.
- Colours in border sl. rubbed.
= Charming poem about the heartache of a gingerbread man and woman, snugly baked together on one plate but by order of the head baker separated for storage: "Daar kwam op den vijfden december een treurig geval aan het licht. Hij krom, en zij was gebroken, de baas trok een leelijk gezicht. (...) Ach de man had niet zoo gemopperd, wanneer hij maar iets er van wist, wat minnesmart soms wordt geleden in een volle St. Nicolaaskist."
Nauta, M. (1896-1957). "Grand Hotel Het Vrolijke Kikkertje Sloten Friesland Spijs kaart". Manuscript 15-line verse with drawing above and below and within dec. border, pen and ink and gouache on limp board, 32,5x17,5 cm., signed "max Nauta Sloten 1921" in pen and ink in lower right corner.
- Corners sl. dam.
= Very nice caricatural drawing by Max Nauta, son of Yke Nauta, "Herinnering aan mijn Friesche Reis". Judging from the menu mentioning "runderlapjes van het paard", "kaantjes spek", "jan in de zak", "lammetjespap of Slinger om de trap" and "tot dessert koude Snert", Het Vrolijke Kikkertje was not the most sophisticated restaurant in town.
= All notarial documents issued and/ or concerning the Southern Netherlands, i.a. Rummen (Belgium, 14x), Blartum, Lochtenbergh, Brussels, Grimbergen and Sint-Truiden.
= Alfred Edward Newton, American publisher, avid book collector and author of i.a. Amenities of Book Collecting (1918). One side of an interesting correspondence between two great bibliophiles, especially good reading for the comments by Newton on "merely arty book[s]" that have "no raison d'etre". On William Morris: "You are entirely right, in my judgment, in calling him the most splendid failure of the nineteenth century. He preached Socialism in season and out, and then made books which only people of means could buy. I have some of them; his Chaucer in white pigskin, for example. I would be willing to bet a silk hat to a box of matches that no one has ever read from beginning to end one single one of the Kelmscott Press publications (...). Of what good is the Doves Bible except to look at? And only the first page of that is not monotonous to distraction. (...) But there is no doubt whatever that William Morris more than any other one man gave a fillip to book production everywhere. (..)". Also on current affairs: the final letter opens with the line: "Why in God's name do you employ old fashion'd gentlemen to fight against the world's worst? Thank you for delightul little volume, I still remember the time when I thought you not one man but many (...)". The three letters by Holbrook Jackson (dated between April 1933 and March 1945) are all answers to Newton's letters of the time and mainly concern invitations for the joining of societies (the Trollope Society) or plans to meet/ see each other, but also on the forgeries by Thomas J. Wise exposed by Carter and Pollard in 1934.
- Top of spine dam.; leather over backstrip dried.
- Two leaves loose; sl. soiled throughout; new endpapers; first and last few lvs. frayed along margins and w. extensive annots.
= A dated 19th century copy of a popular commentary on Mîzân Al- Mantîq, an anonymous manual of logic.
Al-Inâya Fî Sharh Al-Hidâya. Manuscript in Naskh script, 18th cent., (258) lvs., written in black pen and ink, 29 lines to each page, contemp. calf(?), 4to.
- Lacks first leaf w. title; bookblock broken; wormholed in lower corner; occas. marginal annots. (glosses?); a few lvs. w. marginal repairs; sm. stamp "R" occas. in blank margins. Spine-ends dam.; modern paper ticket on frontcover; binding worn.
= An 18th cent. copy of the 2nd volume of Al-Dîmashqî's commentary on Al-Hidâya (Fiqh) by Al-Marghinani (GAL S I 645).
- Probably lacks title-p.; soiled, wormholed and waterstained throughout (wormholes often "repaired" w. tape); paper brittle and some lvs. dam. along margins (9 lvs. lack lower margin w. loss of text and first two and last two lvs. strengthened w. paper along margins); sm. stamp "R" scattered throughout; new endpapers w. sm. ticket and ms. annots. in pencil; hinges strengthened w. paper. Covers worn.
= An 18th cent. copy of a work on philosophy. On one of the last lvs. the date 1167 AH (1754 AD) is provided in a ring stamp by a former owner.
- Waterstained and soiled almost throughout; ticket on upper pastedown; contemp.(?) annots. in Pashtu on first 2 and last 3 lvs., dating the ms. 1278 AH (1861 CE).
= An attractive example of Nasta'liq script.
- Lacks lvs.; old ms. lvs. used as endpapers. Manuscript lvs. pasted over covers, orig. leather visible.
= Probably an 18th cent. copy of the second book of a large work on Fiqh, beginning with page 526. It is a commentary on Kanz Al-Daqa'iq by Al-Nasafi (GAL II 52-53).