Online Resource | Art Collection of the Académie, 1648–1793
From the DFK Paris:
La Collection d’Art de l’Académie Royale de Peinture et de Sculpture au Louvre, 1648–1793
Deutsches Forum für Kunstgeschichte, Paris
The DFK Paris is pleased to present the database of the The Art Collection of the Royal Academy of Painting and Sculpture at the Louvre / La Collection d’Art de l’Académie Royale de Peinture et de Sculpture au Louvre. Based on the inventories of Nicolas Guérin (1715) and Antoine-Nicolas Dezallier d’Argenville (1781), the database lists 653 paintings, sculptures, prints, and plaster casts assembled by the Académie royale de peinture et de sculpture in the century and a half of its existence (1648–1793). It establishes their present-day locations and their locations in the eighteenth-century Louvre. The database provides useful links to the original texts of the inventories and to the Procès-verbaux. It is available in English and in French and would be of great use to scholars of seventeenth- and eighteenth-century French art.
This database is the result of a collaboration between the DFK Paris, Sofya Dmitrieva, Anne Klammt (Hannah Arendt Institute for Totalitarianism Studies), Moritz Schepp (CEO Wendig.io), the Centre Dominique-Vivant Denon (Musée du Louvre), the École nationale des Beaux-Arts (ENSBA), and the Institut national d’histoire de l’art (INHA). It is part of the DFK’s research project, La collection d’art de l’Académie royale de peinture et de sculpture, led by Markus A. Castor, that explores the history and functions of the Académie’s art collection.
New Book | Saint-Simon in Spain, 1721–1722
From Unicorn Publishing Group:
Vincent Pitts, Saint-Simon in Spain 1721–1722: An Odyssey (Lewes: Unicorn Publishing Group, 2022), 192 pages, ISBN: 978-1914414305, £25 / $38.
The duc de Saint-Simon’s memoirs of the last decades of Louis XIV’s reign and the regency of Philippe d’Orléans are considered a masterpiece of the genre and one of the glories of French literature. His accounts of the dramatic events he witnessed have informed historians for generations, while his literary portraits have influenced French authors from Sainte-Beuve to Proust. In 1721 Saint-Simon travelled to Spain as Ambassador Extraordinary to solicit the hand of a Spanish princess for the young king Louis XV. Although his mission comes very late in his long narrative, that experience looms large in his account of earlier events, hidden in plain sight, and enriched by it. The nineteenth-century essayist Sainte-Beuve dubbed Saint-Simon “the little duke with the penetrating eye.” Readers of this book can decide for themselves how penetrating an eye the little duke could bring to bear on his contemporaries, and on himself.
Vincent J. Pitts holds a PhD in European history from Harvard University. He has taught at several universities and currently teaches at Quinnipiac University in Hamden, Connecticut. His earlier books include Embezzlement and High Treason in Louis XIV’s France (2015); Henri IV of France, His Reign and Age (2009); La Grande Mademoiselle at the Court of France (2000); and The Man Who Sacked Rome: Charles de Bourbon, Constable of France (1993).
c o n t e n t s
Foreword
Introduction
Persons Frequently Mentioned in the Text
1 The Making of an Ambassador
2 The Ambassador en Route
3 The Ambassador as Observer
4 The Ambassador at Work
5 The Ambassador at Large
6 The Ambassador Emeritus
A Note on Sources
Bibliography
Notes
List of Illustrations
Acknowledgments
Index
Exhibition | From Pencil to Burin: Drawings for Printmaking
Left: Manuel Salvador Carmona, Drawing of François Boucher (after Alexander Roslin), detail, 1760–61, black and red chalk (Madrid: Museo Nacional del Prado D658). Right: Manuel Salvador Carmona, Print of François Boucher (after Alexander Roslin), detail, 1761, etching and engraving (Madrid: Museo Nacional del Prado G2693). The original source was Roslin’s painted portrait of Boucher, now at Versailles; Salvador Carmona was admitted to the Académie Royale de Peinture et de Sculpture as an engraver on the basis of this print; it includes the inscription, “Gravé par Manuel Salvador Carmona pour sa reception à l’Academie en 1761.”
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From the press release (16 October 2023) for the exhibition:
From Pencil to Burin: Drawings for Printmaking in Goya’s Day
Museo Nacional del Prado, Madrid, 17 October 2023 — 14 January 2024
Curated by José Manuel Matilla and Ana Hernández Pugh
Until 14 January in Room D of the Jerónimos Building, the Museo del Prado presents the exhibition From Pencil to Burin: Drawings for Printmaking in Goya’s Day. It comprises a selection of 80 prints and drawings revealing the important role of these designs in the creation of intaglio prints in Spain from the mid-18th to the early 19th centuries. The exhibition includes works by a number of artists, while focusing on two key figures for the development of printmaking: Manuel Salvador Carmona (1734–1820), the artist possessed of the greatest technical command of engraving in Spain, and Francisco de Goya (1746–1828), whose remarkable artistic powers and particular understanding of etching opened up new directions in artistic creation.
Curated by José Manuel Matilla, Chief Curator of Prints and Drawings at the Prado, and Ana Hernández Pugh, author of the 2023 catalogue raisonné of Manuel Salvador Carmona’s drawings, the exhibition presents a survey of drawings made as preparatory designs for engravings, emphasizing both their functional and artistic importance. Visitors can see the techniques employed to transpose a composition to a copperplate, thus revealing how preparatory drawings played a significant role in the engraver’s understanding of the work.
The training of qualified draughtsmen and engravers in the second half of the 18th century allowed for the illustration of the texts that disseminated Enlightenment thought. While the prints of this period are well known, the preparatory drawings that acted as their starting point have been relegated to a secondary position in the history of art due to their functional nature. It was, however, the drawings that defined the compositions which were subsequently reproduced on copperplates with absolute precision and fidelity. The exhibition thus reveals a much broader artistic context, articulated around concepts that define the uses and techniques of prints to analyse different phases of the creative process. It shows the diversity of the phases and states through which an intaglio engraver had to pass in order to complete a work. Overall, the exhibition aims to reveal that it was only on the basis of a high quality drawing that a good print could be obtained.
José Manuel Matilla, Ana Hernández Pugh, Gloria Solache Vilela, and Sergio García, Del lapicero al buril: El dibujo para grabar en tiempos de Goya (Madrid: Museo Nacional del Prado, 2023), 264 pages, ISBN: 978-8484806066, €35.
The digital brochure (in English) is available here»
Installation view of the exhibition From Pencil to Burin: Drawings for Printmaking in Goya’s Day (Museo Nacional del Prado, 2023). The freestanding wall presents the first section of the show, “The Drawing and the Printmaker’s Image.”
New Book | Dibujos de Manuel Salvador Carmona (1734–1820)
The publication of this catalogue raisonné of Salvador Carmona’s drawings coincides with the the exhibition, From Pencil to Burin: Drawings for Printmaking in Goya’s Day, now on view at the Prado and co-curated by Pugh. From the CEEH:
Ana Hernández Pugh, Dibujos de Manuel Salvador Carmona (1734–1820): Catálogo razonado (Madrid: Centro de Estudios Europa Hispánica, Biblioteca Nacional de España, and Museo Nacional del Prado, 2023), 672 pages, ISBN: 978-8418760150, €58.
Manuel Salvador Carmona (1734–1820) fue el más destacado grabador de la España ilustrada. Desde su formación en París como primer pensionado de la Real Academia de Bellas Artes de San Fernando para el estudio de la talla dulce en la rama de retratos e historia, su compromiso con el arte calcográfico fue ejemplar. En París aprendió con Nicolas-Gabriel Dupuis (1698–1771) y fue el primer español en ser nombrado grabador del rey de Francia. De él se decía que siempre estaba «o con el lapicero o con el buril en la mano», y es que dedicó su larga vida al arte, ya fuera como director de grabado en la Real Academia de San Fernando, como grabador del rey o como maestro de sus discípulos y familiares.
Precisamente es su faceta dibujística—casi desconocida hasta la fecha—la que, con el apoyo de 499 imágenes, se estudia aquí en detalle. Artista meticuloso, conservó gran parte de sus obras, y en este catálogo razonado se reúnen casi trescientos dibujos y contradibujos, tanto preparatorios para el grabado como trazados del natural. Especial valor adquieren los retratos—muchos inéditos hasta ahora—que realizó de sus familiares más cercanos mediante la técnica «de los tres lápices» (negro, rojo y blanco de clarión), cuyo mayor exponente en el París de principios del siglo XVIII era Jean-Antoine Watteau (1684–1721); su obra sirvió a Salvador Carmona para perfeccionarse. Este catálogo razonado contribuye significativamente al estudio del dibujo y el grabado en España al reunir por primera vez de forma sistemática el corpus de dibujos de un grabador y analizar con precisión los aspectos técnicos de los mismos como parte del proceso creativo de las estampas a las que sirvieron como punto de partida, atendiendo a los diferentes procedimientos y papeles empleados, así como a su tipología y su contexto histórico.
Ana Hernández Pugh es graduada en Historia e Historia del Arte por la Universidad CEU San Pablo de Madrid, donde obtuvo el Premio Extraordinario de Fin de Grado. Asimismo, posee el máster en Estudios Avanzados de Museos y Patrimonio Histórico-Artístico de la Universidad Complutense de Madrid y es diplomada en Artes Aplicadas a la Fotografía por el International College of Professional Photography de Melbourne. Gracias a distintas becas, completó su formación en la Biblioteca Nacional de España y en el Museo Nacional del Prado. Colaboró como investigadora en la exposición El maestro de papel. Cartillas para aprender a dibujar de los siglos XVII al XIX (2019) y, junto con José Manuel Matilla, es comisaria de la muestra Del lapicero al buril. El dibujo para grabar en la época de Goya (2023), ambas en el Prado.
Colloquium | Matières du Décor Architectural
From ArtHist.net:
Matières du Décor Architectural: XVIe–XVIIIe Siècles
Université de Franche-Comté, Besançon, 19–20 October 2023
Dans la continuité du Material Turn, de nombreux travaux ont été entrepris ces dernières années afin d’envisager le décor sous l’angle de la matière, souvent en privilégiant un matériau en particulier ou certains de ses acteurs. En croisant et en mettant en perspective les résultats des recherches récentes menées sur le bois, le stuc, le marbre, le verre, la céramique ou encore le cuir en tant que revêtement mural à l’époque moderne, le présent colloque a pour ambition de renouveler ces approches, parfois cloisonnées. L’objectif de ces deux journées est de réunir des spécialistes de ces matières, en fédérant une communauté de chercheurs autour de questionnements communs qui touchent aussi bien à l’histoire des techniques, qu’à celle du décor architectural ou des transferts artistiques en Europe. Les échanges permettront de confronter les méthodologies, les sources exploitées et les résultats des différents travaux afin de dresser un bilan, mais aussi de faire émerger de nouvelles idées à partir de l’actualité des recherches en cours, en prenant aussi en compte les chantiers de restauration et le rôle des humanités numériques dans la restitution et la compréhension des différentes matières du décor. Aucune inscription n’est nécessaire.
Organisation scientifique
Sandra Bazin-Henry (Université de Franche-Comté)
Matthieu Lett (Université de Bourgogne)
j e u d i , 1 9 o c t o b r e 2 0 2 3
9.15 Accueil des participants
9.30 Introduction
• Sandra Bazin-Henry et Matthieu Lett, Les matières du décor à l’épreuve du projet architectural
10.00 Expérimentation des Matières entre Magnificence et Intimité
• Pascal Julien (Université Toulouse – Jean Jaurès – FRAMESPA), Une majesté d’apparat: Couleurs marmoréennes dans les édifices en France, XVIe–XVIIe siècles
• Jean-François Belhoste (École pratique des Hautes Études), Le Grand Trianon: Un laboratoire pour les techniques du décor
• Sandra Bazin-Henry (Université de Franche-Comté – Centre Lucien Febvre), «Cabinets enchantés» : Réceptacles privilégiés d’une histoire des matières et du goût à l’époque moderne
12.30 Déjeuner
13.30 Matérialité de l’Ornement
• Céline Bonnot-Diconne (2CRC, Moirans), Les «cuirs de Cordoue», un art décoratif oublié
• Damien Tellas (Sorbonne Université – La Manufacture du Patrimoine), Jean Cotelle, Charles Errard et le plafond ornemental au milieu du XVIIe siècle
15.00 Pause
15.15 Bilan, Perspectives et Actualités de la Recherche
• Matthieu Lett (Université de Bourgogne – LIR3S), Virtualiser la matière: Que peuvent les outils numériques pour l’étude du décor architectural?
• Romain Thomas (INHA – Université Paris Nanterre), Présentation du projet ANR AORUM: Analyse de l’Or et de ses Usages comme Matériau pictural en Europe occidentale aux XVIe et XVIIe siècles
• Lionel Arsac (Musée national des châteaux de Versailles et de Trianon), Présentation d’un nouveau groupe de recherche sur le stuc dans les grandes demeures françaises, XVIe–XIXe siècles
v e n d r e d i , 2 0 o c t o b r e 2 0 2 3
9.00 Effets de Matières
• Nicolas Cordon (Université Paris 1 Panthéon-Sorbonne), Le blanc dans l’architecture religieuse de la première modernité
• Bérangère Poulain (Université de Genève), La couleur comme matière «agissante»: Perception et imaginaire de la peinture d’impression sur boiseries au XVIIIe siècle
10.30 Chantiers Franc-Comtois
• Christiane Roussel (Inventaire général du patrimoine), Besançon, palais Granvelle: Le décor de « tapisseries en cuir » dans l’inventaire après décès du comte de Cantecroix en 1607
• Mickaël Zito (Musée des Beaux-Arts et d’Archéologie de Besançon), Le stuc, une affaire de famille: Plongée au cœur de l’atelier des Marca, stucateurs de la Valsesia actifs en Franche-Comté, 1700–1850
12.00 Déjeuner
13.00 Chantiers Franc-Comtois
• Matthieu Fantoni (DRAC Bourgogne-Franche-Comté), La polychromie du décor du XVIIIe siècle à l’épreuve de sa restauration: Quelques études de cas sur le territoire franc-comtois
13.45 Conclusion
Exhibition | Claude Gillot
Claude Gillot, Scène de la comédie italienne: Une pantomime, pen and ink with red chalk wash and graphite drawing, 16 × 22 cm
(Paris: Musée du Louvre, INV 26748)
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300 years after his death, Gillot (1673–1722) was the subject of a spring show at The Morgan and a related symposium; a second exhibition opens next month at the Louvre:
Claude Gillot
Musée du Louvre, Paris, 9 November 2023 – 26 February 2024
Organized by Hélène Meyer and Xavier Salmon
A draughtsman and printmaker in the last years of the Grand Siècle, Claude Gillot is known for the inventiveness and originality of his works, heralding the freedom of expression and mores of the Régence period (1715–1723). With his parodies, witchcraft scenes, farces, and fairground improvisations, he is an artist known for satire, comedy, and performing arts. His countless drawings, coveted by collectors, nevertheless attest to extensive activity in a broad range of fields: illustration, theatre and opera, costume, and interior decoration. At the core of his work, a rich corpus of drawings illustrates his penchant for the comedy of the Comédie Italienne (Italian companies performing in France), with its pantomimes, acrobatics, and cross-dressing figures. A costume and set designer for the Paris Opera starting in 1712, Gillot was also a sought-after decorator, notably collaborating with Claude Audran III on private interiors and reinventing arabesque painting in the process.
Xavier Salmon, Hélène Meyer, and Jennifer Tonkovitch, Claude Gillot (1673–1722): Comédies, Fables, et Arabesques (Paris: Lienart, with the Musée du Louvre, 2023), ISBN: 978-2359064124, €32.
Online Resource | Glossary of Early Modern Popular Print Genres
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As recently noted on the SHARP listserv (Society for the History of Authorship, Reading, and Publishing) . . .
Jeroen Salman and Andrea van Leerdam, eds., Glossary of Early Modern Popular Print Genres (Utrecht University, 2023), link»
This glossary describes popular print genres of the early modern period (ca. 1450–1850) from a European perspective, covering terms in English, Dutch, French, German, Italian, and Spanish. It is being developed as part of the project The European Dimensions of Popular Print Culture (EDPOP), led by Dr Jeroen Salman at Utrecht University. The glossary is by no means exhaustive, but is intended to offer an overview of the concepts used in several European countries by experts in the field, as an aid to further research and to offer a state-of-the-art vocabulary for cataloging early modern popular printed materials. As a ‘work-in-progress’, it appears only online, to allow for easy updating. We invite all experts in the field to continue sending us corrections and additions.
More information is available here»
Exhibition | Dutch Art in a Global Age
Now on view at the NC Museum of Art and arriving at the Kimbell in the fall of 2024:
Dutch Art in a Global Age: Masterpieces from the Museum of Fine Arts, Boston
North Carolina Museum of Art, Raleigh, 16 September 2023 — 7 January 2024
Kimbell Art Museum, Fort Worth, 10 November 2024 — 9 February 2025
Jan van Huysum, Flowers in a Terracotta Vase, 1730, oil on panel, 80 × 61 cm (Museum of Fine Arts, Boston. Promised gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, L-R 13.2019).
In the seventeenth century, Dutch merchants sailed across seas and oceans, joining trade networks that stretched from Asia to the Americas and Africa. This unprecedented movement of goods, ideas, and people gave rise to what many consider the first age of globalization and sparked an artistic boom in the Netherlands.
Dutch Art in a Global Age brings together paintings by Rembrandt, Frans Hals, Gerrit Dou, Jacob van Ruisdael, Maria Schalcken, Rachel Ruysch, and other celebrated artists from the Museum of Fine Arts, Boston’s renowned collection. These are joined by prints, maps, and stunning decorative objects in silver, porcelain, glass, and more, from the seventeenth and the first half of the eighteenth centuries. Exploring how Dutch dominance in international commerce transformed life in the Netherlands and created an extraordinary cultural flourishing, the exhibition also includes new scholarship that contextualizes seventeenth-century Dutch art within the complex histories of colonial expansion, wealth disparity, and the transatlantic slave trade during this period.
Christopher D.M. Atkins, ed., Dutch Art in a Global Age (Boston: MFA Publications, 2023), 224 pages, ISBN: 978-0878468911, £54 / $60. With text by Christopher Atkins, Pepijn Brandon, Simona Di Nepi, Stephanie Dickey, Michele Frederick, Hanneke Grootenboer, Katherine Harper, Courtney Leigh Harris, Mary Hicks, Anna Knaap, Rhona MacBeth, Katrina Newbury, Christine Storti, Gerri Strickler, Claudia Swan, Jeroen van der Vliet, and Benjamin Weiss.
Online Conversation | The Van de Veldes at the Queen’s House
In connection with the exhibition at Greenwich; from The Warburg Institute:
Curatorial Conversation | The Van de Veldes at the Queen’s House, Greenwich
Online, 17 October 2023, 5.30pm
Curators Allison Goudie and Imogen Tedbury in conversation with Bill Sherman (Warburg Institute Director) and Gregory Perry (CEO, Association for Art History)
For almost 20 years in the late 17th century the Queen’s House at Greenwich was the studio address of the marine painters Willem van de Velde the Elder (1610/11–1693) and his son, Willem the Younger (1633–1707). Although the building itself bears little trace of the Van de Veldes’ presence, in the 20th century the Queen’s House once again became a home for their work, as the dedicated art gallery of the National Maritime Museum, custodian of the world’s largest collection of works by the Van de Veldes. Spanning scores of oil and pen paintings, a tapestry, and some 1,500 drawings, the collection is unique in what it can tell us about how a 17th-century artist’s studio functioned. The physical evidence provided by this collection proved invaluable for the evocation of the Van de Velde studio that forms a centrepiece of the current exhibition, The Van de Veldes: Greenwich, Art, and the Sea, marking 350 years since the Van de Veldes moved to England from the Dutch Republic. Showcasing major conservation projects on important works in the Greenwich collection that have their origin point in the Queen’s House studio, and notwithstanding a select number very generous loans, the exhibition was also a pragmatic solution to some of the challenges facing museums as they emerged from Covid, particularly how to make an event out of a permanent collection.
Online attendance is free, with advanced booking available here»
Allison Goudie is Curator of Art (pre-1800) at Royal Museums Greenwich. Before coming to Greenwich, she was Curator of Kenwood House and previously held curatorial positions at the National Gallery and the National Trust. She completed her PhD on the subject of royal portraiture during the Revolutionary and Napoleonic wars at the University of Oxford in 2014. She is the recipient of a Getty Paper Project grant to bring to life the collection of Van de Velde drawings at Greenwich and is leading on RMG’s programme in 2023 marking 350 years since the Van de Veldes arrived in England, the centrepiece of which is the exhibition in the Queen’s House co-curated with Imogen Tedbury.
Imogen Tedbury is an art historian and curator. She has held curatorial positions at Royal Holloway, University of London, the National Gallery, London, and the Queen’s House, Royal Museums Greenwich, where she was the co-curator of The Van de Veldes: Greenwich, Art, and the Sea. Her PhD (2018) explored the reception of Sienese painting, and her research has been supported by fellowships and grants from the Getty Research Institute, the Metropolitan Museum of Art, the Paul Mellon Centre, and the Warburg Institute. She is currently undertaking research for the early Italian paintings catalogue of the Norton Simon Museum.
This event is organised by the Association for Art History in conjunction with The Warburg Institute, University of London. Curatorial Conversations invites museum directors and makers of recent exhibitions at world-leading museums and galleries to the Warburg to discuss their work. The conversations, led by academics at the Warburg Institute, discuss the issues of setting the directorial or curatorial agenda and staging meaningful encounters with objects. The series is designed to draw out discussion of the discoveries made, challenges tackled and the lessons learned in heading a collection and putting together internationally renowned exhibitions.
At Auction | Complete Autograph Set of Constitution Signatories
I’m more interested in the history of such collections than the autographs themselves, though of course the latter varies from document to document. The former includes the story of early modern sociability, seventeenth-century antiquarianism, canon formation in the eighteenth century, the rise of celebrity cultures, and connoisseurship. The Robert D. Farber University Archives and Special Collections at Brandeis University possesses a significant autograph collection spanning 350 years. –CH
From Katherine Morley’s descriptive essay for the Brandeis collection, via the library’s website:
There was a major boom in autograph collecting in both Europe and America at the turn of the 19th century; this had the most impact on modern autograph collecting. One catalyst was likely the popularity of ‘Grangerizing’, which was the insertion of autographs and other illustrative material into printed books; another was the development of the art of handwriting analysis, which sought to uncover a person’s true self as it was expressed through his or her handwriting . . .
From the RR Auction press release, via Art Daily:
Ship’s passport in French, English, and Dutch, 26 July 1795, signed by George Washington, authorizing the passage of “Peter Cockran master or commander of the schooner called the Industry of the burthen of Ninety five & 48/95 tons or thereabouts, lying at present in the port of Washington bound for Falmouth and laden with Tar, Pitch, and Beeswax.”
Boston’s RR Auction announces its October Fine Autographs and Artifacts Sale, featuring over 900 extraordinary lots. The highlight of this exceptional event is an unparalleled collection: a complete set of autographs from all 40 signers of the American Constitution, including prominent founding fathers such as George Washington, Benjamin Franklin, and Alexander Hamilton (Lot 116, low estimate of $100,000).
This remarkable gathering of signatures represents a seminal document in American history that continues to be a touchstone for discussions on governance, rights, and bureaucracy. The Constitution of the United States has been the lifeblood of the American government, shaping the nation’s foundation, and serving as a global model for democratic governance. The collection includes manuscript material from all 40 signers, encompassing a variety of formats, from letters to documents and even paper currency. A standout piece is a three-language ship’s passport signed by President George Washington. Furthermore, this collection includes an additional autograph letter signed by the Secretary to the Constitutional Convention, William Jackson, who witnessed the Constitution’s final edits. This comprehensive collection totals 40 manuscript items, making it a first-class assembly of historical significance.
The sale also features these important manuscripts by renowned figures:
• Mark Twain: An attractive vintage photographic print of ‘Samuel Langhorne Clemens’ in a handsome half-length pose, ca. 1904, signed neatly by Mark Twain. This piece sheds light on Twain’s relationship with his secretary, Isabel Lyon, and the subsequent fallout, offering unique insights into the legendary author’s life.
• Dylan Thomas: A handwritten manuscript for a note published in his Collected Poems 1934–1952, where Thomas reflects on the purpose of his poetry, emphasizing his love for humanity and praise for God.
• Henry Miller: A unique archive of four published manuscripts, each signed by Henry Miller, which delve into character studies of individuals from his personal life. These manuscripts provide a fascinating glimpse into Miller’s influential circle.
• Charles Lindbergh: A handwritten draft of a New York Times article penned by Charles Lindbergh in 1929, discussing the advances in aviation and the limitless possibilities of powered flight.
Additional auction highlights include significant letters by Sigmund Freud, Alexander Graham Bell, Oliver Cromwell, and Harry Houdini. The collection also features signatures of iconic figures like the Beatles, Geronimo, and Martin Luther King, Jr. Online bidding for the sale will conclude on 11 October 2023.
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