1444
SHELLEY PERCY BYSSHE: (1792-1822) ´ So vanity intoxicates people; but let those few who praise my v
1/4
Bitte, bestätigen Sie Ihr Maximalgebot
Sie sind dabei, ein Gebot in Höhe von EUR abzugeben.
Startpreis : EUR
Sobald Sie Ihr Maximalgebot bestätigt haben, erfahren Sie, wie es sich gegen andere Bieter verhält. Behalten Sie als Nächstes Ihren Posteingang im Auge, um festzustellen, ob Sie von jemandem überboten werden. Um die besten Gewinnchancen zu erhalten, loggen Sie sich ein, um zu Beginn der Live-Auktion zu bieten.
Aufgeld oder Transportkosten sind in Ihrem Gebot nicht enthalten.
Durch die Abgabe Ihres Gebotes bestätigen Sie, die AGB von lot-tissimo.com und des entsprechenden Auktionshauses gelesen und akzeptiert zu haben. Ein Zuschlag verpflichtet zum Kauf.
Bitte beachten Sie, dass Sie Ihre Gebote unter Mein Account, vor der Auktion bearbeiten können. Ihr Maximal Gebot kennen nur Sie.
Ihr Gebot weicht von den Bietschritt ab
Wählen Sie eine der folgenden Schnellgebotsoptionen:
Aufgeld oder Transportkosten sind in Ihrem Gebot nicht enthalten.
Durch die Abgabe Ihres Gebotes bestätigen Sie, die AGB von lot-tissimo.com und des entsprechenden Auktionshauses gelesen und akzeptiert zu haben. Ein Zuschlag verpflichtet zum Kauf.
Bitte beachten Sie, dass Sie Ihre Gebote unter Mein Account, vor der Auktion bearbeiten können. Ihr Maximal Gebot kennen nur Sie.
Beschreibung
SHELLEY PERCY BYSSHE: (1792-1822) British writer, one of the major English Romantic poets. An exceptional A.L.S., with his initials P. B. S., three pages, 4to, Pisa, 20th July 1820, to his cousin Thomas Medwin (´My dear Medwin´). Shelley writes an interesting letter, including references to two of his masterpieces, stating that he has received Medwin´s letter from the mountains, and remarking ´How much I envy you, or rather, how much I sympathise in the delights of your wandering. I have a passion for such expeditions, although, partly the capriciousness of my health & partly the want of the incitement of a companion, keep me at home. I see the mountains, the sky & the trees from my windows & recollect, as an old man does the mistresses of his youth, the raptures of a more familiar intercourse; but without his regrets, for their forms are yet living in my mind´, adding that he hopes his cousin will not pass by Tuscany without paying a visit (´Mrs. Shelley unites with me in assuring......that whatever else may be found deficient, a sincere welcome is at least in waiting for you´). Shelley proceeds to write at length regarding two of his verse dramas, ´I am delighted with your approbation of my ‘Cenci’, & am encouraged to wish to present you with my ‘Prometheus Unbound’, a drama also, but a composition of a totally different character. I do not know if it be wise to affect variety in compositions or whether the attempt to excel in many ways does not deter from excellence in one particular kind. ‘Prometheus Unbound’ is in the merest spirit of ideal poetry & not, as the name would indicate, a mere imitation of the Greek drama, or indeed, if I have been successful, is it an imitation of anything. But you will judge - I hear it is just printed & I probably shall receive copies from England before I see you. Your objection to the ‘Cenci’ as to the introduction of the name of God is good, in as much as the play is addressed to a Protestant people; but we Catholics speak eternally & familiarly of the 1st person of the Trinity; and amongst us religion is more interwoven with, and is less extraneous to, the system of ordinary life. As to Cenci´s curse, I know not whether I can defend it or no. I wish I may be able, since, as it often happens respecting the worst point of an author´s work, it is a particular favourite with me. I prided myself as since your approbation I hope that I had just cause to do upon the two concluding lines of the play. I confess I cannot approve of the squeamishness which excludes the exhibition of such subjects from the scene´ (at this point of the letter two-and-a-half lines of text have been struck through, seemingly by Shelley himself). The poet asks ´What think you of my boldness?´ and reflects on a future project, a drama which would remain unfinished at his death, ´I mean to write a play, in the spirit of human nature, without prejudice or passion, entitled ‘Charles the 1st’. So vanity intoxicates people; but let those few who praise my verses & in whose approbation I take so much delight, answer for this sin´ further making reference to contemporary events involving the British monarchy, ´I wonder what in the world the Queen has done. I should not wonder, after the whispers I have heard, to find that the Green Bag contained evidence that she had imitated Pasiphae, & that the Committee should recommend to Parliament a bill to exclude all minotaurs from the succession. What silly stuff is this to employ a great nation about. I wish the King & the Queen, like Punch & his wife, would fight out their disputes in person´, before closing his letter with the lines ´This warm weather agrees excellently with me; I only wish it would last all the year. many things both to say & to hear, be referred until we meet´. With integral address panel in Shelley´s hand (a couple of thin, neat strips of the remains of the guard to the edges and centre). Autograph letters of Shelley are extremely rare as a result of his tragic death at the young age of 29, and the present example is particularly rich in its literary content. Some very light, extremely minor age wear, VG
Thomas Medwin (1788-1869) English writer, poet and translator, remembered for his biography of Shelley and for published recollections of his friend, Lord Byron.
The Cenci. A Tragedy, in Five Acts (1820) was written by Shelley in the summer of 1819, and inspired by the House of Cenci, a real Roman family. The play was not considered stageable in its day owing to the themes of incest and parricide, as well as the negative depiction of the Roman Catholic Church (all subjects Shelley reflects on in the present letter), and was not performed in public in England until over a century later, in 1922.
Prometheus Unbound (1820) is a four-act lyrical drama which is concerned with the torments of the Greek mythological figure Prometheus, who defies the gods and gives fire to humanity, for which he is subjected to eternal punishment and suffering at the hands of Zeus. The play is a closet drama, not intended for stage production. In the tradition of Romantic poetry, Shelley wrote for the imagination, intending his play's stage to reside in the imaginations of his readers. Filled with suspense, mystery, and other dramatic effects, W. B. Yeats famously described the work as being ´among the sacred books of the world´.
The deleted passage of the present letter, according to the published version in Volume IV of The Prose Works of Percy Bysshe Shelley, originally read ´a squeamishness the produce, as I firmly believe, of a lower tone of the public mind, and foreign to the majestic and confident wisdom of the golden age of our country´.
One of the final parts of Shelley´s letter makes reference to the events of 1820 whereby King George IV, who had recently succeeded to the throne, attempted to divorce his long-estranged wife. Caroline of Brunswick. In order to secure his divorce, the King had a special bill moved in the House of Lords and the evidence of the Queen´s adultery was presented to parliament in two green bags. Ultimately the measure was withdrawn by the government and Caroline remained married to the King until her death a year later.
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
SHELLEY PERCY BYSSHE: (1792-1822) British writer, one of the major English Romantic poets. An exceptional A.L.S., with his initials P. B. S., three pages, 4to, Pisa, 20th July 1820, to his cousin Thomas Medwin (´My dear Medwin´). Shelley writes an interesting letter, including references to two of his masterpieces, stating that he has received Medwin´s letter from the mountains, and remarking ´How much I envy you, or rather, how much I sympathise in the delights of your wandering. I have a passion for such expeditions, although, partly the capriciousness of my health & partly the want of the incitement of a companion, keep me at home. I see the mountains, the sky & the trees from my windows & recollect, as an old man does the mistresses of his youth, the raptures of a more familiar intercourse; but without his regrets, for their forms are yet living in my mind´, adding that he hopes his cousin will not pass by Tuscany without paying a visit (´Mrs. Shelley unites with me in assuring......that whatever else may be found deficient, a sincere welcome is at least in waiting for you´). Shelley proceeds to write at length regarding two of his verse dramas, ´I am delighted with your approbation of my ‘Cenci’, & am encouraged to wish to present you with my ‘Prometheus Unbound’, a drama also, but a composition of a totally different character. I do not know if it be wise to affect variety in compositions or whether the attempt to excel in many ways does not deter from excellence in one particular kind. ‘Prometheus Unbound’ is in the merest spirit of ideal poetry & not, as the name would indicate, a mere imitation of the Greek drama, or indeed, if I have been successful, is it an imitation of anything. But you will judge - I hear it is just printed & I probably shall receive copies from England before I see you. Your objection to the ‘Cenci’ as to the introduction of the name of God is good, in as much as the play is addressed to a Protestant people; but we Catholics speak eternally & familiarly of the 1st person of the Trinity; and amongst us religion is more interwoven with, and is less extraneous to, the system of ordinary life. As to Cenci´s curse, I know not whether I can defend it or no. I wish I may be able, since, as it often happens respecting the worst point of an author´s work, it is a particular favourite with me. I prided myself as since your approbation I hope that I had just cause to do upon the two concluding lines of the play. I confess I cannot approve of the squeamishness which excludes the exhibition of such subjects from the scene´ (at this point of the letter two-and-a-half lines of text have been struck through, seemingly by Shelley himself). The poet asks ´What think you of my boldness?´ and reflects on a future project, a drama which would remain unfinished at his death, ´I mean to write a play, in the spirit of human nature, without prejudice or passion, entitled ‘Charles the 1st’. So vanity intoxicates people; but let those few who praise my verses & in whose approbation I take so much delight, answer for this sin´ further making reference to contemporary events involving the British monarchy, ´I wonder what in the world the Queen has done. I should not wonder, after the whispers I have heard, to find that the Green Bag contained evidence that she had imitated Pasiphae, & that the Committee should recommend to Parliament a bill to exclude all minotaurs from the succession. What silly stuff is this to employ a great nation about. I wish the King & the Queen, like Punch & his wife, would fight out their disputes in person´, before closing his letter with the lines ´This warm weather agrees excellently with me; I only wish it would last all the year. many things both to say & to hear, be referred until we meet´. With integral address panel in Shelley´s hand (a couple of thin, neat strips of the remains of the guard to the edges and centre). Autograph letters of Shelley are extremely rare as a result of his tragic death at the young age of 29, and the present example is particularly rich in its literary content. Some very light, extremely minor age wear, VG
Thomas Medwin (1788-1869) English writer, poet and translator, remembered for his biography of Shelley and for published recollections of his friend, Lord Byron.
The Cenci. A Tragedy, in Five Acts (1820) was written by Shelley in the summer of 1819, and inspired by the House of Cenci, a real Roman family. The play was not considered stageable in its day owing to the themes of incest and parricide, as well as the negative depiction of the Roman Catholic Church (all subjects Shelley reflects on in the present letter), and was not performed in public in England until over a century later, in 1922.
Prometheus Unbound (1820) is a four-act lyrical drama which is concerned with the torments of the Greek mythological figure Prometheus, who defies the gods and gives fire to humanity, for which he is subjected to eternal punishment and suffering at the hands of Zeus. The play is a closet drama, not intended for stage production. In the tradition of Romantic poetry, Shelley wrote for the imagination, intending his play's stage to reside in the imaginations of his readers. Filled with suspense, mystery, and other dramatic effects, W. B. Yeats famously described the work as being ´among the sacred books of the world´.
The deleted passage of the present letter, according to the published version in Volume IV of The Prose Works of Percy Bysshe Shelley, originally read ´a squeamishness the produce, as I firmly believe, of a lower tone of the public mind, and foreign to the majestic and confident wisdom of the golden age of our country´.
One of the final parts of Shelley´s letter makes reference to the events of 1820 whereby King George IV, who had recently succeeded to the throne, attempted to divorce his long-estranged wife. Caroline of Brunswick. In order to secure his divorce, the King had a special bill moved in the House of Lords and the evidence of the Queen´s adultery was presented to parliament in two green bags. Ultimately the measure was withdrawn by the government and Caroline remained married to the King until her death a year later.
AUTOGRAPH LETTERS, MANUSCRIPTS & HISTORICAL DOCUMENTS AUCTION
Auktionsdatum
Lose: 460
Lose: 520
Lose: 540
Ort der Versteigerung
El Real del Campanario
num.12 Bajo B
Estepona
Malaga
29688
Spain
IAA Europe offer an in house shipping service for the convenience of buyers. Lots are securely packed and shipped via courier with full tracking details which will be supplied upon despatch.
Your invoice will include postage, packing and insurance charges.
Wichtige Informationen
Day One - Lots 1 - 460 - The Collection of a London Gentleman Part IV (Entertainment autographs)
Day Two - Lots 461- 980
Day Three - Session I (12 noon CET) lots 981-1420 & Session II (18h CET) - ´The Creativity of Geniuses´ - lots 1421-1520
Bidding at the auction will be online only.
We offer an in-house shipping service to worldwide destinations.
AGB
Buyers Terms & Conditions
1. Interpretation
1.1. "Auctioneers" means " International Autograph Auctions Europe S.L. "
1.2. "Catalogue" means the brochure relating to a sale (including any addendum thereto) and any other related documents and advertisements.
1.3. "Conditions" means these terms and conditions of sale
1.4. "Hammer Price" means the price at which a lot is knocked down by the Auctioneers to the Purchaser.
1.5. "Purchaser" means the person who purchases a lot or lots pursuant to these conditions.
1.6. "Seller" means the person who is selling the lot or lots pursuant to these conditions.
1.7. "VAT" means Value Added Tax.
2. Bidding
2.1. The highest bidder for each lot shall be the Purchaser of that lot.
2.2. No person shall be entitled to retract a bid. The Auctioneers reserve the right of refusing any bid without giving any reason and of altering, adding to, dividing, consolidating or withdrawing any lot or lots for sale.
2.3. The Auctioneers reserve the right to fix a reserve price for any lot at a figure no higher than the lower estimate.
2.4. The Auctioneers reserve the right to bid on behalf of the Seller on lots which are subject to a reserve price. The Seller shall not be entitled to bid where the Auctioneers have reserved such a right.
2.5. In the case of a dispute as to any bid the Auctioneers may immediately determine the dispute or put up the lot again at the last undisputed bid or withdraw the lot.
2.6. The Auctioneers will accept written commission bids free of charge from any person who is unable to attend the sale. Bids will also be accepted by telephone and fax at the sender's risk.
2.7. Lots will not normally be sold at less than two-thirds bottom estimate.
3. Payment
3.1. Each Purchaser shall give in his name and address and proof of identity (if required) to the Auctioneers at a sale and shall if required pay such deposit as the Auctioneers may specify.
3.2. The Purchaser shall pay the Hammer Price together with a premium of 30.25% on the Hammer Price (this amount includes VAT and must not be shown separately or claimed as input tax). By the making of any bid the Purchaser acknowledges that his attention had been drawn to this fact and that he assents to the Auctioneers receiving the said commission. A 25% premium will be payable by Purchasers outside the European Union (EU). Zero-rated goods such as books will be subject to a premium of 25% whether within or outside the EU unless entered by a VAT registered Seller.
3.3. Payments for lots must be made in cash, bankers draft or cheque guaranteed by the bank upon which it is drawn. Lots will not be released against cheques from Purchasers unknown to the Auctioneers until cleared by such Purchaser's bank. Payment is accepted by Visa and Mastercard. A surcharge of 3% plus VAT will be levied to accounts settled by credit cards for non EU buyers. Payment is also accepted by most debit cards with no surcharge.
3.4. Overseas clients are requested to settle accounts by USA Dollars or Sterling bank transfer (details upon request), by Euro cheques, by Visa or Mastercard (a surcharge of 3% plus VAT [clients outside the EU exempt from VAT] will be levied to accounts settled by this method) or if payment is made on personal accounts in foreign currency the client is requested to add the equivalent of a further €10 to cover bank conversion charges. The Auctioneer reserves the right to claim back from the Purchasers any shortfall due to bank charges or currency fluctuations on that account.
3.5. No lots will be released by the Auctioneers until receipt of payment in full from the Purchaser.
4. Risk
4.1. All lots shall be the sole risk of the Purchaser from the fall of the hammer.
4.2. The Purchaser shall take all lots in the condition in which he finds them. It is the responsibility of all intending Purchasers to satisfy themselves by inspection or otherwise as to the authenticity in the authorship, date, age, period, condition or quality of any lot.
5. Liability
5.1. Neither the Seller of any lot nor the Auctioneers make or give nor has any person in the employment of the Auctioneers any authority to make or give any representation or warranty in relation to any lot and any implied conditions or warranties are excluded.
5.2. All statements contained in the Catalogue as to the authenticity, attribution, genuineness, origin, authorship, date, age, period, condition or quality of any lot are statements of opinion only and are not to be taken as or implying statements or representations of fact. Lots are sold subject to all faults and errors in description or otherwise.
5.3. Notwithstanding the provisions of paragraphs 5.1. and 5.2. of these Conditions in the event of a dispute as to authenticity of any lot(s) the item or items in question should be returned to the Auctioneers within 21 days of receipt by the Purchaser of such lot(s) together with a formal statement by a recognised expert The Auctioneers shall at their option and without admission of liability reimburse the price paid by the Purchaser in respect of such lot(s). This does not constitute an approval service.
5.4. Neither the Auctioneers nor the Seller shall be responsible for any loss, damage or injury occasioned to or sustained by any person on the premises before, during or after a sale save in respect of death or personal injury caused by negligence of the Seller or the Auctioneers.
6. Capacity of Auctioneers
For all purposes of a sale the Auctioneers shall be deemed to be the agent of both the Seller and the Purchaser and they shall not be considered responsible for any default on the part of either the Seller or Purchaser.
7. Delivery
7.1. Lots will only be released once payment in full has been received from the Purchaser.
7.2 An insurance charge of 1.8 % plus VAT will be applied to all invoices for packages sent from our offices
7.3. Postage is subject to VAT at 21% within the EU
7.4. The Auctioneers will provide full customs declarations on the Hammer Price plus the Purchaser's premium and Purchaser's shall be responsible for any customs charges made by the country of import.
7.5. A charge will be made for the packing & shipping of deliveries which is subject to VAT at 21% within the EU.
8. Auctioneers Remedies
In the event that the Purchaser fails to pay for any lot(s) in full pursuant to these Conditions then the Auctioneers shall be entitled:
8.1. to rescind the sale of the relevant lot(s)
8.2. to resell the lot(s) without further notice either by public or private sale and the deficiency (if any) arising from such second sale together with all charges and expenses relating to the same shall be the responsibility of the defaulting Purchaser and shall be recoverable as and for liquidated damages.
9. Jurisdiction
These Conditions shall be governed by Spanish law and the parties submit to the exclusive jurisdiction of the Spanish courts.
Online Bidding
International Autograph Auctions Europe S.L. offer an online bidding service for bidders who cannot attend the sale, however please be advised that a charge of 3% + VAT is chargeable on all purchases made through any of the online bidding facilities offered.
In completing the bidder registration and providing your credit card details and unless alternative arrangements are agreed with International Autograph Auctions Europe S.L.
1. You authorise International Autograph Auctions Europe S.L., if they so wish, to charge the credit card given in part or full payment, including all fees, for items successfully purchased in the auction, and
2. confirm that you are authorised to provide these credit card details to International Autograph Auctions Europe S.L. and agree that International Autograph Auctions Europe S.L. are entitled to ship the goods to the card holder name and card holder address provided in fulfillment of the sale.
3. confirm that you accept that an additional charge of 3% + VAT will be applied to your invoice for use of an online bidding facility
