the majority discussing preparations for a festival celebrating Beckett's 75th birthday in 1981, for which Rockaby was written ("...Rockaby was written for yr Project & must have its first performance on this occasion. If Irene Worth is not available another actress should be found. I suggest a companion piece Krapp's Last Tape with Rick Cluchey...", 9 October 1980), also updating Labeille on his work and struggles with writer's block ("...Wordless since Worstward Ho...", 11 February 1984), meetings ("...Hope to see Harold [Pinter] here, in Paris for French Homecoming...", 11 February 1984) and other plans, 30 pages, all with autograph envelopes and transcripts, Paris, Ussy and Tangier, 14 June 1978 to 28 April 1989

[with:] Rockaby, photocopy corrected typescript sent by Beckett to Labeille, underlining in red to second page by Labeille following Beckett's direction, six pages, with autograph envelope; retained copies of six letters by Labeille, five to Beckett and one to Alan Schneider (sending him notes on Rockaby derived from conversations with Beckett), 1 October 1979 to 28 April 1981; ten photographs of Beckett, Billie Whitelaw, Alan Schneider, and Labeille, mostly during rehearsals for Rockaby; two related telegrams; and printed ephemera for "A Samuel Beckett Celebration" in Buffalo, NY, April 1981

Condition is described in the main body of the catalogue, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A CORRESPONDENCE SHEDDING LIGHT ON THE ORIGINS OF ROCKABY. Daniel Labeille, a Professor of Theater Studies at SUNY, wrote to Beckett on 1 October 1979 giving a careful explanation of his plan for a Beckett festival, which was to include filmed rehearsals. He received Beckett's approval within a week. The men discussed various works for possible inclusion - at one point, for example, Labeille asked for and received textual changes that Beckett had recently made to Endgame ("...The changes are not necessarily valid for all productions. You are free to adopt them or not, as you see fit...", 22 August 1980) - but Labeille eventually received the cautious promise of a new work ("... Come & Go & Footfalls fine with me. A new piece for the occasion if I possibly can. I doubt it...", 17 March 1980). This was followed, on 5 August, by the typescript of Rockaby, and the new work was eventually accompanied by a reading of the story Enough, although Beckett's endorsement of the latter was decidedly lukewarm: "I don't know what a dramatic reading is" (16 November 1980). Several of Beckett's letters refer to Rockaby, including a textual change ("...second 'Time she stopped' shd be underlined, i.e. spoken line. Faintly...", 18 February 1981) and his approval of the fortuitous replacement of the actor Irene Worth by the great Beckett actress Billie Whitelaw (whose own archive of papers relating to her work with Beckett was sold in these rooms on 9 December 2014, lot 104).