When young Harry Kleiman’s family moved to Los Angeles in 1968, the cartoon fanatic—insatiable in his appetite for all things animated—began spending nearly every day after school visiting animation studios, learning about the process, and meeting the industry’s icons: Walter Lantz, Bob Clampett, Bill Hanna and Joseph Barbera, Chuck Jones, Marc Davis, Ollie Johnston, Frank Thomas, Ward Kimball, Grim Natwick, and Friz Freleng. These meetings sparked what would become his lifelong passion and business pursuit.
In 1980, Kleiman finished college and founded Collectors Paradise Galleries, attending dozens of conventions each year to buy, sell, and—his favorite—educate new collectors. In 1982, he was the first person to approach the Don Bluth Studio about selling their original cels from The Secret of Nimh. He also began making deals with Gary Goldman, offering cels from Dragon’s Lair and Space Ace. In 1984, he partnered Collectors Gallery in Studio City, where he was introduced to fellow animation enthusiasts from around the world.
Over the years, Kleiman accumulated one of the most impressive animation art collections in existence, portions of which he generously lent out to animation scholars to continue broadening the world’s understanding and appreciation of this beloved art form. As an animation veteran who has spent his life studying, buying, and selling, Kleiman is eager to branch out and educate the next generation. We are proud to be a part of his lifetime of passion.
August 13, 2025
At 6 p.m. on Wed. August 13th t he one-hour extended bidding period begins followed immediately by the 30 Minute Rule. All times in RR Auction guidelines and instructions are stated according to the Eastern (U.S.) time zone.
Bob Eaton CEO, Acquisitions bob.eaton@rrauction.com
Joe Boucher Production Assistant joe.boucher@rrauction.com
Patty Kleiman Production Assistant
Robert S. Eaton Sr. 1940–2001
Presidents and First Ladies
Washington approves a Society of Cincinnati membership, commemorating the “great Event which gave Independence to North America”
1. George Washington Document Signed - Society of Cincinnati Membership Certificate. Partly-printed vellum DS, signed “Go: Washington,” one page, 21.75 x 14, May 5, 1784. A Society of Cincinnati membership certificate issued to Moses White. In part: “Be it known that Moses White… is a Member of the Society of the Cincinnati; instituted by the Officers of the American Army, at the Period of its Dissolution, as well to commemorate the great Event which gave Independence to North America, as for the laudable Purpose of inculcating the Duty of lying down in Peace Arms assumed for public Defence, and of uniting in Acts of brotherly Affection, and Bonds of perpetual Friendship… In Testimony whereof I, the President of the said Society, have hereunto set my Hand at Philadelphia.” Signed at the conclusion by George Washington as the Society’s president and countersigned by Henry Knox as secretary. Ornately double-matted and framed with an engraved portrait and descriptive plaques to an overall size of 33.5 x 34.75. In very good condition, with fading to all of the handwritten portions, including both signatures; Washington’s signature is very faint, but still fully legible.
The Society of the Cincinnati was founded in May 1783 as an exclusive fraternal organization for officers who had served at least three years in the Continental military, as well as high-ranking officers in the French military. Washington was elected as the first President General of the Society in December of 1783 and served until his death in 1799, when he was succeeded by Alexander Hamilton. Society of the Cincinnati documents are quite rare and represent one of the most desirable formats of all Washington documents available. Starting Bid $1000
Jefferson addresses his Monticello brewer, Captain Joseph Miller
3. Thomas Jefferson Signed Free Frank to His Monticello Brewer, Capt. Joseph Miller. Desirable hand-addressed free frank, 4.75 x 2, addressed in Jefferson’s hand to “Capt. Joseph Millar [sic],” and franked in the upper left, “Free, Th: Jefferson.” Dated in another hand at upper right, “Milton, 24 July.” Nicely matted and framed with an engraved portrait (featuring Jefferson’s facsimile signature) to an overall size of 10.5 x 15.5. In fine condition, with some trivial loss to the top edge. Captain Joseph Miller (1776-1824) was an English expatriate and master brewer who was instrumental in establishing brewing operations at Monticello in 1813. Starting Bid $300
“Be
assured of my tenderest love”—
President Jefferson’s retained polygraph letter to his daughter, arranging for his grandson’s education in Philadelphia
2.Thomas Jefferson Polygraph Letter as President to His Daughter, Martha, Arranging for His Grandson’s Visit to Philadelphia. Polygraph letter as president, one page, 7.25 x 9, July 11, 1808. Thomas Jefferson’s retained polygraph copy of a letter to his daughter, Martha Randolph, focused on arranging a visit to Philadelphia for his favorite grandson, Thomas Jefferson Randolph. Hand-docketed on the reverse by Jefferson, “Randolph, Martha, July 11. 08.” Jefferson was an avid user of a copying machine known as a ‘polygraph,’ which he acquired around 1804 from inventor Charles Willson Peale. The device used a system of connected pens to create a simultaneous copy of whatever Jefferson wrote by hand. He considered it ‘the finest invention of the present age’ and used it extensively to duplicate his correspondence for his own records. Today, Jefferson’s retained polygraph letters are highly prized by collectors and historians alike, often realizing higher prices than their autograph twins when auctioned.
The letter, in part: “My last letter from Edgehill mentioned that you had been indisposed but had got the better of it. Having no letter from Edgehill by this mail I can only hope you continue well.
In a conversation with you on the subject of Jefferson’s going to Philadelphia you mentioned that Mr. Randolph thought of declining it, and I do not know whether I inferred rightly from what you said, that a supposed inconvenience to me might make a part of his reason. If a disapprobation of the measure or any other reasons prevail with him against his going there, the measure certainly rests with him altogether. I only wish that so far as any supposed inconvenience to me might be a motive for declining, that that may cease to have any weight.
What I mentioned in a former letter, that I would furnish his expences during my stay here, and attend to whatever concerned him, I wish to do, and can do without inconvenience. His fixed expences there will not exceed 40 or 50 d. a month, which I shall not feel while I am here. Should therefore this be the only ground of Mr. Randolph’s hesitation, I intreat that it may be done away, without however any opposition to his own judgment or any other grounds which may excite any doubt with him as to the advantage of the measure.
Anne’s matter with Mrs. Madison has been attended to. I think it possible I may be able to leave this three or four days earlier than I mentioned…I think you will see me from Friday to Sunday or Monday. Present me affectionately to Mr. Randolph and the children and be assured of my tenderest love. Th. Jefferson.” In fine condition, with uniform toning and archival reinforcements to intersecting folds.
Provenance: Property of the Elsie O. and Philip D. Sang Foundation, Sotheby Parke Bernet, June 3, 1980.
Thomas Jefferson had a close and affectionate relationship with his eldest grandson, Thomas Jefferson Randolph, whom he helped raise and educate. Jefferson took a personal interest in Randolph’s development, grooming him as a potential heir to his legacy. In 1808, at the age of 16, Randolph traveled to Philadelphia at the president’s behest, where he studied natural sciences and anatomy at the University of Pennsylvania. This visit marked an important step in Randolph’s education and reflected Jefferson’s belief in the importance of rigorous learning and civic responsibility for the next generation.. Starting Bid $500
Dual-signed appointment from President Pierce and Secretary of War Davis, approving a commission for a Civil War veteran and a participant in the suppression of John Brown’s raid at Harper’s Ferry
4. Franklin Pierce and Jefferson Davis Document Signed as President and Secretary of War. Partly-printed vellum DS, signed “Franklin Pierce” as president and “Jeffer. Davis” as secretary of war, one page, 12.75 x 16.5, August 4, 1854. President Pierce appoints Judson D. Bingham as a “Second Lieutenant in the Second Regiment of Artillery in the service of the United States.” Signed at the conclusion by President Franklin Pierce and countersigned by Secretary of War Jefferson Davis. The beige paper seal remains affixed to the upper left. Matted and framed to an overall size of 19.25 x 23.25. In very good condition, with somewhat heavy overall wrinkling, and fading to Davis’ signature.
New York native Judson David Bingham graduated from West Point in 1854. He took part in the suppression of John Brown’s raid at Harper’s Ferry in 1859, and during the Civil War served in charge of trains and supplies of General Banks’s command in Maryland in 1861, of tile quartermaster’s depot at Nashville, Tennessee, in 1862-63, and as chief quartermaster of the Army of the Tennessee. He took part in the Siege of Vicksburg and the invasion of Georgia. On April 9, 1865, he was brevetted Brigadier-General for faithful and meritorious services during the rebellion. Starting Bid $200
“Respectfully submitted to the Sec. of War.
A. Lincoln, Jan. 7, 1864”
5. Abraham Lincoln Autograph Endorsement Signed as President (January 7, 1864). Civil War-dated handwritten endorsement signed as president, “Respectfully submitted to the Sec. of War. A. Lincoln, Jan. 7, 1864,” on an off-white 2.5 x 1.75 sheet clipped from a document. Double-matted and framed with an engraved portrait of Abraham Lincoln to an overall size of 10.25 x 15.25. Frame backing bears a copy of the original 1977 receipt from B. Altman and Company. In fine condition.
Although unconfirmed, this endorsement may relate to a request that Major Hiram B. Crosby of the 21st Connecticut Volunteers be appointed as assistant adjutant general of an army corps. The recommendation was sent to Lincoln on December 29, 1863, by Connecticut Governor William A. Buckingham, and then endorsed by Senator Lafayette S. Foster on January 7, 1864, when Lincoln ostensibly received the letter and forwarded it to War Secretary Edwin Stanton, who ultimately replied: ‘By the regulations of the Service the Staff officers of Corps Commanders are nominated by the Commander & if there be no objection to the individual it is approved by the Dept.’
On January 7, 1864, President Lincoln also withheld his signature for an order to execute a Union deserter, Henry Andrews. Lincoln wrote: ‘The case of Andrews is really a very bad one, as appears by the record before me. Yet before receiving this I had ordered his punishment commuted to imprisonment for duration of the war at hard labor, and had so telegraphed. I did this, not on any merit in the case, but because I am trying to evade the butchering business lately.’ This matter was, however, not directed to Stanton but to Salmon P. Chase, who communicated with George Hoadley, his old law partner, on the execution status of Andrews. Starting Bid $1000
Beautifully preserved presidential document boasting a crisp signature of Abraham Lincoln
6. Abraham Lincoln Document Signed as President (March 4, 1864) - An Exceptionally Clean Example. Civil War-dated DS as president, one page, 15.75 x 19.75, March 4, 1864. President Lincoln appoints E. T. Wells as “Assistant Adjutant General of Volunteers with the rank of Captain in the service of the United States.” Signed beautifully in crisp black ink by Abraham Lincoln, and countersigned by Secretary of War Edwin M. Stanton. The bright green War Office seal remains affixed to the upper left section. In fine condition, with intersecting fold as issued. An immaculate, remarkably preserved presidential document highlighted by a marvelously bold signature of Abraham Lincoln. Starting Bid $1000
President Johnson proclaims the ‘Kit Carson Treaty’ of 1868— an agreement between the United States and seven bands of Ute Indians
7. Andrew Johnson Document Signed as President for the ‘Kit Carson Treaty’ of 1868, made between the United States and Seven Bands of Ute Indians. Partly-printed DS as president, one page, 8 x 10, November 6, 1868. President Johnson authorizes and directs the Secretary of State to affix the Seal of the United States to “the Proclamation of a Treaty, concluded March 2, 1868, between the United States and the Tabeguache, Muache, Capote, Weeminuche, Yampa, Grand River, and Uintah bands of Ute Indians.” Boldly signed at the conclusion in ink by President Andrew Johnson. Affixed by its left edge inside a paper folder, along with an official printing of the treaty. In fine condition, with light toning to the edges and folds. Read more online at www.RRAuction.com. Starting Bid $200
8. U. S. Grant Document Signed as President for a “Convention between the United States of America and the Mexican Republic” . Partly-printed DS as president, one page, 7.75 x 9.75, June 27, 1876. President Grant authorizes and directs the Secretary of State to affix the Seal of the United States to “my ratification of a Convention between the United States of America and the Mexican Republic signed on the 29th April, 1876.” Boldly signed at the conclusion in ink by President Ulysses S. Grant. In fine condition. Read more online at www.RRAuction.com. Starting Bid $200
President Truman’s historic WWII victory proclamation: “The Allied Armies, through sacrifice and devotion and with God’s help, have wrung from Germany a final and unconditional surrender”
9. President Harry S. Truman Signed 1945 WWII Victory Proclamation Broadside. World War II-dated proclamation broadside presented as a Christmas gift by President Harry S. Truman in 1945, 14 x 21.25, signed in the lower right corner in fountain pen, “Harry S. Truman.” The decorative broadside contains President Truman’s V-E Day proclamation of May 8, 1945, the day following the German surrender, calling for a day of prayer to be celebrated on May 13, 1945. The text reads, in part: “The Allied Armies, through sacrifice and devotion and with God’s help, have wrung from Germany a final and unconditional surrender. The Western World has been freed of the evil forces which for five years and longer have imprisoned the bodies and broken the lives of millions upon millions of free-born men. They have violated their churches, destroyed their homes, corrupted their children, and murdered their loved ones. Our Armies of Liberation have restored freedom to these suffering people, whose spirit and will the oppressors could never enslave. Much remains to be done. The victory won in the West must now be won in the East. The whole world must be cleansed of the evil from which half the world has been freed. United the peace-loving nations have demonstrated in the West that their arms are stronger by far than the might of the dictators or the tyranny of military cliques that once called us soft and weak…
Now, therefore, I, Harry S. Truman, President of the United States of America, do hereby appoint Sunday, May 13, 1945, to be a day of prayer. I call upon the people of the United States, whatever their faith, to unite in offering joyful thanks to God for the victory we have won and to pray that he will support us to the end of our present struggle and guide us into the ways of peace. I also call upon my countrymen to dedicate this day of prayer to the memory of those who have given their lives to make possible our victory. In witness whereof, I have hereunto set my hand and caused the seal of the United States of America to be affixed.” The lower left bears a red, white, and blue grosgrain ribbon. Framed to a slightly larger size and in fine condition.
The consignor notes that the original recipient of the document, Elmer W. Moore, was a Secret Service agent for nearly four decades who served for a year on Truman’s personal White House detail. On Harry S. Truman’s 61st birthday, Tuesday, May 8, 1945, having only recently assumed the presidency, he held a press conference in the Oval Office to announce Germany’s surrender from World War II. Before an audience of his cabinet and other dignitaries, President Truman delivered this proclamation and declared May 13, 1945, a day of prayer in honor of those who served. A remarkable proclamation from a hard-won day of celebration—a day that brought one of the darkest periods of modern history to a close. Starting Bid $300
“I believe that price stability in steel is essential if we are to maintain the economic vitality necessary to face confidently the trials and crises of our perilous world”—President Kennedy urges the steel industry to hold prices steady, emphasizing the potential negative consequences of a price increase on the broader economy
11. John F. Kennedy Lengthy Typed Letter Signed as President - Aiming to Prevent a Hike in Steel Prices. TLS as president signed “John Kennedy,” three pages, 8 x 10.5, White House letterhead, September 6, 1961. Lengthy letter to Thomas F. Patton, president of the Republic Steel Corporation, in part: “I am taking this means of communicating to you, and to the chief executive officers of 11 other steel companies, my concern for stability of steel prices. In the years preceding 1958, sharply rising steel prices and steel wages provided much of the impetus to a damaging inflation in the American economy…A steel price increase in the months ahead could shatter the price stability which the country has now enjoyed for some time. In a letter to me on the impact of steel prices on defense costs, Secretary of Defense McNamara states: ‘A steel price increase of the order of $4 to $5 a ton, once its effects fanned out through the economy, would probably raise military procurement costs by $500 million per year or more.’
Steel is a bellwether, as well as a major element in industrial costs. A rise in steel prices would force price increases in many industries and invite price increases in others. The consequences of such a development might be so grave… as to require the adoption of restrictive monetary and fiscal measures which would retard recovery, hold unemployment at intolerable levels, and hamper growth…
I have written you at length because I believe that price stability in steel is essential if we are to maintain the economic
vitality necessary to face confidently the trials and crises of our perilous world. Our economy has flourished in freedom; let us now demonstrate again that the responsible exercise of economic freedom serves the national welfare.” In fine condition, with areas of faint toning, and a small old tape stain to the first page. Accompanied by a copy of Patton’s typed response from September 13, 1961, which politely dismisses the “statistical data furnished by your advisors.”
On September 7, 1961, President Kennedy issued a letter to the chief executives of 12 leading steel companies, expressing his strong belief that there was ‘no justification for an increase in steel prices.’ He warned that such an increase could necessitate government intervention in the economy, potentially hindering recovery, increasing unemployment, and impeding economic growth. Kennedy’s administration became actively involved in negotiations with the steel industry and the union to achieve an agreement that would avoid a price hike, particularly given a wage increase scheduled for October 1, 1961. The administration’s position was that the wage increase was ‘non-inflationary’ and that rising steel output per man could potentially offset labor costs, making a price increase unnecessary. Kennedy viewed steel prices as crucial to the strength of the economy, warning that an increase could trigger price increases across various industries and negatively impact the U.S. balance of payments position. Although there was talk of a possible price increase by some industry leaders, no general increase took place in September 1961. Starting Bid $300
Jimmy Carter introduces Fidel Castro to the ‘Friendship Force’ founder
12. Jimmy Carter Typed Letter Signed to Fidel Castro. TLS signed “Jimmy Carter,” one page, 7.25 x 10.5, personal letterhead, April 10, 1989. Remarkable letter to “His Excellency Dr. Fidel Castro Ruz, President of the Council of State of the Republic of Cuba, Havana,” in full: “I am writing in regard to the Friendship Force and to let you know of my association with this fine organization. Rosalynn and I have been long time supporters of the Friendship Force, and we will be grateful for any courtesies that may be extended to Dr. Wayne Smith, the Founder and Director.” In fine condition, with scattered light foxing and a JSA label affixed to the reverse. Accompanied by a certificate of authenticity from JSA and the original transmittal envelope, not postally used as the letter was most likely shown to Castro in person by Smith.
Founded in 1977 by Wayne Smith and supported by President Jimmy and Roselyn Carter, Friendship Force International is a non-profit cultural organization focused on promoting understanding, cultural education, and citizen diplomacy. A superb association piece as a piece of correspondence from a former president of the United States to the controversial Cuban leader. Starting Bid $200
The White House meets the diamond—set of five Rawlings baseballs signed by former American Presidents Joe Biden, George Bush, George W. Bush, Bill Clinton, and Barack Obama
13. Five Presidents (5) Signed Baseballs. Superb set of five official Rawlings baseballs individually signed on the sweet spot in ink or felt tip by an American president: Joe Biden, George Bush, George W. Bush, Bill Clinton, and Barack Obama. In overall very good to fine condition, with varying degrees of toning to each ball, and some pen trouble to the Biden signature. A sought-after group of presidentially signed baseballs, a sought-after format that combines America’s history with its national pastime. Starting Bid $200
Rare document
Notables
Philadelphia merchants Declaration of Independence
related to Pennsylvania’s influential passage of ‘An Act for the Regulation of Bankruptcy’—Benjamin Franklin supervises an early bankruptcy case between
120. Benjamin Franklin Document Signed as President of Pennsylvania, Overseeing an Early Bankruptcy Case (1787). Historic manuscript DS, signed “B. Franklin,” two pages, 7.25 x 12, March 7, 1787. Petition submitted to “his Excellency Benjamin Franklin Esquire President of the Supreme Executive Council of the Commonwealth of Pennsylvania,” in part: “The Petition of Conrad Hester and Elizabeth Singeisen of the City of Philadelphia in Behalf of themselves and other Creditors of Abraham Bachman…Abraham Bachman using & exercising the Trade of a Merchant…being indebted unto your Petitioners in the Sum of Three hundred Pounds on or about the Sixth Day of March Instant did become Bankrupt within the Meaning of the Act of Assembly of this State lately made entitled ‘An Act for the Regulation of Bankruptcy’ to the Intent to defraud & hinder your Petitioners and others…May it please your Excellency to grant unto your Petitioners a Commission under the Great Seal of the Commonwealth…authorising them thereby not only concerning the said Bankrupt his Body, Lands & Tenements, Goods, Chattels, Debts, and others Things whatsoever…To do and execute all and every the Thing & Things whatsoever as well for & towards Satisfaction & Payment of the said Creditors.” Signed at the conclusion by the petitioners with their marks, and countersigned as “sworn before me” by Benjamin Franklin. Handsomely cloth-matted and framed with a plaque and engraved portrait to an overall size of 35 x 20.5. In fine condition, with trimming to the bottom of the signed page.
An exceptional document linked to the first modern bankruptcy law enacted in Pennsylvania in 1785, ‘An Act for the Regulation of Bankruptcy,’ one of the first instances the term ‘bankruptcy’ is used in American law. Very few jurisdictions during the later part of the 17th century and the beginning of the 18th century, and Pennsylvania in 1785, enacted legislation based on the English bankruptcy acts, in which the creditors initiated proceedings against merchants. Franklin, in his capacity as president of Pennsylvania’s Supreme Executive Council, played a role in overseeing the legal proceedings related to bankruptcy, connecting the document to a pivotal period in American legal history. In essence, this handwritten artifact reflects the practical application of early bankruptcy regulations and stands as a tangible link between Franklin’s influence, the evolving legal landscape of the late 18th century, and the nascent stages of modern bankruptcy regulation in the United States. Starting Bid $1000
121. John Hancock Document Signed as Governor of Massachusetts (September 29, 1790). Partly-printed DS, one page, 8 x 12.75, September 29, 1790. As Governor of Massachusetts, John Hancock approves a land transaction “For and in consideration of the Sum of Twenty Three Pounds, Five Shillings…truly paid by Ashbel Willard of Holden in the county of Worcester…[for] a certain tract of land in the center of Holden…containing by estimation Thirty eight acres and eight rods.” Signed prominently at the conclusion by John Hancock, and countersigned by William Donnison (1757-1834), a Continental Army Officer of the Revolutionary War, who served at various times as an Aid to Governor Hancock, Adjutant General of the Massachusetts Militia, and a Judge of Common Pleas; he also uncovered a major political scandal during the Federalists and Anti-Federalists debates, over the ratification of the United States Constitution. In fine condition. Starting Bid $500
Supreme Court
125. Warren Court Oversized Signed Photograph. Vintage matte-finish 14 x 10.5 photo of the Warren Court in their judicial robes by Ackad of Washington, signed in the lower border in ink by Earl Warren, Hugo L. Black, William O. Douglas, John M. Harlan II, William J. Brennan, Jr., Potter Stewart, Byron R. White, Abe Fortas, and Thurgood Marshall. Matted and framed to an overall size of 19.25 x 15. In fine condition, with minor fading to the Warren and Douglas signatures. Starting Bid $200
World Leaders and Policians
Iconic signed portrait of Ho Chi Minh
128. Ho Chi Minh Signed Photograph. Choice vintage matte-finish 4.25 x 5.75 head-and-shoulders photo of Ho Chi Minh, nicely signed in the wide lower border in fountain pen. The reverse bears a handwritten note in a secretarial hand: “Please accept it as a token of friendship from our President towards you.” In fine condition, with creasing to the bottom corners which could easily be matted out. A rare and iconic portrait of the North Vietnamese leader. Starting Bid $500
“Keep my movement strictly secret for it is very important to our cause”—
Sun Yat-sen triumphantly returns to China by way of London amidst the 1911 Revolution
129. Sun Yat-sen Autograph Letter Signed, Triumphantly Returning to China by way of London amidst the 1911 Revolution: “Keep my movement strictly secret for it is very important to our cause”. ALS signed “Y. S. Sun,” one page, 5 x 8, “On board R.M.S. ‘Adriatic’” letterhead, November 8, 1911. Handwritten letter to his British friends and benefactors, “Dr. & Mrs. Cantlie,” in full: “I am coming to London and will see you as soon as I have settled up business. Please keep my movement strictly secret for it is very important to our cause. If any letters and cablegrams send to your care for me please keep them for my calling.” In fine condition.
A pioneer of first aid, the physician James Cantlie befriended Sun Yat-sen while teaching him at the Hong Kong College of Medicine for Chinese. While living in exile in 1896, Sun was detained at the Chinese Legation in London, where the Chinese Imperial secret service planned to smuggle him back to China to execute him for his revolutionary activities. Cantlie played a major role in obtaining his release, leading a media campaign in The Times and The Globe. The Cantlies remained Sun’s closest friends and allies outside China for the rest of his life.
In the years that followed, Sun Yat-sen oversaw and instigated a string of failed revolutionary attempts to overthrow the Qing dynasty. Exiled and continuing his political activities abroad, Sun was in the United States rallying support for his cause when he received momentous news: on October 10, 1911, Huang Xing had successfully led a military uprising in Wuchang—an event that would mark the beginning of the Xinhai Revolution. Energized by this breakthrough, Sun quickly altered his plans and departed for London, as confirmed by the present letter, with the aim of securing British financial backing for the emerging Chinese republic.
Despite his best efforts, his stay in London proved fruitless in terms of securing material support. Undeterred, Sun left for China and arrived in Shanghai on December 21, 1911, where he was met with great enthusiasm. Within days, he was appointed the ‘Provisional President’ of the nascent Republic of China, which was formally declared on January 1, 1912. However, recognizing the need to unify the fractured political factions and to gain the allegiance of powerful northern military leaders, Sun voluntarily stepped down shortly thereafter, ceding the presidency to Yuan Shikai in hopes of stabilizing the young republic. A remarkable letter from a triumphant period in Sun Yat-sen’s life and political career. Starting Bid $5000
Royalty
132. Queen Elizabeth II Signature Display. Large ink signature, “Elizabeth R., July 9th, 1975,” on an off-white 9.5 x 7.75 sheet removed from a register or guest book. Impressively matted with two color portraits, two gold-tone plaquettes, and four medallions honoring the Queen’s silver jubilee and diamond jubilee. Framed under Tru Vu UV-protective glass to an overall size of 28.25 x 29.25. In fine condition. Starting Bid $200
Activists and Social Leaders
Clara Barton pens an ode to the Fourth of July: “God keeps forever our national day”
136. Clara Barton Twice-Signed Autograph Poem on a Boudoir Card Photograph. Uncommon circa 1902 boudoir card photograph showing Clara Barton flanked American Red Cross supporter B. F. Tillinghast and Russian Admiral Nikolai Kaznakoff, taken during an International Red Cross conference in St. Petersburg, Russia, in June 1902, 6 x 8.75, signed and inscribed on the reverse in ink, “To Princess Agnes of Salm Salm, from her sister friend, Clara Barton.” Below, Barton pens a marvelous poem in four six-line stanzas, signed again at the conclusion, “Clara Barton.” The poem, in full aviable online at www. RRAuction.com. In very good to fine condition, with a light stain to the poem, and a scratched out identification notation beneath the image. Agnes of Salm-Salm (1844–1912) was the American wife of Prince Felix zu Salm-Salm, a Prussian military officer and royal by birth whose scandals forced him to emigrate to the United States. During the Civil War, he served as a colonel and later as a brigadier general by brevet the Union Army. Meeting Felix at an event hosted by President Lincoln in Washington D.C in 1861, Agnes and Felix married the following year. She soon joined him on the battlefield when he became adjutant of Louis Blenker in the Army of the Potomac. During her time in the field she learned to take care of the sick and wounded; eventually crossing paths and forming a friendship with Barton. Starting Bid $200
137. Nelson Mandela Signed Lithograph‘The Tennis Court’ (Ltd. Ed. # 152/350) (20˝ x 16˝). Color limited edition 20 x 16 lithograph of Nelson Mandela’s artwork entitled ‘The Tennis Court,’ portraying the court in the Robben Island prison yard, numbered 152/350, signed in the lower right in pencil, “N. Mandela.” The lithograph suite is complete with the print of Mandela’s artist statement in facsimile (with his facsimile signature) and a print of Grant Warren’s photograph of the Robben Island tennis court, signed in pencil by Warren. Rolled and in very fine condition. Accompanied by the publisher’s certificate of authenticity. Starting Bid $300
Scientists and Inventors
143. Ernest Rutherford Autograph Letter Signed on Receiving the Albert Medal. New Zealand-born physicist and chemist (1871–1937) who discovered the concept of radioactive half-life; he was awarded the Nobel Prize in Chemistry in 1908. ALS signed “E. Rutherford,” one page, 4.25 x 7, blindstamped Newnham Cottage letterhead, May 28, 1928. Handwritten letter on his receipt of a medal from the Royal Society, in full: “With reference to your inquiry, I would be present to receive the Albert Medal on the date proposed July 19. I will reply formally when I receive a statement of the terms of award &c.” In very fine condition.
Ernest Rutherford received the Albert Medal of the Royal Society of Arts in 1928 for his contributions to science and technology, particularly in the field of radioactivity and atomic structure. The medal was established in 1864 as a memorial to Prince Albert and is awarded for ‘distinguished merit in promoting Arts, Manufactures and Commerce.’ Starting Bid $200
Boldly twice-signed first edition of Edison: His Life and Inventions—the first authorized biography of the genius inventor
141. Thomas Edison Twice-Signed Book Set - Edison: His Life and Inventions. Signed book set: Edison: His Life and Inventions, Vols. I and II, by Frank Lewis Dyer and Thomas Commerford Martin. First edition. NY: Harper & Brothers, 1910. Hardcovers bound in the publisher’s finely woven deep blue cloth with brightly gilt-titled spines, top edge gilt 5.5 x 8.5, 989 pages. Signed on the first free end page of Volume I in fountain pen, “Thomas A. Edison,” and on the first free end page of Volume II, “Thos. A. Edison.” Autographic condition: fine, with a few small ink stains to the signed page, and the ownership signature of Orville Stillman below Edison’s autograph in both volumes. Book condition: VG/None, with bumped corners, some foxing and toning to textblock, an ownership stamp to first free end page, edgewear, and newspaper articles affixed to endpapers of Vol. II. Accompanied by a full letter of authenticity from JSA.
Edison: His Life and Inventions is a comprehensive authorized biography of Thomas Edison. Drawing on personal interviews, Edison’s own notes, and firsthand accounts, the authors detail his major inventions, relentless work ethic, and contributions to modern technology. The work paints Edison as a quintessential American genius, emphasizing both his technical brilliance and his entrepreneurial spirit. Starting Bid $300
War-dated letter from Morse to his brother-in-law, a famed Confederate swordmaker—
“I cannot but hope you will be relieved of your business difficulties soon and with your energy & talent that you will be again in prosperous circumstances”
142. Samuel Morse War-Dated Autograph Letter Signed. Civil War-dated ALS signed “Saml. F. B. Morse,” three pages on two adjoining sheets, 5.25 x 8.5, October 19, 1863. Addressed from Poughkeepsie, New York, a handwritten letter to his brother-in-law, Arthur B. Griswold, the famous sword and button maker for the Confederacy, who evidently was in some financial difficulty at the time. In full: “I have but a moment in the midst of innumerable cares to drop you a line in brief answer to your letter. And first on business. The notes of the firm Hyde and Goodrich I sent to Misters Glaenzer & Versepuy in Paris, before the war, I think, or at any rate at a time when I supposed it would be more convenient & surer to have them paid there, than to run the risk of transmitting funds here. I send you enclosed Mr. Goodrich’s memorandum sent me from Paris, and I vouch for the accuracy of the description of the notes. I enclose also a press copy of a letter I addressed by the last steamer to Maj. Gen. Banks, which explains itself and which I was induced to write to propitiate an influence which might be of service to you. I also enclose two of my latest pamphlets, which is just out but is providing some stir. I cannot but hope you will be relieved of your business difficulties soon and with your energy & talent that you will be again in prosperous circumstances. We all think and talk of you a great deal, and you may rest assured that those who are nearest of kin, have not only not abated one jot of their warm affection for you and all your kindred, but if possibly love you in your troubles more warmly than ever. We are all well and each and all send you oceans of love. By the by when you write your dear mother, don’t write of your troubles, write them to me. For some weeks it has affected her so severely that we have even feared for her reason. Your last note to Sarah in its hopeful tone, restored her spirits and she is now as cheerful as usual. God bless you all.” Morse adds a quick postscript: “Don’t forget kindest remembrances to Mr. Southmayd and all his children.” In fine condition, with small repairs to splitting along the folds. Accompanied by the original mailing envelope, addressed to Arthur B. Griswold at the firm of Griswold and Thomas, New Orleans, Louisiana, and franked in the upper right by Congressman James Brooks. Starting Bid $200
American West
“The book ‘When the Daltons Rode’ can be gotten at most all large book stores, if not, the publishers Doubleday, Doran & Co.”
149. Emmett Dalton Typed Letter Signed on His Book, ‘When the Daltons Rode’. Outlaw and train robber (18711937) who was the youngest of the brothers that made up the legendary Dalton Gang of the Old West. He was sentenced to life in prison after an attempted bank robbery in 1892, but was pardoned 14 years later, after which he became a reformed, respectable member of society. After moving to California to work in real estate, he also embarked on a career in the arts, capitalizing on his notoriety to publish books and begin a career in Hollywood. TLS, one page, 7.75 x 9.75, June 26, 1931. Letter to Dr. C. M. Davis, in full: “Thank you very kindly for your letter of June 22. I well remember many of the places and incidents you mention in your letter and at times long to see them again. The book ‘When the Daltons Rode’ can be gotten at most all large book stores, if not, the publishers Doubleday, Doran & Co, Garden City, New York will send it to you. I am busy on another story which will be published I think in about one year. It will be an entirely different story with many different characters. Should you ever come to Hollywood, I would be delighted to see you.” In very good to fine condition, with a short tear to the top edge, and a more substantial tear to the left edge, both of which could easily be matted out. Accompanied by the original mailing envelope, a Doubleday, Doran & Company ‘Book News Service’ card listing the price of ‘When the Daltons Rode’ at $2.60, and a first edition of When the Daltons Rode, hardcover sans dust jacket, published by Doubleday, Doran & Company in 1931, featuring Davis’s ownership signature on the half-title page. Starting Bid $200
The
presidential document archive of Colonel Parker
Hitt, ‘The Father of American Military Cryptography,’ featuring five military appointments signed by William McKinley, Theodore Roosevelt, and William H. Taft, plus twelve Christmas cards from the Eisenhowers
236. Parker Hitt ‘Father of American Military Cryptography’ Document Archive of (5) Military Appointments Signed by Presidents William McKinley, Theodore Roosevelt, and William H. Taft. Impressive document archive of Colonel Parker Hitt, a career U.S. Army officer who is known as the ‘Father of American Military Cryptography,’ comprised of five military appointments dated from 1899 to 1911, each signed and approved by an American president: William McKinley (2), Theodore Roosevelt (2), and William H. Taft. The documents, in chronological order, are as follows:
Partly-printed DS as president, one page, 21 x 16, September 15, 1899. President William McKinley appoints Hitt as a “Second Lieutenant of Infantry in the service of the United States.” Signed at the conclusion by McKinley and countersigned by Secretary of War Elihu Root. The blue War Office seal remains affixed to the lower left. Rolled and in fine condition, with edgewear and some creasing. Partly-printed vellum DS as president, one page, 15.75 x 19.25, December 26, 1899. President McKinley appoints Hitt as a “Second Lieutenant of Infantry in the service of the United States.” Signed at the conclusion by William McKinley and countersigned by Secretary of War Elihu Root. The blue War Office seal remains affixed to the lower left. Rolled and in very good to fine condition, with edgewear, including chipping to the right side, and some creasing. Partly-printed DS as president, one page, 21 x 16, July 18, 1902. President Theodore Roosevelt appoints Hitt as a “First Lieutenant of Infantry in the service of the United States.” Signed at the conclusion by Roosevelt and countersigned by Secretary of War Elihu Root. The embossed blue War Office seal remains affixed to the lower left. Rolled and in very good to fine condition, with edgewear, including chips and small tears, and some scattered stains. Partly-printed vellum DS as president, one page, 15.75 x 19.5, March 2, 1903. President Roosevelt appoints Hitt as a “First Lieutenant of Infantry in the service of the United States.” Signed at the conclusion by Theodore Roosevelt and countersigned by Secretary of War Elihu Root. The blue War Office seal remains affixed to the lower left. Rolled and in fine condition, with some scattered toning.Partly-printed vellum DS as president, signed “Wm. H. Taft,” one page, 15.25 x 19, May 26, 1911. President William H. Taft appoints Hitt as “Captain of Infantry in the service of the United States.” Signed at the conclusion by Taft and countersigned by acting Secretary of War Robert Shaw Oliver. The
blue War Office seal remains affixed to the lower left corner. Rolled and in fine condition. Also included with the archive are twelve Christmas cards sent to Hitt from Dwight and Mamie Eisenhower, dated from 1953 to 1968, a 1961 Christmas card from Richard Nixon and family, three invitations to the White House sent to Hitt by President Calvin Coolidge and First Lady Grace Coolidge, a grouping of material sent to Hitt by the Inaugural Committee for the first inauguration of President Dwight D. Eisenhower, and a string-bound program for a Thanksgiving gathering of Company ‘H’ of the 19th Infantry. The Christmas cards bear facsimile handwriting and signatures. Accompanied by five full letters of authenticity from JSA for the signed documents. Indiana native Parker Hitt (1878–1971) was a career U.S. Army officer who is best remembered as the ‘Father of American Military Cryptography.’ He served briefly in Cuba during the Spanish-American War with a volunteer engineer unit and was deployed twice to the Philippines as an infantry officer with the 22nd Regiment. While on Mindanao, Hitt organized the raising of two Spanish gunboats, which were refitted into service by the U.S. Army on Lake Lanao in the early 1900s.
Recognizing the importance of new communications methods, Colonel Hitt applied for a two-year detail to the Signal Corps. While instructing at the Army Signal School, he taught courses on codes and ciphers and researched and, recognizing the vulnerability of the U.S. Army field cipher, he designed a more secure system as a replacement in 1914. Two years later, he published his groundbreaking work, Manual for the Solution of Military Ciphers, to address the army’s outmoded cipher practices. The Signal Corps widely adopted Colonel Hitt’s cylindrical device, and it remained in service for the better part of three decades.During the First World War, he served on General John Pershing’s staff as Assistant to the Chief Signal Officer while in France, was regularly involved with coding/decoding operations, and was appointed as the Chief Signal Officer in July 1918. After the war, Hitt taught at the Army War College but then retired from the service in 1928, only to be recalled to active duty in 1940. During the Second World War, he served as the Signal Officer, Fifth Corps at Fort Hayes, Ohio, before retiring again in 1944. At a time when the nation had no formal cryptologic service, Parker Hitt’s innovative work documented concepts and principles that would be used to protect U.S. military communications for decades. Starting Bid $200
Space Exploration
“With appreciation for your friendship over the years – Neil Armstrong, Apollo 11”
290. Neil Armstrong Signed Photograph. Official color glossy 7.5 x 9.5 NASA photo (AS11-40-5949) of LMP Buzz Aldrin setting up the seismometer, part of the Early Apollo Scientific Experiments Package (EASEP), on the lunar surface during the historic first lunar-landing mission, affixed to its original 11 x 14 cardstock mount, which is signed and inscribed in black ink in the lower border, “To Ray Caldiero, with appreciation for your friendship over the years – Neil Armstrong, Apollo 11.” In very good to fine condition, with small corner bumps, a crease to the upper right area of the mount, and the photo partially detached but easily reattached. Accompanied by the original mailing envelope, postmarked on October 29, 1984.
Ray Caldiero (1935-2024) was an aviation veteran who served as the publisher of Aviation Space and Technology Magazine before joining the Marriott Corporation, where he spent over 20 years. He later spent 12 years as Vice President of Northwest Airlines, leading sales and marketing, and then as Chairman of Aerospace Technologies Group, a leading developer of aircraft window shade systems. Caldiero’s passion for aviation included his involvement with the 2010 Legends of Aerospace tour, which aimed to boost the morale of U.S. military personnel overseas through interactions with distinguished astronauts. The tour featured presentations, personal stories, and memorabilia distribution, and culminated in a special ceremony where Neil Armstrong received honorary naval astronaut wings aboard the USS Dwight D. Eisenhower. Given the postmark date of the envelope, Armstrong and Caldiero had been friends for over 25 years. Starting Bid $200
Art, Architecture, and Design
“A new and cruel trial for poor Blanche and for me,” Monet on the death of his eldest son, lauding the strength of his daughter-in-law, “She was admirable and full of courage and full of tender affection for the unfortunate man that I am”
311. Claude Monet Autograph Letter on the Death of His Son, Jean Monet. Autograph letter in French from Claude Monet, whose signature has been excised from the last page, two pages on two adjoining sheets, 4.75 x 6.5, blackbordered Giverny par Vernon letterhead, February 16, 1914. Somber handwritten letter from the revered painter on the death of his eldest son, Jean Monet, who, just six days prior, passed at the age of 46 after a prolonged illness. Sent to his nephew, the writer Alice Vialatte, Monet discusses the grief shared with his daughter-in-law, Blanche Hoschede Monet, in part: “…a new and cruel trial for poor Blanche and for me. She doesn’t want to leave me now, which will be a consolation to her and to me. She was admirable and full of courage and full of tender affection for the unfortunate man that I am.” In fine condition, with the signature neatly removed and no longer present.
Jean Monet (1867-1914) married Blanche in 1897. After his death, his widow settled permanently in Giverny, devoting herself to her father-in-law until the end. She was described as a blue angel for the artist by their friend Georges Clemenceau. Vialatte (1883-1957) and her husband, Raymond (1874-1960), were authors of numerous novels under the collective pseudonym of Pierre Alciette. Raymond’s mother, Marie Raingo, was the younger sister of Alice Hoschede Monet (1844-1911), Claude Monet’s wife, whose unexpected death also took a serious toll on the artist. Monet rarely discussed his deceased son within his correspondence. Starting Bid $200
Unique ‘Cow’ silk-screened cereal box by Andy Warhol, signed for an NYC model
312. Andy Warhol Signed Original ‘Cow’ Screenprint on Kellogg’s Cereal Box. Original one-off ‘Cow’ screen print by Warhol on an unfolded cereal box for Kellogg’s 40% Bran Flakes, 13 x 19.5, signed and inscribed on the reverse in black felt tip, “To Yelitza, Andy Warhol.” Also bears an “Andy Warhol” stamp near the bottom of the reverse. The box is marked with a “Better If Used Before” date of January 23, 1979. In fine condition, with expected wear to the edges. The recipient of this piece, Yelitza Karolyi, was a New York City model in the 1970s and 1980s who befriended artists and photographers like Warhol and Peter Beard, and today is a fine artist herself.
The inspiration for Warhol’s ‘Cow Series’ came from art dealer Ivan Karp, who once ironically suggested to him: ‘Why don’t you paint some cows, they’re so wonderfully pastoral and such a durable image in the history of the arts.’ In 1966, Warhol denounced painting as ‘dead’ and committed himself to printmaking as an art form. His printer, Gerard Malanga, chose this particular image to use. The ‘Cow Series,’ which Warhol published between 1966 and 1976, featured four variations: ‘Pink Cow on Yellow Background,’ ‘Brown Cow on Blue Background,’ ‘Yellow Cow on Blue Background,’ and ‘Pink Cow on Purple Background.’
This unique piece — which could be called ‘Black Cow on Cereal Box’ — combines the iconic cow image with Warhol’s interest in mass-produced consumer product packaging, made most famous by his Campbell’s Soup works. Warhol had also previously experimented with Kellogg’s boxes, creating a series of Corn Flakes boxes for the Los Angeles County Museum of Art in 1971. An interesting and unique hand-signed piece by the innovative Pop artist. Starting Bid $2500
Comic Art and Animation
344. Walt Disney Signed Book - Brer Rabbit Rides the Fox. Signed book: Brer Rabbit Rides the Fox. First edition. NY: Grosset and Dunlap, 1946. Pictorial hardcover with dust jacket, 7 x 8.5, 30 pages. Prominently signed and inscribed opposite the title page in artist pencil, “To Janet, Best wishes, Walt Disney.” Autographic condition: fine. Book condition: VG/VG-, with edge chips and light soiling to the jacket. Starting Bid $200
Limited edition ceramic Cruella de Vil doll signed by voice actress Betty Lou Gerson,
one of 25 made by Disney in the 1990s
347. Cruella de Vil: Betty Lou Gerson Signed Ceramic Doll. Exceptionally rare hand-painted ceramic doll of Cruella de Vil from the classic 1961 Disney animated film One Hundred and One Dalmatians, measuring 24˝ in height, with black fabric dress and faux fur coat, the inside of which is signed in black felt tip, “Betty Lou Gerson, ‘Cruella de Vil,’” who provided the voice for the iconic Disney villain. The doll includes de Vil’s fur purse and a ceramic Dalmatian puppy, which measures 4˝ in height. In overall fine condition, with a small chip to the tip of her left shoe, and a repair to the Dalmatian head. The consignor notes that Disney made this doll in a limited edition of 25 in the 1990s, examples of which are virtually unobtainable. Starting Bid $200
A charming gift from Disney’s CEO to a veteran of Disney’s Ink and Paint Department—rare sterling silver bracelet with 17 Disney character charms
345. Roy O. Disney Sterling Silver Charm (17) Bracelet - Presented to a Veteran Member of Disney’s Ink and Paint Department . Scarce sterling silver charm bracelet purchased by Roy O. Disney from the Disney Buena Vista Studio store and presented to Carol Joyner Svendsen, a veteran of Disney’s Ink and Paint Department and the wife of noted Disney animator Julius Svendsen. The bracelet approximately measures 8˝ in length and contains a total of 17 charms of famous Disney characters, including Figaro, Sneezy, Tinker Bell, Grumpy, Dumbo, Bashful, Pinocchio, Snow White, Flower, Goofy, Thumper, Minnie Mouse, Mickey Mouse, Little Hiawatha, Honest John, Huey, and Donald Duck. In fine condition.
Accompanied by an issue of the famed children’s magazine Jack and Jill from September 1963, containing the article, ‘My Father Makes Movie Cartoons,’ which describes the occupation of Julius Svendsen, as told by his 12-year-old daughter, Julia.
These vintage Disney charm bracelets are extremely rare, and the presence of Snow White, the most elusive of the bracelet’s 17 charms, makes this particular example quite the find. That it was purchased by Roy Disney, the company’s cofounder and first CEO, and presented as a ‘thank you’ gift to Carol Svendsen, who filled in for Disney’s secretary when she was on leave, makes this bracelet all the more special.
Julius Svendsen (1919–1971) was a Norwegian-born animator, storyboard artist, and comic book illustrator who worked for Walt Disney Productions. During his 30 years at Disney, Svendsen worked on numerous classic titles, such as Fantasia, Dumbo, Cinderella, Alice in Wonderland, Peter Pan, One Hundred and One Dalmatians, The Aristocats, and many more. In 1950, he married his coworker, Carol Joyner, who started working at Disney in 1948, first as a Disney Studio tour guide, and later in the ink and paint department, and finally in the Disney Archives. The couple had four children, including a daughter, Julie, who later worked for Walt Disney Imagineering.
Carol later shared her impression of Walt Disney: ‘As a new-hire at the Studio in 1948, I saw Walt each and every day wandering around the Studio. He was not a dandy and dressed in a manner which in today’s world would seem ‘dowdy.’ He often had a multiple day’s growth of beard and usually looked grumpy and tired. He was happiest when he was working on his train in the machine shop and often when he was needed on the set to do the voice of Mickey, that is where he could be found. Most everyone referred to him as ‘Uncle Walt.’’ Starting Bid $200
Late 1950s ‘Welcome to Disneyland’ brochure signed by Walt Disney
346. Walt Disney Signed ‘Welcome to Disneyland’ Brochure. Vintage accordion-fold ‘Welcome to Disneyland’ brochure from circa 1958, measures 12 x 8.5 open, signed upside down on the back page in ballpoint, “Walt Disney.” This rare brochure retains great color and bold text, and boasts a variety of vintage Disney designs related to rides and attractions like Tomorrowland, Main Street, Fantasyland, Frontierland, and Adventureland. When unfolded, the brochure reveals a wonderful map of ‘Disneyland’s Five Lands,’ the lower left of which bears a small ‘welcome’ box from Walt Disney. In fine condition. Accompanied by a certificate of authenticity from Phil Sears Collectibles, which notes that the signature is consistent with examples from the 1950s. Starting Bid $1000
‘I wish I may, I wish I might…have the wish I make tonight’—museum-worthy ‘Continuity Sketch Book’ for the Disney classic Pinocchio, a director-used scene-by-scene visual reference guide for the film’s opening 18 minutes, from Jiminy Cricket’s introduction to Pinocchio’s transformation into a real boy
348. Disney’s 1939 Pinocchio Director-Used Continuity Sketch Book with (48) Original Storyboard Drawings and (175+) Photographic Model Images. Original circa 1939 Disney Art Department ‘Continuity Sketch Book’ for the Oscar-winning 1940 classic Pinocchio, the studio’s second animated feature film, which was used by sequence and supervising directors to strategically order the film’s opening 18 minutes, concluding with the moment that the Blue Fairy says, “Now remember, Pinocchio, be a good boy.” The sketchbook contains a total of 114 pages, which include 48 original preliminary storyboard drawings and nearly 200 photographic storyboard images that provide unprecedented insight into the meticulous planning of one of Disney’s most iconic films.
The book is presented as a rivet-bound binder with beige boards, 10.5˝ x 12.5˝, the front of which bears an affixed title label, “Continuity Sketch Book, 2003 - Seq. 1, Seq. 1.1, Seq. 1.5.” The book is essentially divided into three sections: Sequence 1 (pgs. 1-22, scenes 1-17), Sequence 1.1 (pgs. 25-71, scenes 1-89), and Sequence 1.5 (pgs. 73-127, with two pages marked 115, and pages 3, 13, and 24 also found in this section; this sequence focuses on scenes numbered from 2 to 51, though not all scenes accounted for). To classify their ongoing animation projects, Disney numbered their feature-length films in the 2000s and their studio’s shorts in the 1000s. Snow White was 2001, Bambi was 2002, and Pinocchio was 2003; when early script problems with Bambi proved intractable, Walt Disney decided to move forward with development for Pinocchio.
The sketchbook’s 48 original drawings, accomplished in graphite and colored pencil on animation paper ranging in size from 6.5˝ x 5˝ to 12˝ x 10˝, are all located in the section marked Sequence 1.5, which contains individual character sketches of Jiminy Cricket (21), Pinocchio (9), and the Blue Fairy (5). The section also contains several multi-character sketches, such as Pinocchio and Jiminy Cricket (5), Pinocchio and the Blue Fairy (3), Jiminy Cricket and the Blue Fairy, Geppetto and Figaro, and a wonderful drawing of Pinocchio, Jiminy Cricket, and the Blue Fairy (Scene 51, page 127), which represents the final page of the sketchbook. The drawings are pictured on pages 3, 13, 24, 74-75, 78-81, 83-85, 87, 91-95, 97-101, 103-105, 107-109, 112-116, and 118-127.
In addition to the sketches, the book contains 193 original photographic storyboard images, ranging in size from 1.5˝ x 1.25˝ to 6.75˝ x 5.25˝,
with a handful hand-embellished in graphite or ink, most notably Scene 6 (page 8), with the caption reading: “Camera focus on inside of house – Dialog continues: …. And looked in. It was a shame to see such a nice cheerful fire like that going to waste.” An artist has added a detailed frame to the main image of Geppetto’s workshop, which has also been touched up in ink and graphite.
The majority of the pages contain typed captions (some affixed with tape) that feature dialogue or scene descriptions, including several moments forever ingrained in cinematic history. Highlighted captions include: Scene 1, page 1 (“Long shot – Pinocchio book set-up – Cricket is singing the ‘Wishing’ song”); Scene 83, page 68 (“Scene starts on extreme close-up of wishing star in sky. We hear Geppetto, offstage, as he says: ‘Starlight, starbright, first star I see tonight, I wish I may –, I wish I might…have the wish I make tonight”); Scenes 84 and 85, page 69 (“Geppetto and Figaro are both looking at the star at the beginning of the scene. Then Geppetto turns toward Figaro and says: ‘You know what I wished, Figaro?’… ‘I wished –’…‘That my little Pinocchio might be a real boy.’”); and Scene 29, page 103 (“C.U. Pinocchio; ‘Am I a real boy?’”). In fine condition, with some wear to binder boards, and several of the tape-affixed captions are becoming loose; the book is missing pages 10, 11, 12, 23, 76, 77, 82, 86, 89, 90, 102, 106, 110, and 117, and page 62 is missing its three photo storyboard images (scenes 68-70).
Given the sketch book’s role as a visual story outline for Pinocchio’s integral opening set-up, its narrative importance remains indisputable, as does its introductory animation style, which transitioned into a world of realism that forever changed the look and feel of animated feature films overnight. The influence of renowned Disney animator Freddie Moore is also readily apparent in the 10 rare early drawings of The Blue Fairy, who bears a noted resemblance to the original Disney princess, Snow White. Disney artists were still trying to perfect a more human ‘princess look,’ and as Animation Director on Pinocchio, Moore was instrumental in achieving the final depiction. Evidently, this book also represents the first of a multi-volume set of ‘continuity books’ created by the Disney Art Department for Pinocchio, although it remains a mystery how many others, if any, were produced for the film’s many sequence and supervising directors. A staggering relic of animation history, whose historical importance to the art of movie-making is undeniable—its availability to collectors signals an event not to be missed. Starting Bid $5000
Vintage autograph of Walt Disney with framed presentation of Dopey production cel and drawing from Snow White and the Seven Dwarfs
349. Dopey production cel and production drawing from Snow White and the Seven Dwarfs with Walt Disney Signature. (Walt Disney Studios, 1937) Original production cels and production drawing of Dopey from Snow White and the Seven Dwarfs, displayed with a fountain pen signature, “Walt Disney,” on an off-white 3.5 x 1 card. The cels, which depict the youngest dwarf and a floating bar of soap encapsulated in a large bubble, have been trimmed and applied to an airbrushed background as prepared by Courvoisier Galleries for sale. Total cel image measures 4.25 x 5, with a mat opening of 8.25 x 6.25. The production drawing, accomplished in graphite and colored pencil on off-white 5 x 6.25 animation paper, shows Dopey in a great standing pose with open mouth and wide eyes. The cels, drawing, and signature are cloth-matted and framed together to an overall size of 23.75 x 17.5. In overall fine condition. An exceptional display piece honoring a beloved Snow White dwarf and the man behind the mouse. Starting Bid $500
350. Bashful production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cel of Bashful from Snow White and the Seven Dwarfs, depicting the shy dwarf in a full-length pose with his arms behind his back. The cel has been trimmed and applied to a woodgrain background as prepared by the Disney Studio to be sold at the Courvoisier Galleries. Image measures 2 x 3.75, with a mat opening of 7 x 7. The mat, which measures 13 x 13, is annotated in pencil, “Bashful,” and bears a WDP stamp. The piece has the original Disney Courvoisier Galleries label on the reverse. In fine condition. Starting Bid $200
351. Bashful production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cel of Bashful from Snow White and the Seven Dwarfs, picturing the shy dwarf in a large full-length pose playing the accordion. The cel has been trimmed and applied to a studio star background as prepared by Courvoisier Galleries for sale. Image measures 5.5 x 6, with a mat opening of 6.25 x 7. Double cloth-matted and framed to an overall size of 17.5 x 18.25. In fine condition. Starting Bid $200
352. Doc production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original Courvoisier-style production cel featuring Doc from Snow White and the Seven Dwarfs, picturing the leader of the dwarfs inspecting a glittering diamond in a great half-length pose. The cel, which has been trimmed to form and applied to a backing cel, is placed on a matching color copy background of a diamond mine; an overlay cel with the diamond sparkle imagery has been accentuated with an airbrush. Image measures 5 x 3.75, with a mat opening of 9.5 x 7.5. The cel is placed within a new creamcolored mat with added “Doc” text and a WDP stamp, as Courvoisier cels were originally sold. It’s believed that the cel was professionally restored and prepared by the Disney Studios; the consignor notes that the back of the cream-colored mat bears the stamp, ‘This mat and its contents property of the Walt Disney Company.’ Matted to an overall size of 17.5 x 15. In fine condition. Starting Bid $200
353. Doc production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Appealing original production cel of Doc from Snow White and the Seven Dwarfs, showing the leader of the dwarfs in a decidedly bashful full-length pose. The cel has been trimmed and applied to a woodgrain background as prepared by Courvoisier Galleries for sale. Character image measures 2.5 x 4.25, with a mat opening of 5 x 7. Presented in its original 11 x 13.25 mat, which is titled below the window, “‘Doc.’” In fine condition. Starting Bid $200
354. Dopey production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cel featuring Dopey from Snow White and the Seven Dwarfs, picturing the youngest dwarf holding a drumstick and a cymbal. The cel has been trimmed and applied to a color copy background. Image measures 5.5 x 6.75, with a mat opening of 7 x 8.5. Archivally double-matted and framed to an overall size of 18 x 19.25. In fine condition. Starting Bid $200
Sought-after full-group cel of all of Snow White’s seven dwarfs as prepared by the Courvoisier Galleries
355. Seven Dwarfs Courvoisier cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original Courvoisier cel of all Seven Dwarfs from Snow White and the Seven Dwarfs, which depicts Doc, Grumpy, Happy, Sleepy, Bashful, Sneezy, and Dopey in a wonderful and rare full-group pose accentuated by great poses and bold, bright colors. Trimmed and placed on a color copy background of a forest clearing, the cel includes its original woodgrain background as prepared by Courvoisier Galleries for sale. The full group image measures 11.5 x 7, with overall dimensions of 17 x 11.5. In fine condition, with slight rippling to the trimmed edges, and a few very faint instances of lifting to paint. Starting Bid $500
356. Snow White and scary tree layout drawings (2) from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original layout production drawings of Snow White and a scary tree from Snow White and the Seven Dwarfs, both of which show one of the forest trees reaching out with hand-like branches to grab the beloved Disney princess, a moment that occurs after the Huntsman spares Snow White’s life and tells her to flee. Accomplished in graphite and colored pencil on sheets of animation paper measuring 10.75 x 8.5 and 12 x 10, the smaller of which is slightly trimmed, and the larger sheet is marked “DR-985, 3,” in the upper right corner. Images measure 7 x 6.75 and 7.75 x 6.75. In overall fine condition, with some light toning, and a missing upper right corner tip to the larger sheet. Starting Bid $200
Lovely Courvoisier-prepared production cel set-up from Snow White, featuring a large full-figure cel of Snow White with broom and group cel of dwarfs Grumpy, Sleepy, and Bashful
357. Snow White, Grumpy, Sleepy, and Bashful production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cels of Snow White, Grumpy, Sleepy, and Bashful from Snow White and the Seven Dwarfs, which show the three perplexed dwarfs watching Snow White as she happily sweeps and cleans their cottage with a broom. Prepared by Courvoisier Galleries, the dwarf cel has been trimmed and applied to the Snow White cel, which has been placed on a color copy background of the interior of the dwarf cottage. The total character image measures 6.5 x 4.5, with overall dimensions of 17 x 11. In fine condition, with toned adhesive remnants to borders and a few trivial instances of lifting to the paint. Starting Bid $500
358. Happy and forest animals production cels and production background from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cels and production background of Happy and six forest animals from Snow White and the Seven Dwarfs, which shows Happy standing in a forest clearing with four fluttering birds, a rabbit, and a squirrel. The cels have been trimmed to form and applied to a beautiful hand-painted production background. Character images range in size from 2.5 x 3.25 (Happy), 1.25 x 1 (rabbit and squirrel), and .5 x .75 (individual birds), with a mat opening of 8.25 x 8.5. Archivally double-matted and framed to an overall size of 19.75 x 20. In fine condition. An incredible cel set-up with a rare hand-painted background from Disney’s first full-length feature film. Starting Bid $300
Wonderful Princess Minnie Couvoisier setup for Brave Little Tailor
359. Minnie Mouse production cel from Brave Little Tailor. (Walt Disney Studios, 1938) Original production cel of Minnie Mouse from The Brave Little Tailor, which depicts the princess clapping from her throne. The cel has been trimmed and applied to a studio star background as prepared by Courvoisier Galleries for sale. Image measures 2.75 x 4, with a mat opening of 7 x 7. Double-matted and framed to an overall size of 14.5 x 14.5. In very good to fine condition, with some instances of lifting to paint, and a couple specks of paint loss; these flaws do little to diminish the otherwise lovely Minnie spotlight. Starting Bid $300
360. Bacchus and Jacchus concept storyboard painting from Fantasia. (Walt Disney Studios, 1940) Original production concept storyboard drawing from the ‘Pastoral Symphony’ segment of Fantasia, showing Bacchus—the wine-loving Roman god of parties—lying drunkenly under a tree limb as he pours wine from a tipped cask, with his pet donkey, Jacchus, chewing happily on his master’s head leaves. Accomplished in color pastels on 10.25 x 12 brown paper (marked “61” and “16” in the lower corners), which is affixed to a same-size cardstock mount. In fine condition, with pinholes to the upper corners. Starting Bid $200
361. James Bodrero concept painting for the ‘Pastoral Symphony’ segment of Fantasia. (Walt Disney Studios, 1940) Original story concept painting by noted Disney story director and character designer James Bodrero for the ‘Pastoral Symphony’ segment of Fantasia. The beautifully captured scene shows a faun playing a pan flute, much to the delight of a romping young unicorn. Accomplished in gouache on artist board measuring 9.25 x 6, the lower right corner of which is signed by Bodrero, “FB.” In fine condition, with a uniform box of toning from prior display. Starting Bid $200
362. James Bodrero concept painting for the ‘Pastoral Symphony’ segment of Fantasia. (Walt Disney Studios, 1940) Original story concept painting by noted Disney story director and character designer James Bodrero for the ‘Pastoral Symphony’ segment of Fantasia. The amusing scene shows a faun seated atop a young unicorn and pretending to play its horn like a flute. Accomplished in gouache on artist board measuring 6 x 8.75, the lower right corner of which is signed by Bodrero, “FB.” In fine condition, with a uniform box of toning from prior display. Starting Bid $200
363. Mickey Mouse concept painting from Fantasia. (Walt Disney Studios, 1940) Original concept painting of Mickey Mouse from the ‘Sorcerer’s Apprentice’ segment of Fantasia, which shows the young wizard-to-be using Yen Sid’s magical spell book to ride a wave in the flooded tunnels of the sorcerer’s tower. Accomplished in gouache on black 7.75 x 6.75 artist’s board. In fine condition, with tack holes to corners. An exciting moment from an iconic Disney film. Starting Bid $300
364. Mickey Mouse production drawing from Fantasia. (Walt Disney Studios, 1940) Original production drawing of Mickey Mouse from the ‘Sorcerer’s Apprentice’ segment of Fantasia, which shows the young wizard-to-be ducking down in a full-figure pose, the fingers of his right hand curled around a loop or handle. Accomplished in graphite and colored pencil on 11 x 8.75 animation paper, with the total character image measuring 3.5 x 3. Triple-matted and framed with an engraved plate to an overall size of 19 x 16.5. In fine condition. Starting Bid $200
365. Satyr design concept painting from Fantasia. (Walt Disney Studios, 1940) Original design concept painting of a Satyr for the ‘Pastoral Symphony’ segment of Fantasia, which depicts the mythological creature in a jolly full-length pose playing his pan flute. Accomplished in graphite and colored pencil on untrimmed 12 x 10 animation paper, the lower right corner of which is marked “#241” and bears “WDP” and Walt Disney Production stamps. Total image measures 5 x 8.75. Matted to an overall size of 14 x 18. In fine condition, with an area of toning. Starting Bid $200
Yen Sid saves the day—rare Fantasia concept artwork with Mickey and his powerful master
366. Yen Sid and Mickey Mouse concept painting from Fantasia. (Walt Disney Studios, 1940) Rare original concept painting of Yen Sid and Mickey Mouse from the ‘Sorcerer’s Apprentice’ segment of Fantasia, which shows Mickey, still wearing his master’s magical spired hat, seated on the floor with a stunned expression as the powerful sorcerer Yen Sid emerges from an illuminated tunnel after ridding his castle of floodwater. Accomplished in gouache on black 7 x 6.5 artist’s board. In fine condition, with tack holes to corners. Yen Sid remains rare across all early Disney production formats, and the inclusion of Mickey Mouse elevates this unique concept piece into a must-have Disney creation. Starting Bid $300
367. Pinocchio and Fish color model cel from Pinocchio. (Walt Disney Studios, 1940)
Very early original color model cel of Pinocchio and a large school of fish for Pinocchio, which pictures the title character, partially transformed into a donkey, dragging a rock across the seabed with his tail as a curious school of colorful fish, in addition to crabs, jellyfish, and an octopus, watch the determined boy-puppet as he continues his quest to find his father. The cel is placed on a handpainted custom-prepared background of the ocean floor. Full character image (Pinocchio with fish) measures 6.5 x 6.75, with a mat opening of 10.25 x 7.75. Matted and framed to an overall size of 15.5 x 12.75. In fine condition, with some instances of flaking to a few of the fish and crustaceans. Rare early development work from the acclaimed Disney classic. Starting Bid $200
Attractive
‘underwater’ Courvoisier set-up for Pinocchio, showing the donkey-eared puppet making friends with a family of seahorses
368. Pinocchio and seahorses production cel from Pinocchio. (Walt Disney Studios, 1940) Remarkable original production cel of Pinocchio and a small herd of seahorses from Pinocchio, which depicts the boy-puppet underwater with donkey ears, conversing with various sea creatures and searching the ocean floor for Geppetto, Figaro, and Cleo, all of whom are trapped in the belly of the massive sperm whale Monstro. The cel has been trimmed and applied to an airbrushed background as prepared by Courvoisier Galleries for sale. Pinocchio measures 5.25 x 5.5 and the seahorses each approximately measure .5 x 1, with a mat opening of 7.75˝ in diameter. Matted to an overall size of 13.75 15. The piece has the original Disney Courvoisier Galleries label on the reverse, which bears an affixed gallery label inscribed and dated to Christmas 1940. In fine condition. Starting Bid $300
369. Mickey Mouse and pelican production cels from Tugboat Mickey. (Walt Disney Studios, 1940) Original production cels of Mickey Mouse and a pelican from Tugboat Mickey, showing Captain Mickey seated on a swing while he paints the boat’s mast at the start of the cartoon; his pelican assistant happily rests to his right. The cels are trimmed to image and placed on a matching giclee of the master background. Images measure 4 x 7.25 (Mickey) and 3.5 x 4 (pelican), with overall dimensions of 12.5 x 11. In fine condition. A superior cel set-up boasting a large, colorful image of Disney’s iconic mouse. Starting Bid $300
370. Mickey Mouse publicity cel and hand-painted background from the Art Props Studio. (Walt Disney Studios, 1940s-50s) Original publicity cel of Mickey Mouse with a hand-painted background from the Walt Disney Art Props Studio, which depicts Mickey in a jovial full-figure pose holding an unopened envelope. The cel is placed on a matching hand-painted studio presentation background of the exterior of a house. Image measures 5 x 6, with overall dimensions of 15.25 x 11.75. In fine condition, with pin holes to the upper border of the background. The consignor notes that this publicity cel was presented as a gift to VIPs. Starting Bid $200
371. Mickey Mouse production cel and production background from Canine Caddy. (Walt Disney Studios, 1941) Original production cel and production background featuring Mickey Mouse from Canine Caddy, showing Mickey lining up a swing with his golf club. The cel is placed on a hand-painted production background of a sand trap at a golf course. Image measures 9.5 x 5, with a mat opening of 10.75 x 8. Framed to an overall size of 20 x 17. In fine condition. Starting Bid $300
373. Faline production cel from Bambi. (Walt Disney Studios, 1942) Original production cel featuring Faline from Bambi, which shows the blue-eyed fawn standing in a playful full-length pose below a tree branch with falling flower petals. The cel has been trimmed and applied to a hand-painted background as prepared by Courvoisier Galleries for sale. Total image measures 6.5 x 6.75, with overall dimensions of 8.75 x 8. In fine condition, with faint waving, and toning to the taped edges. An uncommon Bambi character made all the more desirable by a lovely Courvoisier backdrop. Starting Bid $200
375. Alice in Wonderland concept drawing of Duchess and Baby by David Hall for Walt Disney’s Surprise Package book. (Walt Disney Studios, 1944) Original concept drawing of the Duchess and her baby by esteemed Disney artist David Hall, which he originally created when working on Alice in Wonderland in the late 1930s and early 1940s, roughly a decade before the final film version was released. Many of Hall’s early drawings were published in the Alice’s Adventures in Wonderland chapter of the Giant Golden Book, Walt Disney’s Surprise Package, which was published by Simon and Schuster of New York in 1944, and pictured this very drawing on page 53. The anthology book contained a dozen illustrated stories adapted from classic tales by figures like Hans Christian Andersen, Joel Chandler Harris, James M. Barrie, Serge Prokofieff, and Lewis Carroll. Accomplished in graphite on untrimmed 8 x 6 artist paper, the drawing depicts the Duchess, shown in a state of frustration, seated in a chair and nursing her very distraught baby. The drawing is affixed to a 12 x 9 cardstock sheet and matted to an overall size of 20 x 16. In fine condition. Accompanied by a third printing of the Walt Disney’s Surprise Package book.
In Didier Ghez’s great book They Drew As They Pleased: The Hidden Art of Disney’s Musical Years (The 1940s: Part One), he writes: ‘(David) Hall joined Disney’s story department on March 1, 1939, and immediately started working on Alice in Wonderland. In his few months at Disney, Hall drew more than four hundred pieces of story art to present his vision for Alice in Wonderland. His creations were elaborate, highly rendered, and rather close to the look of the book’s original drawings by John Tenniel.’ Mr. Hall’s work on this project was presented to the public in the Giant Golden Book Walt Disney’s Surprise Package. Hall’s work, commissioned for Walt Disney in 1939 but only used for the book and not for the film version, lay in the Disney Archives until the mid-1970s, when the inspirational sketches, as they were called, were rediscovered while material was being selected for a touring exhibition of Disney artwork.Starting Bid $300
376. Br’er Bear production cel from Song of the South. (Walt Disney Studios, 1946) Original production cel of Br’er Bear from Song of the South, picturing the large bear in a half-length pose with decidedly drowsy red eyes. The cel is trimmed to 12 x 8.5 and is placed on a 13 x 10.5 color copy background cel. The character image measures 3.75 x 5. In very good to fine condition, with a hole to the upper left, tape remnants, and some light marks. Starting Bid $200
377. Br’er Fox and Br’er Bear production cel from Song of the South. (Walt Disney Studios, 1946) Original production cel of Br’er Fox and Br’er Bear from Song of the South, which depicts the unlikely partners in a moment of conversation, with Br’er Fox standing on the chest of the large bear, who is shown gripping the fox’s vest with his large paw. The cel, which is marked “174” in the lower right, is placed on a color copy background of an underground den. The cel is trimmed to 8 x 8.5, with the total image size measuring 5.25 x 6.5. In fine condition. Starting Bid $300
378. Br’er Rabbit production cel from Song of the South. (Walt Disney Studios, 1946) Original production cel of Br’er Rabbit from Song of the South, which shows the rabbit in a full-figure pose with his paws pointing upwards. The cel has been trimmed and placed on a color copy background. Image measures 3.5 x 4.5, with overall dimensions of 13 x 11. In fine condition. Starting Bid $200
379. Peter Pan production cel and production background from Peter Pan. (Walt Disney Studios, 1953) Original production cel and production background from Peter Pan, which consists of a wonderful full-figure cel of Peter Pan happily flying through the air with his arms spread wide. The cel has been trimmed to form and applied to another cel, which is presented over a hand-painted production background of an overcast sky; the bottom edge of the background is marked as “2497, SC56.” The Pan image measures 4 x 2.5, with overall dimensions of 16 x 12.5. In fine condition. Starting Bid $200
380. Slightly the Lost Boy production model sheet from Peter Pan. (Walt Disney Studios, 1953) Original preliminary production model sheet of Slightly, one of the Lost Boys from Peter Pan, which shows Peter’s second-incommand in eight different poses with his iconic fox outfit. Accomplished in graphite and colored pencil on untrimmed 15.5 x 12.5 animation paper, which features artist notations above, “Longer ears – longer bodies.” In fine condition, with some pin holes, and a short tear to the bottom left edge. Starting Bid $200
381. Tinker Bell production cel from Peter Pan. (Walt Disney Studios, 1953) Desirable original production cel featuring Tinker Bell from Peter Pan, showing the diminutive winged fairy in a large full-figure pose. The cel is trimmed to image and placed on a matching studio copy background. Image measures 3.5 x 7.5, with overall dimensions of 17 x 12. In fine condition. Starting Bid $300
382. Lady and Toughy production cels from Lady and the Tramp. (Walt Disney Studios, 1955) Original production cels of Lady and Toughy from Lady and the Tramp, which show the iconic Cocker Spaniel and friendly dogpound mutt in side-by-side up-close poses. The total image measures 7.25 x 5.75, with a mat opening of 8 x 6. Double-matted and framed to an overall size of 14 x 12. Originally sold at Disneyland, with the backing featuring an affixed gold Walt Disney Productions label, which reads: “This Is an Original Handpainted Celluloid Drawing Actually Used in a Walt Disney Production.” In fine condition. Starting Bid $200
Superb custom set-up from Lady and the Tramp’s romantic ‘Bella Notte’ sequence
383. Lady and Tramp production cels from Lady and the Tramp. (Walt Disney Studios, 1955) Original production cel set-up of the two title characters from Lady and Tramp, showing the canine couple eating spaghetti in an alleyway behind Tony’s Restaurant during the film’s memorable ‘Bella Notte’ sequence. Deriving from the personal collection of a Disney animator who added a hand-painted foreground cel that is nearly identical to the film’s original; the foreground features a linen-draped table, a lit candle, breadsticks, and a plate of spaghetti. The cels of Lady and Tramp were trimmed to image, as were the strands of spaghetti hanging from their mouths, and applied to a larger cel, which is placed on a matching color laser background. Character images measure 3 x 6.5 (Tramp), 3.25 x 5.25 (Lady), and 11 x 8 (table with candle), with overall dimensions of 17 x 12.5. The animator created this set-up circa 2000-2003 in the same manner as the classic ‘Art Props’ set-ups matted and signed by Walt Disney for studio VIPs. In fine condition. This rare and beautiful setup brings to life the memorable ‘Bella Notte’ scene that climaxes in the ‘spaghetti kiss,’ an iconic moment in American cinema. Starting Bid $500
384. Tramp production cel from Lady and the Tramp. (Walt Disney Studios, 1955) Original production cel of Tramp from Lady and the Tramp, showing the title canine in a wonderful full-figure walking pose. Image measures 5.5 x 5.5, with a mat opening of 11.5 x 8.5. Framed and in fine condition, with some scratching to Tramp’s nose. Starting Bid $200
A pirate’s booty—original concept painting for Disneyland’s famed Pirates of the Caribbean by Marc Davis, one of Disney’s ‘Nine Old Men’
385. Pirates of the Caribbean ride concept painting by Marc Davis. (Walt Disney Studios, circa 1960s) Desirable original concept painting by Marc Davis for Disneyland’s famous dark ride attraction Pirates of the Caribbean, which depicts a pirate in a merry full-length pose carrying an anguished ropebound wench over his shoulder, signed in the lower right in black felt tip by Davis. Accomplished in ink and watercolor on untrimmed 12 x 10 heavyweight art paper, the scene is impressively captured through its use of balanced color and engaging action, the woman’s desperate flailing an apparent source of comedy for the single-toothed, rifle-armed pirate. In fine condition, with tack holes to corners.
One of Disney’s Nine Old Men, the legendary core animators of early Disney films, Davis joined Disney in 1935 as an apprentice animator on Snow White and the Seven Dwarfs. He continued to work on classic films like Bambi, Cinderella, and Alice in Wonderland, and then later transferred to Disney’s Imagineering team where he contributed whimsical story and character concepts for Disneyland attractions like the Haunted Mansion, It’s a Small World, and Pirates of the Caribbean. Davis is probably best known as the father of some of Disney’s most memorable animated women, including Cruella De Vil from One Hundred and One Dalmatians, Maleficent from Sleeping Beauty, and Tinker Bell from Peter Pan. Starting Bid $500
386. Perdita and Roger Radcliffe production cels from One Hundred and One Dalmatians. (Walt Disney Studios, 1961) Original production cels of Perdita and Roger Radcliffe from One Hundred and One Dalmatians, depicting the sweetheart dog attentively listening to her owner, who is shown seated and holding his pipe in a jubilant three-quarterlength pose. The cels are placed on a matching studio copy background of the interior of the Radcliffe home. Character images measure 3.25 x 4.75 (Perdita) and 5.5 x 8 (Roger), with a mat opening of 11 x 8. Double-matted and framed to an overall size of 18.25 x 15.25. In fine condition. Starting Bid $200
387. Baloo and Bagheera production cels and production background from The Jungle Book. (Walt Disney Studios, 1967) Excellent original production cels and production background featuring Baloo and Bagheera from The Jungle Book, depicting the sloth beer smiling and sporting a black eye next to his green-eyed black panther friend. The cels are placed on an attractive hand-painted production background from the same film, which features a nighttime view of the jungle. Character images measure 4.25 x 7.75 (Baloo) and 3 x 5 (Bagheera), with a mat opening of 10 x 8. Double-matted and framed to an overall size of 21.5 x 20. In fine condition. A wonderful display piece that boasts two large characters from The Jungle Book, the last film produced by Walt Disney, who passed away during its production. Starting Bid $200
388. Tod and Copper production cel and production background from Fox and the Hound. (Walt Disney Studios, 1981) Original production cel and production background featuring Tod and Copper from The Fox and the Hound, showing the unlikely friends playing together in the woods. The cel is placed on a hand-painted production background from the same film, which is marked in the lower right: “Sc 89, SQ .004, 0136.” Total character image measures 10.25 x 5.25, with an overall size of 16 x 12.5. The cel is marked “67” in the lower right corner. In fine condition, with staple holes to edges of cel and background. An attractive set-up featuring a large image of these classic woodland friends. Starting Bid $200
389. Jack Skellington, Shock, and Lock concept painting from Nightmare Before Christmas. (Walt Disney Studios, 1993) Original storyboard concept drawing of Jack Skellington, Lock, and Shock from Tim Burton’s animated dark fantasy The Nightmare Before Christmas, showing Skellington in a wonderful close-up pose, images of Lock and Shock, the pint-sized henchmen of Oogie Boogie, to either side, and a moonlit cemetery to the upper background. Accomplished in pastel and colored pencil on black 12.25 x 8 artist’s board. In fine condition. A detailed portrait of Halloweentown’s most famous resident, made all the more exciting by the mischievous presence of Lock and Shock. Starting Bid $200
390. Ariel and Prince Eric limited edition cel from The Little Mermaid (Ltd. Ed. #151/500). (Walt Disney Studios, 1994) Original limited edition cel featuring Ariel and Prince Eric from The Little Mermaid entitled ‘Royal Wedding,’ numbered 151/500, which depicts the blissful moment that Ariel and Eric are married at the end of the film. The cel is placed on a beautiful color copy background reproduced from the original background used in the film. Total character image measures 7.5 x 5, with overall dimensions of 17.5 x 13. The lower right corner bears the golden Walt Disney Company seal. In fine condition. Accompanied by its original ‘Animation Art’ folder from the Walt Disney Studios; although its box is ticked, the cel’s certificate of authenticity is not present. Starting Bid $200
Our first Dumbo by Mary Blair— a touching concept piece from the start of the film and Blair’s legendary career at Disney
372. Mary Blair concept painting of Dumbo and Mrs. Dumbo for Dumbo. (Walt Disney Studios, 1941) Early original concept painting by Mary Blair for Dumbo, which shows the moment that Dumbo and his mother alight from their circus train car at the start of the film. Despite the downcast weather, the scene offers a ray of hope in the small form of Dumbo, shown delicately holding his mother’s tail as she leads the way down the ramp. Blair emphasizes the rainy day with neutral colors of white, black, and gray, and then adds accents of mauve to Mrs. Jumbo’s bonnet and blanket. Accomplished in tempera on 8.75 x 8.75 artist’s board. In fine condition, with pin holes to corners.
Blair (1911–1978) was a concept artist for Disney during the 1940s and early 1950s, working on designs for such films as Peter Pan, Cinderella, and Alice in Wonderland. In 1940, she joined the Walt Disney Studio and worked on a number of projects, including the ‘Baby Ballet,’ a never-produced segment for a proposed second version of Fantasia, and her first full-length Dinsey picture, Dumbo. As part of her study and research, Blair and her fellow artists were not only sent on field trips to circuses, but Disney organized for circus tents and animals to be brought into Walt Disney Studios for reference. After leaving Disney to work in advertising, Blair returned to the studio when she was hired to create designs for several Disney attractions (including It’s a Small World), and her largest work ever, the multi-story mosaic in Disney World’s Contemporary Hotel concourse. A touching and important concept piece that dates to the nascency of Blair’s tenure at Disney. Starting Bid $1000
Gorgeous ‘quilt-style’
Mary
Blair concept
painting for the Walt Disney favorite So Dear to My Heart—rare signed artwork from the beloved animation pioneer
391. Mary Blair signed concept painting for So Dear to My Heart. (Walt Disney Studios, 1948) Rare original concept painting by Mary Blair for the live-action/animated film So Dear to My Heart, which was produced by Walt Disney and released by RKO Radio Pictures. The scene captures a small Indiana farm in the early 1900s, with a centralized straw-thatched shack with a smoking chimney, a nearby river and orchard, and a rolling vine-woven paddock with hopping lambs and rabbits. Unlike other concept paintings offered at auction, this example is signed neatly by Blair in the lower right corner.
Redolent of Grandma Moses, Blair applies a folk or primitive motif inspired by quilt patterns, a style she adopted while creating the conceptual artwork for So Dear to My Heart. She fills the childlike farmscape with wonderfully rich colors—hot pink amid golden yellow, ochre, and oranges, juxtaposed with tones of grayed violet, purple, and salmon—whilst presenting her trademark sensual, spheroid, biological, and abstract forms to communicate solace, comfort, and joy to the viewer. Double-matted and framed to an overall size of 18 x 16.5. In fine condition. Accompanied by a first edition of John Canemaker’s book, The Art and Flair of Mary Blair: An Appreciation.
Blair’s work for So Dear to My Heart was such a love letter to turn-of-the-century rural America that it became a dear favorite to Walt Disney, who was raised on a small farm in the American Midwest during the same period. So accurate was the recreation, Disney was later quoted as saying: ‘Why, that’s the life my brother and I grew up with as kids out in Missouri.’ Starting Bid $1000
Blair captures Cinderella’s midnight flight from the castle
392. Mary Blair concept painting for Cinderella. (Walt Disney Studios, 1950) Exquisite original concept painting by Mary Blair for Cinderella, showing the title character fleeing from the castle in her white ball gown, leaving a single glass slipper glowing on the winding staircase. An impressive rendering of the stark interior castle just moments before midnight, Blair employs shades of white, gray, and black to cast a nervous atmosphere to the painting; Blair’s decision to remove the background color not only places all focus on Cinderella and her abandoned glass slipper, but it likewise adds a greater sense of urgency and anxiety as Cinderella makes her last-second escape. Accomplished in tempera on 9.75 x 9 artist’s board. In fine condition, with tack holes to borders.
Blair was a concept artist for Disney during the 1940s and early 1950s, working on designs for such films as Peter Pan, Cinderella, and Alice in Wonderland. She also created designs for several Disney attractions (including It’s a Small World), and her largest work, the multistory mosaic in Disney World’s Contemporary Hotel concourse. Starting Bid $1000
At the stroke of midnight— vivid conceptual artwork of Cinderella’s castle escape by the marvelous Mary Blair
393. Mary Blair concept painting of Cinderella’s midnight flight from Cinderella. (Walt Disney Studios, 1950) Exquisite original concept painting by Mary Blair for Cinderella, showing the title character fleeing from the castle in her white ball gown, leaving a single glass slipper glowing on the winding staircase. Rendered with impressive depth and detail, the work places the fleeing princess within the room’s myriad forms and figures: a railed spiral staircase, checkered floors, crisscrossed wallpaper of red and aqua, a side table with pink flowers, an ornate door with a well-dressed guard, and a grandfather clock striking midnight, set within a tall window casement with blue curtains and a clear view of the full moon outside. Accomplished in tempera on 9 x 9 artist’s board. In fine condition, with tack holes to borders.
Blair was a concept artist for Disney during the 1940s and early 1950s, working on designs for such films as Peter Pan, Cinderella, and Alice in Wonderland. She also created designs for several Disney attractions (including It’s a Small World), and her largest work, the multistory mosaic in Disney World’s Contemporary Hotel concourse. Starting Bid $1000
Terror in Tulgey Wood, Tweedledee and Tweedledum flee from an unseen danger—a vivid Mary Blair concept piece for Alice in Wonderland
394. Mary Blair concept painting of Alice and Tweedledum and Tweedledee from Alice in Wonderland. (Walt Disney Studios, 1951) Original concept painting by Mary Blair for Alice in Wonderland, which shows Alice and Tweedledum and Tweedledee in the Tulgey Wood. The scene, which doesn’t occur in the film version, shows Alice watching the two talkative twins as they flee in terror with umbrellas held over their heads, under the belief that a monstrous black crow is flying overhead. Alice plays second fiddle to the odd Wonderland brothers, who dominate the painting with their bold red pants, solid blue shirts, and wide eyes and mouths stricken with fear. Blair completes the scene with a moody blue-green backdrop accented with flashes of light from a full yellow moon and Alice’s bright blonde hair. Accomplished in tempera on 9 x 8.5 artist’s board. In fine condition, with tack holes to corners.
Blair was a concept artist for Disney during the 1940s and early 1950s, working on designs for such films as Peter Pan, Cinderella, and Alice in Wonderland. She also created designs for several Disney attractions (including It’s a Small World) and her largest work ever, the multi-story mosaic in Disney World’s Contemporary Hotel concourse. A delightful piece of original artwork from the influential Blair, with a vivid and uncommon rendering of Wonderland’s mischievous brothers. Starting Bid $1000
Mary Blair’s concept portrait of Wonderland’s arrogant caterpillar-turned-butterfly, who aggressively gives Alice the rules of eating a mushroom
395. Mary Blair concept painting of Alice and the Butterfly for Alice in Wonderland. (Walt Disney Studios, 1951) Beautiful original concept storyboard painting by Mary Blair for Alice in Wonderland, showing Alice being aggressively confronted by the Butterfly moments after its metamorphosis from a Caterpillar. The scene depicts the bitter insect after having swooped down to meet Alice face-to-face, forcing her to fall atop a large mushroom as he angrily explains that she will have the ability to grow large or small by eating the two different sides of his mushroom. The scene is dominated by the intense turquoise of the floating bug and the innocent blues and whites of Alice’s dress and eyes, elements that contrast nicely against the shadowed plant life of Wonderland. Accomplished in tempera on 12 x 10 artist’s board. In fine condition, with tack holes to corners.
Mary Blair was a concept artist for Disney during the 1940s and early 1950s, working on designs for such films as Peter Pan, Cinderella, and Alice in Wonderland. She also created designs for several Disney attractions (including It’s a Small World) and, her largest work ever, the multi-story mosaic in Disney World’s Contemporary Hotel concourse. Starting Bid $1000
Nocturnal lessons from Wonderland’s most curious creature—Mary Blair teams Alice and the Cheshire Cat for a beautiful Tugley Wood concept piece
396. Mary Blair concept painting of Alice and the Cheshire Cat for Alice in Wonderland. (Walt Disney Studios, 1951) Beautiful original concept storyboard painting by Mary Blair for Alice in Wonderland, showing Alice and the Cheshire Cat seated on the upper bough of a tree. Alice first encounters the grinning cat during her moonlit stroll through Tulgey Wood, with this beautifully rendered painting, expertly crafted by Blair in hues of purple, blue, and black, showing Alice listening to the advice of the mischievous feline under a oceanic night sky of glowing clouds, stars, and a bright full moon. Accomplished in tempera on 9.25 x 9 artist’s board. In fine condition, with tack holes at corners. A marvelous example of Mary Blair’s original artwork, portraying two of Disney’s most desirable characters.
Mary Blair was a concept artist for Disney during the 1940s and early 1950s, working on designs for such films as Peter Pan, Cinderella, and Alice in Wonderland. She also created designs for several Disney attractions (including It’s a Small World) and, her largest work ever, the multi-story mosaic in Disney World’s Contemporary Hotel concourse. Starting Bid $1000
A Tinker Bell surprise—Blair heads to the Neverland woods in this striking Peter Pan concept art
397. Mary Blair concept painting of Peter Pan, Tinker Bell, and Wendy Darling for Peter Pan. (Walt Disney Studios, 1953) Original concept storyboard painting by Mary Blair of Peter Pan, Tinker Bell, and Wendy Darling. Accomplished in tempera on 9 x 9 artist’s board, the scene shows Peter Pan and Wendy in a state of surprise after Tinker Bell flies through an opening in the forest canopy, her fairy dust leaving a glowing trail in her wake. Blair uses a blend of soft browns, blues, and greens to color the lush backdrop of Neverland at night, with Tinker Bell and her golden trail illuminating the forest floor and its two occupants. In fine condition, with tack holes to corners.
Blair was a concept artist for Disney during the 1940s and early 1950s, working on designs for such films as Peter Pan, Cinderella, and Alice in Wonderland. She also created designs for several Disney attractions, including It’s a Small World and, her largest work, the multistory mosaic in Disney World’s Contemporary Hotel concourse. Starting Bid $1000
Huge Mary
Blair concept painting for ‘It’s a Small World,’ a vibrant masterpiece of diversity, inclusivity, and international peace
398. Mary Blair concept painting of an international hot air balloon for the It’s a Small World ride. (Walt Disney Studios, circa 1963) Oversized original concept painting by Mary Blair of a group of international children taking a hot air balloon for the ‘It’s a Small World’ exhibit and ride created by WED Enterprises for the 1964 New York World’s Fair. The brightly colored work shows a large hot air balloon floating against a blue sky with white clouds. Inside the balloon’s basket are seven children, each with rosy cheeks and a wide smile, and representing a different country on Earth. Accomplished in tempera on 14 x 17 artist’s board. In fine condition, with tack holes to corners.
Mary Blair, who had been an art director on several Disney animated features, including Cinderella, Alice in Wonderland, and Peter Pan, developed the ‘It’s a Small World’ attraction’s whimsical design and color styling. Blair had formerly painted Native American villagers when she was designing her now iconic concept art for Neverland. A wonderful piece of concept art for a popular Disney attraction that epitomizes the inclusive spirit of the ‘It’s a Small World’ message. Starting Bid $1000
Immense Sweden-inspired
Mary Blair concept painting for the ‘It’s a Small World’ exhibit and ride
399. Mary Blair concept painting of the Swedish exhibit for the It’s a Small World ride. (Walt Disney Studios, circa 1963) Large original concept painting by Mary Blair of a Sweden-inspired display for the ‘It’s a Small World’ exhibit and ride created by WED Enterprises for the 1964 New York World’s Fair. The gorgeously colored, masterfully framed work shows a pair of Swedish children dancing on an island strewn with flowers and a traditional Nordic cabin. A mountain on either side climbs from the sea, both with floral designs and topped with cabins, and a bright orange-and-yellow sun shines over the children below. Accomplished in tempera on 16.5 x 12.75 artist’s board. In fine condition, with tack holes to corners.
Mary Blair, who had been an art director on several Disney animated features, including Cinderella, Alice in Wonderland, and Peter Pan, developed the ‘It’s a Small World’ attraction’s whimsical design and color styling. Blair had formerly painted Native American villagers when she was designing her now iconic concept art for Neverland. Starting Bid $1000
Eyvind Earle beautifully captures the canine stroll of Lady and Tramp for the romantic ‘Bella Notte’ sequence
400. Eyvind Earle concept painting from Lady and the Tramp. (Walt Disney Studios, 1955) Original panoramic concept painting by Eyvind Earle for Lady and the Tramp, depicting the two title canines following a park sidewalk that winds through a bridge tunnel, a scene which would inspire the film’s romantic ‘Bella Notte’ sequence. In his distinctive style, Earle captures the nighttime stroll with a charming sense of secrecy and quiet, the night’s stillness broken by the sound of a horsedrawn carriage and its clip-clopping of hooves across the bridge. Earle’s sense of artistic balance is in top form with his placement of the dogs and carriage, the trees and stone bridge, and the gorgeous blue-gray layers of earth and sky, the latter dotted with stars and a bright full moon. Accomplished in tempera on 16 x 6 artist’s board, signed in the lower right corner in white paint, “Eyvind Earle.” In fine condition. Disney artist Eyvind Earle, who later became Sleeping Beauty’s production designer, created almost 50 miniature concept sketches for the ‘Bella Notte’ sequence and was a key contributor to the classic film. A simply gorgeous original piece of Disney art. Starting Bid $500
From a cliffside clearing, Eyvind Earle envisions Sleeping Beauty’s fairy tale castle in a beautifully painted panorama
401. Eyvind Earle panoramic concept painting for Sleeping Beauty. (Walt Disney Studios, 1959) Masterful original panoramic concept painting by Eyvind Earle for Sleeping Beauty, wonderfully depicting the film’s iconic castle from a distant cliffside viewpoint. The shadowed, fern-laden foreground opens up to a stunning fairytale vista, with a village clustered within trees and green-topped tableland to the left, and the right featuring the iconic castle perched high upon a hillside. Brilliantly accomplished in gouache on 21 x 9.5 artist’s board, and signed in the lower right corner in silver ink by Eyvind Earle. In fine condition, with tack holes to corners, the upper right bearing slight wear.
Legendary Disney artist Eyvind Earle was Sleeping Beauty’s production designer, and Disney gave him a significant amount of freedom in designing the settings and selecting colors for the film. Earle also painted the majority of the backgrounds himself, and his stylistic influence is readily apparent in the final product. Starting Bid $1000
When
evil lurks—Maleficent stalks Princess Aurora in this brilliant panoramic concept piece from the inimitable Eyvind Earle
402. Eyvind Earle panoramic concept painting of Princess Aurora for Sleeping Beauty. (Walt Disney Studios, 1959) Stunning original panoramic concept painting by Eyvind Earle for Sleeping Beauty, which depicts Princess Aurora seated and crying at her chamber mirror mere moments before becoming entranced by the powerful Maleficent, who leads her into an upper tower and the accursed spinning wheel. In trademark Earle fashion, the scene is expertly realized with both rich detail and vibrant color: the stone walls, paintings, drapery, and furniture offer texture and balance with touches of blue, orange, green, and purple cutting across the room’s overall gray expression. The appearance of Maleficent, pictured here as a small orb of light, is likewise deftly handled, adding a further touch of mystique and radiance to the room’s otherwise morose interior. Accomplished in gouache on 16 x 6 artist’s board, signed in the lower right corner in pink paint by Earle. In fine condition, with tack holes to corners. Starting Bid $500
Beautifully creepy Eyvind Earle hand-painted panoramic background of Maleficent’s inner castle, with large dual production cels of the ‘Mistress of All Evil’ and three of her henchmen
403. Maleficent and henchmen production cels and Eyvind Earle panorama background from Sleeping Beauty. (Walt Disney Studios, 1959) Marvelous production cels and pan production background featuring Maleficent and three henchmen from Sleeping Beauty, showing the wicked sorceress descending the inner stone staircase of her castle, with a triplet of armed guards standing on the upper platform. The cels are placed on a hand-painted panoramic production background attributed to Eyvind Earle, which captures in great detail the impressive stonework and atmosphere of the spellcaster’s great and terrible fortress. Images measure 7.5 x 8 (Maleficent) and 12 x 6.75 (Goons), with a mat opening of 32.75 x 9.5. Framed with an engraved plaque to an overall size of 46.25 x 23. In fine condition, with wear and chips to frame. A highly visual display piece that evokes both the charm and danger of the classic Disney fairy tale, and is further augmented by a surreal subterranean backdrop and a stunning full-figure portrayal of the ‘Mistress of All Evil.’ Starting Bid $500
Masterful
Eyvind
Earle
panoramic background of Briar Rose’s woodland cottage interior, presented with an action-packed dual cel display of Prince Phillip’s capture in Sleeping Beauty
404. Prince Phillip and Maleficent’s henchmen production cels and Eyvind Earle panorama background from Sleeping Beauty. (Walt Disney Studios, 1959) Terrific production cels and pan production background featuring Prince Phillip and four of Maleficent’s henchmen from Sleeping Beauty, which shows the swine-like sentries attacking and tying up the unsuspecting prince in the cottage of Briar Rose, the intended captive of a trap set by Maleficent, who upon snaring Phillip declares: ‘Well - this is a pleasant surprise. I set my trap for a peasant and LO! - I catch a prince!’ The impressive two-cel action scene is placed on a hand-painted panoramic production background attributed to Eyvind Earle, which captures in beautiful detail the interior of the safe haven used by Princess Aurora. Of great interest is the outside border of the background, which contains extended graphite drawings of the cottage’s interior, and is marked below: “2082, Seq. 17 Sc. 30.” The cels are respectively marked “2082-17-14, 66G” and “2082-17-14, 66.” The total cel image measures 20 x 8, with overall dimensions of 29.75 x 12.5. Affixed to a slightly larger foamcore mount and in fine condition. Accompanied by a copy of a letter from the offices of Earle, which, on the reverse, affirms that Earle did indeed paint the offered Sleeping Beauty background. Starting Bid $500
Awesome
hand-made Christmas card presented to legendary Tom and Jerry producer Fred Quimby, signed by over 70 members of MGM’s animation department, including cartoon pioneers Bill Hanna, Joe Barbera, Tex Avery, Ken Muse, Irv Spence, Ray Patterson, and more
405. Tom and Jerry oversized hand-painted 1951 Christmas Card presented to Fred Quimby, signed by (70+) MGM animation department employees including Bill Hanna, Joe Barbera, Tex Avery, and more - (27˝ x 34.5˝) . Massive original custom-made Christmas card presented to animation legend Fred Quimby by the MGM Studio animation department in 1951. The card, which is matted to an overall size of 27 x 34.5, features a wonderful yuletide scene of iconic cartoon characters Tom and Jerry singing Christmas carols outside the front of a house, which features a Christmas wreath, brick steps, twin bushes with lightbulbs, a yard lamp with candle, and the house’s address number,” 623,” which matches Quimby’s home address of 623 North Beverly Drive in Beverly Hills, California. The artwork is accomplished in mixed media, although the majority is watercolor, and the bottom section features the signatures of 76 MGM employees, a group highlighted by animation figures and artists like Bill Hanna, Joe Barbera, Tex Avery, Ken Muse, Irv Spence, Ray Patterson, and more. The central portion bears a hand-drawn card with a calligraphic sentiment, “1951, To a swell boss – With sincere good wishes for a Merry Christmas and a Happy New Year, from The Gang.” In fine condition. Starting Bid $300
407. George and Jane Jetson production model sheet from The Jetsons. (Hanna-Barbera Studios, 1962) Original production model sheet of George and Jane Jetson from The Jetsons, which includes one full-figure and three floating head drawings of George and two full-figure and one floating head drawings of Jane. Accomplished in graphite on 12 x 10 animation paper, with the character images ranging in size from 1.75 x 2 to 2.25 x 6.5. Double-matted and framed to an overall size of 19 x 16.5. In fine condition. Starting Bid $200
406. Fred Flintstone and Barney Rubble production cels from The Flintstones. (Hanna-Barbera Studios, circa 1961) Very early original production cels of Fred Flintstone and Barney Rubble from The Flintstones, showing them riding together in the famous Flintmobile. Total image measures 11 x 9, with overall dimensions of 12.5 x 10.5. This is a highly desirable complete set of matching cels, which uses six layered celluloid sheets to make up the complete image. In fine condition. Starting Bid $200
408. Judy Jetson and Jet Screamer production model sheet from The Jetsons. (Hanna-Barbera Studios, 1962) Original production model sheet of Judy Jetson and Jet Screamer for The Jetsons episode ‘A Date with Jet Screamer,’ which aired on ABC as the second episode of season one on September 30, 1962. The model sheet includes one full-figure and one floating head drawing of Judy and one full-figure and two floating head drawings of Jet Screamer. The lower section is marked: “The Jetsons #4, Judy + Jet.” Accomplished in graphite on 11 x 9 animation paper, with the character images ranging in size from 1.75 x 1.75 to 4.75 x 5.25. Double-matted and framed to an overall size of 18 x 16. In fine condition. Starting Bid $200
409. Rocky and Bullwinkle production cels and production drawings from a Bullwinkle’s Vitamin Soda Pop television commercial. (Kurtz and Friends, 1992) Original production cels and production drawings for a Bullwinkle’s Vitamin Soda Pop television commercial, which shows Rocky and Bullwinkle in a laboratory, with the moose inspecting a flask and the squirrel peering angrily at his partner and holding a can of the flavored soda. The cels are accompanied by their matching production drawings, both accomplished in graphite and artist pencil on untrimmed 12.5 x 10.5 sheets of animation paper, both of which are signed in pencil by the commercial’s artist, former Jay Ward veteran Bob Kurtz, who also signs the Rocky cel in silver ink. The cel and drawing images measure 2.5 x 2.25 (Rocky) and 4 x 5.5 (Bullwinkle), and the cel set-up, which includes a color copy background, measures to an overall size of 13.75 x 11.5. In overall fine condition. Starting Bid $200
Literature
Scarce special edition of Charles Bukowski’s ‘Not Quite Bernadette,’ an elaborate, oversized, denim-bound tome with original colored etchings and sculptured paper cover
573. Charles Bukowski Signed Book - Not Quite Bernadette (Special Ltd. Ed. #6/75). Sought-after signed book: Not Quite Bernadette by Charles Bukowski. Limited special edition, numbered 6/75. Compton, California: Greybeard Press, 1990. Acid-washed denim-bound clamshell box with inner matching clamshell hardcover with sculptured paper cover design by Joseph D’Ambrosio, 19.5 x 22.25, 11 pages of prose text on archival paper, with nine original colored 12 x 14 etchings by artist James W. Johnson, all of which are signed by him in pencil with identical edition number (6/165) and title, which are as follows: ‘Not quite zipped,’ ‘Not quite a bandage,’ ‘Not quite stuck,’ ‘Not quite shut,’ ‘Not quite drunk,’ ‘Not quite a job,’ ‘Not quite caring,’ ‘Not quite rape,’ and ‘Not quite Bernadette.’ Signed on the colophon in black ink by Bukowski, and in pencil by Johnson. The bottom of the last free end page is signed in pencil by D’Ambrosio, and the inside of the book’s back cover features a canceled etching plate of ‘Not Quite Rape,’ which features Johnson’s engraved signature. In very fine condition. Accompanied by the original information booklet from the publisher. Starting Bid $300
574. William S. Burroughs (2) Signed Copies of “My Own Mag” (No. 5, May 1964) with “The Moving Times” Inserts. Two scarce copies of “My Own Mag” (No. 5, May 1964), produced in England by HomosapInc, both complete with Burrough’s insert broad sheet, “The Moving Times.” Staple-bound in the original paper wrappers, 8 x 13, seven pages. Each signed on the front cover in blue ballpoint, “William Burroughs.” Issue No. 5 is also known as the “Special Tangiers Edition” with an image of Burroughs on the cover wearing a fez; it was the first issue which included “The Moving Times,” edited by Burroughs, featuring his experimental styles including the cut up method. In fine condition. Starting Bid $200
576. Agatha Christie: The Mystery of the Blue Train (First American Edition). First edition book: The Mystery of the Blue Train by Agatha Christie. First American edition, first printing. NY: Dodd, Mead and Company, 1928. Hardcover attractively bound in finely woven blue cloth stamped brightly in orange on the front boards and on the spine, with blindstamped train device at center of front board, with dust jacket (including the “$2.00” price on front flap), 5.5 x 7.75, 306 pages. Book condition: VG/G+, with sunning to spine, a 2” closed tear at the bottom of the dust jacket’s spine fold and a 1” closed tear at the top of the same spine fold, and some wear and fading to the jacket.
The Mystery of the Blue Train holds importance in Agatha Christie’s body of work as it marks a turning point in the development of Hercule Poirot, her iconic Belgian detective. Set aboard a luxurious train bound for the French Riviera, the novel reflects Christie’s fascination with glamour and travel, while also showcasing her growing mastery of misdirection and psychological insight. Although Christie herself was dissatisfied with the book—written during a period of personal turmoil—it introduced elements and settings she would return to with greater success in later classics like Murder on the Orient Express. Starting Bid $200
“It was in Spain that men learned that one can be right and yet be beaten, that force can vanquish spirit, that there are times when courage is not its own recompense. It is this, doubtless, which explains why so many men, the world over, regard the Spanish drama as a personal tragedy”
575. Albert Camus Hand-Corrected Typed Manuscript for His Preface to the Spanish Civil War Anthology, L’Espagne Libre [Free Spain]. Hand-corrected typed manuscript in French by Albert Camus, unsigned, five pages, 8.5 x 11, [February 14, 1946], written for his preface to the 1946 book L’Espagne Libre [Free Spain], a collection of essays and testimonies about the Spanish Civil War published by the Calmann-Lévy imprint Actualité, which featured contributions from prominent writers and intellectuals like Jean Cassou, Federico García Lorca, W. H. Auden, and Ernest Hemingway. Written just after World War II, in which he took an active role in the resistance against the Nazis, Camus muses on the Spanish Civil War, a conflict to which he felt personally connected due to his mother’s Balearic Spanish ancestry.
The manuscript, in part (translated): “It is now nine years that men of my generation have had Spain within their hearts. Nine years that they have carried it with them like an evil wound. It was in Spain that men learned that one can be right and yet be beaten, that force can vanquish spirit, that there are times when courage is not its own recompense. It is this, doubtless, which explains why so many men, the world over, regard the Spanish drama as a personal tragedy.
For nine years now, the men of my generation have had Spain on their hearts, and for years they have carried it with them like a bad wound. It is because they have tasted defeat for the first time, because they have discovered, with a surprise from which they have barely recovered, that one could be right and be defeated; that force could subdue the spirit and that there were cases where courage had no reward.” In very good to fine condition, with faint toning, and file holes to the left edge. Starting Bid $200
“Enter Tom & Huck”—Mark Twain prepares a stage version of The Adventures of Tom Sawyer
572. Samuel L. Clemens Handwritten Notes for a Tom Sawyer Stage Adaptation. Unsigned handwritten manuscript notes by Samuel Clemens for a never-performed stage version of ‘Tom Sawyer,’ three pages, 5.5 x 9, no date but circa 1884, offering a treatment for the dramatic scene in which Tom, Huck, and Becky encounter Injun Joe in the cave. The notes read, in part: “Enter Tom & Huck. Find bag. ‘No use now—got to starve.’ Tom says ‘No.’ Examine—money all there. Discover girls asleep. Wake them. Talk. We’ll save you. Gives them his crust & some bats…Devilish face of Joe peeks out—will hive those boys—steals behind boys. Girls see him & scream. Boys jump up & stand paralyzed. Then they jump for the rock & the dodging begins for life & death, the girls looking over. (Maybe Tom trips him.) ‘Now, Huck.’ They fly—Joe pursues, the girls scream.” In fine condition. Housed in a handsome custom-made full morocco presentation portfolio, with gilt-stamped spine and title.
As early as 1875, Clemens had asked his friend William Dean Howells to dramatize the then still-unpublished Adventures of Tom Sawyer. Howells refused, but Clemens pressed ahead, composed a synopsis of his own to secure copyright and subsequently wrote at least some of the play. While these
plans ultimately fell through, in 1883 the author once more attempted to translate his book into a stage success. This time, he managed to complete a dramatic version, and the play was duly copyrighted on February 1, 1884. Although Clemens ‘was so pleased with this piece of work that even before he had finished it he was pondering on the cast which might properly perform it and trying to dictate terms,’ the great theatre manager Augustin Daly did not take long to reject the chance to stage ‘Tom Sawyer,’’ and after this ‘one hears no more about the author’s attempting to dramatize his novel’ (cf. Mark Twain’s Hannibal, Huck, and Tom, ed. Walter Blair, pp. 250-252).
These are three out of a total of 26 pages of working notes for the play, constituting the last three of a ten-page group termed ‘C’ by their editor, Walter Blair. At the time of Blair’s editorial work, the notes were dispersed among several libraries: all but one of this ten-page group (C1-3 and C5-10) were then among the Mark Twain Papers at Bancroft Library, UCA, Berkeley (while C4 rests in Yale University Library). The three pages at hand form a sub-unit that provides a later plan for Act IV, in which Tom and Becky, lost in the cave, encounter Injun Joe. Starting Bid $1000
“Lord, I loathe that woman so! She is an idiot— an absolute idiot—and does not know it...and her husband, the sincerest man that walks...tied for life to this vacant hellion, this clothes-rack, this twaddling, blethering, driveling blatherskite!”
577. Samuel L. Clemens Autograph Letter Signed with Sketch, Criticizing Mrs. Thomas Bailey Aldrich: “This vacant hellion, this clothes-rack, this twaddling, blethering, driveling blatherskite!”. ALS signed “Lovingly, Papa,” eight pages on two sets of adjoining sheets, 4.75 x 7.75, December 27, 1893. Handwritten letter to his “Dear old Susy dear,” his daughter Susy Clemens, humorously criticizing the wife of fellow writer Thomas Bailey Aldrich. In part: “I wish you were here to dine with my at Dr. Rice’s tomorrow nigt. All the men invited are bright, & two of the women—Mrs. Rice & another. Fifty people are coming after the dinner…You never saw anybody as happy over anything as Brander Matthews is over his banquet. It is pleasant to see. I am as glad as I can be that I went. I was so prejudiced against speaking that I came near not going. It would have been villainy—a treachery. I saw him yesterday, & he said ‘New York is simply resounding with your speech. I hear of it from morning till night. But those people can’t rise to the size of it. They only know the words—unsurpassable words, that’s true, but the delivery!—oh, it was just masterly!’”
“By gracious, to have pleased a man so much was worth— there’s not telling it’s worth. That man’s pleasure is the pleasantest thing I have experienced in a good while. His compliments come out of his heart; it is that that makes them instantly recognizable as gold, a thousand carats fine. It was plain, at the banquet, that Brander is a most unusually wellbeloved man. The speakers labored a little in the other parts of their talk, but whenever they reached the affectionate part their tongues had holiday & a free delivery.”
“My Christmas dinner at Laffan’s was spoiled‚ totally spoiled— irremediably spoiled—a deep, & rounded, & comprehensive, & a complete & accursed failure. For, just at the last moment, when dinner-time was 15 or 20 minutes over past, & I was perfectly happy & joyous & tongue-free & hungry, the bell rang & in came the one woman in this world whose every single
detail, from her trivial head to her invisible heels, is hateful to me & maddening—& I was appointed to take her out to dinner! Her dress was as usual one of her devilish inspirations—she lives solely for clothes. It being exactly a week since her brother died & four days since he was buried, she was in mourning, ostensibly.”
Clemens sketches a drawing of the “devilish inspiration,” describing it in the margin: “Shiny new black satin—a bunch of great pink roses on port breast; a cob-webby transparent Oriental rag flung carelessly athwart her back; her waist away up close under her breasts—and she from there down a churn. Picturesque? Certainly, but if she belonged to me I would drown her, all the same. Lord, I loathe that woman so! She is an idiot—an absolute idiot—& does not know it. She is sham, sham, sham—not a genuine fibre in her anywhere—a manifest & transparent humbug—& her husband, the sincerest man that walks, doesn’t seem aware of it. It is a most extraordinary combination: he, fine in heart, fine in mind, fine in every conceivable way, sincere, genuine, & lovable beyond all men save only Joe Jefferson—& tied for life to this vacant hellion, this clothes-rack, this twaddling, blethering, driveling blatherskite!”
“6 hours later—Midnight. What a long interval it is that occurs between those two lines! Meantime I have been to Hutton’s to dinner. No outsider there but me. A most pleasant time. A Mr. Kip, of Buffalo, came in later—fine man. But at dinner, I was still full of that detested woman and turned myself loose on her, covering up her identity very artfully, as I thought. Finally Mrs. Hutton said, ‘I want to shake hands with you; she is my pet detestation, too’—& she named her. But men haven’t any intuitions; Hutton had guessed wide of the mark.” Though he does not reveal the lady’s name in his letter, it seems that Clemens is referring to Lillian W. Aldrich, wife of writer and poet Thomas Bailey Aldrich, who served as editor of the Atlantic until 1890. In fine condition. Starting Bid $1000
Clemens informs Bram Stoker of the Paige Compositor’s failure: “There is a hitch in my machine enterprise—a hitch so serious as to make it take to itself the aspect of a dissolved dream”
578. Samuel L. Clemens
Autograph Letter Signed to Dracula Author Bram Stoker: “There is a hitch in my machine enterprise—a hitch so serious as to make it take to itself the aspect of a dissolved dream”. ALS signed “S. L. Clemens,” two pages on two adjoining sheets, 4.5 x 7, no date but circa 1894. Handwritten letter to Dracula author Bram Stoker regarding his ill-fated investment in the Paige typesetting machine. In part: “I am not dating this, because it is not to be mailed at present. When it reaches you it will mean that there is a hitch in my machine enterprise—a hitch so serious as to make it take to itself the aspect of a dissolved dream. This letter, then, will contain cheque for the $100 which you have paid. And will you tell Irving for me—I can’t get up courage enough to talk about this misfortune myself, except to you, whom by good luck I haven’t damaged yet—that when the wreckage presently floats ashore he will get a good deal of his $500 back; & a dab at a time I will make up to him the rest. I’m not feeling as fine as I was when I saw you there in your home. Please remember me kindly to Mrs. Stoker. I gave up that London lecture-project entirely. Had to—there’s never been a chance since to find the time.” In fine condition, with a small spot of discoloration to the bottom of the first page.
Samuel Clemens invested heavily in the Paige typesetting machine during the 1880s and 1890s, believing it would revolutionize the printing industry. Despite its mechanical brilliance, the machine was plagued by reliability issues and ultimately lost out to simpler, more practical competitors like the Linotype. At the end of 1894, after Paige’s machine performed disastrously in a long test run with other typesetting machines, Clemens gave up any hope for its commercial success. Clemens poured $300,000 into the project—most of his book profits, as well as a large portion of his wife’s inheritance—plus fifteen years of effort, only to have it end in abject failure. Many point to Clemens’s over-investment in the Paige typesetter as the cause of not only his family’s financial decline, but also the decline of his wit and humor. Starting Bid $500
“Mr. Greeley is very busy this month & has requested me to clandestinely continue for him in The Tribune”—“Mark Twain” declines an invitation from the New York Rural Club, blames his secretive work for publisher Horace Greeley
579. Samuel L. Clemens Autograph Letter Signed as “Mark Twain”. ALS signed “Mark Twain,” three pages on two adjoining sheets, 4.25 x 5.25, personal ‘C’ crest letterhead, December 26 [1870]. Addressed from Buffalo, New York, a handwritten letter to the Farmers’ Club of the American Institute of the City of New York, declining an invitation with allusion to his recently published sketch ‘How I Edited an Agricultural Paper Once’ (Galaxy, July 1870). In full: “I thank you very much for your invitation to the Agricultural dinner, & would promptly accept it & as promptly be there but for the fact that Mr. Greeley is very busy this month & has requested me to clandestinely continue for him in The Tribune the articles headed ‘What I Know About Farming.’ Consequently, the necessity of explaining to the readers of that journal why buttermilk cannot be manufactured profitably at 8 cents a quart out of butter that costs 60 cents a pound compels my stay at home until the article is written.” Under Clemens’ signature, a notation by A. B. Crandell reads: “Explanatory: As Secretary of the New York Rural Club – Horace Greeley President – I was instructed to invite Mark Twain to one of our dinners. This is his reply.” In fine condition. Starting Bid $200
580. Samuel L. Clemens Double Signature - “S. L. Clemens, Mark Twain”. Superlative double ink signature, “Truly yrs, S. L. Clemens, Mark Twain,” on an off-white 3.5 x 2.75 card. In very fine condition. An appealing example of the great American author’s autograph in both variations. Starting Bid $200
“A rule of the Boy Scouts is every day to do some one a good turn”
581. Richard Harding Davis Autograph Manuscript Signed - Draft for ‘The Boy Scout’. Influential journalist and writer of fiction and drama (1864–1916), remembered as an ally of Theodore Roosevelt and for his work as a war correspondent covering the Spanish–American War, the Second Boer War, and World War I. AMS signed “Richard Harding Davis, Mt. Kisco, N.Y.,” 75 pages, 5.75 x 4.75, no date but published in 1914. Davis’s handwritten draft for his story “The Boy Scout,” the first tale in his 1914 short story collection The Boy Scout and Other Stories for Boys. Writing on bright yellow notebook paper, Davis begins: “A rule of the Boy Scouts is every day to do some one a good turn. Not because the copy-books tell you it deserves another, but in spite of that pleasing possibility. If you are a true scout, until you have performed your act of kindness your day is dark. You are as unhappy as is the grown up who has begun his day without shaving, or reading the New York Sun. But as soon as you have proved yourself you may, with a clear conscience, look the world in the face and untie the knot in your kerchief.” Davis makes numerous emendations throughout, striking through and replacing numerous words. The manuscript is in fine condition: each page has been professionally inlaid into a larger 6.75 x 8.75 sheet, and custom-bound together in half-morocco; however, the front board is neatly detached at the joint. Starting Bid $200
“Venerables
Writing Box and Pen Holder”—
the travel
desk of Charles Dickens
582. Charles Dickens’s Travel Writing Desk. Charles Dickens’s traveling writing desk, measuring 13.75˝ x 9.5˝ x 3.5˝ closed, featuring a fruitwood exterior with carved mother-of-pearl inlay (marked with the monogram “CD”) and silver banding, with two top flaps opening to reveal an angled leather-covered writing slope with wood-lined compartment beneath and a fitted mahogany interior tray for writing equipment, including two glass ink bottles, a letter opener, and a cased silver porte-crayon fitted with a quill nib. Inside is a handsome silver plaque, engraved: “Venerables Writing Box and Pen Holder, Presented to Evelyn by Your Mama, on the occasion of being appointed Schoolmistress.”
Notably, ‘Venerables’ was the family’s pet-name for the novelist, as is recalled in the Strand Magazine article entitled ‘A Child’s Memories of Gad’s Hill’ by his granddaughter, Mary Angela Dickens, a copy of which is included. Also includes an ink signature, “5 Hyde Park Place W, Tuesday, First March 1870, Faithfully yours, Charles Dickens,” on a slip of Gad’s Hill Place stationery, clipped in two and joined at the center. In very good to fine condition, with loose screws securing the upper flap (one missing), some cracking to the veneer on the top, and general wear from age and use. Accompanied by a small plaque portrait of Charles Dickens, displayed in a period 7 x 7 wooden frame. Starting Bid $2500
Set of silverware used by Charles Dickens at Gad’s Hill Place, elegantly
engraved with his “CD” monogram
583. Charles Dickens’s Personally-Owned Silverware Set from Gad’s Hill Place. Fantastic set of 32 silver-plated spoons and forks personally owned and used by Charles Dickens at Gad’s Hill Place, all elegantly engraved with his monogram in fancy script, “CD.” Includes ten dessert spoons, ten forks, ten tea spoons, and two tiny salt spoons, all of a matching fiddle leaf thread pattern, with manufacturer’s stamps of Martin, Hall & Co. of Sheffield, circa 1860. In overall very good to fine condition, with light wear from use.
Provenance: Lot 227, English Literature and History including The Charles Dickens Archive, Sotheby’s, July 15, 1999. Accompanied by a photocopy of the Sotheby’s catalog page, which depicts all 32 pieces and notes that two of the novelist’s children, Henry Fielding Dickens and Kate Perugini, attested to Dickens’s ownership and use of the silverware set. Unfortunately, those letters have been lost, as has later correspondence documenting their ownership by actor Bransby Williams, and the purchase of the silverware for the Bleak House Collection in 1962. Starting Bid $2500
“Have you ever seen the Vernon Gallery, & the rest of the South Kensington Museum?”
584. Charles L. Dodgson Autograph Letter Signed, Arranging an Outing to “the Vernon Gallery, & the rest of the South Kensington Museum”. ALS signed “C. L. Dodgson,” one page, 4.75 x 6.25, June 3, 1892. Handwritten letter to Winnie Stevens, in full: “Have you ever seen the Vernon Gallery, & the rest of the South Kensington Museum? If not, it will fit in with your plans on Wed. very nicely. Please let me know, that I may arrange with my cousin where to meet. Please bring some of your music to Guildford—and songs too, if you sing.” He adds a mysterious postscript: “The key of the portmanteau is in that inner pocket.” Addressed on the reverse in Dodgson’s own hand. In fine condition, with a few tiny stains. Winifred Stevens (later Lady Hawke, 1872–1958) enjoyed a friendship with Lewis Carroll that spanned more than a decade. On June 8, 1892, the two spent the day in London visiting the South Kensington Museum and attending a performance of Richelieu starring Henry Irving and Ellen Terry, before traveling to Guildford for a two-night stay. At the time, Carroll was 50 and Winifred was 20. Starting Bid $200
Shortly before the publication of his second novel, Fitzgerald deals with “domestic calamities” that prevent any social meet-ups—“I delayed writing you because we have been having a double misfortune here with a desperately sick baby and my wife’s mother in such condition that only the baby kept us from starting immediately south
585. F. Scott Fitzgerald Autograph Letter Signed - Two Weeks Before the Release of The Beautiful and Damned. EExceptional ALS, one page, 8.5 x 11, February 15, 1922. Addressed from St. Paul, Minnesota, a handwritten letter from F. Scott Fitzgerald to “Lucy Norval,” a friend of the author Joseph Hergesheimer, explaining that he won’t be able to meet her at Saint Paul’s Radisson Hotel due to a “desperately sick” baby and an equally sick mother-in-law, the latter of whom Fitzgerald anticipated traveling south to visit thus preventing the meeting. The letter, in full: “A message came yesterday from Mr. Joseph Hergesheimer telling me that you were at the Radisson Hotel. I delayed writing you because we have been having a double misfortune here with a desperately sick baby and my wife’s mother in such condition that only the baby kept us from starting immediately south. I had hoped both situations would clear up by today so that we might have the pleasure of meeting you during your stay here but though the baby is better, the other matter is not unless there is a decided change my wife expected to leave for the south tomorrow night. I didn’t mean to burden you with a list of domestic calamities but I wanted to explain my apparent discourtesy in not writing immediately and availing ourselves of the pleasure Mr. Hergesheimer’s message promised. May I hope that some time you will be in the Twin Cities when we are under more fortunate auspices.” In fine condition. Accompanied by the original mailing envelope addressed in the hand of Fitzgerald; the right side bears a correction in an unidentified hand, sending it care of McKesson & Robbins in New York.
In the winter of 1921, Fitzgerald moved to his home in St. Paul, Minnesota, where he finished work on his second novel, The Beautiful and Damned, and where his wife, Zelda, gave birth to their daughter, and only child, Frances Scott ‘Scottie’ Fitzgerald on October 26, 1921. As this letter indicates, the Fitzgeralds were still in St. Paul when Fitzgerald wrote this letter, which dates roughly two weeks before the release of The Beautiful and Damned, chapters of which had been serialized in Metropolitan Magazine from September 1921 to March 1922, before it was published by Charles Scribner ’s Sons on March 4, 1922.
Provenance: Purchased by Charlie Watts, the Rolling Stones drummer, at Bauman Rare Books (folder included); sold at Watts’s ‘Literature and Jazz’ estate sale by Christie’s in 2023. Starting Bid $1000
“I will see to it that James Bond eats the right kind of butter in future”—rare Fleming letter boasting two direct “James Bond” references—
“I send you my and James Bond’s wishes for an early recovery”—the first double-Bond example that we have ever offered
586. Ian Fleming Typed Letter Signed with TWO Rare Full “James Bond” Mentions (Uncommon ‘Old Mitre Court’ Letterhead). Rare TLS, one page, 5 x 8, personal ‘4 Old Mitre Court’ letterhead, September 10, 1963. Letter to Dr. Mary K. Williams, in full: “Thank you very much for your cautionary letter of September 3rd and I will see to it that James Bond eats the right kind of butter in future. But I am terribly sorry to hear of your misfortune, and I send you my and James Bond’s wishes for an early recovery.” In very fine condition. Accompanied by the original mailing envelope. A desirable letter from the revered British novelist that contains the seldom-seen presence of two “James Bond” references; direct mentions by Fleming of special agent 007 are extremely scarce and highly sought-after.
Fleming took rooms in Mitre Court Chambers to use as a writing office during his final years when the success of the Bond series allowed him to stop working for Kemsley at The Sunday Times. The rooms were just off Fleet Street in an area of London mostly populated by journalists and the legal profession. Fleming’s friend Rennie Hoare, of the banking dynasty, found him the rooms: Mitre Court was at the back of Hoare’s Bank and was owned by the bank. Fleming died the following year from a heart attack at the age of 56. Starting Bid $500
587. William Golding: Lord of the Flies (First American Edition). First edition book: Lord of the Flies by William Golding. First American edition, first printing. NY: Coward-McCann, 1955. Hardcover bound in crisp beige cloth, spine stamped brightly in green, greyish-blue cloth textured boards, with pictorial dust jacket (including “$3.50” price on front flap), 5.75 x 8.25, 243 pages. Book condition: NF/VG+, with a tiny piece missing at the bottom corner of the rear jacket flap.
From the front flap: “There is sheer delight in this adventure of well-brought-up little boys who find themselves on a deserted island and there is horror in its most frightening form when they fall prey to the pressure of raw nature. Imagination combines with realism as innocence gives way to cunning and primitive violence. In this, his first novel, William Golding writes with the compelling power that marks true literary achievement.” Lord of the Flies was awarded a place on both lists of Modern Library 100 Best Novels, reaching number 41 on the editor’s list and 25 on the reader’s list, and chosen by Time magazine as one of the 100 best Englishlanguage novels since 1923. Starting Bid $200
Thomas Hardy authorizes a stage production of Tess of the d’Urbervilles
588. Thomas Hardy Document Signed for Tess of the d’Urbervilles. DS, four pages, 8 x 13, December 7, 1925. Agreement by which Thomas Hardy grants Philip Ridgeway, manager of the Barnes Theatre, permission to perform “a play in four (4) acts entitled ‘Tess of the d’Urbervilles.” The contract stipulates that the manager “shall produce the said play for a run in the evening bill in a first class theatre with a first class cast,” and “agrees to announce the name of Thomas Hardy as author of the said play on all programmes posters and all other advertising matter.” Signed at the conclusion in ink by Thomas Hardy, over a six-pence revenue stamp. Stapled into its original paper folder and in fine condition. Accompanied by two programs and a handbill for Ridgeway’s production of Tess of the d’Urbervilles, including a run at the Barnes Theatre (commencing September 7, 1925, with Gwen Ffrangcon-Davies as the leading lady) and at the Duke of York’s Theatre (opening July 23, 1929, with Gertrude Bugler as the lead). Starting Bid $500
“The youth of the boundless West had struck a new note of independence and originality, overriding all conservative and established rules of heredity”
589. Bret Harte Autograph Manuscript Signed for The Youngest Prospector in Calaveras. American author (1836-1902) best known for his colorful tales of California pioneers, including the much-anthologized story ‘The Outcasts of Poker Flat.’ AMS signed “Bret Harte,” thirteen pages, 7 x 9, August 20, 1896. Harte’s draft of his short story “The Youngest Prospector in Calaveras,” published in his collection Tales of Trail and Town in 1898. The story begins: “He was scarcely eight when it was believed that he could have reasonably laid claim to the above title. But he never did. He was a small boy, intensely freckled to the roots of his tawny hair, with even a suspicion of it in his almond-shaped but somewhat full eyes, which were the greenish hue of a ripe gooseberry. All this was very unlike his parents, from whom he diverged in resemblance in that fashion so often seen in the Southwest of America—as if the youth of the boundless West had struck a new note of independence and originality, overriding all conservative and established rules of heredity.” In fine condition, with uniform toning to only the first page. A fabulous tale of the California gold rush by a celebrated observer of the American West. Starting Bid $500
Hemingway outlines his injuries after his infamous 1954 African plane crashes: “Major concussion, rupture one kidney, damage liver, collapse of intestines, Paralysis sphincter, 3/4 lost sight in one eye (left) (never any good anyway), Burns head”
590. Ernest Hemingway Autograph Letter
Signed on Injuries Sustained in African Plane Crashes: “Major concussion, rupture one kidney, damage liver, collapse of intestines”. ALS signed “Love, Papa,” one page, 8.5 x 11, March 17, 1954. Handwritten letter to his friend Kit Figgis, a British expat living in Africa who assisted the Ernest and Mary Hemingway in the aftermath of their plane crashes in January 1954. Hemingway makes note of the long list of injuries he sustained in the crash—leaving him in pain and ill health for much of the rest of his life—and comments on the cover story he contributed to the April 20, 1954 issue of Look Magazine: ‘Hemingway Writes His Own Story of His Two African Plane Crashes.’
In part: “I must have been pretty punchy when I wrote you the enclosed. Send it as a curiosity you can always sell it for the children. I’ll get you the name of a dealer. What it sorted out to, according to [the] doctor, very practical type, was: major concussion, rupture one kidney, damage liver, collapse of intestines, Paralysis sphincter, 3/4 lost sight in one eye (left) (never any good anyway), Burns head, Brush fire = burns on lips (light), left hand severe, right forearm ditto, abdomen (light), legs (light). Am beating all raps OK…
Had cable from Bill Lowe that everything sold and 1st installment in Look April 20th on the newsstands…Kit this trip has been a little rugged. All the effects were delayed. Good thing we did the piece when we did…Thanks so much for the books and all. They are really lovely and a fine job.” Hemingway adds a brief postscript on the reverse: “18/3/54, Still in bed but very much better. E. H.” In fine condition.
In early 1954, Ernest Hemingway survived two near-fatal plane crashes while on safari in Africa. The first occurred on January 23 when his sightseeing plane struck a utility pole and crash-landed in the Ugandan jungle. A second crash followed the next day during an attempted rescue flight, this time resulting in more serious injuries, including a ruptured kidney, a burnt scalp, and the temporary loss of hearing and eyesight. Though initially presumed dead, Hemingway later emerged alive—though badly hurt—and the episode added to his legend as a man of outsized adventure and resilience. Starting Bid $1000
“I haven’t written a line since last August”— Hemingway reports to his old boxing pal while in Cuba during World War II
591. Ernest Hemingway Autograph Letter Signed on Writing—”I haven’t written a line since last August”—and Boxing: “My brains have never been quite the same”. ALS signed “Best always from your pal Ernie, Ernest Hemingway,” two pages, 8.5 x 11, Finca Vigia letterhead, February 7, 1943. Handwritten letter to his close friend George Brown, who was introduced to Hemingway in the winter of 1940-41 when he began giving boxing lessons to the writer at his gym in New York City. In part: “Hell pal I am certainly glad it was another guy dead and not poor old Papa. But imagine a guy whose best punch is a vicious hook and that one hand on the rope stuff thinking he could have damaged my ticker. My brains have never been quite the same since those trading sessions we used to have after I came home from China but you must be remembering Kelly or somebody you hit with that terrible right. You have a lovely left hand better even than Sidney Smith but 90% of your right is that terrible & mean killer hook you scare the Kelly’s with.
Kelly is down here golfing his way through the war in wonderful shape. I don’t see him much on account of me not being a golfer. Bumby is in the Army. So.far Mousie and Giggy are out. I know some funny things but no can write. After the war will tell you some of the goddamnest lies you ever heard. Marty is fine. Looks lovely. Working hard writing a book. I haven’t written a line since last August. Don’t know know what we will use for money this year. Mangoes maybe. Am out in the water most of time and in good shape at 220—run a couple of miles and swim maybe a mile and the boat in bad weather gives you more exercise than you’d think.” In fine condition.
Hemingway had purchased his Cuban estate, Finca Vigia, in December 1940 as a Christmas present to himself and his new wife, the journalist Martha Gellhorn (‘Marty’), and spent most winters there. He completed his manuscript for the war story anthology Men at War in August 1942, and here relates: ‘I haven’t written a line since.’ At this point, Hemingway’s life was marked by increased domestic strife with his wife, whose absences to cover WWII in Europe left him feeling isolated. He turned to heavier drinking and more frequent fishing, leading to a decline in his literary output: it would be several years before he released another major work, publishing Across the River and into the Trees in 1950. Starting Bid $500
Hemingway options The Sun Also Rises to Hollywood, selling the motion picture rights to RKO in 1932
592. Ernest Hemingway Document Signed for Motion Picture Rights to The Sun Also Rises. DS, four pages, 8.5 x 11, May 6, 1932. Contract between Ernest Hemingway and RKO Radio Pictures, Inc., by which he assigns an option to purchase “all motion picture rights in an to a novel or literary writing and material known as ‘The Sun Also Rises’…written by the Author and published by Charles Scribner’s Sons” for the consideration of $2,000. Hemingway pens his initials, “E. H.,” four times in the margins to approve amendments to the contract pertaining to the option period and distribution of funds (directing $1800 to his ex-wife, Hadley, who received the royalties to The Sun Also Rises as part of their divorce settlement). Neatly signed at the conclusion in fountain pen by Ernest Hemingway and countersigned by Lee Marcus as vice president of RKO. Additionally signed by Hemingway’s close friend, Charles P. Thompson, as a witness; the last page is signed by two notaries. In fine condition.
Although RKO did exercise the option to purchase the worldwide motion picture rights for $14,500, the film would not be made
for 25 years. The rights were bought and sold several times in ensuing years. Howard Hawks bought the rights in 1948, but the project did not go beyond the development stage. The film ultimately landed in the hands of Darryl F. Zanuck at 20th Century Fox, who hired Peter Viertel, a friend of Hemingway’s, to write the script. The film was finally released in 1957, directed by Henry King and starring Tyrone Power, Ava Gardner, Mel Ferrer, and Errol Flynn.
Hemingway was displeased with the result, and walked out after 25 minutes: ‘I saw as much of Darryl Zanuck’s splashy Cook’s tour of Europe’s lost generation bistros, bullfights, and more bistros… It’s pretty disappointing and that’s being gracious. Most of my story was set in Pamplona so they shot the film in Mexico. You’re meant to be in Spain and all you see walking around are nothing but Mexicans… It looked pretty silly. The bulls were mighty small for a start, and it looked like they had big horns on them for the day. I guess the best thing about the film was Errol Flynn.’ Starting Bid $500
593. Ernest Hemingway: A Farewell to Arms (First Edition). First edition book: A Farewell to Arms by Ernest Hemingway. First edition, first printing. NY: Charles Scribner’s Sons, 1929. Hardcover bound in the publisher’s black cloth with gilt paper printed labels, with first-issue dust jacket (with “$2.50” price on front flap and misspelled “Katharine” in flap text), 5.5 x 7.75, 355 pages. Book condition: VG/ VG, with light toning to the bright jacket, spine darkened, and minor creasing at the head and foot of the jacket’s spine.
From the Hemingway Library: ‘Written when Ernest Hemingway was thirty years old and lauded as the best American novel to emerge from World War I, A Farewell to Arms is the unforgettable story of an American ambulance driver on the Italian front and his passion for a beautiful English nurse. Set against the looming horrors of the battlefield—weary, demoralized men marching in the rain during the German attack on Caporetto; the profound struggle between loyalty and desertion—this gripping, semiautobiographical work captures the harsh realities of war and the pain of lovers caught in its inexorable sweep.’ Starting Bid $300
“This is a long way the best town in Europe”— Hemingway writes from Santiago de Campostella while working on A Farewell to Arms
594. Ernest Hemingway Autograph Letter Signed from Santiago de Campostella, Spain: “This is a long way the best town in Europe”. ALS, two pages, 5.25 x 8.25, August 16, [1927]. Handwritten letter to writer and critic Harry Hansen from the “Hotel Suizo, Santiago de Campostella, Spain,” in full: “I’m awfully sorry not to be in Paris—but why don’t you come down here? This is a long way the best town in Europe and I’d try and see you had a good time. Come on down and bring Mr. Crowninshield’s message with you—but if you can’t will you write it to this address? It’s really not so impracticable coming down here—you can get a train to Vigo—it’s only 2 hrs from there on a bus and you can sail home from Vigo if you want to. It’s a grand town and lovely country. Am working here until the middle of September. Would be awful pleased to see you if you’ve nothing better to do.” In fine condition. Hemingway visited Santiago de Compostela, the capital of Galicia, Spain, in 1927 and 1929 while working on his a novel A Farewell to Arms. Starting Bid $300
Washington Irving pens a lengthy draft of his unpublished “Legend of the House of Omeya,” later abridged for the Knickerbocker Magazine
595. Washington Irving Handwritten Manuscript for “Legend of the House of Omeya”. Significant unsigned handwritten manuscript by Washington Irving for “Legend of the House of Omeya,” totaling 90 pages, 5 x 7.75, no place or date but presumably written while in Spain, circa 1827. The make-up of the manuscript is very idiosyncratic, clearly assembled by Irving from cut portions of folio sheets, folded into quires, and irregularly paginated in the upper right. The manuscript begins, in small part: “’Blessed be God!’ exclaims the Arabian historian; ‘In his hands alone is power and prosperity…it was written in the eternal decrees that…the illustrious family of the Omeyas should not be destroyed. One fruitful branch of that royal stock was preserved to flourish with future glory and greatness in another land.’” A number of corrections and revisions have been made by Irving, some in a darker ink than the body of the text; interpolated passages occur in a number of places, most written in the wide inner margins. A number of penciled notes, referring to textual variants, appear in a modern hand.
Irving’s retelling of the eighthcentury founding of the Omeyad dynasty by Abderahman ben Omeya almost certainly dates from Irving’s first residence in Spain. The lengthy narrative is unpublished in this form, but an abridged version was later prepared by the author, published in the Knickerbocker Magazine in May 1840, and collected in his Spanish Papers under the title ‘Abderahman’ in 1866. In fine condition. Housed in a custom-made slipcase with chemise, featuring a red morocco spine lettered in gilt. Starting Bid $1000
Writer-turned-diplomat Washington Irving’s lengthy personal handwritten notebook on Spanish politics
596. Washington Irving Handwritten Notebook on Politics in Spain, Where He Served as United States Ambassador. Handwritten notebook by Washington Irving, 118 pages, 3.75 x 5.75, labeled on the front cover in Irving’s hand: “Notes on Spanish Politics, 1842-3.” The notebook is composed of paragraphs of varying length and comprises notes written by Irving, as well as quotations from books and newspapers, some written in French. Many of the notes concern Spanish history; sections are included under such headings as “Product of Land in Spain,” “Mendizabal’s Ministry,” “Vote of Confidence, 24 Dec. 1835,” “Ministry of Mr. Isturiz,” “Parties in Spain, 1843,” and “Objections to the Constitution of 1812 by Marquis Miraflores.”
A typical passage reads, in part: “With all that could...be said agst. the monks, they had made friends among the peasantry. Easy landlords. They had no families to provide for. They laid up nothing for the future, and as soon as they had provided for their immediate wants they were easy about the rest. The sudden destruction of the monks aroused the selfish ways...among the peasantry. They knew the govt. of new proprietors could exact more than a corporation of ideas without interests either of family or duty. The beggars who swarmed about the convent gates no longer received the remains of their lazy repasts.”
Inscribed inside the front cover in another hand: “Notes on Spanish politics in the handwriting of Washington Irving of Sunnyside. George Irving, January 1885.” Also bears the ex-libris bookplates of Rev. Anson Phelps Stokes and Dr. Noel J. Cortes affixed to endpapers. A couple of contemporary newspaper clippings are laid in. In fine condition. Housed in a custom-made slipcase with gilt-stamped brown morocco spine. Starting Bid $1000
Exquisite signed limited edition of Ulysses by James Joyce, published by The Bodley Head in 1936
597. James Joyce Signed Book - Ulysses (Ltd. Ed. #6/100, Published by The Bodley Head in 1936). Sought-after signed book: Ulysses by James Joyce. First edition thus, limited issue of 100 signed copies on mould-made paper bound in calf vellum [numbered 6/100]. London: John Lane The Bodley Head, 1936. Hardcover bound in full cream vellum with Homeric bow design by Eric Gill in gilt on covers, spine lettered in gilt, top edges gilt, others uncut, by the Leighton Straker Bookbinding Co., with the publisher’s original slipcase with printed paper label, 8 x 10.25, 766 pages. Boldly signed on the colophon in fountain pen, “James Joyce.” Autographic condition: very fine. Book condition: VG+/None in a VG- case, with subtle bowing to boards; moderate edgewear to the case, principally to edges and corners. Accompanied by a protective custom-made clamshell box.
Joyce encountered difficulties with his controversial masterpiece Ulysses in both Great Britain and the United States, with publishers reluctant to print the uncensored work due to obscenity laws. The editors of The Little Review (a literary magazine based in New York) supported subversive material and were willing to take the risk, but even they had trouble finding a printer; the London-based The Egoist faced an even greater challenge in the UK because both publishers and printers were liable to prosecution, and published only excerpts.
These fears of censorship and prosecution were realized in September 1920, when charges were brought against The Little Review after the New York Society for the Suppression of Vice lodged a complaint. The Little Review lost the ensuing legal battle and ceased its serialization of Ulysses, which was banned in the United States until 1933. It was also officially banned in Britain after a book-form version was successfully published in Paris in 1922, and remained illegal there until 1936. This edition of Joyce’s masterwork, the first edition of the complete work to be printed and published in England, was set from the second impression of Odyssey Press’s edition and proofed by Joyce. With the binding and typography designed by the English artist Eric Gill, it is widely considered to be the most handsome of all Ulysses editions. Starting Bid $1000
“If I had a million dollars I would fight the whole machine”
598. Jack London Autograph Letter Signed on Police Judges: “The trouble is that they are very small and insignificant cogs in a large and powerful machine”. ALS, five pages, 5.5 x 4.25, stamped personal letterhead, August 9, 1910. Handwritten letter to Charles L. Pryal, in part: “Please pardon my long delay in answering. I have been away and have only just now returned. I guess you & I are heartily in sympathy in this matter of police judges. The trouble is that they are very small and insignificant cogs in a large and powerful machine. As for me, I dare not right the whole machine. If I had a million dollars I would fight the whole machine. As it is, I can confine myself only to the one insignificant cog that treated me vilely. If I could enlist the capital, I’d shale the rotten graft organization of Alameda County to its foundations. Just the same, Id like to see the letter you mention. Of course, it will be strictly confidential.” In very good to fine condition, with scattered rusty paperclip stains. Accompanied by the original mailing envelope, addressed in London’s own hand.
In the summer of 1910, London got into a brawl in an Oakland dive bar just before heading to Reno to cover the iconic Johnson–Jeffries boxing match; both he and the bar owner, Timothy Muldowney, appeared in court sporting black eyes, each accusing the other of provocation. Though the judge dismissed both assault charges, London was enraged by how the press depicted the outcome—particularly claims he and the proprietor shook hands—so he launched a public campaign against the judge and eventually channeled his fury into ‘The Benefit of the Doubt,’ a short story published in the Saturday Evening Post on November 12, 1910. The story mirrors his ordeal—depicting a writer wrongfully attacked in a bar, tried by a dubious legal system, and then exacting imaginative revenge in court—offering readers a raw, fictionalized strike back that resonated powerfully with Californians who recognized the real underpinnings. Starting Bid $200
Maupassant pens ‘Promenade à seize ans’
599. Guy de Maupassant Handwritten Poem - ‘Promenade à seize ans’. Unsigned handwritten poem by Guy de Maupassant, one page, 7.5 x 8, no date. Maupassant pens the first part of his poem ‘Promenade à seize ans [Walking at Sixteen Years Old,’ beginning: “La terre souriait au ciel bleu, l’herbe verte / de gouttes de rosée était encor couverte. / Tout chantait par le monde ainsi que dans mon coeur. / Caché dans un buisson, quelque merle moqueur sifflait. Me raillait-il? Moi, je n’y songeais guère [The earth smiled at the blue sky, the green grass / With drops of dew was still covered. / Everything sang in the world as well as in my heart. / Hidden in a bush, some mockingbird / Was whistling. Was it mocking me? I hardly thought about it].”
Annotated at the head in another hand: “Manuscript of Guy de Maupassant attested by his Mother.” Includes a handwritten note by his mother, signed “Laure de Maupassant,” on one of her personal calling cards, certifying that the manuscript is in her son’s hand. Both are tipped into a handsome custom hardcover binding, featuring a maroon morocco gilt-stamped spine. In fine condition, with scattered light foxing. Starting Bid $200
Rand revises “The Psycho-Epistemology of Art” for publication in The Romantic Manifesto
602. Ayn Rand Hand-Annotated Essay - ‘The PsychoEpistemology of Art’ in The Objectivist Newsletter. Complete issue of The Objectivist Newsletter (Vol. 4, No. 4, April 1965), four pages, 8.5 x 11, featuring the original published version of Rand’s essay entitled “Check Your Premises: The Psycho-Epistemology of Art.” Rand revises and edits the work for publication in her volume on art and aesthetics, The Romantic Manifesto, first published in 1969. Rand probably edited this essay after her famous break up with Nathaniel Branden, co-founder of the Objectivist movement and Rand’s longtime lover, as she has deleted a long reference to an article of his that originally appeared in the piece. She makes several other deletions and amends words here and there, also writing a new sentence on an accompanying blue sheet: “(Psychoepistemology is the study of man’s cognitive processes from the aspect of the interaction between the conscious mind and the automatic functions of the subconscious).” In fine condition. Provenance: Bonahams, October 22, 2007. Starting Bid $300
Three pages from Ayn Rand’s hand-edited screenplay for The Fountainhead:
“You’ll find that you can’t sue us”
600. Ayn Rand Hand-Annotated Pages (3) from Her Screenplay for ‘The Fountainhead’. Three hand-annotated pages from Ayn Rand’s personal copy of the screenplay for The Fountainhead, 8.5 x 11, each amended in pencil by Rand. Includes: page 99, scene 151/152, when Roark first sees how badly his vision for Cortlandt Homes has been corrupted, with Rand adding a line of dialogue for the “First Official,” “You’ll find that you can’t sue us”; page 100, scene 152A, where Rand amends Keating’s line to read: “They got themselves such a set-up”; and page 102, scene 153A, where Dominique reveals she is going to leave Gail, and Roark asks for her help in solving his problem, with Rand adding to Dominique’s affirmation: “Roark, Anything you wish.” In overall fine condition. Provenance: from the estate of Ayn Rand, auctioned as part of a larger lot by the Ayn Rand Institute in 1993 and accompanied by a photocopy of their letter; then sold by Bonhams, December 4, 2007. Starting Bid $500
Ayn Rand goes Hollywood: “I have to keep in mind the fate of The Fountainhead: it was rejected by all the studios on the basis of the synopses... Blanke bought it after Barbara Stanwyck talked him into reading the book itself”
601. Ayn Rand Typed Letter Signed on the Film Adaptation of The Fountainhead: “It was rejected by all the studios on the basis of the synopses”. TLS signed “Ayn,” two pages, 7.25 x 10.5, personal letterhead, October 10, 1948. Letter to literary agent H. N. Swanson, in part: “I am enclosing copies of my contract with Hal Wallis and all its subsequent amendments.
I am returning the synopsis of We the Living made at Fox, which you sent me. Unfortunately, this synopsis is quite awful. It is so confused that I could not untangle the story from it myself. It is loaded with unessential details and all the dramatic scenes are missing which is the usual trouble with synopses. So I don’t think that we can use this synopsis to submit to anyone who might be interested in the novel. I think the best thing to do would be as follows:
I will send you a copy of the book, and after you have read it, you can tell me whether you feel that there is a good chance of selling it for pictures at present. If there is, I may hire a young writer myself and pay him to make a real synopsis of the novel for us, which you may then use for submissions. If you know of any prospective buyers who could be induced to read the book itself, that, of course, would be the best procedure.
I have to keep in mind the fate of The Fountainhead: it was rejected by all the studios on the basis of the synopses they had and after I had seen some of these synopses, I cannot say that I blame them. Blanke bought it after Barbara Stanwyck talked him into reading the book itself.” In fine condition.
After the publication and initial success of The Fountainhead in 1943, author Ayn Rand adapted the novel into a screenplay— a format with which she was well familiar, as she worked as a reader and script-doctor for Paramount. She completed the screenplay in 1944, and the film, produced by Henry Blanke, was released some five years later by Warner Bros., directed by King Vidor and starring Gary Cooper as Howard Roark, Patricia Neal as Dominique Francon, and Raymond Massey as Gail Wynand. Despite her early soft feelings towards the film—Rand initially called it a ‘triumph’ and ‘more faithful to the novel than any other adaptation of a novel that Hollywood has ever produced’—she later exclaimed that she ‘disliked the movie from beginning to end.’ Starting Bid $500
Deluxe edition of Harry Potter and the Chamber of Secrets signed by J. K Rowling and 20 movie cast members—
including Alan Rickman, Helena Bonham Carter, Rupert Grint, and Tom Felton
603. J. K. Rowling and Harry Potter Movie Cast Members (20) Signed Book - Harry Potter and the Chamber of Secrets . Signed book: Harry Potter and the Chamber of Secrets. Deluxe UK edition, fourth printing. London: Bloomsbury, 1999. Hardcover, 6.25 x 9.5, 251 pages. Signed on the halftitle page in black felt tip by J. K. Rowling and Harry Potter cast members Rupert Grint and Tom Felton. Further signed on the pages that follow by Helen McCrory, George Harris, Michael Gambon, Bonnie Wright, Imelda Staunton, Jason Isaacs, Warwick Davis, Miriam Margolyes, David Bradley, Jim Broadbent, Julie Walters, Evanna Lynch, Ralph Fiennes, James Phelps, Oliver Phelps, Devon Murray, Alan Rickman, and Helena Bonham Carter. Autographic condition: fine. Book condition: VG/None, with some rubbing to boards, wear to corners, and an ownership inscription to first free end page.
This deluxe edition of Harry Potter and the Chamber of Secrets, bound in blue cloth with an illustration plate and gilt facsimile signature on the front board, was published in an edition of 7,500 on September 27, 1999. Signed copies are hard to acquire as the release came during Rowling’s second American tour, and she conducted no further signing events until the following year for Harry Potter and the Goblet of Fire—the primary book signed at those events. It is enhanced by the presence of 20 autographs of actors and actresses from the Harry Potter film series—highlighted by Rickman (Severus Snape), Gambon (Albus Dumbledore), Fiennes (Lord Voldemort), Felton (Draco Malfoy), Grint (Ron Weasley), and Carter (Bellatrix Lestrange)—obtained at the July 2011 premiere of Harry Potter and the Deathly Hallows – Part 2; the wristband from the event is included. Also accompanied by a letter of authenticity from Harry Potter specialist Adam Houston. Starting Bid $1000
604. J. D. Salinger: The Catcher in the Rye (First Edition). First edition book: The Catcher in the Rye by J. D. Salinger. First edition, first printing. Boston: Little, Brown and Company, 1951. Hardcover bound in finely woven black cloth stamped in faded gold on the spine, with price-clipped dust jacket (with portrait of Salinger by Lotte Jacobi on rear panel), 5.5 x 8, 277 pages. Book condition: VG/ VG-, with toning to endpapers, contemporary presentation inscription to first free end page, faded spine lettering, small stains to gutters of half-title and title pages, and a few small stains and edge tears to the price-clipped jacket. Starting Bid $200
606. John Steinbeck: The Grapes of Wrath (First Edition). Sought-after first edition book: The Grapes of Wrath by John Steinbeck. First edition, first printing. NY: The Viking Press, 1939. Hardcover bound in finely woven buckram cloth and stamped brightly in brown ink on the front boards and on the spine, with the first-issue dust jacket (illustrated by Elmer Hader with the original price of “$2.75” at the top of the front inside flap and “First Edition” in blue capital letters at the bottom of the flap), 5.75 x 8.25, 619 pages. Book condition: VG+/VG+, with very light edge-wear and a touch of rubbing to the corners of the dust jacket; there is also a small area of dampstain on the verso at the bottom of the spine, but it is not apparent when looking at the richly-colored art work. Starting Bid $300
Intimate archive of letters from John Steinbeck to Ann Sothern, the girlfriend who introduced him to his future wife: “How I do run on.
And darn it—this is the way I make my living. Oh! Well—its better than cleaning cesspools”
605. John Steinbeck Archive of (9) Autograph Letters Signed to Actress Ann Sothern, Commenting on Writing, Family, and Hollywood Gossip: “How I do run on. And darn it—this is the way I make my living. Oh! Well—its better than cleaning cesspools”. Extraordinary archive of nine ALSs by John Steinbeck to actress Ann Sothern, signed “J.,” “J. S.,” “John,” and “John S.,” totaling 13 pages on 10 sheets, ranging in size from 7.25 x 10.5 to 8.5 x 14, with five hand-addressed mailing envelopes postmarked from June–August 1949. In these warm, intimate letters written during a brief relationship with Sothern, Steinbeck discusses a lawsuit related to the film rights for his novel Cannery Row, speaks of his garden, mentions his sons Thom and Catbird, and makes arrangements to see the actress. Notably, he also mentions Sothern’s friend, Elaine Anderson Scott, who he would later marry; at this time, she was married to actor Zachary Scott. Excerpts are as follows:
- “Dear Annie Wannie—Do you know the sky is falling and a piece of it fell on my tail? Well then all hell broke loose and not least among it—me. Loose but not broken—I mean. My suit comes up the 27th. My att’y at law flies and the 25th I’ll have to be with him a couple of days. If I can I will drive down earlier because I will need a car, and I want to bring some blab mouths to you. I have petted some and they are punchy but jabbering…I’m so excited about seeing my boys—the little shits.”
- “Dear Annie: Can’t call you because you will be working. Finished up yesterday late and am catching the morning plane home to catch frogs with my boys. Thanks for all…Won’t know outcome of my suit for about 6 weeks.”
- “Dear Annie—Jesus Christ what a day. Tom’s birthday and because Catbird didn’t have one, a gigantic double birthday with two cakes and chocolate, strawberry and vanilla mayhem. The days have been full of fun and noise and the devils have pooped me so completely that I get to bed at dark too, and need it. This day began at 6 when they serenaded me…with a song in praise of their own birthday. And it just ended a few minutes ago when they dropped as though shot through the heads. I am still a little breathless. I’ve been shot with arrows, beaten with a small ball bat, hooked with new fishing tackle, bruised with a bicycle. But it was fun you understand…No word from my lawsuit yet. The judge has to go on his vacation and then I think he wants to write a learned opinion because while my affair was for peanuts—it is a precedential case and is or should be of great interest to the picture industry…How go the pictures?…I was so surprised and pleased to see Elaine although with my little private rat race…I didn’t
see as much of her as I should have liked. She is such a nice girl.”
- “Dear Ann…It was good to hear from you and I shall be so pleased if you will come up. I don’t know how you travel and I only offer this as a suggestion. Across the street from me lives a little old French lady. She has a cottage and a rose garden. She was Sam Blythe’s housekeeper until he died. She does all of my mending etc. and sometimes cooks wonderful things for me. She is about seventy and I think she loves me a little. On occasion when a relative has been in Town she has let me have her little baroque bedroom. And I am sure she would let you have it if you liked. If you would talk French to her she would be so delighted...The spring tides are still running and if you don’t know about them already, I will show you beautiful things.”
- “Dear Ann: It would be a very pleasant thing to me if you would come up and play with me.”
- “Dear Annie...The people I detest are the friends who turn you in. One time Lennie Lyons had a pipeline into my private life. I narrowed it to about ten people then told each one a different story and it turned up Roark Branford’s wife...Since each story was only told to one person, I had to bring out the real one. When Lyons printed the story I told her—it was obvious...This invasion of privacy used to bother me a great deal but now there are two people—the straw man they write about and me whom they don’t know anything about. You must have made some such adjustment too. Otherwise, there would be no sense of privacy at all...The peanut munchers believe everything—particularly the bad things and one’s friends only believe the good and the truth lies somewhere between where it belongs.”
- “Dearest Annie: Probably the saddest and bravest and most frustrated plants in the whole garden are the milkweeds and dandelions. They have the same series of shocks. For see—they look like flowers, they act like flowers, they are golden and beautiful and just when they are feeling wonderful and yellow someone says—’get those god damned nerds out of here.’ And so they start all over again…It really seems that the most delicate, hysterical neurotic flowers are most liked. Like girls—if they can’t stand pain, or weather, if they always need a wrap around their shoulders and manure around their feet—always complaining always hurt and a little unhappy—why people think they are very precious when in fact they aren’t even any good at being flowers or girls…I’m going to bed now and I will complete this learned paper later…How I do run on. And darn it—this is the way I make my living. Oh! Well—its better than cleaning cesspools. Night, dear.” Starting Bid $1000
“The
giraffe will not arrive until Saturday at Villeneuve Saint-Georges”
607. Stendhal Autograph Letter Signed on the French King’s Giraffe. ALS in Italian, signed “H. Beyle,” one page, 7.5 x 9, circa June 1827. Handwritten letter regarding the famous giraffe sent by Muhammad Ali, Pasha of Egypt to King Charles X of France. The almost mythical animal arrived in Paris on Saturday, June 30, 1827. In part (translated): “Important persons are apt to change their minds, as you know. I have this moment received notice…that the…giraffe will not arrive until Saturday at Villeneuve Saint-Georges. So at 7 o’clock Saturday we will be off to catch the boat at Greve.” Handsomely double-matted and framed to an overall size of 18.75 x 15.25. In very good to fine condition, with light dampstaining touching the last name of the signature, and a repaired tear to the body of the text. Having been suspected of espionage Stendahl was forced to leave Italy in 1821 after an almost idyllic stay of seven years. From 1821 until 1830 he was mostly in Paris, writing and frequenting literary salons. It was in 1827, the year in which this letter was written, that his first novel appeared under the title Armance, ou, quelques scènes d’un salon de Paris en 1827. Starting Bid $200
Rare Jekyll and Hyde-era portrait of Robert Louis Stevenson
608. Robert Louis Stevenson Signed Photograph. Exemplary 4.25 x 6.5 cabinet photo of Robert Louis Stevenson in a three-quarter-length pose by W. J. Hawker of Bournemouth, neatly signed on the mount in ink, “Robert Louis Stevenson.” In fine condition. Encapsulated in a PSA/DNA authentication holder. Just the fourth signed photograph of Stevenson that we have offered, this marvelous portrait dates to circa 1886, when Stevenson was living in coastal Bournemouth, England, and writing the tale of Jekyll and Hyde. A superlative literary piece. Starting Bid $300
Harriet Beecher Stowe presents Uncle Tom’s Cabin with a Biblical quote: “He shall deliver the needy when he crieth, the poor, & him that hath no Helper”
609. Harriet Beecher Stowe Signed Book - Uncle Tom’s Cabin. Signed book: Uncle Tom’s Cabin. Later printing. Boston and New York: Houghton, Mifflin and Company, 1889. Hardcover bound in green cloth stamped in black with pictorial decorations, 5.25 x 7.75, 500 pages. Signed and inscribed on a free end page in ink, “Edward W. Seymour, from his friend Harriet Beecher Stowe, June 27, 1890, ‘He shall deliver the needy when he crieth, the poor, & him that hath no Helper.’” Autographic condition: fine, with some trivial staining to the signed page. Book condition: VG-/None, with a cracked front hinge, light rubbing and soiling to boards, and creasing to spine ends.
The recipient, Edward W. Seymour (1832–1892), was a Connecticut politician and state supreme court justice from Litchfield, Connecticut, Stowe’s home town. Notably, the quote that Stowe pens here—from Psalm 72:12—is one of three Biblical quotes that closes the preface to this edition of Uncle Tom’s Cabin (seen on page “v”). A superb presentation copy of Stowe’s influential anti-slavery novel. Starting Bid $200
Limited deluxe large-paper edition of Oscar Wilde’s only novel, The Picture of Dorian Gray, nicely signed by the author
612. Oscar Wilde Signed Book - The Picture of Dorian Gray (Ltd. Ed. #40/250). Signed book: The Picture of Dorian Gray. Corrected second issue, limited deluxe large-paper edition, numbered 40/250; this luxurious limited edition was published about two months after the ordinary trade edition, printed on Van Gelder handmade laid paper. London, New York and Melbourne: Ward Locke and Co., 1891. Hardcover in a circa 1930s full brown leather master binding by Edith Holm of Munich, 7.25 x 8.5, 334 pages. Neatly signed on the colophon in ink, “Oscar Wilde.” Autographic condition: fine. Book condition: VG/ None, with light rubbing and minor staining to spine.
The Picture of Dorian Gray, Oscar Wilde’s only novel, tells the story of a handsome young man whose portrait ages and reflects the consequences of his immoral actions while he himself remains outwardly youthful and unblemished. Influenced by the hedonistic worldview of Lord Henry Wotton, Dorian pursues a life of indulgence and vice, leading to the corruption of his soul. The novel explores themes of vanity, moral decay, and the duality of human nature, serving as both a Gothic horror story and a sharp critique of aestheticism and superficiality in Victorian society. A scarce, outstanding limited edition of one of Wilde’s most well-known works. Starting Bid $1000
Signed title page from the author’s edition of Leaves of Grass
611. Walt Whitman Signed ‘Leaves of Grass’ Title Page. Title page from the 1876 ‘Author’s Edition’ of Whitman’s renowned poetry collection Leaves of Grass, 4.75 x 7.5, published in Camden, New Jersey, in 1876, neatly signed in ink, “Walt Whitman.” The page features the text of his poem, ‘Come, said my Soul,’ which he used as the title-page epigraph for Leaves of Grass. Handsomely mounted, cloth-matted, and framed with a portrait and plaque to an overall size of 28 x 24. In fine condition, with faint toning, and minor loss to the upper right corner tip. Starting Bid $300
Woolf pays her husband a pound in 1927, with her 1930–31 book of annotated check stubs
613. Virginia Woolf Signed Check to Her Husband, Leonard Woolf, with Booklet of 25 Annotated Check Stubs. Midland Bank Limited check, 5.5 x 3, filled out and signed by Woolf, “Virginia Woolf,” payable to her husband Leonard Woolf for £1, November 30, 1927; endorsed on the reverse by Leonard Woolf. Includes Woolf’s original checkbook, 7.5 x 3, with twenty-five attached check stubs bearing notations in Woolf’s own hand, dated between December 1930 and February 1931. In very good to fine condition, with some light soiling and a crease to the lower right corner.
After a prolonged courtship that witnessed Leonard proposing on three occasions, Virginia and Leonard Woolf married on August 10, 1912, soon becoming an influential couple within the Bloomsbury Group. Woolf’s lauded stream-of-consciousness novel To The Lighthouse was published seven months prior on May 5, 1927. An exceptionally uncommon group of items related to the modernist scribe. Starting Bid $200
Music Brahms writes his publisher about “the proof-reading of the Violin Sonata”
706. Johannes Brahms Autograph
Letter Signed on “the proof-reading of the Violin Sonata”. ALS in German, signed “J.B.,” one page on a 5.5 x 3.5 postcard, postmarked at Vienna, May 1, 1895. Handwritten letter to Fritz Simrock, Brahms’s Berlin-based music publisher. In full: “You forgot—but for the proofreading of the Violin Sonata I asked for a proof (in a form resembling) a final copy I can play it together (with a violist?)! If it isn’t any particular trouble I ask for this once again. For you there is no hurry in the matter, of course, but I am thinking about leaving very soon, but will have to do it here—so please send it at once, if you can. N.B. Asking for a grand (=1000) when you can send it.” Addressed on the reverse in Brahms’s own hand. In fine condition, with a few words underlined in blue crayon. Johannes Brahms was one of the leading composers of the Romantic Period, producing dozens of works for voice, chorus, orchestra, chamber ensemble, organ, and piano during his 50-year-long career. It is unknown what “Violin Sonata” Brahms is referring to in this postcard, since his own three Violin Sonatas were published in 1878-79, 1886, and 1888 respectively, and were well past the proofing stage in 1905. Starting Bid $200
707. Charles Gounod Autograph
Autobiography Signed Twice. French composer (1818-1893) best remembered for his composition of ‘Ave Maria.’ Autograph autobiography in French, signed twice within the text, “Charles Francois Gounod” and “Charles Gounod,” one page both sides, 5.5 x 8.5, no date. Gounod writes out some autobiographical information, listing his date of birth as June 17, 1818 and his father as painter Francois Louis Gounod, along with some related data. On the following page, he lists seven works composed between 1851 and 1860, including “Sapho,” “La Nonne sanglante,” “Le Médecin malgré lui,” “Faust,” and “Philémon et Baucis.” In very good to fine condition, with scattered light foxing. Starting Bid $200
Rare early Atlantic Records publicity photo
signed in full by AC/DC, including Bon Scott
708. AC/DC Early Signed Publicity Photograph (ca. 1976). Vintage glossy 10 x 8 Atlantic Records publicity photo of AC/DC from circa 1976, signed in felt tip by the early main lineup of Bon Scott, Angus Young, Malcolm Young, Mark Evans, and Phil Rudd, with Angus and Rudd both adding “AC/DC.” In fine condition, with poor contrast to Bon’s signature. Accompanied by a full letter of authenticity from REAL. A desirable vintage-signed photo of the Aussie rock stars at the start of their legendary careers, elevated by its uncommon combination of signatures, a group highlighted by the great Bon Scott. Starting Bid $500
The Beatles in the Bahamas— scarce promo photo signed during the production of Help!, presented to the film’s makeup artist
709. Beatles Signed ‘Bahamas’ Photograph -
Presented to the Makeup Artist of Help!. Vintage glossy 8 x 10.25 promotional photo of the Beatles on location in the Bahamas during filming for their second motion picture, Help!, signed and inscribed in black felt tip, “To Bob, best wishes from Beatles, John Lennon,” “George Harrison,” “Paul McCartney,” and “Ringo Starr.” Famed American photographer Henry Grossman captured this image on Balmoral Island in the Bahamas on February 27, 1965, the same day that the Beatles filmed the ‘Another Girl’ music sequence for the movie. A small number of these photographs were developed on site in the Bahamas and signed for select members of the production staff. However, only a select number of these were signed by the Beatles themselves. The majority were signed by the band’s road manager, Neil Aspinall. In very good to fine condition, with areas of emulsion loss to the edges from onetime tape removal.
Accompanied by a certificate of authenticity from Tracks, and full letters of authenticity from Beckett Authentication Services and Frank Caiazzo, who states: “The signatures are outstanding examples from the period. These Bahamas beach ‘HELP!’ photographs, which are exceptionally desirable, were signed by The Beatles and given to members of the film crew as a thank you for their work on the movie after filming wrapped up, in April of 1965. This one in particular was signed for a male makeup artist who worked with The Beatles there in The Bahamas.”
Also includes a letter of provenance from the son of the recipient: “This photograph of the Beatles was given to me by my Dad in 1965 (my Mum has written ‘April 1965’ on the back) when he was working on the film ‘HELP!’ in the Bahamas. It is dedicated to me (‘Bob’) and signed by all four Beatles. Unfortunately, there is slight damage to the top and bottom of the photograph where I sellotaped it to my bedroom wall (as a naïve 9-year-old, not appreciating its importance or value!).
My Dad (born Frederick William Burlinson) worked in the film industry for nearly 40 years as a Makeup Artist under the stage name of Freddie Williamson. This was because his older brother, Alf, was managing director of a London film studio, and my Dad didn’t want any conflict of interest or potential favouritism. He went on to have success with films including The Italian Job, A Clockwork Orange, Educating Rita, and many others.”
The filming of ‘HELP!’ began in the Bahamas on February 23, 1965, and continued through March 9, 1965, after which the Beatles, along with supporting cast and crew, flew (via London) to Austria for additional filming. The Beatles then returned to the UK to shoot additional scenes at Twickenham Film Studios. Signed photographs by the Beatles are exceedingly rare, particularly from 1965. Very few fully signed original ‘HELP!’ photographs have surfaced over the years with such impeccable provenance tied directly to an accredited member of the film crew. Starting Bid $2500
Ideal set of 1964 Beatles autographs on a scarce Brel mechanizing photo
710. Beatles Signed 1964 Promo Photograph. Magnificent vintage glossy 7 x 5.5 Brel mechanizing photo of the Beatles at London’s EMI House in 1963, crisply signed on the reverse in blue ballpoint by Paul McCartney, George Harrison, John Lennon, and Ringo Starr. In fine condition. Accompanied by a certificate of authenticity from Tracks, certifying that the signatures date to 1964. On April 5, 1963, the Beatles were present at the EMI House to receive a silver disc for their single ‘Please, Please Me,’ and to perform for the EMI executives in attendance. The card itself is clean and in fantastic shape, and the cast of signatures are extremely bold and attractively spaced. A superlative example. Starting Bid $1000
711. Beatles: John Lennon Signed ‘Bag One’ Lithograph (Ltd. Ed. #257/300). Desirable limited edition 30 x 22.75 lithograph from John Lennon’s ‘Bag One’ series of erotic drawings showing John and Yoko Ono together in an intimate ménage à trois, numbered 257/300, prominently signed in the lower right corner in pencil, “John Lennon.” Mounted to an overall size of 36 x 29. In fine condition.
In 1969, as a wedding gift for Yoko, John drew the ‘Bag One Portfolio’—a chronicle of their wedding ceremony, honeymoon, and their plea for world peace in the Bed-In. The following year the artwork was produced in a series of 300 portfolios of 15 signed prints each. The majority depict John and Yoko’s most intimate, private moments—upon their first exhibition in London, more than half were deemed ‘indecent’ and confiscated by Scotland Yard. The complete set of Bag One lithographs is on permanent display at the Museum of Modern Art in New York. Starting Bid $300
712. Bob Dylan Signed Album - Blonde on Blonde. Blonde on Blonde album signed on the front cover in blue felt tip by Bob Dylan. In fine condition. The record is not included. Originally obtained by in-person specialist Mike Wehrmann and accompanied by his certificate of authenticity, stating that he personally obtained the autograph in July 2009.
Blonde on Blonde is widely regarded as one of the greatest albums of all time, marking a pivotal moment in Bob Dylan’s career and in rock history. As one of the first double albums in the genre, it showcased Dylan’s genre-defying creativity during his groundbreaking 1965–1966 period. Recorded in both Nashville and New York, the album’s innovative sound and poetic depth earned critical acclaim and commercial success, achieving double platinum status with hit singles like ‘Rainy Day Women #12 & 35’ and ‘I Want You.’ Starting Bid $500
713. Rick James Original Handwritten Song
Lyrics for ‘Hard to Get’. Original handwritten song lyrics by Rick James for the song ‘Hard to Get,’ the sixth track on his sixth studio album, Throwin’ Down, which was released in 1982 via the Gordy imprint of Motown Records. The lyrics, unsigned, penned in black ballpoint on two off-white 8.25 x 14 stationery sheets, read: “Girl you cute you’re sweet / You’re such a sexy treat / You are the girl that turns me on / And when you’re hot you’re hot / I love the stuff you’ve got / You are the kinky girl I write about in every song / do do wah o do do bop bop baby / Don’t be so hard to get / Cause I will get you yet / girl you’re loose you’re tight / You’re black and even white / You have a rainbow sex appeal / when we dance romance / you give me such a chance / to get the kind of love / that no man ever has to steal.” In fine condition. Accompanied by a letter of provenance from Lisa Sarna, an original member of Rick James and the Stone City Band during the late 1970s and early 1980s, who states:
“During our studio sessions, Rick would often ask me to rewrite lyrics so that Motown executives could understand his handwriting. I kept these handwritten versions as reference materials in case the label had questions about the songs.” From the personal collection of Lisa Sarna, an original member of Rick James and the Stone City Band, who worked as one of James’ backup singers, a group coined ‘The Colored Girls.’ Sarna’s distinct voice can be heard on several notable tracks and albums, in particular as the ‘Say What’ girl on the track, ‘Give It to Me Baby.’ Her contributions extend to albums such as Street Songs, Fire It Up, Urban Rhapsody, Throwin’ Down, In & Out, Love Garden, Bustin’ Out, Temptations Reunion, Teena Marie’s Wild & Peaceful, and Laura Branigan. Starting Bid $200
714. Rick James Stage-Worn Leather Belt. Leather concho-style waist belt personally-owned and stage-worn by Rick James during concerts and photo shoots throughout his legendary career. The belt approximately measures 50˝ in length and features a series of 15 silver-tone circular ornaments with central star designs. In fine condition, with expected light wear from use.
Accompanied by a letter of provenance from Lisa Sarna, an original member of Rick James and the Stone City Band during the late 1970s and early 1980s, who states: “The stage belt worn by Rick James holds particular significance. This piece didn’t just complete his iconic look—it was part of his outfit as he performed on stages across the world. It appeared in photo shoots that captured his magnetic presence and became part of the visual legacy that defined an era.”
From the personal collection of Lisa Sarna, an original member of Rick James and the Stone City Band, who worked as one of James’ backup singers, a group coined ‘The Colored Girls.’ Sarna’s distinct voice can be heard on several notable tracks and albums, in particular as the ‘Say What’ girl on the track, ‘Give It to Me Baby.’ Her contributions extend to albums such as Street Songs, Fire It Up, Urban Rhapsody, Throwin’ Down, In & Out, Love Garden, Bustin’ Out, Temptations Reunion, Teena Marie’s Wild & Peaceful, and Laura Branigan. Starting Bid $200
715. KISS Signed Guitar. Silvertone Paul Stanley signaturemodel electric guitar, prominently signed on the body in silver ink by KISS—Gene Simmons, Paul Stanley, Peter Criss, and Tommy Thayer. In fine condition. An attractive, highly displayable format. Starting Bid $200
716. Led Zeppelin Signed Album - In Through the Out Door. In Through the Out Door album signed on the front cover in blue felt tip by Jimmy Page, Robert Plant, and John Paul Jones. In fine condition, with some light surface scuffing. The record is included. Accompanied by a full letter of authenticity from Beckett Authentication Services.
In Through the Out Door, released in 1979, was Led Zeppelin’s final studio album before drummer John Bonham’s death. Marked by a heavy use of synthesizers and a more polished, experimental sound, it reflected the growing influence of bassist/ keyboardist John Paul Jones. While it received mixed critical reviews, it was a massive commercial success and showcased the band’s willingness to evolve amidst changing musical landscapes. Starting Bid $300
717. Freddie Mercury Signed Photograph. Very desirable color 9 x 9 program photo of the Queen frontman performing passionately under bright stage lights, signed and inscribed in blue ballpoint, “To Lauren, Best wishes, Freddie Mercury, xxxx.” Matted and framed to an overall size of 13.745 x 13.75. In fine condition, with light handling wear. Starting Bid $200
718. Rush Signed Album - Moving Pictures. Moving Pictures album signed on the front cover in blue felt tip by Neil Peart, Geddy Lee, and Alex Lifeson. In fine condition, with edgewear and poor contrast to Lee’s signature. The record is not included. Originally obtained by inperson specialist Mike Wehrmann.
Released in 1981, Moving Pictures is one of Rush’s most acclaimed albums, blending progressive rock complexity with more accessible, radio-friendly structures. It features iconic tracks like ‘Tom Sawyer,’ ‘Limelight,’ and the instrumental ‘YYZ,’ showcasing the band’s depth and virtuosity. The album marked a turning point in Rush’s sound, incorporating synthesizers more prominently and cementing their status in modern rock history. Starting Bid $300
Classic Entertainment
Marlon Brando acquiesces to Francis Ford Coppola’s name appearing before his in the credits for Apocalypse Now
798. Marlon Brando Signed Movie Document for Apocalypse Now. DS, one page, 8.5 x 11, July 30, 1979. Movie document related to the placement of Marlon Brando’s name in the credits for Apocalypse Now, in full: “For all purposes with respect to which credits are to be accorded in connection with ‘Apocalypse Now,’ I agree that the ‘Directed By’ and ‘Produced By’ credits to Francis Coppola may be combined and appear above mine, so long as my credit still appears on a separate card on screen.” Signed at the conclusion in black ballpoint by Brando, and countersigned by Allen E. Susman, the vice president of Penny Poke Farms, Ltd. In fine condition. Starting Bid $200
Conditions of Sale
ANYONE EITHER REGISTERING TO BID OR PLACING A BID (“BIDDER”) ACCEPTS THESE CONDITIONS OF SALE AND ENTERS INTO A LEGALLY, BINDING, ENFORCEABLE AGREEMENT WITH R&R AUCTION COMPANY OF MASSACHUSETTS, LLC (“RR AUCTION”) TOGETHER WITH BIDDER, THE “PARTIES”).
This Agreement contains important provisions that control rights and liabilities, and specifically has provisions governing how disputes are handled as well as LIMITATIONS OF LIABILITY that can be imposed upon RR Auction, WAIVER OF JURY and ARBITRATION PROVISIONS. This acknowledgement is a material term of these Conditions of Sale and of the consideration under which RR Auction agrees to these terms. PLEASE READ CAREFULLY.
The following terms and conditions (“Conditions of Sale”) constitute the sole terms and conditions under which RR Auction will offer for sale and sell the property on its website, and/or described in the catalog of items for auction (the “Catalog”). These Conditions of Sale constitute a binding agreement between the Parties with respect to the auction in which Bidder participates (the “Auction”). By bidding at the Auction, whether in person, through an agent or representative, by telephone, facsimile, online, absentee bid, or by any other form of bid or by any other means, Bidder acknowledges the thorough reading and understanding of all of these Conditions of Sale, all descriptions of items in the Catalog, and all matters incorporated herein by reference, and agrees to be fully bound thereby.
Section 1
The Parties1.1 RR Auction and Auction
This Auction is presented by RR Auction, a d/b/a/ of R&R Auction Company of Massachusetts, LLC, as identified with the applicable licensing information on the title page of the Catalog or on the www.RRauction. com Internet site. The Auction is conducted under these Conditions of Sale. Announcements and corrections from the podium at live auctions and those made through the Conditions of Sale appearing on the Internet at RRauction.com supersede those in the printed Catalog.
1.2 Bidder
Bidder shall mean the original Bidder on the property offered for sale by RR Auction and not any subsequent owner or other person who may acquire or have acquired an interest therein. If Bidder is an agent, the agency must be disclosed in writing to RR Auction prior to the time of sale, otherwise the benefits of the warranty shall be limited to the agent and not transferable to the undisclosed principal.
The rights granted to Bidder under these Conditions of Sale are personal and may not be assigned or transferred to any other person or entity, whether by operation of law or otherwise without the express written assent of RR Auction. Bidder may not transfer, assign, or otherwise convey these Conditions of Sale or any of the rights herein, and such purported transfer, assignment, or conveyance shall be null and void. No third party may rely on any benefit or right conferred on any Bidder by these Conditions of Sale, and no third party is intended as a beneficiary of these Conditions of Sale.
Bids will not be accepted from minor persons under eighteen (18) years of age without a parent or legal guardian’s written consent containing an acknowledgment of the Conditions of Sale herein and indicating their agreement to be bound thereby on behalf of the Bidder.
All Bidders must meet RR Auction’s qualifications to bid. Any Bidder who is not a client in good standing of RR Auction may be disqualified at RR Auction’s sole option and will not be awarded lots. Such determination may be made by RR Auction in its sole and unlimited discretion, at any time prior to, during, or even after the close of the Auction. RR Auction reserves the right to exclude any person from the Auction.
If an entity places a bid, then the person executing the bid on behalf of the entity agrees to personally guarantee payment for any successful bid and
agrees to be bound by these Conditions of Sale in addition to company for whom the Bidder is acting
By accepting the Conditions of Sale, Bidder personally and unconditionally guarantees payment.
Section 2
Bidding Privileges
2.1 In order to place bids, Bidders who have not established an account with RR Auction must either furnish satisfactory credit information (including two collectibles-related business references) or supply additional information if requested, well in advance of the Auction. Bidders who are not members of RRAuction.com should pre-register before the close of the Auction to allow adequate time to contact references. Privileges will be granted at the sole discretion of RR Auction. Additionally, Bidders who have not previously established credit or who wish to bid in excess of their established credit history may be required to provide a cash deposit prior to RR Auction’s acceptance of a bid. Check writing privileges and immediate delivery of merchandise may also be determined by pre-approval of credit based on a combination of criteria: RRAuction.com history, related industry references, bank verification, a credit bureau report and/or a personal guarantee for a corporate or partnership entity in advance of the Auction venue.
2.2 Bidder providing any false or misleading information provided in connection with the registration shall be a material breach of the Conditions of Sale and in addition to any other remedies at law shall excuse RR Auction from performance under these Conditions of Sale, including the right to any refund.
2.2 Bidding privileges may be revoked without notice, for any reason, at the sole discretion of RR Auction .
Section 3
Buyer’s Premium
3.1 The Bidder acknowledges and agrees that a 25% buyer’s premium will be added to the hammer price on all individual lots sold in timed and live Auctions. . For payment other than by cash, delivery will not be made unless and until full payment has been received by RR Auction, i.e., check or wired funds have fully cleared. Unless otherwise agreed in writing, signed by RR Auction, payment in full is due within thirteen (13) calendar days of the Auction or within twelve (12) calendar days of the invoice date, whichever is earlier. Bidder’s failure to pay any payment in full when due required shall constitute a material breach, and in addition to other damages available under contract or law, at RR Auction’s election, RR Auction may cancel the sale and require full premium still be due along with interest at 1.5% per month from the date of breach, or at the maximum legally allowable rate.
Section 4
Bidding
4.1 Each Bidder’s determination of its bid should be based upon its own examination of the item(s) and independent investigation, rather than the any reliance as to what is represented in the Catalog, online or elsewhere. Bidder affirms that it regards any statements made by RR Auction concerning the item as solely opinion and that Bidder is making its own inspection and independent evaluation of the goods, and is not relying upon any description or statements by RR Auction (including as to quality, authenticity, provenance, ownership, liens existing, on goods legality, or value) in making its determination to bid on or purchase an item. In any purchase or sale, the value of the item(s) is determined by the price. THE BIDDER HEREBY ASSUMES ALL RISKS CONCERNING ANY AND ALL PURCHASES TO THE FULLEST EXTENT UNDER APPLICABLE LAW.
4.2 RR AUCTION IS NOT RESPONSIBLE FOR ERRORS IN BIDDING. A Bidder should make certain to bid on the correct lot and that the bid is the maximum (plus the Buyer’s Premium) that the Bidder is willing and able to pay. Since other Bidders (by mail, facsimile, online, and in person) will be present, and since a re-offering could damage the momentum of the sale, once the hammer has fallen and RR Auction has announced the winning Bidder, such Bidder is unconditionally bound to pay for the lot,
even if the Bidder has made a mistake.
4.3 All prospective Bidders who examine lots in person prior to the sale shall personally assume all responsibility for any damage they cause in so doing. RR Auction shall have sole discretion in determining the value of the damage caused, which shall be promptly paid by the prospective Bidder.
4.4 Title to any lot remains with Consignor, any secured party of the Consignor, or assignee of Consignor, as the case may be, until the lot is paid for in full by Bidder and Bidder has fully satisfied any outstanding financial obligations to RR Auction (including as it concerns aby other lots). RR Auction reserves the right to require payment in full before delivering any lot to the successful Bidder.
4.5 It is the Bidder’s responsibility and obligation to have the lots fully insured while in their possession. Bidder assumes any and all risk of loss upon the earlier of shipment to Bidder or in Bidder’s possession.
4.6 Bidder grants to RR Auction or its assigns the right to offset any sums due, or found to be due by RR Auction, and to make such offset from any past, subsequent or future consignment, or items acquired by Bidder in possession or control of RR Auction or from any sums due to Bidder by RR Auction. Bidder further grants RR Auction a lien consisting of a senior security interest (or purchase money security interest to the extent applicable) in such sums or items to the fullest extent applicable, authorizes RR Auction to file documents concerning the interest, and Bidder agrees to execute any further documents as may be reasonably necessary to grant RR Auction such security interest. Bidder agrees that RR Auction and its assigns shall be a secured party with respect to items bought by Bidder and in the possession of RR Auction, to the extent of the maximum indebtedness, plus all accrued fees and expenses, until the indebtedness is paid.
4.7 By bidding in this sale, Bidder personally and unconditionally guarantees payment. The authorized representative of any corporate Bidder who is present at the sale shall provide RR Auction or its agent, prior to the commencement of the bidding (or at the time of registration), with a statement signed by a principal, director or officer that they he or she personally and unconditionally guarantees any payment due RR Auction.
4.8 RR Auction may at its sole and absolute discretion, make loans or advances to Consignors and/or prospective Bidders.
Section 5
Bidding Options
5.1 Non-Internet bids (including but not limited to in-person, facsimile, phone and mail bids) are treated similarly to floor bids in that they must be on-increment. Any in-person, facsimile, phone, or mail bids that do not conform to a full increment will be rounded up or down to the nearest full increment and this revised amount will be considered Bidder’s high bid.
5.2 When identical bids are submitted, preference is given to the first received. To ensure the greatest accuracy, written bids should be entered on the standard printed bid sheet and be received at RR Auction’s place of business at least twenty-four (24) hours before the Auction start. RR Auction is not responsible for executing mail bids or facsimile bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is RR Auction responsible for proper execution of bids submitted by telephone, mail, facsimile, e-mail, Internet, or in person once the Auction begins.
5.3 In all Auctions, bids on an item must raise the current high bid by at least 10%, or as specified on a per-Auction basis. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted. In a live sale, bids on an item can change at the discretion of RR Auction.
5.4 RR Auction reserves the right to accept or decline any bid. Bids must be for an entire lot and each lot constitutes a separate sale. All bids are per lot unless otherwise announced. Live auction lots will be sold in their numbered sequence unless RR Auction directs otherwise. It is unlawful and illegal for Bidders to collude, pool, or agree with another Bidder to pay less than the fair value for lot(s). For live auctions, RR Auction will have final discretion in the event that any dispute should arise between Bidders. RR Auction will determine the successful Bidder, cancel the sale,
or re-offer and resell the lot or lots in dispute. RR Auction will have final discretion to resolve any disputes arising after the sale and in online auctions. If any dispute arises, RR Auction’s sale record is conclusive.
Section 6 Payment
6.1 Subject to fulfillment of all of the Conditions of Sale set forth herein, upon the sooner of (1) the passing of title to the offered lot pursuant to these Conditions of Sale, or (2) possession of the offered lot by the Bidder, Bidder thereupon (a) assumes full risk and responsibility (including without limitation, liability for or damage to frames or glass covering prints, paintings, photos, or other works), and (b) will immediately pay the full purchase price or such part as RR Auction may require. In addition to other remedies available to RR Auction by law, RR Auction reserves the right to impose from the date of sale a late charge of 1.5% per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. All property must be removed from RR Auction’s premises by the Bidder at his/her expense not later than sixty (60) business days following its sale and, if it is not so removed, RR Auction may send the purchased property to a public warehouse for the account, at the risk and expense of the Bidder.
6.2 Payment is due upon closing of the Auction session, or upon presentment of an invoice. RR Auction reserves the right to void an invoice if payment in full is not received within thirteen (13) calendar days of the Auction or within twelve (12) calendar days of the invoice date. In cases of nonpayment, RR Auction’s election to void a sale does not relieve the Bidder from their obligation to pay RR Auction its fees (seller’s and Buyer’s Premium) on the lot and any other damages pertaining to the lot.
6.3 All sales for total invoices greater than $1,000 are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier checks, eChecks, and bank money orders), and are subject to all reporting requirements.
6.4 All deliveries are subject to good funds; funds being received in RR Auction’s account before delivery of the Purchases; and all payments are subject to a clearing period. RR Auction reserves the right to determine if a check constitutes “good funds”: checks drawn on a U.S. bank are subject to a ten (10) calendar day hold, and ten (10) business days when drawn on an international bank. Clients with pre-arranged credit status may receive immediate credit for payments via e-Check, personal or corporate checks.
6.5 In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If Bidder attempts to pay via check and the financial institution denies the transfer from Bidder’s bank account, or the payment cannot be completed using the selected funding source, Bidder agrees to complete payment.
6.7 If RR Auction refers any unpaid invoice to an attorney for collection, the Bidder agrees to pay and shall be liable for RR Auction’s attorney’s fees, court costs, and other collection costs incurred by RR Auction in addition to the invoice amount and interest the greater of 1.5% per month or at the maximum legally allowable rate from date of invoice to collection. If RR Auction assigns collection to its house counsel, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.
6.8 RR Auction shall have a lien against the merchandise purchased by the Bidder (as well as to the extent it is a consignor any other monies owed or due to Bidder) to secure payment of the Auction invoice. RR Auction is further granted a lien and the right to retain possession of any other property of the Bidder then held by RR Auction or its affiliates to secure payment of any Auction invoice or any other amounts due RR Auction or affiliates from the Bidder. With respect to these lien rights, RR Auction shall have all the rights of a secured creditor, including but not limited to the right of sale. In addition, with respect to payment of the Auction invoice(s), the Bidder waives any and all rights of offset he might otherwise have against RR Auction and the consignor of the merchandise included on the invoice (the Consignor”). If a Bidder owes RR Auction or its affiliates on any account, RR Auction and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bid-
der’s property in their possession.
6.9 All checks, cashiers checks, bank checks, or money orders are payable to R&R Auction Company of Massachusetts, LLC. RR Auction clients with an invoice totaling $1,000 or under will have the option to pay by VISA, Mastercard, Discover or Paypal. All Paypal payments must be sent to FinanceDepartment@rrauction.com. Authorize.net, a third-party service provider contracted by RR Auction for processing on-line payments, charges a nonrefundable service fee of 3%, which will be added to your final invoice should you pay by credit/debit card.
Section 7 Sales Tax
RR Auction is a remote seller and we are now required to collect Sales/ Use Tax from our bidders. The states that we have nexus in we will be required to collect and remit sales tax on your behalf. Each state has different requirements to meet nexus. When RR Auction has achieved a certain monetary and/or invoice threshold in each state we will apply sales tax to your total invoice. The states that are affected are: ARIZONA, ARKANSAS, CALIFORNIA, COLORADO, CONNECTICUT, FLORIDA, GEORGIA, ILLINOIS, INDIANA, IOWA, KANSAS, KENTUCKY, MAINE, MARYLAND, MASSACHUSETTS, MICHIGAN, MINNESOTA, NEBRASKA, NEVADA, NEW JERSEY, NEW YORK, NORTH CAROLINA, OHIO, OKLAHOMA, PENNSYLVANIA,RHODE ISLAND, TENNESSEE, TEXAS, UTAH, VIRGINIA, WASHINGTON, WISCONSIN
If we have not achieved nexus in a particular state it is still your responsibility to pay sales tax on your purchases.
The sales tax rate is determined by the State, Country, and City where purchases are shipped to. If you decide to pick up your purchases at our New Hampshire location you will not be required to pay sales tax. The State of New Hampshire does not have a general sales and use tax. All purchases picked up at our Massachusetts location will be taxed at the current rate of 6.25%.
If you have a resale number please email Sue@RRAuction.com or fax to (603) 732-4288 a copy of your state resale certificate and you will be exempt from paying sales tax.
Section 8
Delivery; Shipping; and Handling Charges
Bidder is liable for shipping and handling and providing accurate information as to shipping or delivery locations and arranging for such. RR Auction is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except when third-party shipment occurs. Bidder agrees that service and handling charges related to shipping items which are not pre-paid may be charged to a credit card on file with RR Auction.
Successful international Bidders shall provide written shipping instructions, including specified Customs declarations, to RR Auction for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price and RR Auction shall use the correct harmonized code for the lot. Domestic Bidders on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.
All duties, customs, and any other import charges are the responsibility of the bidder.
Section 9
Title
Title shall not pass to the successful Bidder until all invoices of Bidder (including those pertaining to the item(s) at issue) and amounts owed to RR Auction are paid in full. It is the responsibility of the Bidder to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.
Section 10
Rights Reserved
RR Auction reserves the right, at any time before, during or after an auction has ended to: withdraw any lot before or at the time of the Auction, cancel any bid, and/or to postpone the Auction of all or any lots or parts thereof, for any reason. RR Auction shall not be liable to any Bidder in the event of such withdrawal, cancellation, or postponement under any circumstances. RR Auction reserves the right to refuse to accept bids from anyone at any time.
Section 11
Conducting the Auction
11.1 RR Auction reserves the right to postpone the Auction or any session thereof for a reasonable period of time for any reason whatsoever, and no Bidder or prospective Bidder shall have any claim as a result thereof, including consequential damages.
11.2 RR Auction’s Discretion: RR Auction shall determine opening bids and bidding increments. RR Auction has the right in its absolute discretion to reject any bid in the event of dispute between Bidders or if RR Auction has doubt as to the validity of any bid, to advance the bidding at its absolute discretion and to determine the successful Bidder in the event of a dispute between Bidders, to continue the bidding or to reoffer and resell the lot in question. In the event of a dispute after the sale, RR Auctions record of final sale shall be conclusive. RR Auction also may reject any bid if RR Auction decides either that any bid is below the reserve of the lot or article or that an advance is insufficient. Unless otherwise announced by RR Auction at the time of sale, no lots may be divided for the purpose of sale.
11.3 Reserves
Lots may be subject to a reserve which is the confidential minimum price below which the lot will not be sold. Consignors may not bid on their own lots or property. RR Auction may, from time to time, bid on items that it does not own. RR Auction may execute bids consecutively or otherwise up to one bid increment below the reserve.
11.4 Off-Site Bidding
Bidding by telephone, facsimile, online, or absentee bidding (advance written bids submitted by mail) are offered solely as a convenience and permitted subject to advance arrangements, availability, and RR Auction’s approval which shall be exercised at RR Auction’s sole discretion. Neither RR Auction nor its agents or employees shall be held liable for the failure to execute bids or for errors relating to any transmission or execution thereof. In order to be considered for off-site bidding in any manner, Bidders must comply with all of these Conditions of Sale and the terms contained on the Registration Form.
11.5 Estimate Prices:
In addition to descriptive information, each item in the Catalog sometimes includes a price range which reflects opinion as to the price expected at auction (the “Estimate Prices”). In other instances, Estimate Prices can be obtained by calling RR Auction at (603) 732-4280. The Estimate Prices are based upon various factors including prices recently paid at auction for comparable property, condition, rarity, quality, history and provenance. Estimate Prices are prepared well in advance of the sale and subject to revision. Estimates do not include the Buyer’s Premium or sales tax (see under separate heading).
11.6 Owned or Guaranteed Property:
RR Auction generally offers property consigned by others for sale at public auction; in very limited occasion, lots are offered that are the property of RR Auction.
11.7 Before the Auction:
Bidder may attend pre-sale viewing for all of RR Auction’s auctions at no charge. All property to be auctioned is usually on view for several days prior to the sale. Bidder is encouraged to examine lots thoroughly. Bidder may also request condition reports (see below). RR Auction’s staff are available at viewings and by appointment.
11.8 Maximum Bids In All Auctions:
To maximize Bidder’s chance of winning, RR Auction strongly encourages
the use of maximum bids. RR Auction will then bid for Bidder until the lot reaches Bidder’s specified maximum. Maximum bids are strictly confidential. Placing arbitrary, non-incremental bids on lots with prior maximum bids may result in these lots being sold for less than 10% above the under Bidder’s bid.
11.9 Successful Bids:
The fall of RR Auction’s hammer indicates the final bid. RR Auction will record the paddle number of the Bidder. If Bidder’s salesroom or absentee bid is successful, Bidder will be notified after the sale by mailed or emailed invoice.
11.10
Unsold Lots:
If a lot does not reach the reserve, it is bought-in. In other words, it remains unsold and is returned to the Consignor. RR Auction has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.
11.11 Bidding in Timed Auction:
Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right. The auctioneer may also execute a bid on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve.
To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids.
Any Bidder may bid on any lot prior to 6 pm EST/EDT. At that time, an extended bidding period goes into effect. If Bidder has not bid on a lot before 6 pm EST/EDT, Bidder may not bid on that lot after 6 pm EST/EDT. Only those Bidders who have placed bids on a lot before 6 pm EST/EDT will be allowed to bid on that lot after 6 pm EST/EDT. If Bidder is the only Bidder on a lot at 6 pm EST/EDT, that lot is awarded to Bidder. During the extended bidding period, a lot will remain open only to those who bid on that lot prior to 6 pm EST/EDT. All lots WITHOUT an opening bid at 6 pm EST/EDT will remain OPEN to ALL Bidders until 7 pm EST/EDT or until they receive their first bid. These lots will close immediately upon receipt of a bid or at 7 pm EST/EDT, whichever comes first. For all lots that are active after 7 pm EST/EDT, bidding will remain open until 30 minutes pass without a bid being placed on THAT lot (the “30 Minute Rule”). The 30 Minute Rule is applied on a PER LOT BASIS; each lot in the Auction closes individually based on bidding activity after 7 pm EST/EDT. On a PER LOT BASIS, the 30 minute timer will reset each time a bid is placed after 7 pm EST/EDT. If Bidder is the high Bidder, raising Bidder’s maximum bid will NOT reset the timer. RR Auction reserves the right to close the Auction at any time at its sole discretion.
11.12 Bidding - Internet Live
Auction:
Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right.
To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays,
or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids.
During live internet or live auction, property is auctioned in consecutive numerical order, as it appears in the catalog. The auctioneer will accept bids from those present in the salesroom or absentee bidders participating by telephone, internet or by written bid left with RR Auction in advance of the auction. The auctioneer may also execute a bid or bids (successively or otherwise) on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve. All auctions for lots are with reserve unless specifically stated otherwise.
During live Auctions, internet bids can be placed in real time through one or more of the following Third Party services: www.liveauctioneers.com, www.invaluable.com and www.icollector.com. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids. RR Auction treats any third-party site bids as floor or telephone bids. Floor bids and telephone bids are always considered first over third party sites bids, and floor bids are considered earlier than telephone bids. All RR Auction lots purchased through the third-party sites carry an additional Buyer’s Premium.
11.13 Miscellaneous:
Agreements between Bidders and Consignors to effectuate a non-sale of an item at Auction, inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize RR Auction’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, RR Auction reserves the right to charge Bidder the applicable Buyer’s Premium and Consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.
Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by RR Auction in the future. In conformity with ”do-not-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. RR Auction may from time to time contact Bidder concerning sale, purchase, and auction opportunities available.
11.14 Rules of Construction: RR Auction presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall be construed to waive the general Conditions of Sale by these additional rules and shall be construed to give force and effect to the rules in their entirety.
Section 12
RR Auction’s Remedies
Failure of the Bidder to comply with any of these Conditions of Sale or the terms of the Registration Form is an event of material breach or default. In such event, RR Auction may, in addition to any other available remedies specifically including the right to hold the defaulting Bidder liable for the Purchase Price or to charge and collect from the defaulting Bidder’s credit or debit accounts as provided for elsewhere herein: (a) cancel the sale, retaining any payment made by the Bidder as damages (the Bidder understands and acknowledges that RR Auction will be substantially damaged should such default occur, and that damages under sub-part (a) are necessary to compensate RR Auction for such damages); (b) resell the property without reserve at public auction or privately; (c) charge the Bidder interest on the Purchase Price at the rate of one and one-half percent (1.5%) per month or the highest allowable interest rate; (d) take any other action that RR Auction, in its sole discretion, deems necessary or appropriate to preserve and protect RR Auction’s rights and remedies. Should RR Auction resell the property, the original defaulting Bidder shall be liable for the payment of any deficiency in the purchase price and all costs and expenses associated there with, including but not limited
to warehousing, sales-related expenses, reasonable attorney fees and court costs, commissions, incidental damages and any other charges due hereunder which were not collected or collectable. In the event that such Bidder is the successful Bidder on more than one lot and pays less than the purchase price for the total lots purchased, RR Auction shall apply the payment received to such lot or lots that RR Auction, in its sole discretion, deems appropriate. If RR Auction does not exercise such discretion, the lots to which the payment shall be applied will be in descending order from the highest purchase price to the lowest. Any Bidder failing to comply with these Conditions of Sale shall be deemed to have granted RR Auction a security interest in, and RR Auction may retain as collateral such security for such Bidder’s obligations to RR Auction, any Bidder’s property in RR Auction’s possession or to which title has not yet passed to Bidder. RR Auction shall have the benefit of all rights of a secured party under the Uniform Commercial Code (U.C.C.) as adopted by the Commonwealth of Massachusetts.
Section 13 Warranties
13.1 RR Auction does not provide any warranties to Bidders, whether expressed or implied, beyond those expressly provided in these Conditions of Sale. All property and lots are sold ”as is” and “where is”. By way of illustration rather than limitation, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to merchantability or fitness for intended use, condition of the property (including any condition report), correctness of description, origin, measurement, quality, rarity, importance, exhibition, relevance, attribution, source, provenance, date, authorship, condition, culture, genuineness, value, or period of the property. Additionally, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to whether the Bidder acquires rights in copyright, trademark, or other intellectual property (including exhibition or reproduction rights) related to the item, or whether the property is subject to any limitations or other rights. RR Auction does not make any representation or warranty as to title.
13.2 All descriptions, photographs, illustrations, and terminology including but not limited to words describing condition (including any condition reports requested by Bidder, see also Terminology), authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, exhibition, and relevance, used in the Catalog, bill of sale, invoice, or anywhere else, represent a good faith effort made by RR Auction to fairly represent the lots and property offered for sale as to origin, date, condition, and other information contained therein; they are statements of opinion only. They are not representations or warranties and Bidder agrees and acknowledges that he or she shall not rely on them in determining whether or not to bid or for what price. Price estimates (which are determined well in advance of the Auction and are therefore subject to revision) and condition reports are provided solely as a convenience to Bidders and are not intended nor shall they be relied on by Bidders as statements, representations or warranties of actual value or predictions of final bid prices.
13.3 Bidders are accorded the opportunity to inspect the lots and to otherwise satisfy themselves as to the nature and sufficiency of each lot prior to bidding, and RR Auction urges Bidders to avail themselves accordingly.
13.4 All lots sold by RR Auction are accompanied by an Auction Certificate (“AC”). On any lot presented with an AC issued by RR Auction, the certification is only as to its attribution to the person or entity described or to the lot’s usage and only as explicitly stated therein (the “AC”), to the exclusion of any other warranties, express or implied, including but not limited to those pursuant to the Uniform Commercial Code. The AC inures only to the original Bidder (as shown in RR Auction’s records). Bidder may not transfer, assign, or otherwise convey the AC and such purported transfer, assignment, or conveyance shall be null and void.
Section 14 Firearms
RR Auction complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A Bidder is required to provide appropriate documents and the payment of associated fees, if any. Bidder is responsible for providing a shipping address that is suitable for the receipt of a firearm.
Section 15 Unauthorized Statements
Under no circumstances is any employee, agent or representative of RR Auction authorized by RR Auction to modify, amend, waive or contradict any of these Conditions of Sale, any term or condition set forth on a registration form, any warranty or limitation or exclusion of warranty, any term or condition in either the Registration Form or these Terms and Conditions regarding payment requirements, including but not limited to due date, manner of payment, and what constitutes payment in full, or any other term or condition contained in any documents issued by RR Auction unless such modification, amendment, waiver or contradiction is contained in a writing signed by all parties. Any statements, oral or written, made by employees, agents or representatives of RR Auction to Bidder, including statements regarding specific lots, even if such employee, agent or representative represents that such statement is authorized, unless reduced to a writing signed Bidder and by an authorized officer of RR Auction by all parties, are statements of personal opinion only and are not binding on RR Auction, and under no circumstances shall be relied upon by Bidder as a statement, representation or warranty of RR Auction.
Section 16
Bidder’s Remedies
16.1 Except as stated expressly herein, Bidder’s sole and exclusive remedy related to or pertaining to items it bids upon, views, or purchases from RR Auction, and any claims by Bidder related to authenticity, ownership, condition, title or value, shall be against Consignor only.
16.2 This section sets forth the sole and exclusive remedies of Bidder as against RR Auction (inclusive of its affiliates, officers, managers, employees or agents), or in any way arising out of, related to, or in connection with these Conditions of Sale, , and is expressly in lieu of any other rights or remedies which might be available to Bidder by law. Time is of the essence with respect to these procedures.
16.3 Title to Items
The Bidder hereby accepts the benefit of the Consignor’s warranty of title and any other representations and warranties made by the Consignor for the Bidder’s benefit. In the event that Bidder demonstrates in writing, satisfactory to the sole discretion of RR Auction, that there was a breach of the Consignor’s warranty of title concerning a lot purchased by Bidder, RR Auction may make demand upon the Consignor to pay to Bidder the Purchase Price (including any premiums, taxes, or other amounts paid or due to RR Auction). Should the Consignor not pay the Purchase Price to Bidder within thirty days after such demand (if any made), RR Auction may disclose the identity of the Consignor to Bidder and may assign to Bidder all or some of RR Auction’s rights against the Consignor with respect to such lot or property. Upon such disclosure and/or assignment, all responsibility and liability of RR Auction, if any, with respect to said lot or item shall automatically terminate related to or arising from these Conditions of Sale or such transaction operating as a complete waiver and general release by Bidder as to RR Auction and its agents, contractors, and affiliates, as to any and all claims concerning or related to the item, if any . RR Auction shall be entitled to retain the premiums and other amounts paid to RR Auction by Consignor only. The rights and remedies provided herein are for the original Bidder only and they may not be assigned or relied upon by any transferee or assignee under any circumstances.
16.4 Authenticity Challenge Process
(1) If Bidder wishes to dispute or challenge the Authenticity of the lot or item (including asserting that it is incorrect), Bidder must adhere to the following procedure: Within 30 days of the Auction Date, Bidder must present written evidence to RR Auction, that the lot is not authentic as determined by a known expert in the field (and one recognized by RR Auction within its discretion) and send the physical item or lot at issue to RR Auction along with all evidence relied upon by Bidder for contesting the Authenticity. (“Authenticity Challenge Process”) “Authenticity” shall mean a gross discrepancy in the between the description, genuiness, or attribution of the item as represented by RR Auction in the Catalog or at the auction, and the item. If RR Auction concurs that the lot is not Authentic as was represented (it is sole discretion), Bidder’s sole and exclusive remedy
as against RR Auction (inclusive of its affiliates, agents, employees, and contractors) shall be a refund of the purchase price of the subject item paid by Bidder, with no other costs, liabilities or amounts recoverable by Bidder. If RR Auction does not agree with the assertion by Bidder, then the Parties shall follow the dispute resolution procedures of these Conditions of Sale. Strict adherence to the Authenticity Challenge Process is a condition of standing for Bidder to initiate suit or claim.
(2) So long as Bidder has complied with the Authenticity Challenge Process, any claim, suit or action, by Bidder concerning an AC or Certification of Authenticity, or related to the authenticity of the item must, without any exception, be brought within one (1) year of Auction Date and is subject to the other limitations and conditions stated in the Conditions of Sale.
16.5 Other Issues. Any dispute or claim by Bidder against RR Auction (or its affiliates, directors, employees, officers, agents, or contractors)) other than Authenticity, concerning any item or lot bid upon, or purchased, including value, title, condition, bidding process, or description must be asserted (if at all) in the following manner:
(1) If the description of any lot in the Catalog is materially or grossly incorrect (e.g., gross cataloging error), or there is any other gross material issue pertaining to the item or lot, the item or lot may be returned if returned within five (5) calendar days of receipt, and received by RR Auction no later than twenty-one (21) calendar days after the Auction Date with explanation in writing.. If there is any discrepancy between the description in the Catalog and a certificate of auction, then the description in the certificate of auction (“Lot Challenge Process”). This paragraph shall constitute Bidder’s sole right with respect to the return of items, and no refunds shall be given for any items not returned to and received by RR Auction within the period of time stated herein or not materially or grossly in deviation from the description. Such a refund is subject to RR Auction’s sole discretionary review, and any request for refund must be made concurrently with returning the physical item or lot to RR Auction. Any item not returned within said frame will constitute acceptance of the item and a waiver and release of any and all claims by Bidder pertaining to the item other than with respect to authenticity; and
(2) Provided that the Bidder has engaged in the Lot Challenge Process, any claim concerning such must be brought no later than one (1) year of the Auction Date for the item or lot at issue and is subject to the other limitations and conditions stated in the Conditions of Sale.
NO RETURN OR REFUND OF ANY AUCTION LOT WILL BE CONSIDERED OR PROVIDED EXCEPT AS PROVIDED IN THESE CONDITIONS OF SALE AND BIDDERS OR AS MAY BE REQUIRED BY LAW. FAILURE TO COMPLY WITH SUCH SHALL BE A COMPLETE DEFENSE TO ANY CLAIMS BY BIDDER RELATED TO THE CONDITIONS OF SALE, ANY AUCTION OR BID.
16.6 LIMITATION OF LIABILITY. For any and all claims by Bidder arising out of or related to this Agreement, Bidder’s viewing, bid, or purchase of items, or any agreement between the Parties, or otherwise, Bidder agrees that to the fullest extent such can be limited under the law, Bidder shall have no right to recover and hereby waives any and all rights to recover from against RR Auction or its affiliates, directors, employees, officers, agents, or contractors, consequential or indirect damages, lost profits damages, punitive, exemplary, statutory (or multiplier damages), physical or emotional distress damages, general or special damages of any kind (beyond amounts actually paid by Bidder for item(s) at issue), and in the event of recovery of any damages whatsoever, such shall be limited by the amounts actually paid by Bidder to RR Auction for the item(s) at issue in such claim, or if no money was paid to RR Auction by Bidder for items at issue, or there items are at issue, the amount of $150.00.
Section 17
RR Auction’s Additional Services
For Bidders who do not remove purchased property from RR Auction’s premises, RR Auction, in its sole discretion and solely as a service and accommodation to Bidders, may arrange to have purchased lots packed, insured and forwarded at the sole request, expense, and risk of Bidder.
RR Auction assumes no and disclaims all responsibility and liability for acts or omissions in such packing or shipping by RR Auction or other packers and carriers, whether or not recommended by RR Auction. RR Auction assumes no and disclaims all responsibility and liability for damage to frames, glass or other breakable items. Where RR Auction arranges and bills for such services via invoice, RR Auction will include an administration charge.
Section 18
Headings
Headings are for convenience only and shall not be used to interpret the substantive sections to which they refer.
Section 19 Entire Agreement
Except to the extent Bidder is also a consignor (in which case the terms of the consignment agreement shall also govern), these Conditions of Sale constitute the entire agreement between the Parties together with the terms and conditions contained in the auction Registration Form. They may not be amended, modified or superseded except in a signed writing executed by all parties. No oral or written statement by anyone employed by RR Auction or acting as agent or representative of RR Auction may amend, modify, waive or supersede the terms herein unless such amendment, waiver or modification is contained in a writing signed by all parties.
If any section of these Conditions of Sale or any term or provision of any section is held to be invalid, void, or unenforceable by any court or arbitrator of competent jurisdiction, the remaining parts of the agreement and remainder of the sections or terms and provisions of the section and all sections shall continue in full force and effect without being impaired or invalidated in any way.
Section 20 Governing Law and Enforcement
20.1 The Parties agree that all agreements between the Parties including but not limited to these Conditions of Sale are entered into in Boston, Massachusetts, no matter where Bidder is situated and no matter by what means or where Bidder was informed of the Auction and regardless of whether catalogs, materials, or other communications were received by Bidder in another location.
20.2 The Parties agree that these Conditions of Sale, any other related agreement(s), along with all claims between the Parties, including those arising out of or related to such are governed by the laws of the Commonwealth of Massachusetts, without regard for its conflict of laws principles. The Parties agree that any dispute between the Parties, including but not limited to those related to or arising out of these Conditions of Sale, or related to or arising out of any other related agreement(s) shall be submitted to confidential binding arbitration (the ”Arbitration”) before a single Arbitrator of the American Arbitration Association (the “AAA”) The Parties agree that the Arbitration shall be conducted pursuant to the commercial rules of the AAA in Boston, Massachusetts, unless the Consumer Arbitration Rules apply, in which case, such rules and venue will govern. In the event that the Parties cannot agree on the selection of the Arbitrator, then the Arbitrator shall be selected by the AAA. The prevailing Party in the Arbitration shall also recover all of its related fees and costs, whether before or after the formal institution of the Arbitration, including but not limited to its reasonable attorneys’ fees and costs, if RR Auction prevails, such recovery, in addition to all remedies available at agreement or law, shall include the Buyer’s Premium as defined in these Conditions of Sale. Federal arbitration law, including the Federal Arbitration Act apply to this agreement to arbitrate and its related provisions. The arbitration and all related proceedings shall be held strictly confidential and all documents and discovery shall be held confidential and not used, published or disclosed publically or to anyone outside the Parties or expert consultants or counsel who shall agree to hold such confidential.
20.3 The Parties consent to the Commonwealth of Massachusetts as exclusive jurisdiction and venue for all claims between the Parties except as provided specifically herein and may seek confirmation of the decision in the Arbitration pursuant to the Federal Arbitration Act in any Court
of competent jurisdiction, including the courts of the Commonwealth of Massachusetts or the United States District Court for the District of Massachusetts. To the extent such is necessary under the law, RR Auction may enforce the Arbitration award against Bidder and any related Party in any court of competent jurisdiction. Nothing in this Agreement shall be construed as RR Auction consenting to jurisdiction or venue in any location outside of the Commonwealth of Massachusetts.
THE PARTIES MAY NOT BRING CLAIMS AGAINST EACH OTHER AS A CLASS OR CLASS MEMBER IN ANY CLAIMED CLASS, OR IN A REPRESENTATIVE ACTION UNLESS OTHERWISE AGREED. UNLESS OTHERWISE AGREED, THE CLAIMS AGAINST EACH OF THE OTHER CANNOT BE CONSOLIDATED OR JOINED WITH MORE THAN ONE ADDITIONAL PERSON OR ENTITIES’ CLAIMS. NO INJUNCTIVE OR DECLATORY RELIEF SOUGHT BY BIDDER IF ANY, CAN AFFECT OR BE ORDERED TO AFFECT ANY OTHER BIDDERS OR PERSONS.
20.4 Except as provided specifically in these Conditions of Sale in Bidder’s Remedies against RR Auction (along with its affiliates, directors, agents, officers, employees, and contractors) for any dispute, claim, cause of action related to or arising out of these Conditions of Sale or any other related agreement(s), brought by Bidder must be brought within the earlier of the Auction Date as it pertains to the item(s) at issue or no later than one (1) year of the acts, omissions or circumstances occurred giving rise to the alleged claim, without exception. This provision is intended as a full, complete and absolute bar to and release of any claims by Bidder initiated after one (1) year of such acts, omissions or circumstances. The Parties agree further that these waiver provisions are intended to be binding in the event of any dispute, specifically including but not limited to third party claims and cross-actions brought by Bidder. These provisions are consideration for the execution of these Conditions of Sale.
20.5 To the fullest extent under applicable law and except as specifically stated herein Bidder hereby holds harmless, releases and discharges RR Auction and its agents, officer’s directors, affiliates, successors, and assigns from any and all claims, liabilities, obligations, promises, agreements, damages, causes of action, suits, demands, losses, debts, and expenses of any nature whatsoever, known or unknown, suspected or unsuspected existing prior to these Conditions of Sale. Bidder agrees to the Conditions of Sale and upon each instance that Bidder participates in any auction, bids, or otherwise agrees to such terms and reaffirms this release as of the date of so participating or agreeing unless Bidder otherwise provides clear written notice to RR Auction prior to so bidding.
20.6 The Bidder hereby agrees that RR Auction shall be entitled to present these Conditions of Sale to a court in any jurisdiction other than set forth in this paragraph as conclusive evidence of the Parties agreement, and the Parties further agree that the court shall immediately dismiss any action filed in such jurisdiction.
20.7
Liquidated Damages for Specific Breaches
In the event that Bidder provides false information in connection with registering for bidding, fails to correct or update information or breaches the Conditions of Sale by failing to pay the purchase price when due after becoming the winning bidder, as liquidated damages associated with such breaches, R&R may obtain from Bidder the greater of (1) 150% the reserve of the item (if any); (2) the amount bidder bid; or (3), the full amount that bidder would have otherwise paid. Bidder will also be liable for an additional 20% of such amount to account for additional administrative costs, shipping, additional advertising, and other damages and liabilities fees that are difficult to calculate on an item-by-item basis.
20.8 Indemnity. Bidder agrees to defend, indemnify, hold harmless RR Auction (along with its officers, directors, agents, contractors, and affiliates) from and against any and all claims, costs, fees, damages, and liabilities arising out of or related to these Conditions of Sale, view of items, or lots, bidding, or participation in any auction by RR Auction, and/or or in any way connected to any item you viewed, bid upon or purchased through RR Auction.
Section 21: State-by-State Law Issues
This Auction is being conducted in and the sale shall take place in the State of Massachusetts. Notwithstanding, the foregoing, should these
terms and conditions violate the law of any State should that state’s law be found to govern, or any provision herein determined to be invalid, the clause itself and the remainder of the Agreement shall be valid to the fullest extent allowed. Also, to the extent other states law apply to any transaction arising out of the Agreement (without admitting such), RR Auction states:
For Residents of California:
SALE OF AUTOGRAPHED COLLECTIBLES: AS REQUIRED BY LAW, A DEALER WHO SELLS TO A CONSUMER ANY COLLECTIBLE DESCRIBED AS BEING AUTOGRAPHED MUST PROVIDE A WRITTEN EXPRESS WARRANTY AT THE TIME OF SALE. THIS DEALER MAY BE SURETY BONDED OR OTHERWISE INSURED TO ENSURE THE AUTHENTICITY OF ANY AUTOGRAPHED COLLECTIBLE SOLD BY THIS DEALER.
A written express warranty is provided with each autographed collectible, as required by law. This dealer may be surety bonded or otherwise insured to ensure the authenticity of any autographed collectible sold by this dealer.
Section 22
Glossary of Condition terms
Information provided to prospective Bidders with respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by RR Auction.
Use of the following terms constitutes an opinion as follows:
VERY FINE describes an item believed to be in virtually flawless condition, and is used sparingly for items of exceptionally attractive appearance.
FINE is the most common statement of condition, and applies to most items that we offer. It describes items that we believe to show expected handling wear, generally acceptable random flaws (such as light creases, small bends, etc.), and an overall appearance that is pleasing to the majority of collectors.
VERY GOOD describes an item that we believe exhibits more moderate flaws (such as toning, light staining, professional reinforcements or repairs, etc.). Most collectors would be comfortable with items in very good condition, and this would be the expected condition for many formats (early presidential documents, for example).
GOOD describes an item which we believe to have obvious visible flaws, including heavy wear, missing portions, or repairs that affect appearance; generally items in this condition are offered only if an item is otherwise believed to be exceedingly rare or important.
Bidder may call and request further details and information about RR Auction’s opinions concerning any item via phone or email which shall provided in RR Auction’s discretion.
Certificate of Auction, Certificate of Authenticity and Goods Acquired:
Bidder warrants that Bidder (and its agents, assigns, successors, and affiliates) shall not purposely deface, destroy, dismember, cut-up into parts the item or Lot purchased at auction from RR Auction and in the event such shall occur whether purposefully or accidently, Bidder (and its agents, assigns, successors, and affiliates) shall refrain from advertising, promoting, or marketing the item as having been purchased from RR Auction and shall in no event display, expressly claim, or imply that the item was certified or auctioned in such state by RR Auction. As liquidated damages for such breach, Bidder agrees to be liable to RR Auction for the greater of the amount of three (3) times the hammer price of the item along with all other fees and costs as otherwise provided in this Terms of Sale.
19. John Quincy Adams Document Signed as President Starting Bid $200
23. James Buchanan Document Signed as President Starting Bid $200
27.
Starting Bid $200
31. Grover Cleveland Document Signed as President, Congratulating the... Starting Bid $200
20. Chester A. Arthur Document Signed as President for a Treaty with ... Starting Bid $200
24. George Bush (2) Signed Cards Starting Bid $200
28. Jimmy Carter Signed Book - State of the Union Addresses of Jimmy ... Starting Bid $200
32. Grover Cleveland Signed Executive Mansion Card as President - PSA... Starting Bid $200
21. Joe Biden Signature Starting Bid $200
25. George Bush Signed 'State of the Union' Booklet Starting Bid $200
29. Jimmy Carter Signed Photograph as President Starting Bid $200
22. James Buchanan Document Signed as President for a "Convention wit Starting Bid $200
26. George and Barbara Bush Signed White House Christmas Card (1992) Starting Bid $200
30. Jimmy and Rosalynn Carter Autograph Letter Signed Starting Bid $200
33.
Starting Bid $200
Starting Bid $200
George W. Bush Signed Book - Portraits of Courage
Grover, Frances, and Rose Cleveland (3) Items Signed as President...
34. Bill Clinton Signed First Day Cover (Ltd. Ed. #142/150)
35. Bill Clinton (2) Signed Items - Booklet and Photograph Starting Bid $200
39. Calvin and Grace Coolidge (3) Signatures Starting Bid $200
Starting Bid $200
36. Bill, Hillary, and Chelsea Clinton Signed BookGiving Starting Bid $200
40. Calvin and Grace Coolidge (2) Signed White House Engravings Starting Bid $200
44.
Starting Bid $200
48.
37. The Compilation of the Messages and Papers of the Presidents - Co... Starting Bid $200
41. Calvin and Grace Coolidge Signed White House Cards Starting Bid $200
45.
Starting Bid $100
49.
38. Calvin Coolidge Document Signed as President Starting Bid $200
42.
Starting
46.
Starting Bid $200
Starting
Dwight D. Eisenhower Signed Photograph
Bid $200
43. First Ladies (7) Signatures
First Ladies (3) Signatures - Garfield, Grant, and Hayes
First Ladies (3) Signed Books - Bush, Carter, and Reagan
Gerald Ford Signed Book - Assassination Report of the Warren Comm...
47. Gerald Ford Signed Photograph Starting Bid $200
Gerald Ford Signed Souvenir Typescript on JFK Assassination: "Lee...
Bid $200
Gerald Ford Autograph Letter Signed Starting Bid $200
50. Gerald Ford Signed Book - A Time to Heal Starting Bid $100
51. Four Presidents Signed Bill of Rights ReproductionReagan, Bush... Starting Bid $200
55. U. S. Grant Document Signed as PresidentPardon for a Vermont M... Starting Bid $200
59. Warren and Florence Harding (2) Signed Items Starting Bid $200
63. Rutherford B. Hayes Document Signed as President, Congratulating ... Starting Bid $200
52. Four Presidents (5) Signed Books - Bush, Carter, Ford, and Nixon Starting Bid $200
56. U. S. Grant Signature Starting Bid $200
60. Benjamin Harrison Typed Letter Signed: "The Benjamin Harrison to ... Starting Bid $200
53. James A. Garfield Letter Signed as President-Elect: "I am more pl... Starting Bid $200
57. U. S. Grant: Personal Memoirs of U. S. Grant (First Edition) Starting Bid $200
61. Benjamin Harrison Document Signed as President for a "proclamatio... Starting Bid $200
64. Rutherford B. Hayes Signature (Personal Visitor's Card) Starting Bid $200
65. [Rutherford B. Hayes] Electoral Commission Pass for the 1876 Pres... Starting Bid $200
54. James A. Garfield Signed Free Frank with Ribbons and Family Portr... Starting Bid $200
58. U. S. Grant Cabinet (5) Signatures Starting Bid $100
62. William Henry Harrison Silk Memorial Ribbon Starting Bid $200
66. Herbert Hoover Signed Book - Addresses Upon the American Road, 19... Starting Bid $200
67. Herbert Hoover Signed Book - On Growing Up Starting Bid $200
71. Lyndon and Lady Bird Johnson Signatures Starting Bid $200
75. James Madison and
Monroe Document Signed as President and S... Starting Bid $200
68. Herbert Hoover Signed White House Card - PSA NM-MT 8 Starting Bid $200
72. Lyndon B. Johnson and Alexei Kosygin Signatures as President and ... Starting Bid $200
76. William McKinley Typed Letter Signed as President to the Buffalo ... Starting Bid $200
69. Herbert Hoover Typed Letter Signed, Forwarding His WWII Speech on... Starting Bid $200
73. Abraham Lincoln Speech Pamphlet on Slavery and Equality (July 17,... Starting Bid $200
77. William McKinley Signed 'State of Ohio, Executive Chamber' Card Starting Bid $200
70. Herbert Hoover Signed Book - The Hoover Administration: A Documen... Starting Bid $100
74.
Starting Bid $200
James Madison and James Monroe Document Signed
James
78. William McKinley Document Signed Starting Bid $200
79. Richard Nixon Signed Photograph Starting Bid $200
80. Richard Nixon Signed Book - Memoirs Starting Bid $200
81. Barack Obama Signed Photograph Starting Bid $200
82. Barack Obama Signed Mock Impeachment Resolution Starting Bid $200
83. Franklin Pierce Document Signed as President for a Consular Conve Starting Bid $200
87. Eleanor Roosevelt (2) Signed Items Starting Bid $200
91. Franklin D.
Typed Letter Signed: "Certainly we hope tha... Starting Bid $200
84. James K. Polk Document Signed as President - Appointment for Futu... Starting Bid $200
88. Eleanor Roosevelt Typed Letter Signed Starting Bid $100
92. Franklin D. Roosevelt Hand-Annotated Speech Drafts on Taxation an... Starting Bid $200
85. Ronald Reagan Autograph Draft Signed for a 1979–80 Christmas Card... Starting Bid $200
89. Franklin Roosevelt Typed Letter Signed as President to Supreme Co... Starting Bid $200
86. Edith K. Roosevelt Signed Free Frank Starting Bid $100
90. Franklin and Eleanor Roosevelt (2) Signed White House Cards Starting Bid $200
Roosevelt
93. Franklin D. Roosevelt Typed Letter Signed as President Starting Bid $200
94. Franklin D. Roosevelt Document Signed as President Starting Bid $200
95. Franklin D. Roosevelt Signed Engraving Starting Bid $200
96. Theodore Roosevelt Document Signed as President
97. Theodore Roosevelt Document Signed as President
98. Theodore Roosevelt Starting Bid $200
99. Theodore Roosevelt Typed Letter Signed as President, Thanking Was... Starting Bid $200
103. [Zachary Taylor] James T.
Autograph Letter Signed Starting Bid $200
107.
Oversized Signed Photograph Starting Bid $200
100. William H. Taft (2) Signed Cards - White House and War Department Starting Bid $200
104. Harry S.
Signed White House Engraving Starting Bid $200
Starting Bid $200
101. William H. Taft Signed White House Engraving as President Starting Bid $200
105. Donald
Signed Oversized Photograph Starting Bid $200
109.
Starting Bid $200
102.
Document Signed as President Starting Bid $200
106.
Starting Bid $200
110.
Starting Bid $200
William H. Taft
Ames
Truman
Trump
Donald Trump Signed Photograph
Donald Trump
108. Donald Trump Oversized Signed Photograph
Donald Trump Signed 2024 Presidential Campaign Sign
Donald Trump 2025 U. S. Capitol-Flown Inauguration Flag
111. Donald Trump and Marco Rubio Oversized Signed Photograph Starting Bid $200
112. Woodrow Wilson Signed Photograph by Harris & Ewing Starting Bid $200
113. Woodrow Wilson Typed Letter Signed as President to the Granddaugh... Starting Bid $200
114. Woodrow and Edith Bolling Wilson Signatures Starting Bid $200
153. Louis Agassiz Signed Photograph Starting Bid $200
157. Ivan Borodin Signed Carte-de-Visite Photograph Starting Bid $200
161. Vint Cerf Signed Sketch - "Internet ca. 1977" Starting Bid $200
165. Captain Jack Crawford Signed BookWhar'
Starting Bid $200
154. William Barrington Document Signed Starting Bid $200
158. John Brown: New-York Tribune from December 6, 1859, Reporting on ... Starting Bid $200
162. Charles VI, Holy Roman Emperor Letter Signed Starting Bid $200
166. Anna Dickinson Rare Autograph Letter Signed on the Late President... Starting Bid $200
155. Menachem Begin Signature Starting Bid $200
159. Richard Byrd Signed Book - Alone Starting Bid $100
163. William C. C. Claiborne Document Signed as Governor of Louisiana Starting Bid $200
167. DNA: James D. Watson Autograph Quotation Signed: "May the power o... Starting Bid $200
156. John Wilkes Booth: John Sleeper Clarke Autograph Letter Signed Starting Bid $200
160. Fidel Castro Document Signed Starting Bid $200
164. Georges Clemenceau Signed Visiting Card Starting Bid $200
Starting Bid $200
the Hand o' God Is Seen
168. DNA: James D. Watson Signed Book - The Double Helix
169. DNA: James D. Watson Signed Book - DNA: The Secret of Life Starting Bid $200
173. Bill
Signed Book - Source Code Starting Bid $200
Margot Einstein
and Helen Dukas
Letters Signed Starting Bid $200
174. Jane Goodall
Signed Photographs Starting Bid $200
175.
Starting Bid $200
176.
Starting Bid $200
180.
Starting Bid $200
170.
(3)
(1)
171. Indira Gandhi Signed Photograph Starting Bid $200
172. Bill Gates Signed Photograph Starting Bid $200
Gates
(3)
Edward Wood, 1st Earl of Halifax (3) World War II–Dated Letters: ...
Kamala Harris Signed 2024 Campaign Sign
177. Jaroslav Heyrovsky Signed Photograph Starting Bid $200
178. Edmund Hillary Signed Book - View from the Summit
179. Johns Hopkins Document Signed Starting Bid $200
Jedediah Huntington Document Signed Starting Bid $200
