RR Auction: Fine Autographs and Artifacts Featuring Art, Literature, Classical Music, and Animation
Harry Kleiman, Animation Expert
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.
September 16, 2026
At 6 p.m. on Wed. Sept. 16th 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
Monroe reclaims money owed by the bankrupt associate of Haym Salomon
1. James Monroe Docketed Letter by Edward Carrington, Reclaiming Money Owed by an Associate of Haym Salomon. ALS signed “Ed. Carrington,” one page, 7.25 x 10.5, June 13, 1787. Edward Carrington, a soldier and statesman from Virginia, writes to “Col. James Monroe, Attorney” to inform him of the repayment of a debt owed by the bankrupt Jacob Mordecai, a noteworthy American-born Jewish businessman and partner of financier Haym Salomon. Carrington writes, in part: “The eleventh of next month is appointed for the distribution of Mr. Mordecai’s effects. He has made return of your debt, the amount as well as I recollect one hundred & ten pounds. The assignee in whose hands the list of debts is being out of Town, I cannot have recourse to it for greater certainty—it will however be necessary that you make allotment of your debt and make affidavit for the justness of it, to [entitle] you to a dividend, as Mr. Mordecai’s return only presumptively places it on the list. Will you be good enough to do this and forward it immediately to me?” Addressed on the integral leaf to Monroe by Carrington, and franked “Free, Ed. Carrington” at the bottom; docketed in Monroe’s hand, “June 13, 1787, Col. Carrington.” In very good condition, with overall foxing, and adhesive residue stains to the integral address leaf, which also display a repair to sealrelated paper loss. Starting Bid $200
2. John Quincy Adams Autograph Letter Signed, Regretting That His “Precarious” Health Prevents Him From Addressing the American Institute. ALS as a Massachusetts congressman signed “J. Q. Adams,” one page, 8.25 x 10.25, June 27, 1839. Addressed from Quincy, Mass., a handwritten letter to “T. B. Wakeman Esq., Corresponding Secretary of the American Institute, New York,” in full: “It would afford me great pleasure to address the American Institute at one of their anniversary meetings, and particularly at that which is to be held next October. But neither my engagements, nor the precarious state of my health permit me to expect that it will be in my power to comply with the invitation of the Trustees, to whom I pray you to present the assurance of my regret, and of the warmest good wishes, for the continued and increasing prosperity of the Institution.” In very good to fine condition, with a small block of toning, partial old repairs to splitting to the fragile mailing folds, and the second integral page detached but present. Starting Bid $200
3. Martin Van Buren Autograph Letter
Signed as President Concerning His Summer 1839 Tour. ALS as president signed “M. Van Buren,” four pages on two adjoining sheets, 8 x 9.75, June 16, 1839. Handwritten letter to friend and lawyer Benjamin Franklin Butler. Full transcript available online. In fine condition, with scattered ink stains. Written on June 16, 1839, while serving as president, Martin Van Buren discusses arrangements for his forthcoming tour through Pennsylvania, New Jersey, and New York. Addressing former Attorney General Benjamin F. Butler, he references communications with Secretary of War Joel R. Poinsett, General Charles W. Sandford of the New York militia, members of the New York Common Council, and a Young Mens Committee concerning plans for his reception. Van Buren comments upon the possible participation of military organizations, cites similar appearances in Norfolk and Richmond during the previous year, outlines his intended travel route, and notes in a postscript that letters addressed to him at Reading or Easton would reach him en route. The letter thus documents preparations for a presidential journey that occupied much of the summer and autumn of 1839. Starting Bid $300
“Accept my earnest congratulation on the credit to which you entitled yourself in the Battle of Bulls Run, & the promotion which was so honorably earned”
4. Martin Van Buren War-Dated Autograph Letter
Signed to General James S. Wadsworth Following Bull Run. Civil War-dated ALS signed “M. Van Buren,” one page, both sides, 5 x 8, August 16, 1861. Addressed from his Lindenwald estate, a handwritten letter to General James S. Wadsworth, who was mortally wounded in battle during the Overland Campaign on May 6, 1864, and died two days later. In part: “The arrangement you propose is satisfactory to me, and would have been still more so if you had put the extension at five years. Three may suffice to last my time, but such a result does not seem more certain than it would have done several years ago, & my wish is to have to do with nobody but yourself in respect to the matter at hand. Accept my earnest congratulation on the credit to which you entitled yourself in the Battle of Bulls Run, & the promotion which was so honorably earned.” In fine condition.
Written during the opening months of the Civil War, this letter dates from the final year of Martin Van Buren’s life. The former president, then residing at Lindenwald in Kinderhook, New York, had publicly declared his support for the Union following the outbreak of hostilities in 1861. Its recipient, James S. Wadsworth, was a prominent New York landowner, political figure, and early advocate of the Union war effort who had recently participated in the First Battle of Bull Run and, days before this letter was written, was appointed a brigadier general of volunteers. Wadsworth later commanded Union forces at Gettysburg and was mortally wounded in the Battle of the Wilderness on May 6, 1864, dying of his wounds two days later. Starting Bid $200
5. James K. Polk Autograph Letter Signed on Democratic Unity in Tennessee - “The time is close to hand, when the state must take her stand”. ALS, three pages on two adjoining sheets, 8 x 10, September 11, 1834. Addressed from “Columbia” and marked “Private,” a handwritten letter to Colonel Samuel H. Laughlin, a prominent Tennessee Democrat and newspaper editor in Nashville. Read a partial transcription online at www. RRAuction.com. In fine condition, with scattered light stains.
Written amid the political upheaval of Andrew Jackson’s second term, the letter captures James K. Polk in a notable dual role in 1834: one of Jackson’s foremost congressional allies as chairman of the House Ways and Means Committee and a leading Democratic organizer in Tennessee. Inviting influential editor Samuel H. Laughlin to meet with party leaders at a railroad convention and lamenting a missed opportunity to visit Jackson at the Hermitage before the president’s departure, Polk stresses the need for unity as political divisions deepened, warning that “The time is close to hand, when the state must take her stand, – and it is important that we should harmonize and act in concert.” His remarks offer a revealing glimpse of the challenges facing Tennessee Democrats as party loyalties hardened during Jackson’s presidency. Starting Bid $200
7. Millard Fillmore Autograph Letter Signed Recommending an Appointment as “Carpenter in the Navy”. ALS as a New York congressman, one page, 8 x 10, March 3, 1842. Addressed from the House of Representatives, a handwritten letter to Abel Upshur, the Secretary of the Navy, in full: “I have the honor to transmit herewith an application of Levi Hayden of Boston Mass. for the appointment of Carpenter in the Navy. His application is supported by a recommendation from several of the most respectable citizens of Buffalo, which I also transmit. I also enclose several other recommendations from persons with whom I am not acquainted. I do not know Mr. Hayden and can not therefore recommend him from any personal acquaintance, but his papers would seem to entitle his application to a most respectful consideration.” In fine condition. Starting Bid $200
President Millard Fillmore appoints Jefferson H. Nones—grandson of Revolutionary War officer Benjamin Nones and a member of one of America’s earliest and most prominent Jewish families
—as a U.S. Army first lieutenant in October 1850
6. Millard Fillmore Document Signed as President - Appointing the Grandson of Revolutionary War Officer Benjamin Nones. Partly-printed vellum DS as president, one page, 14.75 x 18, October 1, 1850. President Fillmore appoints Jefferson H. Nones as a “First Lieutenant in the Second Regiment of Artillery, in the service of the United States.” Signed boldly at the conclusion by Millard Fillmore and countersigned by Secretary of War Charles M. Conrad. The original War Office seal remains affixed to the upper left. In fine condition.
Jefferson H. Nones (1824–1903) belonged to one of the most distinguished Jewish families in early American history. His grandfather, Benjamin Nones, was a Revolutionary War officer who served under Generals George Washington, the Marquis de Lafayette, and Johann de Kalb after fighting with Count Casimir Pulaski’s Legion. Captured by the British during the Siege of Charleston in 1780, he remained a prisoner of war until his exchange following the British surrender at Yorktown. After the Revolution, Benjamin became a prominent Philadelphia merchant, civic leader, and longtime officer of Congregation Mikveh Israel, while later generations of the family continued a tradition of public service as diplomats, naval officers, and military officers.
This appointment continues that legacy, commissioning Jefferson H. Nones as a first lieutenant in the U.S. Army. He later served in the Mexican-American War and ultimately attained the rank of assistant adjutant general with the rank of captain. Presidential military appointments to members of America’s prominent early Jewish families are exceptionally uncommon, making this an especially significant surviving example. Starting Bid $300
President Lincoln appoints a Collector of Internal Revenue—an 1863 commission under the new federal tax system
8. Abraham Lincoln Document Signed as President, Appointing a Collector of Internal Revenue. Partlyprinted DS as president, one page, 21 x 16.5, March 4, 1863. President Lincoln appoints Lewis Ellsworth as “Collector of Internal Revenue for the Sixth Collection District of Illinois.”
Signed at the conclusion in ink by President Abraham Lincoln, and countersigned by Secretary of the Treasury Salmon P. Chase. In very good condition, with heavy intersecting folds, show-through from old tape repairs to reverse, and light irregular staining to the left side; none of these flaws detract from the
bold, crisp example of Lincoln’s full presidential signature.
Ellsworth’s appointment came during the rapid creation of a national tax-collection system to finance the Civil War. Established under the Revenue Act of 1862, the new Bureau of Internal Revenue divided loyal states into collection districts and imposed excise duties, license fees, and the nation’s first progressive income tax—making local collectors such as Ellsworth essential agents in sustaining the Union war effort. Starting Bid $300
President Andrew Johnson proclaims a “treaty between the United States and the Kiowa and Comanche tribes of Indians”
9. Andrew Johnson Document Signed as President, Proclaiming a “treaty between the United States and the Kiowa and Comanche tribes of Indians”. Partly-printed DS as president, one page, 8.5 x 11, August 25, 1868. President Johnson authorizes and directs the Secretary of State to affix the Seal of the United States to “my proclamation of a treaty between the United States and the Kiowa and Comanche tribes of Indians, concluded October 21st, 1867.” Neatly signed at the conclusion in ink by President Andrew Johnson. Affixed by its left edge inside a simple paper folder, along with a printing of the 1867 ‘Treaty with Kiowa, Comanche, and Apache.’ In fine condition.
This document refers to Johnson’s proclamation of the first part of the Medicine Lodge Treaty, the overall name for three treaties signed near Medicine Lodge, Kansas, between the Federal government of the United States and southern Plains Indian tribes. The unified goal was to stop the bloodshed between the parties, which included massacres at Whitestone Hill, Sand Creek, and Pawnee Fork, and various retaliatory raids on U.S. settlements.
Situated deep into the tribes’ hunting grounds, government delegates were met by more than 5,000 representatives of the Kiowa, Comanche, Arapaho, and Kiowa-Apache nations. Two weeks later, members of the Southern Cheyenne joined them as well. The first treaty was signed on October 21, 1867, with the Kiowa and Comanche tribes; the second, with the Kiowa-Apache, was signed on the same day; and the third treaty, with the Southern Cheyenne and Arapaho, was signed on October 28th.
Per the Smithsonian Magazine, historians have since deemed Medicine Lodge Creek as one of the Plains Indians’ most devastating treaties, in large part due to its brief observance. ‘The treaty offered a 2.9-million-acre tract to the Comanches and Kiowas and a 4.3-million-acre tract for a Cheyenne-Arapaho reservation. Both of these settlements would include the implements for farming and building houses and schools, and the land would be guaranteed as native territory…Although the document was ratified by Congress in 1868, it was never ratified by adult males of the participating tribes — and it wasn’t long before Congress was looking for ways to break the treaty. Within a year, treaty payments were withheld and General [William Tecumseh] Sherman was working to prevent all Indian hunting rights…
In the following years, lawmakers decided the reservations were too large and needed to be cut down to individual plots called ‘allotments.’ These continual attempts to renege on the 1867 Medicine Lodge Treaty came to a head in 1903 in the landmark Lone Wolf v. Hitchcock case, in which a member of the Kiowa nation filed charges against the Secretary of the Interior. The Supreme Court ruled that Congress had the right to break or rewrite treaties between the United States and Native American tribes however the lawmakers saw fit, essentially stripping the treaties of their power.’ Starting Bid $200
10. U.S. Grant Document Signed as President, Acknowledging the Death of King Charles XV of Sweden and Norway, and the Ascension of Oscar II to the Thrones. Partly-printed DS as president, one page, 8.5 x 11, January 17, 1873. President Grant authorizes and directs “the Secretary of State to cause the Seal of the United States to be affixed to an Envelope addressed to His Majesty Oscar II, King of Sweden & Norway, condolence on death of Charles XV & congratulating on occasion of Oscar II, to the thrones of the two Kingdoms.” Neatly signed at the conclusion in ink by President Ulysses S. Grant. In fine condition.
The death of Charles XV in September 1872 marked the end of a popular but politically constrained reign in Sweden and Norway, where he had ruled as Charles XV of Sweden and Charles IV of Norway. With no surviving legitimate son, the thrones passed to his younger brother, Oscar II, who was crowned king of Sweden and Norway and would become the last monarch to rule the united kingdoms before Norway’s independence in 1905. Grant’s message of condolence and congratulation thus acknowledged both a moment of dynastic mourning and the peaceful succession of a new Scandinavian sovereign. Starting Bid $200
11. U. S. Grant Letter Signed as President, Retaining a New York Tax Collector. LS as president, one page, 8.25 x 13.5, September 25, 1875. Addressed from the Executive Mansion, an official letter to Francis S. Rew, in part: “By virtue of the authority vested in me by Section 3142 Revised Statutes of the United States, approved June 22, 1874, you are hereby retained as Collector of Internal Revenue for the District formed by annexing the Twenty-fifth and Twenty-eighth Collection Districts of the State of New York, to be known as the Twenty-eighth Collection District of the State of New York.” Neatly signed at the conclusion by President Ulysses S. Grant, and countersigned by Acting Secretary of the Treasury Charles F. Conant. Matted and framed to an overall size of 10 x 16.5. In fine condition, with some light creasing. Starting Bid $200
Scarce volume inscribed to the only man present at the deathbeds of Lincoln and Garfield
12. James A. Garfield Signed Book - The Forty-Second Ohio Infantry: A History, Inscribed to the Only Man Present at Both Lincoln and Garfield’s Deathbeds. Signed book: The Forty-Second Ohio Infantry: A History of the Organization and Services of that Regiment in the War of the Rebellion. First edition. Cleveland: Cobb, Andrews & Co., 1876. Hardcover, 5.75 x 8.5, 306 pages. Signed and inscribed on the first free end page in ink, “To my dear friend and classmate, Col. A. F. Rockwell with the hope, that the events of the past weeks, and the results that may grow out of them will not make the deeds recorded herein, useless to our country—J. A. Garfield, Washington, Nov. 11th, 1876.” Autographic condition: fine. Book condition: G/None, with heavy scuffing to the exterior and a cracked front hinge. Accompanied by a custom-made quarter-leather slipcase with chemise. The 42nd Ohio Infantry was organized at Camp Chase in Columbus, Ohio in late 1861 and mustered in for three years’ service on December 7, 1861, under the command of Colonel Garfield. Lieutenant Colonel Almon F. Rockwell (1835–1903) was a U.S. Army officer uniquely remembered in history as the only known person to be present at the deathbeds of both President Abraham Lincoln in 1865 and President James A. Garfield in 1881. A close friend of Garfield—dating back to their time at Williams College—Rockwell was with Garfield constantly during the 80 days the president lingered after being shot by an assassin. Starting Bid $300
Harrison protects Alaska’s natural resources, prohibiting seal hunting “within the limits of Alaska Territory”
13. Benjamin Harrison Document Signed as President, Prohibiting the Hunting of Fur Seals in Alaska and Bering Sea. Partlyprinted DS as president, signed “Benj. Harrison,” one page, 8 x 10, January 15, 1892. President Harrison authorizes and directs the Secretary of State to cause the Seal of the United States to be affixed to “my proclamation in relation to fur seal fisheries within the limits of Alaska Territory under Section 1956 Revised Statutes, Chapter 3, Title 23, also for the protection of salmon fisheries of Alaska.” Neatly signed at the conclusion in ink by President Benjamin Harrison. In fine condition. Accompanied by a printing of Harrison’s proclamation, which prohibited the hunting of fur-bearing animals in Alaska and Bering Sea. Harrison’s proclamation warned vessels against entering American-claimed waters of the Bering Sea to hunt fur-bearing animals, invoking federal statutes that imposed fines, imprisonment, and forfeiture of offending vessels. Issued amid disputes with foreign sealers—especially British Canadian vessels—over pelagic sealing near Alaska, the proclamation reflects the United States’ attempt to defend its recently acquired Alaskan interests, protect the lucrative fur seal herds of the Pribilof Islands, and enforce federal sovereignty in a contested maritime region. The same proclamation also referenced Alaska’s salmon fisheries, underscoring the growing importance of the territory’s marine resources to American diplomacy and commerce. Starting Bid $200
Presentation copy of The Naval War of 1812, Roosevelt’s seminal study of American naval power and
the conflict that shaped his strategic vision
14. Theodore Roosevelt Signed Book - The Naval War of 1812. Signed book: The Naval War of 1812. Third edition. NY: G. P. Putnam’s Sons, 1883. Hardcover, 6 x 8.5, 541 pages. Signed and inscribed on the first free end page in ink by Theodore Roosevelt, “General N. M. Curtis, Assembly Chamber, Albany, Compliments of the author.” Autographic condition: fine. Book condition: VG-/None, with edgewear, bumped corners, chipping at the spine’s head, and a small split toward the binding at the top of the signed page.
Theodore Roosevelt was a prolific author and, in fact, first came to national prominence as a serious historian with this seminal work, The Naval War of 1812, first published in 1882.
The book reflects his lifelong belief in naval strength, national vigor, and American military preparedness, and aided in his political ascent: he would be named Assistant Secretary of the Navy in 1897.
The recipient, General Newton M. Curtis (1835–1910), was a prominent Union Civil War general (awarded the Medal of Honor for Fort Fisher), who later served as a New York State Assemblyman representing St. Lawrence County, and later served in the House of Representatives. He also wrote a book entitled From Bull Run to Chancellorsville, published in 1906. Starting Bid $300
President Theodore Roosevelt signs an oversized July 1900 George Prince campaign-era portrait during his first months in the White House
15. Theodore Roosevelt Signed Oversized Photograph as President. Extraordinary oversized matte-finish 16.5 x 20.5 portrait of New York Governor Theodore Roosevelt by photographer George Prince, depicting Roosevelt in formal attire with pince-nez spectacles and his distinctive mustache, prominently signed on the original studio mount in ink as American president, “Theodore Roosevelt, Dec. 7th 1901.” Photographer’s credit reads, “Prince Foto – Washington, D.C.,” with the lower left of the image bearing a copyright date of 1900 by George Prince. Impressively mounted and displayed in a period wood frame to an overall size of 34.25 x 38.75. In fine condition, with a bit of dampstaining along the extreme left edge of the mount. Signed on December 7, 1901, less than three months after Theodore Roosevelt assumed the presidency following the assassination of William McKinley, this portrait bears an early presidential-era signature on a photograph originally taken by Washington photographer George Prince in July 1900. At the time the portrait was made, Roosevelt was serving as Governor of New York and had only recently secured the Republican nomination for vice president at the party’s national convention in Philadelphia, joining McKinley on the ticket for the 1900 election. The combination of a campaign-era portrait and a boldly dated signature from Roosevelt’s first months as president links two pivotal moments in his rapid ascent from state office to the nation’s highest post. Starting Bid $200
“Of all the many well developed characters in Romeo and Juliet I think the character of the nurse is most familiar to me”
16. John F. Kennedy, Jr. Autograph Manuscript
Signed - Middle School Essay on Romeo and Juliet and His White House Nanny (1974-75). Autograph manuscript signed “John Kennedy,” comprised of a four-page handwritten English composition written by Kennedy as a student at the Collegiate School in New York City, circa 1974-1975. The essay, penned in blue ink on 8.5 x 11 notebook paper, is signed at the top of the first page by a 14 or 15-year-old Kennedy, and titled, “Romeo + Juliet.” He begins: “Of all the many well developed characters in Romeo and Juliet I think the character of the nurse is most familiar to me. When I was small, I had a governess named Maud Shaw. She was an ‘English nanny.’ Miss Shaw was very much like the nurse in more than one way. She was always very protective over me. In all my years with her (1–7), I never think I stayed farther than 6 feet away from her at any time. If I ever dared to I would probably get spanked, Miss Shaw was very persuasive when she wanted to be…As I said before she was brought up very strongly in the English nanny tradition if you know what I mean.
She was very active in the way I was brought up, discussing with my mother what was best for me much like the nurse in
the play. Some things she did weren’t the best things to do, but she had good intentions, much like the nurse in the play. For instance, she decided that I should go to school a year later than I did, but my parents overruled her on that one.
After this she felt very offended and suplanted. She often felt this was when her decisions or desires were not followed up. I dont know if it was the same in the play because the character wasn’t exposed that much…Another thing that she did that was like the nurse in the play was that she loved to tease. Many times it would be in jest but others it would be maliciously… Often when her decisions were not followed up she would begin to be mean and obnoxious…It is fairly to tie her in with the nurse in the play, they both had the same backgrounds and same surroundings and much the same personalities, even though they were two hundred years apart.” The last page is a draft of the essay’s final page, which he re-wrote to incorporate some of the teacher’s suggestions. All four pages bear red ink correction marks from his teacher, who gave Kennedy a score of 72. In fine condition, with light wear and wrinkling. Starting Bid $200
Gold-plated Ronald Reagan donor wristwatch produced for 1980 campaign contributors and later recalled after a 1981 White House gift controversy
17. Ronald Reagan Limited Edition Wristwatch, Recalled Gift to 1980 Campaign Donors. The enduring legacy of Ronald Reagan, one of the most popular presidents in American history, is memorialized with this exceptional wristwatch and its personal connection to the Reagan administration. This elegant gold-plated watch was produced in 1981 as a gift for donors who contributed to Reagan’s successful 1980 presidential campaign. The original timepiece, one of a limited edition of 1,000 custom-made by Time In Motion, Inc., of Freehold, New Jersey, is emblazoned with Ronald Reagan’s personal facsimile signature, atop a dial embossed with the official Presidential Seal. A companion watch from this group was gifted to the Ronald Reagan Library’s museum collection in November 2008 and lauded by the library’s registrar as rare, beautiful, and unique given its storied history. In very fine condition, this watch features a black lizard-grain leather strap, a beautiful German-made dial, and quartz movement. Included is the original leatherette presentation box with slipcase. As the story goes, these Reagan gift watches were exclusively approved for presentation to 1,000 supporters who made donations of $1,000 or more to the Republican National Committee during Reagan’s 1980 campaign. However, when news broke that White House National Security Adviser Richard V. Allen accepted a pair of Seiko Quartz watches valued at about $340 from Japanese correspondents in November 1981, the Reagan administration’s generous plan was paused. White House officials are barred from accepting any gift worth more than $50, so to avoid further bad publicity, the decision was made to forego the distribution of more gift watches. A total of 950 Reagan watches were dismantled, and the dials were destroyed and returned to the White House. Only 50 watches had been given previously to diplomats and officials. ‘It is uncommon that we have such unusual provenance for a gift,’ said the Reagan Library registrar in a letter to Time In Motion. Starting Bid $200
18. Ronald Reagan Signed Book - The Holy Bible. Signed book: The Holy Bible, New King James Version. Later printing. Nashville: Thomas Nelson Publishers, 1982. Faux leather softcover, 6 x 8.5, 1236 pages. Signed and inscribed on a presentation page in black felt tip, “To Juanita McCoy, With Best Wishes, Ronald Reagan.” Also features Reagan’s facsimile signature at the conclusion of a preface, in which he wrote: “If the Bible influences your life as much as it has the lives of those who previously have served our country, it will bless our nation and its people.” In very fine condition. Starting Bid $200
Notables
Declaration of Independence
A deal between governors—two months after the signing of the Treaty of Paris, John Hancock of Massachusetts writes to George Clinton of New York to settle their states’ long-disputed boundary, opening negotiations that culminated in the Treaty
of Hartford
72. John Hancock Letter Signed as Massachusetts Governor to George Clinton, Concerning the Massachusetts–New York Boundary (October 31, 1783). LS as governor of Massachusetts, one page both sides, 7.5 x 8.75, October 31, 1783. Addressed from Boston, a letter to New York Governor George Clinton, signed roughly two months after the war-ending Treaty of Paris, in full: “In compliance with the request of the two Branches of the General Court, I have the honor to inclose Your Excellency an Attested Copy of their Resolve pass’d the late Session, relative to the Appointment of Commissioners for running & ascertaining the dividing Line between the State of New York & the unappropriated Land belonging to this Commonwealth lying to the Westward of Hudson’s River. Our General Court have appointed three Gentlemen on the part of this Commonwealth to affect this Business, & I am to request that Your Excellency will be pleased to lay this matter before your General Assembly & I cannot but flatter myself they will adopt effectual measures for a speedy Settlement of these boundaries…I beg leave to observe that our General Court are dispos’d to Cede a part of their unappropriated Lands agreeably to the Recommendation of Congress, but it is necessary that previous to that, the precise Line of boundary should be Settled, & the sooner it is effected, the sooner we shall be able to comply with the recommendation of Congress.” In fine condition.
Written less than two months after the signing of the Treaty of Paris ended the Revolutionary War, this letter documents the effort to resolve one of the most consequential colonial boundary disputes inherited by the newly independent United States. Hancock urges New York Governor George Clinton to appoint commissioners to establish the boundary between Massachusetts and New York, explaining that Massachusetts could not comply with Congress’s recommendation to cede part of its western lands until the state line had been precisely determined.
When negotiations later stalled, the dispute became one of the earliest interstate controversies considered under Article IX of the Articles of Confederation, which empowered Congress to arbitrate boundary disputes between the states. Although the federally constituted tribunal ultimately proved unnecessary, as the states reached a negotiated settlement through the Treaty of Hartford (1786), the dispute remains an early example of the interstate boundary controversies addressed under the Articles of Confederation. Such conflicts later influenced the framers’ decision to vest the United States Supreme Court with original jurisdiction over controversies between states under Article III of the Constitution. Starting Bid $1000
American Politicians and Leaders
Exceptionally rare 1686 land document signed by Thomas Dongan as colonial governor of New York, confirming a land purchase from five Native American sachems
75. Thomas Dongan Signed Colonial New York Land Document, Ratifying a Native American Land Purchase (1686). Rare vellum manuscript DS, one page, 28.5 x 16, March 1686. Colonial land patent issued under the authority of New York Governor Thomas Dongan, conveying a tract of land in present-day Westchester County to John Knight following its purchase from five Native American sachems identified as the “natives and principal owners” of the property: Emigent, Askewans, Penarand, Tagehkint, and one additional chief. The document describes the boundaries of the tract, beginning at Kichtawong Creek and extending along the Hudson River to lands owned by Stephanus Van Cortlandt, one of colonial New York’s most prominent landowners. The document is signed prominently along the bottom folded margin by Thomas Dongan as the fifth Colonial Governor of New York. Retains its original pendant seal. A docket on the verso records the patent’s approval at a court held in New York on March 24, 1686, attended by Governor Dongan, Anthony
Brockholls, Frederick Philipse, Stephanus Van Cortlandt, and Nathaniel Bayard. In fine condition.
Issued in March 1686 during Thomas Dongan’s administration as governor of New York, the patent documents a period when the colony was establishing the legal framework for land ownership and settlement. Following the purchase of property in the Kichtawong region of present-day northern Westchester County from five Native American sachems, the transaction was formally confirmed under English colonial law by a court comprising Governor Dongan, Anthony Brockholls, Frederick Philipse, Stephanus Van Cortlandt, and Nathaniel Bayard, among the most influential political leaders and landowners in seventeenth-century New York. As an official colonial land grant bearing Dongan’s signature and original seal, the document represents an important surviving record of early land administration in colonial New York. Starting Bid $300
Historic 1804 certificate
“relative
to the Estate of Alexander Hamilton, deceased”
76. Alexander Hamilton Estate Document. Significant partly-printed document concerning the estate of Alexander Hamilton, one page, 6.5 x 5.75, November 29, 1804. Marked as certificate “No. 145,” in full: “Certificate to Rufus King for a Share in the Trust intended in a certain Writing of this date, relative to the Estate of Alexander Hamilton, deceased; and this Certificate to be assignable, and to be receivable on Sales of the Estate by Trustees, as a payment of Two Hundred Dollars: the Dividends, however, if any, which may have been paid on the Share, being first deducted.” Signed at the conclusion by trustees Gouverneur Morris, Rufus King, Egbert Benson, Oliver Wolcott, Jr., and Charles Wilkes. Mounted, matted, and framed with engraved portraits of Hamilton and King, as well as a descriptive caption, to an overall size of 24.5 x 15.25. In fine condition.
Hamilton died on July 12, 1804, after being mortally wounded in his legendary and dramatic duel with rival politician Aaron Burr. He left a complicated will with many large bequests for which there existed insufficient assets. A group of his friends—Gouverneur Morris, Rufus King, Egbert Benson, Oliver Wolcott, Jr., and Charles Wilkes—established a trust, aimed not only at conserving the estate, but enlarging it to support his family. Starting Bid $200
Rare handwritten letter by Thomas Paine, interceding with the president of the Bank of North America on behalf of his best friend
77. Thomas Paine Rare Autograph Letter Signed, Interceding with the President of the Bank of North America. Rare ALS, signed “Thomas Paine,” one page, 8.5 x 13, March 20, 1787. Handwritten letter to Thomas Willing, seeking a financial favor for his best friend, Col. Joseph Kirkbride. In full: “A very intimate friend of mine Col. Kirkbride, has a Bond of Mr. Rich’d Penn for about £1000—he has a present occasion for 400, for 6 or 7 months—His landed Estate is in Pennsylvania—he called on me this morning and mentioned these with other circumstances to me, accompanied with a wish, that if it was convenient to me whether I could accommodate him with that sum for that time, I acquainted him with the manner in which what money I had would be dispersed of, which puts it out of my power to oblige him. My desire to serve him on any occasion induces me to mention this circumstance to you—I believe it is not regularly within the line of business done in the Bank—but as he can deposit real security to a great deal more amount, it would give me much pleasure to be the means of promoting his convenience—I intended waiting on you this Evening on this occasion, but as I cannot I must defer it until the morning.” In fine condition.
The recipient of this letter, Thomas Willing, formerly a mayor of Philadelphia, was at this time president of the Bank of North America—the first bank chartered by the Continental Congress. Paine was an important supporter of the Bank, and stood by Willing during the political struggle over its recharter. In this instance, it seems that Paine’s lifelong friend, Col. Joseph Kirkbride, faced a misfortune associated with the end of the Revolution: he held a bond with Richard Penn, the Loyalist governor of Pennsylvania, who was then living in London. Financial obligations with American Loyalists were in an ambiguous state after the conclusion of the Treaty of Paris because of disputes over two of its provisions: the clause requiring the British to compensate for slaves who ran away to British lines, and the clause requiring states to compensate for lands and properties confiscated from Loyalists. Ultimately, Penn would be allowed compensation by the US government for the loss of his proprietary rights in Pennsylvania. Starting Bid $1,000
World Leaders and Politicians
Omega Constellation commissioned by Kim Il-sung’s North Korean regime, with original state-issued certificate
81. Kim Il-sung Omega Constellation Presentation Watch. Omega Constellation automatic wristwatch officially presented by the Democratic People’s Republic of Korea, featuring a silver-tone dial with applied baton hour markers, applied Omega logo and Constellation star, day-date aperture at 3 o’clock, fluted bezel, and the red facsimile signature of North Korean leader Kim Il-sung above the center. The stainless steel case is fitted with an integral-style Omega-stamped bracelet, signed crown, and Geneva Observatory medallion on the caseback. Complete with its hinged original red leatherette Omega box and “Watch Commendation Certificate” awarded by the Central Committee of the Workers’ Party of Korea, which certifies the honoree as a 1986 recipient of “a watch bearing the engraved name of the great leader Comrade Kim Il Sung.” Also includes the recipient’s 2001 “Fatherland Reunification Prize” certificate, issued by the Standing Committee of the Supreme People’s Assembly of the DPRK in recognition of his contributions to the movement for national independence and peaceful reunification.
Far more than a standard vintage Omega, this documented presentation watch represents an exceptionally uncommon artifact of North Korean state patronage. Specially commissioned from Omega for presentation by the North Korean regime, these Constellations were produced with Kim Il-sung’s red facsimile signature on the dial and bestowed as prestigious official rewards upon favored officials, overseas supporters, and others recognized for service to the state. Surviving examples accompanied by their original recipient documentation are seldom encountered on the public auction market. Starting Bid $1000
“I
Activists and Social Leaders
Am A Man”—the enduring
slogan of the 1968 Memphis sanitation strike and the Civil Rights Movement
86. Civil Rights: Original 1968 ‘I Am A Man’ Memphis Protest Poster (22˝ x 28˝). Historic original “I Am A Man” poster printed in 1968 by the Tea Lautrec Litho print shop, 22 x 28, with “Memphis” underneath the prominent main text. Bottom left corner has: “tea lautrec litho - san francisco.” Bottom right corner has: “(c) 1968 Emerson Graphics - 243 Collins Street. San Francisco 94118 / Mail Order $1.25 (Quantity Prices On Request).” In fine condition, with light edge wear and intersecting folds.
The “I Am A Man” poster was made famous with the Memphis sanitation strike of February–April 1968. Shortly after two workers, Echol Cole and Robert Walker, were crushed to death in the back of their garbage truck, as many as 1,300 black sanitation workers in Memphis walked off the job in protest of horrible working conditions and racist discrimination by the city. Martin Luther King, Jr. traveled to Memphis to support the strike as part of his Poor People’s Campaign, speaking before a large crowd on March 18th and leading a mass demonstration on the 28th. Mayor Henry Loeb III imposed martial law and brought in 4,000 National Guard troops. The following day, over 200 striking workers continued their daily march, carrying the iconic signs that read: “I Am A Man.” The slogan emerged as a unifying theme, and this poster has become one of the enduring images of the Civil Rights Movement. Starting Bid $300
Businessmen
89. Carnegie Hero Fund Commission Medal Awarded Posthumously for the Heroic Sacrifice of Patrick J. Smith, Jr.. Carnegie Hero Fund Commission medal posthumously issued to Patrick J. Smith, Jr., who died attempting to save another man from drowning in Strauss, Kansas, on July 6, 1943. The bronze-tone medal, 204 gm, 76 mm, features a high-relief portrait of Andrew Carnegie to the front with raised text to top and bottom: “Carnegie Hero Fund” and “Established April 15th 1904.” The reverse bears the commission’s motto, “Greater Love Hath No Man Lay Down His Life For His Friends,” surrounding an engraved presentation cartouche reading: “Awarded to Patrick J. Smith, Jr., who died attempting to save John E. Winslow from drowning, Strauss, Kan., July 6, 1943.” Stamped on the edge by the manufacturer, “J. E. Caldwell & Co., Phila.” Includes its original black presentation case and its accompanying green paper box, both marked on the top, “Carnegie Medal.” In fine condition, with some tarnishing to medal, and wear to box.
Established by Andrew Carnegie in 1904 to recognize extraordinary acts of civilian heroism, the Carnegie Hero Fund Commission awarded this medal posthumously to Patrick J. Smith, Jr. (1916–1943), an assistant freight house foreman who sacrificed his life attempting to rescue 18-year-old John E. Winslow from the Neosho River at Strauss, Kansas, on July 6, 1943. After a motorboat carrying Smith, Winslow, and four other boys drifted over a dam and capsized in turbulent water, Smith repeatedly struggled to reach the imperiled Winslow, lifting him above the surface before both men ultimately drowned. In recognition of his selfless sacrifice, Smith was awarded the Carnegie Medal, one of America’s highest civilian honors for heroism. From the personal collection of a lifelong collector, teacher, and traveler with a passion for world history. His collecting years ranged from the 1970s to the present day, meaning that several of the premier pieces have not been on the market in decades. Starting Bid $200
“We must do something about us”— previously unpublished archive of 29 personal letters from J. Paul Getty to
actress Jacqueline Evans,
spanning more than two decades
90. J. Paul Getty Archive of (29) Letters to Actress Jacqueline Evans, Spanning More Than Two Decades
(1948–1971). Archive of (29) letters from J. Paul Getty to film actress Jacqueline Evans, consisting of (18) autograph letters signed (two written on postcards) and (11) typed letters signed, spanning December 29, 1948, to September 9, 1971. Written from hotels and residences across Europe and the United States, including Rome, Naples, Milan, Paris, London, New York, and Sutton Place, the correspondence chronicles more than two decades of personal friendship between the billionaire oil magnate and the little-known actress. Most letters are signed simply “Paul,” with a handful signed “J. Paul Getty” or initialed “P.” Examples include: - December 29, 1948: “I hereby forgive to you all your indebtedness to me arising from loans or advances made by me to you to date. The total, I believe, is approximately $1,850.”
- June 4, 1951: “Your photo of publicity was good. The only flaw: someone besides me. When will we ever see each other??!!”
- February 4, 1952: “I don’t believe that you should be living the way you do. I think you are alone too much… I don’t think you should marry the man in Tijuana… unless you are really in love with him.”
- April 20, 1952: “What in the world has happened? I wrote you weeks ago… and still no answer. Are you well? Would you like to meet me in a month or two?”
- May 1, 1952: “We’re still close spiritually if not geographically… I don’t know how many hills and how many waves are between us, but they don’t matter, do they?”
- June 3, 1952: “We must do something about us. I understand you may come to England to visit your family, and then I could see you.”
- April 6, 1955: “It reminded me of old times to hear your voice on the phone the other day. So you have finally decided to try your luck in Hollywood. As you say, Mexico hasn’t been too rewarding or brought you much happiness and contentment.”
- February 14, 1956: “Wonderful to hear from you. We must meet soon—1948 is too long!…Every year I get older, work harder, and… get poorer. Some progress!”
- December 8, 1958: “I hope you have managed to straighten out your affairs in Mexico… I tried to phone you the day you left but couldn’t get the operator to locate you. Do please write me and tell me your plans.”
- April 7, 1965: “I don’t want to become financially involved in other people’s business enterprises. It is a good way to create discord and disrupt old friendships.”
- September 9, 1971: “Yolanda tells me that you are still very beautiful… All the best and let’s keep in touch.”
In overall very good to fine condition, with occasional rough edges, tears, small stains, or paperclip impressions. Accompanied by original envelopes and a larger archive of Evans’s outgoing correspondence, secretary letters, holiday cards, bank transfer notices, and related personal papers. Far more personal than routine social correspondence, the letters reveal a warm friendship spanning more than two decades. Getty repeatedly addresses Evans as “Dearest Jackie,” signs many letters “Love, Paul,” worries over her prolonged silences, urges her not to marry another man unless she truly loves him, reminisces about their time together, and frequently expresses his hope that they will meet again while traveling throughout Europe and the United States. Jacqueline Evans (1914–1989) was a British-born Mexican film actress whose career flourished during Mexico’s Golden Age of cinema. After making her screen debut in 1946, she appeared in dozens of Mexican films over the next four decades, including Adventures of Casanova (1948), Simbad el mareado (1950), and Daniel Boone, Trail Blazer (1956). Beyond acting, Evans was the only woman, and one of very few competitors, to participate in all five original editions of the grueling Carrera Panamericana road race from 1950 through 1954. Starting Bid $300
91. Jensen Huang Twice-Signed NVIDIA GeForce RTX 5080 Graphics Card. Extremely desirable NVIDIA GeForce RTX 5080 graphics card in its original packaging, signed on the package top in black felt tip, “Jensen Huang,” and on the metal housing of the card itself in gold ink, “Jensen Huang.” In very fine condition. Housed in its original shipping box, measuring 18˝ x 11.25˝ x 5.25˝.
From NVIDIA: ‘Gear up for game-changing experiences with the NVIDIA® GeForce RTX™ 5080 and AI-powered DLSS 4.5. Built with NVIDIA Blackwell and equipped with blistering-fast GDDR7 memory, it lets you run the most graphically demanding games and creative applications with stunning fidelity and performance. With NVIDIA Studio you can bring your creative projects to life faster than ever.’
In October 2025, as the leading chipmaker of the AI revolution, NVIDIA became the first public U.S. company to be valued at over $5 trillion. Starting Bid $300
92. John D. Rockefeller, Henry Flagler, and Jabez A. Bostwick Signed Stock Certificate for Standard Oil. Partly-printed DS, one page, 10.75 x 7.75, April 5, 1882. Stock certificate for 500 shares in Rockefeller’s Standard Oil Trust issued to J. A. Bostwick, signed at the conclusion by John D. Rockefeller as president, Henry M. Flagler as secretary, and Jabez A. Bostwick as treasurer, and endorsed twice on the reverse by Bostwick. In very good to fine condition, with usual cancellation holes touching the signatures, backed with small paper repairs on the reverse. Encapsulated in a PSA/DNA authentication holder.
John D. Rockefeller (1839-1937) was a business magnate and philanthropist whose Standard Oil empire made him the wealthiest man in the world. Henry Flagler (1830-1913) was a real estate and railroad entrepreneur who also co-founded Standard Oil, remembered for his efforts to make Florida the ‘Newport of the South’ by providing extensive rail access and grand hotels to lure wealthy vacationers. Jabez Abel Bostwick (1830-1892) was a founding partner of Standard Oil, serving as the company’s first treasurer. Starting Bid $200
Scientists and Inventors
Three days before the publication of the second edition of The Descent of Man, Darwin thanks a colleague for his newly published Origins of the Family
95. Charles Darwin Autograph Letter Signed on ‘Origins of the Family’. ALS signed “Ch. Darwin,” one page, 5 x 8, Down, Beckenham, Kent letterhead, November 10, 1874. Handwritten letter to the French anthropologist and historian Alexis Giraud-Teulon, in full: “I am much obliged to you for your kindness in having sent your ‘Origines de la Famille.’ The subject is a most interesting one, & as soon as I have finished two books which I am now reading, I will commence with yours. With much respect & my best thanks.” In fine condition. The handwritten date at the upper left may initially appear to read “1894,” but is in fact “1874.”
Just three days before the publication of the second edition of The Descent of Man on November 13, 1874, Charles Darwin thanks French anthropologist and historian Alexis Giraud-Teulon for sending him a copy of his newly published Les Origines de la Famille (The Origins of the Family). The date is corroborated by another letter Darwin wrote that same day to Scottish anthropologist John Ferguson McLennan, in which he noted, ‘Giraud-Teulon has sent me his Les Origines de la Famille just published. I have not read it, but can see that it relates to your subject.’ An interesting association piece, Giraud-Teulon’s book appears to have drawn inspiration from Darwin’s 1859 masterpiece On the Origin of Species, while its title closely anticipates Friedrich Engels’s influential 1884 work The Origin of the Family, Private Property and the State. Together, the two books are regarded as pioneering studies of the origins and evolution of the family. Starting Bid $1000
96. Thomas Edison Signed Photograph by Walter Scott Shinn. Distinguished vintage matte-finish 6.75 x 9.5 portrait photo by Walter Scott Shinn of New York, signed neatly in the lower border in fountain pen, “Thos. A. Edison.” Framed to a slightly larger size and in fine condition, with wear and chipping only to the original frame. Starting Bid $200
Boldly signed 1888 Canadian patent power of attorney for phonograph improvements, signed in full, “Thomas Alva Edison”
97. Thomas Edison Signed 1888 Phonograph Patent Power of Attorney for “Improvements in Phonogram-Blanks”. DS, signed “Thomas Alva Edison,” one page, 8 x 13, August 24, 1888. Power of Attorney document appointing patent attorneys Richard N. Dyer and Henry W. Seely to represent Edison before the Canadian Patent Office in connection with an application covering “new and useful Improvements in Phonogram-Blanks.” In part: “The undersigned, Thomas Alva Edison, of Llewellyn Park…Inventor, hereby appoints Richard N. Dyer and Henry W. Seely, composing the firm of Dyer & Seely, of …New York City…his attorneys, with full powers of substitution and revocation, to prosecute an application for a patent for new and useful Improvements in Phonogram-Blanks, to sign the drawings, to receive the patent, and to transact all business in the Patent Office connected therewith. Signed at the conclusion in bold ink by Edison with his large, attractive ‘umbrella’ signature. In fine condition. Accompanied by a full letter of authenticity from PSA/DNA. This document dates to a pivotal period in the development of Edison’s phonograph. After returning to the invention in 1887, Edison introduced his Improved and Perfected Phonographs in 1888, advancing the machine from an experimental device toward a commercially viable recording system. Central to that effort were improvements to the recording medium itself, the “phonogram blanks” referenced here, which took the form of the wax cylinders that would become the foundation of the early sound-recording industry. The timing is particularly significant because Edison was working amid intense competition from the Bell-Tainter Graphophone, developed by Charles Sumner Tainter and Chichester Bell, whose advances in wax recording media and sound reproduction challenged Edison to refine and protect his own technology. This Canadian patent filing reflects Edison’s effort to secure intellectual-property protection for improvements to the phonograph’s recording medium at precisely the moment the technology was entering commercial use. Starting Bid $200
Edison recognizes “exceptional effort in selling Ediphones”
98. Thomas Edison Typed Letter Signed, Recognizing “exceptional effort in selling Ediphones”. TLS signed “Thos. A. Edison,” one page, 8 x 10, From the Laboratory of Thomas A. Edison letterhead, February 11, 1922. Letter to Arthur L. Sullivan, a salesman for the Atwell Company in Boston. In full: “You must know how much I appreciate your Birthday Gift of an exceptional effort in selling Ediphones during January. It is the keenest pleasure for me to see your name in a list of the most successful salesmen of our product, both for the sake of your own prosperity and for the spirit which prompted you in such a personal way to remember my anniversary. You are particularly to be congratulated on the unusual sale of twice the general sales average. With anticipation that your January business will continue to grow.” Affixed to a same-size mount and in very good to fine condition, with smoothed intersecting folds and uniform toning. Accompanied by an original vintage glossy 6.5 x 4.5 photograph taken by Lewis Lueder, showing Edison with Arthur Sullivan, W. F. Hornsby, Thomas F. Atwell, and Andrew Y. Atwell. The Ediphone represented Edison’s effort to fulfill his original vision of the phonograph as a practical business tool, recording spoken correspondence on reusable wax cylinders for later transcription by secretaries. Written as office dictation became increasingly mechanized, this letter offers a revealing glimpse into Edison’s personal involvement in promoting the product and motivating the national sales force that competed directly with the Dictaphone. Starting Bid $200
99. Thomas Edison Signature with Handwritten Postscript - “The enemy has dropped to the ‘racket’”. Large ink ‘umbrella’ signature, “Thomas A. Edison,” on an off-white 8.25 x 1.75 sheet clipped from the close of a letter, which bears a postscript from Edison, commenting on an unnamed adversary, and signing with his last name initial, “The enemy has dropped to the ‘racket,’ E.” In fine condition, with two vertical folds. Starting Bid $200
“He desires to make some arrangement with you regarding the phonograph”—writing to his European phonograph representative in March 1889, Edison introduces his French biographer, Émile Dürer
100. Thomas Edison Letter Signed, Regarding the Commercial Expansion of the Phonograph (March 19, 1889). LS signed “Thomas A. Edison,” one page, 5.5 x 8.5, personal ‘From the Laboratory of Thomas A. Edison’ (Orange, New Jersey) letterhead, March 19, 1889. Letter to Col. George E. Gourand: “Permit me to introduce to you Mr. Emile Durer. He desires to make some arrangement with you regarding the phonograph.” In very good to fine condition, with light creasing and soiling, and short splits to the ends of the intersecting folds.
By early 1889, Thomas Edison was focused on the commercial introduction of his perfected wax-cylinder phonograph from his recently established West Orange laboratory. Following the completion of the improved phonograph in 1888, Edison expanded its manufacture and distribution through domestic and international representatives while preparing exhibits for the 1889 Exposition Universelle in Paris, marking one of the busiest periods in his effort to establish the phonograph as a worldwide commercial success.
The recipient, Colonel George E. Gouraud (1842–1912), served as Edison’s principal representative for the phonograph in Great Britain and much of Europe, acquiring the foreign rights to market the improved phonograph in late 1888 and overseeing its introduction abroad through demonstrations, exhibitions, and licensing. The introduced party, Émile Dürer, was a French author whose 1889 biography Edison: Sa vie—Ses œuvres, esquisses américaines chronicled the inventor’s life and work. Starting Bid $200
102.
Stephen Hawking 2003 Robert and Margrit Mondavi Center Lecture Ticket Stub - PSA NM-MT 8. Ticket stub issued for renowned theoretical physicist Stephen Hawking’s lecture in Jackson Hall at the Robert and Margrit Mondavi Center for the Performing Arts at the University of California, Davis, on March 28, 2003. The ticket, 3.75 x 2, issued for Orchestra Center, Row T, Seat 108, is printed for Hawking’s appearance during the Mondavi Center’s inaugural 2002–2003 season and bears the original event details, venue information, and admission price of $37. In very fine condition. Encapsulated and graded by PSA/DNA as “NM-MT 8.”
Presented just months after the publication of On the Shoulders of Giants and during a period when Hawking remained one of the world’s most celebrated scientific communicators, the lecture formed part of his ongoing efforts to bring modern cosmology and theoretical physics to public audiences. His appearances were infrequent and drew capacity crowds, making original admission material from these events an appealing keepsake of one of the defining scientific figures of the modern era. Starting Bid $200
Neatly dual-signed Einstein lithograph by his frequent artistic collaborator
101. Albert Einstein Signed Lithograph by Hermann Struck (c. 1923) (Ltd. Ed. #77/150). Limited edition 7.75 x 10.25 lithograph of Albert Einstein in left-facing near profile by Hermann Struck, numbered 77/150, neatly signed below the image in pencil by the subject, “Albert Einstein, 1923,” and artist, “Hermann Struck.” In fine condition, with subtle foxing to the right margin, and a couple small closed edge tears.
The painter, lithographer, and etcher Hermann Struck (1876–
1944) was born in Berlin. He studied at the Academy of Fine Arts in Berlin. In 1923, Struck, a devout Jew and passionate Zionist, emigrated to Palestine, becoming a member of the Bezalel Academy of Arts and Design in Jerusalem and cofounding the Museum of Art in Tel Aviv. Best known for his etchings, he created portraits of several distinguished subjects including Einstein, Freud, Nietzsche, and Ibsen. Einstein and Struck maintained a friendly relationship that, as letters show, continued even after Struck migrated. Starting Bid $1000
“Why
you need Vitamin C to fight your cold”
103. Linus Pauling
Autograph Manuscript
Signed: “Why you need Vitamin C to fight your cold”. American chemist (1901–1994) who holds the unique distinction of winning Nobel Prizes in both the Chemistry (1954) and Peace (1962) categories. Amazing handwritten manuscript by Linus Pauling entitled “Why you need Vitamin C to fight your cold,” 15 pages, 8.5 x 11, no date, signed at the head, “Linus Pauling.” The manuscript reads, in part: “Vitamin C is one of the most important of our foods. A person who does not get any vitamin C develops scurvy. His body falls apart, and he dies. The reason that his body falls apart is that vitamin C is required for the synthesis of connective tissue, the collagen fibers that hold the bones, skin, and other parts of the body together. Vitamin C is also involved in many other physiological reactions, including the various mechanisms that protect us against disease. One of the diseases against which it provides some protection is the common cold. The common cold is an inflammation of the upper respiratory tract caused by infection with any one of a large number of viruses. This infection alters the physiology of the mucous membrane of the nose, the paranasal sinuses, and the throat. The symptoms are runny nose, sneezing, roughness or soreness of the throat, fullness and irritation of the chest, headache, general malaise, chills, and sometimes fever.” In fine condition. Starting Bid $200
A gilded age autograph panorama: Edison, Twain, Roosevelt, Keller, Washington, Barton, Sousa, Melba, and More Intellectuals
106. 19th/20th Century Notables Autograph Scrapbook, with Thomas Edison, Mark Twain, and Theodore Roosevelt. Vintage circa late 19th-century/early 20th-century hardcover scrapbook, 8 x 10.5, containing approximately 150 autographs laid in or affixed inside, loosely arranged into sections such as “Music,” “Stage,” “Methodism,” “Politics,” “Temperance,” “Harvard,” and “Literature.” Highlights include: Thomas Edison, Mark Twain, Theodore Roosevelt, William McKinley, Henry M. Stanley, Grover Cleveland, George Dewey, Calvin Coolidge, Paul Laurence Dunbar, Helen Keller, Julia Ward Howe, Booker T. Washington, Clara Barton, Julia Ward Howe, John Philip Sousa, and Nellie Melba.
Other signers of particular note are: Lew Wallace, Jessie Benton Fremont, Henry Cabot Lodge, Dwight L. Moody, John Wanamaker, Robert G. Ingersoll, Thomas Wentworth Higginson, Edward Everett Hale, George Washington Cable, Frances Willard, Mary Livermore, Adolphus Greely, William Jennings Bryan, Robert Todd Lincoln, Ida McKinley, Edith K. Roosevelt, Helen H. Taft, Edward W. Bok, Kate Douglas Wiggin, Charles Dana Gibson, Katharine Lee Bates, Édouard de Reszke, Alice Stone Blackwell, and Luther Burbank.
In overall very good to fine condition, with damage to the album’s spine and covers, in no way affecting the contents.
A wonderfully wide-ranging autograph album capturing the intellectual, political, literary, reform, scientific, and theatrical life of turn-of-the-century America and Europe. With signatures spanning presidents, inventors, explorers, authors, activists, composers, educators, and performers—from Edison, Twain, Roosevelt, Keller, Booker T. Washington, and Clara Barton to Sousa, Melba, Dunbar, and Frances Willard—the scrapbook offers the feel of a curated cultural time capsule, assembled with an impressive eye for the era’s most consequential names. Starting Bid $500
“The
archetype fullfills itself through you”— Jung interprets the Anima as the path to wisdom
107. Carl Jung Typed Letter Signed on Eastern and Western Philosophy: “The archetype fullfills itself through you”. Influential psychologist (1875–1961) recognized as the founder of analytical psychology. TLS signed “C. G. Jung,” one page, 8.25 x 11.5, personal letterhead, April 21, 1948. Letter to Walter Lewino offering a detailed interpretation of the Anima—the feminine archetype in the male psyche—and its relationship to wisdom, spiritual authority, and Eastern philosophy. In part: “No doubt the Anima has a very important aspect as a giver of wisdom. She is the femme inspiratrice par excellence. She derives her wisdom from her ‘father’ in the dogma represented by Mary and God-Father, viz. Holy Ghost. ‘In the womb of the mother dwells the wisdom of the father.’ Thus the Anima is always associated with the source of wisdom and enlightenment. Its symbol is the Old Wise Man. As long as you are under the influence of the Anima you are unconscious of that archetype, i.e. you are identical with it and that explains your preoccupation by Indian philosophy. You are forced then to play the role of the Old Wise Man. The archetype fullfills itself through you. Only when you discern between yourself and this wisdom you become aware of the male archetype of the spirit.
The Anima is the road that leads to it and appears to be also the source of it, but it is an appearance only. She herself is the archetype of mere life that leads into experiences and awareness. Indian thought (f.i. Ramakrishna and many others) is based upon a mentality still ‘contained in the mother,’ because the general mood of India is matriarchal. Our Western consciousness has undergone a differenciation of the parental images: we have father and mother. We even depossessed the mother, making her less divine than the father. Lately, however, the archetype of the mother is decidedly developing inside the catholic church, aided by remarkable miracles (Assisi and Fatima) also the attempts at bringing about the official recognition of the conclusio that Mary has been taken up to heaven together with her body. It is most difficult to compare the Indian mentality with ours. It could be compared, however, with the mood of scholistic philosophy, but that is for us about 600 years ago.” In fine condition.
A substantial and intellectually rich letter in which Jung applies several of the central concepts of analytical psychology—the Anima, the Wise Old Man, archetypal identification, and the differentiation of consciousness—to questions of religion and comparative philosophy. Written only two years before the Catholic Church formally proclaimed the dogma of the Assumption of Mary in 1950, the letter also reveals Jung’s close attention to contemporary religious developments and his belief that renewed veneration of Mary reflected the reemergence of the feminine archetype within Western Christianity. Starting Bid $200
108. John Law Letter Signed as Controller General of Finances, Regarding French Currency Reform (January 31, 1720). Scottish economist (1671–1729) known as a monetary reformer and as the originator of the ‘Mississippi scheme’ for the development of French territories in America. LS in French, signed “Law,” one page, 8 x 12.25, January 31, 1720. Addressed from Paris, a letter to a provincial French official, transmitting copies of a newly issued decree of the King’s Council concerning the regulation of coinage and directing that it be published throughout the recipient’s jurisdiction (loosely translated): “I am sending you several copies of the decree of the Council that has just been issued concerning the course of the currency, which I consider necessary for you to publish throughout the whole extent of your district, as soon as you have received it. I ask that you acknowledge receipt of this decree and inform me of its execution.” In fine condition.
Written just weeks after John Law became Controller General of Finances, this letter dates to the height of his extraordinary influence over the French economy. A Scottish-born financier who had converted to Catholicism and become a naturalized French subject in order to hold the office, Law oversaw the sweeping monetary and banking reforms that became known as the Mississippi System. Issued only months before the collapse of the Mississippi Bubble, the document originates from one of the most consequential financial experiments in modern history, when Law’s paper-money policies were reshaping the French economy through the authority of the Crown. Starting Bid $300
American West
114. Pat Garrett Signed ‘Las Cruces, New Mexico’ Bank Check (1900). New Mexico lawman (1850–1908) famed for killing his former gambling partner, the fabled outlaw Billy the Kid, in 1881. Geo. D. Bowman & Son, Bankers check (Las Cruces, New Mexico), 6.5 x 2.5, filled out and signed by Garrett, “P. F. Garrett,” payable to John H. May for $75, December 18, 1900. Cloth-matted and framed to an overall size of 15 x 11; window to reverse reveals May’s endorsement. In fine condition. A scarce and sought-after autograph in any form, this is the first Garrett check that we have ever offered.
This check dates to the closing months of Pat Garrett’s tenure as sheriff of Doña Ana County, a position he assumed in 1896 to investigate the disappearance of Albert Jennings Fountain and his young son, one of the most enduring unsolved mysteries of the American West. Although Garrett’s investigation led to the arrests of Oliver M. Lee, James Gililland, William McNew, and Bill Carr, all were acquitted in 1899, and the fate of the Fountains remains unknown. Written after Garrett had declined to seek reelection as sheriff and just one year before President Theodore Roosevelt appointed him collector of customs at El Paso, the check captures the legendary lawman during the brief transition between his career as a frontier peace officer and his final years in public service. Starting Bid $200
113. Emmett Dalton Typed Letter Signed, Discussing a Book Publication (1933). Outlaw and train robber (1871-1937) 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, 8.5 x 11, personal letterhead, December 3, 1933. Letter to John B. Tackett of Coffeyville, Kansas, in full (spelling and grammar retained): “I vever kept a coppy of the letter I wrote to Haldeman-Jullus. As well as I remember I only asked him if he would be interested in publishinh the book under the condition prevailing but I have not heared from him yet. All I want is for it to be publishes on a per- centage. Get the best offer you can and then we will consider it. Dont beleive I have made anyone any kind of an offer only what I have told you. I do not think of anything else at pre sentto write so, will ring off.” Dalton adds a postscript: “P.S. Mrs Dalton wants to know what that medicine did for your brother.” In fine condition, with a small partial separation to an upper fold. Accompanied by the original mailing envelope. The recipient, Coffeyville photographer and theater owner John B. Tackett, was a longtime associate of Emmett Dalton who photographed the aftermath of the infamous 1892 Coffeyville raid and later collaborated with Dalton on books and films recounting the exploits of the Dalton Gang. Starting Bid $200
116. Sam Houston Document Signed as Governor of Texas. Partly-printed DS as governor of Texas, one page, 14 x 11.5, June 22, 1860. Governor Houston grants “Stalia Wilkins…three hundred and twenty acres of land, situated…in Cass County.” Signed prominently at the conclusion by Sam Houston as governor and countersigned by Francis M. White as commissioner of the General Land Office. Matted and framed with a picture of Houston to an overall size of 28.5 x 21. In good to very good condition, with paper loss to the center, and heavy staining and soiling, throughout, affecting the text of the document but not the large signature.
Houston had been elected governor of Texas in 1859, becoming the only person to date to serve as governor of two states (he was governor of Tennessee from 1827 to 1829) and the only to be a former head of state of a foreign nation. Four months after this document was signed, Abraham Lincoln won the U.S. presidential election, and the Texas Secession Convention convened, with Houston fervently opposing the state’s secession. When Texas seceded in February 1861, and Houston refused to swear an oath of loyalty to the Confederacy, the legislature declared the governorship vacant. Houston did not recognize the validity of his removal, but he did not attempt to use force to remain in office, and he refused aid from the federal government to prevent his removal. His successor, Edward Clark, was sworn in in March 1861. Starting Bid $300
117. Cole Younger Signature. Old West outlaw (1844–1916) associated with Jesse James as a leader of the James-Younger Gang, who eventually turned from a life of crime to Wild West shows and public speaking. Vintage ink signature, “Cole Younger,” on an off-white 3.25 x 1.25 sheet. Archivally matted and framed with a photo of Younger to an overall size of 9.5 x 14.25. In fine condition. The photograph depicts Younger after being captured in September 1876. Younger’s face is visibly swollen from a bullet wound sustained during the shootout outside the First National Bank of Northfield, Minnesota, following the failed James-Younger Gang raid. Captured two days later near Madelia, he and his surviving brothers were sentenced to life imprisonment in the Minnesota State Prison. Starting Bid $200
Military and Aviation
Scarce signed Robert E. Lee portrait from D. H. Anderson’s celebrated 1869 sitting, presented to a member of Savannah’s prominent Minis family just one year before Lee’s death
159. Robert E. Lee Signed Carte-de-Visite Photograph - Presented to a Member of Georgia’s Prominent Minis Family. Rare 2.5 x 4 carte-de-visite photo of Robert E. Lee in a seated three-quarter-length pose wearing a dark suit and bow tie, signed vertically in ink, “R. E. Lee.” The reverse, bearing the backstamp of the David H. Anderson Photographic Gallery of Richmond, Virginia, is annotated in the hand of the recipient, “From Gen. R. E. Lee, To Rebecca Gratz Minis.” In very good condition, with lightly trimmed edges, creases to the lower right corner area, and fading to both the image and the signature. Rebecca Gratz Minis belonged to one of Georgia’s oldest and most distinguished Jewish families. Her great-grandfather, Abraham Minis, arrived with the first group of Jewish settlers in Savannah in 1733, and her grandfather, Philip Minis, was a prominent Patriot merchant during the American Revolution. Named for the noted Philadelphia philanthropist Rebecca Gratz, she came from a family that became acquainted with Robert E. Lee during his service as a U.S. Army engineer overseeing the construction of Fort Pulaski in the 1830s, an association that continued into the Civil War. The photograph was produced by Richmond photographer David H. Anderson from the celebrated portrait session he conducted with Lee in August 1869, approximately one year before the Confederate general’s death. Starting Bid $500
173. Wilbur Wright Signed Check for the “Wright Cycle Co.”. The Winters National Bank check, 8.25 x 3.25, filled out and signed by Wright, “Wright Cycle Co., W.W.,” payable to Wm. Tompert for $5.02, April 1, 1907. Handsomely mounted, suede-matted, and framed to an overall size of 16 x 10.5. In fine condition, with a cancellation hole to the lower right.
The recipient, William Tompert, operated a meat market at 1109 West Third Street, just a short distance from the Wright Cycle Company’s final Dayton shop at 1127 West Third Street. The modest payment offers an evocative glimpse into the brothers’ everyday commercial life in the close-knit West Dayton neighborhood where they had grown from printers and bicycle mechanics into aviation pioneers.
Dated little more than three years after the first powered flight at Kitty Hawk, the check was issued during a pivotal but relatively quiet period in the Wrights’ career. Although they had largely ceased manufacturing bicycles, the cycle company remained an active business entity, and its West Third Street workshop continued to serve as the practical center of their aeronautical work. There the brothers had conducted wind-tunnel experiments, designed their early gliders, and developed the aircraft that culminated in the 1905 Wright Flyer III—the first airplane capable of sustained, controlled, and practical flight. In 1907, Wilbur and Orville were increasingly occupied with negotiations to sell their invention to the United States and European governments, shortly before their celebrated public demonstrations transformed them from little-known Dayton experimenters into internationally recognized figures. Starting Bid $200
172. Amelia Earhart and George P. Putnam
Signatures. Vintage fountain pen signatures, “Amelia Earhart” and “G. P. Putnam,” on a light pink 3.25 x 2.5 slip. In fine condition, with a faint diagonal crease passing through Putnam’s signature. Encapsulated in a PSA/DNA authentication holder.
Amelia Earhart married publisher and promoter George P. Putnam in 1931, after a professional partnership in which he helped organize and publicize her aviation career. Their collaboration began with Earhart’s first book, 20 Hrs. 40 Min. (1928), and continued with The Fun of It (1932) and the posthumously published Last Flight (1937), which Putnam compiled from her letters and notes. Their unconventional marriage was grounded in mutual independence, with Putnam serving as Earhart’s steadfast business manager and advocate through her final flight in 1937. Starting Bid $200
Art, Architecture, and Design
200. Eugène Delacroix Autograph Letter Signed
Regarding the Society of English Artists. French artist (1798–1863) who takes a place in the first rank of painters in the Romantic tradition and whose mastery of color and technique inspired both the Impressionist and Symbolist schools. ALS in French, signed “Eug. Delacroix,” one page, 5 x 7.5, no date. Handwritten letter to journalist Félix Feuillet de Conches, in full (translated): “I forgot to ask you the other day if you would be able to get me the regulations of the Society of English Artists. Answer me with a note to let me know if the thing be feasible so that I can reply to the people who are asking me for them. In advance please excuse my urgency.” In fine condition. From the personal collection of a lifelong collector, teacher, and traveler with a passion for world history. His collecting years ranged from the 1970s to the present day, meaning that several of the premier pieces have not been on the market in decades. Starting Bid $200
201. Jean-Antoine Houdon Autograph Document
Signed. French neoclassical sculptor (1741–1828) famous for his portrait busts and statues of philosophers, inventors, and political figures of the Enlightenment, including Rousseau and Voltaire. Scarce ADS signed “Houdon,” one page, 7 x 4.5, May 26, 1800. Houdon pens a receipt in which he attests to having received from Citizens Moliere, Contremoulin and Texier the sum of two hundred and sixty-seven francs and thirty centimes, being the net total of the repayment of two-thirds of his annuity plus the interest for the first six months.” In fine condition. Starting Bid $200
Picasso boldly signs the catalog for his breakthrough 1960 Galerie Louise Leiris linocut exhibition
202. Pablo Picasso Signed Exhibition Catalog: “45 Gravures sur Linoleum, 1958–1960” . Softcover French-language catalog for an exhibition entitled “Picasso: 45 Gravures sur Linoleum, 1958–1960,” held at Galerie Louise Leiris from June 15–July 13, 1960, 6.5 x 6.5, beautifully signed on the title page in thick blue crayon, “Picasso, le 3.4.62.” The features 45 full-page reproductions of the prints exhibited, in both black-and-white and color. In fine condition.
Picasso’s linocuts of the late 1950s and early 1960s represent one of the great late bursts of invention in his printmaking career. Working from Vallauris with master printer Hidalgo Arnéra, Picasso radically expanded the possibilities of the medium, developing bold color compositions through a demanding reduction technique in which successive layers were cut from a single block. The Galerie Louise Leiris exhibition helped introduce this vibrant body of work at the moment of its creation, capturing Picasso’s restless experimentation well into his later years. Starting Bid $300
203. Camille Pissarro Autograph Letter Signed - “I have nothing, absolutely nothing”. ALS in French, signed “C. Pissarro,” three pages on two adjoining sheets, 4.25 x 6.75, May 9, 1887. Addressed from Paris, a handwritten letter to noted French art critic and dealer Hippolyte Heymann, in full (translated): “Couldn’t you, while waiting to make a sale, advance me a little money? Because I have nothing, absolutely nothing. I was forced, because of the prices of the two paintings of Durand-Ruel, to give those at G. Petit’s rather high prices. — 1500 for the largest and 1200 and 300 for the little ones. See what you can do, the best you can. You may come down on the price if necessary. I presume that there will be no objection to selling elsewhere — than at G. Petit. I have succeeded in having my paintings put back approximately in their places. The smallest will be placed today. I would very much like to leave here for 2 or 3 days, could I? During my absence, would you be good enough to see that my canvasses do not disappear into the wings. I entrust you with my interests, if you really don’t mind.” In fine condition. Accompanied by a signed note from Lucien Pissarro acknowledging receipt of a first-class medal and diploma awarded at the 1911 Barcelona International Exhibition. This letter captures the Impressionist master at one of the most financially precarious moments of his career. Writing to his friend and agent Hippolyte Heymann, Pissarro candidly pleads for a cash advance, confessing, “I have nothing, absolutely nothing,” while authorizing reductions in the prices of his exhibited paintings if necessary to secure a sale. His financial circumstances are echoed in a letter to his son, Lucien, written just five days later, in which he admits, “I have been wanting to write you for three days, but I lacked the three cents for postage.” Although by 1887 Pissarro was already recognized as one of the leading figures of Impressionism, his recent embrace of Neo-Impressionism had made his work more difficult to sell, while the financial struggles of his longtime dealer, Paul Durand-Ruel, further reduced the dependable income on which he had long relied. Supporting a large family, Pissarro often endured periods of genuine financial hardship despite his artistic reputation. Starting Bid $200
204. Ralph Steadman Multi-Signed Steam Press Portfolio No. 2 (Ltd. Ed. of 50). Limited edition portfolio: Steam Press Portfolio No. 2. First edition, unnumbered copy of 50 issued, identified in ink as “Out of Series.” Portfolio comprising a loose title leaf, limitation leaf, and six folding illustrated broadside poems, each individually signed by Ralph Steadman, with the majority inscribed to “Eleanor.” The broadsides are additionally signed by their respective authors: Lyman Andrews, Asa Benveniste, Ruth Fainlight, and Alan Sillitoe; the Sylvia Plath broadside is unsigned, having been issued posthumously. Housed in the original dark blue cloth solander box. In fine condition, with some minor scuffing only to the slipcase. Starting Bid $200
Literature
Rare signed portrait of Elizabeth Barrett Browning, praised by Robert Browning as
‘the best in existence’
239. Elizabeth Barrett Browning Signed Photograph - Important Portrait by Field Talfourd. Important and extremely rare 6.5 x 9 albumen photo of Field Talfourd’s charming portrait of Barrett Browning in a half-length pose, directing her gaze towards the viewer, affixed to an 8 x 10.75 mount, signed on the mount in ink, “Elizabeth Barrett Browning.” In fine condition, with edge toning, scattered light foxing, and a chip to the upper right corner of the mount.
Field Talfourd (1815–1874) created his chalk portrait of Elizabeth Barrett Browning in Rome in March 1859. The poet never owned the original herself and could only send photographs of it, which she did to her sister Henrietta and brother Charles John, both inscribed to them. The original was commissioned by and remained in the possession of Miss Ellen Heaton until she presented it to the National Portrait Gallery in 1871. Other than those to her siblings, Barrett Browning is known only to have signed two others; the present example and one now in the Armstrong Browning Library. Both of these can be presumed to have been in her personal possession and doubtless were among those she received in 1859.
In a letter of March 4, 1859, Barrett Browning wrote to her sister about the photograph of the portrait, ‘A photograph from Mr. Talfourd’s portrait of me (which has been greatly admired and considered very like by the Roman world) will be sent to you by an early opportunity, It is too flattering—much idealised, in fact—but there must be a good deal of likeness, or it would not strike so universally. As a work of art, it is certainly most beautiful.’ This is presumably one of the batch sent to her by the photographer. Robert Browning wrote of the image, ‘The portrait is…the best in existence, perhaps.’ Provenance: previously part of Roy Davids’s exceptional collection of literary portraits. Starting Bid $1000
Oversized, boldly signed portrait of “Mark Twain” wearing his trademark white suit
240. Samuel L. Clemens Signed Oversized Photograph. Vintage matte-finish 9.25 x 12 Underwood and Underwood portrait of Clemens wearing his trademark white suit, seated in a cushioned armchair with a book on his lap, signed and inscribed in the upper and lower borders in fountain pen, “To Miss Dorothea Gilder, with the kindest regards of Mark Twain, Jan. 14/08.” The copyright notice printed in the lower left reads, “Copyright 1907 by Underwood & Underwood, New York.” Attractively matted and framed to an overall size of 17.25 x 20.25. In very good to fine condition, with some light bends and creases, and a short tear to the lower left edge. Accompanied by a full letter of authenticity from PSA. An exceptional oversized portrait boasting a bold signature and an exceptionally clean, bright image.
In Mark Twain’s Autobiography, published in 1906, he announced his intention to wear white suits year-round. He was more comfortable in white than in dark colors, but had always conformed to seasonal fashion. He wrote: ‘One of my sorrows, when the summer ends, is that I must put off my cheery and comfortable white clothes and enter for the winter into the depressing captivity of the shapeless and degrading black ones.’ Although Clemens’s prolific writing career was long behind him when he began wearing his white suits, it is this image of the author that remains ingrained in the public imagination—this photograph in particular, showing him with book in hand, is a wonderfully appropriate example. Starting Bid $500
241. Samuel L. Clemens Signed Check, Dated to the Composition of The Adventures of Tom Sawyer. First National Bank of Hartford check, 8 x 2.75, filled out and signed by Clemens, “Samuel L. Clemens,” payable to Geo. G. Smith for $50.70, May 21, 1875. In fine condition.
During this period, Clemens was engaged in composing one of his most enduring novels, The Adventures of Tom Sawyer, which he worked on intermittently across three primary periods: the winter of 1872-73; the spring and summer of 1874; and the spring and summer of 1875. He officially completed the manuscript in November 1875, and the novel was published in 1876. From the personal collection of a lifelong collector, teacher, and traveler with a passion for world history. His collecting years ranged from the 1970s to the present day, meaning that several of the premier pieces have not been on the market in decades. Starting Bid $200
242. Samuel L. Clemens Autograph Letter Signed. ALS signed “S. L. Clemens,” one page, 5.5 x 7.5, no date. Handwritten letter to “Mrs. Manning,” in full: “It would break my rule, & I must not do it. It is lovely of you to want me, & I am grateful for it, & I thank you & Mrs. Manning in Mrs. Clemens’s behalf & my own for your most kind offers of hospitality.” Matted and framed to an overall size of 10.5 x 12.75. In fine condition. Starting Bid $200
Doyle clarifies a contract for his play
The Speckled Band—a stage adaptation of one of his classic Sherlock Holmes stories
243. Arthur Conan Doyle Autograph Letter Signed on The Speckled Band, a Stage Adaptation of a Classic Sherlock Holmes Story. ALS signed “A. Conan Doyle,” one page, 4.25 x 6.75, Windlesham letterhead, July 14, 1913. Handwritten letter to a gentleman, in full: “Let me thank you once more for your kindness. This quite disposes of the whole question, and leaves, as I understood the matter, both the Gillette play and my ‘Speckled Band’ outside the contract. It is very helpful of you to clear the matter up, and I am very sorry I broke in on your holiday. If you ever feel like trying these links I can give you a game and also put you up for the night.” Matted and framed to an overall size of 10 x 13. In very fine condition, with a couple of chips to the bottom of the frame.
Doyle’s mention of The Speckled Band is especially desirable, as the chilling Sherlock Holmes tale—first published in 1892 and later adapted by Doyle for the stage—has long been regarded as one of the author’s finest and most memorable detective stories. Centered on the sinister Dr. Grimesby Roylott and one of Holmes’s most dramatic deductions, the story remains a cornerstone of the Sherlock Holmes canon, making this letter a compelling association piece linking Doyle directly to one of his most celebrated works. Starting Bid $200
“A rule of the Boy Scouts is every day to do some one a good turn”
244. 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
245. Charles Dickens Autograph Letter Signed to His Son, Charles Dickens, Jr., Concerning a Rowing Club Invitation (1864). ALS, 4.5 x 7, Gad’s Hill Place letterhead, March 4, 1864. Handwritten letter to his eldest son, Charles Dickens, Jr., declining an invitation to preside over a Rowing Club event, in part: “I would have cheerfully gone out of my way to preside for the Rowing-club, if I had known of their wish a little sooner. But I am unfortunately disabled from doing so, & having replied to several similar invitations that all the engagements of that nature I can reasonably make for this season, I have already made. If I were to gratify my inclination in this instance, I should give offence elsewhere and fall into inconsistencies. But report to the gentlemen concerned, that I will readily consider them as having a claim on me (if they please) and to engage next time.” In fine condition. From the personal collection of a lifelong collector, teacher, and traveler with a passion for world history. His collecting years ranged from the 1970s to the present day, meaning that several of the premier pieces have not been on the market in decades. Starting Bid $200
Thomas Hardy authorizes a stage production of Tess of the d’Urbervilles
246. 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 $200
“The youth of the boundless West had struck a new note of independence and originality, overriding all conservative and established rules of heredity”
247. 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 muchanthologized 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 almondshaped 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
Washington Irving pens a lengthy draft of his unpublished “Legend of the House of Omeya,” later abridged for the Knickerbocker Magazine
249. 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 eighth-century 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
A visual counterpart to The Dharma Bums— original painting by Jack Kerouac of ‘Buddha,’ a symbolic piece from circa 1956-60, alternatively titled ‘The Gary Buddha,’ a possible reference to fellow poet and Buddhist practitioner Gary Snyder—formerly displayed at the Whitney Museum of American Art in New York City
250. Jack Kerouac Original Painting of ‘Buddha’ (‘The Gary Buddha’), ca. 19561960 - Formerly Displayed at the Whitney Museum of American Art. Original artwork by influential novelist and Beat poet Jack Kerouac, entitled ‘Buddha,’ accomplished in graphite and acrylic on a beige 14.5 x 17 sheet of artist paper, which is signed in the lower left in black ballpoint, “Kerouac.” The painting, which some sources have called ‘The Gary Buddha,’ prominently features a central Buddhist figure surrounded by radiant flame-like marks and seated above two figures positioned at the lower corners: a kneeling, robed man with a halo encircling his head and a bowl placed at his knees, and a floating head with exaggerated facial features, most notably the eyes. Archivally framed under Tru Vue UV-protective glass to an overall size of 19 x 25. In very good condition, with creasing, corner loss, and tape stains from old repairs to several tears.
Labels to the frame backing indicate that the painting was displayed at the Whitney Museum of American Art in New York City (November 1995-February 1996) and at the Whistler House Museum of Art in Lowell, Massachusetts (October 1998).
In keeping with the alternative title, ‘The Gary Buddha,’ the central figure may represent Gary Snyder, Kerouac’s close friend and fellow Beat poet, whose commitment to Buddhist practice influenced Kerouac during the mid-1950s, including the period in which The Dharma Bums was written. The kneeling figure below may be interpreted as a symbolic self-representation of Kerouac as a devotee or seeker, positioned beneath the central figure in an attitude of reverence. The disembodied head at lower left appears symbolic rather than portrait-like, and may allude to suffering, impermanence, or the ‘hungry ghost’ state of craving and unrest found in Buddhist tradition. Executed circa 1956–1960, during a period of Kerouac’s sustained interest in Buddhism, the work reflects the personal and exploratory nature of his visual art, which was often informal, symbolic, and created without aim for exhibition. Starting Bid $5000
Remarkable Joyce Kilmer archive— inscribed first edition of Trees and Other Poems,
The Younger Choir signed by 20+ poets, publishing correspondence, and a manuscript
251. Joyce Kilmer Archive: (2) Signed Books (Trees and Other Poems, The Younger Choir), (4) Signed Letters, and Autograph Manuscript of “Poets”. American writer (1886–1918), best known for the much-anthologized poem Trees; he was killed at the Second Battle of Marne at the age of 31. Remarkable archive comprising two books signed by Joyce Kilmer—an inscribed first edition of Trees and Other Poems and the multi-signed limited edition of The Younger Choir—plus correspondence related to their publication, and an autograph manuscript of Kilmer’s “Poets.”
- Signed book: Trees and Other Poems. First edition. NY: George H. Doran Company, 1914. Hardcover, 5.5 x 8, 75 pages. Signed and inscribed on the first free end page in ink, “This little birthday gift comes to Miss Helen Francis Doyle from Salomon de la Selva, But it carries the good wishes of Joyce Kilmer, New York City, April 5, 1915.” Autographic condition: fine, with light soiling to the margin of the signed page. Book condition: VG-/None, with wear to the spine’s paper label, chips to the bottom of the spine, and a partially cracked front hinge.
- Signed book: The Younger Choir. First edition, limited issue, numbered 14/500 [with only the first 50 autographed]. NY: Moods Publishing Company, 1910. Signed throughout by the editor, Edwin Markham, and more than twenty contributors. including Joyce Kilmer, Louis Untermeyer, Elsa Barker, George W. Cronyn, Herbert Everett, Adelaide Wood Guthrie, B. Russell Herts, Reginald Wright Kauffman, Ludwig Lewisohn, Otto S. Mayer, Philip Moeller, James Oppenheim, Seumas O’Sheel, Muriel Rice, Jessie E. Sampter, Herman Scheffauer, Edwin Davies Schoonmaker, Charles Hanson Towne, George Sylvester Viereck, Thomas Walsh, and Carlos S. Wuppermann. Also signed on the first free end page with a lengthy presentation inscription, “These poems were collected by Mr. Markham & myself from among the youngest poets of six years ago. About half a dozen of the poems have since appeared in more imposing anthologies, while a dozen of the poets have issued volumes of their own. This copy was sent about the country for as many signatures as were available. B. Russell Herts, 1915.” Autographic condition: fine. Book condition: VG-/ None, with edgewear, bumped corners, toning, and scuffing to boards.
- TLS signed “Edwin Markham,” one page, October 5, 1909, to George Sylvester Viereck. In part: “As you know, I am a warm admirer of your best work; and it is only your best work that should go into ‘The Younger Choir.’ Now I know you will pardon me, if I say that your ‘Golden Boy’ (pleasing as it is in some ways) is not expressive of your genius at full flower. Now, can’t you send me some other pieces of your verse? Include, if possible, your ‘Owl,’ whose hootings were so agreeable to our ears that gala night.” Viereck’s poems ‘Ode to a Parrot’ and ‘Iron Passion’ would ultimately appear in the anthology.
poem
- ALS signed “Joyce Kilmer,” one page, November 5, 1909, to Edwin Markham. In part: “I am enclosing for your approval or disapproval or disapproval some verses for insertion in The Younger Choir. Comrade Hertz told me that you had selected my imitation of Richepin’s ‘Ballade du Roi des Gueux.’ I am naturally eager to have more of my work in the volume—especially to have the poem representing me a more sincere and original effort than the Ballade.” Kilmer’s poems ‘Ballade of My Lady’s Beauty’ and ‘George Meredith’ were chosen for publication in The Younger Choir.
- AMS in pencil, Signed “Joyce Kilmer,” one page, no date. Kilmer’s handwritten manuscript for “Poets,” in full: “Vain is the chiming of forgotten bells / That the wind sways above a ruined shrine / Vainer his voice in whom no longer dwells / Hunger that craves immortal bread and wine. / Light songs we breathe that perish with our own breath / Out of our lips that have not kissed the rod, / They shall not live who have not tasted death / They only sing who are struck dumb by God.”
- ALS signed “Joyce,” one page, Funk & Wagnalls Company letterhead, February 11, 1910, to “Russell.” In part: “I have not yet received the play and book of verses which you have issued. Lewissohn’s poems came but nothing else. You know, I gave you a standing order for everything you ever might print…$18 for one poem! How’s that?”
- ALS signed “Joyce Kilmer,” one page, June 13, 1915, to “Mr. Stevenson.” In part: “Appended is a clipping of the correct version of ‘Trees.’ The proof of the poem was sent to me by Henry Holt, and I revised it, but I am sending you this clipping in case you should in future have further occasion to quote the poem. I asked Holt to credit it to my book ‘Trees and Other Poems’ (Geroge H. Doran Co.) By the way, have you a copy of this book? If not, I’ll gladly send you one. I am glad you are quoting ‘Trees.’ The Home Book of Verse is on my desk as I write—I use it as regularly as I use my dictionary, and it is a constant delight.” The corrected poem clipping is affixed in the upper right corner.
- TLS signed “Joyce Kilmer,” one page, New York Times letterhead, February 5, 1916, to “Dr. Skrainka.” In part: “If you are in town, you must by all means come to the Fifth Avenue Restaurant…and eat and drink with us, and say something about ‘Dickens and the Doctors’ or anything else you feel like talking about. I always enjoy the Interstate Medical Journal, and I hope that you will not think that I am lessening its dignity in saying that it is a scientific journal which even the unscientific can enjoy.”
All are housed in a handsome custom-made full morocco clamshell case. The letters are in overall fine condition. Starting Bid $500
Stephen King’s apocalyptic masterpiece— a signed first edition of The Stand
252. Stephen King Signed Book - The Stand (First Edition). Signed book: The Stand. First edition, with “T39” gutter code on page 823, “$12.95” on the front flap, and a 35-line quote from the book on the rear panel. Garden City, NY: Doubleday & Company, 1978. Hardcover with dust jacket, 5.75 x 8.5, 823 pages. Signed and inscribed on the title page in black felt tip, “For Blake—Best wishes, Stephen King, 12/30/92.” Autographic condition: fine. Book condition: VG-/VG, with edgewear and rubbing to boards, light foxing and a thin stain to the top edge of the textblock, worn corners, small ink notations to rear endpaper, and light soiling to the jacket.
Published in 1978, The Stand became one of Stephen King’s defining novels, transforming a catastrophic pandemic into an epic struggle between good and evil across a devastated America. Its vast cast, apocalyptic scope, and enduring themes of faith and moral choice helped establish King not merely as a horror writer, but as a major storyteller of contemporary American fiction. Starting Bid $300
“The
glorious gifts of civilization”— Kipling’s sketch of modern plumbing in France
253. Rudyard Kipling Autograph Letter Signed with Sketches, Praising Modern Plumbing in France as “the glorious gifts of civilization”. ALS, four pages on two adjoining sheets, 5.25 x 8.25, no date. Handwritten letter to “Johnson,” carrying extensive commentary on his automobile journey through France, with humorous notes on the spread of modern plumbing through the region—”the glorious gifts of civilization.” In part: “Here we are, at the end of over 1200 mile trip in the Spectre: hoping to get to Boulogne tomorrow & cross to England. Fleck wants to put our valves right after he arrives, and see that everything is clean and in good order. This he proposes to do on Monday and Tuesday: after which I hope to hand over to my own man.
It has been a wonderful run but she is a Terror on tyres. She busted four—all in the same place—the wall: so I imagine that she must roll on them. Fleck put in new springs at Paris and she has ridden easier though this doesn’t mean she was once anything to complain of at any time.
She carried us from the South to the North without a slip. I don’t count the bog into which she sank for three hours at Marsillargues and was hauled out by horses. More of this later.
The weather has not been good & we were profoundly thankful for the top-heavy as it undoubtedly is. It doesn’t rattle much till just at the end. That big front window is almost impossible to plug.
I am sorry we couldn’t come round to see you at Neufchâtel, but the motor here meant missing our connections in the North…Paris is a bad city inhabited by lunatics. We had a bit of an incident with a Choisy le Roi tram which for no known reason suddenly crosses the boulevard diagonally…one can’t see when the d—d thing swerves. The tram never made a sign or warning but simply charged us. Fleck
got us out of it with nothing more than a bent axle. It was a glorious bit of driving but I am only sorry he didn’t harm the tram. I never saw such a death-trap of a line in my life.”
Here, Kipling sketches a diagram mapping the incident, adding a note: “F had not curled his moustache that morn!” He continues: “We were all going to port together and she touched us just before Fleck could jump the curb. I wish you had been with us for some of our trip. However I think that I shall be able to describe a piece or two of it…
Do you believe in the Resurrection of the Body? If so, do you believe that my body will ever be resurrected? Now here is a Serious Tale—a contribution to Social Science. You know of course that the automobile is spreading civilization through the South—in no respect more markedly than in the sanitary line—what you & me would call the Rear. That is to say the Northern or civilized Seat is rapidly superseding the Southern slipper seat or stand.” Here, he sketches the two types of toilets referenced.
Kipling continues: “Where the two civilizations meet…there is a prayer on the back of the W.C. door urging travellers not to ‘mount upon’ the seat of the modern W.C., and since evidently that prayer has not always been attended to, they have rigged up a board projecting from the wall to prevent the devotees of the old or slipper civilization from resembling the modern oval or ovid polished seat. Heaven knows how they would squat on such a basis, but they’ve done it because I saw the scrapes of boot-nails on the varnish. I give a diagram on 4th page of apparatus.” Kipling sketches a side angle view of the toilet with board above, as well as a detailed sketch of a man squatting above it. He humorously captions the diagrams, “A projecting board to prevent M.M. les voyageurs from misusing the glorious gifts of civilization.” In fine condition. Starting Bid $200
Lawrence gathers political intelligence before the Arab Revolt: “Are you a pro-Jerusalemito, or an anti-Jerusalemite? And do you like Jemal Pasha’s schemes of land settlement, or are you a legalist?”
254. T. E. Lawrence
Autograph Letter Signed, Probing Legal Opinions
Before the Arab Revolt: “Are you a pro-Jerusalemito, or an anti-Jerusalemite? And do you like Jemal Pasha’s schemes of land settlement, or are you a legalist?”. World War I–dated ALS, signed “T. E. Lawrence,” one page, 8.25 x 6.5, Military Intelligence Office, War Office, Cairo letterhead, November 4, 1915. Handwritten letter to legal academic and Zionist activist Norman Bentwich, in full: “Illegibility is a hard word in which we all run risk of judgement: let us say that I misread the fatal thing: I searched for it just now, & couldn’t find it. The word ‘tea’ is obvious in the 2nd fragment, & I think I’ll clutch at that for a beginning: If you are always in for tea you are a monster: and I won’t find a time, for I’m home every afternoon, and some moment when I’m back I’ll fly over, & sit with one ear on a telephone! One cup only please. Seriously, things are boiling over this week end, & we have never been so busy before! This is a good omen, & a thing to make me very content.” Lawrence also adds an inquiry at the top of the sheet: “Are you a pro-Jerusalemito, or an anti-Jerusalemite? And do you like Jemal Pasha’s schemes of land settlement, or are you a legalist?” In fine condition.
Written from the Military Intelligence Office in Cairo, this letter dates from the formative period of T. E. Lawrence’s wartime service, before his emergence as ‘Lawrence of Arabia,’ and offers a rare glimpse into his early role within British intelligence in the Middle East. At this moment, Cairo functioned as the strategic center of British operations against the Ottoman Empire, and Lawrence—then an intelligence officer and noted Arabist—was deeply engaged in the political and intelligence ferment that would soon culminate in the Arab Revolt. His remark that “things are boiling over” reflects the escalating urgency of British efforts in the region and his own growing involvement in events of historic consequence.
Addressed to Norman Bentwich, a British legal scholar and influential figure in emerging Zionist and Palestinian legal affairs, the letter is notable for its probing political inquiry. Lawrence’s question regarding attitudes toward Jerusalem and Ottoman statesman Jemal Pasha’s land-settlement schemes reveals that debates over the city’s future governance and land law in Palestine were already actively underway—nearly two years before the Balfour Declaration. In 1920, Bentwich would become the British-appointed attorney-general of Mandatory Palestine. Combining wit with political insight, the letter captures Lawrence at a pivotal early stage: intellectually engaged, politically perceptive, and already participating in conversations that would help shape the postwar Middle East. Starting Bid $1000
Scarce first edition of To Kill a Mockingbird, inscribed by Harper Lee one month after publication
255. Harper Lee Signed Book - To Kill a Mockingbird (First Edition with Original Dust Jacket). Extremely desirable signed first edition book: To Kill a Mockingbird by Harper Lee. First edition, first printing. Philadelphia & New York: J. B. Lippincott Company, 1960. Hardcover (brown boards and light green cloth spine with brown titles) with original dust jacket (with $3.95 price on front flap, Capote blurb in green, Jonathan Daniels review on rear flap, and portrait of Harper Lee on back panel), 5.5 x 8.25, 296 pages. Signed and inscribed on the first free end page in blue ballpoint, “Herbert and Grace: You are new friends, but you seem like old ones! Affectionately, Nelle Harper Lee, August 21, 1960.” Autographic condition: very fine. Book condition: VG-/G-, with a small stain to the top edge of the textblock, a scuff to the top edge of the rear board, minor wear to a rear corner, and moisture damage to the rear panel of the jacket, which he somewhat affected the rear board; the jacket also exhibits several edge tears and creases, and has a small blue ballpoint notation to the front flap.
Provenance: Lot 3279, Bonhams, New York, NY, ‘Fine Books and Manuscripts,’ June 10, 2009; The Estate of Dr. Goodman B. Espy III, Atlanta, GA.
A true ‘Great American Novel,’ To Kill a Mockingbird became an instant classic upon its debut in 1960 and went through fourteen printings in the first year. However, as Harper Lee was an unknown author, only five thousand copies were printed for its July 11th release: first editions are thus extremely scarce, especially in signed examples. Lee used “Nelle” in correspondence and notes only with close friends and family. Starting Bid $1000
Sending his “little book” in 1819, the important Italian poet hopes his cousin “will read my poor verses”
256. Giacomo Leopardi Autograph Letter Signed on Poetry, Sending His “Poor Verses” to a Cousin. Important Italian poet, essayist, philosopher, and philologist (1798-1837). Exceedingly rare ALS in Italian, one page, 4.25 x 5.75, March 15, 1819. Letter to his cousin, Conte Francesco Cassi, sending him a book. In part (translated): “On account of not trusting the mail, I waited a long time before I was offered an opportunity to send the little book that will be present with this…If you ever have this letter together with the booklet for a sign of confidence, and will read my poor verses, and reach the end, you have more friendship than I merit.” Affixed to a slightly larger card. In very good condition, with heavy overall foxing. It was around this period that Leopardi began writing his major works, beginning with the first poems of the Canti in 1818 and the Idylls in 1819. A fascinating and very early letter demonstrating Leopardi’s humility and admiration of his older cousin. Accompanied by a full letter of authenticity from PSA/DNA. Starting Bid $1000
Sought-after first edition, first issue of Jack London’s iconic The Call of the Wild, housed with the author’s autograph
257. Jack London Signature and First Edition Book
- The Call of the Wild. Scarce and sought-after first edition book: The Call of the Wild by Jack London. First edition, with two pages of publisher’s advertisements at rear. NY: The Macmillan Company, 1903. Hardcover bound in the publisher’s original vertically ribbed pictorial green cloth with gilt title and design stamped in red, black, and white, 5.5 x 7.75, 231 pages. Complete with 11 full–page color printed plates including frontispiece (tissue guard intact) and 7 full–page woodcuts by Philip P. Goodwin and Charles Livingston Bull, with numerous decorations by Charles Edward Hooper. Book condition: VG/None, with light edgewear, wear to spine extremities, worn corners, rubbing to gilt top edge, and minor soiling to textblock. Housed in a custom-made clamshell case, which carries an ink signature, “Jack London, Jan. 6, 1914,” displayed inside. Named by Modern Library as one of the 100 greatest novels of the 20th century, The Call of the Wild is recognized as ‘one of the first American novels to examine the quest of the pioneering individual who breaks away from the sheltered environment of civilization and is romantically compelled to find freedom in nature. In the early part of the century this was considered the American dream’ (Parker, 16). Starting Bid $200
Herman Melville letter penned during the dawn of his Moby-Dick masterpiece
258. Herman Melville Autograph Note Signed, Penned During the Dawn of His Moby-Dick Masterpiece. ANS, one page, 6 x 3.25, March 30, 1850. Handwritten note to a gentleman, written from New York. In full: “Yours of the 25th was duly received.” Beautifully signed at the conclusion with his bold and distinctive signature, “Herman Melville.” Archivally corner-mounted, matted, and framed with a portrait and plaque to an overall size of 24.75 x 17.5. In fine condition. Accompanied by a full letter of authenticity from PSA/ DNA. At the time he wrote this letter, Melville was living in Manhattan as a successful writer, having published Typee, Omoo, Mardi, Redburn, and White-Jacket. Upon returning home from a trip abroad in February 1850, he began to write the classic Moby-Dick. He completed the masterpiece over the course of the next 18 months, and it was first published in the autumn of 1851. Despite initial poor sales, Moby-Dick was rediscovered after Melville’s death and has since become known as one of the most original and influential books ever written. Just as Moby-Dick is a cornerstone of American literature, Melville’s autograph is a must-have for any significant literary collection. Dating to the period in which he commenced the authorship of his most iconic work, this is a marvelous example Starting Bid $300
Third issue of Milton’s defining English epic, Paradise Lost
259. John Milton: Paradise Lost (Third Issue, 1669). Rare antiquarian book: Paradise Lost, A Poem in Ten Books by John Milton. Amory’s third issue, comprising a reissue of the second with a new title. London: Printed by S. Simmons, and are to be sold by T. Helder at the Angel in Little Brittain, 1669. Hardcover bound later in brown calf, gilt titles and decoration to the spine in six compartments, gilt ruling to the front and rear panels, gilt inner dentelles, and gilt edges, 5.5 x 7, with seven preliminary leaves containing “The Printer to the Reader,” “The Argument,” “The Verse,” and the “Errata.” Book condition: VG-/None, minor scuffing to boards, a chip at the head of the spine, light soiling to textblock, rubbing to gilt edges, and the bookplate of “Adele M. MacVeagh” affixed to the first free end page.
Literature: Hugh Amory, “Things Unattempted Yet: A bibliography of the first edition of Paradise Lost,” in: The Book Collector, Spring 1983, pp. 41-66; Pforzheimer 718 (as the “fifth title (Lowndes’ seventh)”; Wing M2142; Wither to Prior 603.
From the Grolier Club’s “Catalogue of original and early editions of some of the poetical and prose works of English writers from Wither to Prior”: “Bibliographers have recognized eight
distinct issues of this first edition of ‘Paradise Lost,’ varying from each other in several more or less important particulars. The more important of these variations consist in changes in the title-pages…The text of the poem is identical in all cases, with the exception of a few typographical errors which were corrected as the work passed through the press. The sheets of the various issues were evidently mixed and made up indiscriminately by the binder, and therefore copies of apparently the same issue will be found to differ from each other in that some will have more of the errors corrected than others.”
Widely regarded as one of the supreme achievements of English literature, Paradise Lost transformed the biblical story of the Fall into an epic meditation on freedom, obedience, ambition, and redemption. Milton’s commanding blank verse profoundly influenced generations of writers and artists, from William Blake and the Romantic poets to later novelists and thinkers, while his complex portrayal of Satan became one of the most enduring and debated characterizations in the Western canon. Its language, imagery, and philosophical scope helped establish the poem as the defining English epic. Starting Bid $1000
260. Beatrix Potter Autograph Letter Signed. ALS signed “H. B. Heelis,” one page, 4.5 x 7, September 19, 1938. Addressed from Sawrey, a handwritten letter to Miss Tyson: “I doubt if I shall get out for a day or two driving, owing to the shaking in the car. I have been in a good deal of pain. I am feeling much better today, and nothing serious – just got cold at the show on Thursday and did not improve matters on Friday in the damp. I think it would be best for me to buy that yellow Worcester for the same price as was offered by the dealer; I will take my chance – there is still some China etc left!” In fine condition. Accompanied by the original hand-addressed mailing envelope.
Signed “H. B. Heelis,” the married name under which Beatrix Potter conducted much of her correspondence during her three decades as a Lake District farmer, the letter offers a candid glimpse of her final years. Then seventy-two and just over five years from her death, Potter writes of lingering pain after catching a cold at a local agricultural show, the kind of event she attended regularly as a prize-winning Herdwick breeder and noted livestock judge, while also discussing the purchase of a piece of Worcester porcelain, remarking, “I will take my chance.” Starting Bid $200
261. Beatrix Potter Signed Book from Her Personal Library - Cranford and Other Tales by Elizabeth Gaskell. Signed book from the personal library of Beatrix Potter: Cranford and Other Tales by Elizabeth Gaskell. Later printing (“A New Edition with Four Illustrations”). London: Smith, Elder & Co., 1873. Hardcover, 5.5 x 7.75, 488 pages. Signed on the first free end page in black ink with her ownership signature, “Beatrix Potter, Hill Top Farm, Sawrey.” In fine condition, with scattered light foxing. Elizabeth Gaskell, who published her first novel in 1848 and who wrote the biography of Charlotte Brontë at Patrick Brontë’s request, was a versatile and innovative storyteller whose works addressed the rapid societal changes that occurred throughout her lifetime. Gaskell died suddenly of a heart attack in 1865, the year before Beatrix Potter was born. Gaskell’s husband, William Gaskell, was a close friend of Beatrix’s father, Rupert Potter, with whom he shared interests in both the Unitarian faith and Liberal politics. Beatrix Potter developed a close relationship with William Gaskell in her youth. ‘For the whole of the 1870s, Beatrix spent her summer holidays at Dalguise in Scotland with her family, and their party included many friends of her father who enjoyed the Scottish countryside…[including] William Gaskell. For Christmas 1874, when she was eight, Beatrix knitted William Gaskell a scarf as a present, and he sent her a charming note of thanks: ‘Big as I am, I know I could not have done one tenth as well. Every time I put it round my neck – which during this weather will be every day – I shall be sure to think of you.’ Beatrix was eighteen when William Gaskell died in 1884, and in her journal on June 12, she recorded her deep affection for him: ‘Dear old man, he has had a very peaceful end. If ever anyone led a blameless, peaceful life, it was he. Another old friend has gone to rest. How few are left. There has always been a deep child-like affection between him and me. The memory of it is one of the past lights bound up with the old home.’ Starting Bid $200
Three pages from Ayn Rand’s hand-edited screenplay for The Fountainhead:
“You’ll find that you can’t sue us”
262. Ayn Rand Hand-Annotated Pages (3) from Her Screenplay for ‘The Fountainhead’. Three handannotated 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
Rand revises “The Psycho-Epistemology of Art” for publication in The Romantic Manifesto
263. 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 $200
264. J. K. Rowling Signed Book (Harry Potter and the Sorcerer’s Stone), with COVID-19 Lockdown Letter - Sent to One of Only Three Families Globally Selected. Signed book: Harry Potter and the Sorcerer’s Stone. First American edition (later printing). NY: Scholastic, 1998. Hardcover with dust jacket, 6.25 x 9.25, 309 pages. Signed in black ink by J. K. Rowling on a gilt-bordered bookplate affixed to the first free end page, which also bears an affixed J. K. Rowling hologram label. Autographic condition: very fine. Book condition: VG+/VG+. Accompanied by an official J. K. Rowling transmittal letter with a preprinted facsimile signature from the author, who writes: “Dear Kym, I would like to say a very large thank you for your wonderful contribution to the Harry Potter readings, which went a long way to providing some entertainment for children, families and carers, whilst confined at home during lockdown. Everyone here on the Harry Potter At Home team really appreciates you giving your time and effort, which made the recordings so special and memorable. The response has been incredible. I’m delighted to say the readings have been enjoyed over 30 million times worldwide and have inspired a whole new generation of readers! Please find enclosed a token of thanks from me for your participation and for the pleasure it has given. I hope you enjoyed it too!” Read mmore online at www.RRAuction.com. Starting Bid $200
265. Percy Bysshe Shelley Signed Check. English writer (1792–1822) who takes a place among the most original poetic voices of his day and one of the most influential literary figures of the Romantic era. His muchanthologized work includes such classics as ‘Ozymandias’ and ‘Prometheus Unbound.’ Personal check, 7.25 x 2.25, filled out in another hand and signed by Shelley, “Percy Bysshe Shelley,” payable to “Mr. Chaumont” for £3, December 23, 1815. Professionally inlaid into a slightly larger sheet and in fine condition, with cancellation marks over the signature. Starting Bid $200
Rare oversized portrait of the Bengali polymath
266. Rabindranath Tagore Signed Photograph - Rare Oversized Portrait. Bengali poet, playwright, philosopher, and author (1861–1941) who became the first non-European to win a Nobel Prize (Literature) in 1913. Scarce vintage sepia 8.25 x 11.5 paperstock photo of Rabindranath Tagore in a noble bust-length pose, signed in the lower border in Bengali in fountain pen. A small printed caption bearing his name is affixed to the right of the autograph. In very good to fine condition, with tears to the top, and to the side borders, repaired with tape on the reverse. The largest signed portrait of Tagore that we have ever offered, and a great portrayal of one of literature’s foremost minds. Starting Bid $300
Music
“Coro
di Cacciatori”—Bellini drafts the ‘hunting chorus’ from La straniera
338. Vincenzo Bellini Handwritten Musical Manuscript Draft for the Hunting Chorus from La straniera: “Coro di Cacciatori”. Italian opera composer (1801–1835) known for his extremely long, flowing melodic lines. Handwritten musical manuscript draft by Vincenzo Bellini for the “Coro di Cacciatori” from La straniera, unsigned, one page both sides, 12.25 x 9, circa 1826–1827. The oblong folio manuscript is notated on 20-stave rastrumruled paper and contains 15 measures of music for horns, beginning at the 20th measure of the “Coro di cacciatori” from Act I, Scene VIII of the opera. Bellini writes the title at the head of the first page: “Coro di cacciatori dopo il Duetto d’Arturo ed Alaïde Atto primo La straniera.” The horn parts are marked at the beginning of the stave, “Otto corni soli d’accompagnamento sul palco d’altri corni,” with the phrase “d’altri corni,” in lighter ink, possibly added later; within the music appears the evocative performance direction, “molto [?] lontano avvicinandosi a poco a poco,” indicating the sound of the horns approaching from a great distance. The lower right is annotated in another hand, “Caratteri del Cave. Vincenzo Bellini.” In very good to fine condition, with scattered light foxing, and somewhat irregular light staining.
La straniera, an opera seria in two acts with a libretto by Felice Romani, premiered at Milan’s La Scala on February 14, 1829. Written in the wake of Bellini’s breakthrough success with Il pirata, the opera helped consolidate his standing as one of the defining voices of early 19th-century Italian opera. The present manuscript is an appealing working fragment from the score, preserving Bellini’s atmospheric treatment of offstage hunting horns—an effect perfectly suited to the dramatic world of Romantic opera and to the composer’s celebrated sensitivity to musical color, distance, and theatrical mood. A rare autograph musical manuscript draft by Bellini, dating from the period in which he emerged as a leading figure of the bel canto stage. Musical manuscripts by Bellini are highly desirable, especially those connected to major operatic works composed for La Scala during the brief but brilliant career that produced La straniera, La sonnambula, Norma, and I puritani. Starting Bid $500
“Nothing
but work under the sun”— a
musical quotation from Alban Berg’s
landmark modernist opera
339. Alban Berg Autograph Musical Quotation Signed from “Wozzeck”. Austrian composer (1885–1935) who produced compositions that combined Mahlerian Romanticism with a personal adaptation of Schoenberg’s twelve-tone technique. AMQS signed “Alban Berg,” on an off-white 6 x 9.25 album leaf, dated and identified in Berg’s hand, “30.3.30” and “Wozzeck II/1.” Berg pens two measures, numbered 112–113, in bass clef from Act II, Scene 1 of his landmark opera Wozzeck, notated in brown ink on a single stave and incorporating Wozzeck’s text, “Nichts als Arbeit unter der Sonne” [Nothing but work under the sun]. The reverse bears the signature of Austrian operatic baritone Hans Duhan, dated at Vienna, March 1931. In fine condition, with some light soiling.
Wozzeck, Berg’s searing three-act opera after Georg Büchner’s unfinished play Woyzeck, premiered at the Berlin Staatsoper on December 14, 1925, and quickly became one of the de-
fining stage works of 20th-century modernism. The quoted passage comes from near the beginning of Act II, Scene 1, where Wozzeck’s weary line—“Nothing but work under the sun”—captures the opera’s bleak vision of poverty and psychological collapse. In Wozzeck, Berg fused rigorous formal design with intense dramatic immediacy, combining atonality, Sprechgesang, parlando, arioso, and flashes of late-Romantic lyricism into a score of extraordinary emotional force.
A scarce and highly desirable signed musical quotation from Berg’s greatest operatic achievement. Autograph material from Wozzeck is especially compelling, linking the composer directly to the work that established him, alongside Arnold Schoenberg and Anton Webern, as one of the central figures of the Second Viennese School and one of the most powerful dramatic voices in modern opera. Starting Bid $500
Berlioz quotes from his masterpiece, the Symphonie Fantastique
340. Hector Berlioz Autograph Musical
Quotation Signed - “Thème de Bal de La Symphonie Fantastique” . AMQS signed “H. Berlioz,” one page, 11.75 x 9, no date but circa 1840–1850. Berlioz pens 15 measures from Symphonie fantastique in dark brown ink on Lard-Esnault music paper within decorative dark gold borders, titling the quotation: “Thème de Bal de La Symphonie Fantastique.” The quotation comprises the complete principal theme of the second movement, “Un Bal,” carried by the violins in measures 38–54 of the full score. The same leaf also contains autograph musical quotations by three notable French musical figures: Gustave-Hippolyte Roger, who signs a 12-measure song for voice and piano, “G. Roger,” below; Adolphe Adam, who signs a 16-measure waltz for piano, “Ad. Adam,” on the reverse; and Fromental Halévy, who adds a 22-measure piano work titled “Suite,” signed “F. Halévy.” In fine condition.
First performed in Paris in 1830, Berlioz’s Symphonie fantastique stands among the great revolutionary works of the Romantic era—a fevered, autobiographical orchestral drama built around the recurring “idée fixe” associated with the composer’s beloved, the Irish actress Harriet Smithson. The present quotation comes from “Un Bal,” the second movement, in which the obsessive theme reappears amid the glittering swirl of a waltz. Elegant, theatrical, and psychologically charged, the passage reflects Berlioz’s bold transformation of the symphony into a vehicle for passion, memory, and personal experience.
A remarkable 19th-century musical album leaf, uniting a rare quotation from one of the defining masterpieces of the Romantic symphonic repertoire with contributions by Adam, Halévy, and Roger. Signed musical quotations from Symphonie fantastique are especially desirable, connecting Berlioz directly to the work that announced his genius and permanently altered the course of orchestral music. Starting Bid $1000
Berlioz drafts a polyphonic theme for Benvenuto Cellini
341. Hector Berlioz Handwritten Musical Sketchleaf from Benvenuto Cellini. Autograph musical sketchleaf by Hector Berlioz for his opera Benvenuto Cellini, unsigned, one page, 10.5 x 6.75, no date. Berlioz pens seven measures in black ink on one side of an oblong folio leaf, comprising a first draft of a polyphonic theme, with several notes crossed out and a final passage rewritten. Identified in contemporary manuscript in German at the head: “Handschrift von Hector Berlioz Erste Skizze. (Benvenuto Cellini).” In very good to fine condition, with light creasing and soiling, and a stain to the bottom edge. The present manuscript is not recorded in Holoman.
Benvenuto Cellini, Berlioz’s opéra semi-seria based on the memoirs of the great Renaissance goldsmith and sculptor, premiered at the Paris Opéra on September 10, 1838, and was later revised for productions at Weimar in 1852. Set in
16th-century Rome under Pope Clement VII, the opera reflects Berlioz at his most vivid and extravagant: a dramatic fusion of idealism and farce, grandeur and wit, restless invention and brilliant orchestral color. Berlioz himself later observed that Benvenuto Cellini contained ‘a variety of ideas, an energy and exuberance and a brilliance of colour such as I may perhaps never find again.’
An exceptionally rare working manuscript from one of Berlioz’s most ambitious stage works. While musical quotations in Berlioz’s hand appear with some frequency, true sketchleaves— revealing the composer’s process through revisions, cancellations, and rewritten passages—are of much greater rarity; the consignor notes only one comparable example traced at auction in over 30 years. A remarkable glimpse into Berlioz’s creative workshop, related to the opera in which he poured forth some of his boldest theatrical imagination. Starting Bid $500
Bernstein
orchestrates his ‘Symphony No. 3, Kaddish’: “I’ll be scoring mostly on tour, in a wild hurry, at airports & hotels, & whenever possible”
342. Leonard Bernstein Autograph Orchestration Page Signed for His Symphony No. 3, ‘Kaddish’. The original opening orchestration page for Bernstein’s ‘Symphony No. 3, Kaddish,’ written in his own hand, 13.5 x 18, no date but circa August 1963. Bernstein establishes his preferred layout for drafting the score, indicating which staves should be used for scoring various parts of his orchestra, including flute, piccolo, oboe, trumpets, percussion instruments, vibraphones, harp or piano, and so on, with vocal, speaker, and chorus parts separated by blank staves.
In the upper right, he pens a detailed note to fellow composer Phillip Lambro, who was responsible for preparing printed sheets of orchestration paper using this handwritten example as a model. In full: “Dear Lambro: Thank you for your suggestion. Something like this should do it, I imagine. Of course, the extra staves will necessitate a larger page (I don’t think the staves should be any closer together than this). 500 sheets will more than suffice. I’m afraid they can’t be transparencies, since I’ll be scoring mostly on tour, in a wild hurry, at airports & hotels, & whenever possible; & those sheets will be unmanageable. I’ll try to score it as legibly as possible, in pencil (given the speed), omitting all vocal & chorus parts, which can be inserted during the final ink copying job, taken from the ‘short’ score, which I am now completing. Many thanks—Leonard Bernstein.”
At the bottom, he notes: “Leave a solid bottom margin! 1 1/2˝ or so.” In fine condition, with a block of light toning, and two small paper remnants, in the lower blank area.
Leonard Bernstein’s Symphony No. 3, ‘Kaddish,’ is perhaps the work in which his Jewish spiritual heritage and his deep, lifelong concern for a troubled humanity most powerfully converge. Conceived as an intensely personal cri de cœur, the symphony wrestles openly with faith, doubt, and moral responsibility, framing the ancient Aramaic prayer within a modern, anguished dialogue with God. Bernstein dedicated the work to the memory of President John F. Kennedy, whose assassination occurred as the symphony was nearing completion, lending the music an added sense of poignancy. Starting Bid $500
An inscribed first issue of opera’s immortal masterpiece—Bizet presents Carmen to a French critic
343. Georges Bizet Signed Musical Score - Carmen (First Edition, First Issue). French composer (1838–1875) whose operatic masterpiece, Carmen, was completed just before his untimely death from heart disease. Signed musical score: Carmen: Opera Comique en 4 Acts. First edition, first issue (with the error in the index listing the Finale of Act II on p. 175, no note to p. 20, and a footnote to p. 49), pre-dating the publication of the full score. Paris: Choudens Père & Fils [PN A.C. 3082], March 1875. Hardcover bound in quarter dark red morocco with marbled boards, spine in gilt-ruled compartments, titling gilt, marbled endpapers, 7.75 x 11, 351 pages. Signed and inscribed on the title page in ink to French music critic Henri Blaze de Bury, “A Monsieur Blaze de Bury, Son bien reconnaissant et dévoué, Georges Bizet.” Autographic condition: very good, with moderately heavy overall foxing and a small stain to the signed page; inscription slightly trimmed by the binder, just touching two letters of the dedicatee’s name but not Bizet’s signature. Book condition: G+/None, with the binding worn and rubbed; slightly browned; moderate foxing throughout, more pronounced to first and last leaves; numerous tears, some quite significant, in 3 cases with the loss of
several measures of music; old repairs to blank margins of many leaves, occasionally obscuring printed area, and several additional old repairs; a number of leaves partially detached.
Composed in 1873–1874 to a libretto by Henri Meilhac and Ludovic Halévy after Prosper Mérimée’s novella, Carmen is now recognized as Bizet’s masterpiece and one of the most enduring operas in the entire repertory. Although its first reception was controversial, its combination of unforgettable melody, vivid characterization, dramatic realism, and brilliantly imagined Spanish color soon secured its place among the defining works of 19th-century opera.
The presentation to Henri Blaze de Bury is especially appealing, possibly reflecting the composer’s gratitude for Blaze de Bury’s favorable notice of Carmen in the Revue des Deux Mondes after hearing the opera. Association copies of Carmen from Bizet’s lifetime are of the utmost rarity, and this example—linking the composer, the original published form of the score, and one of the most important operas ever written—is a remarkable survival. Starting Bid $500
Chopin sells the copyrights to two of his finest works—‘Grande Valse brillante’ and ‘Quatre Mazurkas’—to his English publishers
344. Frederic Chopin
Document Signed - Selling Copyrights to ‘Quatre Mazurkas, Op. 41’ and ‘Grande Valse brillante, Op. 42’. Polish composer (1810–1849) considered one of the great masters of Romantic music. Partly-printed DS, signed “Fr’d Chopin,” one page, 9 x 9.5, March 1840. A receipt for the sale of the copyrights to two musical compositions. In part: “Received of Messrs. Wessel & Co….Frith Street, Soho Square, London, at the price or sum of Sixteen Pounds…all my Copyright and Interest, present and future, vested and contingent or otherwise, for all the Kingdom of Great Britain and Ireland of and in the following works.”
A secretary has filled in the title and a brief description of each work, “Grande Valse brillante, Op. 42,” and “Quatre Mazurkas, Op. 41,” including a musical staff showing the meter, key, and notes of the respective opening measures. Signed at the conclusion by Chopin. Document is affixed by its left edge to a 9.25 x 15 off-white sheet and is housed in a hardcover binding. In very good to fine condition, with a short tear to the trimmed bottom edge, some professional repairs to areas of paper loss, and staining to the side edges; the signature is completely unaffected. Accompanied by a full letter of authenticity from PSA/DNA.
Chopin’s mazurkas, based on traditional Polish folk dances, are among his most characteristic short works for piano. The four referred to here, published as Op. 41, were written between 1838 and 1840, when he was recovering from a tubercular infection and enjoying the companionship of his famous lover, the novelist George Sand. Waltz in A-flat major, Op. 42, written in 1840, is one of composer’s finest efforts in the form. Its aristocratic tone led Chopin’s friend and fellow composer, Robert Schumann, to comment that when the work was played at a dance, ‘Half the ladies should be countesses at least.’ A fine classical music rarity, relating to two of the composer’s greatest works. Starting Bid $2500
“I present a lock of Chopin’s hair that belonged to his family...This hair was collected prior to the embalming”— remarkable Chopin relic preserved through the composer’s family and accompanied by a signed presentation note from leading Chopin scholar Krystyna Kobylanska
345. Frédéric Chopin Lock of Hair
Preserved by His Family and Presented by Leading Chopin Scholar Krystyna Kobylanska. Substantial lock of hair from the head of renowned Polish composer Frédéric Chopin, consisting of a light honey-colored lock, approximately measuring 1.5˝ x 1˝, preserved in its original small paper box, with the lid’s underside annotated in ink, “Cheveux de Frédéric Chopin, Varsovie - 1965,” an inscription believed to have been added by recipient Madeleine Demory (Hsu Forte). Includes an ANS in French from noted Chopin scholar Krystyna Kobylanska, presenting the relic to French-born American pianist and distinguished Chopin interpreter Madeleine Demory (Hsu Forte). The handwritten note, translated, reads, in part: “On this day, February 23, 1963, I present a lock of Chopin’s hair that belonged to his family. This hair was collected prior to the embalming, and in recognition of my work, it was given to me by a close friend of the Chopin family. May this precious relic forever be an inspiration.” In fine condition, with wear to the box.
Accompanying correspondence from Madeleine Demory (Hsu Forte) further records that Krystyna Kobylanska personally received the larger family lock from Ludwika Je˛drzejewicz, a descendant of Louise Chopin, the composer’s sister, before retaining the larger portion at the Frederic Chopin Museum in Warsaw and preserving a smaller portion in her office. Following Forte’s performance of a Chopin recital at Warsaw’s Ostrogski Palace, Kobylanska personally presented her with the lock together with the accompanying handwritten note. Forte later recalled wearing the lock on her chest as a good-luck talisman during her Chopin performances, preserving the cherished relic with exceptional care for decades. Krystyna Kobylanska (1925–2009) devoted her career to the study of Frédéric Chopin, serving as curator of the Frederic Chopin Museum in Warsaw and authoring the composer’s authoritative thematic catalogue, Frédéric Chopin: Thematisch-bibliographisches Werkverzeichnis (1979), which remains one of the standard scholarly references on his life and works. Starting Bid $1000
Delibes sets a Silvestre poem to music
346. Léo Delibes Autograph Musical Manuscript Signed for “Que l’heure est donc brève”. Notable French composer of ballets and operas (1836-1891). Autograph working musical manuscript by Léo Delibes for “Que l’heure est donc brève,” signed at the conclusion, “Léo D,” three pages, 10.5 x 13.75, no date. The manuscript is notated in G minor on 20-stave music paper, arranged in five three-stave systems per page on the rectos only, for tenor (or soprano) and piano. Delibes sets a text by the noted French poet Armand Silvestre, beginning: “Que l’heure est donc brève, / Qu’on passe en aimant!” The manuscript shows evidence of active composition, with a number of erasures and corrections throughout, and the original titles at the head of the first page crossed out. The three leaves are tied together with string threaded through a small hole in the blank upper inner margin. In fine condition, with scattered light toning and staining.
“Que l’heure est donc brève” was published by G. Hartmann in 1885 as No. 2 of ‘Quinze mélodies et deux choeurs pour voix de femmes.’ Its wistful Silvestre text—meditating on the fleeting nature of love and enchantment—suited the refined lyricism for which Delibes was admired. Although best remembered for the opera Lakmé and the ballets Coppélia and Sylvia, Delibes was also a graceful and polished composer of vocal music, noted for his melodic charm, harmonic elegance, and sure theatrical instinct.
A desirable working manuscript by one of 19th-century France’s most important stage composers, revealing Delibes in the act of revision through visible corrections, erasures, and abandoned title headings. Autograph manuscripts by Delibes with clear compositional changes are especially appealing, offering a direct glimpse into the craftsmanship behind his elegant French mélodie style. Starting Bid $300
Gilbert’s handwritten synopsis of the comic classic The Pirates of Penzance, incorporating several lyrical quotations
348. William S. Gilbert Handwritten Synopsis of ‘The Pirates of Penzance,’ with Extensive Lyrical Quotations. British dramatist and lyricist (1836–1911) best known for his 14 comic operas written in collaboration with composer Arthur Sullivan. Handwritten manuscript by W. S. Gilbert, ten pages, 8.5 x 10.5, no date but circa 1879–1880. Gilbert pens a synopsis of the classic Gilbert and Sullivan comic opera The Pirates of Penzance, intended for publication in conjunction with its premiere. The piece begins: “The Pirates of Penzance are a body of soft-hearted marauders whose head quarters are a cape on the coast of Cornwall. As the curtain rises, they are discovered in the act of celebrating the ‘coming of age’ of their only apprentice, young Frederic… He explains that having, that day, attained his majority, he is out of his indenture & he intends to avail himself of his liberty to quit their band for ever.”
He goes on to discuss the plot at length, incorporating quotations from several of the opera’s songs, beginning with one sung by Frederic: “Oh, is there not one maiden here / Who does not feel the moral beauty / Of making worldly interest / Subordinate to sense of duty? / Who would not give up, willingly / All matrimonial ambition, / To rescue such a one as I / From his unfortunate position?”
He also quotes from the Major-General’s humorous song: “I know our mythic history—King Arthur’s and Sir Caradoc’s,— / I answer hard acrostics—I’ve a pretty taste for paradox— / I quote
in elegiacs, all the crimes of Heliogabalus— / In conics I can floor peculiarities parabolus— / I can tell undoubted Raphaels from Gerard Dows & Zoffanies, / I know the croaking chorus from The Frogs of Aristophanes.” Later on, he quotes from the policemen’s chorus: “When the foeman bares his steel, / Tarantara, tarantara! / We uncomfortable feel; / Tarantara! / And we find the wisest thing, / Tarantara, tarantara! / Is to slap our chests and sing, / Tarantara!”
In very good to fine condition, the pages having been cut up and taped back together as part of the publication process, and various pencil and ink editorial markings made throughout the text; a revised version of this piece was published in The Era on January 18, 1880. Accompanied by a blue silk program for opera’s American debut at the Fifth Ave. Theatre in New York City on December 31 1879.
‘The Pirates of Penzance’ was first produced before a private audience at the Little Bijou Theatre, Torquay, England, in order to protect the copyright in that country. Its first production on an adequate scale at the Fifth Avenue Theatre, New York, New Year’s Eve, 1879, with Sir Arthur Sullivan, the composer, conducting. ‘The Pirates’ immediately became the vogue in America, and proved equally, if not more popular than its predecessor, ‘H.M.S. Pinafore,’ and Sir Arthur pronounced his score of even greater beauty than that of the nautical opera. Starting Bid $2500
Dvořák at work on his radiant Eighth Symphony—an autograph sketchleaf with first-movement themes
347. Antonín Dvorˇák Handwritten Musical Manuscript Draft Fragment from His Eighth Symphony. Autograph musical manuscript sketch leaf by Antonín Dvorˇák for his Symphony No. 8 in G major, Op. 88, unsigned, one page both sides, 9.5 x 2.5, no date but circa 1889. The fragment, cut from a larger leaf of rastrum-ruled music manuscript paper, features 23 measures in total in short score—12 measures on the recto and 11 on the verso. The working manuscript contains thematic material from the first movement of the symphony, with corrections and deletions that reveal Dvorˇák’s active compositional process. In fine condition. Accompanied by a German postcard portrait of Dvorak.
Dvorˇák’s Eighth Symphony was composed in 1889 and first performed in Prague on February 2, 1890, by the National Theatre Orchestra under the composer’s baton. One of his most beloved orchestral works, the symphony marked a fresh and highly individual turn in his writing, combining radiant pastoral color, folk-inflected melody, fanfare-like gestures, rhythmic vitality, and a freer, more rhapsodic treatment of symphonic form. The first movement, from which this sketch derives, is especially admired for its lyrical abundance and its vivid evocation of nature, qualities that distinguish the Eighth from the more dramatic and tightly argued Seventh Symphony.
A rare working manuscript fragment for one of Dvorˇák’s most celebrated symphonies. Autograph compositional material by Dvorˇák is highly desirable, and examples connected to a major orchestral masterpiece are especially scarce. With its corrections, deletions, and surviving thematic material from the first movement, this slender sketch leaf offers a direct glimpse into the creative formation of a work now regarded as one of the great achievements of Czech Romantic music. Starting Bid $1000
Four pages of music and lyrics handwritten by Gounod for the aria of Père Joseph in Cinq-Mars
349. Charles Gounod Handwritten Musical Manuscript for Père Joseph’s Aria in ‘Cinq-Mars’. French composer (1818-1893) best remembered for his composition of ‘Ave Maria.’ Unsigned handwritten musical manuscript by Charles Gounod, four pages on two adjoining sheets, 12.25 x 9.75, being an excerpt of music and lyrics from his four-act opera CinqMars, which debuted at the Opéra-Comique in Paris on April 5, 1877. The excerpt (complete in itself) corresponds to the aria of Father Joseph, the famous “éminence grise” of Richelieu. In fine condition.
Commissioned by Opéra-Comique director Léon Carvalho in 1876, Cinq-Mars was composed by Charles Gounod to a libretto by Paul Poirson and Louis Gallet, adapted from Alfred de Vigny’s historical novel of the same name. Set during the administration of Cardinal Richelieu, the four-act opera dramatizes the conspiracy and downfall of the Marquis de Cinq-Mars. This manuscript preserves the aria of Father Joseph, Richelieu’s trusted confidant and the celebrated ‘éminence grise.’ Premiered at the Opéra-Comique in Paris on April 5, 1877, Cinq-Mars occupied an unusual place in the company’s repertory, presenting a dark historical subject in a form that blended elements of grand opera with opéra-comique. Despite revisions by Gounod, the work remained on the stage for 56 performances before being withdrawn in January 1878. Starting Bid $200
350. 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
Haydn catalogues his 12 London Symphonies— and sketches the famous ‘Gypsy Rondo’
351. Franz Joseph Haydn Handwritten Musical Manuscript, Cataloguing His 12 London Symphonies and Sketching the ‘Gypsy Rondo’. Remarkable handwritten musical manuscript by Joseph Haydn, unsigned, 12 x 9.5, no date but circa 1796, consisting of musical incipits for the composer’s 12 “London” Symphonies and an autograph musical sketch for the celebrated ‘Gypsy Rondo’ finale from his Piano Trio No. 39 in G major. The manuscript is notated in dark brown ink on the fourth page of a large oblong quarto bifolium of 10-stave rastrum-ruled British paper, with a 1794 watermark. In addition to the musical incipits—25 measures spread across four staves—Haydn identifies the key, time signature, and year of first performance for each of the 12 symphonies, Hob. I:93–104, though he mistakenly gives 1791 rather than 1792 for Symphony No. 97. Five staves below the symphonic incipits, Haydn adds a nine-measure melodic sketch for the famous “Gypsy Rondo” third movement of the Piano Trio No. 39. A penciled note in another hand to the first page reads: “Haydn autograph notes of the 12 English Symphonies. Haydn misquotes the 2nd.” In fine condition, with some light edge staining.
Provenance: Leo Liepmannssohn auction catalogue, Berlin, 1907, lot 91; The Westley Manning Collection, Sotheby’s London, October 12, 1954, lot 207.
Haydn’s London Symphonies, composed between 1791 and 1795 for the impresario and violinist Johann Peter Salomon, stand as the crowning achievement of his symphonic career. Written during the composer’s triumphant visits to England, they were created for enthusiastic London audiences and display Haydn at the height of his invention—brilliant, witty, expansive, and increasingly bold in form, orchestration, and dramatic surprise. The manuscript’s compact survey of all 12 works amounts to a miniature self-catalogue of the masterpieces that secured Haydn’s late international fame.
The added sketch for the ‘Gypsy Rondo’ is equally evocative. The finale of the G major Piano Trio became one of Haydn’s most popular instrumental movements, admired for its infectious energy and ‘Hungarian’ or ‘Gypsy’ character. Its presence here links the manuscript not only to Haydn’s greatest symphonic cycle, but also to one of the most beloved chamber works of his London period.
A unique and exceptionally significant Haydn manuscript, uniting incipits for all 12 London Symphonies with a working sketch for the famous ‘Gypsy Rondo.’ As both a personal index of his late symphonic triumphs and a glimpse into one of his most popular piano trio movements, the leaf offers an extraordinary document of Haydn’s final great creative period in London. Starting Bid $2500
352. Franz Liszt Autograph Letter Signed. ALS in French, signed “F. Liszt,” one page, 6.75 x 8.5, no date but circa 1850. Handwritten letter to the mayor of Cologne, regretting that commitments keeping him in Weimar prevent him from traveling to Cologne to attend an anniversary celebration. In part (translated): “Worthy in every respect, by his rare qualities of character and talent, as well as by the very real and meritorious services he has rendered to your city, of such a demonstration by which your fellow citizens honor themselves….I am sincerely obliged, my dear Mr. Eisen, for the information you have given me concerning the celebration being prepared in Cologne to honor the twenty-fifth anniversary of Mr. Ernst [Meyden?] taking office. Mr. Meyden is certainly worthy in every respect, by his rare qualities of character and talent, as well as by the very real and meritorious services he has rendered to your city, of such a demonstration by which your fellow citizens honor themselves. While wholeheartedly associating myself with this celebration, I regret that occupations and duties requiring my presence in Weimar prevent me from going to Cologne to personally take part in it. However, I will not fail to remind Meyden directly of my presence on this occasion. Please accept the assurance of my sincere feelings of esteem and distinguished consideration.” Affixed to a larger mount and in fine condition. Written during Franz Liszt’s Weimar years, when he served as Kapellmeister and helped establish the city as a leading center of European musical life, this letter concerns a civic celebration in Cologne honoring the twenty-fifth anniversary of a municipal official’s service. Starting Bid $200
The court composer of King Louis XIV
353. Jean-Baptiste Lully Document Signed - The Court Composer of King Louis XIV. Italian-born French composer and instrumentalist (1632–1687) considered a master of the baroque style, who spent most of his life working in the court of Louis XIV of France. Vellum manuscript DS in French, signed “Jean-Baptiste Lully,” one page, 9.5 x 7, October 17, 1676. Lully acknowledges receipt of wages in cash the amount of one and fifty livres, his salary for the preceding quarter (July–September) of the current year. Stamped at the head with a royal device surrounded by the words “Generalité de Paris,” with “Quittance” to left of device, “Cinq Sols” to right. Signed at the conclusion in ink by Lully, and countersigned by two others. In fine condition, with light wrinkling and a few trivial holes in the text. As none of Lully’s musical autograph manuscripts have survived, documents such as this, dating from his important ballets de cour period, are among the only examples of his hand extant. Starting Bid $500
Puccini signs off Act I of Tosca—a scarce working sketchleaf from Scarpia’s sinister monologue
354. Giacomo Puccini Autograph Musical Manuscript Sketchleaf for Tosca - A Working Draft from Scarpia’s Sinister Monologue. Autograph musical manuscript sketchleaf by Giacomo Puccini for his opera “Tosca,” one page, 10.25 x 15, titled at the head in Puccini’s hand, and signed in the lower right corner, “Finito l’atto lo a di 4 9embre 1898, G. Puccini.” The large folio leaf is notated in dark brown ink on 12-stave music paper, arranged in four systems of three staves each. The manuscript contains 13 measures in condensed score from Act I, beginning four measures before figure 75. The passage occurs near the end of Act I, during Baron Scarpia’s sinister monologue, as he gloats over the prospect of capturing Angelotti and possessing Tosca. Puccini sets the scene over an obsessive pattern of alternating chords, enriched by bells, organ, simulated cannon fire, and dark bassoon sonorities—an unmistakably theatrical sound world that reveals his extraordinary instinct for atmosphere, tension, and dramatic pacing. Puccini’s notation of the Act I completion date suggests that he discarded drafting material at the end of each major section; the opera as a whole would not be completed until October 1899. In very good, fragile condition, with overall toning and creasing, mottled discoloration, edge chipping, and multiple edge tears, one of which passes through the signature.
Tosca, composed to a libretto by Luigi Illica and Giuseppe Giacosa after Victorien Sardou’s play, premiered at Rome’s Teatro Costanzi on January 14, 1900. One of Puccini’s most gripping and enduring works, it combines political intrigue, religious spectacle, erotic menace, and psychological realism into a tightly constructed theatrical drama. Though sometimes criticized for its brutality, Tosca has remained central to the operatic repertory, offering one of the great soprano roles and some of Puccini’s most vivid dramatic writing.
An exceptionally rare working manuscript from one of Puccini’s major operas, preserving a moment of intense compositional and dramatic significance from the close of Tosca’s first act. Autograph material from Puccini’s great stage works seldom appears on the market, and this signed, dated sketchleaf offers a remarkable glimpse into the creation of an opera that helped usher Italian lyric drama into the 20th century. Starting Bid $1000
Puccini writes on the Paris debut of Madama Butterfly:
“It is the first opera ever performed in Japanese costumes at the Opera Comique”
356. Giacomo Puccini Autograph Letter Signed on Madame Butterfly: “It is the first opera ever performed in Japanese costumes at the Opera Comique”. ALS in Italian, signed “G. Puccini,” one page both sides, 5 x 3.5, Hotel Westminster, Paris letterhead, September 13, 1906. Handwritten letter to Aldredo Vandini, in part (translated): “I have made definitive arrangements for Butterfly at the Opera Comique with Madame Carre and tenor Clement, under the baton of Maestro Luigini. The director of the Carre Company will stage it in a special and most original fashion. The opera will open at the end of October. It is the first opera ever performed in Japanese costumes at the Opera Comique.” In fine condition. Accompanied by the original mailing envelope, addressed in Puccini’s hand. Starting Bid $200
“Maurice
Delage...tells
me he has a piano... you can imagine the magical effect these words produced”
357. Maurice Ravel
Autograph Letter Signed on WWI Service: “Maurice Delage...tells me he has a piano...you can imagine the magical effect these words produced”. ALS in French, two pages on two adjoining sheets, 5.25 x 8.25, June 7, 1916. Handwritten letter to his ‘marraine de guerre,’ Mme. Fernand Dreyfus, the mother of the composer Alexis Roland-Manuel, written during his World War I service. In part (translated): “Your label didn’t surprise me; since arriving here I have been having a misperception that packages and perhaps letters are being missent. I pointed out the error which could come from this ambiguous S.P. The last two packages (sent from Lyon) already had the instructions not for postal sector no. 4, but that was no reason for their not arriving at all. Only the respect I owe the cause prevents me from calling an idiot whoever it was who didn’t comprehend that this should pass through the B.C.M. I have not received either the Plouvier or the sausage. All that should arrive today; I will not wait until opening them to put this letter in the mailbox. Your good letter was accompanied by four others, all of which implore me to accept returning to the rear for various reasons, the nicest of which my four-striped colleague is the one who says it—is that ‘it is useless to make trenches with precious stones.’ However, what solid trenches one could have built with all the precious stones, thinking they had to get back to their veins!
The Parthian arrow was shot at me by another colleague, Maurice Delage; it hit me right in the heart. He praised his services to me after suggesting his doing so, and tells me he has a piano. After what I told you in my last letter, you can imagine the magical effect these words produced. I have—by God—resisted other temptations; to this one the musician responded ‘one does as one wishes’ and the warrior (!) hopes that this won’t succeed. The cacodylate [an arsenic derivative, often used as a weed killer] continues to have beneficial effects. I spend a part of my leisure lifting the morale of my poor comrades whom the news from the different fronts no longer satisfies. In the evening until about 9:30 we hold barracks debates—on love in the theosophical sense—on the convenience of the notion of the infinite, the mode of employing the force of the disintegration of atoms, and on the 4th dimension. You see, we never get finished. My regards to M. Dreyfus, to Roland and my respectful regards to your daughter.”
In a postscript, Ravel adds, “I think I told you already that the SP 4 was replaced by S.P. 15 but that the delivery men are basically passing up the latter.” In fine condition. Written while Maurice Ravel was serving near the front during World War I, this vivid letter captures the strange duality of the composer-soldier’s existence: postal frustrations, rationed comforts, medical treatments, and trench-side morale-building set against his irrepressible wit and intellectual curiosity. Too slight for infantry service, Ravel had enlisted as a military driver, and his correspondence from the period often reveals both his patriotic determination to remain useful and the pull of music from which the war had temporarily separated him. Starting Bid $200
Rimsky-Korsakov quotes “Scheherazade”
358. Nikolai Rimsky-Korsakov
Autograph Musical Quotation
Signed - “Scheherazade”. Russian composer (1844–1908) best known for such works as Scheherezade, Sadko, The Tale of Tsar Saltan, and The Golden Cockerel. AMS signed “Nikolai RimskyKorsakov,” on an off-white 4.25 x 2.75 card, dated at St. Petersburg, December 20, 1907. Rimsky-Korsakov pens three measures from “Scheherazade,” Op. 35—quoting from the second theme of the second movement of his celebrated symphonic suite—adding the title below. Mounted on a 6 x 10 mat board below a portrait of the composer. In very fine condition.
Composed in 1888, Scheherazade remains Rimsky-Korsakov’s best-known orchestral work and one of the great showpieces of Russian musical Orientalism. Inspired by One Thousand and One Nights, the suite evokes the legendary storyteller Scheherazade, who forestalls death at the hands of Sultan Shahryar by captivating him with a thousand and one tales. Rimsky-Korsakov transformed the story into a vividly colored orchestral fantasy, combining sensuous melody and brilliant instrumental writing.
The work later achieved renewed fame through Diaghilev’s Ballets Russes, whose 1910 Paris production featured choreography by Michel Fokine, designs by Léon Bakst, and performances by Vaslav Nijinsky and Ida Rubinstein. A fine signed quotation from the composer’s most iconic score, penned in St. Petersburg less than six months before his death on June 21, 1908. Starting Bid $500
Shostakovich’s Sixth Symphony—a marvelous quotation from his enigmatic masterpiece
359. Dmitri Shostakovich Autograph Musical Quotation Signed from His Sixth Symphony. Soviet composer (1906–1975) whose fifteen symphonies occupy a place of central performance in the orchestral literature of the twentieth century. AMQS signed from Dmitri Shostakovich’s Symphony No. 6 in B minor, Op. 54, one page, Hotel Victoria letterhead, 7.5 x 6.9, Rome, May 17, 1958. Shostakovich pens three measures in blue ink from the theme of the first movement, marked “Moderato” at the head, and adds an autograph inscription in Cyrillic to Joseph Nicolas: “To Zhosefu Niklasu with best wishes from D. Shostakovich.” In fine condition.
Composed between April and October 1939, Shostakovich’s Sixth Symphony followed the immense public success of his Fifth but confounded expectations with its unconventional structure and shifting emotional world. Instead of a heroic, monumental continuation of the Fifth, the Sixth opens with a long, brooding Largo before moving into two shorter, sharply contrasting fast movements—an unsettling succession of moods that has often been understood against the anxious political atmosphere of the late 1930s. The quoted “Moderato” theme from the first movement connects this signed leaf directly to one of the composer’s most enigmatic major symphonic works. Starting Bid $300
Richard Strauss presents the opening of Der Rosenkavalier to the director of the Paris Opéra
360. Richard Strauss
Autograph Musical Manuscript for “Der Rosencavalier,” Presented to the Director of the Paris Opéra. Autograph musical manuscript by Richard Strauss for the opening of Der Rosenkavalier, one page, 11.75 x 15.75, titled and signed at the head, “Der Rosencavalier (Komödie für Music), Richard Strauss, op. 59,” and signed and inscribed at the conclusion to Jacques Rouché, director of the Paris Opéra and Opéra-Comique, “Meinen verheben Freunde Director Rouché…Richard Strauss, Garmisch, 10 Januar 1937.” The large folio manuscript contains the opening 15 measures of Act I, notated in full score on the recto of the first leaf of a bifolium of 32-stave paper. In fine condition, with some light dampstaining at the bottom margin, touching but not adversely affecting the place and date.
Der Rosenkavalier, Strauss’s comic opera in three acts to a libretto by Hugo von Hofmannsthal, premiered at the Dresden Königliches Opernhaus on January 26, 1911, to immediate success, quickly entering the international repertory. The opera marked one of the supreme achievements of the Strauss-Hofmannsthal partnership, blending sumptuous late-Romantic orchestral writing with conversational wit, psychological nuance, and a nostalgic evocation of 18th-century Vienna. Its opening measures launch the work with unmistakable energy, setting in motion the opera’s world of passion, comedy, memory, and bittersweet renunciation.
The recipient, Jacques Rouché, was an influential French impresario and administrator who directed the Paris Opéra and OpéraComique and played a major role in shaping French operatic life in the early 20th century. A magnificent signed presentation manuscript from Der Rosenkavalier, preserving the first 15 measures of one of Strauss’s greatest operas in full score. Autograph material from major Strauss stage works is highly desirable, and this opening page—boldly headed, annotated, signed, dated, and inscribed by the composer—stands as an exceptional artifact from a landmark of 20th-century opera. Starting Bid $2500
The ‘Waltz King’ drafts his only grand opera
361. Johann Strauss II Handwritten Musical Manuscript from ‘Ritter Pázmán’ - His Only Full Grand Opera. Eminent Viennese composer (1825–1899) known as the ‘Waltz King,’ who is remembered for such classics as ‘The Beautiful Blue Danube’ and the ‘Emperor Waltz,’ and for the operetta staple, ‘Die Fledermaus.’ Handwritten musical manuscript in pencil by Johann Strauss, one page both sides, 10.25 x 6.75, no date but circa 1890s. Strauss writes and extensively corrects a preliminary draft of the section preceding the finale of his three-act comic opera Ritter Pázmán. Mounted, matted, and framed with a portrait to an overall size of 23.25 x 13.5; window to frame backing reveals reverse. In very good to fine condition, with smudging to some of the notes.
Based upon a Hungarian folk ballad, Ritter Pázmán premiered at the Vienna Court Opera on January 1, 1892. The work marked Johann Strauss II’s only full-scale opera, an ambitious departure from the waltzes and operettas that had made him famous throughout Europe. Though it met with only limited success on the stage, its brilliant orchestral writing—especially the celebrated ‘Eva Waltz’—preserved something of Strauss’s unmistakable melodic charm within the grander framework of Viennese opera. Starting Bid $200
362. Giuseppe Verdi Autograph Letter Signed. Italian composer (18131901) who was one of the most influential figures in the history of opera. ALS in Italian, signed “G. Verdi,” one page both sides, 5.25 x 8, November 5, 1869. Untranslated handwritten letter by Giuseppe Verdi. In fine condition, with a short split to the end of the central horizontal fold. Starting Bid $200
Wagner triumphantly announces the premiere of his magnum opus, “The Ring of the Nibelung”
363. Richard Wagner
Autograph Manuscript
Signed, Announcing the Premiere of ‘Der Ring des Nibelungen’. AMS in German, signed “Richard Wagner,” one page both sides, 8.75 x 11, August 28, 1875. Wagner’s handwritten announcement of the inauguration of the Bayreuth Festival Theater, where, for the first time, his ‘Ring’ cycle was to be performed in its entirety. In part (translated): “’The Ring of the Nibelung’ is now to premiere in the summer of 1876 at the festival theater in Bayreuth, which was built especially for this production. The three performances of the complete work, which I have promised to my patrons, will take place on consecutive days.” Here, he writes the dates of the performances of “Das Rheingold [The Rhinegold],” “Die Walküre [The Valkyrie],” “Siegfried,” and “Götterdämmerung [Twilight of the Gods].”
He goes on to explain: “I have been fortunate enough to be able to make this announcement primarily due to the devotion and self-sacrificial assiduousness of those excellent artists who I myself hired, whose cooperation and whose painstaking diligence in all of their work has assisted in making this year’s rehearsals an unprecedented success. It is they who have enabled me to make this announcement. I feel uniquely and faithfully supported by the loyal assistance of my artistic associates, who have furnished me with their noblest efforts without receipt of any fee, indeed mostly without any recompense whatsoever for their sacrifice, and so I now faithfully believe that I can expect the sympathies of the wider world, insofar as the commercial performance of my production, which will not earn a profit, demands them.
Accordingly, I herewith invite you again to support this project, support which I only envisage as consisting in participation in its patronage, reflecting my original intentions and under the repeatedly publicized conditions, in this I remain steadfast in my desire to afford poorer artists and art-lovers wholly complimentary entry to the performances; to the purely curious, who have done nothing to support the project, however, I remain resolutely opposed to admitting to the festival theater, even against the payment of such a high ticket fee.” In very good to fine condition, with light creasing in the margins.
Richard Wagner’s magnum opus, The Ring of the Nibelung, was first performed in its complete four-opera cycle at the 1876 Bayreuth Festival, on the dates here appointed. These operas, consisting of Das Rheingold (The Rhinegold), Die Walküre (The Valkyrie), Siegfried, and Götterdämmerung (Twilight of the Gods), remain some of Wagner’s most famous works. The Götterdämmerung (Twilight of the Gods) is the final opera in Wagner’s epic cycle and brings the monumental tale of gods, heroes, and the cursed ring to a dramatic conclusion. The opera follows the tragic downfall of Siegfried and Brünnhilde, culminating in the destruction of Valhalla and the end of the gods’ reign. Wagner’s longtime patron, King Ludwig II of Bavaria, attended the third and final performance, August 27–30. He had previously followed the dress rehearsals (August 6-9, 1876), where Wagner met him for the first time, after eight years of dedicated patronage. The inauguration was a financial debacle, not until six years later could they afford to stage another opera—Parsifal, in 1882. Starting Bid $1000
Wagner quotes the “Pilgrims’ Chorus” from Tannhäuser just months after Its Dresden premiere
364. Richard Wagner Autograph Musical Quotation Signed - “Pilgrims’ Chorus from Tannhäuser”. AMQS from the “Pilgrims’ Chorus” from Tannhäuser, signed “Richard Wagner,” one page, 6.25 x 4, January 3, 1846. Wagner pens the first eight measures of the famous chorus in black ink on four staves, incorporating the four vocal parts into a single stave, and inscribes below: “Gesang der Pilger aus Tannhäuser, und der Sängerkrieg auf Wartburg…von Richard Wagner.” At the lower left appears the date “Janu. 3d, 1846,” in the hand of British concert manager and critic John Ella, presumably recording the day Wagner wrote and presented the quotation to him. Accompanied by an original 19th-century albumen photograph of Wagner, 2 x 3.25, showing the composer half-length, turned to the left with his right hand extending into his jacket pocket.
Also included is a one-page autograph statement by Ella, 9.75 x 6.5, describing the provenance of the autograph: “The property of Prof. Ella, 9 Victoria Square S.W, XI/113. Written in my Album and presented to me in Dresden as a memento of my visit & a token of friendship. This Autograph was exhibited in the ‘Loan Collection’ at South Kensington 1885. Jno. Ella. Entered in collection list by John Belcher.” The three items are laid down into a triple-windowed mat to an overall size of 11 x 15.5. In very good to fine condition, with light overall foxing.
Tannhäuser, Wagner’s grand opera in three acts to his own libretto, premiered at the Dresden Hoftheater on October 19, 1845, less than three months before the present quotation was penned. Drawing on the medieval legends of Tannhäuser and the Wartburg Song Contest, the opera centers on the conflict between sacred and profane love and the possibility of redemption through love—a theme that would recur throughout Wagner’s mature work. The “Pilgrims’ Chorus,” heard prominently in the overture and again in Act III, became one of the opera’s most beloved and recognizable passages, its majestic hymn-like character embodying the opera’s spiritual resolution.
A superb early Wagner musical quotation from one of the defining moments of Tannhäuser, presented in Dresden shortly after the opera’s premiere. Its association with John Ella—an important British musical figure who cultivated friendships with leading European composers and helped shape 19th-century London concert life—adds distinguished contemporary provenance. With Ella’s own statement confirming its presentation by Wagner as “a memento of my visit & a token of friendship,” and noting its exhibition at the South Kensington Loan Collection in 1885, this is an especially evocative artifact from the formative period of Wagner’s operatic career. Starting Bid $1000
“Vers Rome!”— Wagner’s Paris alteration to Tannhäuser
365. Richard Wagner Handwritten Musical Manuscript from ‘Tannhäuser’. Important German composer (1813–1883) who single-handedly revolutionized opera and attained status as one of the most influential geniuses in the history of music. Handwritten musical manuscript by Richard Wagner, one page, 6.75 x 3.25, no date but circa March 1861. A manuscript comprising Tannhäuser’s final words in the second Act “Vers Rome,” in score, for voices and strings. Four measures, notated in pencil on six staves. This is probably an alteration attached to the manuscript of the French score of the opera. It appears to have been written for the second performance in Paris, where Wagner changed Tannhäuser’s words from “À Rome!” to “Vers Rome!” (see Wagner Werk-Verzeichnis, XIVe). Mounted, cloth-matted, and framed with a portrait to an overall size of 17.5 x 11. In fine condition.
Wagner’s Tannhäuser, first staged in Dresden in 1845, stands among his great middle-period operas, uniting medieval legend, erotic temptation, religious guilt, and the possibility of redemption in a work of sweeping musical and dramatic ambition. Its 1861 Paris production became one of the most notorious episodes in Wagner’s career: revised extensively for the Opéra, including the famous Venusberg ballet, the work was met with organized hostility from the Jockey Club and withdrawn after only three performances. This small alteration to Tannhäuser’s cry toward Rome thus belongs to a charged moment in the opera’s history, when Wagner was reshaping one of his defining works for the French stage under extraordinary artistic and social pressure. Starting Bid $1000
Weber’s working score for Oberon—a complete chorus and ballet from his final opera
366. Carl Maria von Weber Handwritten Musical Manuscript - Working Score for Oberon. Autograph musical manuscript working score by Carl Maria von Weber for Oberon, comprising the complete chorus and ballet, No. 21, from Act III of the opera, unsigned, one page both sides, 12.75 x 9.25, circa 1826. The manuscript contains 206 measures of music notated in dark brown ink on both sides of a single oblong folio leaf, on 20 hand-ruled staves, mostly in three-stave systems with some two- and four-stave groupings. A true working score, the manuscript includes numerous corrections, deletions, and revisions, with two full measures canceled. Affixed at the corners to a thin window mat bearing a 19th-century German inscription identifying the piece as Weber’s original manuscript (translated): “Original manuscript by Carl Maria von Weber. The present piece is the first draft of the chorus and ballet from the third act of Oberon. Thanks to its bouncy, exquisite melody, it became a favorite of the German people even before the opera’s first performance, based solely on the piano-vocal score. The draft has English text because Weber composed Oberon, which was destined for London, with English text to get as close as possible to the spirit of the nation. This prompted him to a most serious study of the language in his final years. August 1847.” In very good condition, with some small areas of discoloration.
Oberon, with a libretto by James Robinson Planché after Christoph Martin Wieland’s poem, premiered at Covent Garden in London on April 12, 1826. The production was a great success, admired for its lavish settings and spectacular scenic effects, and it remained popular throughout the season. Although Weber died in London less than two months after the premiere, Oberon preserved some of his most enchanting and imaginative music, from the famous horn-call of the overture to its fairy-tale choruses, dances, and brilliant theatrical color.
A substantial and highly desirable working manuscript from Weber’s final opera, composed at the close of the career that made him the leading figure of German Romantic opera. With its extensive corrections and complete Act III chorus-and-ballet section, this leaf offers a vivid view of Weber’s compositional process in a work written for the London stage and admired by later composers including Mendelssohn, Wagner, Berlioz, Meyerbeer, and Liszt. Starting Bid $2500
Cohan pens the rousing chorus of his patriotic standard, “Over There”
367. George M. Cohan Autograph Quotation Signed: “We won’t come back till it’s over, over there”. American playwright, songwriter, and actor (1878–1942), widely regarded as the father of American musical comedy, who takes a place among the most beloved entertainers of his era. Among his scores of hits are such standards as ‘You’re a Grand Old Flag,’ ‘Give My Regards to Broadway,’ and ‘Over There.’ Spectacular AQS on an off-white 8 x 10.75 sheet of vellum, signed at the bottom, “George M. Cohan.” Cohan writes out the chorus of his patriotic standard “Over There.” In full: “Over there, over there, Send the word, send the word over there. That the Yanks are coming, the Yanks are coming. The drum’s rum-tumming everywhere. So prepare, say a prayer, Send the word, send the word to beware, We’ll be over, we’re coming over. And we won’t come back till it’s over, over there.” In fine condition, with overall wrinkling, and Cohan’s final line and signature a shade light due to reduced ink flow.
Written by Cohan in 1917, the rousing song offered a patriotic fervor to the young men headed off to fight in World War I. A generation later, a new batch of soldiers and sailors were invigorated by the words and the positive message that “we won’t be back till it’s over over there.” Though the United States had gone from being a tolerant nation under the leadership of Woodrow Wilson to one thrust into the brutalities of war, Cohan’s lyrics gave the madness a sense of purpose. Starting Bid $500
George and Ira Gershwin divvy up their RKO earnings
368. George and Ira Gershwin Document Signed, Allocating Their Earnings from RKO Studios. DS, signed “George Gershwin” and “Ira Gershwin,” one page, 8.5 x 13, September 30, 1936. Affidavit submitted in compliance with the California Income Tax Act of 1935, certifying all compensation under their agreement with RKO Studios, Inc., “has been and will be divided and allocated between them in the ratio of sixty per cent (60%) to the said George Gershwin and forty per cent (40%) to the said Ira Gershwin.” Neatly signed at the conclusion in fountain pen by both George and Ira Gershwin, and countersigned by a notary. In fine condition, with minor loss to the lower right corner. Starting Bid $200
371. Beatles: Brian Epstein Typed Letter Signed. TLS signed “Sincerely, Brian,” one page, 8.25 x 11.75, Hille House, 9 Stafford Street letterhead, November 4, 1965. Confidential business invitation sent from Brian Epstein’s private office to record producer Ron Richards of A.I.R. International Ltd., concerning the appointment of Geoffrey Ellis and Bernard Lee to the board of directors of NEMS Enterprises Ltd. Epstein invites Richards to a private gathering at Brown’s Hotel in London on November 10, 1965, to mark the occasion. Epstein adds the salutation in his own hand, “Dear Ron & Shirley,” the latter referring to Shirley Spence, George Martin’s longtime personal assistant. Letter is marked “Strictly Private & Confidential” at the foot. In very good condition, with overall creasing and multiple intersecting folds. Accompanied by a certificate of authenticity from Tracks.
From the estate of Shirley Burns, née Spence, personal assistant to George Martin. Starting Bid $200
Bold Beatles signatures obtained on the opening night of the band’s landmark tour with Roy Orbison—the Adelphi Theatre in Slough, England, on May 18, 1963
369. Beatles Signatures - Adelphi Theatre, Slough (May 18, 1963). Vintage ballpoint signatures of the Beatles — “John Lennon,” “George Harrison,” “Paul McCartney (Beatles),” and “Ringo Starr, xx” — on an off-white 4.75 x 3.75 sheet, with Ringo signing in green ballpoint while his bandmates sign in blue ballpoint. The consignor notes that the autographs were obtained at the Adelphi Theatre in Slough, England, on May 18, 1963, on the opening night of the Beatles and Roy Orbison tour. In very good condition, with overall creasing.
Accompanied by a certificate of authenticity from Tracks and by a letter of provenance from the original recipient: “14 year old me, 1963 had tickets for a concert at the Adelphi theatre in Slough with friends. The Beatles finished the first half, and Roy Orbison was top of the bill! We were invited to meet the Fab4 and given their autographs.”
On May 18, 1963, the Beatles opened the 21-date Roy Orbison/Beatles UK Tour at the Adelphi Cinema on Bath Road in Slough, Buckinghamshire. Although Roy Orbison had been announced as the tour’s headlining act, audience reaction to the Beatles was so enthusiastic that the group’s prominence steadily increased as the tour progressed, ultimately leading to top billing for much of the remainder of the engagement. The evening’s bill also featured Gerry and the Pacemakers, Louise Cordet, David Macbeth, Tony Marsh, the Terry Young Six, Erkey Grant, and Ian Crawford. During the opening-night performance, the Beatles were presented with a Silver Disc recognizing the strong sales of their recent single ‘From Me to You.’ Starting Bid $1000
Official Northern Area Fan Club Convention program, fully signed by all four Beatles during a special December 1963 gathering at Liverpool’s Empire Theatre
370. Beatles Signed Northern Area Fan Club Convention Program (Liverpool, December 7, 1963). Official Beatles Fan Club program for the Beatles concert held at the Liverpool Empire Theatre on December 7, 1963, for the Beatles Northern Area Fan Club Convention, signed on the back cover in ballpoint next to their likenesses by John Lennon, George Harrison, Paul McCartney, and Ringo Starr. The inside of the bi-fold program, 5 x 8, features a schedule of events for the recording of an episode of the BBC television program Juke Box Jury, which was followed by a special fan club performance by The Beatles. In very good condition, with creasing, soiling, minor paper loss along the heavy fold intersections, and poor contrast to McCartney’s signature against the dark suits. Tickets for this event were never available to the public and issued only to members of the band’s “Northern Area Fan Club.” Juke Box Jury was a weekly program featuring a celebrity panel giving their opinions on recently released records, rating them as ‘hit’ or ‘miss.’ After recording the show, the Beatles performed a 30-minute set for the invited fans. Starting Bid $1000
Lennon and McCartney together on a single page— signed at the ABC Cinema, Romford, during the Beatles’ breakthrough spring 1963 tour
372. Beatles: John Lennon and Paul McCartney Signatures - ABC Theatre, Romford (March 20, 1963). Vintage autograph album, 5.75 x 4.25, signed inside on the same page in ballpoint, “Beatles, Paul McCartney, xxx” and “John Lennon, xxx.” The consignor notes that the signatures were obtained at the ABC Theatre in Romford, England, on March 20, 1963, when the Beatles were on their second tour of the UK supporting Chris Montez and Tommy Roe. The autograph album also contains signatures of Donovan, Eric Burden, Eric Haydock and Allan Clarke of The Hollies, Cliff Richard, The Swinging Blue Jeans, and others. In fine condition, with toning along the left edge from old tape on the back.
Accompanied by a certificate of authenticity from Tracks. The presence of John Lennon and Paul McCartney together on a single page is especially desirable, uniting one of the most influential songwriting partnerships in modern music history
On March 20, 1963, the Beatles performed at the ABC Cinema in Romford, England, the 11th date of their spring UK tour with Chris Montez and Tommy Roe. Although Montez and Roe had been contracted as the tour’s headlining acts, audience reaction to the Beatles had been so overwhelming from the outset that by this stage of the engagement the group had emerged as its principal attraction, eclipsing the originally announced headliners.
Their six-song set that evening — ‘Love Me Do,’ ‘Misery,’ ‘A Taste of Honey,’ ‘Do You Want to Know a Secret,’ ‘Please Please Me,’ and ‘I Saw Her Standing There’ — reflected the compact, high-energy format the group employed throughout the tour. Two days later, on March 22, 1963, Please Please Me was released, the debut album that confirmed the Beatles’ rapid ascent and marked the arrival of a new force in British popular music. Starting Bid $500
373. Beatles: Paul McCartney Typed Letter Signed on His U.S. Dollar Account Following the Dissolution of The Beatles & Co.. TLS, one page, 8.25 x 11.75, MPL (McCartney Productions Limited) letterhead, June 17, 1975. Letter to the British merchant bank N. M. Rothschild & Sons Ltd., in full: “I refer to the copy of a letter dated 9th May 1972 addressed to you by the Bank of England in which permission was given for me to maintain a US Dollar Account with my New York lawyers, Messrs Eastman and Eastman. In this connection I write to confirm that the terms and conditions of this letter of authority have been strictly complied with during the period from 1st June 1974 to 8th January 1975 when the account was closed.” In fine condition, with light handling wear, and staple holes to the upper left corner.
A notable letter confirming the January 8, 1975, closure of a U.S. dollar account McCartney maintained with his New York lawyers, Eastman and Eastman, the firm of his father-in-law, Lee Eastman, and brother-in-law, John Eastman. That date fell just one day before the Beatles’ business partnership, The Beatles & Co., was formally dissolved at a private hearing in London’s High Court on January 9, 1975, bringing to a close more than four years of litigation that McCartney had initiated in December 1970. Central to that dispute was McCartney’s opposition to business manager Allen Klein and his preference that the Eastmans instead handle the group’s affairs, the same firm named in this letter. Written some five months later, this letter to N. M. Rothschild & Sons reflects McCartney’s transition from the Beatles’ financial affairs to his newly independent career under the banner of MPL (McCartney Productions Limited), the company he established following the group’s breakup. Starting Bid $200
374. Beatles: Paul McCartney Signed British Airways Concorde In-Flight Menu (January 12, 1980) - Four Days Before His Arrest in Japan. British Airways Concorde in-flight menu for a 1980 London-to-New York supersonic service, measures 12 x 10.5 open, signed inside in black ballpoint by Paul McCartney. The menu retains its original blue tassel cord. Mounted to a 21 x 24 display board with affixed captions indicating that the menu was signed on board the flight on January 12, 1980, as well as information related to McCartney’s arrest four days later, on January 16th. In fine condition.
In January 1980, while traveling to Japan with Wings, McCartney was arrested at Tokyo’s Narita Airport after customs officials discovered approximately eight ounces of cannabis in his luggage. He spent nine days in jail before the charges were dropped and he was deported, forcing the cancellation of Wings’ long-awaited 11-city tour of Japan. Although McCartney quickly resumed his solo career, Wings never toured again, and the aborted Japanese tour is widely regarded as the beginning of the band’s final chapter. Starting Bid $200
375. Black Sabbath Multi-Signed (5) Album - Paranoid. Paranoid album by Black Sabbath, signed and inscribed on the inner gatefold in orange ballpoint, “Ozzy,” and in red ballpoint, “Best wishes to Greg, Tony Iommi,” “To Greg, up the villa, Geezer Butler,” “To Greg, Bill Ward [cross symbol], BS,” and “To Greg, Lend us quid or I’ll rip your spine out! cheers, Ian Gillan.” In very good to fine condition, with old tape, and associated areas of surface loss, to the covers; the gatefold is clean and unaffected, and would display wonderfully. The record is not included. Starting Bid $300
Signed copy of Dylan’s first US Top 10 album— Bringing It All Back Home
376. Bob Dylan Signed Album - Bringing It All Back Home. Vinyl pressing of Bob Dylan’s fifth studio album, Bringing It All Back Home, signed nicely on the front cover in black felt tip. In very fine condition. The record is included. Accompanied by a letter of provenance from Dylan’s manager, Jeff Rosen, who states: “I represent Bob Dylan and have done so for many years. In 2017 he signed a number of individual albums on a rare and limited basis…The chain of custody is directly from Bob Dylan to myself.”
Regarded as one of the greatest albums in rock history, Bringing It All Back Home is the first in the trilogy of albums that Dylan recorded in 1965 and 1966, which was followed by Highway 61 Revisited and Blonde on Blonde. Diverging from acoustic folk music, this album charted a new course for Dylan and took rock music to a new level of complexity and maturity. Divided into an electric and acoustic side, the album features classics such as ‘Subterranean Homesick Blues’ and ‘Mr. Tambourine Man.’ A superb example of one of Dylan’s greatest albums, deriving from his own personal stock and signed in a controlled environment for his trusted business manager of 30-plus years. Starting Bid $500
377. Bob Dylan Signed Oversized Giclee Print - ‘Sidewalk Cafe’ (Ltd. Ed. #295/295). Limited edition color 22 x 27.5 giclee print by Bob Dylan entitled ‘Sidewalk Cafe,’ released as part of his 2011 ‘Drawn Blank’ series, numbered 295/295, signed in the lower border in pencil by Dylan. The artwork shows an expressive street scene viewed from an outdoor table, with a chair, planters, and storefronts rendered in sketchy black line and soft washes of gray, blue, green, and red. The composition captures the casual immediacy of urban life, balancing the intimacy of a café setting with the movement and texture of the street beyond. In very fine condition. Accompanied by its original folder and a certificate of authenticity from Washington Green Fine Art.
Dylan’s popular Drawn Blank art series—a visual autobiography capturing his life on the road—colorfully portrays the people and places he has encountered over the course of his ‘Never Ending Tour.’ The collection represents Dylan’s rare fusion of musical genius and painterly vision, offering a glimpse into the restless creativity that defines his work across all mediums. Starting Bid $200
378. Bob Dylan Signed Oversized Giclee Print -
‘House
on Union Street’ (Ltd. Ed. #109/295). Limited edition color 28 x 36 giclee print by Bob Dylan entitled ‘House on Union Street,’ released as part of his 2013 ‘Drawn Blank’ series, numbered 109/295, signed in the lower border in pencil by Dylan. The artwork depicts a large red house set along a steep, dark roadway, its warm architecture standing out against a turbulent blue sky and bright green trees. The expressive brushwork and dramatic color contrasts give the residential scene a moody, nocturnal energy, transforming an ordinary street corner into a vivid urban portrait. In very fine condition. Accompanied by its original folder and a certificate of authenticity from Washington Green Fine Art.
Dylan’s popular Drawn Blank art series—a visual autobiography capturing his life on the road—colorfully portrays the people and places he has encountered over the course of his ‘Never Ending Tour.’ These compelling compositions highlight Dylan’s instinctive grasp of color and mood, transforming everyday scenes into poetic meditations on solitude. Starting Bid $200
379. Bob Dylan Signed Book - Letras Completas, 1962–2012. Signed Spanish-language book: Bob Dylan: Letras Completas, 1962–2012. First edition. Barcelona, Spain: Malpaso, 2016. Hardcover (orange), 7 x 9.5, 1297 pages. Signed on the half-title page in black felt tip by Bob Dylan. Includes its original bookmark and belly band that reads (translated): “Nobel Prize For Literature 2016, Complete lyrical works, 1962-2016 / All songs in bilingual edition / Expanded and revised edition by Bob Dylan.” In fine condition, with edgewear and bumped corners, and some creasing to the belly band. Starting Bid $200
380. Grateful Dead: Owsley Stanley Bronze ‘Steal Your Face (Stealie)’ Grateful Dead Belt Buckle. Extremely desirable cast bronze ‘Steal Your Face (Stealie)’ belt buckle designed by legendary Grateful Dead sound engineer Owsley Stanley, measuring approximately 2˝ in diameter, with his signature, “OS BT/GDP,” “1983,” and “6” incised on the reverse. The Grateful Dead’s iconic ‘Stealie’—the lightning bolt-bisected skull—was designed by artist Stanley and Bob Thomas in 1969, initially using it to identify the band’s equipment cases. In fine condition.
Augustus Owsley Stanley III (1935–2011), known simply as “Owsley” or “Bear,” was the legendary underground chemist, sound engineer, and counterculture icon who became the first private individual to manufacture LSD on a mass scale, producing an estimated 1.25 million doses between 1965 and 1967.
A self-taught audio visionary, he served as the Grateful Dead’s longtime sound engineer and financial patron, essentially bankrolling the band in their early years and pioneering concert sound reinforcement technology that transformed live music production. His singular influence on the psychedelic movement, the San Francisco music scene, and American counterculture cemented his status as one of the most mythologized and consequential figures of the 1960s. From the personal Grateful Dead collection of Alice Giblin. Starting Bid $200
Janis Joplin signature with heart sketch, obtained before Winnipeg’s 1970 Festival Express
381. Janis Joplin Signed Rothmans of Pall Mall Cigarette Pack. Vintage ballpoint signature, “Janis Joplin,” adding a sketch of a heart, on a white 3.25 x 4 panel from a Rothmans of Pall Mall Cigarette package. In very good condition, with irregularly trimmed edges and heavy overall creasing.
Accompanied by a provenance statement from the original recipient, in part: “In early July 1970, I personally acquired this autograph in Winnipeg, Manitoba. While walking through Memorial Park during the day, my then-boyfriend and I encountered Janis Joplin and members of her entourage. She stood out with her distinctive feathered hair and large colored glasses and of course, all of the excitement that was all around her.
My boyfriend, who was outgoing, approached her and asked for her autograph. She signed the Rothmans cigarette package he was carrying. After finishing the cigarettes, he gave the signed package to me. It has remained in my continuous possession ever since, stored safely for 56 years in an envelope through numerous moves and life events. Later that same day, we attended the festival at Winnipeg Stadium where Janis Joplin performed. We were young back then and didn’t appreciate all the musical line up but Janis was outstanding. Sadly, she died that fall, while I was in Grade 10.” Starting Bid $300
382. Led Zeppelin: Page, Plant, and Jones Signed CD - Coda. Coda CD signed and inscribed on the front of the booklet in blue felt tip, “To Martin—John Paul Jones,” “Rock on! Jimmy Page,” and “Robert Plant.” The CD booklet itself is in fine condition; the CD’s jewel case exhibits several cracks to the front. The CD is included. Starting Bid $200
383. Led Zeppelin: John Bonham Signature. Soughtafter vintage ballpoint signature, “Best wishes, John Bonham,” on an off-white 5 x 2.75 slip, with a collector’s notation across the top: “The drummer from Led Zep.” In fine condition, with mild soiling and a rough top edge. Accompanied by a full letter of authenticity from REAL. Starting Bid $200
384. Queen: Freddie Mercury Signed ‘A Day at the Races’ Music Book. Softcover sheet music book for the 1976 Queen album A Day at the Races, 9 x 12, 64 pages, published by the Beechwood Music Corporation, signed and inscribed next to his likeness on the inside front cover in green felt tip, “To Natasha, Freddie Mercury.” The consignor notes that the autograph was obtained by the head waitress in the catering area of Musicland Studios in Munich, Germany, between June and July 1979, when Queen were there to record the album The Game. In very good to fine condition, with some light creasing to the covers. Accompanied by a certificate of authenticity from Tracks. Starting Bid $300
The Stones sign The Lord’s Taverners Charity Album— the first appearance of their song ‘Surprise Surprise’
385. Rolling Stones Signed Album - The Lord’s Taverners Charity Album. The Lord’s Taverners Charity Album: 14 Great Artists signed on the back cover in blue ballpoint by Mick Jagger, Brian Jones, Keith Richards, Charlie Watts, and Bill Wyman. In very good to fine condition, with scattered light staining and soiling. The record is included.
The Lord’s Taverners Charity Album is a 1965 Decca Records compilation LP featuring fourteen Decca artists, released in the UK under names including 14 Great Artists / 14 New Recordings and in the US as England’s Greatest Hitmakers. Its profits, along with artist royalties, were donated to the Lord’s Taverners for the National Playing Fields Association. The album included specially recorded, previously unreleased tracks by acts such as The Rolling Stones, The Zombies, Them, Tom Jones, Billy Fury, and others. Starting Bid $500
386. Rolling Stones (2) Signed Fan Club Promotional Cards (c. 1963) - The Earliest Form of the Band’s Fan Club Card. Two vintage circa 1963 Rolling Stones fan club promo cards (the earliest form of a Stones fan club card), 5.25 x 4.75, with one signed on the reverse in red ballpoint, “Brian Jones” and “Mick Jagger,” and in blue ballpoint, “Charlie Boy [Charlie Watts]” and “Bill Wyman,” and the other is signed on the reverse in black ballpoint, “Love, Keith Richard, xx” and “Charlie Boy,” and in blue ballpoint, “Love, Bill Wyman.” A printed caption on the reverse of both lists the address of the fan club’s national secretary, Diane Nelson. These examples are from the first Rolling Stones Fan Club cards issued, dating to late summer–autumn 1963, the same period in which the signatures were obtained. In very good to fine condition, with heavy creasing to the thrice-signed card, and edge soiling to the other. Accompanied by a certificate of authenticity from Tracks and a full letter of authenticity from REAL. Read more online at www.RRAuction.com. Starting Bid $200
Wembley’s Class of ’65: a star-studded N.M.E. Poll
Winners Concert running order signed by the Rolling Stones, Donovan, and Herman’s Hermits
387. Rolling Stones, Donovan, and Herman’s Hermits Signed 1965 NME Poll Winners Concert Call Sheet. Document headed, “Running Order and Breakdown of Groups Appearing in the N.M.E. Poll Winners Concert, Wembley, 11th April, 1965,” three pages, 8 x 13, listing artists, set lists, and runtimes for groups including The Moody Blues, Freddie and the Dreamers, Herman’s Hermits, The Rolling Stones, Dusty Springfield, Donovan, Them, Tom Jones, The Beatles, The Animals, The Searchers, and The Kinks. Signed in black ink by several of the performers, including: The Rolling Stones (Charlie Watts, Brian Jones, and Keith Richards), Herman’s Hermits (Peter Noone, Derek Leckenby, Keith Hopwood, and Barry Whitwam), Cilla Black, The Mindbenders (Bob Lang and Ric Rothwell), Donovan, and Tom Jones. The Rolling Stones were allotted an eight-minute set, to include their original song “The Last Time”; they also played covers of the blues and R&B classics ‘Everybody Needs Somebody to Love,’ ‘Pain in My Heart,’ and ‘Around and Around.’ In very good condition, with moderately heavy handling wear, intersecting folds, soiling, edge tears, small areas of paper loss, and tape reinforcements to the reverse of the third page. This running order for the 1965 N.M.E. Poll Winners Concert captures a defining moment in the British beat boom, when Wembley gathered many of the era’s biggest pop and rock acts on a single bill. Featuring The Beatles, The Rolling Stones, The Kinks, The Animals, Dusty Springfield, Donovan, Tom Jones, and others, the document reflects the extraordinary concentration of talent dominating the mid-1960s charts. Enhanced by signatures from several of the performers, it stands as both a working production document and a remarkable autograph piece from one of Britain’s most celebrated pop showcases. Starting Bid $200
Hotline to rock royalty—a great fully signed photo of the Rolling Stones
388. Rolling Stones Signed Photograph. Fantastic vintage glossy 9.25 x 7.25 photo of the Rolling Stones holding rotary telephones, signed in blue ballpoint by Mick Jagger, Brian Jones, Keith Richards, Charlie Watts, and Bill Wyman. In fine condition, with poor-to-moderate signature contrast. Starting Bid $200
389. Tears for Fears: Gail Ann Dorsey’s Stage-Worn A.B.S. Blazer Worn at D.A.R. Constitution Hall (October 12, 1993). Stage-worn A.B.S. (Allen Schwartz) tapestry-pattern blazer worn by bassist Gail Ann Dorsey during Tears for Fears’ performance at D.A.R. Constitution Hall in Washington, D.C., on October 12, 1993, as part of the band’s Elemental world tour. The American-made size 10 blazer is tailored in a richly woven tapestry-style jacquard featuring repeating heraldic-inspired geometric motifs in burgundy, navy, olive green, and gold, accented by a black velvet notched collar, matching velvet pocket flaps and turned-back cuffs, and a bronze satin lining. Interior labels read “a.b.s. USA,” “Made in the U.S.A.,” and “Size 10.” In fine condition, with fading below the right pocket from stage-worn use.
On October 12, 1993, Tears for Fears brought their Elemental world tour to D.A.R. Constitution Hall in Washington, D.C., with Roland Orzabal leading the band’s first major tour following the departure of co-founder Curt Smith. The concert featured material from the acclaimed Elemental album alongside many of the group’s defining hits, including ‘Woman in Chains,’ ‘Head Over Heels,’ ‘Everybody Wants to Rule the World,’ and ‘Shout.’ Gail Ann Dorsey served as bassist and vocalist in the touring lineup, a role that marked a pivotal point in her career and led directly to her subsequent collaborations with David Bowie.
Although no official live album or concert film was released from the Washington performance, contemporary video footage of the concert, including the band’s performance of ‘Woman in Chains’ available on YouTube, clearly documents Gail Ann Dorsey wearing the offered blazer onstage. Her fluid bass playing and distinctive backing vocals provide the rhythmic foundation for the performance, capturing Dorsey during a pivotal period in her career. From the personal collection of Gail Ann Dorsey. Starting Bid $300
Entertainment
508. Lon Chaney, Jr. Signed Photograph as The Wolf Man. Vintage glossy 10 x 8 photo of Lon Chaney Jr. as the title creature from the 1941 horror classic The Wolf Man, signed and inscribed in ink, “To Chuck, Lon Chaney.” Affixed to a same-size cardstock mount and in very good condition, with scattered light creasing, and a heavier diagonal crease extending from his hair to his left hand. Accompanied by a certificate of authenticity from Universal Studios Hollywood. Starting Bid $200
509. Charlie Chaplin Signed Critics’ Circle Film Section Luncheon Menu During His Limelight Visit to London (1952). Vintage luncheon menu, 5.25 x 8.5, held by the Critics’ Circle Film Section in honor of Charlie Chaplin at the Empress Club in London, on October 10, 1952, signed prominently in blue ballpoint by Chaplin. The cover features a charming printed illustration of Chaplin as his iconic Tramp character. Double-matted with a photo of Chaplin as the Tramp to an overall size of 17 x 13.75. In fine condition, with a few small stains, and a central horizontal fold.
Held on October 10, 1952, this luncheon took place during one of the most consequential moments of Chaplin’s career. Less than a month earlier, Chaplin, his wife Oona, and their children had departed New York aboard the RMS Queen Elizabeth for the London premiere of Limelight when U.S. Attorney General James P. McGranery revoked Chaplin’s reentry permit while he was still at sea. Rather than contest the decision, Chaplin chose to settle permanently in Switzerland. Starting Bid $200
510. Audrey Hepburn Signed United Nations FDC. United Nations FDC with a color cachet bearing a printed Audrey Hepburn drawing of children below a dove of peace, entitled “Rights of the Child,” signed in blue felt tip by Hepburn. In very fine condition. Issued in support of the United Nations’ advocacy for children’s rights, the cachet reflects Hepburn’s humanitarian work as a UNICEF Goodwill Ambassador, a role in which she championed the welfare of children around the world.
Starting Bid $200
511. Audrey Hepburn Signature. Ballpoint signature, “Audrey Hepburn,” on an off-white 3.5 x 2 sheet, which is doublematted with a large, beautiful portrait photo of the Oscar-winning actress to an overall size of 12.25 x 18.25. In fine condition.
Starting Bid $200
“Lara
says goodbye to Dr. Zhivago”—a page from Jarre’s iconic, Oscar-winning score
512. Maurice Jarre Autograph Musical Manuscript Signed - ‘Lara’s Theme’ from Doctor Zhivago. Autograph musical manuscript, signed twice, “M. Jarre” and “Maurice Jarre,” one page, 10.75 x 14.25, being a fragment from ‘Lara’s Theme’ from Doctor Zhivago (1965), headed: “Lara says goodbye to Dr. Zhivago.” Fabulously executed in brown felt tip on 28-stave musically lined paper, the page from Jarre’s handwritten score is annotated in various colors in the left margin to denote instrumentation. In fine condition. Accompanied by a glossy 9.75 x 6.75 photo of Jarre, signed in thick blue felt tip.
Maurice Jarre’s score for Doctor Zhivago is a masterful blend of sweeping romance and emotional depth, perfectly capturing the film’s epic scope and intimate human drama. Anchored by the unforgettable ‘Lara’s Theme’—one of cinema’s most iconic melodies—the music weaves together lush orchestrations and Russian-inspired motifs to evoke the turbulent backdrop of the Russian Revolution. The score earned Jarre an Academy Award for Best Original Score and solidified his reputation as one of the greatest film composers of all time. Starting Bid $500
Signed check dates to the pivotal months following Bruce Lee’s naming of ‘Jeet Kune Do’ and the end of The Green Hornet
513. Bruce Lee Filled Out and Signed Check, Purchasing Sporting Goods Three Months After Coining ‘Jeet Kune Do’ (October 21, 1967). Personal check (First Western Bank), 6 x 2.75, filled out and signed by Bruce Lee, payable to United Sporting Goods for $27.76, dated October 21, 1967. In fine condition.
Just three months earlier, on July 9, 1967, Lee had coined the name ‘Jeet Kune Do’ for the martial arts philosophy he had spent years developing after rejecting the rigid conventions of traditional kung fu. That same summer, The Green Hornet, the television series that introduced Lee to American audiences as Kato, came to an end, its final episode airing on July 14, 1967. With his acting work abruptly curtailed, Lee devoted himself to the Los Angeles Jun Fan Gung Fu Institute he had opened earlier that year at 628 College Street in Chinatown, where he refined his evolving philosophy and trained students, including Steve McQueen and James Coburn. Starting Bid $1000
515. NBC’s Saturday Night Live Album Signed by John Belushi, Laraine Newman, and Dan Aykroyd. NBC’s Saturday Night Live album, signed and inscribed on the front cover in felt tip by three members of the original 1975 cast: “Fred & Robin, Love, John Belushi,” “To Fred & Robin, Laraine Newman,” and “To Fred & Robin, Dan Aykroyd.” In very fine condition. The record is not included. Released during the inaugural season of NBC’s Saturday Night—the program that would soon become Saturday Night Live—this album is signed by three members of the original 1975 cast: John Belushi, Dan Aykroyd, and Laraine Newman. As members of the ‘Not Ready for Prime Time Players,’ they helped establish a new model of live television comedy that launched the careers of a generation of performers and writers. Starting Bid $500
Animation and Comic Art
600. Popeye #3 Original Hand-Drawn Comic Strip (ca. 1948) - Attributed to Bud Sagendorf. Original handinked eight-panel Popeye comic strip attributed to Bud Sagendorf, 13.75 x 20.5, identified in the right margin as “Popeye #3 P. 35,” additional numbering to upper and lower margins, “44590” and “BK #7 P.” The comic, dated circa 1948, centers on Wimpy’s bewilderment after Popeye unexpectedly “smacked” him without warning. Concerned by Popeye’s strange behavior, Wimpy sets out to warn Olive Oyl, who attests: “But that’s silly, Wimpy…Popeye doesn’t go around hitting his friends!” When she asks why he’s leaving to attend “a vital matter,” he quips that he has to “find a doctor” for her, implying that she’s likely to be Popeye’s next victim. Mounted and framed to an overall size of 16 x 22.5. In fine condition, with a trimmed right edge and some staining to the left edge.
Bud Sagendorf (1915–1994), a longtime assistant to Popeye creator E. C. Segar, became the principal creative force behind the character following Segar’s death. From 1948 to 1967, he wrote and illustrated the Popeye comic book for Dell, Gold Key, and King Comics, and in 1959 assumed stewardship of the long-running Thimble Theatre newspaper strip, ensuring Popeye’s continued popularity for a new generation of readers. Starting Bid $200
Prominently signed first British edition of The Art of Walt Disney, the first major scholarly study of Disney’s artistic achievements
601. Walt Disney Signed Book - The Art of Walt Disney. Signed book: The Art of Walt Disney by Robert D. Feild. First British edition. London/Glasgow: Collins, 1944. Hardcover with oatmeal cloth and red-and-black titling, 8.25 x 11.25, 290 pages. Signed and inscribed on the title page in blue ink, “To Eileen, All best wishes, Walt Disney.” Autographic condition: fine. Book condition: VG/None, with minor foxing to textblock and toning to endpapers. Published in 1942 and issued two years later in its first British edition, The Art of Walt Disney is regarded as the first major scholarly study of Disney’s artistic achievements and the earliest comprehensive examination of the studio’s animation process. Harvard art historian Robert D. Feild was granted unprecedented access to the Walt Disney Studios during 1939-1940, observing the production of such landmark films as Pinocchio and Fantasia while documenting the techniques, philosophy, and collaborative artistry that transformed animation into a respected art form. Richly illustrated and produced with Disney’s cooperation, the volume remains one of the most influential early books on the studio and an enduring cornerstone of Disney scholarship. Signed examples are especially desirable. Starting Bid $500
603. Little Hiawatha production cel from Little Hiawatha. (Walt Disney Studios, 1937) Original production cel of the title character from Little Hiawatha, depicting the pint-sized Native American in a curious full-figure pose. The cel has been trimmed and applied to a hand-painted woodgrain background as prepared by Courvoisier Galleries for sale. Image measures 2.25 x 5, with a mat opening of 5 x 5.75. Attractively double-matted and framed to an overall size of 13.5 x 14.25. The piece has the original Disney Courvoisier Galleries label on the reverse. In fine condition, with the upper edge of cel no longer below mat. An uncommon display piece celebrating a classic episode and character from the Silly Symphonies series. Starting Bid $200
604. Bashful production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cel featuring Bashful from Snow White and the Seven Dwarfs, picturing the shy dwarf holding a cup in a surprised full-figure pose. The cel has been trimmed and applied to a woodgrain background as prepared by Courvoisier Galleries for sale. Character image measures 3 x 4.5, with a mat opening of 7.75 x 7.5. Double-matted to an overall size of 14.75 x 17.5. Reverse bears a 1937 Walt Disney Enterprises label, identifying the cel as an “Original Work from Snow White and the Seven Dwarfs.” In fine condition, with some light rippling. Starting Bid $200
Original production cels of Doc, Happy, and Dopey from the memorable washing sequence in Snow White and the Seven Dwarfs, presented by Courvoisier Galleries
605. Doc, Happy, and Dopey production cels from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cels of Doc, Happy, and Dopey from Snow White and the Seven Dwarfs, picturing the three friendly dwarves during the film’s memorable washing sequence. The cels have been trimmed and applied to a hand-painted background as prepared by Courvoisier Galleries for sale. Total character image measures 8.75 x 7, with the original mat measuring to an overall size of 14.5 x 13; reverse bears a 1937 Walt Disney Enterprises label and a Walt Disney label that reads: “This is an original painting on celluloid from the Walt Disney Studios, actually used in the filming of ‘Snow White and the Seven Dwarfs.’ Only a very limited number have been selected to be placed on the market.” In fine condition, with some slight peeling to cels, uniform toning from display, and a small slice to the right of the overlay cel. Starting Bid $500
606. 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, showing the young dwarf holding a cymbal and looking at a string of bells. The cel has been trimmed and applied to an airbrushed background as prepared by Courvoisier Galleries for sale. Image measures 6.25 x 5.5, and the original mat, which is entitled “Dopey,” measures to an overall size of 12 x 12; reverse bears an original Walt Disney Enterprises label. In fine condition, with rippling to the cel, and surface loss and adhesive remnants to the mat. Starting Bid $200
607. Dopey production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cel of Dopey from Snow White and the Seven Dwarfs, depicting the young dwarf in a full-figure profile pose holding a pick-axe. The cel has been trimmed to form and placed on a color printed background from the same film. Character image measures 4 x 3.75, with overall dimensions of 14 x 11.5. In fine condition. Starting Bid $200
608. Grumpy production cel and production background from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cel of Grumpy presented on an original production background from Snow White and the Seven Dwarfs. The cel, which pictures the perturbed dwarf with folded arms in a full-figure pose, is trimmed to form and placed on a handpainted production background from the same film. Character image measures 3.25 x 4.75, with a mat opening of 7.25 x 9. Expertly cloth-matted and framed to an overall size of 18.25 x 20. In fine condition, with a couple of spots of discoloration. Starting Bid $300
609. Sleepy production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Scarce original production cel of Sleepy from Snow White and the Seven Dwarfs, which depicts the dwarf in a somber full-length pose when he and the other dwarfs grieve over the ‘death’ of Snow White. The cel, which is marked “13” in the lower right, is placed on a matching color print background from the same film. Image measures 3.5 x 4.75, with overall dimensions of 13 x 10.25. In fine condition, with rippling and adhesive remnants to edges. Starting Bid $200
Museum-quality Courvoisier set-up of Snow
White at the wishing well during the iconic ‘I’m Wishing’ sequence— the first song in Disney’s animated canon
610. Snow White and doves production cels from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cels of Snow White, a well rope and pulley, and several doves from Snow White and the Seven Dwarfs, which depicts Snow White as a peasant gathering water from a well during the memorable ‘I’m Wishing’ sequence—the first song featured in the movie, and by extension, the first in the animated canon. The cels, which feature a special effects overlay cel of tree leaves or vines, have been trimmed and applied to an airbrushed background as prepared by Courvoisier Galleries for sale. The Snow White image measures 2.25 x 3.5, the rope and pulley measure 1.75 x 7, and each dove approximately measures 1 x 1, with a mat opening of 10.25 x 8.5. Matted and framed to an overall size of 18.25 x 16.75. In fine condition, with some small areas of toning, a nearly imperceptible crack to Snow White’s cheek, and some spotting to the mat. A true museum-quality piece from a classic film. Starting Bid $1000
Courvoisierpresented original production cel of Snow White in a charming full-figure pose as the Evil Queen’s scullery maid
611. Snow White production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cel of Snow White and two small songbirds from Snow White and the Seven Dwarfs, picturing the film’s title character standing behind a curtain in a full-length pose, wearing her ragged dress as the scullery maid of her stepmother, the Evil Queen. The cel has been trimmed and applied to a hand-painted background as prepared by Courvoisier Galleries for sale. Character images measure 3 x 7.5 (Snow White) and 1.25 x .75 (birds), with a mat opening of 6.5 x 10.25. Matted to an overall size of 13.5 x 18; reverse bears a Walt Disney label that reads: “This is an original painting on celluloid from the Walt Disney Studios, actually used in the filming of ‘Snow White and the Seven Dwarfs.’ Only a very limited number have been selected to be placed on the market.” In very good to fine condition, with slight rippling and some lifting and loss to the paint, namely to Snow White’s hand and leg. Starting Bid $500
612. Mickey Mouse production cel from Brave Little Tailor. (Walt Disney Studios, 1938) Original production cel of Mickey Mouse from Brave Little Tailor, showing the character in his Middle Ages tailor’s outfit as he explains his case in the king’s hall. The cel is placed on a handpainted custom prepared background. Image measures 3 x 4.25, with overall dimensions of 11.75 x 10. The cel is slightly trimmed to 11.75 x 9.75, and is marked “176” in the lower right corner. In very good to fine condition, with overall waviness. This cartoon was an adaptation of the fairy tale The Valiant Little Tailor and cast Mickey Mouse in the title role, voiced by Walt Disney himself. It was nominated for the Academy Award for Best Animated Short Film in 1939, but lost to Disney’s own Ferdinand the Bull. It is still considered one of Disney’s greatest shorts, and in 1994 the film was chosen as the 26th greatest cartoon of all time by members of the animation field. Starting Bid $200
613. Ferdinand and Matador production cels from Ferdinand the Bull. (Walt Disney Studios, 1938) Original production cels featuring Ferdinand and the matador from Ferdinand the Bull, showing the titular bull gleefully smelling a bouquet as the frustrated matador marches over with his cape. The cels have been trimmed and applied to a hand-painted woodgrain background as prepared by Courvoisier Galleries for sale. The Ferdinand image measures 5 x 5.5, and the matador image measures 3.5 x 5.5, with a mat opening of 9.25 x 9. Matted and framed to an overall size of 16.25 x 17; the original mat is entitled, “Ferdinand.” The reverse bears a 1938 Walt Disney Productions label, indicating that “This is an original painting on celluloid actually used in the Walt Disney Production of Ferdinand the Bull. It is one of a select few that have been released to art collectors. The remainder have been destroyed.” In very good to fine condition, with horizontal splits through the matador’s right leg and through Ferdinand’s left horn. This classic early Disney cartoon won the 1938 Academy Award for Best Short Subject (Cartoons); interestingly, the matador was a caricature of Walt Disney himself. Starting Bid $200
614. Harpo Marx production cel from Mother Goose Goes Hollywood. (Walt Disney Studios, 1938) Original production cel featuring Harpo Marx from Mother Goose Goes Hollywood, showing the comedian cheerily playing the fiddle. Image measures 4 x 6.75, with overall dimensions of 12.25 x 9.75. In fine condition, with slightly trimmed edges, and overall light rippling. Featuring appearances by the likes of the Marx Brothers, Clark Gable, Spencer Tracy, Laurel and Hardy, W. C. Fields, and many others, the cartoon was nominated for an Academy Award for Best Animated Short, but lost to Disney’s own Ferdinand the Bull. Starting Bid $200
Original David Hall artwork created for Disney’s abandoned 1939 adaptation of Alice in Wonderland, later published in the Giant Golden Book Surprise Package
615. David Hall concept artwork of Bill the Lizard and the White Rabbit from Alice in Wonderland - From Disney’s Abandoned 1939 Adaptation, Later Published in the Giant Golden Book Surprise Package. (Walt Disney Studios, 1939) Original concept artwork of Bill the Lizard and the White Rabbit by David Hall from Alice in Wonderland, later printed in the first edition of Simon & Schuster’s Giant Golden Book Surprise Package as one of a select group of illustrations salvaged from Disney’s abandoned 1939 adaptation of the Lewis Carroll classic. Accomplished in mixed media on 14.5 x 10.75 animation board, with the image measuring 6.5 x 5. The reverse bears Walt Disney Studios production stamp identifying the artwork as “Feature 1017,” “Sketch No. 416,” the artist as David Hall, and a date stamp of December 14, 1939. In very good to fine condition, with some creases and areas of surface loss to the borders. This charming illustration depicts a scene from the famous ‘White Rabbit’s House’ chapter of Lewis Carroll’s Alice’s Adventures in Wonderland. After Alice grows to an enormous size inside the White Rabbit’s cottage and becomes stuck, the panicked White Rabbit summons assistance and sends Bill the Lizard down the chimney to investigate, only for Alice to send him flying back into the air. Created by British artist David Hall during his brief but influential tenure at Walt Disney Studios, the artwork dates to Disney’s first proposed adaptation of Alice in Wonderland. In 1939, Hall produced more than 400 paintings and sketches exploring Carroll’s fantastical world, developing a visually rich interpretation heavily inspired by the original illustrations of Sir John Tenniel. Although Walt Disney ultimately abandoned Hall’s version of the project, finding its elaborate designs too complex to animate and its tone too dark for the intended audience, Hall’s artwork remains among the most celebrated unrealized concepts in Disney history. After the project was shelved, Disney licensed a selection of Hall’s illustrations for publication in Simon & Schuster’s 1944 Giant Golden Book Surprise Package, introducing his long-unseen vision of Wonderland to the public. An exceptional surviving example of Hall’s rare and highly sought-after Alice in Wonderland concept art, representing one of the most fascinating unrealized chapters in Disney animation history. Starting Bid $300
617. Chernabog production drawing from Fantasia. (Walt Disney Studios, 1940) Original production drawing featuring Chernabog from Fantasia, showing the villainous demon from the ‘Night on Bald Mountain/Ave Maria’ segment animated by Vladimir ‘Bill’ Tytla. Accomplished in graphite and colored pencil on untrimmed 15.5 x 12.5 animation paper marked “307” in the lower right corner. Image measures 9 x 11. In fine condition, with trivial creasing. Chernabog has been praised as Disney’s best representation of pure evil and as Tytla’s greatest triumph in animation. Starting Bid $200
616. Chernabog production drawing from Fantasia. (Walt Disney Studios, 1940) Original production drawing of Chernabog from Fantasia, showing the imposing demon during the terrifying ‘Night on Bald Mountain’ sequence. Accomplished in graphite and colored pencil on untrimmed 15.5 x 12.5 animation paper marked “136” in the lower right corner. Image measures 10.75 x 8. In fine condition, with scattered creasing. Starting Bid $200
618. Chernabog production drawing from Fantasia. (Walt Disney Studios, 1940) Original production drawing featuring Chernabog from Fantasia, showing the villainous demon from the ‘Night on Bald Mountain/Ave Maria’ segment animated by Vladimir ‘Bill’ Tytla. Accomplished in graphite and colored pencil on untrimmed 15.5 x 12.5 animation paper marked “26” in the lower right corner. Image measures 9.5 x 10. In fine condition, with trivial creasing, and a diagonal bend to the upper portion. Chernabog has been praised as Disney’s best representation of pure evil and as Tytla’s greatest triumph in animation. Starting Bid $200
619. Hyacinth Hippo production cel from Fantasia. (Walt Disney Studios, 1940) Original production cel of Hyacinth Hippo from Fantasia, which depicts the lovely hippopotamus dancing during the ‘Dance of the Hours’ sequence. The cel is taped to a matching giclee background. Image measures 3.25 x 4.75, with overall dimensions of 14 x 12. The lower right corner is marked “5.” In fine condition. Starting Bid $200
620. 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 in Yen Sid’s hat, directing a magical broom to carry two water buckets down the stairs to the basin pool. Accomplished in gouache on black 6 x 6 artist’s board. In fine condition, with tack holes to the corners. A well-done piece of concept art from a Disney classic. Starting Bid $300
621. 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 wearing Yen Sid’s hat as he climbs out from the basin pool dripping wet, his ire directed toward the magical broom that just tossed him in. Accomplished in gouache on black 6.25 x 6 artist’s board. In fine condition, with tack holes to the corners. Starting Bid $300
622. Mickey Mouse concept painting from Fantasia. (Walt Disney Studios, 1940) Dramatic original concept painting of Mickey Mouse from the ‘Sorcerer’s Apprentice’ segment of Fantasia, showing the young wizard-to-be struggling to swim as magic brooms continue to fill up Sorcerer Yen Sid’s inner chambers with buckets of water. Accomplished in gouache on black 6.25 x 6 artist’s board. In fine condition, with tack holes to corners. A superb piece of concept art from one of Disney’s greatest and most innovative films. Starting Bid $300
623. 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 wearing Yen Sid’s hat as he attempts to stop a magical broom from tossing more water into the already overflowing basin pool. Accomplished in gouache on black 6.25 x 6 artist’s board. In fine condition, with tack holes to the corners. Starting Bid $300
Rare oversized Mickey Mouse production cel from Fantasia,
depicting
the beloved sorcerer’s apprentice
624. Mickey Mouse production cel from Fantasia. (Walt Disney Studios, 1940) Extremely rare original production cel of Mickey Mouse from Fantasia, depicting the iconic mouse in a large halflength pose during the film’s famous ‘The Sorcerer’s Apprentice’ segment. The cel is trimmed to 9 x 9.25 and placed on a color 12.5 x 11 photographic background of Sorcerer Yen Sid’s inner castle, which shows a pair of bucket-carrying brooms. Character image measures 4.75 x 7. In fine condition, with rippling to edges, and a couple of small areas of paint loss. With its unusually large depiction of Mickey in his most celebrated animated role, this represents an exceptionally scarce production cel from one of Disney’s greatest achievements. Starting Bid $500
Jiminy Cricket with his ‘Official Conscience’ badge—a Courvoisier display from Pinocchio
625. Jiminy Cricket production cel from Pinocchio. (Walt Disney Studios, 1940) Original production cel featuring Jiminy Cricket from Pinocchio, which depicts the good-hearted cricket wearing his solid gold badge, a reward from the Blue Fairy who certifies him as an official conscience at the end of the film. The cel has been trimmed and applied to an airbrushed background as prepared by Courvoisier Galleries for sale, with the original mat entitled below, “Jiminy Cricket.” Character image measures 3.5 x 3.75, with a mat opening of 4.5 x 5.25. Cloth-matted and framed to an overall size of 6.5 x 17.5. In fine condition. Starting Bid $300
626. Pinocchio and Jiminy Cricket production cel from Pinocchio. (Walt Disney Studios, 1940) Original production cels featuring Pinocchio and Jiminy Cricket from Pinocchio, showing the puppet-turned-boy looking at Jiminy Cricket, shown smiling with his umbrella in a full-figure pose. The cels have been trimmed and applied to an airbrushed background as prepared by Courvoisier Galleries for sale, which humorously shows Jiminy leaning on the mouth of a flower that appears to be a pitcher plant, a carnivorous plant known to eat insects. Images measure 6 x 6.5 (Pinocchio) and 1.75 x 1.5 (Jiminy Cricket), with a mat opening of 9.5 x 7.5; the lower border of the original mat is entitled “‘Always Let Your Conscience Be Your Guide.’” Double-matted and framed to an overall size of 21.25 x 19. Includes its original Courvoisier Galleries label, which states that “This is an original painting on celluloid, actually used in the Walt Disney Production of Pinocchio. It is one of a select few that have been released to art collectors. The remainder have been destroyed.” In fine condition, with slight peeling to the cels that reveals adhesive below. An amusing Courvoisier set-up from the popular Oscar-winning animated feature. Starting Bid $300
“Now Listen, Pinoke”—impressive Pinocchio and Jiminy Cricket cel set-up with lovely Courvoisier background
627. Pinocchio and Jiminy Cricket production cels from Pinocchio. (Walt Disney Studios, 1940) Original production cels featuring Pinocchio and Jiminy Cricket from Pinocchio, showing the puppet-turned-boy looking at Jiminy Cricket, who is perched upon a flower. The cels have been trimmed and applied to an airbrushed background as prepared by Courvoisier Galleries for sale, with the original mat entitled, “‘Now Listen, Pinoke.’” Images measure 6 x 6.5 (Pinocchio) and 1.75 x 1.5 (Jiminy Cricket), with a mat opening of 9.5 x 7.5. Framed to an overall size of 16.5 x 16.5. In fine condition. A great Courvoisier set-up from the popular Oscar-winning animated feature. Starting Bid $500
Dumbo takes flight with Timothy Q. Mouse—a remarkable Courvoisier display with the original production cel and near-matching production drawing
628. Dumbo and Timothy Q. Mouse production cel and drawing from Dumbo. (Walt Disney Studios, 1941) Original production cel and near-matching production drawing featuring Dumbo and Timothy Q. Mouse from Dumbo, showing the big-eared baby elephant flying through the air with Timothy perched in his hat; the nearmatching drawing shows Dumbo in the same position, but without Timothy in his hat. The cel has been trimmed and applied to a hand-painted background as prepared by Courvoisier Galleries for sale; the drawing is accomplished in graphite and colored pencil on animation paper. Images each measure 6.5 x 3, with mat openings of 9 x 7. Framed to an overall size of 29.5 x 16.25. In overall fine condition. An extremely rare and unique display, and certainly one of the finest Dumbo pieces we have encountered. Starting Bid $500
629. Bambi production cel from Bambi. (Walt Disney Studios, 1942) Original production cel of Bambi from the Oscar-nominated film of the same name, showing the beloved young deer enjoying a romp on some slippery ice. The cel is placed on a matching color print of a frozen pond. Image measures 4 x 4, with a mat opening of 10.5 x 7.5. Triple-matted and framed to an overall size of 18.5 x 15.5. In fine condition. A rare full-figure production cel of this classic Disney character. Starting Bid $200
630. Br’er Bear production cel from Song of the South. (Walt Disney Studios, 1946) Scarce original production cel of Br’er Bear from Song of the South, depicting the slowwitted antagonist holding his club in a large, nearly full-length pose. The cel, which is marked “A170” in the lower right, is placed on a key master giclee background of a forest, field, and blue sky. Image measures 4 x 7.75, with overall dimensions of 15.25 x 11. In fine condition, with light rippling to the slightly trimmed cel edges. Starting Bid $200
631. Br’er Fox and Br’er Rabbit production cel from Song of the South. (Walt Disney Studios, 1946) Original production cel of Br’er Fox and Br’er Rabbit from Song of the South, which shows the fox preparing to roast the rabbit on a stick. The cel is placed on a matching 14 x 11 laser background from the same film. Total character image measures 8 x 6.75, with the cel marked “13” in the lower right. In fine condition, with some light scuffing. Starting Bid $300
632. Br’er Rabbit and Br’er Fox production cel from Song of the South. (Walt Disney Studios, 1946) Original production cel featuring Br’er Rabbit and Br’er Fox from Song of the South, which shows the fox holding up the rabbit by his ears. The cel is trimmed to an overall size of 6.25 x 6. In fine condition. Starting Bid $200
633. King’s royal bedroom original production background from Cinderella. (Walt Disney Studios, 1950) Beautiful original 16-field hand-painted production background of the King’s bedroom from Cinderella, representing the lavish royal bedchamber dominated by an enormous red canopy bed with ornate gilt trim, richly decorated gold walls with repeating carved panel motifs, a tall ornate mirror against the far wall, a blue arched ceiling with decorative molding, and a gold-tiled floor. Accomplished in gouache on untrimmed 15.5 x 12.5 artist’s paper marked in the lower border in pencil, “Check final Field, 2063, SEQ 4.2, SC. 5.” In fine condition, with pinholes to the upper edge and a couple of short tears to the upper left corner. A finely rendered production background from the King’s bedchamber, an important palace setting that frames the King’s desire to see Prince Charming wed. Starting Bid $300
634. Alice production key master background set-up from Alice in Wonderland. (Walt Disney Studios, 1951) Original production key master background set-up featuring Alice from Alice in Wonderland, which shows the title character in a wonderful full-length walking pose as she follows a well-trodden woodland trail. The cel is placed on its matching hand-painted production background from the same film, depicting in great detail the fantastical forest landscape of Wonderland, and is annotated in the lower margin: “2069-9-48, 2069, Sc. 48, Sc. 9-09.0.” The cel is numbered accordingly as “2069-9-48” and “109.” The Alice image measures 2 x 3.5, with overall dimensions of 15.5 x 12.5. In very good to fine condition.
Released in 1951, Alice in Wonderland brought Lewis Carroll’s classic fantasy to the screen in a vibrant animated adaptation that remains among Disney’s most beloved animated features. Original production set-ups pairing a character cel with its matching key master background are especially desirable, representing artwork created and photographed during the animation process. Starting Bid $500
635. Ken Anderson concept painting of Alice from Alice in Wonderland. (Walt Disney Studios, 1951) Original concept painting attributed to Ken Anderson for Alice in Wonderland, depicting Alice inside the White Rabbit’s cottage. Rendered in Anderson’s distinctive story-development style, the composition shows Alice opening the door and entering a room filled with ornate furnishings, framed wall decorations, a prominent grandfather clock, and a suspended glass bottle containing a model ship. Accomplished in tempera on 10 x 8.25 artist’s board. In fine condition.
Ken Anderson (1909–1993) was a longtime Disney artist, storyman, and production designer whose work influenced many of the studio’s most celebrated animated features. Joining Disney in 1934, Anderson contributed to such classics as Snow White and the Seven Dwarfs, Pinocchio, Alice in Wonderland, Lady and the Tramp, One Hundred and One Dalmatians, The Jungle Book, and The Aristocats. Known for his strong sense of visual storytelling and staging, he played a key role in developing characters, environments, and narrative sequences across multiple generations of Disney animation. Starting Bid $200
636. Nature’s Half Acre group of (4) artwork and development material for Walt Disney’s True-Life Adventures series. (Walt Disney Studios, circa 1951) Development group lot of four items related to Disney’s Academy Award-winning ‘Nature’s Half Acre’ short documentary film, as part of their True-Life Adventures series, which includes: a large 8.25 x 15.5 graphite concept drawing of the film’s magical paintbrush motif, an original 9.25 x 7 silver gelatin reference photograph of a wooded location, a pastel color 9 x 7.75 concept study based upon that photograph, and the final 12.25 x 12.75 hand-painted master background depicting the same forest scene. The group offers a rare step-by-step record of Disney’s creative process, tracing the evolution of a single image from liveaction source material through artistic interpretation to finished production artwork. In overall very good to fine condition.
Released in 1951, Nature’s Half Acre was a short documentary directed by James Algar and produced by Walt Disney as part of the studio’s acclaimed True-Life Adventures series. The film examined the hidden world of plants, insects, and other small creatures through innovative nature photography, earning the Academy Award for Best Short Subject (Two-Reel) at the 24th Academy Awards. During its original theatrical run, Nature’s Half Acre was paired with Disney’s animated feature Alice in Wonderland. Starting Bid $200
637. Goofy production cel and Eyvind Earle production background from For Whom the Bulls Toil. (Walt Disney Studios, 1953) Original production cel of Goofy from For Whom the Bulls Toil, which pictures the beloved character in a determined full-figure pose wearing his matador ‘suit of lights’ outfit and holding a large red cape. The cel is placed over an attractive hand-painted production background attributed to Eyvind Earle and his staff. Character image measures 5.75 x 5.75, with a mat opening of 10.5 x 8.5. Matted and framed to an overall size of 18 x 16. In fine condition, with some instances of paint lifting to the upper sleeve and lower hand.
Renowned artist Eyvind Earle contributed to this short as an animation and background painter. Hired by Walt Disney Studios in 1951, his work on For Whom the Bulls Toil and other experimental shorts, such as the Oscar-winning Toot, Whistle, Plunk and Boom, led directly to his legendary role as the production designer and color stylist for Disney’s masterpiece, Sleeping Beauty. Starting Bid $200
638. 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 fullfigure 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
639. Tony production cel from Lady and the Tramp. (Walt Disney Studios, 1955) Original production cel featuring Tony from Lady and the Tramp, showing the Italian restaurant proprietor in the film’s famously romantic ‘Bella Notte’ sequence. The image, which has been trimmed to form, measures 7.75 x 6.25, with overall dimensions of 14 x 11. In fine condition. Starting Bid $200
640. Princess Aurora and Queen Leah production cel from Sleeping Beauty. (Walt Disney Studios, 1959) Large original production cel featuring Princess Aurora and Queen Leah from Sleeping Beauty, which shows the mother and daughter embracing at the end of the film. Full character image measures 7 x 7, with a mat opening of 14 x 10. Double-matted to an overall size of 20 x 16. In fine condition. A large production cel from the Disney classic, made all the more rare and desirable by the presence of Queen Leah, a minor character who appears only briefly in the film. Starting Bid $200
642. Pongo production cel from One Hundred and One Dalmations. (Walt Disney Studios, 1961) Original production cel of Pongo from One Hundred and One Dalmations, depicting the loyal protagonist dog running across a snow-covered backdrop. The cel is placed on a color copy background. Image measures 4.5 x 2.5, with overall dimensions of 15.5 x 12.5. In fine condition. Starting Bid $200
Rare original concept painting for Disneyland’s
The Haunted Mansion ride by Marc Davis, one of Disney’s ‘Nine Old Men’
641. Haunted Mansion ride concept painting of Captain Bartholomew Gore by Marc Davis. (Walt Disney Studios, 1967-1969) Desirable original concept painting attributed to Marc Davis for Disneyland’s famous dark ride attraction, The Haunted Mansion, depicting bloodthirsty pirate Captain Bartholomew Gore. Accomplished in ink and watercolor on untrimmed 10 x 12 heavyweight art paper, the beautifully rendered work is signed in black felt tip by Davis. The reverse is stamped: “This material is the property of Walt Disney Productions.” In fine condition.
The character of Captain Bartholomew Gore originates from the unused concepts for the early drafts of the ride, and, as such, he does not actually appear in any incarnation of the attraction. However, the character resurfaced and was used as the main antagonist in the 2016 Haunted Mansion miniseries of the Disney Kingdoms comic book series by Marvel Comics, where he was referred to simply as The Captain. Despite never appearing in the ride, there is a tombstone bearing his name in the front cemetery.
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
643. 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 bear with an upset expression as he converses with 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
644. Frank Thomas and Ollie Johnston signed production cel from The Aristocats. (Walt Disney Studios, 1970) Original production cel of Duchess and Thomas O’Malley from The Aristocats, signed below in black felt tip by legendary Disney animators Frank Thomas and Ollie Johnston. The cel, which is placed on a color copy background, depicts the two felines in full-figure poses dancing during the ‘Everybody Wants to Be a Cat’ musical sequence. Total character image measures 10.5 x 5, with a mat opening of 13.5 x 10.5. Triple-matted and framed to an overall size of 19.5 x 16. In fine condition, with the background no longer in the proper matted position. Starting Bid $200
645. Beautiful Briny Ballroom (dancing fish) production cels and production background from Bedknobs and Broomsticks. (Walt Disney Studios, 1971) Original production cels and production background featuring bubble effects and three pairs of dancing fish from Bedknobs and Broomsticks, showing the well-dressed fish waltzing fin-in-fin during the film’s ‘Beautiful Briny Ballroom’ sequence. The cels are placed on a hand-painted production background from the same film, which depicts the seafloor, coral, seaweed, and a pair of underwater dining areas. Total character image measures 10 x 7.5, with overall dimensions of 16 x 12.5. The second cel bears a silver Walt Disney Company seal. In fine condition, with some edgewear, including staple holes, creases, and adhesive remnants. Starting Bid $200
646. Jessica Rabbit production cel from Who Framed Roger Rabbit. (Amblin/Walt Disney Studios, 1988) Original production cel of Jessica Rabbit from Who Framed Roger Rabbit, showing the voluptuous redhead in an attractive full-figure pose. The cel is placed on a matching color print of the key background. Image measures 3 x 6.75, with overall dimensions of 16.75 x 12.5. In fine condition. Starting Bid $200
Rare sterling silver Tinker
Bell
VIP dinner
pin
specially commissioned by Walt Disney and presented to Alice Davis, wife of Disney Legend and animator Marc
Davis
647. Peter Pan: Tinker Bell Sterling Silver Presentation Pin Commissioned by Walt Disney. Rare sterling silver Tinker Bell figural pin commissioned by Walt Disney and presented to Disney Legend Alice Davis (1929–2022), the wife of renowned animator and Disney Legend Marc Davis, one of Walt Disney’s celebrated ‘Nine Old Men.’ Measuring approximately 1˝ x 2.25˝, the finely rendered pin depicts the winged fairy standing with a hand on her hip, retaining its original pinback and marked “STERLING” on the reverse. In fine condition. These sterling silver Tinker Bell pins were specially commissioned by Walt Disney and distributed as gifts to the wives of Disney merchandising representatives and other key Disney associates invited to an annual VIP dinner attended by Walt and Roy Disney. The pins were placed at each guest’s setting and were never offered for public sale. Produced in extremely limited numbers, these sterling silver keepsakes survive as rare and intimate artifacts from the inner circle of the Walt Disney organization during its formative decades. Starting Bid $500
The Fairy Godmother’s magical transformation of Cinderella, an enchanting concept painting by the legendary Mary Blair
648. Mary Blair concept painting of Cinderella and Fairy Godmother from Cinderella. (Walt Disney Studios, 1950) Original concept painting by Mary Blair for Cinderella, which depicts Cinderella and her Fairy Godmother moments before the magical transformation that prepares her for the royal ball. Accomplished in tempera on an 8.5 x 8.75 illustration board, the enchanting nighttime scene beautifully portrays the Fairy Godmother raising her wand before Cinderella as sparkling magic begins to surround her. Blair fills the composition with fairy-tale imagery, including the pumpkin soon to be transformed into Cinderella’s coach, the castle silhouetted in the moonlit distance, a graceful fountain, and a grove of leafless trees rendered in a modernist palette of cool blues, blacks, and whites. 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. Starting Bid $500
Cinderella’s flight from Prince Charming at the stroke of midnight—a striking concept painting by the legendary Mary Blair
649. Mary Blair concept painting of Cinderella and Prince Charming from Cinderella. (Walt Disney Studios, 1950) Gorgeous original concept painting by Mary Blair for Cinderella, which depicts Cinderella fleeing from Prince Charming through the castle moments after the stroke of midnight. Accomplished in tempera on an 8.5 x 8.5 illustration board, the scene beautifully portrays the pair in stylized silhouette against a luminous pastel backdrop, with Cinderella racing away as the Prince reaches out in pursuit. The composition is anchored by Cinderella’s discarded glass slipper resting between the two figures, while elegant chandeliers, an oversized ornamental urn, decorative balustrade, and sweeping blue-tiled floor showcase Blair’s bold use of color, simplified forms, and distinctive design aesthetic. In fine condition, with tack holes to corners and some apparent soiling.
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 $500
The making of Cinderella’s ball gown— gorgeous panoramic concept painting by the legendary Mary Blair, imagining Cinderella’s bird and mouse friends presenting her handmade dress
650. Mary Blair panoramic concept painting of the making of Cinderella’s ball gown. (Walt Disney Studios, 1950) Marvelous original panoramic concept painting by Mary Blair for Cinderella, which depicts Cinderella in her attic bedroom as her loyal bird and mouse friends work together to fashion her dress for the royal ball. Accomplished in tempera on a 20 x 10 illustration board, the panoramic scene centers on Cinderella in her attic bedroom as a pair of birds proudly present her newly fashioned ball gown, while the remaining birds and mice gather around in anticipation beneath the room’s exposed rafters. Blair balances the cozy intimacy of the attic setting with her signature stylized forms and harmonious palette, transforming one of the film’s most heartfelt moments into an elegant panoramic composition. 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. Starting Bid $1000
Mary Blair in Wonderland—fantastical concept painting of Alice in ‘The Garden of Live Flowers’
651. Mary Blair concept painting of ‘The Garden of Live Flowers’ from Alice in Wonderland. (Walt Disney Studios, 1951) Original concept painting by Mary Blair for Alice in Wonderland, which depicts the shrunken Alice encountering oversized talking flowers in ‘The Garden of Live Flowers.’ Accomplished in tempera on an 8.5 x 8.5 illustration board, the fanciful scene beautifully portrays a diminutive Alice gazing up at a trio of tiger lilies and a pair of snapdragons looming above her, with oversized pink mushrooms and dense stylized foliage heightening the dreamlike atmosphere. Rendered in Blair’s bold modernist style, the composition bursts with vivid color, simplified forms, and playful character designs that neatly capture the imaginative spirit of Lewis Carroll’s fantastical world. 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. Starting Bid $500
Multi-character Mary Blair concept painting of Alice, the Mad Hatter, the March Hare, and the Dormouse at the celebrated Mad Tea Party of Wonderland
652. Mary Blair concept painting of Alice, Mad Hatter, March Hare, and Dormouse from Alice in Wonderland. (Walt Disney Studios, 1951) Rare original concept painting by Mary Blair for Alice in Wonderland, depicting Alice, the Mad Hatter, the March Hare, and the Dormouse during the famous ‘Mad Tea Party’ sequence. Rendered in Blair’s distinctive modernist style, the composition presents the whimsical gathering from an elevated perspective, with Alice observing the three Wonderland characters on a tea table surrounded by oversized cups, curling steam, manicured hedges, and a deep blue nighttime sky. Accomplished in tempera on 10 x 8.25 artist’s board. In fine condition, with tack holes at the corners.
Mary Blair played a key role in shaping the visual style of Disney animation during the 1940s and early 1950s, contributing color styling and concept artwork for such classics as Cinderella, Alice in Wonderland, and Peter Pan. Her bold use of color, imaginative compositions, and highly stylized forms made her one of the most influential artists associated with the Disney studio. Blair later contributed designs for several Disney theme park attractions, including It’s a Small World, and created the monumental mosaic mural that remains a centerpiece of Disney’s Contemporary Resort at Walt Disney World. Starting Bid $500
A seat at the Mad Tea Party of Wonderland—a stunning panoramic concept painting by the legendary Mary Blair, picturing Alice at the end of an overflowing tea table brimming with colorful
teaware
653. Mary Blair panoramic concept painting of The Mad Tea Party from Alice in Wonderland. (Walt Disney Studios, 1951) Beautiful original panoramic concept painting by Mary Blair for Alice in Wonderland, depicting Alice seated at the head of the table during the Mad Tea Party. Accomplished in tempera on a 21.5 x 9 illustration board, the imaginative composition places the viewer at one end of the tea table, looking past an array of brightly colored teapots, teacups, saucers, chairs, and serving pieces toward Alice seated at the opposite end. Blair’s inventive use of perspective, saturated color, and simplified geometric forms transforms the familiar tea service into a visual journey through one of the film’s most memorable sequences. In fine condition, with tack holes to corners. Among the most colorful and richly realized original concept paintings from the great Mary Blair.
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 multistory mosaic in Disney World’s Contemporary Hotel concourse. Starting Bid $1000
A magical meeting at Hangman’s Tree— a charming multi-character concept painting by the legendary Mary Blair, featuring Peter Pan, Wendy Darling, and Tinker Bell
654. Mary Blair concept painting of Peter Pan, Wendy Darling, and Tinker Bell from Peter Pan. (Walt Disney Studios, 1953) Original concept painting by Mary Blair for Peter Pan, which depicts Peter Pan greeting Wendy Darling at Hangman’s Tree in Never Land as Tinker Bell soars into the conversation. Accomplished in tempera on a 9 x 9 illustration board, the enchanting scene beautifully portrays Wendy emerging from the entrance to Peter Pan’s secret hideout as the carefree hero welcomes her beneath a canopy of twisting vines and foliage. Blair’s sweeping arc of golden pixie dust, representing the flight of Tinker Bell, lends movement and magic to the composition, while her modernist palette of deep greens, blues, and blacks creates an atmospheric, nighttime vision of Never Land. 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. Starting Bid $500
Peter Pan and Captain Hook’s climactic duel atop the Jolly Roger—a striking concept painting by the legendary Mary Blair
655. Mary Blair concept painting of Peter Pan, Captain Hook, and Tinker Bell from Peter Pan. (Walt Disney Studios, 1953) Tremendous original concept painting by Mary Blair for Peter Pan, which depicts Peter Pan and Captain Hook engaged in their climactic swordfight atop the main mast of the Jolly Roger. Accomplished in tempera on a 9 x 9 illustration board, the dramatic scene showcases the infamous pirate ship under a starlit sky, its boldly striped crimson-and-magenta sails dominating the composition as the two rivals duel high above the deck. A sweeping arc of Tinker Bell’s pixie dust curves across the sails, while Blair’s striking use of saturated color and simplified geometric forms transforms the Jolly Roger into one of the film’s most unforgettable visual set pieces. 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. Starting Bid $500
Tinker Bell and Peter Pan head to the moonlit village of Neverland’s Native Americans— a
gorgeous panoramic concept painting by the legendary Mary Blair
656. Mary Blair panoramic concept painting of Neverland’s Native American village from Peter Pan. (Walt Disney Studios, 1953) Incredible original panoramic concept painting by Mary Blair for Peter Pan, depicting a moonlit view of the Native American encampment in Neverland. Accomplished in tempera on an 18.25 x 9 illustration board, the composition portrays a circle of patterned tipis nestled on a jutting outcrop, framed by two rising cliffs and winding foliage. A luminous trail of pixie dust traces Tinker Bell’s looping flight above the village, its graceful arc mirroring the curling ribbon of smoke rising from the campfire below, where Peter Pan looks on as Native American figures dance in a circle at the heart of the encampment. 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 multistory mosaic in Disney World’s Contemporary Hotel concourse. Starting Bid $1000
Romantic original Eyvind Earle panoramic concept painting for Lady and the Tramp, featuring the moonlit park scene from ‘Bella Notte’
657. Eyvind Earle panoramic concept painting from Lady and the Tramp. (Walt Disney Studios, 1955) Beautiful original panoramic concept storyboard painting by Eyvind Earle from Lady and the Tramp, depicting Lady and Tramp sharing a quiet stroll through a moonlit city park during the beloved ‘Bella Notte’ sequence. Rendered in Earle’s richly decorative style, the composition centers on a softly illuminated fountain surrounded by pathways, trees, glowing lampposts, and a distant skyline beneath a star-filled night. The two dogs appear at left, isolated within the expansive landscape, their small scale reinforcing the intimacy of the romantic evening amid the grandeur of the park.
Earle’s masterful use of flattened forms, decorative foliage, and restrained color harmonies creates a scene that is both stylized and deeply atmospheric, conveying the tranquil magic that defined one of Disney’s most memorable romantic moments. Accomplished in tempera on a 21.25 x 9.25 artist’s board, signed in the lower right corner in light blue paint by Earle. In fine condition, with tack holes to the corners. Disney artist Eyvind Earle, who later became Sleeping Beauty’s production designer, created nearly 50 miniature concept paintings for the ‘Bella Notte’ sequence, helping establish the distinctive visual language of one of Lady and the Tramp’s most iconic scenes. Starting Bid $1000
Incredible oversized Eyvind Earle panoramic concept painting of Maleficent in dragon form from Sleeping Beauty’s climactic finale
658. Eyvind Earle panoramic concept painting of Maleficent from Sleeping Beauty. (Walt Disney Studios, 1959) Striking original panoramic concept storyboard painting by Eyvind Earle from Sleeping Beauty, depicting Maleficent in her fearsome dragon form atop the crumbling battlements of her castle during the film’s climactic finale. Rendered in Earle’s unmistakable decorative style, the composition centers on the towering black dragon as she advances across a series of weathered stone ramparts, gripping jagged Gothic spires while surrounded by an eerie landscape of twisted thorn-covered vines, barren trees, and swirling green mists.
The restrained palette of cool blues, grays, and greens heightens the ominous atmosphere, while Earle’s masterful use of flattened forms, elegant linework, and carefully balanced design transforms the scene into a hauntingly beautiful vision of the dark fairy’s domain. Accomplished in tempera on a 26.5 x 9.25 artist’s board, signed in the lower right corner in pink paint by Earle. In fine condition, with tack holes to the corners. As production designer for Sleeping Beauty, Eyvind Earle established the film’s groundbreaking visual style through hundreds of concept paintings, marrying medieval-inspired design with modern graphic sensibilities to create one of Disney’s most artistically ambitious animated features. Starting Bid $1000
Museum-worthy oversized Eyvind Earle concept painting of the iconic ‘true love’s kiss’ between Prince Philip and Princess Aurora in Sleeping Beauty
659. Eyvind Earle oversized concept storyboard painting of ‘True Love’s Kiss’ from Sleeping Beauty. (Walt Disney Studios, 1959) Magnificent oversized original concept storyboard painting by Eyvind Earle from Sleeping Beauty, depicting the film’s unforgettable climax as Prince Philip approaches the sleeping Princess Aurora to awaken her with true love’s kiss. Set within the castle’s soaring Gothic chamber, the composition beautifully balances the intimate encounter between the two characters with Earle’s gorgeous architectural design, featuring stone walls, vaulted arches, an elegant canopied bed, and checkerboard floors framed by twisting flowering vines.
Executed in Earle’s unmistakable decorative style, the scene is enriched by a harmonious palette of brilliant blues, soft pinks, and jewel-toned greens, while the flattened forms, graceful linework, and meticulous patterns result in one of Earle’s most visually dynamic works for Sleeping Beauty. Accomplished in tempera on an oversized 20 x 15 artist’s board, signed in pink paint at the lower right by Earle. In fine condition, with tack holes to the corners. As production designer for Sleeping Beauty, Eyvind Earle developed the film’s revolutionary visual aesthetic through hundreds of concept paintings, blending medievalinspired architecture, illuminated manuscript ornamentation, and modern design into what is widely regarded as Disney’s most artistically ambitious animated feature. Starting Bid $1000
660. Bob Clampett original drawing of Sylvester and Tweety. (Warner Brothers Studios, ca. 1950) Original drawing by Bob Clampett of beloved Looney Tunes characters Tweety and Sylvester, which pictures Sylvester as a bloodthirsty vampire ready to attack an unconcerned Tweety. Signed below by Clampett, who adds a speech bubble inscription to Tweety: “Y’know – Doug Wight’s putty-tat twied to bite my widdow neck!” Accomplished in graphite, crayon, and felt tip on a 14 x 16.75 sheet of artist’s paper, which bears a small Warner Bros. copyright mark to the lower right. In very good to fine condition, with light stains and creases, and staple holes to the corners. Starting Bid $200
661.
662.
Starting
Starting Bid
663.
Starting Bid
Starting Bid
665. Donald Duck production drawing from Hawaiian Holiday.
$200
664. Mickey Mouse and Bobo the Elephant (2) production drawings from Mickey’s Elephant. Starting Bid $200
Santa Claus and children (2) production drawings from The Night Before Christmas.
$200
Mickey Mouse production drawing from Giantland.
Bid $200
Ferdinand Horvath concept drawing of a Tulgey Wood creature from Alice in Wonderland.
$200
666.
667.
669.
670.
668.
671.
Mickey Mouse production drawing from Brave Little Tailor. Starting Bid $200
Frank Follmer concept story drawing for Snow White and the Seven Dwarfs. Starting Bid $200
Doc production drawing from Snow White and the Seven Dwarfs. Starting Bid $200
Goofy production drawing from Mickey’s Amateurs. Starting Bid $200
Mickey Mouse production drawing from Mickey’s Trailer. Starting Bid $200
Donald Duck production concept drawing from Donald’s Golf Game. Starting Bid $200
672. Harpo Marx production drawing from Mother Goose Goes Hollywood. Starting Bid $200
674. Frank Follmer model sheet drawing of The Big Bad Wolf for The Practical Pig. Starting Bid $200
673. Stan Laurel production drawing from Mother Goose Goes Hollywood. Starting Bid $200
675.
Starting Bid $200
676.
Starting Bid
677.
Starting Bid $200
678.
Starting
679.
Starting Bid
680.
Starting Bid
681.
Starting Bid $200
682.
Starting Bid
683.
Starting Bid $200
March Hare preliminary production drawing from Alice in Wonderland.
Dog Flower production cel from Alice in Wonderland.
$200
David Hall storyboard drawing from Alice in Wonderland - Published in the Giant Golden Book Surprise Package.
Cheshire Cat model sheet from Alice in Wonderland.
$200
Alice production drawing from Alice in Wonderland.
$200
Alice in Tulgey Wood concept drawing from Alice in Wonderland.
Bid $200
Frank Follmer ‘Pastoral Symphony’ concept drawing for Fantasia.
Mickey Mouse production drawing from Society Dog Show.
$200
Frank Follmer model sheet drawing of The Three Pigs from The Practical Pig.
687. White Rabbit production cels from Alice in Wonderland. Starting Bid $200
686. Walrus and Baby Oysters production cels from Alice in Wonderland. Starting Bid $200
685. Tulip production cel from Alice in Wonderland. Starting Bid $200
684. Sweet Peas production cels from Alice in Wonderland. Starting Bid $200
689. Briar Rose and Prince Phillip production cel from Sleeping Beauty. Starting Bid $200
688. Chip and Dale production storyboard drawing from Two Chips and a Miss. Starting Bid $200
690. Milt Kahl production drawing of Prince Phillip from Sleeping Beauty. Starting Bid $200
692. Bloodhounds production cel from Mary Poppins. Starting Bid $200
691. Goliath’s mother and black bird production cel from Goliath II. Starting Bid $200
693. Mr. Limpet and Ladyfish production cel from The Incredible Mr. Limpet. Starting Bid $200
694. Mowgli and Flunkey production cels from The Jungle Book. Starting Bid $200
695. Frank Thomas, Ollie Johnston, and Marc Davis signed production cel from The Aristocats. Starting Bid $200
696. Alice in Wonderland: Original Walt Disney’s ‘Treasury of Classic Tales’ Sunday comic strip artwork by Mike Arens (February 17, 1974). Starting Bid $200
697. Frank Thomas, Ollie Johnston, and Marc Davis signed limited edition serigraph cel for Snow White and the Seven Dwarfs.
Starting Bid $200
698. Goofy production cel from Sport Goofy in Soccermania. Starting Bid $200
699. Roger Rabbit production storyboard drawing from Who Framed Roger Rabbit. Starting Bid $200
700. Roger and Anita Radcliffe, Pongo, Perdita, and Puppies limited edition cel from One Hundred and One Dalmatians (#61/500).
Starting Bid $200
701. Ariel limited edition cel from The Little Mermaid. Starting Bid $200
702. Dumbo publicity cel for Disney Studio prints and reproductions. Starting Bid $200
703. Virgil Ross Original Drawing of (9) Looney Tunes Characters. Starting Bid $200
704.
705.
708.
706.
707.
Starting
709.
Virgil Ross Original Model Drawing of Bugs Bunny. Starting Bid $200
Virgil Ross Original Model Drawing of The Grinch. Starting Bid $200
Virgil Ross Original Model Drawing of Pepé Le Pew. Starting Bid $200
Virgil Ross Original Model Drawing of Marvin the Martian.
Bid $200
Virgil Ross Original Drawing of Daffy Duck and Marvin the Martian. Starting Bid $200
710. Chuck Jones Large Original Sketch of Bugs Bunny. Starting Bid $200
Virgil Ross Original Drawing of the Road Runner and Wile E. Coyote. Starting Bid $200
711. Friz Freleng signed production cel of Daffy Duck and Yosemite Sam from Daffy Duck’s Fantastic Island. Starting Bid $200
712. Friz Freleng signed limited edition cel for Bugs Bunny: The Showdown II (#83/300). Starting Bid $200
713. Virgil Ross Original Panorama Drawing of (18) Looney Tunes Characters. Starting Bid $200
714. Virgil Ross Original Panoramic Drawing of Bugs Bunny and Umpire. Starting Bid $200
715. Mr. Freeze and Grant Walker production cel from Batman: The Animated Series - Signed by Kevin Altieri (Director). Starting Bid $200
716. Aquaman, Lois Lane, and Giant Squid production cel from Superman: The Animated Series. Starting Bid $200
717. Bill Hanna and Joe Barbera signed production cels from Hanna-Barbera’s 50th: A Yabba Dabba Doo Celebration. Starting Bid $200
718. Bill Hanna and Joe Barbera signed production cel from Tom and Jerry: The Movie. Starting Bid $200
719. Charles Schulz Signed Photograph. Starting Bid $200
21.
James Buchanan Signature Starting Bid $200
22. George Bush (5) Signed Items
23. Jimmy Carter (2) Typed Letters Signed Starting Bid $100
24. Grover Cleveland Autograph Letter Signed Between Presidential Ter...
25. Grover Cleveland Document Signed as President, Resolving a Border... Starting Bid $200
26. Grover Cleveland and William H. Taft (2) Signed
27. Bill Clinton Autograph Letter Signed and Rwandan
28. Calvin Coolidge StudentEra Adelphic Union Society Record Book (1... Starting Bid $200
29. Four Presidents Signed First Day Cover - Nixon, Ford, Carter, and... Starting Bid $200
30. James A. Garfield Letter Signed on a Presidential
31. James A. Garfield Letter Signed After Securing the Republican Pre... Starting Bid $200
32. James A. Garfield Congressional Memorial Card Starting Bid $200
33. Rutherford B. Hayes Autograph Letter Signed as President Starting Bid $200
34. Rutherford B. Hayes Document Signed as President for a Postal Agr... Starting Bid $200
35. Herbert Hoover Typed
36. Herbert Hoover Signed Book - The Ordeal of Woodrow Wilson (Ltd. E... Starting Bid $200
37. Andrew Jackson Signature as Commanding General of the Southern Di... Starting Bid $200
41. Abraham Lincoln (2) 1860 Presidential Electoral Ballots from New ... Starting Bid $200
38. Lyndon B. Johnson Document Signed as President Starting Bid $200
42. William McKinley Autograph Letter Signed Recommending a Naval Aca... Starting Bid $200
39. Lyndon B. Johnson Signed Photograph Presented to First Lady Fashi... Starting Bid $200
43. Richard Nixon (2) Signed Business Cards Starting Bid $200
and
44.
45. Franklin Pierce Autograph Letter Signed
46. Ronald Reagan Autograph Letter Signed as President Starting Bid $200
The Autobiography Starting Bid $200
40. Lyndon B. Johnson
Barack Obama Signed Book - The Audacity of
47. Ronald Reagan Signed
48. Ronald Reagan Signed Book - An American Life:
49. Ronald Reagan Signed Book as PresidentWashington: The Capital ...
50. Ronald Reagan Signed Photograph Starting Bid $200
51. Ronald Reagan Signature Starting Bid $200
52. Ronald Reagan Signed Daily Schedule (1994) Starting Bid $200
53. Ronald Reagan Signed Photograph
57. Ronald Reagan and Pierre Trudeau Signed Photograph Starting Bid $200
61. Harry S. Truman Signed $1 Dollar Bill - PCGS AU-53 Starting Bid $200
65. Donald Trump Autograph Note Signed - "I will see you when I am at...
54. Ronald Reagan Belt
55. Ronald Reagan Signature Starting Bid $200
56. Ronald Reagan Signed Bumper Sticker: "For Governor '66" Starting Bid $200
58. Franklin D. Roosevelt Typed Letter Signed as
59. William H. Taft Document Signed as President, Appointing an Ensig... Starting Bid $200
60. William H. Taft Document Signed as President Starting Bid $200
62. Harry S. Truman (2) Signed Books - Memoirs: Year of Decisions and...
63. Harry S. Truman Signed Check
64. Donald Trump Signed Uncut $1 Dollar Bills - PSA GEM MINT 10 Starting Bid $200
66. Donald Trump Signed 67. Donald Trump Typed "possible bid to run for ...
68. George Washington: Mount Vernon Shingle Starting Bid $200
69. Woodrow Wilson Document Signed as President, Appointing a Navy Li... Starting Bid $200
123. Vint Cerf Signed Sketch - "Internet ca. 1977" Starting Bid $200
127. Clarence Darrow Signature Starting Bid $200
70. Ronald Reagan Signed Book - An American Life Starting Bid $200
124. Chief Gall Original Photograph by D. F. Barry Starting Bid $200
128. W. E. B. Du Bois Typed Letter Signed Starting Bid $200
121. John Abbott Letter Signed on an Election Bribery Scandal: "Such c...
125. Walter Chrysler (2)
122. Richard E. Byrd Signed Photograph Inscribed During the 1927 Trans... Starting Bid $200
126. Dalton Gang: Postcard of the Deceased Bob and Grat Dalton Followi... Starting Bid $200
129. Thomas Edison Autograph Note Signed on the Inspection of Records
450. Elton John Signed Album - Tumbleweed Connection Starting Bid $200
451. The Kinks Signed 452. Led Zeppelin: Jimmy Page Signed Book - Led Zeppelin Starting Bid $200
453. Led Zeppelin: Jimmy Page Signed AlbumHouses of the Holy Starting Bid $200
454. Led Zeppelin: Jimmy Page Signed Fanzine'Pages' (Ltd. Ed. #5/20...
455. Led Zeppelin: Robert Plant Signed Photograph Starting Bid $200
456. Led Zeppelin: Robert Plant Signed Photograph Starting Bid $200
457. Led Zeppelin: Robert Plant Signed Book - Mr. Fantasy: The Lyrics ...
458. Led Zeppelin: Robert Plant Signature Starting Bid $200
459.
463.
468.
464.
469.
461.
462.
470.
471.
474.
Led Zeppelin: Robert Plant Signed Photograph
460. Little Richard Signed
Love and Arthur Lee Signed 1989 Mini Poster (8.5˝ x 14˝) Starting Bid $200
Paul McCartney Autograph Note Signed to Designer Mike Ross Starting Bid $200
George Michael Signed Inner Album Sleeve - Listen Without Prejudi... Starting Bid $200
Mott the Hoople Signed CBS Records Flyer
466. Roy Orbison Signature 467. Ozzy Osbourne Signed Photograph Starting Bid $200
Ozzy Osbourne Signed CD Insert - Patient Number 9 Starting Bid $200
Jimmy Page Oversized Original Photograph (1977) Starting Bid $200
Jimmy Page Oversized Original Photograph (1983/1988) Starting Bid $200
Tom Petty Signed Ticket Stub Starting Bid $200
472. Pink Floyd: David Gilmour and Polly Samson Signed Photograph Starting Bid $200
473. Pink Floyd: Roger Waters Signed Album - The Wall Starting Bid $200
The Police SignaturesBAS 10 Starting Bid $200
475. Ratt Signed 12˝ Single - Lovin' You's a Dirty Job Starting Bid $200
476.
Signed CD Insert - Unlimited Love Starting Bid $200
482.
Starting Bid $200
483.
Starting Bid $200
Red Hot Chili Peppers
477. Rolling Stones: Mick
478. Rolling Stones: Mick Jagger Signed 'SuperHeavy'
479. Rolling Stones: Mick Jagger Signature Starting Bid $200
480. Rolling Stones: Brian Jones Signed Photograph (c. 1968) Starting Bid $200
481. Rolling Stones: Brian Jones Signed Photograph (c. 1968)
Rolling Stones: Brian Jones Signed Photograph (c. 1968) Starting Bid $200
Rolling Stones: Keith Richards Signed BookLife
484. Rolling Stones: Keith Richards Signed Candid Photograph (c. 1967) Starting Bid $200
485. Rolling Stones: Keith Richards Signed Candid Photograph (c. 1968) Starting Bid $200
486. Rolling Stones: Keith Richards Signed Candid Photograph (c. 1968) Starting Bid $200
487. Rolling Stones: Keith Richards Signed Candid Photograph (c. 1967) Starting Bid $200
488. Carlos Santana Signed 'Supernatural Tour' Program Starting Bid $200
489. Sonny and Cher
490. Bruce Springsteen Oversized Original Photograph (1988) Starting Bid $200
491. Owsley Stanley Autograph Letter Signed,
492. Cat Stevens Signed 493. Stone Temple Pilots
494. The Troggs Signatures 495. UFO Signed Album -
496. Stevie Ray Vaughan and Double Trouble Signed Album - Couldn't Sta... Starting Bid $200
497. Gene Vincent Signed Photograph Starting Bid $200
498. The Who Signatures
499. Ronnie Wood Photographic Print Signed by John Rowlands (Ltd. Ed. ... Starting Bid $100
500. The Jam Signed Album - All Mod Cons Starting Bid $200
501. Sex Pistols: Johnny Rotten Signed Lithograph (Ltd. Ed. #114/500) Starting Bid $200
502. Beastie Boys Signed 2004 Concert Poster (13˝ x 19˝) Starting Bid $200
503. Bee Gees Signed
504. Michael Jackson Signed 1983 Walt Disney World 'Worldpassport' - O... Starting Bid $200
505. George Michael Signed '25 Live Tour' Program
518. Academy Award Winners (4) Signed Photographs - Walter Brennan, Fr... Starting Bid $200
519. Fred Astaire Signed Photograph Starting Bid $200
520. Billy Bevan Signed Photograph Starting Bid $200
524. Lon Chaney, Sr. Signed Oversized Photograph Starting Bid $200
521. Mel Brooks Typed Letter Signed - "As you know, ‘History’ is doing... Starting Bid $200
525. Character Actors (3) Signed Photographs - CrisPin Martin, Edward... Starting Bid $200
522. Billie Burke Signed Photograph Starting Bid $200
526. Stepin Fetchit Signed Photograph Starting Bid $200
Starting Bid $200
Starting Bid $200
523. William Castle Signed Photograph
527. Michael J. Fox Oversized Signed Photograph
528. Frankenstein: Frederick Kerr Signed Contract (1930) Starting Bid $200
529. Judy Garland Signed Photograph Starting Bid $200
530. Cary Grant Signed Oversized Photograph Starting Bid $200
531. Brigitte Helm Signed Photograph Starting Bid $200
532. Emil Jannings Signed Photograph Starting Bid $200
533. Elsa Lanchester Signed Photograph as Bride of Frankenstein Starting Bid $200
534. Elsa Lanchester Signed Photograph Starting Bid $200
535. Harry Langdon Signed Photograph Starting Bid $200
536. Laurel and
Signatures Starting Bid $200
537. Laurel and
T. Marvin Hatley Autograph Musical Quotation Si
538.
Photograph as Scarlett O'Hara Starting Bid $200
Hardy
Hardy:
Vivien Leigh Signed
539. Peter Lorre Signed Photograph Starting Bid $200
540. Peter Lorre Signed Photograph Starting Bid $200
541. Bela Lugosi Signed Photograph Starting Bid $200
542. Rouben Mamoulian (5) Typed Letters Signed Starting Bid $200
543. Thomas Mitchell Signed Photograph Starting Bid $200
544. Edward R. Murrow Typed Letter Signed Starting Bid $200
545. Eugene Pallette Signed Photograph Starting Bid $200
546. Gwyneth Paltrow Signed Photograph Starting Bid $100
547. Mary Pickford Signed Photograph Starting Bid $200
548. Snub Pollard Signed Photograph Starting Bid $200
549. Christopher Reeve Signed Photograph as Superman Starting Bid $200
550. Christopher Reeve Signed Photograph as Superman Starting Bid $200
551. Paul Robeson Signed Photograph Starting Bid $200
552.
Signed Photograph Starting Bid $200
556.
Cushing Signature Starting Bid $200
560.
Signed Photograph Starting Bid $200
553.
Photograph Starting Bid $200
Starting Bid $200
561.
Signed Photograph as Rooster Cogburn from True Grit Starting Bid $200
Starting Bid $200
Starting Bid $200
Starting
Jane Russell
Sabu Signed
554. Seinfeld Multi-Signed
555. Mack Sennett Signed Photograph Starting Bid $200
Star Wars: Peter
557. Star Wars: Alec Guinness Signature
558. Star Wars: James Earl Jones and Dave Prowse Signed Photograph
559. Spencer Tracy Signed Photograph Starting Bid $200
Ben Turpin
John Wayne
562. Wizard of Oz: Clara Blandick Signature
563. Wizard of Oz: Charley Grapewin Autograph Note Signed
Bid $200
564. Darryl F. Zanuck Collection of (14) Typed Letters Signed Starting Bid $200
567. Jim Thorpe Signature Starting Bid $200
570. Charles Atlas Signed Photograph (1933) Starting Bid $200
571. Jim Clark Signed Photograph Starting Bid $200
572. Gorgeous George 573. Joe Louis Signature Starting Bid $200
574. Willie Mays Sports Leadership Award Plaque Starting Bid $200
575. Satchel Paige Signed Photograph Starting Bid $200
576. Pele Signed Soccer 577. Pete Rose and Bart Giamatti Signed Check 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.
2.3 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 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 reoffering 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 any 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 fur-
ther 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 Bidder’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 ”donot-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 subpart (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 Auc-
tion, 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 Mas-
sachusetts, 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 DECLARATORY 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 dam-
ages 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.
