RR Auction: Fine Autographs and Artifacts Featuring Science, Technology, 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.
December 10, 2025
At 6 p.m. on Wed. Dec. 10th 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
1. Abigail Adams Third-Person Autograph Letter Signed:
“The President and Mrs. Adams ask the pleasure of Mr. and Mrs. Tufts company to dinner”. Third-person ALS, signed within the text, “Mrs. Adams,” one page, 8 x 5, December 31, 1807. Handwritten letter to “Mr. Cotton Tufts and Lady, Weymouth,” in full:
“The President and Mrs. Adams ask the pleasure of Mr. and Mrs. Tufts company to dinner tomorrow 2 o’clock, together with Mr. Quincy Tufts and Miss Lucy.” Includes the detached address leaf, accomplished in the hand of Abigail Adams. In very good to fine condition, with scattered old stains, and somewhat irregular light toning to the separated address leaf.
Massachusetts physician Cotton Tufts, a cousin of Abigail Adams, acted as the Adams family’s financial agent in the United States while they were abroad—particularly between 1780 and 1788—and helped to manage local affairs during the John Adams’s presidency. He assisted them in making financially savvy investments, including the purchase of the homestead property now known as the Adams National Historical Park. Starting Bid $200
“The President and Mrs. Adams ask the pleasure of Mr. and Mrs. Tufts company to dinner”
2. Thomas Jefferson Signature. Ink signature, “Paradise and be assured of the esteem & attachment with which I am Dr. Sir, your most obed’t humble serv’t, Th: Jefferson,” on an off-white 6 x 1 slip clipped from the close of a letter to “Dr. Bancroft.” Mounted, matted, and framed with an engraved portrait to an overall size of 12.75 x 17.25. In fine condition. Starting Bid $300
Madison sends the U.S. agent at Havana “a Cypher for secret Correspondence,” emphasizing: “You will subserve the views of the President in attending to every violation of the laws prohibiting the Slave Trade, and reporting such circumstances to this Department”
3. James Madison Letter Signed as Secretary of State, Appointing an Agent in Havana: “You will subserve the views of the President in attending to every violation of the laws prohibiting the Slave Trade”. LS, three pages on two adjoining sheets, 8 x 10, January 22, 1807. Letter to James Anderson, an American resident in Havana, Cuba, sent from “Washington, Department of State.” In part: “The extensive commerce carried on with the Island of Cuba renders the establishment of a Consul there of very considerable importance, but…the authorities of the Island as well as the Government of Spain have uniformly refused to give a public recognition and Character to a Consul of the United States. It has therefore been thought suitable…to vest you with the Character of Agent for Seamen and Commerce in the port of Havana…Your own regard to the public service will induce you to attend to the commercial and other interests of our Citizens in all the cases where they would fall under the patronage of a consul…
A vigilant attention to the Captures made by illegal Cruisers will form a very important object…It may therefore be proper to convey to you some Idea of the Conduct which in the Spanish Officers would be deemed reprehensible, and lead to a Claim upon the responsibility of their Government…Permitting armed vessels engaged in cruising without Commissions…to frequent the ports of the Island, or to sell prizes therein, are among the strongest cases which can occur of the dereliction of the duty one Nation owes to another. The Government of Cuba is therefore not only bound to prevent it, but to restore any prizes such Cruisers may send in…Prizes ought not to be sold before a Condemnation takes place in a regular prize Court, and the exercise of the powers of such a Court by any foreign functionary…ought not to be tolerated…It would be a Circumstance indicating a strong ground for suspicion of unwarrantable intentions, if Spanish subjects should be permitted to own or to sail in Cruisers acting under French Commissions…you will obtain the most direct and authentic evidence in your power of any considerable abuses of the Spanish ports to the injury of our Trade, and transmit it to this Department, and, if a suitable occasion should be open…remonstrate in a proper manner with the Governor, against the toleration of them.” Emphasizing the importance of Cuba to U.S. security, Madison continues: “The local situation of Cuba in relation to our Territories and its being the medium of Communication with the Spanish American possessions, as well as a depot of military preparations, it is deemed of importance that you keep a witchful eye upon and transmit to this Department an account of the occurrences, measures and appearances, which you may think deserving of attention. A Cypher for secret Correspondence is herewith handed you, which, being a Copy of that furnished Mr. Henry Hill, the Agent of the United States at Kingston, Jamaica, will enable you to communicate with him upon any Confidential subjects which may arise…In referring you to the Acts of Congress for the regulations respecting seamen, I must request that you will economize as much as possible in the aids and relief which you may administer to such of them as are in distress…I have only to add, that you will subserve the views of the President in attending to every violation of the laws prohibiting the Slave Trade, and reporting such circumstances to this Department as may be the basis of judicial animadversion upon the offenders.” In fine condition, with a small clipped portrait of Madison affixed beside the salutation. Starting Bid $500
4. Anna Harrison Autograph Letter Signed. Wife (1775-1864) of President William Henry Harrison and grandmother of President Benjamin Harrison, who served nominally as First Lady of the United States during her husband’s one-month term in 1841, though she never entered the White House. ALS signed “A. Harrison,” one page both sides, 7.5 x 9.75, May 3, 1856. Handwritten letter to a dear friend, sending chatty updates on her family. In part: “Our family now consists of two Grand Daughters grown and about 12 years old, one grown grandson & two small ones, one of them is now on a visit as he attends school in Indiana…I feel my dear that my cup runs over with blessings. I have such kind children & G. children, they anticipate my every wish & all done with so much love & kindness…My Grandson has family worship every Morning & evening.” In fine condition, with scattered tiny stains to the signed side. Starting Bid $200
5. John Tyler and John C. Calhoun Document Signed as President and Secretary of State. Partly-printed DS, signed “J. Tyler” as president and “J. C. Calhoun” as secretary of state, one page, 21.5 x 16.5, June 10, 1844. Four-language ship’s papers issued to John A. Bayliss “master or commander of the Ship called the Amethyst…bound for Indian Ocean and laden with Provisions, stores and utensils for a Whaling Voyage.” Prominently signed at the center in ink by President John Tyler, and countersigned by Secretary of State John C. Calhoun. The embossed white paper seal affixed at the center remains fully intact. Mounted, matted, and framed with a portrait to an overall size of 37.5 x 25. In very good to fine condition, with scattered light foxing and staining. Starting Bid $200
President Lincoln commissions a Massachusetts militia man as assistant quartermaster in 1864
6. Abraham Lincoln Civil War-Dated Document
Signed as President, Commissioning an Assistant Quartermaster. Civil War–dated partly-printed vellum DS as president, one page, 14.25 x 18.25, July 6, 1864. President Lincoln appoints W. W. McKim as “Assistant Quartermaster in the service of the United States.” Signed at the conclusion in ink by President Abraham Lincoln and countersigned by Secretary of War Edwin M. Stanton. The blue seal affixed at the upper left remains intact. In fine condition, with intersecting folds, light soiling, and some tiny pinholes of loss, affecting nothing.
From ‘History of the Military Company of the Massachusetts, now called the Ancient and Honorable Artillery Company of Massachusetts, 16371888’ (Volume 3): ‘William W. McKim…was commissioned by President Lincoln, assistant quartermaster, United States Volunteers, with rank of captain, Aug. 3, 1861, and was transferred to the regular army, same rank and corps, July 6, 1864. He was on duty at Boston as chief quartermaster, U. S A., for the New England States, except Vermont and Connecticut, from August, 1861, to August, 1864, equipping United States troops, providing quarters and all supplies pertaining to the quartermaster’s department, transporting troops and supplies, constructing barracks and hospitals, and in charge of all details not especially assigned to any other corps of the army. Aug. 3, 1864, he was ordered to Cincinnati, Ohio, as colonel and chief quartermaster of that depot, in charge of supplying and moving the troops on duty in the Southwest, until the rebel forces under Gen. Hood were routed by Gen. Thomas at Nashville, Tenn. He was then ordered to Philadelphia, Penn., with the same rank and emoluments, and became chief quartermaster of that depot, from which supplies, etc., for the troops under Gen. Grant were forwarded to the front. He was brevetted major, lieutenant-colonel, and colonel, U. S. A., March 13, 1865, ‘for faithful and meritorious services during the war,’ having been constantly employed, without a leave of absence, charged with important and arduous duties, including financial disbursements of many millions of dollars. He resigned March 8, 1866.’ Starting Bid $1000
President
Grant forwards a letter to
“Rafael Zaldivar, President of the Republic of Salvador (congratulatory)”
7. U. S. Grant Document
Signed as President, Congratulating the New President of El Salvador. Partlyprinted DS as president, one page, 7.75 x 9.75, November 25, 1876. President Grant authorizes and directs the Secretary of State to affix the Seal of the United States to “the envelope of my letter to His Excellency Rafael Zaldivar, President of the Republic of Salvador (congratulatory).” Signed neatly at the conclusion by U. S. Grant. In fine condition, with light toning from prior display.
Rafael Zaldívar (1834–1903) was President of El Salvador from 1876 to 1885 and later served as a diplomat. Trained as a physician in Europe, he later taught philosophy and hygiene at the University of Guatemala before entering politics. His administration enacted liberal reforms that ended collectively owned lands and laid the groundwork for large-scale coffee cultivation, a key phase of El Salvador’s ‘Coffee Revolution.’ Starting Bid $200
Post-annexation document signed by President William McKinley, asserting
federal authority and nullifying “the sale or disposition of the public lands in the Hawaiian Islands”
8. President William McKinley Ceases
All Sales of Public Lands in the Hawaiian Islands. DS as president, one page, 8 x 10, Executive Mansion letterhead, September 11, 1899. President McKinley directs the Secretary of State to cause the Seal of the United States to be affixed to “my order directing the discontinuance of the sale or disposition of the public lands in the Hawaiian Islands.” Signed at the conclusion by William McKinley. In fine condition, with a faint crease in the bottom blank area. Accompanied by a period printed copy of Executive Order 121, issued by President McKinley on the same date as this document, which ordered the annulment of all sales or agreements to sell public lands in the Hawaiian Islands made by the Hawaiian government after the adoption of the Joint Resolution of Annexation on July 7, 1898.
On September 11, 1899, McKinley wrote to Secretary of State John Hay: ‘You will notify the President of Hawaii that the Government of Hawaii has no power to make any sale or dispose of the public lands in the Islands. That all proceedings taken or pending for such sale or disposition should be discontinued and that if any sales or agreements for sale have been made since the adoption of the Resolution of Annexation the purchasers should be notified that the same are null and void and any consideration paid to the legal authorities on account thereof should be refunded.’
After the Joint Resolution of Annexation in 1898, Hawaii’s former government technically no longer had sovereignty, but there was confusion over land administration. Local Hawaiian authorities continued to sell and lease public lands under the 1895 Land Act and 1897 Civil Code, as if the annexation had not changed their authority. This created a legal gray area: transactions were being made on lands that were now under U.S. federal jurisdiction, which could later cause disputes or claims against the U.S. government.
McKinley’s order on September 11th formally annulled these post-annexation sales and leases, establishing that only the U.S. government had the authority to manage public lands in Hawaii. It effectively stopped any further transfers made under the old Hawaiian procedures, clearing up the confusion and consolidating federal control. While the order did not address the broader legal status of Hawaiian sovereignty, it was a critical step in the U.S. government’s consolidation of control over Hawaii following its annexation. Starting Bid $200
9. Theodore Roosevelt Signed Book as President - Oliver Cromwell. Signed book: Oliver Cromwell. Later printing. NY: Charles Scribner’s Sons, 1904. Hardcover, 5.75 x 8.5, 260 pages. Signed on the first free end page in fountain pen as president, “Theodore Roosevelt, March 1st, 1905.” Annotated below in another hand: “President Roosevelt signed this book for Mrs. William D. Kilpatrick.” Autographic condition: fine. Book condition: VG-/None, with the frontispiece portrait detached but present, sunning to spine, edgewear, and a small stain to the front board.
Theodore Roosevelt’s biography of Oliver Cromwell, first published in 1900, details the life and impact of the 17th-century English leader, focusing on his rise during the English Civil War, his role in the Commonwealth, and his military campaigns. The book analyzes the tyrannical rule of the Stuart kings and Cromwell’s military leadership, portraying him as a complex figure shaped by religious conviction and a sense of duty. Starting Bid $200
10. Theodore Roosevelt Signed BookAmerican Statesmen: Thomas Hart Benton. Signed book: American Statesmen: Thomas Hart Benton by Theodore Roosevelt. Later printing. Boston: Houghton Mifflin, 1886. Hardcover, 5 x 7, 372 pages. Signed on the torn first free end page in bold ink, “With greetings and good wishes from Theodore Roosevelt.” Inscribed in another hand on the half-title page, “To Mrs. L. J. Worley, grandaughter of Thos. H. Benton, from Her Friends, The Kirk’s,” with another inscription to the front pastedown. Autographic condition: very good to fine, with toning and a rusty paperclip impression to the torn signed page. Book condition: VG-/None, with wear to spine ends, paper cracked at hinges, and aforementioned loss to the first free end page.
Theodore Roosevelt was a prolific author and, in fact, had first come to national prominence as a serious historian with the two-volume work The Naval War of 1812, published in 1882. His biographical study of Thomas Hart Benton, the 19th-century senator from Missouri, portrays the statesman as a symbol of the American frontier spirit—bold, independent, and deeply committed to westward expansion. The book highlights Benton’s influence on U.S. politics and territorial growth, reflecting Roosevelt’s own admiration for rugged individualism and national progress. Starting Bid $200
Scrapbook
complied by the president
of the Canadian Club
of
New
York, with letters from Roosevelt, Taft, cabinet members, and other members of elite society
11. Theodore Roosevelt, William H. Taft, and Notables (190+) Signed Letters in Scrapbook. Impressive cloth-bound autograph album containing nearly 200 signed letters, notes, and responses addressed to Thomas D. Neelands, longtime President of the Canadian Club of New York. The folio-style book measures 9.75” x 12.5” x 2” and features a robust linen cover stamped with “Canadian Club of New York” and “Thos. D. Neelands.” The interior features tipped-in letters-typed and handwritten on a wide range of letterhead, from The White House to private businesses, law firms, and publications. The collection spans from 1914 to 1919, capturing the peak years of World War I and U.S. engagement with Canadian and Allied affairs.
The scrapbook is highlighted by a TLS by Theodore Roosevelt on letterhead from The Metropolitan Magazine, January 16, 1917, in part: “I rarely read the New York Times, and did not know that it had misquoted me. I wish I could accept your invitation to dinner, but it is a simple impossibility. In the Metropolitan that is out in a fortnight hence, there is an article by me about Canada, and her share in the war.”
Other especially notable signers include: William H. Taft, Elihu Root, Chauncey Depew, Henry Cabot Lodge, John D. Rockefeller Jr., George W. Goethals, Leonard Wood, George Dewey, Nelson Miles, Henry L. Stimson, Ernest Thompson Seton, Wilfred Grenfell, Thomas Lipton, John Galsworthy, Otis Skinner, Geraldine Farrar, Billie Burke, and Marie Dressler. The balance of the letters are signed by lesser political, military, and civic leaders; writers, journalists, and editors; actors and actresses; and fellow members of high society. In overall fine condition. This archive offers an unparalleled snapshot of American and Canadian elite society during World War I. Compiled by Thomas D. Neelands, the collection reflects the Canadian Club’s prominence as a hub for diplomacy, cultural exchange, and wartime solidarity between the U.S. and Canada. Starting Bid $200
President Nixon writes to his disgraced VP, just days after his resignation:
“The chair you occupied across from mine at the Cabinet table is, to me, a symbol of the strength and wisdom you brought to that task as well as to the highest councils of the Government itself”
12. Richard Nixon Typed Letter Signed to Spiro T. Agnew, Sending the Disgraced VP His Cabinet Chair: “The chair you occupied across from mine at the Cabinet table is, to me, a symbol of the strength and wisdom you brought to that task”. TLS as president, signed “RN,” one page, 7 x 10.5, White House letterhead, October 30, 1973. Letter to his former vice president, Spiro T. Agnew, who had resigned just twenty days earlier. Although their relationship had been contentious throughout their time in office together, Nixon reaches out to Agnew with a delicate touch and offers him a memento from his tenure as VP.
In full: “Dear Ted: During the years that you served as Vice President, one of your greatest services to the Nation was to help clarify the great issues before it, and to help lead the American people to a deeper and better understanding of those issues.
The chair you occupied across from mine at the Cabinet table is, to me, a symbol of the strength and wisdom you brought to that task as well as to the highest councils of the Government itself. Therefore, I particularly wanted to make a personal gift
of that chair, which I hope you will take as a token of both friendship and esteem.
I am confident that the same strength and wisdom will help you through these difficult days, and I am also sure that in the years to come the knowledge that you were right about the great issues will maintain that strength and vindicate that wisdom.” In very fine condition. Accompanied by original White House envelope, which was not postally used suggesting hand delivery of this important letter.
Agnew resigned as Vice President on October 10, 1973, after the U.S. Justice Department uncovered widespread evidence of his political corruption while in Maryland, but also including allegations that his practice of accepting bribes had continued into his tenure as vice president under Nixon. It was a plea-bargain deal that Agnew had to accept—surrender the vice presidency in exchange for his freedom. Nixon would be forced to resign the following year to avoid impeachment over the Watergate scandal, which exposed abuse of power and a cover-up of political crimes. Starting Bid $500
13. Four Presidents Signed Photograph. Color satin-finish 8 x 10 photo of Presidents Nixon through Reagan gathered at the White House prior to departing for Anwar Sadat’s funeral in 1981, signed in the lower border in black felt tip, “Ronald Reagan,” “Gerald R. Ford,” “Jimmy Carter,” and “Richard Nixon.” In fine condition. Starting Bid $200
Notables American Politicians and Leaders
71. William H. Seward Document
Signed as Governor of New York. American statesman (1801–1872) who served as secretary of state in the Lincoln administration and who was severely injured in an attack that was part of the assassination conspiracy. His greatest political achievement was the purchase of Alaska from Russia, derided by contemporary skeptics as ‘Seward’s Folly.’ Manuscript DS, one page, 8.25 x 9.5, November 25, 1839. Statement of certification from William H. Seward as Governor of New York, who certifies that “Giles F. Yates whose name is subscribed to the written document is Surrogate of the County of Schenectady in this State duly commissioned & sworn and residing in the City of Schenectady that the signature ‘G. F. Yates’ to the said Document is the proper hand writing of the said Surrogate.” Signed at the conclusion by Seward, and countersigned by Secretary Archibald Campbell. The upper left retains the original off-white seal. The reverse bears the reference document signed by Yates, which pertains to the named executors of the last will and testament of Jonathan Walton. In fine condition. Starting Bid $200
72. William H. Seward (2) Signed Items - Autograph Letter and Free Frank. American statesman (1801–1872) who served as secretary of state in the Lincoln administration and who was severely injured in an attack that was part of the assassination conspiracy. His greatest political achievement was the purchase of Alaska from Russia, derided by contemporary skeptics as ‘Seward’s Folly.’ Two items signed by William H. Seward, including: an ALS, one page, 7 x 8.25, June 20, 1855. Addressed from Auburn, New York, a handwritten letter to Roderick Moe, in full: “Your letter was received this morning. Neither Mr. Morgan or I could do anything about your applications at Washington while absent from that city. Mr. Morgan will be at home again in time to take his seat in Congress, and you will be able to see him before he goes there. If I can do anything useful to you, you can let me know after the assembly of Congress in December.” Also included is a free franked mailing envelope, 5.25 x 3, addressed in another and to “The Rev’d Dr. Woolsey, President Yale College, New Haven, Conn’t,” and signed in the upper right with his franking signature, “William H. Seward.” In overall fine condition. Starting Bid $200
Supreme Court
78. Hughes Court Oversized Signed Photograph. Vintage circa 1932 matte-finish 18 x 13 photo of the Hughes Court in their judicial robes by Harris & Ewing, signed in fountain pen by Chief Justice Charles Evans Hughes, Louis Brandeis, Benjamin Cardozo, Harlan Fiske Stone, Pierce Butler, Owen J. Roberts, James C. McReynolds, George Sutherland, and Willis Van Devanter. In fine condition, with trimmed edges, and scattered tiny stains. Starting Bid $200
World Leaders and Politicians
84. Winston Churchill Signed Photograph. Vintage circa 1949 glossy 8 x 9.75 photo of Winston Churchill in profile with his ubiquitous cigar in his mouth, standing next to his wife, Clementine, and noted financier Bernard Baruch, signed neatly in fountain pen, “W. Churchill.” The reverse bears a Keystone Pictures stamp. In very good condition, with overall creasing, and a small area of scuffed emulsion loss to Churchill’s cheek.Starting Bid $200
Churchill thanks a confidante for his loyalty:
“I was particularly glad to hear that Lady Churchill was re-elected President of the Association”
85. Winston and Clementine Churchill (2) Typed Letters Signed. TLS, signed “Winston S. Churchill,” one page 7.5 x 9.5, Prime Minister, 10 Downing Street letterhead, April 1, 1955. Letter to John E. Harvey, in full: “Thank you for your letter about the Annual General meeting, and for the message of loyalty and good wishes, which I received with much pleasure. I was particularly glad to hear that Lady Churchill was re-elected President of the Association and that you were re-elected Chairman. I read with interest about its Officers. Thank you also for writing to me about Sally Hawkey.” Includes an additional TLS, signed “Yours very sincerely, Clementine S. Churchill,” one page, 5 x 8, personal letterhead, January 22, 1965, also to Harvey, in full: “I am so grateful to you both for your thoughts at this time, and for the lovely flowers you have sent me.” In fine condition. Accompanied by a color glossy snapshot of the Churchills at the edge of a pond feeding ducks, and two postcard photos of the Churchills meeting Queen Elizabeth II.
Serving as the Conservative MP for Walthamstow East from 1955 to 1966, John Edgar Harvey built a close relationship with the Churchills during the last two decades of the prime minister’s life. As Winston Churchill began to realize that he would never fully recover from his second stroke in 1953, Harvey remained a confidante. He knew of the leader’s upcoming resignation well before it was made public on April 5, 1955, just four days after Churchill wrote him this letter, and was present at the famous Number 10 for the official announcement. The accompanying letter from Clementine, written two days before her husband’s death, thanks Harvey for keeping them in his thoughts after Winston’s final stroke. This poignant pair of letters attests to a close political and personal relationship that spanned decades. Starting Bid $300
“Sun Yat Sen, China”—historical signature dated to the revolutionary leader’s return to China after 10 years of exile
87. Sun Yat-sen Signature (November 20, 1911) - Dated to His Fateful Return to China After 10 Years in Exile. Rare ink signature in Chinese and English, “Sun Yat Sen, China,” on an off-white 5.5 x 7 blackbordered sheet of letterhead belonging to British solicitor and Unionist politician Robert Chancellor Nesbitt, who adds the date below, “20 Nov’r 1911,” and writes above, “This is the signature of Dr. Sun Yat Sen.” In very fine condition, with a central horizontal mailing fold. Accompanied by the original mailing envelope addressed to Nesbitt’s office at 7 Devonshire Square in London, postmarked November 20, 1911, with Nesbitt annotating the front in blue pencil, “Signature of Sun Yat Sen, for whom I acted, R.C.N.”
When the Wuchang Uprising erupted in October 1911, Sun Yat-sen was in the midst of a fundraising tour in the United States, seeking support for his long-standing revolutionary movement aimed at toppling the Qing dynasty. Recognizing that the revolution had begun, he immediately redirected his efforts toward international diplomacy and traveled to Europe, where he sought to influence the great powers, particularly Great Britain and France, to refrain from supporting the Qing imperial government either financially or militarily.
By late November 1911, Sun had successfully secured assurances of neutrality. On November 20, 1911—the very date of this signature—he departed London for China, marking the most critical point in his political career and coming just over a month before his return to China after ten years in enforced exile. He arrived in Shanghai on December 25, 1911, and, just a few days later, on December 29, a provisional assembly in Nanjing elected him as the first provisional president of the Republic of China. He was inaugurated on January 1, 1912, a moment that officially established the new republic.
Robert Chancellor Nesbitt (1868-1944) was a distinguished City of London solicitor and Member of Parliament, well regarded among his contemporaries for sound advice on difficult issues. Nesbitt traveled to Shanghai in 1903 and was appointed an Advocate of the Shanghai Bar; he would therefore have been familiar with developments in China. As his handwriting on the envelope notes, he acted as a lawyer for Sun Yat-sen. Starting Bid $500
Princess
Diana sends a humorous birthday card to a “timeworn, a thing of the past, no spring chicken, overripe, a golden-ager, has-been, codger, fogy, geezer”
93. Princess Diana Signed Birthday Card. Humorous partly-printed ‘Older Than Dirt Society’ birthday card filled out and signed by Princess Diana, 9.5 x 7.75, signed in thick black ink, “Diana,” and dated “[this] birthday…February 5th, [19]92.” The card reads, in part: “This certifies that Mr. Tony Burrows is over the hill, on the downward slop of life, timeworn, a thing of the past, no spring chicken, overripe, a golden-ager, hasbeen, codger, fogy, geezer…Nevertheless, you should be able to lead a fulfilling life as a crossing guard or feeding pigeons in the park.” Matted and framed with a portrait and plaque to an overall size of 19 x 11. In fine condition, with a central vertical fold. Accompanied by a full letter of authenticity from Beckett Authentication Services. Starting Bid $200
94. Queen Elizabeth II Oversized Signed Photograph. Massive color glossy 24 x 30 photo of Queen Elizabeth II posing at her desk, affixed to its original 30 x 36 mount, signed on the mount in ink, “Elizabeth R, 2003.” In fine condition, with some fading to the signature, and a small area of surface loss to the bottom edge. Starting Bid $200
Activists and Social Leaders
Malcolm X on Christ’s return “at the end of the white man’s time,” and what Elijah Muhammad embodies as the recognized ‘Lamb of God’—
“That lamb is referred to as ‘the first begotten of the dead,’ which only means that he would be the first one raised up from among the mentally dead so-called Negro”
102. Malcolm X Signed Page for Alex Haley’s Playboy Interview - PSA NM-MT 8. Page 11 from the original typescript of Alex Haley’s 1963 interview of Malcolm X for Playboy magazine, one page, 8.5 x 11, signed “Malcolm X” in the bottom margin (with a marginal line indicating his approval of the contents). In full: [Malcolm X] “Mr. Fard Muhammad. Mr. Elijah Muhammad teaches that this was God who had come here from the East like it was predicted by all the religious scholars and prophets that the son of man or the messiah who is also called the Christ but actually means God in person would make his appearance, coming from the East, and manifest himself in the West at the end of the white man’s time. He would appear among the lost sheep, the so-called Negroes, and would choose one from among them, who will be referred to in the Bible as the Lamb of God. And he would make this lamb spotless and then use him as an example. Or as a shepherd, for the rest of the so-called Negroes. That lamb is referred to as ‘the first begotten of the dead,’ which only means that he would be the first one raised up from among the mentally dead so-called Negro.
[Haley] It gets rather confusing, all of it, doesn’t it?
[Malcolm X] It may, sir, to you –
[Haley] And now you are calling yourself ‘Muslims.’ You pronounce it ‘Moose-lem?
[Malcolm X] That’s the correct Arabic pronounciation, sir. The other way, ‘Moz-lim,’ is the way a white man says it. That’s the anglicized spelling and pronounciation.
[Haley] Well, Moose-lem or Moz-lim; but your movement, it is said, uses not only the Koran, but also the Bible – .” An editorial hand has added to the end of Malcolm X’s first paragraph: “We recognize the Honorable Elijah Muhammad as the Lamb of God.” In fine condition. Encapsulated and graded by PSA/ DNA as “NM-MT 8.”
Playboy’s May 1963 interview with Malcolm X was one of the most famous of Haley’s career and gave most readers their first in-depth look at Malcolm X’s teachings and personality. Supporters and critics viewed the Muslim minister in very different terms. Admirers saw him as a courageous advocate for the rights of African-Americans and condemned crimes against black Americans; detractors accused him of preaching racism, black supremacy, and violence. Nevertheless, he has been described as one of the greatest and most influential African-American leaders in history. Within a year of granting this interview, with America still gripped by ever-growing racial tension, the once-combative black nationalist Malcolm X had repudiated almost every stance in the interview. He had broken with the Nation of Islam movement, fallen out with its leader, Elijah Muhammad, renounced black supremacy, and embraced racial equality and human rights. He was assassinated in Harlem in 1965. The Marc and Mary Perkins Collection. Starting Bid $500
Gandhi returns home via Rome in 1931, after attending the Second Round Table Conference
101. Mohandas Gandhi Signature. Vintage fountain pen signature, “M. K. Gandhi, Roma, 12/12/31,” on a light green 5.5 x 6.25 album page. In fine condition, with toning and old tape stains, all easily matted out.
In December 1931, Mahatma Gandhi visited Rome on his way back to India from the Second Round Table Conference in London, where he met with Italian Fascist dictator Benito Mussolini. The meeting between the two leaders was a historic and unlikely event, with Mussolini’s fascist Italy seeing Gandhi as an international figure of non-violent protest. Gandhi also visited the Vatican, but he was unable to meet Pope Pius XI because he was not in a traditional suit and the Vatican considered his attire improper for a formal audience. Starting Bid $500
Businessmen
108. Henry M. Flagler and William Rockefeller, Jr. Signed ‘Standard Oil Trust’ Stock Certificate. Partly-printed DS, signed “H. M. Flagler” and “Wm. Rockefeller,” one page, 10.75 x 7.75, June 16, 1898. Stock certificate for 100 shares in the Standard Oil Trust issued to Moore & Schley, signed in ink by William Rockefeller as attorney in fact and Henry M. Flagler as secretary. The original receipt remains affixed to the left edge. In fine condition. 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. William Rockefeller (1841-1922), the younger brother of business magnate John D. Rockefeller, was a co-founder of Standard Oil who also had interests in mining, railways, public utilities, and banking. Starting Bid $200
110. J. Pierpont Morgan Signed ‘New Jersey Junction Railroad’ Mortgage Bond. Partlyprinted DS, signed “J. Pierpont Morgan,” one page, 13.5 x 9.5, June 30, 1886. First mortgage bond of the New Jersey Junction Railroad Company in the amount of $1000, endorsed on the reverse by J. P. Morgan and H. C. Fahnestock as trustees. Unaccomplished and bound at the left edge with five pages of the original coupons, with 199 of 200 still present. In fine condition. Financier and banker John Pierpont Morgan (1837-1913) is remembered for dominating corporate finance on Wall Street throughout the Gilded Age as head of the banking firm now known as J.P. Morgan & Co. The banker Harris C. Fahnestock (1835-1914) is known for his partnership with Jay Cooke and for his railroad investments. Starting Bid $200
111. John D. Rockefeller Signed Christmas Card. Gorgeous Christmas card from 1921, measuring 5.75 x 8 closed, featuring an image of a sculpture by Augustin Pajou in the gardens of Rockefeller’s ‘Kykuit’ estate, boldly signed on the front in fountain pen, “John D. Rockefeller.” Above is a secretarial dedication, “With kind regards and every best wish.” Inside is a printed holiday greeting: “With hearty Christmas Greetings and all good wishes for the New Year from John D. Rockefeller.” In fine condition. Accompanied by the original mailing envelope, secretarially addressed to “Mr. & Mrs. Benjamin F. Rockefellow, Canon City, Colorado.”
The recipient, Rockefeller’s cousin Benjamin Franklin Rockafellow (1835–1926), served in the Civil War, went West and fought Indians, and developed the Rockvale and Brookside mines in Colorado; for eight years, Rockafellow served as president of the Rockefeller Family Association. Starting Bid $200
Important Standard Oil stock certificate issued to a trust organizer, signed by Rockefeller and Flagler
112. John D. Rockefeller and Henry M. Flagler Signed ‘Standard Oil Trust’ Stock Certificate (No. 126). Partlyprinted DS, one page, 11 x 6.5, March 29, 1877. Stock certificate No. 126, issued to Warden, Frew & Co., for 1475 shares in Rockefeller’s Standard Oil Trust, signed at the conclusion by John D. Rockefeller as president and Henry M. Flagler as secretary. The transfer section on the reverse has been filled out by William G. Warden, who signs on behalf of his company, “Warden, Frew & Co.” The original receipt remains affixed at the left edge. In fine condition. 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. William G. Warden (1831–1895) was one of the organizers of the Standard Oil Company and a member of its Board of Trustees. An important stock certificate that boasts a multitude of significant Standard Oil associations. Starting Bid $500
113. John D. Rockefeller and Henry M. Flagler Multi-Signed ‘Standard Oil Trust’ Stock Certificate. Partly-printed DS signed “John D. Rockefeller” and “H. M. Flagler,” one page, 11.5 x 7.5, May 31, 1889. Stock certificate for 100 shares in Rockefeller’s Standard Oil Trust issued to company co-founder H. M. Flagler, signed at the conclusion by John D. Rockefeller as president, Joel Francis Freeman as treasurer, and Henry M. Flagler as secretary, with Flagler signing twice more: on the receipt attached to the left side, and on the reverse authorizing the transfer of shares. In fine condition, with line cancellations through the signatures. An important stock certificate that boasts a multitude of significant Standard Oil associations.
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. Starting Bid $200
114. Charles M. Schwab Signed ‘Stutz Motor Car Company’ Stock Certificate. American steel magnate (1862–1939) whose Bethlehem Steel became the second largest steel maker in the United States, and one of the most important heavy manufacturers in the world. DS, one page, 11.5 x 7.5, June 3, 1935. Handsomely engraved red-bordered stock certificate for 100 shares in the Stutz Motor Car Company of America, Inc., issued to Charles M. Schwab, who has signed on the reverse to authorize the transfer of shares. In fine condition. Starting Bid $200
115. Cornelius Vanderbilt Signed Dividend Ledger. American businessman (1794-1877), one of America’s first millionaires, who built his fortune in shipping and railroads. DS, signed “C. Vanderbilt,” on behalf of James M. Marvin, one page, both sides, 11 x 17.25, October 15, 1869. Hudson River Railroad Company financial document listing stockholders’ receipts for dividends, signed in ink by Vanderbilt to confirm receipt of $3,680 as a dividend for 920 shares held by Marvin. In fine condition. Starting Bid $200
116. Henry Wells and William Fargo Signed ‘American Express Company’ Stock Certificate. Partly-printed DS, signed “Henry Wells” and “Wm. G. Fargo,” one page, 12 x 8.5, May 1, 1866. Handsomely engraved blue-bordered stock certificate for 1 share in the American Express Company, issued to W. D. Oviatt of Rochester. Signed at the conclusion by Henry Wells as president, William Fargo as secretary, and Alex Holland as treasurer. In fine condition, with some toning to the top edge.
Henry Wells (1805-1878) was a cofounder, with William Fargo (1818-1881), of both the American Express Company and Wells Fargo & Company. Starting Bid $200
Albert Einstein
Very rare 1917 etching of Albert Einstein, signed by subject and artist—the first artistic portrait of the genius physicist
117. Albert Einstein Signed Oversized Etching by Erich Büttner (1917) . Very rare 12.75 x 15.75 etching on Japanese paper of the youthful Albert Einstein by Erich Büttner—the very first artistic portrait of the genius to be commissioned in 1917—signed in the lower border in pencil by the subject, “A. Einstein,” and artist, “Büttner.” In fine condition, with a couple of light creases in the borders.
Erich Büttner (1898–1936) was a renowned painter, graphic artist, and bookplate artist in Berlin in the early 20th century. He studied there from 1906 to 1911 at the teaching institution of the School of Arts and Crafts under Emil Orlik, among others. During World War I, he worked as a cartographer, where he met Eugen Spiro. In 1915, Büttner was the editor of the literary magazine Bimini. He was a member of the Berlin Secession and closely connected to the urban art scene. In 1917, Büttner was commissioned to create a portrait of Albert Einstein—the first portrayal of the genius by a notable artist. He would also create Einstein’s ex-libris bookplate. In 1917, Albert Einstein introduced the cosmological constant into his general theory of relativity to create a static universe, and published his landmark paper, ‘Cosmological Considerations in the General Theory of Relativity.’ Starting Bid $1000
Expressive portrayal of Einstein deep in thought, signed by subject and artist
118. Albert Einstein Signed Oversized Etching by Julius C. Turner (1920) - One of the Most Expressive Einstein Portraits. Highly detailed 13.5 x 14.75 drypoint etching of Albert Einstein’s face in a three-quarter turn, with his head slightly bowed, signed in the lower border in pencil by the subject, “Albert Einstein,” and artist, “Julius C. Turner.” The etching also carries Turner’s facsimile signature inherent to the print: “JCT 1920.” Matted to an overall size of 17.25 x 18.5. In fine condition.
Julius Collen Turner (1881–1948) was a German-Belgian painter and graphic artist born in Schivelbein in Pomerania. He received an academic training in painting at the Academy
of Fine Arts in Berlin, among others from Woldemar Friedrich and Hans Meyer. Due to the increasingly deteriorating conditions in Germany, triggered by the Nazi regime, Collen migrated to Belgium in 1936. From 1940 to 1944, he was in two internment camps. His work mainly includes oil paintings and graphics, often commissioned portraits.
Einstein and Collen Turner were friends in Berlin, where the artist made several portraits of the genius. This portrayal has a lifelike quality to it, capturing Einstein in a moment of great thought—a striking rendering of one of the great minds of our time. Starting Bid $1000
“Per aspera ad astra, Albert Einstein”— a remarkable sentiment penciled
on an
early Hermann Struck etching
119. Albert Einstein Signed Etching by Hermann Struck (c. 1920) (Ltd. Ed. #149/150): “Per aspera ad astra”. Spectacular limited edition 9.75 x 12.75 etching of Albert Einstein in right-facing near profile by Hermann Struck, numbered 149/150, signed in the lower border in pencil by the subject, “Per aspera ad astra, Albert Einstein, April 21,” evoking the Latin phrase for ‘through hardships to the stars.’ Also signed in pencil by the artist, “Hermann Struck.” The etching carries the artist’s facsimile monogram and date inherent to the print: “HS 1920.” In very fine condition.
Embodying a universal theme of triumph over adversity to achieve a lofty goal, ‘per aspera ad astra’ carries power in its poetic message. Most notably, it became a motivating force in the aftermath of the Apollo 1 fire—today, the Latin motto is inscribed on the Apollo 1 memorial plaque at Pad 34—serving as a reminder that the ultimate goal of reaching the stars was worth sacrifice and struggle. Einstein, too, faced struggles in his efforts to explain the universe, facing years of intellectual isolation and skepticism as he worked to challenge the long-standing Newtonian understanding of physics.
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 co-founding 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. Struck’s nephew, Henry Pachter, reports on meeting Einstein as a child: in 1921 or 1922, he recalls being sent to the scientist with a stack of etchings that Struck had just completed, to have them signed by the genius physicist. Starting Bid $5000
120. Albert Einstein Etching by Hermann Struck (c. 1920) (Ltd. Ed. #129/150). Limited edition 9.5 x 12 etching of Albert Einstein in right-facing near profile by Hermann Struck, numbered 129/150, signed in the lower border in pencil by the artist, “Hermann Struck.” The etching carries the artist’s facsimile monogram and date inherent to the print: “HS 1920.” In very fine condition.
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 co-founding 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 $200
Brilliant etching of Albert Einstein lecturing in 1921, the year of his Nobel Prize
121. Albert Einstein Oversized Etching by Ferdinand Schmutzer (1921). Extraordinary 14 x 17 etching of Albert Einstein lecturing at his blackboard, chalk in hand, signed in the lower border in pencil by the artist, “F. Schmutzer.” Affixed to a same-size mount and in fine condition.
The Viennese painter and etcher Ferdinand Schmutzer (1870–1928) became particularly well known for his etchings as well as for the portraits of famous people, even beyond the borders of Austria. A list of those portrayed by Ferdinand Schmutzer reads like a Who’s Who of the most famous individuals from all areas of social life in Vienna at the beginning of the 20th century. For his etchings, Ferdinand Schmutzer used photographs as templates. In addition to painting and graphics, photography also played a significant role in his oeuvre.
In 1921, Ferdinand Schmutzer attempted to convince Albert Einstein to sit as a model for an etching. In January of that year, Einstein came to Vienna as part of a lecture tour, where the meeting was also to take place. In a letter from G. Lampe, who facilitated the meeting, it was stated that it would be difficult since Einstein was probably very busy and in demand from many people. The fact that the portrait session indeed took place is evidenced by the resultant etchings and photographs. It is assumed that Schmutzer photographed Einstein and later created an etching based on these visual records.
Albert Einstein would later be awarded the 1921 Nobel Prize in Physics for his discovery of the photoelectric effect, a pivotal contribution to quantum theory. Starting Bid $500
Limited edition signed portrait of Albert Einstein by a noted Jewish artist
122. Albert Einstein Signed Etching by Hermann Struck (c. 1921) (Ltd. Ed. #86/100). Superlative limited edition 7.25 x 9.5 etching of Albert Einstein in leftfacing near profile by Hermann Struck, numbered 86/100, signed in the lower border in pencil by the subject, “Albert Einstein,” and artist, “Hermann Struck.” Matted to an overall size of 12 x 15.75. In fine condition, with some rippling to the mat.
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 co-founding 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. Struck’s nephew, Henry Pachter, reports on meeting Einstein as a child: in 1921 or 1922, he recalls being sent to the scientist with a stack of etchings that Struck had just completed, to have them signed by the genius physicist. Starting Bid $1000
123. Albert Einstein Etching by Bernhardt Wall in ‘The Etched Monthly’ Booklet (Ltd. Ed. of 250). Dramatic 5.5 x 8 etching of Albert Einstein in a front-facing pose by Bernhardt Wall, signed in the lower border in pencil by the artist, “Bernhard Wall.” The etching is bound into the June 1929 issue of ‘The Etched Monthly,’ issued as a limited edition of 250 (this out of series copy marked “Personal”), which contains eight more etchings signed in pencil by Wall, with subjects including Joseph Pennell, Poe’s Home in Richmond, Benjamin Oakleaf, Roy S. Kellogg, and others. The volume is also signed on the colophon, and signed and inscribed on the first free end page, “To Natalie Williams, with my deepest regards, Bernhardt Wall, Nov. 20, 1936, Marshall, Texas.” In fine condition.
Bernhardt Wall (1872–1956) was an American engraver, illustrator, graphic designer, and lithographer. He designed more than 5,000 postcards for various companies, earning him the nickname ‘Postcard King.’ Wall also established himself as an engraver of famous American political and cultural leaders, particularly Abraham Lincoln. He studied art in New York under, among others, Henry Reuterdahl and William Auerbach-Levy. From 1889, Wall worked as an artist in New York City and Buffalo. After a period as a soldier in World War I, he returned to New York and had a successful exhibition of his engravings, drawings, and watercolors in 1915—at that point, he had decided to focus on engraving. Wall met Einstein at a public speech at Columbia University in New York on April 27, 1921. Starting Bid $200
Rare etching of Albert Einstein’s ‘planetary’ head—probably the first artist’s portrait of the genius done in the United States
124. Albert Einstein Oversized Etching by William Meyerowitz (1921). Extremely rare, early 9.25 x 12 etching of Albert Einstein’s head by William Meyerowitz—probably the first portrait of Einstein done by an artist in the United States—titled and signed in the lower border in pencil by the artist, “Head Prof. Einstein, Wm. Meyerowitz.” The etching also carries the artist’s facsimile signature inherent to the print: “W. Meyerwitz, 21.” In fine condition.
Painter, draftsman, and graphic artist William Meyerowitz (1887–1981) was born in Dnipropetrovsk, Ukraine. In 1908, he migrated to the United States with his father, and the family followed a few years later. He began painting and drawing already in his homeland. He studied at the National Academy of Design from 1912 to 1916. He met the artist Theresa Bernstein, whom he married in 1919. From the 1920s to the 1940s, Meyerowitz had numerous exhibitions across America. He met significant painters of his time, including Edward Hopper and Marcel Duchamp. Additionally, he taught at various universities and schools.
The portraits that Meyerowitz drew of Einstein were created from life. He studied Einstein during the first meeting of the Zionists in New York in 1921, as well as during a university lecture.
The encounter between Einstein and Meyerowitz is well documented in ‘William Meyerowitz: The Artist Speaks’ by Theresa Bernstein Meyerowitz (The Art Alliance Press, 1986): ‘To study Einstein further, William was invited to attend a lecture on relativity given by the professor at New York University. They gave us seats in the front row where we could watch Einstein’s every expression…We gathered our sketches and rushed to the same exit. William made an etching of the professor in which only Einstein`s head was visible, symbolized as a planet in space.’ Starting Bid $300
Oversized Expressionist portrait of Albert Einstein by Lou Albert-Lasard, signed by the genius subject
125. Albert Einstein Signed Oversized Lithograph by Lou AlbertLasard - Front-Facing Portrait (1922). Marvelous 19 x 23 lithograph of Albert Einstein by Expressionist artist Lou Albert-Lasard, showing the genius in a three-quarter pose with his head slightly tilted, signed the lower right corner in pencil, “Albert Einstein.” The lithograph carries a facsimile signature inherent to the print, “A. Einstein, 28 April 1922,” as well as the artist’s monogram, “LAL.” In fine condition.
Louise Albert-Lasard (1885–1969) was born in Metz as the daughter of a Frenchman and an American. From 1908 to 1914, she studied in Munich at the Academy and in Paris. She also studied under Fernand Léger, in whose studio she worked. During her years in Munich, she had close connections to the New Artists’ Association, including the likes of Klee, Marc, and Kandinsky. Her most sensitive portraits emerged after 1922, created with minimal means (especially watercolor and lithography), of significant contemporaries—Einstein, Chagall, Cocteau, and Léger, for example. She created at least two portraits of the physicist, which were reproduced as lithographs. The portraits were made in April 1922, when both Einstein and the artist lived in Berlin.
In a letter to Rainer Maria Rilke of April 16, 1922, Albert-Lasard discussed the sitting (translated): ‘I took a portrait of Albert Einstein, of which I am sending you a print, and of his daughter…Einstein and his wife were very kind to me. They even intend to organize an exhibition of my works at their home. How easy it is for those who have a name to operate within a larger circle! To avoid sinking, I am obliged to make use of all possible connections, sometimes it seems impure to me; what do you think?’ (as quoted in Une Image De Lou by Nicole Schneegans, Editions Gallimard, 1996). Starting Bid $1000
Profile portrait of Albert Einstein by the avant-garde artist, signed by the celebrated physicist
126. Albert Einstein Signed Oversized Lithograph by Lou Albert-Lasard - Profile Portrait (1922). Exquisite 19 x 23.25 lithograph of Albert Einstein by Expressionist artist Lou Albert-Lasard, showing the genius in a profile pose, signed the lower right corner in pencil, “Albert Einstein.” The lithograph carries a facsimile signature inherent to the print, “Albert Einstein, April 22,” as well as the artist’s monogram, “LAL.” Mounted and matted to an overall size of 23.5 x 27.5. In fine condition, with some subtle foxing.
Louise Albert-Lasard (1885–1969) was born in Metz as the daughter of a Frenchman and an American. From 1908 to 1914, she studied in Munich at the Academy and in Paris. She also studied under Fernand Léger, in whose studio she worked. During her years in Munich, she had close connections to the New Artists’ Association, including the likes of Klee, Marc, and Kandinsky. Her most sensitive portraits emerged after 1922, created with minimal means (especially watercolor and lithography), of significant contemporaries— Einstein, Chagall, Cocteau, and Léger, for example. She created at least two portraits of the physicist, which were reproduced as lithographs. The portraits were made in April 1922, when both Einstein and the artist lived in Berlin.
In a letter to Rainer Maria Rilke of April 16, 1922, Albert-Lasard discussed the sitting (translated): ‘I took a portrait of Albert Einstein, of which I am sending you a print, and of his daughter…Einstein and his wife were very kind to me. They even intend to organize an exhibition of my works at their home. How easy it is for those who have a name to operate within a larger circle! To avoid sinking, I am obliged to make use of all possible connections, sometimes it seems impure to me; what do you think?’ (as quoted in Une Image De Lou by Nicole Schneegans, Editions Gallimard, 1996). Starting Bid $1000
127. Albert Einstein Oversized Lithograph by Max Liebermann (1922). Excellent 12.75 x 19 lithograph of the middle-aged Albert Einstein portrayed in a head-and-shoulders bust pose in 1922—the year after his receipt of the Nobel Prize in Physics—signed in the lower right in pencil by the artist, “M. Liebermann.” The lithograph also carries Liebermann’s facsimile signature inherent to the print. In fine condition.
Max Liebermann (1847–1935) was born in Berlin. From 1869, he studied at the Art Academy in Weimar. In 1878, Liebermann moved to Munich, where he connected with the group of artists around Wilhelm Leibl. In August 1884, he returned to Berlin and became a professor at the Royal Academy of Arts in 1897. A year later, the artist was appointed president of the newly founded Berlin Secession. From the mid-1930s, the Nazi regime made it difficult for Liebermann to practice his profession, and his works were removed from public collections.
Albert Einstein and Max Liebermann had a friendly relationship. Liebermann is said to have referred to Einstein as ‘the man I respect the most in the world.’ At the same time, the physicist valued Liebermann not only as a painter but also as a friend and conversational partner. Starting Bid $200
128. 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 co-founding 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
Neatly dual-signed Einstein lithograph by his frequent artistic collaborator
129. Albert Einstein Oversized Etching by Emil Orlik (c. 1925). Impressively detailed 10.5 x 14.75 etching of Albert Einstein in a personal and expressive three-quarter bust profile pose by Emil Orlik, signed in the lower border in pencil by the artist, “Emil Orlik.” In fine condition, with a trivial short tear to the top edge.
Born in Prague to Jewish parents, Emil Orlik (1870–1932) was a painter, graphic artist, press illustrator, and craftsman. He studied in Munich, returned to Prague in 1894, and managed to establish himself there as an artist. A formative experience for his further work was the trip to Japan that he undertook in 1900. In 1904, Orlik moved to Vienna, where he joined the Vienna Secession. A year later, he accepted a call as a professor and head of the graphic arts class at the State School of Art and Design in Berlin and became a member of the Berlin Secession in 1906. His diverse oeuvre includes not only landscapes and genre paintings but also numerous portraits.
Einstein and Emil Orlik had a friendly relationship, regularly visiting with each other; Orlik is known to have visited Einstein at his summer house in Caputh. Konrad Wachsmann, the architect of the house in Caputh, recalls the painter and writes: ‘Only Orlik and Dr. Grünberg regularly came to [Albert Einstein’s apartment]. Einstein and his family got along very well with them. Emil Orlik was an amusing and witty man who brought a lot of laughter with his talent to capture a personality lightning-fast and put it to paper. By the way, Grosz learned that from him. He could also draw wonderfully quickly. Einstein held Orlik in high regard. He owned both of his ‘95 Heads,’ two books that sold very well. In one of them, Einstein was even featured himself.’ Starting Bid $500
130. Albert Einstein Oversized Lithograph by Emil Stumpp (1927). Distinguished 10.5 x 15 lithograph of Albert Einstein based on a drawing made by Emil Stumpp in 1927 during an official ceremony in Berlin, later featured on a 1979 GDR postage stamp honoring Einstein. The lithograph carries facsimile signatures of Einstein and Stumpp inherent to the print. In very fine condition. Emil Stumpp (1886–1941) was a German teacher, painter, and one of the most famous German press illustrators of the Weimar Republic. It became a trademark of his portraits that he had the original drawings personally signed by those portrayed. Starting Bid $200
Einstein at rest—a scarce lithograph of the physicist practicing his violin
131. Albert Einstein Oversized Lithograph by Emil Orlik (c. 1928). Choice, extremely rare 10 x 12.75 lithograph of Emil Orlik’s drawing showing Albert Einstein playing the violin—one of his favorite pastimes—signed in the lower border in pencil by the artist, “Orlik.” In fine condition.
Albert Einstein was an avid violinist who often turned to music as both a creative outlet and a source of relaxation. He began playing the violin as a child and maintained a lifelong passion for it, frequently performing chamber music with friends. Einstein once said that if he were not a physicist, he would likely have been a musician, underscoring the deep role music played in his life.
Born in Prague to Jewish parents, Emil Orlik (1870–1932) was a painter, graphic artist, press illustrator, and craftsman. He studied in Munich, returned to Prague in 1894, and managed to establish himself there as an artist. A formative experience for his further work was the trip to Japan that he undertook in 1900. In 1904, Orlik moved to Vienna, where he joined the Vienna Secession. A year later, he accepted a call as a professor and head of the graphic arts class at the State School of Art and Design in Berlin and became a member of the Berlin Secession in 1906. His diverse oeuvre includes not only landscapes and genre paintings but also numerous portraits.
Einstein and Emil Orlik had a friendly relationship, regularly visiting with each other; Orlik is known to have visited Einstein at his summer house in Caputh. Konrad Wachsmann, the architect of the house in Caputh, recalls the painter and writes: ‘Only Orlik and Dr. Grünberg regularly came to [Albert Einstein’s apartment]. Einstein and his family got along very well with them. Emil Orlik was an amusing and witty man who brought a lot of laughter with his talent to capture a personality lightning-fast and put it to paper. By the way, Grosz learned that from him. He could also draw wonderfully quickly. Einstein held Orlik in high regard. He owned both of his ‘95 Heads,’ two books that sold very well. In one of them, Einstein was even featured himself.’ Starting Bid $1000
132. Albert Einstein Oversized Lithograph by Boris Georgiev (1929). Imposing 18.25 x 24.5 lithograph by Boris Georgiev showing Albert Einstein’s pensive face looking down with his eyes closed, signed in the lower border in pencil by the artist, “Boris Georgiev di Varna, Berlin 1929.” The lithograph also carries a facsimile signature of Einstein inherent to the print. Matted to an overall size of 23.75 x 27.75, with a mat opening of 17.5 x 20.5. In fine condition.
Boris Georgiev (1888–1962) was born in Varna, Bulgaria, and in 1902 emigrated with his family to St. Petersburg, where he studied under Nicholas Roerich from 1907 to 1909. From 1909 to 1910, he continued his studies at the Academy of Fine Arts in Munich with Angelo Jank and Peter vom Halm. In the following two years, he traveled through Europe and lived part-time as a hermit.
From 1914 to 1920, Georgiev worked in Florence, and then in Rome. He dedicated nearly all of his oeuvre to painting and drawing. In his later works, there are numerous portraits of famous personalities. In 1928, Einstein and Georgiev met in Berlin and formed a friendship. Einstein was so impressed by Georgiev’s art that he organized an exhibition for him at the Salon Schulte unter den Linden. It is said that Einstein delivered the opening speech for this exhibition. As a thank you for this support, Georgiev sent Einstein a large pastel drawing of his portrait.
In a 1929 letter to the artist, Einstein wrote of the portrait (translated): ‘Your art made me feel in those orbits where, far from earthly suffering, the soul finds peace. After concentrating in contemplation on the portrait you made of myself, I felt the need to thank you from my heart. As the weak shadows of a transient reality, we feel home-sickness and unfulfilled love towards a different, intangible world.’ Starting Bid $300
Outstanding signed etching of Albert Einstein, made from life— “d’apres nature”—in 1929
133. Albert Einstein Signed Oversized Etching by John Philipp (1929). Superior 17.25 x 22.25 etching of Albert Einstein depicted in three-quarter bust profile, his head slightly turned to the right, by German artist John Philipp, signed in the wide lower margin in pencil by the subject, “A. Einstein.” The etching also carries Einstein’s facsimile signature inherent to the print, as well as that of the artist: “Albert Einstein, d’apres nature, John Philipp, 1929.” In fine condition.
John Philipp (1872–1938) was a painter, copper engraver, printer, and draftsman born in 1872 in Hamburg. He studied at the Academy of Fine Arts in Munich from 1893 to 1898 under Johann Leonard Raab and Karl von Marr. In 1904, he moved to Berlin, where he worked for five years and befriended the German realistic painter Adolph von Menzel a year before his death. Philipp became known for his portraits of significant international figures, including Rodin, the German Prince Regent, Arthur Nikisch, and Albert Einstein. Philipp and Einstein were acquainted with each other, and he also painted an oil portrait of the genius. Starting Bid $1000
Crisply signed etching of Albert Einstein by an NYC emigré painter
134. Albert Einstein Signed Etching by Isadore Joseph Muller (c. 1930s). Exemplary 7.75 x 10 drypoint etching of Albert Einstein in a forward-facing pose, perfectly capturing the visage of the world’s most illustrious scientific researcher, signed in the lower border in fountain pen by the subject, “Albert Einstein,” and also signed in pencil by the artist, “I. J. Muller.” The etching also carries the artist’s facsimile monogram inherent to the print. In fine condition. An ideal Einstein portrait, crisply signed by the Nobel laureate.
Isadore Joseph Muller (1876–1943) was born in Budapest and studied at the Munich Royal Academy. In 1924, he emigrated to America, where he opened a studio near NYC’s Central Park and created numerous portraits, including those of Franklin D. Roosevelt, Wiley Post, Ignacy Jan Paderewski, and Albert Einstein. Starting Bid $1000
135. Albert Einstein Oversized Etching by Elias Grossman (1930). Distinguished 13 x 19 etching of Albert Einstein facing forward by Elias M. Grossman, his famous shock of white hair slicked back over his head, signed in the lower border in pencil by the artist, “Elias M. Grossman.” The etching also carries Grossman’s facsimile signature inherent to the print: “Elias M. Grossman, Caputh 1930.” In very good to fine condition, with a repaired tear to the right edge, a crease to the bottom border, and heavy creasing to the top border, all of which could matted out.
Elias M. Grossmann (1898–1947) was in Kobryn, Belarus. At the age of 13, he migrated to the United States with his family. He studied at the Educational Alliance Art School and later in Paris. In New York, he was a student of William Auerbach-Levy, who taught him the art of etching. In the 1930s and 1940s, Grossman undertook several longer trips, including to Italy, Spain, and Palestine. Grossman became known primarily for his etchings, which often depict landscapes or portraits.
Einstein and Grossman probably only met once. Grossman describes his visit to Einstein in his 1937 publication ‘An Etcher’s Intimate Album.’ In the summer of 1930, Grossmann traveled to Caputh to Einstein’s summer house and painted the scientist on the terrace. Grossman was surprised by the friendliness of the world-famous Nobel laureate, who, unpretentiously moved several times when the lighting situation required it. During the session, they talked, and Einstein’s knowledge of art and etching greatly impressed Grossman. Starting Bid $200
136. Albert Einstein Oversized Lithograph by Eugen Spiro (1930). Profound 16 x 20 lithograph of the pensive Albert Einstein in a head-and-shoulders pose, his head tilted downward, signed in the lower right in pencil by the artist, “Eugen Spiro.” The lithograph also carries Einstein’s facsimile signature inherent to the print. In fine condition.
Eugen Spiro (1874–1972) was born in Breslau and died in New York. From 1900 to 1933, he was a member of the Munich Secession, during which he participated in several exhibitions. Beginning in 1906, Spiro was a member of the Berlin Secession. In 1924, he was appointed professor at the State Art School in Berlin. Spiro became a well-known portraitist in Berlin during the twenties. From
1935, increasing anti-Semitism forced him to migrate, first to Paris and in 1941 to the United States.
Eugen Spiro and Albert Einstein both lived simultaneously in Berlin. In 1928, the artist supposedly tried in vain to arrange a meeting with Einstein, as he wanted to portray the scientist. However, Einstein declined. He is said to have expressed himself as follows: ‘Mr. Spiro, you are a famous painter and do not need to portray me in particular. My time is limited, and if I were to have a portrait made, it should be by a penniless artist whom I could help in the process.’ Only in 1941, when Spiro migrated to the United States, was he able to portray Einstein, as he then met the requirements of the ‘penniless artist.’ Starting Bid $200
137. Albert Einstein Original Postcard Photograph by Lotte Jacobi (c. 1930/1980), with ANS by Jacobi. Original semi-glossy 3.5 x 5.5 silver gelatin postcard photograph of Albert Einstein in a relaxed state, wearing a hat and smoking a pipe in the sun, taken circa 1930 by photographer Lotte Jacobi and printed later, signed in the lower border in blue ballpoint by Lotte Jacobi. The photographer also pens a lengthy German message on the reverse, signed “Lotte,” penned circa 1980. In very fine condition.
Lotte Jacobi (1896–1990) was a German photographer in the fields of portrait, theater and art. Jacobi descended from a fourth generation Jewish family of photographers and grew up in Posen. After her training—initially with her father—Lotte
Jacobi studied film and photography in Munich from 1925 to 1927. She then took over her father’s studio in Berlin. When the National Socialist regime made it nearly impossible for Jacobi to work from 1933 onwards, she initially worked under various pseudonyms. In 1935, she emigrated to New York with her son. Here, in 1940, she married the Berlin publisher Erich Reiß. She lived in the city until 1955 and portrayed American and emigrated European intellectuals, writers, and artists.
Jacobi and Einstein worked on a series of portraits from the late 1930s, commissioned by Life magazine in Princeton, to shape his media image. Einstein agreed to be photographed only if Lotte Jacobi was commissioned for the photography. Starting Bid $200
Dual-signed portrait etching of Albert Einstein by Hermann Struck, limited to
just 50 copies
139. Albert Einstein Signed Etching by Hermann Struck (c. 1931) (Ltd. Ed. #40/50). Limited edition 6.25 x 8.75 etching of Albert Einstein in left-facing near profile by Hermann Struck, numbered 40/50, signed in the lower border in pencil by the subject, “Albert Einstein, 1931.” Also signed and inscribed in pencil by the artist, “Hermann Struck, to Dr. Ormansky in gratitude, 8.VI.39.” The etching carries the artist’s facsimile monogram inherent to the print: “HS.” Matted to an overall size of 10.75 x 14.5. In very good to fine condition, with old tape to the corners of the print, and some surface loss to the edges of the simple mat.
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 co-founding 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
138. Albert Einstein Linocut by Wilhelm Böhme-Brauer (1931). Boldly executed 13.5 x 17.5 linocut print of Albert Einstein by Wilhelm Böhme-Brauer, showing the revered physicist in a front-facing bust pose, signed in the lower right in pencil, “W. Böhme-Brauer, 1931.” The linocut also carries the artist’s monogram, “WB,” inherent to the print. Matted to an overall size of 15.75 x 19.75, with a mat opening of 8 x 11. In fine condition. There is a copy of this lithograph that is signed by Einstein himself, so it can be assumed that Einstein posed as a model for this picture in Berlin 1931. Starting Bid $200
140. Albert Einstein Oversized Lithograph by Alfons Blomme (1933). Outstanding 23 x 28 lithograph of Albert Einstein in a bust-length pose by Alfons Blomme, lightly titled and signed in the lower border in white pencil by the artist, “’Albert Einstein,’ Alfons Blomme.” The lithograph also carries a facsimile title and signature inherent to the print, by the subject’s shoulder: “Albert Einstein…1933, Alfons Blomme.” In fine condition.
Alfons Blomme (1889–1979) was a Belgian painter who began teaching at the Municipal Academy of Drawing, Architecture, and Sculpture in Brussels in 1902. He discovered the work of Emile Claus and developed his own pointillist technique. This was broad pointillism and is sometimes referred to as strip technique: large color areas are not painted out but filled in with large dots or stripes. Later, this was termed ‘Blommism.’
In 1933, when Einstein lived from April until September in De Haan, Belgium, Blomme came into contact with Einstein’s stepdaughter, Margot Löwenthal, as an art teacher. They became friends, and Blomme was allowed to create a portrait of Einstein, making several versions and etchings of it. Starting Bid $200
Sought-after signed Einstein etching by a Polish-American Jewish painter
142. Albert Einstein Signed Etching by Lionel S. Reiss (1933). Desirable 8 x 12.25 etching of Albert Einstein smiling in a front-facing pose by Lionel S. Reiss, signed in the lower left corner in fountain pen by the subject, “Albert Einstein, 1933,” and in the lower right by the artist, “Lionel S. Reiss.” In fine condition.
Lionel Samson Reiss (1894–1988) was born in Jaroslav, Poland. As early as 1899, he migrated to the United States with his family, settling in New York. He studied at the Art Students League and then worked as a media graphic designer for newspapers and the advertising industry. Around 1930, he decided to work as a freelance artist and traveled to Europe, the Middle East, and North Africa. There, he painted the everyday life of Jews. Einstein and Reiss likely met in New York in 1933. Eventually he became art director for Paramount Studios and is credited to be the creator of the Leo the Lion logo of Metro-GoldwynMayer Studios.
Remarkably, this exact piece is depicted in the March 1934 issue of Labor Palestine (Vol. I, No. 6). Starting Bid $1000
141. Albert Einstein Oversized Lithograph by Saul Raskin (1933). Attractive 11.5 x 14 lithograph of Albert Einstein in a formal, front-facing pose, created by artist Saul Raskin. The lithograph carries Raskin’s facsimile signature inherent to the print. In fine condition, with a small piece of paper tape to the top edge.
Saul Raskin (1878–1966) was a Russian-born American artist, writer, lecturer, and teacher, best known for his depiction of Jewish subjects. Starting Bid $200
143. Albert Einstein Oversized Lithograph by David Low (1933). Humorous 9 x 13 lithograph featuring a cartoon entitled ‘Professor Einstein’ by Sir David Low, issued as a “Supplement to The New Statesman and Nation, October 21, 1933.” In fine condition, with faint toning from prior display.
Sir David Low (1891–1963) was one of the most important political cartoonists of his time. The New Zealander studied at the Canterbury School of Art. In 1907, he became a political cartoonist for the Christchurch Spectator. His first publication, The Billy Book from 1918, a mockery of Australian Prime Minister Billy Hughes, made him famous. At the age of 28, he moved to London, where he quickly established himself and drew cartoons for newspapers such as the Evening Standard and, from 1949, for the Daily Herald. In 1953, he switched to the Manchester Guardian, for which he worked until shortly before his death. David Low was a staunch opponent of Mussolini and Hitler and clearly positioned himself in his cartoons. Low died in 1963 in London.
It is not clearly established to what extent Low and Einstein knew each other. However, there are some indications that Low personally met Einstein. In his obituary in the New York Times, it is pointed out in two places that Low sketched everyone he had met, and when asked about the greatest person he had ever met, he mentioned Einstein among others. Starting Bid $200
Signed etching of Albert Einstein in Princeton’s Fine Hall, home to the Institute for Advanced Study throughout the 1930s
144. Albert Einstein Signed Oversized Etching by Samuel Cahan (1935). Detailed 9.5 x 12.25 etching of Albert Einstein in a seated, three-quarter pose, signed toward the bottom of the image in fountain pen, “Albert Einstein,” and in the lower border in pencil by the artist, “Samuel Cahan.” The etching also carries Cahan’s facsimile signature inherent to the print: “Samuel Cahan, Fine Hall, Princeton, N.J.” Matted to an overall size of 15.75 x 19.75. In fine condition, with some fading to Einstein’s signature.
Samuel Cahan (1886–1974) was an American painter and illustrator, born in Kovno, who grew up as the child of Russian immigrants in modest circumstances in New York. Cahan studied at the Art Students League in New York, among others, with Charles William Frederick Mielatz and Robert Henri. His oeuvre predominantly consists of drawings and etchings. In addition to illustrations of street and courtroom scenes, Cahan created several portraits of famous personalities, including Presidents Roosevelt and Wilson.
In 1935, Einstein invited Cahan to Princeton to create his portrait. The physicist kept an office in Fine Hall, the home of Princeton’s Department of Mathematics, from 1933 to 1939, before the Institute for Advanced Study moved to its own dedicated buildings.
The encounter in Princeton is described by the painter’s son, William George Cahan, in his autobiography No Stranger to Tears. The invitation from Einstein was a great honor for Cahan. William Cahan reports that his father took a long time to find the right position and lighting conditions. Einstein reportedly offered to sit on the floor if necessary, which greatly impressed the painter.
During the encounter, Cahan only made a drawing of Einstein. It shows Einstein in profile sitting in an armchair. In his right hand, the scientist holds a pen, while his left rests on the armrest. The sketch is signed by Einstein, as well as by Cahan, who further notes: ‘Fine Hall Princeton N. J.’ William Cahan remembers that the drawing and the letter from Einstein inviting him to the portrait session hung together in the library of his parents’ house. The current whereabouts of the study are unclear. It served as a template for some drypoint etchings, which were signed by Einstein. The artist describes in an interview from 1967 how he proceeded. First, he enlarged the study he had made of Einstein. He also added some elements from his memory, such as the specific lighting situation on his face. He then transferred this first with charcoal and then with a fine needle onto the copper plate (reference: oral history interview with Samuel George Cahan, March 11 and July 12, 1967, Archives of American Art, Smithsonian Institution). Starting Bid $1000
Extraordinary dual-signed portrait of Einstein at home by Lotte Jacobi
145. Albert Einstein
Signed Photograph by Lotte Jacobi (1938/1943).
Scarce 8.75 x 11 offset photographic print of Albert Einstein at home in his Princeton study, taken by Lotte Jacobi in 1938, signed in fountain pen by the subject, “Albert Einstein 43,” and in black ballpoint by the photographer, “Lotte Jacobi.” The reverse features a portrait of Rolf Tietgens; the page was likely removed from a book. In fine condition, with faint toning and staining to the edges. Consignor notes that the piece comes from the estate of Joseph William Pepperell Frost.
Lotte Jacobi (1896–1990) was a German photographer in the fields of portrait, theater and art. Jacobi descended from a fourth generation Jewish family of photographers and grew up in Posen. After her training—initially with her father—Lotte Jacobi studied film and photography in Munich from 1925 to 1927. She then took over her father’s studio in Berlin. When the National Socialist regime made it nearly impossible for Jacobi to work from 1933 onwards, she initially worked under various pseudonyms. In 1935, she emigrated to New York with her son. Here, in 1940, she married the Berlin publisher Erich Reiß. She lived in the city until 1955 and portrayed American and emigrated European intellectuals, writers, and artists.
Jacobi and Einstein worked on a series of portraits from the late 1930s, commissioned by Life magazine in Princeton, to shape his media image. Einstein agreed to be photographed only if Lotte Jacobi was commissioned for the photography. Pieces signed by both are exceedingly rare—this is the first such example we have offered. Starting Bid $1000
146. Albert Einstein Oversized Lithograph by William Sharp (c. 1940s). Nice 10.5 x 13.5 lithograph of a portrait of an older Albert Einstein holding a pipe, signed in the lower right in pencil by the artist, “Wm. Sharp.” Matted to an overall size of 15.25 x 18.75. In fine condition.
Born as Leon Schleifer in Austria, William Sharp (1900–1961) studied in Austria and Poland before finishing his studies in Berlin in 1918. He fled from Nazi Germany to America in 1934 and changed his name to ‘William Sharp’ in 1940. He became known for his illustrations that captured the political, racial, and economic tensions of the Cold War era. He worked for newspapers and illustrated books, including those by Ernest Hemingway and Thomas Mann.
Einstein was well-known for his pipe smoking—other than his messy hair, there may be no more characteristic element of his image than his pipe. Even in later years when he curbed his tobacco use on doctor’s orders, he could not bear to give up the tactile experience—he would smokelessly cradle the bowl in hand or clench the stem between his teeth while he did his deepest thinking. Upon joining the Montreal Pipe Smokers Club in 1950, he reportedly said: ‘I believe that pipe smoking contributes to a somewhat calm and objective judgment in all human affairs.’ Starting Bid $200
Expressive dual-signed portrait of Albert Einstein by his close friend and fellow German expatriate, Josef Scharl
148. Albert Einstein Signed Oversized Screen Print by Josef Scharl (1946). Amazing large-format 17 x 20 screen print of an expressive line drawing of Albert Einstein by German artist Josef Scharl, signed at the bottom in fountain pen by the subject, “A. Einstein,” and artist, “Jos. Scharl, 1946.” Matted and framed to an overall size of 19.75 x 27.5, with a mat opening of 14 x 17.5. In fine condition.
Josef Scharl (1896–1954) was a painter, draftsman, and graphic artist born in Munich. From 1918 to 1920, he studied at the Academy of Fine Arts in Munich. He discontinued his studies prematurely and worked as a self-taught artist. In the early 1930s, he spent a short time in Paris and Rome. The rising rule of the National Socialists made life in Germany unbearable for Scharl. He was banned from working, and his works were defamed as degenerate. In 1939, he emigrated to the United States via Switzerland. There, he found support from Albert Einstein, who advocated for him as an artist and provided financial assistance.
Einstein and Josef Scharl shared a close friendship which developed primarily during their time together in America. Einstein and Scharl first got to know each other in 1927 at Einstein’s summer house in Caputh through Lotte Jacobi. She hoped that the artist would become famous more quickly through a portrait of the physicist. Although the Einsteins did not particularly like the resulting portrait, it did not tarnish their friendly bond. Upon Scharl’s death in 1954, Albert Einstein wrote a eulogy that was presented at his funeral, declaring that the ‘few to whom art is essential will come to understand more and more what Josef Scharl has given to the world.’ Starting Bid $1000
147. Albert Einstein Oversized Etching by Arthur Degner (c. 1940s). Striking 10.5 x 14 etching of Albert Einstein in later years by graphic artist Arthur Degner, signed in the wide lower margin in pencil by the artist, “Degner.” In fine condition, with scattered light foxing in the borders.
Arthur Degner (1888–1972) studied between 1906 and 1908 at the Academy of Arts in Königsberg under Ludwig Dettmann and Otto Heichert. In 1909 he moved to Berlin and became the chairman of the Free Secession in 1919, of which he had been a member since 1911. He was also a member of the German Artists’ Association, the National Association of Visual Artists, and the German Werkbund. In 1920 he was appointed to the Academy in Königsberg, returned to Berlin in 1925, where he taught at the University of Fine Arts (HBK). From 1931 to 1933 he was chairman of the Berlin Secession. After the Nazis came to power, he was placed under a work and exhibition ban. After the war, he was brought back to HBK. He was made emeritus there in 1956. There are several portraits of Einstein by Degner; it is likely that they were acquainted in Berlin. Starting Bid $200
Yousuf Karsh (1908–2002) was a Canadian photographer of Armenian descent. One of the most significant portrait photographers of the 20th century, Karsh was a master of lighting in the studio. A distinctive feature of his work was the separate illumination of the hands of his subjects. Karsh’s sitting with Einstein took place at The Institute for Advanced Study, February 11, 1948. Starting Bid $200
150. Albert Einstein Original Drawing by Josef Scharl (1951) - “Einstein’s Hands”. Outstanding original pen-andink drawing of Albert Einstein’s hands, accomplished by artist Josef Scharl on an off-white 14 x 8.5 sheet, titled and signed at the bottom in pencil by the artist, “Albert Einstein’s Hands, Princeton, Nov. 29, 1951, Jos. Scharl, 1951.” In fine condition, with trivial chipping to the top edge. A unique perspective of the genius, executed by one of his dearest associates. Josef Scharl (1896–1954) was a painter, draftsman, and graphic artist born in Munich. From 1918 to 1920, he studied at the Academy of Fine Arts in Munich. He discontinued his studies prematurely and worked as a self-taught artist. In the early 1930s, he spent a short time in Paris and Rome. The rising rule of the National Socialists made life in Germany unbearable for Scharl. He was banned from working, and his works were defamed as degenerate. In 1939, he emigrated to the United States via Switzerland. There, he found support from Albert Einstein, who advocated for him as an artist and provided financial assistance. Einstein and Josef Scharl shared a close friendship which developed primarily during their time together in America. Einstein and Scharl first got to know each other in 1927 at Einstein’s summer house in Caputh through Lotte Jacobi. She hoped that the artist would become famous more quickly through a portrait of the physicist. Although the Einsteins did not particularly like the resulting portrait, it did not tarnish their friendly bond. Upon Scharl’s death in 1954, Albert Einstein wrote a eulogy that was presented at his funeral, declaring that the ‘few to whom art is essential will come to understand more and more what Josef Scharl has given to the world.’ Starting Bid $200
151. Albert Einstein Oversized Woodcut Print by Antonio Frasconi (1952). Penetrating 10 x 13 woodcut print of Albert Einstein by Antonio Frasconi, showing the celebrated physicist in a front-facing close-up pose, signed and dated in the lower right in pencil, “A. Frasconi, 52.” Matted to an overall size of 14 x 19. In fine condition.
Antonio Frasconi (1919–2013) was born in Buenos Aires, Argentina, but grew up in Montevideo, Uruguay. In 1948, he migrated to the United States. His first exhibition in the States was at the Santa Barbara Museum of Art. Within twelve months, there was another exhibition at the Brooklyn Museum of Art. He received several artist grants, including the Guggenheim Fellowship in 1952. Frasconi continued to illustrate several children’s books and worked as a cartoonist. He is today considered an important representative of American printmaking in the 20th century, especially known for his numerous woodcuts.
He completed this portrait of Einstein in 1952, three years before Einstein’s death, as a commission for the Princeton Print Club. Starting Bid $200
152. Albert Einstein Oversized Etching by John K. Hansegger (c. 1953). Handsome unsigned 14.5 x 17 etching of Albert Einstein depicted in three-quarter bust profile, his head slightly tilted to the left, by Swiss artist John Konstantin Hansegger. In fine condition.
John Konstantin Hansegger (1908–1989) founded the Galerie des Eaux Vives in Zurich in 1942 and was a member of the artists’ group Allianz. Among the notable figures the artist portrayed were Pablo Picasso and Albert Einstein. After he was invited to a solo exhibition at the Princeton University Museum in 1953, where he painted Albert Einstein from life, he decided to stay in America. Hansegger said that the sessions with Einstein were the most memorable of his career. Hansegger and Einstein conversed in their Swiss German dialect. Starting Bid $200
153. Albert Einstein Oversized Woodcut Print by Irving Amen (1955) (Ltd. Ed. #170/200). Abstract 15.5 x 22 woodcut print of Albert Einstein by Irving Amen, numbered 170/200, titled, signed, and dated in the lower border in pencil by the artist, “Einstein, Amen, 55.” In very good to fine condition, with old tape stains to the edges, and light toning from prior display.
Born in New York, Irving Amen (1918–211) was a renowned painter, graphic artist, and sculptor. He received a scholarship for the Pratt Institute Art School early on. There he studied from 1932 to 1939 and also taught there in the early 1960s. At the same time, he was a lecturer at the University of Notre Dame in South Indiana. In 1950, he went to Paris and studied at the Académie de Grande Chaumière. Amen undertook extensive travels through Europe and Mexico. Later, he worked and lived in Boca Raton, Florida. His exhibition activities began in 1949, debuting at the New York School for Social Research. This Cubist-inspired portrait of the sweater-clad Einstein was made in the year of the physicist’s death. Starting Bid $200
154. Albert Einstein Bookplate
by Erich Büttner (1917). Uncommon 3.5 x 4 bookplate created for Albert Einstein by graphic artist Erich Büttner in 1917, showing a man standing on a precipice amidst the cosmos. Below, the text reads: “Ex Libris, Albert Einstein.” The bookplate carries Büttner’s facsimile signature inherent to the print. In fine condition.
Erich Büttner (1898–1936) was a renowned painter, graphic artist, and bookplate artist in Berlin in the early 20th century. He studied there from 1906 to 1911 at the teaching institution of the School of Arts and Crafts under Emil Orlik, among others. During World War I, he worked as a cartographer, where he met Eugen Spiro. In 1915, Büttner was the editor of the literary magazine Bimini. He was a member of the Berlin Secession and closely connected to the urban art scene. In 1917, Büttner was commissioned to create a portrait of Albert Einstein—the first portrayal of the genius by a notable artist.
In 1917, Albert Einstein introduced the cosmological constant into his general theory of relativity to create a static universe, and published his landmark paper, ‘Cosmological Considerations in the General Theory of Relativity.’ Starting Bid $200
155. Albert Einstein: 1911 Solvay Conference Report - La Théorie du Rayonnement et les Quanta [The Theory of Radiation and Quanta]. Rare first edition French-language report on the 1911 Solvay Conference: La Théorie du Rayonnement et les Quanta. Rapports et Discussions de la Reunion Tenue a Bruxelles du 30 Octobre au 3 Novembre 1911, Sous les Auspices de M. E. Solvay [The Theory of Radiation and Quanta: Reports and Discussions from the Meeting Held in Brussels from October 30 to November 3, 1911, Under the Auspices of Mr. E. Solvay]. Paris: Gauthier-Villars, Imprimeur-Libraire, 1912. Paperback, 6.5 x 10, 461 pages. Einstein’s contribution comes on pages 407–435, “L’État Actuel du Probleme des Chaleurs Specifiques [The Current State of the Specific Heat Capacity Problem].” In good to very good condition, with the front wrapper detached, splitting and wear to the sunned spine, foxing to top textblock edge, and some creasing to the wrapper’s corners.
Published in 1912, La Théorie du Rayonnement et les Quanta documents the proceedings of the first Solvay Conference, held in Brussels from October 30 to November 3, 1911, under the patronage of Ernest Solvay. This seminal work captures a pivotal moment in the history of physics, marking the dawn of quantum theory. The conference brought together luminaries like Albert Einstein, Max Planck, Marie Curie, and Henri Poincaré to debate the nature of light and matter, focusing on Planck’s quantum hypothesis and its implications for classical physics.The publication’s content—reports and discussions—reveals the revolutionary shift from classical to quantum mechanics. Key topics included blackbody radiation, the photoelectric effect, and the quantization of energy, with Einstein’s contributions on quanta laying the groundwork for modern quantum theory. Historically, it signifies the first major international effort to address the crisis in classical physics, setting the stage for future Solvay Conferences as incubators of scientific breakthroughs. This rare volume is a cornerstone for understanding the quantum revolution. Starting Bid $300
156. Albert Einstein Brochure for the Foundation-Stone Laying of The Einstein Institute of Mathematics and Physics. Scarce bilingual brochure for the “Foundation-Stone Laying of The Einstein Institute of Mathematics and Physics” at the Hebrew University of Jerusalem on April 2, 1925, 6.75 x 9.5, 16 pages, containing two images of the event and the text of addresses given on the occasion by Arthur Schuster and Selig Brodetsky. Printed by Azriel Printing Works, Jerusalem. In fine condition. Starting Bid $200
157. Albert Einstein Portrait by Suse Byk on Berliner Illustrirte Zeitung (1919) - The Image That Introduced Einstein as a Public Figure. Complete issue of the Berliner Illustrirte Zeitung from December 14, 1919, twelve pages, 10.25 x 13.75, featuring an offset-print close-up portrait of Albert Einstein on the front cover, as taken by photographer Suse Byk. Below, the image is captioned in German (translated): “A new giant in world history: Albert Einstein, whose research represents a complete revolution in the way we view nature and is equal to the discoveries of Copernicus, Kepler, and Newton.” This illustrated newspaper was largely responsible for introducing Einstein—with his trademark mustache and unkempt hair—as a famous public figure. In fine condition.
Suse Byk (1884–1943) was born in Berlin and did an apprenticeship as a photographer. In 1910, she was admitted to the Photographic Society of Berlin. In 1919, she opened a ‘studio for photographic portraits’ under her name at Kurfürstendamm 230, which she operated until 1938. Byk remained in Berlin after the transfer of power to the National Socialists in 1933 and continued to work, appearing not to be directly affected by state measures. Byk and her husband Hellmuth Falkenfeld emigrated in 1938 to London and from there to New York. Starting Bid $200
158. Albert Einstein First Edition Book - About Zionism: Speeches and Letters. First edition book: About Zionism: Speeches and Letters by Professor Albert Einstein, Translated and Edited with an Introduction by Leon Simon. First American edition. NY: Macmillan, 1931. Hardcover bound in the publisher’s dark green cloth, 4.75 x 8, 94 pages. Einstein’s writings are broken up into three sections: “Assimilation and Nationalism,” “The Jews in Palestine,” “Jew and Arab.” In very good condition, with a bit of dampstaining to the extremities of the textblock, and a fleck of paper loss to the rear hinge. From Simon’s introduction: “Professor Einstein, some of whose scattered speeches and letters on Zionism and kindred questions are collected in this volume, is better known to the world as a physicist than as a Zionist. Yet for many years he has given abundant proof both of a keen interest in Zionism and of a penetrating insight into its underlying ideas. Himself an assimilated Jew, he is impelled to Zionism by his acute consciousness of the excessive price at which the blessings of assimilation are brought by the Jewish communities of the Western world, which for him are mainly represented by that of Germany. The price is a loss of solidarity, of moral independence and of self-respect. These, in his view, can be regained only if assimilated in Jews find some common task, of absolute human value, to which they can bend their corporate energies as Jews. Such a task is to be found in the restoration of Jewish national life in Palestine, which involves the regeneration of Palestine itself and its transformation into a living and productive country.” Starting Bid $200
159. Albert Einstein Nazi Germany Denaturalization Document: “Declared to have lost his German citizenship by notice dated March 24, 1934”. Official printed document in German, one page, 8.25 x 5.75, circa 1934, listing the physicist’s surname (“Einstein”), first name (“Albert”), date of birth (“14.3.1879”), birthplace (“Ulm”), occupation (“Professor”), last place of residence (“Berlin”), and denaturalization notice (translated): “Declared to have lost his German citizenship by notice dated March 24, 1934, published in No. 75 of the German Reichsanzeiger and Prussian State Gazette of March 29, 1934.” In fine condition, with two torn file holes to the left edge.
Under Nazi rule, denaturalization was weaponized as a tool of persecution, allowing the regime to strip Jews and political opponents of citizenship, seize their property, and publicly brand them as enemies of the state. Enforced by the 1933 law on citizenship revocation, names were publicly published in the Reichsanzeiger to make the loss official, legal, and humiliating.
Among the most prominent victims was Albert Einstein: this stark official document marks a pivotal moment in his life, recording his denaturalization by Nazi Germany in 1934. Stripped of his citizenship, Einstein—already one of the most celebrated scientists in the world—became a symbol of the regime’s purge of Jewish intellectuals and dissenting voices. The notice underscores both the personal consequences for Einstein, who would never return to live in Germany, and the broader tragedy of forced exile faced by countless others during this era of persecution. Starting Bid $200
Einstein signs for a renowned Hungarian pianist
160. Albert Einstein Signature to Pianist Andor Foldes. Vintage fountain pen signature and inscription, “Herrn Andor und Frau Lili Fordes, zur erinnerung under [in memory of] 7.V.1943, Albert Einstein,” on an off-white 3.5 x 1.75 slip, affixed to a fantastic semi-glossy 7.75 x 9.5 photograph of Einstein by photojournalist Al Fenn. Affixed to a same-size mount and in fine condition, with rippling to the portrait. In his autobiography, the renowned Hungarian pianist Andor Földes describes his encounter with Einstein, himself an accomplished violinist. He visited Einstein at his home in Princeton in 1943 at Einstein’s invitation. Einstein had expressed a desire to make music with Foldes, and that afternoon they played works by Vivaldi and Mozart, among others. Foldes writes: ‘He possessed a nearly otherworldly aura, which I have only experienced in three other personalities—I think of Jan Sibelius, Bertrand Russell, and Béla Bartók.’ The photographer, Al Fenn (1913–1996), worked for Life magazine from 1941 to 1962, specializing in scientific and medical subjects. He captured Einstein’s portrait in 1947. Starting Bid $1000
Einstein pledges financial support for a relative fleeing Nazi Germany:
“My regular occupation is Professor of Physics, Member of Faculty of the Institute for Advanced Study, Princeton N.J.”
162. Albert Einstein Document Signed (1940) - Affidavit of Support for His Immigrant Cousin, Ursula Einstein, Fleeing from Nazi Germany. Important DS signed “Albert Einstein,” one page both sides, 8.25 x 13.75, March 6, 1940. Albert Einstein petitions U.S. immigration authorities to allow his distant cousin, Ursula Einstein, to travel to the United States from Port-au-Prince, Haiti, where she had fled from Nazi Germany. Einstein, “residing at 112 Mercer Str., Princeton, New Jersey,” having declared his “intention of becoming a citizen of the United States on January 15, 1936,” certifies Ursula’s intent to immigrate due to “unfavorable political conditions in country of birth.” He pledges his assets for her support, explaining: “My regular occupation is Professor of Physics, Member of Faculty of the Institute for Advanced Study, Princeton N.J. My average annual earnings amount to $15,000.” He goes on to list his other assets, including $16,506.96 in a bank account, real estate valued at approximately $25,000, and stocks and bonds worth $22,000. Signed at the conclusion in ink by Albert Einstein, and countersigned below by a notary public, with a red notary seal at lower left.
Rules for American visa applications are printed on the reverse, explaining that “the American relatives or friends assume complete responsibility for the support of the prospective immigrants and are required to corroborate their statements with proof of their financial responsibility.” In very good to fine condition, with short edge tears, small areas of paper loss, and Einstein’s signature a couple shades light.
Albert Einstein was himself a Jewish refugee who fled Nazi Germany in 1933 after his works were publicly burned and he was targeted by the regime. Settling in the United States at the Institute for Advanced Study in Princeton, New Jersey, Einstein became a vocal advocate against fascism and a tireless supporter of fellow refugees.
Ursula Einstein was the daughter of Elsa’s cousin Robert Einstein (Ursula Einstein’s grandfather Josef Einstein, was the brother of Elsa’s father, Rudolf Einstein). She had evidently escaped Nazi Germany to seek refuge in Haiti—likely with the aid of the American Jewish Joint Distribution Committee (JDC)—and became one of many German Jews to benefit from Albert Einstein’s name and influence. Einstein is credited with saving hundreds of lives as an ardent advocate for Jews seeking to escape Hitler’s reach and find asylum elsewhere—he even joked that he ran an ‘immigration office.’ He frequently made visa applications for other German Jews, personally vouched for refugees fleeing Nazi rule, solicited philanthropic support from fellow celebrities, and aided in securing employment for refugees around the world. This significant document exemplifies Albert Einstein’s deep commitment to both family and humanitarian causes during a time of international crisis. Starting Bid $1000
Einstein thanks Baron
Edmond de Rothschild for his generosity: “You handed me a small leather briefcase in the hallway, the contents of which mean something precious to me: liberation and independence”
170. Albert Einstein Autograph Letter Signed, Thanking Baron Edmond de Rothschild for His Generosity: “Your words as a great Jewish guide whose intelligence is entirely at the service of his goodness will accompany me forever”. ALS in German, signed “A. Einstein,” one page, 8.5 x 5.5, April 17, 1922. Handwritten letter to Edmond de Rothschild, thanking him for his financial gift. Rothschild, a Zionist philanthropist since the end of the 19th century, had just given the scientist a sum of money which Einstein considered a symbol ‘of liberation and independence.’ In full (translated): “Very respected Baron Rothschild! My visit to you will remain engraved in my memory forever. Your words as a great Jewish guide whose intelligence is entirely at the service of his goodness will accompany me forever, just like your generous gesture which totally embarrasses me. You handed me a small leather briefcase in the hallway, the contents of which mean something precious to me: liberation and independence. I thank you with the assurance that I will remain aware of the responsibility brought by
this present. With the expression of my deep admiration.” In fine condition.
At the dawn of the 1920s, Einstein—internationally admired for his scientific discoveries—was asked by Chaim Weizmann, leader of the World Zionist Organization, to raise the funds necessary to support the Jewish people and their settlement in Palestine. The scientist dedicated himself body and soul to this cause and undertook, throughout 1921, a tour on American soil calling for unwavering support for the Jewish cause. It was in this circumstance that he met, in Paris, on April 7, 1922, an early Zionist proselyte, Baron Edmond de Rothschild (1845–1934). ‘Yesterday I visited Rothschild who gave me a briefcase full of money. A clever man,’ he confided the next day to his wife Elsa. This letter from Einstein—the only one known addressed to Rothschild—was transmitted through his friend Maurice Solovine. Indeed, Einstein, returning to Berlin, had lost the philanthropist’s address. Starting Bid $5000
Superlative war-dated signed ‘bust portrait’ photograph of Albert Einstein, cosigned by noted American sculptor Eleanor Platt, and presented to a patient at New York’s Pilgrim State Hospital in 1942
171. Albert Einstein Signed ‘Bust Sculpture’ Photograph (1942). World War II-dated mattefinish 7.5 x 9.25 photograph of a plaster bust of Albert Einstein by noted American sculptor Eleanor Platt, neatly signed below on the original mount in black ink, “A. Einstein, 1942,” with the photo’s original backing sheet signed in pencil by Platt. Matted and framed to an overall size of 14.5 x 18.75. The consignor notes that this photograph was presented to their mother in 1942, when she was 22 and recovering from a nervous breakdown in Pilgrim State Hospital in Long Island, New York. In support of this claim are ink annotations to the frame backing: “Given to GD by Einstein via Bertchen Reiche, Oma’s best friend, to cheer up GD when she was in Pilgrim State Hospital on Long Island in 1942.”
The backing also bears an affixed printed poem by Albert Einstein, with its English translation annotated to the right in the hand of the recipient; the poem reads: ‘Where I go and where I stay / I always see a picture of myself / On the desk, on the wall, around the neck on the black ribbon. / Amazing little men & little women / came to fetch an autograph / everyone must have a scribble / from this highly learned youth / Sometimes I ask myself is all this good fortune / in a clear moment / are you yourself crazy / or are the other idiots?’ In fine condition, with silvering to the perimeter of the image. The California Institute of Technology archives indicate that Platt’s bust of Einstein is on display in Room 114 of the East Bridge lecture hall. Platt also famously made a bronze plaque of Einstein that was minted by the Medallic Art Company of New York in 1969. Starting Bid $1000
172. Albert Einstein Typed Letter Signed and First English Edition of Relativity: The Special and the General Theory. Superb pairing of a typed letter signed by Albert Einstein and a first English edition of Relativity: The Special and the General Theory, a Popular Exposition:
TLS in German, signed “A. Einstein,” one page, 8.5 x 10.75, blindstamped personal Princeton letterhead, December 13, 1935. Letter to D. Bloomfield in Boston, in full (translated): “To my great regret, for lack of time and energy it is impossible for me to accept your kind invitation.” In very good to fine condition, with light creasing, a tear and old tape stain to the right edge, and toning from prior display. Written during his Princeton years, this letter reflects a period when Einstein was frequently sought for consultation and commentary on his revolutionary theory of relativity; this courteous refusal captures both his selective public engagement and the immense global demand for his intellectual presence.
First edition book: Relativity: The Special and the General Theory, a Popular Exposition, by Albert Einstein, translated by Robert W. Lawson. First English edition. London: Methuen & Co., 1920. Hardcover with dust jacket, 5.25 x 7.5, 138 pages. Book condition: VG-/G+, with staining to endpapers, sunning to front board and spine, and light soiling; the jacket has several small chips and tears to edges, reinforced with archival tape on the inside. This edition represents Einstein’s own effort to make his theories—particularly those surrounding ‘E = mc2’—accessible to a general audience, bridging advanced physics and public understanding. First-issue copies retaining the fragile jacket are now quite scarce. Starting Bid $1000
173. Albert Einstein Typed Letter Signed - PSA MINT 9. TLS in German, signed “A. Einstein,” one page, 8.5 x 11, blindstamped personal Princeton letterhead, January 6, 1936. Letter to Theodore Menzel, a German national and American resident who had initiated a correspondence with the theoretical physicist in late November 1933. Einstein’s letter, in full (translated): “I remember our conversation very well and am happy to recommend you. In view of my isolated situation, however, I am not in a position to identify the individuals whom you might approach. For this reason, I am sending you the enclosed recommendation written in general terms.” In very good to fine condition, with light toning and soiling, binder dings to the right edge, and two file holes to the left edge. Encapsulated and graded by PSA/DNA as “MINT 9.” Starting Bid $500
After
fleeing from Nazi Germany, Einstein advocates
for fellow refugees: “In general, it is impossible to advocate successfully on anyone’s behalf before that person is in the country”
174. Albert Einstein Typed Letter Signed on Refugee Immigration: “In general, it is impossible to advocate successfully on anyone’s behalf before that person is in the country”. TLS in German, signed “A. Einstein,” one page, 8.5 x 11, blindstamped personal Princeton letterhead, April 9, 1936. Letter to Dr. Gotthard Cohen Booth, lending some advice relative to immigration. In full (translated): “I have already made unsuccessful efforts in many analogous cases. This is related to the fact that I have no way to obtain information about relevant positions. This can only be done by a well-informed specialist. In general, it is impossible to advocate successfully on anyone’s behalf before that person is in the country, for which two affidavits from resident and sufficiently well-off citizens are necessary. I can be useful only insofar as I could write to a suitable institution, on the basis of your friendly information, which I will be glad to do at any time.” Einstein adds a single word to the first line in his own hand. In fine condition.
Albert Einstein was himself a Jewish refugee who fled Nazi Germany in 1933 after his works were publicly burned and he was targeted by the regime. Settling in the United States at the Institute for Advanced Study in Princeton, New Jersey, Einstein became a vocal advocate against fascism and a tireless supporter of fellow refugees. During this period, visa applications required that ‘the American relatives or friends assume complete responsibility for the support of the prospective immigrants and are required to corroborate their statements with proof of their financial responsibility.’
Einstein is credited with saving hundreds of lives as an ardent advocate for Jews seeking to escape Hitler’s reach and find asylum elsewhere—he even joked that he ran an ‘immigration office.’ He frequently made visa applications for other German Jews, personally vouched for refugees fleeing Nazi rule, solicited philanthropic support from fellow celebrities, and aided in securing employment for refugees around the world. Starting Bid $1000
“Do you really believe that the big nations will submit to the decisions of a court whose purpose is the execution of their chosen politicians?”
175. Albert Einstein
Typed Letter Signed on a World Court: “Do you believe that such an allpowerful institution would be free of corruption and partiality?”. TLS signed “A. Einstein,” one page, 8.5 x 11, blindstamped personal Princeton letterhead, June 22, 1954. Letter to Reuben Pearl of Philadelphia, offering a pointed critique of his proposal for a world court. In part: “Do you really believe that the big nations will submit to the decisions of a court whose purpose is the execution of their chosen politicians? And do you believe that such an allpowerful institution would be free of corruption and partiality? Do you believe that a code for such a court could be agreed upon and that the judgements of such a court would be carried out? I must confess that I cannot believe in the practicality of such propositions and I am unable to spare the time to spend on your manuscript.” In very good condition, with overall creasing, and a light stain touching the signature.
The consignor notes that her grandfather, Reuben Pearl, had authored a manuscript pertaining the the state of Israel, international politics, and ethics, and submitted it to Albert Einstein for review. In his response, Einstein declines to spend his time with the manuscript, utilizing the Socratic method to question the logic of his arguments. Offering a window into Einstein’s thoughts on world politics and his method of argumentation, this is a fascinating and insightful letter. Starting Bid $500
Unusual handwritten letter by Charles Darwin,
along with an autograph tipped into his grandfather’s biography—
once the property of Virginia Woolf Scientists, Inventors, and Technology
208. Charles Darwin Autograph Letter Signed and Signature in Book on Erasmus Darwin - Once the Property of Virginia Woolf. ALS signed “Charles Darwin,” one page both sides, 5 x 8, Down, Beckenham, Kent letterhead, January 13, 1881. Handwritten letter to the writer and critic Sir Leslie Stephen, responding to Stephen’s reassurances after having been attacked by the novelist Samuel Butler. In full: “Your note is one of the kindest which I have ever received, & your advice shall be strictly followed. It was very good of you, busy as you are, to take so much trouble for me; but your trouble will not be thrown away, in so far as when in the dead of the night the thought comes across me how I have been treated, I will resolutely try to banish the thoughts, & say to myself that so good a judge as Leslie Stephen thinks nothing of the false accusation. The Litchfields & some of my other children are intensely curious to read your judgment.” He adds a postscript: “I have written on opposite page my name if you think fit to paste it into the Life of E.D.; but I much wish that you would name one or more of the books, written wholly by myself, which I could treat in the same manner for you.”
Indeed, the dedication, “From Charles Darwin, with kindest regards, Jan. 13th 1881,” has been cut out and mounted on the flyleaf of a biography of Erasmus Darwin by Ernst Krause, published in London by John Murray in 1879. The letter is folded and tipped in before the following page. Underneath the affixed signature, Sir Leslie Stephen has penned an explanation: “The letter upon the next page refers to a silly attack made upon Darwin by Butler of ‘Erewhon’ etc. I had given Darwin the obvious advice to take no more notice of the creature, D. having already made a sufficient acknowledgment
of a trifling error. For details see ‘Academy’ of the period. C.D. afterwards sent me the ‘Origin of the Species’ & the ‘Voyage of the Beagle.’ L.S.”
Both pieces are inside a handsome edition of Erasmus Darwin, translated from German by W. S. Dallas, with a preliminary notice by Charles Darwin. London: John Murray, 1879. Hardcover bound in full brown morocco with gilt edges, 5.25 x 7.5, 216 pages. The letter is folded at the edges and in fine condition; the signature is in fine condition, with some adhesive residue to edges; and the book is in very good condition, with wear to the hinges and edges.
The physician Erasmus Darwin (1731–1802), Charles’s grandfather, espoused an early theory of evolution all his own, which he sketched, obliquely, in a question at the end of a long footnote to his popular poem ‘The Loves of the Plants’ (1789). Samuel Butler rejected Charles Darwin’s theory of natural selection. In his 1879 book ‘Evolution, Old and New’ he accused Darwin of having borrowed heavily from and distorted the Comte de Buffon, Erasmus Darwin, and Jean-Baptiste Lamarck, trying to reinstate these earlier thinkers and with them, the design argument.
Provenance: By descent to Leslie Stephen’s daughter, the writer Virginia Woolf (1882-1941), who left it to her husband, the writer Leonard Woolf (1880-1969). Woolf had the book auctioned at Sotheby’s a year before his death (sale of Feb. 29/20, 1968, lot 279); acquired by a northern Swedish collector, whose descendants returned it to the trade. Starting Bid $1000
“Concentrate all your thoughts upon the work in hand: the sun’s rays do not burn until brought to a focus”
207. Alexander Graham Bell Autograph Quotation Signed and Thomas A. Watson Autograph Letter Signed. Two items signed by the telephone inventors: an AQS on an off-white 6.25 x 7.75 album page, in full: “Concentrate all your thoughts upon the work in hand: the sun’s rays do not burn until brought to a focus. Alexander Graham Bell, Washington, D.C., May 14, 1909”; and an ALS signed “Thomas A. Watson,” one page, 5 x 7, Hotel Beau Rivage letterhead, May 6, 1912, in part: “I have written the Telephone Company to put in the Telephone both exchange and private line and have them working by June 5th. I hall sail from Liverpool May 28th by the Cunard steamer Franconia direct to Boston.” In overall fine condition.
Alexander Graham Bell (1847–1922) is celebrated as the inventor of the first practical telephone; his assistant, Thomas A. Watson (1854–1934) is known for hearing the first words said over the telephone, ‘Mr. Watson—Come here—I want to see you.’ Starting Bid $300
Researching military capabilities for the US Navy during WWI, Edison seeks results of experiments conducted on “Submarine explosives”
209. Thomas Edison World War
I-Dated Typed Letter Signed on Submarine Explosives. TLS signed “Thos.
A. Edison,” one page, 8.5 x 11, From the Laboratory of Thomas A. Edison letterhead, August 6, 1917. Letter to General Henry L. Abbot, a longtime U.S. Army engineer who, after the Civil War, commanded the engineer battalion at Willet’s Point, New York, and made substantial contributions to the coast defense systems of the United States of that period, particularly in the submarine mine system and in the use of seacoast mortars. In full:
“Will you kindly favor me with some information with regard to experiments conducted by yourself on Submarine explosives. I am interested in the following points:
1. Nature of explosives used.
2. Amount of explosive used.
3. Distance of explosive from target.
4. Effect on target.
5. Nature of target.
6. Pressure developed by the explosive.
Any information or references will be greatly appreciated.” In fine condition.
Thomas Edison was a major advocate for military preparedness at the outset of World War I. He was appointed to head a naval advisory board by Secretary of the Navy Josephus Daniels in 1915, tasked with the evaluation of public proposals to improve military capabilities, especially to counter submarine threats. In 1917, Edison began to focus his own research on the protection of surface ships from submarine attack—this letter, sent to one of the Army’s leading experts on submarine munitions, clearly stems from those investigations. Edison also studied camouflage methods, smoke reduction, ship navigation, and submarine detection in an effort to protect American shipping. His influence also led to the establishment of the Naval Research Laboratory, laying the foundation for the U.S. government’s future investment in technological innovation for national security. A great letter with rare content connected to the legendary inventor’s work for the U.S. Navy. Starting Bid $200
210. Thomas Edison (2) Documents Signed - Meeting Minutes for Thomas A. Edison, Inc. and the Edison Manufacturing Company. Two documents signed by Thomas Edison: a DS signed “Thos. A. Edison,” one page both sides, 7.75 x 11.25, August 19, 1919, headed “Minutes of a Meeting of the Board of Directors of Thomas A. Edison, Inc.,” containing a resolution appointing “Ralph H. Allen to be the substitute and proxy of this Company,” signed at the conclusion in ink by Thomas Edison, Charles Edison, Stephen B. Mambert, Harry F. Miller, and J. W. Robinson; and a DS signed “Thos. A. Edison,” one page both sides, 8 x 11, June 9, 1920, headed “Minutes of the Annual Meeting of the Board of Directors of Edison Manufacturing Company,” listing the officers elected to serve on the board, signed at the conclusion in ink by Thomas Edison, Charles Edison, Stephen B. Mambert, Harry F. Miller, John V. Miller, and Ralph H. Allen. In fine condition, with fading to the Edison signature on the earlier document. Accompanied by an unsigned glossy 10 x 8 group photo featuring Edison. Starting Bid $200
Thomas Edison registers his Detroit Electric Model 47 Brougham in 1914—an early example of an electric car, powered by Edison nickel-iron batteries
211. Thomas Edison Document SignedElectric Vehicle Registration (1914) for His Detroit Electric Model 47 Brougham—an early example of an electric car, powered by Edison nickel-iron batteries. Partly-printed DS, signed “Thos. A. Edison,” one page both sides, 4 x 5, November 14, 1927. State of New Jersey Department of Motor Vehicles registration application filled out in type and signed by Thomas Edison, offering specifics of the vehicle in question: “Name of Car: Detroit Electric, Serial No. 5426, Year: 1914, Engine No. 5426, Model 47, Body Type: Brougham, Body Color: Dark Blue.” Notably, the number of cylinders and bore of cylinders are not applicable as the car was powered by an Edison nickel-iron battery rather than an internal combustion engine. The application also indicates that the vehicle is properly equipped in regard to brakes, signaling device, reflecting mirror, and non-glare headlights. In fine condition.
Produced by the Anderson Electric Car Company in Detroit, Michigan, the Detroit Electric Model 47 Brougham featured three on-board battery compartments; one forward, one rear and one underneath for auxiliary applications like headlamps, clock and perhaps some heating for the interior. It was advertised as having a range of 80 miles at a speed of 20 mph. The preferred vehicle of Mrs. Edison, the Model 47 remains on display in Edison’s garage at his Glemont estate in Llewellyn Park, West Orange, New Jersey, where visitors marvel at its curvy ‘teapot’ shaped appearance. Starting Bid $200
212. Richard Gatling Signed Photograph. American inventor (1818–1903) best known for his invention of the Gatling gun, considered to be the first successful machine gun; his other inventions include a screw propeller and a wheat drill, a hemp break machine, a steam plow, a marine steam ram, and a motor-driven plow. Matte-finish 4 x 6 mounted portrait of the Gatling gun inventor, signed on the reverse in ink, “With compliments of Richard J. Gatling.” In fine condition, with lightly trimmed edges, and some light staining to the back. Starting Bid $200
214. Joseph Guillotin Autograph Letter Signed. French physician and politician (1738-1814) whose name became synonymous with the ‘humane’ instrument of execution whose use he proposed to the government during the French Revolution. ALS in French, signed “Guillotin,” one page both sides, 6.25 x 8.25, March 1, 1801. Handwritten letter to the mayor of the 2nd arrondissement of Paris, in which Guillotin conveys his enthusiasm for offering free cowpox vaccinations to the local poor as an act of charity. He adds that he will be delighted to help his fellow citizens and cooperate with the magistrates concerned with the suffering of the destitute (translated): “I will always consider myself too happy, Citizen Mayor, to be able to do something that can be useful to my fellow citizens, and agreeable to the Magistrates who are concerned with the relief of humanity, and especially of the indigent class of the people.” In fine condition. Starting Bid $200
215. Fritz Haber Signed Photograph - The Nobel Prize-Winning ‘Father of Chemical Warfare’. Chemist (1868–1934) who received the Nobel Prize in Chemistry in 1918 for his invention of the Haber–Bosch process, a method used to synthesize ammonia from nitrogen and hydrogen. He has also been deemed the ‘father of chemical warfare’ for his years of pioneering work developing and weaponizing chlorine and other poisonous gases during World War I. Scarce vintage matte-finish 3.25 x 5 photo of the Nobel Prize winner in a half-length seated pose, signed in the lower border in fountain pen, “Dr. Fritz Haber.” Affixed to a larger mount and framed to an overall size of 6.5 x 8.5. In very good to fine condition, with a tiny tear to the left edge and a couple spots of foxing to the mount. Starting Bid $200
216. Antoine Lavoisier Autograph Letter
Signed. Extremely influential French chemist (1743-1794) noted for his discovery of the role oxygen plays in combustion; he was executed by guillotine during the French Revolution due to his involvement with the deeply unpopular Ferme Générale. Third-person ALS in French, signed within the text, “Le C. Lavoisier,” one page, 6 x 7.75, no date but circa 1792–1793. Untranslated letter mentioning the Academy of Sciences and the scientist and philosopher Condorcet. At the end of the letter, Lavoisier writes his address (translated): “Citizen Lavoisier, Treasurer of the Academy, Boulevard de la Madeleine 243.” Lavoisier lived at this address during French Revolution between August 1792 and his arrest in November 1793. He was guillotined some months later, in May 1794. In fine condition, with modern collector’s notations on the second integral leaf. Starting Bid $200
217. Guglielmo Marconi: Official Act for Establishing a Chain of Imperial Wireless Stations (1912). First edition of an official act entitled “Copy ‘of Agreement between Marconi’s Wireless Telegraph Company, Limited, Commendatore Guglielmo Marconi, and the Postmaster General, with regard to the Establishment of a Chain of Imperial Wireless Stations; together with a Copy of the Treasury Minute thereon.’” London: Published by His Majesty’s Stationery Office, Printed by Eyre and Spottiswoode, 1912. Bound in cardstock library boards, 8.5 x 13, twelve pages. The title page carries several stamps of the “War College Division, General Staff,” and a “withdrawn from library” stamp. The document outlines the provisions for financing the buildout of a wireless radio network, how each station is to be constructed, usage of the system, and how royalty payments will be made to the Marconi Wireless Telegraph Company. In very good to fine condition, with light edge wear and minor corner loss. This agreement—representing the establishment of the first major international telecommunications network—resulted in a major political controversy in Britain involving allegations of insider trading by government ministers. It arose when several members of the Liberal government—including Chancellor of the Exchequer David Lloyd George, Attorney General Rufus Isaacs, and Postmaster General Herbert Samuel—were accused of profiting from advance knowledge of the lucrative government contract awarded to the Marconi Wireless Telegraph Company. Although a parliamentary inquiry found no evidence of corruption in the contract itself, the scandal damaged public trust and highlighted concerns over political ethics and financial transparency in Edwardian Britain. Starting Bid $200
“I am pleased formally to offer you a membership in the Institute for Advanced Study”
220. Robert Oppenheimer Typed Letter Signed: “I am pleased formally to offer you a membership in the Institute for Advanced Study”. TLS signed “Robert Oppenheimer,” one page, 8.5 x 11, The Institute for Advanced Study letterhead, March 12, 1962. Letter to mathematician Tapio Klemola, in full: “On the recommendation of the Faculty in the School of Mathematics, I am pleased formally to offer you a membership in the Institute for Advanced Study for the academic year 1962–63. We can make available to you a grant-in-aid of $6,500 to defray the expenses of your sojourn in Princeton. We all look forward with pleasure to having you with us for a visit.” In very good to fine condition, with some light creasing and two short fold splits. Accompanied by a letter from Mrs. Ruth W. Barnett, an assistant general manager at the Institute for Advanced Study, advising Klemola that his address will be “89 Einstein Drive.” Also includes “The Princeton Community Directory” for 1963, listing addresses and phone numbers for the likes of Oppenheimer, Kurt Gödel, Vladimir K. Zworykin, C. N. Yang, and other notables. Starting Bid $200
218. Isaac Newton Signature. English physicist, mathematician, and astronomer (1643–1727), widely regarded as the most influential figure in the history of science, whose ideas and discoveries, including calculus, the laws of gravitation and motion, and observations on the nature of light and optics, earned him a place among the most profound geniuses in the history of mankind. Partial ink signature, “Is. Newt,” on an off-white 5.5 x 6.5 slip clipped from a larger official document, circa May 1718. Laid down to a slightly larger page for reinforcement, and in poor to good condition, with staining, tears, and paper loss which truncates the last two letters of the signature. Starting Bid $500
219. [Isaac Newton] Sketch of a “Manubrium or Winch”. Drawing in pen, ink, and grey wash, showing a “Manubrium or Winch,” squirting water via a hose from a bucket, accomplished on an off-white 7 x 7.25 sheet. The handwriting is untraced, but this is evidently an item related to the activities of the secretaries of the Royal Society in handling the business of the Philosophical Transactions, apparently a drawing for a figure in that publication. Possibly communicated by Robert Hooke to Isaac Newton. In fine condition. Provenance: Item (iii) from auction lot 391, source untraced: “Album containing a collection of papers by Robert Hooke and others, some evidently deriving from the papers of Sir Isaac Newton.” Starting Bid $500
“Only marriage, a family of one’s own, makes a man’s life complete”
221. Ivan Pavlov Autograph Letter Signed:“Only marriage, a family of one’s own, makes a man’s life complete”. Russian physiologist (1849–1936) best known for his investigation of conditioned reflex through the use of experiments involving salivating dogs. He was awarded the Nobel Prize in Medicine in 1904. ALS in German, signed “I. Pawlow,” one page both sides, 4.5 x 7, May 13, 1911. Handwritten letter to a friend, offering some advice on family and its effect on the a scientist’s productivity. In full (translated): “Dear friend, Permit me to call you so. My warmest congratulations on your engagement. Only marriage, a family of one’s own, makes a man’s life complete. I remember well how my capacity for work grew and deepened after marriage, in the circumstances of family life. It always seemed to me that my best work came at the same time as major family events (like the birth of children). I hope and fervently wish that your marriage will be the happiness and the energy of your life also. My wife and children remember well your stay in Petersburg and send you warm greetings.” In fine condition, with a brief biographical notation penned at the bottom in another hand. Starting Bid $200
“Nikola Tesla, better late than never!”
223. Nikola Tesla Signature - “Better late than never!”. Ink signature, “Nikola Tesla, better late than never!,” on an off-white 5 x 3.5 card, the reverse of which bears a notation dating the autograph to 1904. In very fine condition, with a trivial rust stain to the right edge.
A fantastic signature from the brilliant inventor, whose amusing addition of “better late than never!” likely pertains to his delayed response to an autograph collector’s request. The phrase, however, feels far more poignant when viewed through a revisionist lens, given that Tesla’s name and genius were only fully recognized and appreciated decades after his death. Starting Bid $1000
“I thank you very much for the expression of your good opinion, but I am grieved to know that I am not in any way deserving it”—modest letter from the intrepid inventor, dated to the year he premiered his remote-controlled boat, ‘the telautomaton,’ and caused a New York City earthquake with a test-run of his electro-mechanical oscillator
224. Nikola Tesla Typed Letter Signed (1898) - The Year That He Caused an Earthquake in Manhattan. TLS signed “N. Tesla,” one page, 8 x 10.5, March 28, 1898. Letter to Mrs. McCoullough Williams, in full: “Your favor of March 10th, which was received in due course, would have been answered before this had I not been suffering from the grip all this time. I thank you very much for the expression of your good opinion, but I am grieved to know that I am not in any way deserving it. I would with pleasure comply with your request if it were of another nature, but it has been my rule, to which I have adhered firmly, not to furnish any material for interviews. Hoping that, in view of this, you will have the kindness to excuse me and regretting very much my inability to meet your wish.” In fine condition, with two unobtrusive edge tears.
A modest letter from the visionary inventor, typed and signed from a noteworthy location during a most noteworthy year. In 1898, at the first Electrical Exhibition at Madison Square Garden in New York, Tesla presented his most recent invention: a remotely controlled boat called the telautomaton. In doing so, Tesla performed the first public demonstration of the wireless transfer of commands at a distance by controlling the movements of the boat with radio waves. The moment was a pioneering step in the field of remote control and also one of the earliest milestones in the birth of robotics and automation.
That same year, while testing his electro-mechanical oscillator at his laboratory at 46 East Houston Street, Tesla reportedly caused a small earthquake in New York City — the epicenter being his own lab. Tesla attached the oscillator — around 7 inches long and described by Tesla as something ‘you could put in your overcoat pocket’ — to an iron pillar that went down through the center of this building to the sandy floor of the basement. It began to hum, sending out rhythmic pulses. Initially, it was subtle, barely noticeable.
Then, metal equipment clanged together, the floor started to tremble, and cracks appeared in the walls. Panic spread throughout the neighborhood as windows shattered and people rushed into the streets, convinced that an earthquake had struck. Realizing that the situation was spiraling out of control, Tesla grabbed a sledgehammer and smashed the device, which immediately stopped the vibrations. When the police arrived, Tesla met them at the door and calmly explained, ‘Gentlemen, I’m sorry. You are just a little late to witness my experiment. I was trying to shake the Earth.’
News about Tesla’s earthquake machine spread, but rather than being celebrated, it was met with fear. Tesla sought funding to develop the device further, but found investors wary of such destructive potential. Years later, scientists confirmed the power of mechanical resonance, the same principle that caused the Tacoma Narrows Bridge in Washington to collapse in 1940. Wind created a resonant vibration that caused the steel structure to twist and fall like a ribbon, a concept understood by Tesla decades earlier. Starting Bid $1000
Antique chimney brick from the main facility of Nikola Tesla’s revolutionary Wardenclyffe Tower, the last surviving laboratory of the visionary engineer and inventor
226. Nikola Tesla Original Antique Chimney Brick from Wardenclyffe Tower, Tesla’s Visionary Wireless Transmission Station. Original antique chimney brick from the site of Nikola Tesla’s Wardenclyffe Tower, an early experimental wireless transmission station designed and built by Tesla in the Long Island village of Shoreham, New York, in 1901–1902. The brick, 8˝ x 2.25˝ x 3.5˝, approximately four pounds, derives from the chimney of Wardenclyffe’s main 94-foot-square brick building designed by Tesla’s friend and noted American architect, Stanford White. Includes a custom glass display case with a wooden base that measures 11˝ x 6.5˝ x 5˝. In fine condition. Recovered after the restoration of the Wardenclyffe station’s chimney, this brick serves as a remarkable, tactile artifact from Tesla’s last surviving laboratory.
Wardenclyffe Tower, also known as Tesla Tower, was a visionary 187-foot-tall wireless transmission tower conceived by Nikola Tesla as part of his grand plan to transmit messages, telephony, and even facsimile images across the Atlantic Ocean to England and to ships at sea — a groundbreaking concept based on his theories of using the Earth to conduct the signals. Backed initially by financier J. P. Morgan, construction began in 1901 but halted in 1906 after funding collapsed; Morgan withdrew support following Marconi’s successful transatlantic radio transmission, and Tesla’s shift toward free wireless power — technically unproven and commercially untenable — deterred further investment.
Following the tower’s demolition in 1917, the Wardenclyffe property passed into private hands and was later converted into a photographic materials plant operated by Agfa and other companies through much of the 20th century. Tesla’s original brick laboratory, designed by architect Stanford White, survived but was altered for industrial use and left contaminated after decades of manufacturing. After years of neglect, the site was rescued in 2013 through a public crowd-funding campaign, and it is now being restored by the Tesla Science Center at Wardenclyffe as a museum and educational facility dedicated to Tesla’s legacy. Starting Bid $300
Tesla-signed 1899 menu from New York’s Waldorf-Astoria Hotel,
the inventor’s
former
residence and experimental base, which lists the special roast entree, “Mignons de Filet à la Tesla”
225. Nikola Tesla Signed Waldorf-Astoria Menu (1899). Menu from the famed Waldorf-Astoria hotel in New York City from April 9, 1899, 4.25 x 6.25, signed on the reverse in fountain pen by Nikola Tesla. The front and back of the menu are signed by 15 other diners. In fine condition, with four small pieces of cloth tape along the edge. Tesla moved into the Waldorf-Astoria Hotel in late 1899, using it as both his residence and base for experiments while networking with wealthy financiers in New York City. He stayed for several years, maintaining large suites and often falling behind on his bills, accumulating substantial debt to the hotel. Some of these debts were later partially repaid with scrap metal from his abandoned Wardenclyffe Tower project. Among the menu’s list of French cuisine is a section for ‘Roast,’ which includes “Mignons de Filet à la Tesla,” or ‘Tesla Filet Tenderloin,’ a specially prepared steak meal in honor of the hotel’s esteemed resident. As quoted in Richard Munson’s 2018 biographical work, Tesla: Inventor of the Modern: ‘Contemporaries often commented on Tesla’s strict and obsessive routines. His dinners – first at the ritzy Delmonico’s restaurant and later at the lavish Waldorf Astoria Hotel – began promptly at 8:10 p.m. He or an assistant would have called in his order ahead of time – often thick steaks, preferably filet mignon – and only the head waiter would be allowed to serve the meals. He usually read the afternoon paper at his regular table by the window. Tesla dined alone, except when he entertained a group of reporters or investors, and he often returned after dinner to his lab for several hours of additional work. He visited barbers three times a week for half-hour scalp massages. He never ate lunch. He took warm baths, followed by lengthy cold showers. To stimulate his brain cells, he walked regularly, often up to ten miles a day, and he would flex his toes one hundred times before going to bed in order to relieve stress. Concerned about neatness, he dressed meticulously, regularly in a black derby, silk shirt, cane, green suede high-tops, and gray suede gloves – but absolutely no jewelry.’ Starting Bid $500
Honored by the King of France, Volta accepts his diploma as chevalier of the Légion d’Honneur
227. Alessandro Volta Rare Autograph Letter Signed, Accepting a Diploma for the French Legion of Honour. Italian physicist (1745–1827) best known for his epochal investigations into the nature and uses of electricity, leading him to invent the battery; the unit denoting the potential difference or electromotive force was named the volt in his honor. Rare ALS in French, signed “Cte. Alexandre Volta,” one page, 7.5 x 10, September 18, 1826. Handwritten letter to Louis Antoine de Bourbon, Duc d’Angouleme, the last dauphin of France and the eldest son of Charles X. In part (translated): “I hasten to send your excellency an acknowledgment of receipt of the Diploma of the Knight of the Royal Order of the Legion of Honour, which he was so good as to send me on behalf of His Majesty. Full of gratitude for the kindness of the King on my behalf, I have the honor to remain, Sir, by your excellence, at Como… your most true and obedient servant.” In fine condition. A rare handwritten letter by the pioneering inventor, accepting laurels that recognized the monumental achievements of his life’s work. Starting Bid $200
Desirable example of the Gilbert U-238 Atomic Energy Laboratory— the ‘most dangerous toy in history’
213. Gilbert U-238 Atomic Energy Laboratory - ‘The Most Dangerous Toy in History’. Sought-after, near-complete example of the Gilbert U-238 Atomic Energy Laboratory in its original reed suitcase, measuring 25˝ x 16.5˝ x 5˝, created by Alfred Carlton Gilbert, known for his development of the Erector Set and popular chemistry kits. The laboratory kit contains a cloud chamber allowing the viewer to watch alpha particles traveling at 12,000 miles per second, a spinthariscope showing the results of radioactive disintegration on a fluorescent screen, and an electroscope measuring the radioactivity of different substances in the set: carnotite, autunite, torbernite, and uraninite. This set is missing two of the low-level radiation source disks, which have been replaced by replicas for display purposes.
Includes the original “Prospecting for Uranium” guide published by the US Atomic Energy Commission and US Geological Survey, a “Dagwood Splits the Atom” instructional comic book, an “Adventures Inside the Atom” comic book, and American Flyer and Gilbert Toy catalog and price list. In very good to fine condition, with some scuffing and edgewear to the case.
Produced only in 1950 and 1951, with fewer than 5000 sold total, this set is extremely rare, and highly coveted. In 2006, the pop culture publication Radar Magazine called the lab set one of ‘the 10 most dangerous toys of all time’ because of the radioactive material it included. The professional journal IEEE Spectrum published a more-detailed review in 2020, discussing the kit in the context of the history of science education kits and safety concerns. It described the likely radiation exposure as ‘minimal, about the equivalent to a day’s UV exposure from the sun,’ provided that the radioactive samples were not removed from their containers, in compliance with the warnings in the kit instructions. Starting Bid $500
Graphite from Chicago Pile-1—Fermi’s research reactor that launched the nuclear age
233. Chicago Pile-1 Graphite Relic (First Nuclear Reactor). Graphite disc from Chicago Pile-1 (CP-1), the first nuclear energy reactor which launched the first successful experiment in atomic energy, giving life to the nuclear age. The graphite is encased in an acrylic dome, measuring approximately 2.5˝ x 1.25˝, identified with impressed text: “Graphite From First Chain Reactor, 12-2-42.” In fine condition. Accompanied by a leaflet describing the reactor.
Enrico Fermi led the experiment at the University of Chicago on December 2, 1942, which used uranium as fuel and ultra-pure graphite as a neutron moderator. Critical mass for a self-sustaining reaction was reached at 3:25 PM, lasting for 28 minutes. Throughout the 1960s, pieces of the graphite from CP-1 were awarded to important dignitaries and scientists who had worked on the project. Starting Bid $200
Classic vintage German-built claw-handed robot
234. Vintage German-Built Robot. Attractive vintage German-built robot, standing 36˝ tall on a 15.75˝ x 16.75˝ base, featuring: a rectangular head with lighted eyes and mouth; two claw-type hands on moveable arms; chest panel with meters, switches, and lights; rotating torso; and wheels on the bottom. The robot has a four-pin power port at the base; cord not included. In very good to fine cosmetic condition, with the robot’s function untested. A highly appealing, distinctive example of a custom, hand-made robot from Germany. Starting Bid $300
Intellectuals
Sigmund Freud and his disapproval of the rise of Carl Jung in America—
“The Jungian modification, which I reject, has found many followers there”
250. Sigmund Freud Autograph Letter
Signed On Carl Jung’s Growing Influence in America - “The Jungian modification, which I reject, has found many followers there”. ALS in German, signed “Freud,” one page, 8.75 x 11.5, November 28, 1920. Handwritten letter from Sigmund Freud to American neuropsychiatrist Dr. Gregory Stragnell, thanking his correspondent for a request concerning an article he is unfortunately unable to supply, as he is excessively busy with his work. He also explains that all his articles are now entrusted to the International Journal of Psychoanalysis: “Since I am very busy with my medical work and the work I have already started is intended for our Intern. Magazine.” He goes on to write that he is very pleased to hear that his work is widely followed in America, although he expresses dismay over the growing influence of Carl Jung and his establishment of analytical psychology. “I… hear that the Jungian modification, which I reject, has found many followers there.” In very good to fine condition, with light creasing, and a few short edge tears. Dr. Gregory Stragnell (1888-1963) was a neuropsychiatrist who had a distinguished career as an editor of the Medical Record and as a member of the American Psychoanalytic Association.
By 1920, Sigmund Freud’s disapproval of Carl Jung’s work was rooted in intellectual and personal divisions that had widened over the past decade. Freud had originally seen Jung as his heir in the psychoanalytic movement, but their split (formalized around 1913) stemmed from Jung’s rejection of Freud’s emphasis on sexuality as the core of psychological motivation. Jung’s new ‘analytical psychology’ introduced ideas such as the collective unconscious, archetypes, and a more spiritual or mythological dimension to the psyche—concepts Freud considered unscientific and dangerous.
By the time of Freud’s 1920 letter, his own work had turned toward Beyond the Pleasure Principle (published that same year), in which he explored the death drive and reinforced his biologically grounded, drive-based model of the mind. Jung’s influence in America—where psychoanalysis was just gaining traction—would have been particularly frustrating for Freud, who viewed Jung’s theories as a distortion of his carefully constructed scientific casework. Starting Bid $1000
“I don’t believe I’ve ever suggested that childhood neuroses can protect against psychosis”
251. Sigmund Freud Autograph Letter Signed: “I don’t believe I’ve ever suggested that childhood neuroses can protect against psychosis”. ALS in German, signed “Ihr, Freud,” one page, 6 x 9, personal letterhead, October 24, 1935. Handwritten letter to a doctor, writing that he does not believe he ever stated that childhood neuroses could act as a protection against psychosis, and this is certainly not his opinion. Further, he politely refuses to contribute an introduction to a book. In full (translated): “Thank you very much for your messages and sending me these. I don’t believe I’ve ever suggested that childhood neuroses can protect against psychosis. It’s certainly not my opinion either. As for the requested preface—after the preface to the Princess’s Poe book, as similar requests became more frequent, I decided not to publish anything of the sort again. I hope you won’t insist that I break this resolution.” In fine condition. Starting Bid $500
Freud cashes a royalty check for “A General Introduction to Psychoanalysis”— an introduction to the unconscious, dream interpretation, and neuroses
252. Sigmund Freud Signed Check from Liveright Publishing - Royalties for ‘A General Introduction to Psychoanalysis’. Liveright Publishing Corporation business check, 8.5 x 3, filled out in type and signed by two company officers, payable to Sigmund Freud for $237.43, February 20, 1935, boldly endorsed on the reverse by the celebrated psychoanalyst, “Sigmund Freud.” The memo field notes that the payment is for royalties due on “A General Introduction to Psychoanalysis.” In fine condition.
In 1920, Horace Liveright published the first English-language edition of A General Introduction to Psychoanalysis—the most popular and widely translated of Freud’s works, containing 28 lectures on key psychoanalytic concepts such as the unconscious, dream interpretation, repression, and neuroses. Written in accessible, non-technical language, it became one of Freud’s most popular books, serving as both a summary of his ideas and an entry point for readers new to psychoanalysis. Starting Bid $300
The earliest voyage collection to focus on the New World Explorers and Archeologists
258. Peter Martyr d’Anghiera and Oviedo - The Earliest Voyage Collection to Focus on the New World (c. 1534). Rare book: Libro primo della historia de l’Indie Occidentali. (Summario de la General Historia de I’Indie Occidentali …)
(Venice), [Stefano Nicolini da Sabbio / A. Pincio?], (October 1534)
4to (165 x 215 mm). 3 parts in one volume. 79, (1 blank) ff. Double-sheet map (“Isola Spagnuola”), 64, (2) ff.; (15), (1 blank) ff. With 4 (3 full-page) woodcuts in the text. Contemporary full vellum with manuscript title to spine. Stored in modern custommade half calf and cloth slipcase by Jacques P. Desmonts of J. Macdonald Co,, Norwalk, CT.
One of the earliest published attempts to assemble a group of travel and exploration accounts. This important collection of voyages and narratives is the work of several authors, although most bibliographers attribute it to Peter Martyr, a translation of whose work makes up the first section. The book was probably compiled for publication by Giovanni Ramusio of Venice (later famous for his much larger collection, “Delle navigationi et viaggi”, which began publication in 1554). While only the Montalboddo collection precedes it as a group of voyage narratives outside Europe, this is the first collection to focus entirely on the New World.
The “Historia” is divided into three books: the first is made up of material from the “Decades” of Peter Martyr, drawn from the edition of 1530, the first complete edition to present all eight Decades. The second and most important part is drawn from the first published work of the great historian and chronicler of the early West Indies, Gonzalo Fernandez de Oviedo’s “De la Natural Hystoria de las Indias” (Toledo, 1526). Since that pioneering work of American natural history (a completely different book from Oviedo’s later “Historia general”) is virtually unobtainable today, the present 1534 publication is the only form in which the first work of Oviedo can be had. His observations are the first accurate reports of New World plants and animals, and he also provides one of the first accounts
of Bermuda, where he tried to land while en route to Spain in 1515, only to be driven off by adverse winds. The distinction of being the first obtainable edition is also true of the third part, a translation of an anonymously written tract entitled La Conquista de Peru, first published in Seville, also in 1534, of which only three copies survive. It gives the text of the tract in full. Both are among the first published accounts of the conquest of Peru.
The woodcuts in the text, drawn from the work of Oviedo and made up by the Venetian printers, are some of the earliest published images of the New World based on actual experience, as opposed to the fantasies of European woodcut artists. There is also a handsome double-page woodcut map of Hispaniola, an extremely early piece of detailed New World cartography.
Condition
Title-page and first leaf of text masterfully remargined, not affecting text. Slight dampstaining in upper corner of first 30odd leaves, a closed tear to leaf 56. Two small burn holes in map, not affecting any printed area; occasional contemporary ink notations in margins.
Provenance
Contemporary ownership “Di Francesco Antonio Papera” on front free endpaper; 18th century handwritten start of an index on rear flyleaf. Pretty etched bookplate of the American architect Lionel H. Pries (1897-1968) to front pastedown; old bookseller’s label on rear pastedown. Latterly owned by the San Francisco collector Bruce McKinney; the lower pastedown bears the signed bookplate of his 2009 sale.
References
Edit 16, CNCE 1885. Sabin 1565. Palau2 12.601. European Americana 534/28. Harrisse 190. Moraes, Bibl. Brasiliana (1983), 530f. Church 69. Arents 3. JCB (3) I, 114. Streeter Sale 13. Huth Library III, 923f. Winsor, Narrative and critical history of America II, 222-224. Burden, Mapping of North America, 10. OCLC 4643599. Not in Adams or BM-STC Italian. Starting Bid $2500
Peter Martyr, first historian of the Americas, in his own hand—”mia propria mano”
259. Peter Martyr d’Anghiera Autograph Document Signed - The First European Historian of the New World. Italian historian (1457–1526) at the service of Spain during the Age of Exploration, who wrote the first accounts of explorations in Central and South America, sometimes cited as the originator of the term ‘Novo Orbe [New World].’ Third-person ADS in Italian, signed within the text, “Pietro Martyro,” one page, 8.25 x 9.5, November 6, 1515. Handwritten receipt acknowledging a sum of twelve imperial livres linked to the late Baptista Sfondrato, in part (translated): “I, Peter Martyr from Ferzago Canto., residing in St. Nazaro near Milan: For the cause of my said Canto. acknowledge to have received from Jo. Ja. of Capre 12 imperial livres…for the books of Maestro Messer of Pabtista Sfrondato…I Peter Martyr, Canto. as I have said above, have written and signed the present document with my own hand.” Tipped by its edge to a slightly larger sheet carrying a complete translation. In fine condition. Housed in a handsome modern leatherbound clamshell case by The Chelsea Bindery.
A unique survival in the hand of Peter Martyr d’Anghiera, the first European historian of the New World. Peter Martyr was an Italian swept up in the milieu of the Spanish court, a tutor to princes, and a personal friend of the likes of Christopher Columbus, Ferdinand Magellan, and Amerigo Vespucci. It was Martyr who wrote the first accounts of Central and South America in a series of letters and reports, which were subsequently published from 1511 to 1530 in compilations referred to as his ‘Decades.’ Much of what is known about the looks, personality, and minds of the early explorers come from Martyr’s letters, which sometimes included lively gossip. He was the first to describe contact between Europeans and Native Americans, and provided vital early insight into Pre-Columbian American civilizations; he was the first to understand the importance of the Gulf Stream, and the first European to reference India rubber
This receipt of funds is written in Peter Martyr’s own hand (“mia propria mano”) while he was spending time back in Milan, attached to the Sforza family. It acknowledges the receipt of a sum of twelve imperial livres linked to the late Baptista Sfondrato, a member of the powerful Sfondrato family and another high connection of Peter Martyr ’s.
Between the Sforzas and the Sfondratos, already Martyr was moving in powerful circles, and at the court of Spain he witnessed the earliest years of the Age of Exploration and one of the greatest sea-changes in human history. His friendships with the great explorers of the age granted Martyr access to documents and personal interviews few others could reach, swiftly establishing him as the foremost historian of the Americas in Europe.
When this note was sold at Goodspeed’s Book Shop in the 1970s, then-director Gordon Banks referred to it as “probably the most unusual item and perhaps the rarest that we have listed in several years.” A unique text in Martyr’s own hand, it helps sketch the complex web of political and personal alliances through which Martyr navigated his career. No handwritten notes by Martyr or any of his conquistador colleagues Columbus, Magellan, Vespucci can be traced on the market; as stated by Goodspeed fifty years ago, the present autograph stands alone. Starting Bid $200
Titanic
265. Titanic (4) White Star Line Pre-Launch Promotional Items (1910-1911).
Scarce lot of four early White Star Line promotional items from circa 1910 and 1911, printed in the lead-up to the highly anticipated launch of the RMS Titanic on May 13, 1911. The lot includes:
- Rare circa 1910 booklet entitled ‘The Largest Steamers in the World: Olympic / Titanic,’ twentytwo pages, 8.5 x 5.25, which contains images and detailed information on the construction of both ships at the Harland & Wolf shipyard in Belfast, Northern Ireland.
- Pamphlet for ‘Second Class Rates, 1911’ issued for the White Star Line and the White StarDominion-Canadian Service on February 10, 1911, twelve pages, 6.75 x 10.75, with the cover promoting the “Titanic, 45,000 Tons (Building at Belfast, Ireland),” next to an image of the Olympic, “First Sailing from New York, June 28, 1911.”
- Two “Proposed Sailings” foldout booklets from the White Star Line, 3.5 x 6.5 (both measure 27.25 x 6.5 unfolded), identified as “Sailing Schedule No. 1, 1911. January 11, 1911” and “Sailing Schedule No. 2, 1911, March 14, 1911,” both of which feature several mentions of the under-construction Titanic: under an image of the Olympic on the front page, “‘Titanic’ (Building at Belfast)”; the opening section notes how the Olympic will be “followed in due course by her sister-vessel ‘Titanic,’ now building at Belfast”; the upper border of the inner schedule section is marked twice, “The Largest Steamers in the World, ‘Olympic (Launched)’ and ‘Titanic (Building),’ 45,000 Tons Each”; and another section is devoted to the “Triple-Screw Sea Giants ‘Olympic’ and ‘Titanic,’” which are “nearing completion at the yards of the famous Belfast builders, Harland & Wolff.”
In overall very good to fine condition. Accompanied by an assortment of early 20th-century promotional booklets, pamphlets, and brochures for various shipping lines, which include items related to White Star-Dominion and the Cunard Line, the latter of which bears information on both the RMS Lusitania and the RMS Mauretania. Starting Bid $200
Military
Treaty of Ghent negotiators John Quincy Adams and Albert Gallatin pursue a $6 million loan to bolster the war effort in 1814—rare complete US government loan package from the Treasury Secretary’s archives
380. War of 1812:
John Quincy Adams and Albert Gallatin Letter Signed with $6 Million European Loan Document Archive. Important archive of manuscripts from the collection of Secretary of the Treasury William H. Crawford, involving a proposed loan from Europe to support the United States government during the War of 1812. The US faced a $50 million shortfall in revenue, brought on by restricted trade, years of seizures of merchant ships, and the expense of the war. There was a real question as to whether the federal government would be able to continue to support the military during wartime. To meet this challenge, Congress authorized President James Madison to borrow up to $25 million. As structuring the loan into tranches would make it more palatable to the public, they first sought a loan in the amount of $6 million. Trusted diplomats John Quincy Adams and Albert Gallatin were already in Europe to begin negotiating the Treaty of Ghent, and they were charged with acquiring the loan at the same time.
On September 29, 1814, John Quincy Adams wrote in his journal: ‘[Boyd] left Washington the 12th of last month…He arrived at Bordeaux the 17th of this month at Paris the 23d and here this morning…His dispatches and newspapers are to the 12th of August. Those from the Treasury are in the first instance for Mr. Gallatin with powers to negotiate a loan in Holland of six millions of dollars. They are to me only in the case of Mr. Gallatin’s absence and to Mr. Crawford in case the loan should not be obtainable at Amsterdam.’
On October 3, Gallatin wrote confidentially to the bankers Willem and Jan Willink in Amsterdam, who had been investors in the Louisiana Purchase, seeking funds up to $6 million. A true copy of this letter is included, bearing secretarial signatures of Gallatin and Adams. Gallatin received a response from the Willinks, explaining that they would be unable to lend the money on terms likely to be acceptable. The Ghent negotiators then wrote to Secretary Crawford with this news on October 16th to ask for his advice. Their letter is the highlight of this archive:
ALS in Gallatin’s hand, signed by both, “Albert Gallatin” and “John Quincy Adams,” one page both sides, 7 x 8.75, Ghent, October 16, 1814. In part: “We received your letter of 26th September, and wrote immediately by Mr. Boyd to our bankers at Amsterdam on the subject of the loan. Their answer gives no hope of success at this time
at that place; but as you will perceive it holds out some expectation that on the contingency of favorable circumstances, the object may be obtainable after the commencement of the ensuing year. We are of opinion that such enquiries should now be made at Paris, as may enable us to give the necessary information to our government by the next dispatch vessel; and we believe that if any considerable portion of the loan can be obtained by your operations, the residue will be raised at Amsterdam. In what manner these enquiries should be made, without their object becoming public, you will be best able to judge. It is probable that the two houses of Hottinger and of Delessert, who have both some property in America, may be safely entrusted with the object…We enclose copies of the powers and instructions from the Treasury.”
Included is the complete loan package enclosed with the letter, containing four manuscript copies of documents and orders, all in a secretarial hand but most with annotations by John Quincy Adams, including a true copy of he document from the Secretary of Treasury authorizing Gallatin and Adams to seek a loan “not exceeding in the whole six millions of dollars.”
As it turned out, the response from France was even less encouraging than the one from Holland. Crawford responded to Gallatin that he had ‘made sufficient enquiry to ascertain that no loan can be obtained in France upon terms which can be accepted.’ Crawford feared that the recent capture of Washington would only pose further obstacles to their desires. Talleyrand himself had said ‘on holding a large amount of the funded debt of the US, he would not give one sou for the whole of it.’
On October 25, just days after this letter, Crawford wrote to Gallatin, ‘The inference is almost necessary that the US have not in the hands of their bankers funds sufficient to discharge the interest of the public payable in Europe,’ meaning the interest payment due on the US Louisiana debt. The next day, Gallatin reported to Monroe that a loan in Europe would not be obtainable before the first of the following year. His candid assessment was much worse: it would not be forthcoming at all. The budget shortfall thus went unsolved, forcing the United States to default on some of its debts in November 1814 with missed interest payments on bonds. Only the end of the war would put the nation on a more stable financial footing. Starting Bid $5000
381. Robert E. Lee Signature. Ink signature, “R. E. Lee,” on an offwhite 3.25 x 2 card, mounted to a mat also featuring an ALS from his son George Washington Custis Lee, signed “G. W. C. Lee,” dated May 10, 1871, in part: “Although having but few of my father’s autographs left I send you one of them in accordance with your request.” An original pencil sketch of Lee is also drawn on the mat above the affixed signature. Framed to an overall size of 14.75 x 12.5. In very good condition, with irregular staining affecting the overall appearance. A highly desirable Civil War autograph with excellent direct familial provenance. Starting Bid $200
Aviation
411. Charles and Anne Lindbergh Signed Photograph. Choice vintage matte-finish 6.5 x 8.5 full-length photo of the Lindberghs, signed and inscribed in fountain pen, “For Doctor A. H. Ebeling, From Charles A. Lindbergh” and “Anne Lindbergh.” In very fine condition.
Ebeling was a close associate of vascular researcher Alexis Carrel (1873–1944), recipient of the 1912 Nobel Prize in Medicine. In the 1930s, Lindbergh’s mechanical inclinations led to a collaboration with Carrel on a book titled The Culture of Organs, as well as on the development of a ‘perfusion pump,’ which allowed human organs to survive outside the body—a crucial advance in the development of organ transplants and open-heart surgery. Starting Bid $200
Recovered from the tail of the Hindenburg by a Marine guarding the burned dirigible’s Lakehurst crash site
410. Hindenburg Flown Tail Fabric Swatch - Recovered by a Marine Guard at the Lakehurst Crash Site. A remarkable large section of deep red doped fabric, 4.75” x 2.5”, recovered from the tail section of the German airship LZ 129 Hindenburg, which exploded and burned at Lakehurst, New Jersey, on May 6, 1937. The swatch was recovered by U.S. Marine Private Paul Vasquez, who was stationed at Lakehurst, New Jersey, and assigned to guard the crash site shortly after the airship exploded in 1937. While securing the wreckage, Vasquez collected many relics, including this section of red outer covering from the tail of the Hindenburg, the same area that bore the Nazi swastika insignia. The fabric, still faintly carrying traces of smoke and fuel odor after more than eight decades, exhibits edge fraying and burn marks consistent with exposure to the fiery disaster.
Accompanied by a detailed photocopied provenance packet of other materials originating from Private Paul Vasquez. While guarding the Lakehurst crash site, Vasquez sent a photo postcard of the Hindenburg to his family, writing that he was ‘getting tired of guarding that burned dirigible.’ The packet includes color copies of this postcard, copies of two original flown and recovered Hindenburg interior postcards inscribed in Vasquez’s hand, ‘Souvenir from Hindenburg Zeppelin, burned May 6, 1937 Pvt. Paul A. Vasquez,’ as well as a photograph of Vasquez standing with another Marine at the wreck site during his guard duty.
The Hindenburg disaster occurred on May 6, 1937, when the German passenger airship LZ 129 Hindenburg, the pride of Nazi Germany’s Zeppelin fleet, caught fire and was destroyed while attempting to land at the Naval Air Station Lakehurst in New Jersey. The massive hydrogen- filled airship, completing its first transatlantic flight of the season from Frankfurt, suddenly erupted into flames just moments before mooring, collapsing to the ground in less than a minute. Of the 97 people on board, 36 perished-13 passengers, 22 crew members, and one worker on the ground-while the horrifying scene was captured live by newsreel cameras and radio broadcaster Herbert Morrison’s unforgettable words, ‘Oh, the humanity!’ The tragedy marked the end of the airship era, as public confidence in rigid airship travel vanished overnight, symbolizing both the dangers of early aviation and the technological ambitions of the interwar years. Starting Bid $1000
Space Exploration
Choice example of the coveted Apollo 11 ‘Type 1’ insurance cover
419. Apollo 11 Crew-Signed ‘Type 1’ Insurance Cover. Choice Apollo 11 ‘Type 1’ insurance cover with a color cachet portraying lunar surface activities, postmarked at Houston on July 20, 1969, the moon landing date of the Lunar Module Eagle, boldly signed in blue felt tip prior to launch by Neil Armstrong, Michael Collins, and Buzz Aldrin. These historic covers were flown to Houston after launch for cancellation by Apollo 10 Commander Tom Stafford in his T-38 jet. In fine to very fine condition.
These famous insurance covers, produced immediately prior to space missions in order to provide financial security for astronauts’ families in case of disaster, have earned near-legendary status as the ultimate space-related philatelic item, and exist as one of the most coveted formats for astronaut autographs. Starting Bid $500
420. Apollo 14 Flown American Flag - From the Personal Collection of Edgar Mitchell. From the personal collection of Apollo 14 moonwalker Edgar Mitchell— a flown 6.25˝ x 4˝ American flag carried into lunar orbit on Apollo 14, attested to in a certificate of authenticity signed by Mitchell, who writes that this “USA flag was carried in my personal preference kit (PPK) aboard Kittyhawk from January 31, 1971 to February 9, 1971 during the Apollo 14 mission.” It seems that Mitchell did not finish preparing these flown flag presentations prior to his passing, as the certificate erroneously states that the flag bears his signature; it is one of several such examples originating directly from his personal collection. In fine condition. Accompanied by a letter of authenticity from Karlyn Mitchell, the daughter of Edgar Mitchell. Starting Bid $200
“Flown to the
Lunar Surface aboard Antares—Feb.
5, 1971”—a moon-landed American flag from the moonwalker’s own collection
422. Apollo 14 Lunar Surface-Flown American Flag - From the Personal Collection of Edgar Mitchell. Marvelous flown American flag carried to the lunar surface aboard the LM Antares during the Apollo 14 mission, 6˝ x 4˝, signed and flight-certified in blue ballpoint, “Flown to the Lunar Surface aboard Antares—Feb. 5, 1971, Edgar Mitchell, Apollo 14 LMP.” In fine condition.
Accompanied by a signed certificate of authenticity from Edgar Mitchell, in part: “This is to certify that the accompanying Apollo 14 Lunar Surface American Flag was proudly carried by me aboard our Lunar Module ‘Antares’ to the Moon’s surface. On February 5, 1971, Alan Shepard and I landed our Lunar Module ‘Antares’ on the Moon at Fra Mauro, during mankind’s third lunar-landing mission. To commemorate this milestone, I personally carried the accompanying 4 x 6 inch American Flag with me in my Lunar Module ‘Personal Preference Kit’ bag. This flag then remained stowed within the ‘Antares,’ and its one-sixth lunar-gravity environment, as Alan Shepard and I completed our exploration of the Moon’s surface…This Lunar Surface Flag has been a valued part of my personal space collection since 1971, when it was presented back to me by NASA upon its release from lunar quarantine.” An outstanding example of one of the most highly sought lunar-landed formats. Accompanied by a letter of authenticity from Karlyn Mitchell, the daughter of Edgar Mitchell. Starting Bid $500
Scarce Apollo
14 Franklin Mint medallion carried into lunar orbit, certified by LMP Ed Mitchell
421. Apollo 14 Flown Franklin Mint Medallion - From the Personal Collection of Edgar Mitchell. Uncommon flown Franklin Mint Apollo 14 medallion carried into lunar orbit on the Command Module Kitty Hawk, serial number 0101, approximately 1.5˝ diameter, displayed inside a small cardboard holder, annotated and initialed in blue ballpoint by LMP Edgar Mitchell, “Flown on ‘Kitty Hawk,’ No. 0101, EM.” The medal features the Apollo 14 mission insignia on the face, showing the astronaut emblem approaching the moon, leaving a comet trail from the liftoff point on Earth, with the mission and crewmen’s surnames in the border; the reverse depicts the lunar surface with a legend reading: “Spacecraft Kitty Hawk & Antares / Destination Fra Mauro—1971.” In fine condition. Accompanied by a letter of authenticity signed by Edgar Mitchell. Read more online at www.RRAuction.com.Starting Bid $200
Flown into lunar orbit on the Apollo 17 CM ‘America’
423. Apollo 17 Flown Command Module Cue Card Signed and Flight-Certified by CDR Gene Cernan. Flown double-sided cue card carried into lunar orbit aboard the Command Module America during the Apollo 17 mission, 4.75 x 6.25, stamped “Flown to lunar orb[it] aboard the Apollo 17 CM ‘A[merica’],” and signed in blue ink, “Gene Cernan.” The thick card is dated October 13, 1972, with front and back headed “Power Loss” and “Braking Gates.” The “Power Loss” side documents provisions relating to the Guidance and Navigation (“G&N”) systems and Stabilization and Control System (“SCS”); the “Braking Gates” side carries a table documenting “R(nm),” “R(fps),” “Reticle Angle (deg),” and “R(ft).” In fine condition, with poor ink adhesion to the right side of Cernan’s stamp. Starting Bid $200
Art, Architecture, and Design
496. Salvador Dali Hand-Annotated Photograph: “Your project of bullfight that is a good thing for the Arena of Nimes”. Vintage glossy 7.75 x 12 full-length photo of Salvador Dali walking with his cane, annotated on the reverse with a note in Dali’s hand: “Dear Pierre, I am pleased with your project of bullfight that is a good thing for the Arena of Nimes.” In very good to fine condition, with scattered creasing to the image side. The Arena of Nîmes, located in southern France, is one of the best-preserved Roman amphitheaters in the world, dating back to around 70 AD. Originally built for gladiatorial games, it today plays host to concerts and traditional bullfights, continuing its legacy as a place of spectacle. During the annual Feria de Nîmes, the arena becomes a vibrant center of Spanish-style bullfighting, blending ancient architecture with modern cultural tradition. Starting Bid $200
Scarce signed candid of Picasso posing with the French Communist Party leader
497. Pablo Picasso Signed Photograph.
Outstanding vintage glossy 4.5 x 6.25 deckle-edge photo of Pablo Picasso with French Communist Party leader Maurice Thorez, signed on the reverse in blue ballpoint by the celebrated artist, “Picasso.” The reverse carries the photographer’s credit stamp (“Photo Maurice Ferrier”) and the stamp of the “Parti Communiste Francais.” In very good to fine condition, with creasing to the upper corners, and two heavier creases to the lower right. Pablo Picasso and Maurice Thorez were known to each other through their involvement with the French Communist Party (PCF), which Thorez led from 1930 until his death in 1964. Picasso formally joined the French Communist Party in October 1944, shortly after the liberation of Paris from Nazi occupation, and remained a party member for the rest of his life. In ‘Why I Became a Communist,’ Picasso explained: ‘I have become a Communist because our party strives more than any other to know and to build the world, to make men clearer thinkers, more free and more happy…The French Communist Party is a fatherland for me. In it I find again all my friends—the great scientists Paul Langevin and Frederick Joliot-Curie, the great writers Louis Aragorn and Paul Eluard, and so many of the beautiful faces of the insurgents of Paris. I am again among my brothers.’ Starting Bid $300
498. Statue of Liberty Fundraising Ticket (1876). Eminent French sculptor (1834–1904) best known for designing the Statue of Liberty. Rare unused Statue of Liberty fundraising ticket prepared by the “Union Franco-Américaine,” 5.5 x 4, with a small affixed photographs of a concept of the monument, and text reading (translated): “Subscription for the erection of a commemorative monument for the hundredth anniversary of the Independence of the United States. The Committee of the French-American Union begs Mr….to take part in this great national event as an associate member.” Below are the facsimile signatures of committee members Oscar de Lafayette and Edouard Laboulaye. On the reverse is an extract of the rules of the Association giving details about the organization of the fundraising, with the names of the honorary members of the Committee, including Marquis de Rochambeau, Auguste Bartholdi (the architect of the Statue of Liberty) and Oscar de Lafayette (grandson of Marquis de Lafayette). In fine condition, with light edge toning and evidence of prior mounting to reverse corners.
The Statue of Liberty project began on April 21, 1865, when Edouard de Laboulaye, professor of law at the Collège de France and admirer of young American democracy, submitted the idea that France offer the United States a statue symbolizing ‘Liberty Enlightening the World,’ thus sealing the friendship between the two countries. The design came from the young Auguste Bartholdi, distinguished by the creation of his colossal Lion of Belfort. The defeat of France at Sedan, followed by the Paris Commune and the resulting political and financial problems, delayed the project by 10 years.
The statue was to be inaugurated on the centenary of the independence of the United States, on July 4, 1876, but construction did not begin until that year. Financing proved to be an obstacle, and the appeal for American and French donations proved essential. The hand was presented at the Universal Exhibition in Philadelphia in 1876 and the head was admired at the Champ de Mars during the exhibition of 1878. Gustave Eiffel, a brilliant designer of iron bridges, was chosen to build the iron framework of the Lady. The 46-meter-high building was completed in July 1884. Bartholdi, after traveling to New York, chose the small island of Belloe’s Island to house his masterpiece. She was dismantled piece by piece to be transported by boat to Le Havre on May 21, 1885. She triumphantly entered New York Harbor on June 17th, and the inauguration took place on October 28, 1886, in the presence of American President Grover Cleveland. Starting Bid $200
Soon after establishing his Paris storefront, Vuitton sends a packed “second-hand trunk” to the Russian court
499. Louis Vuitton Rare Autograph Document
Signed, Sending “a secondhand trunk” to a Russian Count. French fashion designer and businessman (1821–1892) who had been appointed as trunk-maker to Empress Eugénie de Montijo, wife of Napoleon III, and founded the Louis Vuitton brand of luxury leather goods now owned by LVMH. ADS in French, signed “L. Vuitton,” one page, 8.25 x 10.5, September 13, 1859. Handwritten invoice addressed to Count Alexander Yegorovich Timashev, famous general at the Court of Russia. He served under Emperor Alexander III and would become Minister of Internal Affairs in 1868. In full (translated): “I the undersigned declare that I am shipping to Mr. Général Aide de Camp Timacheff, Sergeskaia Street, St. Petersburg: A second-hand trunk for clothes, 3 boxes including books, 30 mouthrinses, 2 champagne carafes, 1 Chinese dinner service for tea, with cafetiere and teapot, Some second-hand toys for children, 1 chair-camp bed. Total 2000 francs to be insured.” Below, Vuitton writes a remark about accountability, requiring special arrangement for these clients “as we need their recommendation.” In fine condition.
Louis Vuitton created his company and set up shop at 4 rue neuve des Capucines in 1854, specializing in trunk making and packing. In 1858, inspired by H.J. Cave & Sons of London, Vuitton introduced his revolutionary rectangular canvas trunks at a time when the market had only rounded-top leather trunks. The demand for Vuitton’s durable, lightweight designs spurred his expansion into a larger workshop in Asnières-sur-Seine in 1860. This document, dating to 1859, demonstrates the early growth and international expansion of Vuitton’s firm, as well its commercial relations with the Russian court. Vuitton’s autograph is extremely scarce in any form—this is just the third we have offered. Starting Bid $1000
“Lord, I loathe that woman so! She is an idiot— an absolute idiot—and does not know it...and her husband, the sincerest man that walks... tied for life to this vacant hellion, this clothes-rack, this twaddling, blethering, driveling blatherskite!”
508. Samuel L. Clemens Autograph Letter Signed with Sketch, Criticizing Mrs. Thomas Bailey Aldrich: “This vacant hellion, this clothes-rack, this twaddling, blethering, driveling blatherskite!”. ALS signed “Lovingly, Papa,” eight pages on two sets of adjoining sheets, 4.75 x 7.75, December 27, 1893. Handwritten letter to his “Dear old Susy dear,” his daughter Susy Clemens, humorously criticizing the wife of fellow writer Thomas Bailey Aldrich. In part: “I wish you were here to dine with me at Dr. Rice’s tomorrow night. All the men invited are bright, & two of the women—Mrs. Rice & another. Fifty people are coming after the dinner…You never saw anybody as happy over anything as Brander Matthews is over his banquet. It is pleasant to see. I am as glad as I can be that I went. I was so prejudiced against speaking that I came near not going. It would have been villainy—a treachery. I saw him yesterday, & he said ‘New York is simply resounding with your speech. I hear of it from morning till night. But those people can’t rise to the size of it. They only know the words—unsurpassable words, that’s true, but the delivery!—oh, it was just masterly!’”
“By gracious, to have pleased a man so much was worth— there’s no telling it’s worth. That man’s pleasure is the pleasantest thing I have experienced in a good while. His compliments come out of his heart; it is that that makes them instantly recognizable as gold, a thousand carats fine. It was plain, at the banquet, that Brander is a most unusually wellbeloved man. The speakers labored a little in the other parts of their talk, but whenever they reached the affectionate part their tongues had holiday & a free delivery.”
“My Christmas dinner at Laffan’s was spoiled‚ totally spoiled— irremediably spoiled—a deep, & rounded, & comprehensive, & a complete & accursed failure. For, just at the last moment, when dinner-time was 15 or 20 minutes over past, & I was perfectly happy & joyous & tongue-free & hungry, the bell rang & in came the one woman in this world whose every single
detail, from her trivial head to her invisible heels, is hateful to me & maddening—& I was appointed to take her out to dinner! Her dress was as usual one of her devilish inspirations—she lives solely for clothes. It being exactly a week since her brother died & four days since he was buried, she was in mourning, ostensibly.”
Clemens sketches a drawing of the “devilish inspiration,” describing it in the margin: “Shiny new black satin—a bunch of great pink roses on port breast; a cob-webby transparent Oriental rag flung carelessly athwart her back; her waist away up close under her breasts—and she from there down a churn. Picturesque? Certainly, but if she belonged to me I would drown her, all the same. Lord, I loathe that woman so! She is an idiot—an absolute idiot—& does not know it. She is sham, sham, sham—not a genuine fibre in her anywhere—a manifest & transparent humbug—& her husband, the sincerest man that walks, doesn’t seem aware of it. It is a most extraordinary combination: he, fine in heart, fine in mind, fine in every conceivable way, sincere, genuine, & lovable beyond all men save only Joe Jefferson—& tied for life to this vacant hellion, this clothes-rack, this twaddling, blethering, driveling blatherskite!”
“6 hours later—Midnight. What a long interval it is that occurs between those two lines! Meantime I have been to Hutton’s to dinner. No outsider there but me. A most pleasant time. A Mr. Kip, of Buffalo, came in later—fine man. But at dinner, I was still full of that detested woman and turned myself loose on her, covering up her identity very artfully, as I thought. Finally Mrs. Hutton said, ‘I want to shake hands with you; she is my pet detestation, too’—& she named her. But men haven’t any intuitions; Hutton had guessed wide of the mark.” Though he does not reveal the lady’s name in his letter, it seems that Clemens is referring to Lillian W. Aldrich, wife of writer and poet Thomas Bailey Aldrich, who served as editor of the Atlantic until 1890. In fine condition. Starting Bid $1000
“I hope that girl isn’t putting him through any special hells”—the Jazz Age scribe writes from his mountain getaway
509. F. Scott Fitzgerald Autograph Letter
Signed: “I hope that girl isn’t putting him through any special hells”. ALS signed “Scott Fitz,” two pages, 8.5 x 11, Grove Park Inn letterhead, no date but circa July 1935. Handwritten letter to artist Don Swann, in full: “If I seemed unappreciative of the etching of Tudor Hall it was because I was in a somewhat distraught mood—I’m delighted with it & very proud to own it. The reason I didn’t want the one of Hampton was because the Pleasance Ridgely from whom I am descended, outdated the present mansion by a generation & I thought it would be pretentious of me to hang it for that reason. But direct ancestors did live in Tudor Hall so you can imagine the pleasure it gives me. (What do copies sell for by the way?) I was a little disturbed by Don Junior—he is a fine man, and I’m sorry he has such sharp edges & I hope that girl isn’t putting him through any special hells.” In fine condition, with small pieces of mounting tape at the top edges.
Fitzgerald spent time at the Grove Park Inn, situated in Asheville, North Carolina, during the summers of 1935 and 1936, recuperating from ill health in the clean mountain air. He rented two rooms at a time—one for sleeping and one for writing—opting for basic accommodations that overlooked the main entrance so that he could observe the comings and goings of beautiful women. Fitzgerald had previously written a foreword for Don Swann’s book of etchings, Colonial and Historic Homes of Maryland, which included an image of Tudor Hall in Leonardtown. In the foreword, he said ‘there must be hundreds and hundreds of families in such an old state whose ancestral memories are richer and fuller than mine,’ but that he considered himself ‘a native of the Maryland Free State through ancestry and adoption,’ mentioning names of family legends such as ‘Caleb Godwin of Hockley-in-ye-Hole, or Philip Key of Tudor Hall, or Pleasance Ridgely.’ To underscore his association with the state, he signed off on the piece with his full name—shared with the Maryland poet of ‘Star Spangled Banner’ fame—’Francis Scott Key Fitzgerald.’ A desirable and revealing letter by the esteemed author. Starting Bid $500
Rilke appraises Shaw’s Saint Joan:
“This artist, so pure, spends the whole evening’s performance in the center of her own transparent fire which consumes everything around her”
511. Rainer Maria Rilke Autograph Letter Signed on George Bernard Shaw’s Saint Joan. Influential poet (18751926) who takes a place among the most highly regarded figures in early modern literature. ALS in French, signed “R. M. Rilke,” one page both sides, 7 x 9, no date. Handwritten letter to prominent Jewish author Edmond Fleg. In part (translated): “I am so sorry…not to see the Pitoeffs. I have so admired Madame Ludmilla Pitoeff in her role of St. Joan where she gave not only a full measure of her art but also of all her being, entirely devoted to the requirements of this major art. Legend has it that the salamander lives at the center of the flame. Likewise this artist, so pure, spends the whole evening’s performance in the center of her own transparent fire which consumes everything around her in order to create a burning space that is essential and intangible.” In fine condition, with mild toning to edges and fold, and show-through from writing on opposing sides.
Pitoeff was a well-respected French stage actress known for her extraordinary stage presence—an attribute which clearly impressed Rilke, leading him to compose this poetic description of her performance as Joan of Arc in George Bernard Shaw’s Saint Joan, one of her most lauded roles. Rilke’s use of fire as an image throughout the letter is particularly interesting—burnt at the stake, it was fire that led to St. Joan’s death, and the extended metaphor is a superb example of a literary technique Rilke often employed. In fact, his poem ‘The Spanish Dancer’ is very similar in its use of fire to describe an especially invigorating performance. Exceptional in literary style and rarity, this is an especially desirable Rilke letter. Starting Bid $200
Arabic script, secret codes, love rebuses: one the finest penmanship manuals of the Italian Renaissance
510. Giovanni Battista Palatino: 16th-Century Penmanship Manual of the Italian Renaissance. Rare book: Libro […] nel qual s’insegna à scriver ogni sorte lettera, antica et moderna, di qualunque natione, con le sue regole, et misure, et essempi: et con un breve, et util discorso de le cifre: riveduto nuovamente, & corretto dal proprio autore. Con la giunta di quindici tavole bellissime [A book in which one is taught how to write every kind of letter, ancient and modern, of any nation, with its rules, measurements, and examples: and with a brief and useful discussion of numbers: newly revised and corrected by the author. With the addition of fifteen very beautiful plates]. Rome: Antonio Blado, 1550. Hardcover bound in contemporary dark brown morocco (remboîtage), richly gilt, 5.5 x 8, 63 ff. (without final blank), with woodcut portrait on title-page, numerous woodcut illustrations and printer’s device on final verso.
Rare and early edition of one the finest calligraphy manuals of the Italian Renaissance. First published in 1540 and variously revised, it quickly became the most widely used of all 16th century Italian copy-books. This Blado edition was corrected and expanded by the author “with 15 beautiful plates” showing different styles of penmanship. Among them are several types of chancery hand, decorative initials, specimens of German, French, and Spanish scripts, Greek, Hebrew and Arabic alphabets, a “sonetto figurato” (a love sonnet transcribed as a rebus), backwards or left-handed letters (“mancina”), letters tied together (“trattizata”), as well as an illustration of writing implements.
Also noteworthy are the suggestions for writing a cipher text. In his introduction to Bernard Quaritch’s Catalogue 1300 (“Cryptography”), David Kahn, the eminent collector and historian of the subject, confessed that Palatino’s book was one of those works which “have eluded me, and […] I still covet” (p. [5]).
Giambattista Palatino (1515-75) was himself a renowned calligrapher and copyist; Hermann Zapf’s ‘Palatino’ font was named in his honour. A composite copy with a few leaves supplied from other copies or later editions. The appealing binding was originally produced for Guglielmo Gonzaga, duke of Mantua (1538-1587): considered authentic by Reiss & Sohn as recently as 2009, it appears in fact to be a remboîtage, tastefully fashioned perhaps around the turn of the century. One of the most interesting and visually compelling documents of the culture of communication in the modern age.
Condition: Binding laid down on new boards, rebacked, old flyleaves supplied from elsewhere. Some staining and soiling throughout. Leaves C8, F3-6, and H2 supplied from the 1566 edition. A tear in C7; E1 stained and with holes from corroded ink; H7 expertly remargined. Starting Bid $300
Intimate archive of letters from John Steinbeck to Ann Sothern, the girlfriend who introduced him to his future wife: “How I do run on.
And darn it—this is the way I make my living. Oh! Well—its better than cleaning cesspools”
512. John Steinbeck Archive of (9) Autograph Letters Signed to Actress Ann Sothern, Commenting on Writing, Family, and Hollywood Gossip: “How I do run on. And darn it—this is the way I make my living. Oh! Well—its better than cleaning cesspools”. Extraordinary archive of nine ALSs by John Steinbeck to actress Ann Sothern, signed “J.,” “J. S.,” “John,” and “John S.,” totaling 13 pages on 10 sheets, ranging in size from 7.25 x 10.5 to 8.5 x 14, with five hand-addressed mailing envelopes postmarked from June–August 1949. In these warm, intimate letters written during a brief relationship with Sothern, Steinbeck discusses a lawsuit related to the film rights for his novel Cannery Row, speaks of his garden, mentions his sons Thom and Catbird, and makes arrangements to see the actress. Notably, he also mentions Sothern’s friend, Elaine Anderson Scott, who he would later marry; at this time, she was married to actor Zachary Scott. Excerpts are as follows:
- “Dear Annie Wannie—Do you know the sky is falling and a piece of it fell on my tail? Well then all hell broke loose and not least among it—me. Loose but not broken—I mean. My suit comes up the 27th. My att’y at law flies and the 25th I’ll have to be with him a couple of days. If I can I will drive down earlier because I will need a car, and I want to bring some blab mouths to you. I have petted some and they are punchy but jabbering…I’m so excited about seeing my boys—the little shits.”
- “Dear Annie: Can’t call you because you will be working. Finished up yesterday late and am catching the morning plane home to catch frogs with my boys. Thanks for all…Won’t know outcome of my suit for about 6 weeks.”
- “Dear Annie—Jesus Christ what a day. Tom’s birthday and because Catbird didn’t have one, a gigantic double birthday with two cakes and chocolate, strawberry and vanilla mayhem. The days have been full of fun and noise and the devils have pooped me so completely that I get to bed at dark too, and need it. This day began at 6 when they serenaded me…with a song in praise of their own birthday. And it just ended a few minutes ago when they dropped as though shot through the heads. I am still a little breathless. I’ve been shot with arrows, beaten with a small ball bat, hooked with new fishing tackle, bruised with a bicycle. But it was fun you understand…No word from my lawsuit yet. The judge has to go on his vacation and then I think he wants to write a learned opinion because while my affair was for peanuts—it is a precedential case and is or should be of great interest to the picture industry…How go the pictures?…I was so surprised and
pleased to see Elaine although with my little private rat race…I didn’t see as much of her as I should have liked. She is such a nice girl.”
- “Dear Ann…It was good to hear from you and I shall be so pleased if you will come up. I don’t know how you travel and I only offer this as a suggestion. Across the street from me lives a little old French lady. She has a cottage and a rose garden. She was Sam Blythe’s housekeeper until he died. She does all of my mending etc. and sometimes cooks wonderful things for me. She is about seventy and I think she loves me a little. On occasion when a relative has been in Town she has let me have her little baroque bedroom. And I am sure she would let you have it if you liked. If you would talk French to her she would be so delighted...The spring tides are still running and if you don’t know about them already, I will show you beautiful things.”
- “Dear Ann: It would be a very pleasant thing to me if you would come up and play with me.”
- “Dear Annie...The people I detest are the friends who turn you in. One time Lennie Lyons had a pipeline into my private life. I narrowed it to about ten people then told each one a different story and it turned up Roark Branford’s wife...Since each story was only told to one person, I had to bring out the real one. When Lyons printed the story I told her—it was obvious...This invasion of privacy used to bother me a great deal but now there are two people—the straw man they write about and me whom they don’t know anything about. You must have made some such adjustment too. Otherwise, there would be no sense of privacy at all...The peanut munchers believe everything—particularly the bad things and one’s friends only believe the good and the truth lies somewhere between where it belongs.”
- “Dearest Annie: Probably the saddest and bravest and most frustrated plants in the whole garden are the milkweeds and dandelions. They have the same series of shocks. For see—they look like flowers, they act like flowers, they are golden and beautiful and just when they are feeling wonderful and yellow someone says—’get those god damned nerds out of here.’ And so they start all over again…It really seems that the most delicate, hysterical neurotic flowers are most liked. Like girls—if they can’t stand pain, or weather, if they always need a wrap around their shoulders and manure around their feet—always complaining always hurt and a little unhappy—why people think they are very precious when in fact they aren’t even any good at being flowers or girls…I’m going to bed now and I will complete this learned paper later…How I do run on. And darn it—this is the way I make my living. Oh! Well—its better than cleaning cesspools. Night, dear.”
Starting Bid $1000
Rarely seen signed example of the first ‘Washington, D.C.’ edition of Walt Whitman’s Leaves of Grass
513. Walt Whitman Signed Book - Leaves of Grass. Signed book: Leaves of Grass. First edition of this version, the first to carry the ‘Passage to India’ annex. Washington, D.C.: Self-published, 1872. Hardcover bound in the original dark green cloth, brightly gilt-titled on the spine (“Leaves of Grass, Complete”), 5 x 8.25, 384 pages, plus the separately paginated 120 page ‘Passage to India’ section. Signed on the first free end page in ink, “from Walt Whitman, Camden, N. Jersey, U.S. America.” Autographic condition: very good to fine, with somewhat irregular toning to the signed page. Book condition: G+/ None, with cracked hinges, bumped and worn corners, fraying to spine ends, and some adhesive remnants and surface loss to endpapers (possibly from bookplate removal); an engraving of Whitman has been tipped in.
Walt Whitman’s Leaves of Grass is a groundbreaking collection that revolutionized American poetry with its free verse style and celebration of the self, nature, democracy, and the human body. First published in 1855, Whitman continually revised and expanded the work throughout his life, each edition reflecting his evolving vision of America and the individual spirit. The book grew from a slim volume of twelve untitled poems into a vast life’s work. The first Washington, D.C. edition appeared in 1872, issued after Whitman had served as a nurse during the Civil War, and it bore the deepened tone of reflection and national healing that marked his later poetry. Starting Bid $300
Music
529. Anton Bruckner Autograph Note Signed on Calling Card. Important Austrian composer (1824-1896) whose symphonies are considered emblematic of the final stage of Austro-German Romanticism. ANS in German, signed “Dr. A. Bruckner,” one page both sides, 3 x 1.75, May 23, 1892. Bruckner pens a note on one of his personal calling cards, imprinted on the front with Bruckner’s name and position at the University of Vienna. Bruckner addresses to the Austrian writer Aurelius Polzer, whose poem ‘Das Deutsche Lied’ he had set to music. In part (translated): “Accept…my great admiration and warmest greetings!” In fine condition. Starting Bid $300
530. Claude Debussy Autograph Note Signed on Calling Card. ANS signed “D.,” one page, 3.75 x 1.75, no date. Debussy pens a note on one of his personal calling cards, imprinted with his name and address: “Claude Debussy, 58 rue Cardinet.” In full (translated): “Here, my dear Abel!… and all my friendship.” In fine condition. Debussy lived at 58 rue Cardinet in Paris from January 1899 to September 1904 Starting Bid $200
531. Edouard Manet Handwritten Note on Calling Card. Unsigned handwritten note in French by Edouard Manet, one page, 3.75 x 2.25, no date. Manet pens a note on one of his personal calling cards, imprinted with his name and address in an elegant script: “Edouard Manet, 49 rue de St. Petersbourg.” Manet invites his correspondent to join a dinner party at Tortoni’s, in part (translated): “We’re at Tortoni’s until 7…André and I are having dinner together. So come along if you have nothing to do.” In fine condition. Manet lived at 49 rue de St. Petersbourg from 1866 to 1878. Starting Bid $300
Puccini quotes from ‘La Tosca,’ one of his most famous and creative operas
532. Giacomo Puccini Signed Postcard Photograph with Autograph Musical Quotation from ‘La Tosca’. Vintage mattefinish 3.5 x 5.5 postcard photo of Puccini in a bust-length pose, signed in the lower border in fountain pen, “Giacomo Puccini,” adding three bars of music and lyrics from ‘La Tosca’ to the upper left corner, and the date, “8.7.05.” In very good to fine condition, with a crease passing across his chest, and loss to the upper right corner tip.
Puccini’s enduring La Tosca, set in Rome during the Napoleonic wars, combines themes of love, jealousy, and political intrigue. The story follows the passionate singer Floria Tosca, her lover Mario Cavaradossi, and the villainous police chief Baron Scarpia. Known for its intense emotion and lush music, La Tosca features some of Puccini’s most famous arias, including ‘Vissi d’arte’ and ‘E lucevan le stelle.’ Starting Bid $200
533. Robert Schumann Autograph Note Signed on Calling Card. Highly important German composer and pianist (1810–1856) whose distinctively lyrical musical language, especially evident in his keyboard works and art songs, made him one of the central figures of the German Romantic tradition. ANS in German, signed “R. Schumann,” one page, 3.25 x 1.75, no date. Schumman pens a note on the reverse of one of his personal calling cards, imprinted on the front: “Robert Schumann.” The composer writes to the musical writer and musician August Schmidt, introducing a musician named Puyn visiting from Amsterdam. In fine condition. Starting Bid $300
Eight hand-annotated personal calling cards of Giuseppe Verdi, thanking his friend and benefactor
534. Giuseppe Verdi (8) Hand-Annotated Calling Cards, with Envelope and Telegram. Italian composer (18131901) who was one of the most influential figures in the history of opera. Eight hand-annotated personal calling cards of Giuseppe Verdi, 3.75 x 2.25 and 4 x 2.5, imprinted at the center with his name in various scripts and formats, including “G. Verdi” and “Giuseppe Verdi.” All are to Count Andrea Zorzi, an eccentric Venetian nobleman from an ancient family and a supporter of Verdi; he is said to have owned a silver cane upon which the titles of each Verdi opera were engraved as he heard them. Each card carries a brief sentence or two in Verdi’s hand, e.g. “ringrazio e contraccambio auguri di gran cuore [I thank you and reciprocate heartfelt wishes].” Also includes a mailing envelope addressed in Verdi’s hand, and a manuscript telegram from Verdi to Zorzi accomplished in another hand. In overall very good to fine condition, with varying degrees of toning, and a few small edge chips. Starting Bid $300
Entertainment
543. Sammy Davis, Jr.’s 1955 City of Hope ‘Torch Bearer’ Award. Gold-tone “1955 Torch Bearer Award” presented to Sammy Davis, Jr., at the City of Hope National Biennial Convention in 1955, featuring a golden statuette of a woman holding a flaming torch, mounted atop a marble base, 6˝ in diameter, with engraved star plate: “1955 Torch Bearer Award to Sammy Davis Jr., In Grateful Appreciation for Distinguished Service to City of Hope National Biennial Convention.” In fine condition, with some tarnishing, and an adhesive remnant to the marble.
Provenance: Julien’s Auctions, Hollywood Legends, April 2012.
City of Hope was founded in 1913 in Duarte, California, originally as the Jewish Consumptive Relief Association, a tuberculosis sanatorium created by a group of volunteers dedicated to helping those with limited means. As medical science advanced, the institution shifted its focus from tuberculosis to cancer and other life-threatening diseases, officially becoming the City of Hope Medical Center in 1946. Over the decades, it evolved into a world-renowned biomedical research and treatment center, pioneering breakthroughs in cancer therapy, bone marrow transplantation, and diabetes research. Today, City of Hope is recognized as one of the nation’s leading comprehensive cancer centers, combining cutting-edge research, compassionate clinical care, and education to transform the future of medicine. Starting Bid $200
Radiant 1971 Emmy Award presented to Carol Burnett’s veteran choreographer, Ernie Flatt
544. Emmy Award for Outstanding Choreography (Ernie Flatt for The Carol Burnett Show, 1970-1971). Iconic original Emmy statuette awarded to choreographer Ernie Flatt, standing 15? tall with a base diameter of 7.5?, engraved on the base: “1970-1971 Television Academy Awards, Outstanding Achievement in Choreography, Ernest O. Flatt, The Carol Burnett Show, October 12, 1970 - CBS.” The bottom of the base bears its original Dodge Inc. Trophies label. In fine condition, with light overall wear and tarnishing, with some peeling to gilt on the left wing.
Ernie Flatt (1918-1995) was presented with this Emmy at the 23rd Primetime Emmy Awards, which was held at the Pantages Theatre in Los Angeles, California, on May 9, 1971. Flatt earned a total of seven Emmy nominations for his choreography work on The Carol Burnett Show, with this award representing his only win. He took home the honor for his choreography of episode five of the show’s fourth season, which featured special guest stars Ken Berry and Nanette Fabray. Before turning to television, Flatt worked on Broadway and was nominated for two Tony Awards in the categories Best Direction of a Musical and Best Choreography. Starting Bid $200
Harry Houdini, as president of the Society of American Magicians, approves a 1924 membership for Gus Fowler, aka ‘The Watch King’
545. Harry Houdini Signed 1924 Society of American Magicians Membership Card, Issued to ‘The Watch King’ - PSA GEM MT 10. Desirable light green Society of American Magicians membership card issued to Gus Fowler for 1924, 4 x 2.5, boldly signed at the bottom in fountain pen by Harry Houdini as president, and countersigned by Richard Van Dien as secretary. In very fine condition. Encapsulated and graded by PSA/DNA as “GEM MT 10.” Founded on May 10, 1902, in the back room of Martinka’s magic shop in New York, the Society of American Magicians expanded under the leadership of Harry Houdini during his term as National President from 1917-1926.
The card’s recipient, August Gerald ‘Gus’ Fowler (1888-1960), started performing magic in English music halls in 1906. An apprentice to J. N. Maskelyne, Fowler specialized in manipulating watches and clocks and was later billed as ‘The Watch King’ and ‘The Chronometrical Illusionist.’ He made clocks and watches appear, vanish, levitate, and, at the climax of his act, produced 30 ringing bells from his hat. Fowler successfully toured the American vaudeville circuit during the 1920s. Starting Bid $200
Marilyn Monroe Productions check cut to her long-time friend and maid of honor
548. Marilyn Monroe Signed Check to Her Maid of Honor. Marilyn Monroe Productions, Inc. business check, 8.25 x 3, filled out in type and signed by Monroe, “Marilyn Monroe,” payable to Hedda Rosten for $65.85, November 17, 1961. In fine condition. Accompanied by an unsigned photo and plaque for potential display. Writers Norman and Hedda Rosten were Monroe’s friends and neighbors, and Hedda served as her maid of honor for her wedding to Arthur Miller. A nicely signed check from a difficult period in Monroe’s life, as she spent the end of 1961 recuperating from a variety of medical and emotional issues. Starting Bid $500
“To
Joe, Love & kisses, Marilyn Monroe”— circa 1953 Powolny glamour portrait signed
by the Hollywood icon
546. Marilyn Monroe Signed Photograph by Frank Powolny. Vintage matte-finish 7.5 x 9.5 portrait photo of Monroe taken during a Frank Powolny glamour shoot in 1953, signed and inscribed in black ballpoint, “To Joe, Love & kisses, Marilyn Monroe.” In fine condition, with tastefully trimmed edges slightly impinging on the bottom of the first letter of the signature. Encapsulated in a PSA/DNA authentication holder. Monroe and Powolny most famously teamed up in 1953 for a series of stunning, artfully framed publicity stills for the 1953 film Gentlemen Prefer Blondes. Immortalized for his classic World War II pinup of Betty Grable, Powolny remained a trusted photographer for Monroe throughout her career, and is noted as taking the last known still photographs of the starlet during production of Something’s Got to Give, one week before she died in 1962. The Marc and Mary Perkins Collection. Starting Bid $1000
The summer of Norma Jeane—fabulous limited edition suite of 18 oversized photographs prints from David Conover’s iconic 1945 photo shoot with the future Marilyn Monroe
547. Marilyn Monroe: David Conover Limited Edition Suite of (18) Photographic Prints - ‘Norma Jeane / Marilyn Monroe: The Discovery Photographs, Summer 1945’. Beautiful limited edition ‘Norma Jeane / Marilyn Monroe: The Discovery Photographs, Summer 1945’ portfolio featuring a suite of 18 photographic prints of Norma Jeane from her iconic early photo shoots with Army photographer David Conover in the summer of 1945. Published by Norma Jeane Enterprises in 1990, the prints measure 20 x 24 and 24 x 20 and contain 14 color glossy variants, each produced on fiber-base photo process paper, and four blackand-white matte-finish silver gelatin prints, each individually hand-processed. This gorgeous set was issued as part of the ‘Publishers Proof’ series, with the reverse of each print bearing a copyright label from Ontario Limited that identifies this set as No. 12 of a limitation of 37. Includes its original blue cloth-bound presentation clamshell folder, 21˝ x 25.5˝, with gold embossed lettering on the cover. In overall fine to very fine condition, with a missing lower left corner tip to one b/w print. Each print is accompanied by a full letter of authenticity from PSA/DNA, which identifies each print as a ‘Type II’ photograph and a “later-issued 1990 restrike that was made off the original transparency featuring an image originally taken by David Conover in 1945.”
Norma Jeane Baker married James ‘Jimmie’ Dougherty at age 16 in June 1942, moving to California with him the next year. At the age of 17, Norma Jeane Doughtery worked 10hour days at the Radioplane Company in Burbank, California, a World War II defense plant that tasked her with checking and spraying parachutes. In June 1944, Army photographer David Conover arrived at Radioplane to snap morale-boosting pictures of female workers for the First Motion Picture Unit. He discovered the bubbly redhead and took several photos of her holding a propeller; the images and resulting attention spurred Jeane to quit her job at the factory in January 1945, and, not long after, sign on with the Blue Book Modeling Agency. Mismatched and ‘dying of boredom’ in her marriage to Dougherty—who was against her having a career—she filed for divorce in 1946. By the fall, Norma Jeane had become Marilyn Monroe, newly divorced and on the payroll at 20th Century Fox. Starting Bid $500
549. Marilyn Monroe Oversized Signed Photograph by Frank Powolny. Vintage matte-finish 11 x 14 half-length portrait of Monroe taken in 1952 by Frank Powolny during a 20th Century Fox promotional shoot, signed and inscribed in blue ballpoint, “To Mike Dodasovich, From what I hear—I like you too, Marilyn Monroe.” In good to very good condition, with creasing, light silvering, and multiple heavy horizontal folds affecting overall appearance.
After appearing in several small roles in 1950, Monroe was cast as Angela Phinlay, the young mistress of an aging criminal, in the classic John Huston film The Asphalt Jungle. Her performance was well-received by critics, and after a small role in All About Eve, Monroe signed a seven-year contract with 20th Century Fox. Monroe posed for several shoots in 1952 wearing this beautifully draped gown. She appeared in color wearing it in the New York Sunday News on November 30, 1952. One of her most famous portraits, this image, and others from this sitting, promoted her films of the time, such as Don’t Bother to Knock, O. Henry’s Full House, and Monkey Business. Starting Bid $500
Striking portrait of Taylor by her personal photographer, pictured on the set of X, Y and Zee, presented to a famed Italian restaurateur
551. Elizabeth Taylor Signed Oversized Photograph. Impressive matte-finish 19.5 x 25.5 silver gelatin photograph of Elizabeth Taylor by Italian photographer and film director Gianni Bozzacchi, which depicts the Oscar-winning actress seated in a long, flowing dress on the set of the 1972 drama film X, Y and Zee, prominently signed and inscribed in black felt tip, “To Mimo and ‘Little Liz,’ good luck to you both always, love, Elizabeth.” The reverse is signed in black ink by Bozzacchi, who was hired by Taylor and Richard Burton to be their personal travel photographer after the couple watched him take photos on the set of their 1967 film, The Comedians. In fine condition. Read more online at www.RRAuction.com. Starting Bid $200
“Best wishes to you always and many thanks for all your kindnesses, Elizabeth Taylor Burton, 1972”
550. Elizabeth Taylor Signed Oversized Photograph. Exceptional matte-finish 19.5 x 25.5 silver gelatin photograph of Elizabeth Taylor by Italian photographer and film director Gianni Bozzacchi, which depicts the Oscar-winning actress running out of her dressing room on the set of the 1972 drama film X, Y and Zee, prominently signed and inscribed in black felt tip, “To Mimmo, Best wishes to you always and many thanks for all your kindnesses, Elizabeth Taylor Burton, 1972.” The reverse is signed in black ink by Bozzacchi, who was hired by Taylor and Richard Burton to be their personal travel photographer after the couple watched him take photos on the set of their 1967 film, The Comedians. In fine condition, with a few light creases and some rippling to edges. Read more online at www.RRAuction. com. Starting Bid $200
Animation
Walt Disney
700. Walt Disney Signed Photograph. Fantastic vintage matte-finish 7.25 x 8 photo of the animation pioneer in a sharp jacket and tie, boldly signed and inscribed in fountain pen, “To Valerie, Best Wishes, Walt Disney.” In very good to fine condition, with irregularly trimmed edges which could be matted out to produce an attractive display. Starting Bid $500
Scarce production drawings of Mickey and Minnie Mouse from Plane Crazy—the first finished project to feature the iconic Disney characters
701. Mickey and Minnie Mouse production drawings (8) from Plane Crazy - Disney’s First Finished Mickey Mouse Short. (Walt Disney Studios, 1928) Remarkable collection of eight original production drawings by Ub Iwerks featuring Mickey and Minnie Mouse from Plane Crazy, featuring various drawings of the pair in the cockpit of their airplane, the plane seen from the side, Mickey as pilot, a dramatic page-filling close-up of Minnie, and a classic action shot of Minnie holding Mickey by his waistband. Accomplished in graphite and colored pencil on untrimmed 12 x 9.5 animation paper. Images measure from 1.25 x 1.25 to 12 x 9.5. In overall fine condition, with mounting strips affixed to reverse of a few drawings, and one affixed to a slightly larger backing sheet.
Plane Crazy was extremely significant in the history of animation, as it marked the creation of Mickey Mouse. The short was codirected by Walt Disney and Ub Iwerks, with Iwerks serving as the main animator. Plane Crazy was a silent film and given a test screening to a theater audience on May 15, 1928, but failed to pick up a distributor; later in 1928 Disney released Steamboat Willie as a very successful sound cartoon, which is generally considered Mickey’s debut despite being made after Plane Crazy. With sound added, the film was released to the general public on March 17, 1929, as the fourth Mickey Mouse short. Starting Bid $500
703. Mickey Mouse production drawing from Steamboat Willie. (Walt Disney Studios, 1928) Original production drawing featuring Mickey Mouse from Steamboat Willie, showing the iconic mouse’s head and arms with drum mallets. Accomplished in graphite on untrimmed 12 x 9.5 animation paper, marked “254” in the lower right corner. Image measures 4.5 x 1.75. In fine condition.
During a wonderful musical sequence, Mickey cheerfully opens a bull’s mouth to play percussion on the oversized teeth. A remarkably early and desirable production drawing from the famous debut of Mickey Mouse, and the first Disney cartoon to feature synchronized sound. Starting Bid $200
702. Mickey Mouse production drawing from Steamboat Willie. (Walt Disney Studios, 1928) Original production drawing of Mickey Mouse from Steamboat Willie, showing the iconic character in a great front-facing pose. Accomplished in graphite on untrimmed 12 x 9.5 animation paper, marked “474” in the lower right corner. Image measures 3 x 3.5. In fine condition.
Released in 1928, Steamboat Willie marked the widespread debut of Mickey Mouse and revolutionized animation with its synchronized sound. The short features Mickey’s lively antics aboard a riverboat, where he turns ordinary objects into instruments. Its success launched Mickey Mouse to instant fame and established Walt Disney as a pioneer in animated storytelling. Starting Bid $200
704. Mickey Mouse production drawing from Steamboat Willie. (Walt Disney Studios, 1928) Original production drawing featuring Mickey Mouse from Steamboat Willie, showing the iconic mouse’s head and arms with drum mallets. Accomplished in graphite on untrimmed 12 x 9.5 animation paper, marked “309” in the lower right corner. Image measures 3.5 x 2.75. In fine condition, with a bit of paper loss to the lower left corner.
During a wonderful musical sequence, Mickey cheerfully opens a bull’s mouth to play percussion on the oversized teeth. A remarkably early and desirable production drawing from the famous debut of Mickey Mouse, and the first Disney cartoon to feature synchronized sound. Starting Bid $200
705. Mickey Mouse production drawing from Steamboat Willie. (Walt Disney Studios, 1928) Original production drawing featuring Mickey Mouse from Steamboat Willie, showing the iconic mouse in a scarce full-bodied pose, taking a bow with mallet in hand. Accomplished in graphite on untrimmed 12 x 9.5 animation paper, marked “426” in the lower right corner. Image measures 3.25 x 3.25. In fine condition. Starting Bid $200
706. Mickey Mouse production drawing from Steamboat Willie. (Walt Disney Studios, 1928) Original production drawing featuring Mickey Mouse from Steamboat Willie, showing the iconic mouse pulling taut a bull’s tongue and playing it with a drum mallet. Accomplished in graphite on untrimmed 12 x 9.5 animation paper, marked “399” in the lower right corner. Image measures 6.25 x 3.75. In fine condition. Starting Bid $200
Dual drawings from the first Mickey Mouse cartoon released to the public—the iconic Steamboat Willie
707. Mickey Mouse production drawings (2) from Steamboat Willie. (Walt Disney Studios, 1928) Two original production drawings of Mickey Mouse from Steamboat Willie: one showing the iconic mouse from the waist up with raised drum mallets, the other showing just his legs and torso. Accomplished in graphite on untrimmed 12 x 9.5 animation paper, marked “369” and “60” in the lower right corners. Images measure 3.5 x 5 and 2.5 x 2.75. In fine condition. During a wonderful musical sequence, Mickey cheerfully opens a bull’s mouth to play percussion on the oversized teeth. A remarkably early and desirable production drawing from the debut of Mickey Mouse, and the first Disney cartoon to feature synchronized sound. Starting Bid $200
offered as a set
Outstanding collection of 26 Mickey Mouse production drawings from a single sequence —rarely
708. Peg Leg Pete production drawings (2) and character model drawing from Steamboat Willie. (Walt Disney Studios, 1928) Three original production drawings of Peg Leg Pete from Steamboat Willie, including two production drawings showing the irritable antagonist in a full-bodied right-facing pose. Accomplished in graphite on untrimmed 12 x 9.5 animation paper, marked “4” and “87” in the lower right corners The early character model drawing shows Pete in two different poses, accomplished in graphite on 12 x 8.75 animation paper, with an accompanying letter from Pixar animator Jorgen Klubien, in part:
“This is an original Disney drawing of Peg Leg Pete. I believe it’s a study drawing of the character from the first Mickey Mouse sound cartoon ‘Steamboat Willie.’ It was kept in a folder in the Disney Comics Department for many years, (therefore the different peg holes) and had fallen down behind a drawer in a file cabinet.”
Images measure from 4.75 x 6 to 5.25 x 7. In overall very good to fine condition, with paper loss to the upper right corner of one of the production drawings.
Released in 1928, Steamboat Willie marked the widespread debut of Mickey Mouse and was the first Disney short to feature synchronized sound, marking a major milestone in animation history. The short showcases Mickey’s playful antics aboard a steamboat, where he uses everyday objects to create music. The film also features the gruff antagonist Pete, one of Disney’s earliest recurring villains, as the steamboat captain. Starting Bid $200
709. Mickey Mouse production drawings (26) from Mickey’s Elephant. (Walt Disney Studios, 1936) Amazing collection of 26 original production drawings featuring Mickey Mouse from Mickey’s Elephant, from the sequence where the Mickey first runs up to the baby elephant’s cage, raises the bamboo gate, and coaxes the elephant out by pulling its trunk; in several drawings, the placement of the trunk is outlined in red. Accomplished in graphite and colored pencil on untrimmed 12 x 10 animation paper. Images measure from 2.5 x 3 to 4 x 7.5. In overall fine condition. Mickey Mouse production drawings are highly sought on their own—rarely are so many from a single sequence offered as a single collection.
Mickey’s Elephant (1936) is a Walt Disney animated short in which Mickey Mouse receives a baby elephant named Bobo as a gift. Excited to welcome his new pet, Mickey’s plans are complicated by Pluto’s jealousy, leading to comic chaos when Bobo accidentally causes trouble. The film is notable for its expressive animation, playful rivalry, and its warm portrayal of friendship and forgiveness between the characters. Starting Bid $300
40+ rough production drawings of the Dwarfs celebrating Snow White’s revival—a marvelous sequence from the film’s joyful climax
710. Dwarfs rough production drawings (43) from Snow White and the Seven Dwarfs - Celebrating Snow White’s Revival After the Prince’s Kiss. (Walt Disney Studios, 1937) Amazing, comprehensive group of 43 original rough production drawings from Snow White and the Seven Dwarfs, showing the dwarfs in their celebratory dance after Snow White is revived by the prince’s kiss. Each drawing features between two and four dwarfs, including Doc, Bashful, Grumpy, and Happy. Accomplished in graphite and colored pencil on untrimmed 15.5 x 12.5 animation paper, marked between “200” and “301” in the lower right corners. Total image sizes range from 2.75 x 3 to 10 x 5. In overall fine condition, with some small edge chips and tears, and a few corner creases. Rarely does such a complete and charming sequence of drawings from this landmark film come to market; with varying degrees of detail and finish, these offer an exceptional glimpse into the production process for Disney’s first animated feature. Starting Bid $200
Joyful production drawings from the dwarfs’ after-dinner dance sequence
711. Dwarfs rough production drawings (12) from Snow White and the Seven Dwarfs - Dance Sequence Inside the Cottage. (Walt Disney Studios, 1937) Spectacular group of twelve original rough production drawings for Snow White and the Seven Dwarfs, showing the dwarfs in the after-dinner dance sequence inside their woodland cottage. Each drawing features between two and five dwarfs, including Happy, Sleepy, Bashful, and Grumpy. Accomplished in graphite and colored pencil on untrimmed 15.5 x 12.5 animation paper, marked between “11” and “28” in the lower right corners. Total image sizes range from 5 x 3.25 to 14.5 x 8.5. In overall fine condition, with some small edge chips and tears. A delightful ensemble from Disney’s first full-length animated feature, these lively drawings capture the joyful spirit and artistry that defined Snow White and the Seven Dwarfs. Starting Bid $200
712. Doc, Dopey, Sleepy, Sneezy, and Bashful rough production drawings (7) and Dopey rough character model drawing from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Fantastic group of eight original drawings for Snow White and the Seven Dwarfs, including seven rough production drawings of Doc (2), Dopey, Sleepy, Sneezy, and Bashful (2)—mostly showing Snow White’s diminutive friends in full-bodied poses—plus a rough character model drawing of Dopey’s face with several different expressions. Accomplished in graphite on untrimmed 12 x 10 animation paper. Image sizes range from 2 x 1.5 (Dopey’s face) to 3.75 x 4.75 (Doc). In overall fine condition. Starting Bid $200
713. Dopey production cel from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Huge original production cel of Dopey from Snow White and the Seven Dwarfs, which depicts the young dwarf seated with crossed legs, his cheek resting in his right hand as he watches with wide eyes and a big smile during the film’s post-dinner song sequence. The cel has been trimmed and applied to an airbrushed background as prepared by Courvoisier Galleries for sale, which features a large cloud of billowing smoke or steam. The full-length image measures 6 x 6.5, with a mat opening of 11.5 x 10. Matted to an overall size of 20 x 15.75. The reverse of the mat bears an affixed Walt Disney Enterprises copyright label from 1937, which states: “Original work from Snow White and the Seven Dwarfs.” In very good to fine condition, with some rippling to the edges, and some small areas of toning and flaking to the paint, most noticeably to his shirt and his right hand. A marvelous and atypically massive Dopey production cel. Starting Bid $200
714. 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, which depicts the youngest and quietest of the dwarfs in a surprised half-length pose. The cel has been trimmed and applied to a woodgrain background as prepared by Courvoisier Galleries for sale. Character image measures 3 x 4.75, with a mat opening of 5.25 x 5.5. Matted to an overall size of 12 x 15. In fine condition, with trivial peeling to the cel, and some dampstaining to the edges of the mat. Starting Bid $200
716. Dwarfs rough production drawings (8) from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Group of eight original rough production drawings from Snow White and the Seven Dwarfs, portraying Dopey, Doc, Sleepy, Happy, Grumpy, and Happy in various poses, including a couple of interesting drawings capturing the motion and manner of Grumpy’s walk. Accomplished in graphite and colored pencil on untrimmed 12 x 10 animation paper, with one drawing on 15.5 x 12.5 animation paper. Images measure from 3.25 x 4 to 8.25 x 5.75. In overall fine condition, with some edgewear. Starting Bid $200
Dopey helps Sleepy in a brilliant multi-character cel set-up sold by Courvoisier Galleries
715. Dopey, Sleepy, and diamond minecart production cels from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cels featuring Dopey, Sleepy, and a diamond minecart from Snow White and the Seven Dwarfs, which depicts Dopey giving Sleepy a helpful push on the rear, with the latter shown lying wearily on the rim of the minecart. The cels, which have been trimmed and applied to an airbrushed background as prepared by Courvoisier Galleries for sale, feature an attractive overlay special effects cel of a twinkling cave of diamonds and shadowy rocks. Images measure 3.75 x 2.25 (Dopey), 2.5 x 2 (Sleepy), and 3 x 2.75 (minecart), with overall dimensions of 8.5 x 6. The reverse of the mount bears two affixed Walt Disney Enterprises labels from 1937, one of which states: “Original work from Snow White and the Seven Dwarfs.” The original Courvoisier Galleries label is no longer present. In fine condition, with trivial lifting to paint, and some rippling to edges. Starting Bid $300
717. Grumpy and Dopey production cels from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cels of Grumpy and Dopey from Snow White and the Seven Dwarfs, which depict the angriest dwarf and the quietest dwarf with their eyes closed in full-figure walking poses. The cels have been trimmed and applied to a woodgrain background as prepared by Courvoisier Galleries for sale. Total character image measures 5.5 x 4.5, with a mat opening of 7 x 6. Matted to an overall size of 10 x 9. The original Courvoisier Galleries label is no longer present. In fine condition, with waviness to the Dopey cel. Starting Bid $300
718. Sneezy, Bashful, Happy, Grumpy, and Doc production drawings (5) from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Five original production drawings of Sneezy, Bashful, Happy, Grumpy, and Doc from Snow White and the Seven Dwarfs, most showing them in fullbodied poses during their mining activities—labor that famously prompted them to sing ‘Whistle While You Work.’ Accomplished in graphite and colored pencil on untrimmed 12 x 10 animation paper, stamped with production information at lower left. Images measure from 3 x 4.25 to 5 x 5.5. In overall fine condition. These lively sketches capture the dwarfs’ distinctive personalities and the expressive craftsmanship behind Disney’s groundbreaking first animated feature. Starting Bid $200
Beautiful multi-cel Courvoisier Galleries set-up of Snow White and her feathered friends
719. Snow White and birds production cels from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Original production cels of Snow White and three birds from Snow White and the Seven Dwarfs, which depict the original Disney princess in a delighted half-length profile pose as she watches a friendly blue bird fly over to greet her during the film’s ‘With a Smile and a Song’ musical sequence. The cels have been trimmed to image and applied to an attractive airbrushed background as prepared by Courvoisier Galleries for sale. The Snow White image measures 4.5 x 6.75, and the bird images each approximately measure .75 x .75, with overall dimensions of 10 x 9.5. The original Courvoisier Galleries label is no longer present. In fine condition. A magnificent production cel set-up honoring Disney’s landmark first feature film. Starting Bid $300
Beautiful Courvoisier set-up of Snow White surrounded by doves during the film’s iconic
‘I’m Wishing’ sequence—the first song featured in the movie, and by extension, the first in the Disney animated canon
720. 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 measures 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 $500
Expressive character studies of the stars of Snow White and the Seven Dwarfs:
“Each personality has been highly developed as suits his physical characteristics”
721. Snow White, Happy, Sneezy, Sleepy, and Bashful concept model drawings (5) from Snow White and the Seven Dwarfs. (Walt Disney Studios, 1937) Extraordinary assemblage of five original concept character model drawings for Snow White and the Seven Dwarfs, featuring expressive drawings of Snow White, Happy, Sneezy, Sleepy, and Bashful in various poses, each with at least one full-bodied sketch, and the addition of details attributed to Ken Anderson. Accomplished in graphite and colored pencil on trimmed sheets of 12 x 9.25 animation paper, with each insightfully captioned in red pencil: “These Snow Whites cannot do justice to the finished result on the screen—but this is a new type of figure to cartoons & I believe she is well adapted to this particular picture”; “’Happy’—the extrovert of the group of dwfs. The fattest dwf & the eternal optimist”; “’Sneezy’—has a bad case of hay fever and sneezes at the worst times—his sneezes are highly comic I think—the sound efx are classic—”; “’Bash-
ful’—not a sissy but a bit shy of Snow White”; and “While all of the dwfs are physically different—this is not the ultimate in their definition one from the other—each personality has been highly developed as suits his physical characteristics, etc. ‘Sleepy’—can hardly keep his eyes open—& sleeps standing up or in any uncomfortable spot.” In overall fine condition.
These remarkable drawings capture the artistry and innovation behind the first full-length animated feature. Rendered in graphite and colored pencil, the sheets depict Snow White and four of the Seven Dwarfs—Happy, Sneezy, Sleepy, and Bashful—with expressive character studies and handwritten production notes. The drawings offer a rare glimpse into Disney’s creative process, revealing how personality, movement, and emotion were meticulously developed to bring the beloved characters to life. Starting Bid $500
722. Mickey Mouse early model sheet drawing from the Walt Disney art department. (Walt Disney Studios, 1937) Original preliminary model sheet drawing of Mickey Mouse created as an artist reference for the Walt Disney Studios art department. Accomplished in graphite on untrimmed 12 x 10 animation paper, the model drawing features five matching full-figure sketches of Mickey, each showing him smiling, his right hand on his hip, and his left hand in the air, all of which are surrounded by artist instructions in pencil, which read, in part: “The head is constructed from a slightly ‘flattened circle’ – so are the ears,” “Cheeks bulge slightly,” “The eyes fit the roundness of the head by following the center line of the face,” “Arms and legs taper slightly – knees break below half, legs heavier than arms.” Of further interest is a “Comparative Sizes” legend to the lower right that contains rough size sketches of Donald Duck, Mickey Mouse, Pluto, and Goofy. Images range in size from 1 x 1.5 (Donald Duck) to 2.75 x 3.5, with a mat opening of 12.75 x 11. Cloth-matted and framed to an overall size of 20.75 x 18.75. In fine condition. Starting Bid $200
Early model drawings for Disney merchandise— 1939 sketches of three Pinocchio figurines
724. Autumn Fairies production cel from Fantasia. (Walt Disney Studios, 1940) Original production cel featuring Autumn Fairies from Fantasia, showing a pair of fluttering pixies during the musical segment, ‘Waltz of the Flowers,’ the final sequence from the film’s gorgeous Nutcracker Suite. The cel has been trimmed and applied to a hand-painted background as prepared by Courvoisier Galleries for sale. The fairy image measures 2.75 x 1.75, with a mat opening of 8 x 6.5. Matted and framed to an overall size of 13 x 11.5. The piece has the original Disney Courvoisier Galleries label on the reverse. In fine condition.
Walt Disney was so impressed by the look and mood of the story sketches for The Nutcracker Suite that he asked his staff to avoid hard ink outlines as a way to more closely mimic the pastel and painterly look of the inspirational artwork. The windblown seeds in the milkweed ballet in ‘Waltz of the Flowers’ required delicate inking, drybrush work, and airbrushing, which required creating a mask for every individual cel to keep certain areas free of paint. Starting Bid $200
Fantasia concept painting of Mickey Mouse surfing on Yen Sid’s spellbook
725. Mickey Mouse concept painting from Fantasia. (Walt Disney Studios, 1940) Original concept painting of Mickey Mouse from the ‘Sorcerer’s Apprentice’ segment of Fantasia, which shows the young wizard-to-be using Yen Sid’s magical spell book to ride a wave in the flooded tunnels of the sorcerer’s tower. Accomplished in gouache on black 9.5 x 8.5 artist’s board. In fine condition, with tack holes to corners. An exciting scene from an iconic Disney film. Starting Bid $300
Stellar Fantasia concept painting of Mickey Mouse as the star-spinning ‘Sorcerer’s Apprentice’
726. 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 during his magical dream sequence: standing atop a pinnacle and wearing the mystical hat of the Sorcerer Yen Sid as a comet streaks past in the sky. The black night sky background is neatly dotted with stars. Accomplished in gouache on black 9.75 x 9 artist’s board. In fine condition, with tack holes to corners. Starting Bid $300
Mickey Mouse in deep water—magnificent Fantasia concept painting of Mickey as the ‘Sorcerer’s Apprentice’
727. 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 in Sorcerer Yen Sid’s hat, chasing his magic broom up the stairs as water begins to engulf him. Accomplished in gouache on black 8.5 x 7.75 artist’s board. In fine condition, with tack holes to corners. A splendid piece of concept art from one of Disney’s greatest and most innovative films. Starting Bid $300
Fantasia concept painting of Mickey Mouse adrift in the tunnels of Yen Sid’s castle
728. 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 floating on Yen Sid’s large spellbook as water pours all around him during the climax of the segment. Accomplished in gouache on black 7 x 6 artist’s board. In fine condition, with tack holes to corners. Starting Bid $300
Mickey Mouse’s watery plan backfires—early concept painting from the ‘Sorcerer’s Apprentice’ segment of Fantasia
729. 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 in Sorcerer Yen Sid’s hat, running down a staircase and into a flooded room as he attempts to stop the magical broomstick from filling the cauldron with another bucket of water. Accomplished in gouache on a 6.75 x 6.25 sheet affixed to a same-size artist’s board. In fine condition, with tack holes to the corners, and the upper edge of the sheet separating from the board. A splendid piece of concept art from one of Disney’s greatest and most innovative films. Starting Bid $300
730. Unicorns production cel from Fantasia. (Walt Disney Studios, 1940) Uncommon original production cel of a group of seven unicorns from Fantasia, which depicts the small mythological horses in colors of pink, white, and blue during the film’s ‘Pastoral Symphony’ segment. The cel has been trimmed and applied to a background as prepared by Courvoisier Galleries for sale. Total character image measures 8.5 x 3.5, with a mat opening of 10 x 8. Matted and framed to an overall size of 16.25 x 16.75. The piece has the original Disney Courvoisier Galleries label on the reverse. In fine condition, with a few small instances of flaking and some light lifting to the paint. Starting Bid $200
731. Zebra Centaurette ceramic statuette by William Manker for Fantasia. Large handmade ceramic Zebra Centaurette created by noted ceramics artist William Manker, measuring 8˝ x 15.5˝ x 5˝, the hand-painted ceramic statuette depicts a topless Zebra Centaurette from the ‘Pastoral Symphony’ segment of the classic 1940 Disney film Fantasia, which shows the character in a stretching pose with eyes closed, her left hand resting on her hip, and her right arm bent at the elbow and reaching behind her head. The underside of the base is engraved, “Produced by William Manker, 1940, Walt Disney Productions.” In fine condition, with some loss to the top of the figure’s headwear. Accompanied by a modern print of a Disney character model drawing sheet for ‘Centaur Suggestions.’
While creating the mythological characters for the ‘Pastoral Symphony’ segment of Fantasia, Disney’s story artists came up with an idea for Black Centaurs and Centaurettes of ‘African origin.’ The character artists envisioned the Black Centaurs and Centaurettes as being similar to their Caucasian counterparts, only instead of being half-horse, they would have zebra-striped bodies. In the end, only two made it into the film; both were female, and both acted as servants to Bacchus, the god of wine.
Animation aficionados will no doubt recall there being a third Black Centaurette – the incredibly ill-conceived Sunflower – who Disney artists designed to look part-human and part-donkey. Only the two Zebra Centaurettes, which were sometimes referred to as the ‘Nubian Centaurettes,’ can be found in Disney’s recently released versions of Fantasia. This ceramic appears to have been based directly on the production model of the character, which can be seen in the tour of the ‘Character Model Department’ in the 1941 Disney film The Reluctant Dragon. Read more online at www.RRAuction.com. Starting Bid $200
732. Figaro production drawings (17) from Pinocchio. (Walt Disney Studios, 1940) Great collection of 17 original production drawings of Figaro from Pinocchio, showing the cat wearing his bib as he prepares to eat his supper. Accomplished in graphite and colored pencil on untrimmed 12 x 10 animation paper. Images measure from 3.5 x 3.5 to 5 x 4.25. In overall fine condition.
Figaro, Geppetto’s charming black-and-white cat, brings warmth and humor to the film through his expressive reactions and mischievous personality. Though loyal to his master, he often shows impatience toward Pinocchio and playful jealousy of the goldfish Cleo. Originally created as a supporting character, Figaro became so popular that Walt Disney later made him Minnie Mouse’s pet in other cartoons. A large and outstanding group of original production drawings of the beloved feline, all deriving from the same scene. Starting Bid $200
733. Pinocchio and Jiminy Cricket storyboard concept drawing from Pinocchio. (Walt Disney Studios, 1940) Original storyboard concept drawing for Pinocchio, featuring a fantastic, detailed view of Pinocchio and Jiminy Cricket together. Accomplished in graphite and colored pencil on untrimmed 12 x 10 animation paper, with a purple “Original WDP” stamp in the lower margin. Originally sold through Courvoisier Galleries, and accompanied by the original Courvoisier/ Walt Disney Productions label. In very good to fine condition, with toned tape to the upper corners. Starting Bid $200
734. Pinocchio production cel from Pinocchio. (Walt Disney Studios, 1940) Original production cel of the title character from Pinocchio, which shows him in a bright full-figure pose, swinging his tail following his partial transformation from boy-puppet to donkey. The cel has been trimmed as prepared by Courvoisier Galleries for sale. Image measures 6 x 6, with a mat opening of 7.5 x 7. Matted to an overall size of 10.5 x 10.5. In fine condition.
In the 1940 Disney film, Pinocchio is lured to Pleasure Island, where misbehaving boys are magically transformed into donkeys as punishment for their wrongdoing. Pinocchio narrowly escapes complete transformation, retaining his ears and tail as a haunting reminder of his moral lapse. Starting Bid $300
Eleven original Disney production drawings of boy-puppet Pinocchio with his donkey ears and tail
735. Pinocchio production drawings (11) from Pinocchio. (Walt Disney Studios, 1940) Exceptional collection of 11 original production drawings from Pinocchio, all showing the title character following his partial transformation from boy-puppet to donkey. Accomplished in graphite and colored pencil on untrimmed 12 x 10 animation paper. Images measure from 4 x 6 to 6.25 x 6.5. In overall fine condition. A great series of drawings from a classic Disney sequence.
In the 1940 Disney film Pinocchio, the wooden boy is lured to Pleasure Island, where misbehaving boys are magically transformed into donkeys as punishment for their wrongdoing. Pinocchio narrowly escapes complete transformation, retaining his ears and tail as a haunting reminder of his moral lapse. Starting Bid $300
Dumbo’s adorable debut— prepared by the Courvoisier Galleries
736. Baby Dumbo production cel from Dumbo. (Walt Disney Studios, 1941) Original production cel of Dumbo from the film of the same name, depicting the title character as a baby at the start of the film, shortly after being delivered into the elephant circus train car by the stork. The cel has been trimmed and applied to an attractive hand-painted background as prepared by Courvoisier Galleries for sale. Image measures 2.25 x 2.75, with an overall size of 7.5 x 9. The original Courvoisier Galleries label is no longer present. In fine condition. A charming original cel from the very first sequence to show Dumbo on screen. Starting Bid $300
737. Dumbo and circus ringmaster concept storyboard drawing from Dumbo. (Walt Disney Studios, 1941) Original concept storyboard drawing of Dumbo and a circus ringmaster from Dumbo, which shows Dumbo taking flight with outspread ears over the desperate ringmaster, shown running with arms open and yelling “Hey! Stop!,” as a small bird soars next to the nervous elephant. Accomplished in graphite and colored pencil on 12 x 10 animation paper marked “331” in the lower corners. Total image measures 8 x 8.75. In fine condition, with scattered stains, and pinholes and small tears to the corners. Starting Bid $200
738. Dumbo and Timothy Q. Mouse production cel from Dumbo. (Walt Disney Studios, 1941) Original production cel of Dumbo and Timothy Mouse from Dumbo, which depicts the fearless mouse, wearing his red band major outfit, with his large elephant friend holding his tail as he leads the way across a downed tree. The cel has been trimmed to image and applied to a matching color print of the key background. The total character image measures 5.5 x 3.5, with overall dimensions of 17 x 13.5. In fine condition, with a few small marks. A desirable production cel that offers a wonderful profile view of the unlikely friends. Starting Bid $300
Large production cel of Mrs. Dumbo and her new baby
739. Mrs. Jumbo and Baby Dumbo production cel from Dumbo. (Walt Disney Studios, 1941) Impressive original production cel of Mrs. Jumbo and baby Dumbo from Dumbo, which depicts the large mother elephant lying happily with her new baby. The cel has been trimmed to image and applied to a matching color print of the key background. The total character image measures 9 x 6.25, with overall dimensions of 17 x 13.5. In fine condition, with some light toning to Mrs. Dumbo’s blanket. Starting Bid $300
740. Mrs. Jumbo and Dumbo concept storyboard drawing from Dumbo. (Walt Disney Studios, 1941) Original concept storyboard drawing of Mrs. Jumbo and baby Dumbo from Dumbo, which shows the two elephants running side by side during a frantic scene. Accomplished in graphite on 8.25 x 8.75 artist paper marked “38, H-4.” Image measures 7 x 5.5. In fine condition, with pinholes to the corners, and toning to the upper corners from old adhesive. Starting Bid $200
741. Bambi and Thumper production cels from Bambi. (Walt Disney Studios, 1942) Original production cels of Bambi and Thumper from Bambi, which depict the young deer and his rabbit friend making their way through a snowy forest clearing. The cels are trimmed to size and applied to a matching color print of the key background. Character images measure 2 x 2.5 (Bambi) and 1 x .75 (Thumper), with overall dimensions of 17 x 13.5. In fine condition. Starting Bid $200
742. Flower production cel from Bambi. (Walt Disney Studios, 1942) Original production cel featuring Flower from Bambi, which depicts the friendly skunk in a bashful full-figure pose. The cel is placed on a matching color print of the key background. Image measures 2.5 x 3, with overall dimensions of 17 x 13.5. In fine condition. Starting Bid $200
743. Walt Disney Studio (10) concept storyboard drawings from Make Mine Music. Rare storyboard book custom-prepared by the Walt Disney Studio in celebration of the 1946 anthology film Make Mine Music, which was produced by Walt Disney and released by RKO Radio Pictures on April 20, 1946. The book contains a total of 10 original concept storyboard drawings accomplished in mixed media on six 5 x 7.25 sheets of artist paper, each featuring a character or narrator from the film’s various segments, which include: Willie the sperm whale from ‘The Whale Who Wanted to Sing at the Met’; an anthropomorphic Clarinet from ‘After You’ve Gone’; ballet dancers David Lichine and Tania Riabouchinskaya from ‘Two Silhouettes’; the title baseball player from ‘Casey at the Bat’; the two title characters from ‘Johnnie Fedora and Alice Bluebonnet’; Grace Martin and Henry Coy from ‘The Martins and the Coys’; two hepcat dancing teens from ‘All the Cats Join In’; a male portrait, ostensibly of Nelson Eddy, who narrated ‘The Whale Who Wanted to Sing at the Met’; and the two title characters from ‘Peter and the Wolf.’ Also included is artwork that curiously depicts legendary railroad engineer Casey Jones for the Disney short film The Brave Engineer, which was released four years later on March 3, 1950. Affixed to the back of the Willie the whale artwork is a printed portrait of Walt Disney, which is annotated in white ink: “Story ‘Boards,’’ from Walt Disney’s ‘Make Mine Music!’” The leather-bound book, 7˝ x 8˝ x 1˝, contains gilt titling and designs to the front cover and spine and includes its original slipcase. In fine condition. Starting Bid $300
Beautiful large Br’er Bear and Rabbit cel set-up
with
hand-painted custom background for Song of the South
744. Br’er Bear and Br’er Rabbit production cels from Song of the South. (Walt Disney Studios, 1946) Scarce original production cels of Br’er Bear and Br’er Rabbit from Song of the South, showing the dimwitted bear in a confused half-length pose as the rope-bound rabbit hangs in the air, his hands placed under his chin to show frustration. The cels have been trimmed to image and applied to a beautiful hand-painted custom-prepared background. Character images measure 5 x 5 (bear) and 3 x 4.75 (rabbit), with a mat opening of 14.25 x 10.75. Triple-matted and framed to an overall size of 25.5 x 21.5. In fine condition. Starting Bid $300
Scarce original Song of
the
South production cel of Br’er Fox eager for some cooked rabbit
745. 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, which is marked “30” in the lower right corner, is placed on a color copy background. Total character image measures 6.5 x 6.5, with overall dimensions of 13.5 x 10.5. In fine condition, with partially trimmed edges. Starting Bid $200
746. Pluto production cel and production background from Camp Dog. (Walt Disney Studios, 1950) Superb original production cel and production background from the Pluto cartoon short Camp Dog, which shows Mickey Mouse’s faithful canine happily trotting in a full-figure profile pose with a bone in his mouth. The cel is placed on a hand-painted production background from the same film, which shows a lovely forest clearing at night, and is marked along the bottom, “2398, Sc. 85.” The Pluto image measures 4 x 4.25, with a mat opening of 11 x 8.5. Triple-matted to an overall size of 19 x 16.5. In fine condition. Starting Bid $200
747. Peter Pan production cel from Peter Pan. (Walt Disney Studios, 1953) Original production cel of Peter Pan from the classic Disney movie of the same name, which depicts the title character in a half-length pose smiling and seated with his pan flute. The cel is slightly trimmed and placed on a color giclee background of a bedroom in the Darling house. The Peter Pan image measures 5 x 8, with overall dimensions of 16 x 12.5. In fine condition. Starting Bid $200
749. Lady, Toughy, Bull, and Pound Dog production cels and production background from Lady and the Tramp. (Walt Disney Studios, 1955) Original production cels and pre-production background from Lady and the Tramp, which shows Lady seated with Toughy, Bull, and another unnamed sleepy-looking pound dog. The cels are trimmed to size and applied over a beautiful hand-painted production background from the same film. Character images range in size from 2.5 x 4.25 (Lady) to 4.25 x 7.25 (Toughy), with a mat opening of 14.75 x 11.75. Matted to an overall size of 19 x 16. In fine condition, with the trimmed Lady cel peeling and nearly detached from the overlay cel. An appealing multi-character cel set-up with a detailed pre-production background. Starting Bid $200
748. Lady and Tramp production cels from Lady and the Tramp. (Walt Disney Studios, 1955) Original production cel set-up of the two title characters from Lady and the Tramp, showing the canine couple eating spaghetti in an alleyway behind Tony’s Restaurant during the film’s memorable ‘Bella Notte’ sequence. The set-up derives from the personal collection of a Disney animator, who has added a hand-painted foreground cel that is nearly identical to the film’s original; the foreground features a linen-draped table, a lit candle, breadsticks, and a plate of spaghetti. The cels of Lady and Tramp were trimmed to image, as were the strands of spaghetti hanging from their mouths, and applied to a larger cel, which is placed on a matching color laser background. Character images measure 6.5 x 7.5 (Tramp), 5 x 6.75 (Lady), and 13.25 x 8.75 (table with candle), with overall dimensions of 17 x 12.5. The animator created this set-up circa 2000-2003 in the same manner as the classic ‘Art Props’ setups that were matted and signed by Walt Disney for studio VIPs. In fine condition. This rare and beautiful setup brings to life the memorable ‘Bella Notte’ scene that climaxes in the ‘spaghetti kiss,’ an iconic moment in American cinema. Starting Bid $300
750. Lady, Tramp, and Tony production cels from Lady and the Tramp. (Walt Disney Studios, 1955) Original panoramic production cel set-up of Lady, Tramp, and Tony from Lady and the Tramp, showing the canine couple seated at a small candle-lit table in an alleyway behind Tony’s Restaurant during the film’s memorable ‘Bella Notte’ sequence, with the restaurant’s owner shown holding a menu as he turns to prepare a plate of spaghetti and meatballs for his canine friends. The set-up derives from the personal collection of a Disney animator, who has added a hand-painted foreground cel that is nearly identical to the film’s original; the foreground features a linen-draped table, a lit candle, and breadsticks. The cels are all trimmed to image and applied to a larger cel, which is placed on a matching color print of the key background. Images measure 4 x 4.5 (Lady and Tramp), 5 x 6.75 (Tony), and 5.5 x 5 (table with candle), with overall dimensions of 17 x 11. The animator created this set-up circa 2000-2003 in the same manner as the classic ‘Art Props’ set-ups that were matted and signed by Walt Disney for studio VIPs. In fine condition. This wonderful multi-character setup brings to life the memorable ‘Bella Notte’ scene that climaxes in the ‘spaghetti kiss,’ an iconic moment in American cinema. Starting Bid $300
The sinister Siamese cat sisters of Lady and the Tramp
751. Si and Am production cels from Lady and the Tramp. (Walt Disney Studios, 1955) Original production cels of Si and Am from Lady and the Tramp, which show the two devious Siamese cat sisters slinking across the carpet of the Darling living room. The cels are placed on a key print background from the same film. Both feline images measure 4.25 x 3.5, with overall dimensions of 20 x 16. In fine condition. Starting Bid $200
752. Briar Rose and Flora production cels from Sleeping Beauty. (Walt Disney Studios, 1959) Original production cels of Briar Rose and Flora from Sleeping Beauty, which show the kindly fairy godmother holding Princess Aurora’s hand during a moment of concern. The cels are placed on a color studio copy background of the interior of Rose’s cottage. Total character image measures 6 x 6.75, with overall dimensions of 12.5 x 10. The reverse bears a golden Walt Disney Productions label, which reads: “This is an original handpainted celluloid drawing actually used in a Walt Disney production.” In fine condition, with a few trivial instances of lifting to paint. Starting Bid $200
753. King Hubert production drawings (12) from Sleeping Beauty. (Walt Disney Studios, 1959) Superb group of twelve original production drawings featuring King Hubert from Sleeping Beauty, showing the king raising his goblet while giving a wink; one drawing is annotated in the margin: “Eye in same attitude and exp. as #58.” Accomplished in graphite and colored pencil on untrimmed 15.5 x 12.5 animation paper, marked in the lower corners with numbers ranging from “22” to “244,” including number “58.” Images measure from 5.5 x 6 to 6 x 9. In overall fine condition.
King Hubert is the jovial and good-natured father of Prince Phillip. A loyal friend to King Stefan, he eagerly anticipates the union of their kingdoms through the marriage of their children. With his hearty laugh and bumbling charm, Hubert provides lighthearted comic relief amid the film’s more dramatic moments. Starting Bid $200
754. Cruella de Vil production cel from One Hundred and One Dalmations. (Walt Disney Studios, 1961) Original production cel of Cruella de Vil from One Hundred and One Dalmations, which pictures the villainess smiling and reading a newspaper in bed. Image measures 10 x 6.25, with a mat opening of 10.75 x 7.5. Matted to an overall size of 14 x 11. The reverse of frame bears a golden Walt Disney Productions label, which reads: “This is an original handpainted celluloid drawing actually used in a Walt Disney production.” In fine condition. Starting Bid $200
Rare
unused
original concept
painting for Disneyland’s The Haunted Mansion ride by Marc Davis, one of Disney’s ‘Nine Old Men’
755. Haunted Mansion ride concept painting by Marc Davis - ‘Captain Bartholomew Gore’. (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 $300
The Redhead, a future pirate from Isla Tesoro— original concept painting for Disneyland’s famed Pirates of the Caribbean by Marc Davis, one of Disney’s ‘Nine Old Men’
756. Pirates of the Caribbean ride concept painting by Marc Davis - ‘Redd the Pirate’. (Walt Disney Studios, 1967) Desirable original concept painting attributed to Marc Davis for Disneyland’s famous dark ride attraction, Pirates of the Caribbean, depicting the Redhead, a wench from Isla Tesoro who later became Redd the pirate, confidently posing in her matching red hat, gown, and shoes. 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.
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 $300
757. Mowgli and Baloo production cel from The Jungle Book. (Walt Disney Studios, 1967) Original production cel featuring Mowgli and Baloo from The Jungle Book, which depicts the ‘man-cub’ being picked up by his sloth bear teacher. Image measures 4.5 x 8.75, with overall dimensions of 16.5 x 12.25. The cel, which is marked “15” in the lower right corner, is placed upon a color copy background. In fine condition. After a lukewarm reaction to his studio’s last film, The Sword in the Stone, Disney took a more prevalent role in the story and design of The Jungle Book, which would be the last film to include Disney’s personal input and touches, with Disney passing away before the film’s premiere. Starting Bid $200
Rare hand-painted overlay cel and production background for the unrealized Disney film
Catfish Bend,
designed
by legendary Disney art director Ken Anderson
764. Ken Anderson concept layout artwork for Catfish Bend. (Walt Disney Studios, late 1970s) Scarce original pre-production concept layout artwork for Catfish Bend, an unfinished and canceled Disney animated film that would have been released in 1981. Created by Disney animator and art director Ken Anderson, the set-up consists of an overlay cel in gouache and green Xerox line that depicts two small mouse characters rowing a boat to their stilt house overlooking a pond with tall grass and cattails. The impressively detailed cel is applied over a hand-painted background accomplished in ink and watercolor on artist board. The total image measures 15 x 11, and the full set-up is displayed under a presentation mat that measures 20 x 16; under the presentation mat is the original mat, which is signed and inscribed in red felt tip, “To Bill, From Ken Anderson, Catfish Bend.” In fine condition.
Ken Anderson (1909–1993) was an influential animator, art director, and storyboard artist at Walt Disney Studios, who was deemed a ‘jack of all trades’ by Walt Disney. After a brief stint at MGM, Anderson joined Disney in 1934 and began as an inbetweener before advancing to animator and layout artist, contributing to Three Orphan Kittens (1935) and designing key layouts for Snow White and the Seven Dwarfs (1937), including the dwarfs’ cottage model. He went on to serve as art director for Pinocchio (1940) and Fantasia (1940), and later collaborated with Mary Blair to adapt her colorful style for The Three Caballeros (1944) and Song of the South (1946). Anderson also worked on story development for Melody Time (1948), So Dear to My Heart (1948), and Cinderella (1950).
In the 1950s, Anderson helped shape Disneyland’s early attractions as part of WED Enterprises (now Walt Disney Imagineering), designing several Fantasyland ‘dark rides.’ Returning to film, he served as production designer on Sleeping Beauty (1959) and pioneered the use of xerography in One Hundred and One Dalmatians (1961). His later Disney work included background and character designs for The Jungle Book (1967), The Aristocats (1970), Robin Hood (1973), The Rescuers (1977), and Pete’s Dragon (1977), cementing his legacy as one of the studio’s most versatile and innovative artists. Starting Bid $200
758. James Coleman concept painting of the Horned King from The Black Cauldron. (Walt Disney Studios, 1985) Original concept painting of color stylist James Coleman of The Horned King for The Black Cauldron, which depicts the evil skeletal king seated on his castle throne, a large chalice pictured to his left, and his red robe flowing between the throne’s great stone arms. Accomplished in gouache on 17 x 12 artist board, which is signed in black ballpoint by Coleman, who also signs on the reverse in blue artist pencil. Total image measures 15 x 10. In fine condition. A gorgeous and atmospheric rendering of the dark king of Prydain. James Coleman began his career with Walt Disney Studios in 1969, starting in the mailroom before moving to the Disney Art Department to pursue background painting. His first project, Winnie the Pooh and Tigger Too, sparked his passion for background design and color styling, and after completing The Rescuers, his first feature film, he was promoted to Background Department Supervisor—a role he held for nearly seventeen years.
During his tenure, Coleman hired and trained a select group of artists and contributed to twelve feature films and more than thirty short subjects, including Mickey’s Christmas Carol, The Fox and the Hound, The Great Mouse Detective, The Black Cauldron, The Little Mermaid, and the Academy Award–winning Beauty and the Beast. His distinctive background art brought these Disney classics vividly to life. Starting Bid $200
759. Jessica Rabbit production cel from Who Framed Roger Rabbit. (Amblin/Walt Disney Studios, 1988) Original production cel 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 2.75 x 6.75, with overall dimensions of 16.75 x 12.75. In fine condition, with some creasing to lower right area, partially touching Jessica’s dress and left heel. Starting Bid $200
760. Jack Skellington production concept storyboard drawing from The Nightmare Before Christmas. (Tim Burton/Walt Disney Studios, 1993) Original production concept storyboard artwork featuring Jack Skellington from The Nightmare Before Christmas, showing him as the Pumpkin King in a terrific full-length pose with gangly outstretched arms and his whole body surrounded by a blue glow. Accomplished in pastel and colored pencil on black 6.75 x 10 artist’s board. In fine condition. A detailed portrayal of Jack Skellington at his most frightening. Starting Bid $200
761. Jorgen Klubien production storyboard drawing of Jack Skellington, Zero, and Santa Claus from The Nightmare Before Christmas. (Walt Disney Studios, 1993) Original production storyboard drawing by Jorgen Klubien of the sleigh-building sequence from The Nightmare Before Christmas, which features eight different scenes of Jack Skellington preparing to take over Christmas duties, including scenes of Zero watching Jack dig up a coffin, and two scenes of Jack being shown a large bag containing a captive Santa Claus, who was kidnapped by Lock, Shock, and Barrel, a mischievous trio of trick-or-treaters from Halloween Town whose early design differ from the final film version. Accomplished in ink, felt tip, and graphite on an off-white 11 x 8.5 sheet, which is marked “Sleibuilding seq. –, Seq. 9,” and signed in the lower right corner, “J. Klubien.” In fine condition. Jorgen Klubien is an animation artist and writer who is best known for working on many Disney films, including The Nightmare Before Christmas, The Lion King, A Bug’s Life, Cars, and Frankenweenie. Starting Bid $200
Original gondola from Disneyland’s iconic Skyway, signed by Imagineer icon Bob Gurr
763. Disneyland Skyway Attraction Vehicle Yellow #3. (Disneyland, 1965) Beginning in 1965 and until the attraction’s closure in 1994, these rectangular buckets could be seen ferrying passengers across Disneyland. With its sleek look and shape, this “Skyway” bucket is a perfect lounging area for within the home or in the backyard. This #3 vehicle, in its rich yellow paint, measures approximately 68˝ wide, 48˝ deep, and 76˝ tall. Includes an image of the actual #3 bucket in operation at Disneyland. The bucket was signed on the top ledge by Disney Imagineer great, Bob Gurr, the creator of the Skyway Bucket. A legendary amusement ride designer, Gurr designed most, if not all, of Disneyland’s original rides, including Autopia, The Haunted Mansion, the Disneyland Monorail, the Submarine Voyage, and the Matterhorn Bobsleds.
The bucket was sold via Disney Auctions in the 1990s; the bucket’s exterior was completely repainted to capture its original glory. In very good park-used condition, with minor wear throughout. Accompanied by a certificate of authenticity from Disney Auctions, 1990. In 2018, a blue Skyway bucket set the record for the highest price ever paid for a Disneyland attraction prop when it achieved a $621,000 result. This piece will be shipped from California; the buyer is responsible for all associated costs. Starting Bid $10,000
Mary Blair
New to the world—adorable
baby Dumbo
concept painting by Mary Blair from the start of the film— and her legendary career at Disney
765. Mary Blair concept painting of Baby Dumbo and Mrs. Jumbo for Dumbo. (Walt Disney Studios, 1941) Early original concept painting by Mary Blair for Dumbo, which shows baby Dumbo peeking out from the enormous feet of Mrs. Jumbo at the start of the film. Tucked in the shadow of his mother, the young elephant appears nervous, but also curious, with Blair’s placement of Dumbo’s left foot and ear indicating a mounting sense of bravery and exploration. Accomplished in tempera on 9 x 9 artist’s board. In fine condition, with pin holes to the corners.
Blair (1911–1978) was a concept artist for Disney during the 1940s and early 1950s, working on designs for such films as Peter Pan, Cinderella, and Alice in Wonderland. In 1940, she joined the Walt Disney Studio and worked on a number of projects, including the ‘Baby Ballet,’ a never-produced segment for a proposed second version of Fantasia, and her first full-length Disney picture, Dumbo. As part of her study and research, Blair and her fellow artists were not only sent on field trips to circuses, but Disney also organized for circus tents and animals to be brought into Walt Disney Studios for reference. After leaving Disney to work in advertising, Blair returned to the studio when she was hired to create designs for several Disney attractions (including It’s a Small World), and her largest work ever, the multi-story mosaic in Disney World’s Contemporary Hotel concourse. A touching and important concept piece that dates to the nascency of Blair ’s tenure at Disney. Starting Bid $300
Dumbo’s first rainy day— a touching concept piece from the start of the film and Mary Blair’s legendary career at Disney
766. Mary Blair concept painting of Baby Dumbo for Dumbo. (Walt Disney Studios, 1941) Early original concept painting by Mary Blair for Dumbo, which shows baby Dumbo poking his head from the window of his circus train car at the start of the film. Painted with neutral colors of white, black, and gray, the scene evokes a feeling of the unknown, one partially broken by the curious face of the young elephant, whose wide eyes and oversized ears seem piqued by this first encounter with rainy weather. Accomplished in tempera on 8 x 8 artist’s board. In fine condition, with pin holes to the corners.
Blair (1911–1978) was a concept artist for Disney during the 1940s and early 1950s, working on designs for such films as Peter Pan, Cinderella, and Alice in Wonderland. In 1940, she joined the Walt Disney Studio and worked on a number of projects, including the ‘Baby Ballet,’ a never-produced segment for a proposed second version of Fantasia, and her first full-length Disney picture, Dumbo.
As part of her study and research, Blair and her fellow artists were not only sent on field trips to circuses, but Disney also organized for circus tents and animals to be brought into Walt Disney Studios for reference. After leaving Disney to work in advertising, Blair returned to the studio when she was hired to create designs for several Disney attractions (including It’s a Small World), and her largest work ever, the multi-story mosaic in Disney World’s Contemporary Hotel concourse. A touching and important concept piece that dates to the nascency of Blair’s tenure at Disney. Starting Bid $300
A Halloween masterpiece— the Headless Horseman and Mary Blair scare Ichabod Crane in this striking panoramic concept piece from Disney’s
The Legend of Sleepy Hollow
767. Mary Blair panoramic concept painting of Ichabod Crane and the Headless Horseman from The Adventures of Ichabod and Mr. Toad. (Walt Disney Studios, 1949) Spectacular original panoramic concept painting by Mary Blair for The Legend of Sleepy Hollow, the second segment from the animated package film The Adventures of Ichabod and Mr. Toad, which depicts the Headless Horseman on horseback, with a long sword in one hand and his flaming jack-o’lantern head in the other, chasing Ichabod Crane and his equally frightened horse through a spooky, moon-drenched forest. True to the film’s finished product, Blair blends action, terror, and comedy with fantastic results, presenting the horseman and his huge black stallion as an unstoppable force intent on making Ichabod his next victim. The scene is brought to vivid life with a superb nighttime backdrop of ghostly trees, a bright full moon, and the fiery trail of the rider’s disembodied pumpkin head. Accomplished in tempera on 21.5 x 9 artist’s board. In fine condition, with tack holes to the 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
Before glass slippers—a beautiful Mary Blair concept painting of Cinderella working as a scullion for the wicked Lady Tremaine
768. Mary Blair concept painting of Cinderella as a scullion from Cinderella. (Walt Disney Studios, 1950) Marvelous original concept painting by Mary Blair from Cinderella, which depicts Cinderella working as a scullion in her own home, a chateau bequeathed to her wicked stepmother, Lady Tremaine. The scene depicts Cinderella as she walks across the floor of a large and opulent hallway, her left arm propped up and carrying a tray of teaware, the light from a nearby window shining on the floor to reveal her bare feet. The window, its light, and the form of Cinderella throw bright, contrasting colors across the middle of the painting, cutting through the hallway’s dominant hues of blue, black, and purple. Accomplished in tempera on 9.25 x 9.25 illustration board. In fine condition, with tack holes to the corners. An attractive and well-composed piece by the prolific Disney concept artist.
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 $300
‘And they lived happily ever after’—Mary Blair’s concept painting of Cinderella and Prince Charming leaving the kingdom after their fairy tale wedding
769. Mary Blair panoramic concept painting of Cinderella and Prince Charming from Cinderella. (Walt Disney Studios, 1950) Marvelous original panoramic concept storyboard painting by Mary Blair for Cinderella, which depicts the moment that Cinderella and her new husband, Prince Charming, run happily down the red carpet stairs of the royal palace after their fairy tale wedding. The scene is brilliantly realized by Blair, who incorporates several other characters into the scene, such as the King and Grand Duke, both of whom are shown with raised arms and broad smiles, a line of five royal guards placed at different levels of the staircase, and the magical glimmer of Cinderella’s Fairy Godmother, whose flightpath from the evening’s full moon leaves a winding trail sparkling pixie dust. Completing the merry moment is the work’s magnificent kingdom backdrop, which features an abundance of sky-scraping towers and spires against a starry blue sky. Accomplished in tempera and watercolor on a 22.5 x 9 artist’s board. In fine condition, with tack holes to the corners. A stylish oversized piece from the hand of one of Disney’s master concept painters.
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
Escape from Wonderland—Mary Blair concept art capturing Alice’s desperate flight from the Queen of Hearts’ playing card sentry
770. Mary Blair concept painting of Alice and Playing Cards from Alice in Wonderland. (Walt Disney Studios, 1951) Sought-after original concept painting by Mary Blair for Alice in Wonderland, which depicts an oversized Alice fleeing from the Queen of Hearts’ sentry of playing cards. Composed from a low-angle perspective, the scene shows Alice in a desperate running pose, her left leg raised high to reveal four pursuing guards as she races through the high-walled hedge maze to freedom, all the while shrinking from the fading effects of the recently consumed magic mushroom. Blair’s mastery of color and composition is in full effect, with blue skies, green walls, and purple undergrowth corraling attention to the central action. Her placement of clouds, shadows, and vegetation fills the painting to create a truly vivid and mysterious world. Accomplished in tempera on 9 x 9 artist’s board. In fine condition, with tack holes at 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 $300
Mary Blair’s concept painting of Alice’s fateful pursuit of the White Rabbit into Wonderland
771. Mary Blair concept painting of Alice and the White Rabbit from Alice in Wonderland. (Walt Disney Studios, 1951) Excellent original concept painting by Mary Blair for Alice in Wonderland, portraying the moment that Alice decides to follow the White Rabbit down a burrow, away from reality, and into the surreal and often dangerous world of Wonderland. From the perspective of a tunnel observer, the scene is divided between Alice’s airy aboveground space and the White Rabbit’s underground lair, the former marked by sunlight and blue skies and the other with mystery and darkness, with the abundant growth of flowers and plants within the hole foreshadowing a path to something wild and unchecked. The countenances of the two characters add even further contrast. While both are transfixed, Alice is shown as young, wide-eyed, and heedless, whereas the rabbit in his red coat, with his ears high and mouth agape, bears a look of awe and concern, well aware of what lies ahead. Accomplished in tempera on 8.75 x 8.75 artist’s board. In fine condition, with tack holes at 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 $300
Cruising with Mary Blair and Susie the Little Blue Coupe, a scarce concept painting of Susie’s first day
driving
in the big city
772. Mary Blair concept painting of Susie from Susie the Little Blue Coupe. (Walt Disney Studios, 1952) Original concept painting by Mary Blair for Susie the Little Blue Coupe, which depicts the small passenger car enjoying her drive on an empty city street. Blair loads the scene with various urban attractions—overhead power lines, a fire hydrant, a small white cat, sundry green plants and trees, a large factory, and endless apartment buildings—new and exciting sights for Susie, recently purchased from the car dealership. Accomplished in tempera on 9 x 9 artist’s board. In fine condition, with tack holes at 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 $300
Touching down in Never Land— Peter
Pan guides the Darling children on a nighttime flight from London in this dreamlike concept painting from the great Mary Blair
773. Mary Blair concept painting of Peter Pan and the Darling children from Peter Pan. (Walt Disney Studios, 1953) Brilliant original concept painting by Mary Blair for Peter Pan, which shows the moment that Peter Pan and the three Darling children reach the skies over Never Land after their nighttime flight from London, England. Blair paints the surreal scene with elements of green and blue and black, earthy and alien tones that lend a mysterious and otherworldly look to the fairy tale world. A full bright moon sets the stage below, its glowing gaze revealing the soaring silhouettes of Peter, Wendy, John, and Michael, as they drop away from the clouds and starry sky and advance to the tropical waters and islands below. Accomplished in tempera 9 x 9 artist’s board. In fine condition, with tack holes at corners.
Blair was a concept artist for Disney during the 1940s and early 1950s, working on designs for such films as Peter Pan, Cinderella, and Alice in Wonderland. She also created designs for several Disney attractions, including It’s a Small World, and, her largest work, the multi-story mosaic in Disney World’s Contemporary Hotel concourse. Starting Bid $300
Eyvind Earle
Revenge in motion—gorgeous panoramic painting by Eyvind Earle for Sleeping Beauty— a conceptual masterwork depicting Maleficent and her cursed spinning wheel
774. Eyvind Earle panoramic concept storyboard painting of Maleficent and the spinning wheel from Sleeping Beauty. (Walt Disney Studios, 1953) Original panoramic concept storyboard painting by Eyvind Earle for Sleeping Beauty, depicting Maleficent standing with her scepter in the upper tower room of King Stefan and Queen Leah’s castle, the right side of which prominently features the fateful spinning wheel destined to send Princess Aurora into a deep and unending slumber. Earle’s creation is nothing short of stunning, with his expert use of beautiful pastel colors adding a sense of mysticism and enchantment to the otherwise foreboding scene. The tower’s large windows open to a soft pink sky whilst framing the work’s key subjects: the film’s chief antagonist, the powerful sorceress Maleficent, and the cursed spinning wheel, the film’s climactic plot device that sets the story’s final act in motion. Accomplished in gouache on 23 x 9 artist’s board, signed in the lower right corner in pink paint, “Eyvind Earle.” In fine condition, with tack holes to the corners. Legendary Disney artist Eyvind Earle was Sleeping Beauty’s production designer, and Disney gave him a significant amount of freedom in designing the settings and selecting colors for the film. Earle also painted the majority of the backgrounds himself, and his stylistic influence is readily apparent in the final product. Starting Bid $500
‘Oh, come now, Prince Philip. Why so melancholy?’—Maleficent taunts her captive, Prince Phillip, in this moody and mesmerizing Eyvind Earle concept piece
775. Eyvind Earle concept painting of Prince Phillip and Maleficent from Sleeping Beauty. (Walt Disney Studios, 1959) Brilliant original concept painting by Eyvind Earle for Sleeping Beauty, which depicts Maleficent paying a visit to Prince Phillip, who is held prisoner in her dungeon castle. Unlike most other Earle concept pieces, which emphasize scenery and mood, this example places the two characters in central focus, portraying both Maleficent and the prince with vivid detail: Phillip sits wearily on his stone bench, youthful and small, his eyes struggling to adjust to the crypt suddenly illuminated by the witch’s lantern, whereas Maleficent is shown as a mighty creature, tall and looming and in her darkened element, her eyes large and arms outstretched, her mouth wide and tendering taunts and lies to the prince’s ears. The dungeon, with its grimy stone walls and floors and wisps of rising foreground steam, yields a palpable sense of gloom and doom, a feeling manifested by Earle’s expert balance of darkened hues. Accomplished in gouache on 14.5 x 6.25 artist’s board, signed in the lower right corner in pink paint by Eyvind Earle. In fine condition, with tack holes to the corners.
Legendary Disney artist Eyvind Earle was Sleeping Beauty’s production designer, and Disney gave him a significant amount of freedom in designing the settings and selecting colors for the film. Earle also painted the majority of the backgrounds himself, and his stylistic influence is readily apparent in the final product. His talents are most evident in this design from the film’s climactic conclusion, one of the studio’s most ambitious sequences ever conceived. Starting Bid $300
Let’s get ready to rumble!—
Eyvind Earle sets the stage for the epic final fight between Maleficent and Prince Phillip in this stunning panoramic concept painting for Sleeping Beauty
776. Eyvind Earle panoramic concept painting of Maleficent and Prince Phillip from Sleeping Beauty. (Walt Disney Studios, 1959) Outstanding original panoramic concept storyboard painting by Eyvind Earle for Sleeping Beauty, portraying Prince Phillip and his steed, Samson, ready to engage with Maleficent, shown perched atop the castle towers as an immense fire-breathing dragon. The terrific scene is flawlessly realized as Earle contrasts the marked size and strength disparity of the two opponents, portraying Phillip as the small but undeterred fairy tale hero, courageous and holding high his magical Sword of Truth, while Maleficent as the great ebon dragon looms inexorably, hundreds of feet high with its purple belly, jagged wings, and bright jettison of lightning-like fire-blast. Earle frames this pre-battle snapshot in brilliantly uniform detail, integrating his trademark trees and shrubs, a foreboding and blackening night sky, and a mountainous multi-spired castle. Accomplished in tempera on 23.25 x 9 artist’s board, signed in the lower right corner in pink paint, “Eyvind Earle.” In fine condition, with tack holes to the corners. Disney artist Eyvind Earle was Sleeping Beauty’s production designer, and Disney gave him a significant amount of freedom in designing the settings and selecting colors for the film. Earle also painted the majority of the backgrounds himself, and his stylistic influence is readily apparent in the final product. Starting Bid $500
Hanna-Barbera Studios
778. Bruce Bushman’s ‘Flintstone Freeway’ attraction concept artwork print for Hanna-Barbera’s Cartoonville theme park. (Hanna-Barbera, c. 1968). Original hand-colored brown-line print of a conceptual ‘Flintstone Freeway’ attraction by artist Bruce Bushman, which he created for the unrealized Hanna-Barbera project, Cartoonsville, a massive theme park that was intended to rival Disney Land. The print, 24 x 19, shows ‘Flintstone Freeway’ as an incredible prehistoric-themed ‘driving tour’ ride, where park visitors drive a version of Fred Flintstone’s ‘Flintmobile’ around a residential neighborhood lined with stone houses and creatures like dinosaurs, saber-tooth tigers, and woolly mammoths. Bushman’s signature to the lower right corner is inherent to the original brown-line print. In fine condition, with trimmed edges, some creases, and light edgewear.
Bruce Bushman (1911-1972) was a pivotal figure in the early development of Disneyland and the Walt Disney Company’s theme park legacy. He began his tenure at Disney in 1937, working as a layout artist on Pinocchio and co-art directing the Nutcracker Suite segment of Fantasia, and later collaborated with Harper Goff on the design of 20,000 Leagues Under the Sea. In 1953, Bushman transitioned to WED Enterprises, where he played a central role in designing Disneyland’s original Fantasyland. When Hanna-Barbera began preliminary work on their proposed Cartoonville, they knew Bushman was the right choice to help with overseeing the theme park’s ambitious look and design. With his help, the park aimed to immerse visitors in the vibrant worlds of Hanna-Barbera’s iconic characters, including The Flintstones, The Jetsons, and Jonny Quest. Despite the detailed planning, Cartoonville was never realized and now exists as a fascinating ‘what could have been’ in theme park history, preserved today through Bushman’s concept art and design sketches. Starting Bid $200
779. Smurfs (15) production cels and (16) production drawings from The Smurfs. (Hanna-Barbera, circa 1980s) Collection of 15 production cels from The Smurfs, which also includes a total of 16 matching production drawings and two original hand-painted production backgrounds from the same television series. The cels include a variety of Smurf characters, with the majority (9) picturing Papa Smurf, with character images measuring between 1.25 x 1.5 and 4.5 x 4.5. The backgrounds are mostly color copies, with the two original production backgrounds depicting an open forest floor with surrounding grass, shrubs, and trees (marked “Vic: 199-304, BG: 291”), and a pair of large orange mushroom houses settled on a bright green grassy hill (“104”). Each production drawing is accomplished in graphite and colored pencil on individual sheets of animation paper, each approximately measuring 12.5 x 10.5. In overall fine condition, with creasing to drawings. Starting Bid $300
Over 40 storyboard pages for three episodes of the original The Fantastic Four animated series, including the iconic opening title sequence
782. Fantastic Four (42) production storyboard opening title and episode pages from The Fantastic Four. (Hanna-Barbera Studios/ Marvel Comics, 1967) Impressive collection of 42 original production storyboard pages from the classic animated television series The Fantastic Four, consisting of 9 pages from the show’s opening title sequence, 6 pages from episode four, ‘Invasion of the Super Skrulls’ (originally aired September 30, 1967), 9 insert pages from episode eight, ‘Three Predictions of Dr. Doom’ (October 28, 1967), and 18 pages from episode nine, ‘Behold a Distant Star’ (November 4, 1967). The majority of the storyboard pages are accomplished in graphite and colored pencil on untrimmed 12.5 x 10 animation sheets, with exceptions found within the opening sequence pages, which also feature felt tip embellishments and roughly 20 scenes xeroxed from show episodes and affixed in place.
The opening title pages, which contain 81 scenes with narration text and artist annotations, show the iconic Marvel comic book superheroes as they were introduced across all 20 episodes of the series’ first and only season. The storyboard for ‘Behold a Distant Star’ includes pages 2 and 13-29 and contains 162 hand-drawn scenes, which include the first appearances of Skrull Warlord Moorat and Princess Anelle. The storyboard for ‘Invasion of the Super Skrulls’ includes pages 30-34 and 36 and contains 54 hand-drawn scenes, and the storyboard for ‘Three Predictions of Dr. Doom’ is numbered as “26-6,” identified as inserts A, B, and C, and features 70 hand-drawn scenes. In overall fine condition, with edgewear, mostly to the first page of the opening title sequence, and some scattered stains, including rusty paperclip marks. Starting Bid $200
Peanuts
780. Snoopy (5) production cels from a Peanuts television cartoon or animated special. (Bill Melendez Productions, 1980s) Five original production cels of Snoopy from a Peanuts television cartoon or animated special from the 1980s, ostensibly The Charlie Brown and Snoopy Show or It’s Magic, Charlie Brown. The cels, which depict magician Snoopy in five sequential walking poses, are placed on a color copy background of a neighborhood sidewalk. Each Snoopy image approximately measures 2.75 x 3.5, with overall dimensions of 14 x 11. In overall fine condition, with partially trimmed edges. Starting Bid $200
781. Charlie Brown and Linus van Pelt production cel and key production background from a Peanuts television show. (Bill Melendez Productions, 1980s) Original production cel and key production background featuring Charlie Brown and Linus van Pelt from a Peanuts television show or animated special, ostensibly The Charlie Brown and Snoopy Show. The cel, which depicts Charlie Brown and the blanket-carrying Linus walking down a sidewalk, is placed on a hand-painted production background from the same film. Total character image measures 2.75 x 3, with a mat opening of 11 x 9. Double-matted to an overall size of 16.5 x 14.5. In fine condition. Starting Bid $200
931. Charles Schulz Typed Letter Signed. TLS signed “Charles M. Schulz,” 6.25 x 7, illustrated personal letterhead with printed drawing of Charlie Brown and Snoopy, October 26, 1965. Letter to Mrs. Gary Phillips, in full: “I am sorry, but the strip you have requested has already been given out to someone else. Sometimes we have several requests for a certain strip, and the only thing we can do is to send it to whomever writes first. Perhaps at some future time you may see another that you might wish to have. If so, please feel free to write immediately.” In fine condition, with some light creasing.Starting Bid $200
932. Peanuts multi-character production layout drawing from It’s Arbor Day, Charlie Brown. (Bill Melendez Productions, 1975) Original production layout drawing from the animated television special It’s Arbor Day, Charlie Brown, featuring a total of eight Peanuts characters during an apparent baseball game, including: Charlie and Sally Brown, Snoopy, Woodstock, Frieda, and Linus and Lucy Van Pelt. Accomplished in graphite and colored pencil on untrimmed 12.5 x 10.5 animation paper marked in the lower border, “SA SC. 100” and “75/309, Sc. 102.” In fine condition. Starting Bid $200
933. Snoopy production cel from You’re a Good Sport, Charlie Brown. (Bill Melendez Productions, 1975) Original production cel of Snoopy from the Peanuts animated television special You’re a Good Sport, Charlie Brown, which depicts Snoopy holding a tennis racquet and wearing yellow tennis attire. Character image measures 3.25 x 3.5, with a mat opening of 7.5 x 6.5. Double-matted to an overall size of 13 x 12. In fine condition. Accompanied by a certificate of authenticity from the Howard Lowery Gallery. Starting Bid $200
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789.
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794.
784.
787.
791.
788.
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795.
796.
762. Ariel and Prince Eric limited edition cel from The
777. Pink Panther (7)
783. Robert Crumb Signed Sketch Starting Bid $200
Avatar production cel from Wizards
Barnyard production drawing from an early Disney short Starting Bid $200
Mickey Mouse production drawings (2) from The Opry House Starting Bid $200
Ken Hultgren and Disney Animation Studio
Mickey Mouse production drawing (c. 1930s) Starting Bid $200
Goose and Mother Goose production drawing from Mother Goose Melod... Starting Bid $200
Goose and Mother Goose production drawing from Mother Goose Melod... Starting Bid $200
Mickey Mouse and nephews production drawing from Mickey's Nightma... Starting Bid $200
Mickey Mouse production drawing from Building a Building Starting Bid $200
793. Mickey Mouse production drawing from Puppy Love Starting Bid $200
Frank Follmer concept model sheet drawing of The Big Bad Wolf for... Starting Bid $200
Mickey Mouse production drawing from Mickey's Garden Starting Bid $200
Mickey Mouse production drawing from Mickey's Man Friday Starting Bid $200
797. Goofy production drawing from Mickey's Service Station Starting Bid $200
798. Abner production drawing from The Country Cousin Starting Bid $200
799. Mickey Mouse production drawing from Mickey's Circus Starting Bid $200
800. Mickey and Minnie Mouse production drawing from Mickey's Rival Starting Bid $200
801. Pluto production drawing from Hawaiian Holiday Starting Bid $200
802. Donald Duck
803. Mickey Mouse production drawing from Moose Hunters Starting Bid $200
804. Bashful production cel from Snow White and the
805. Dopey production cel from Snow White and the
806. Frank Follmer concept painting of Snow White, Dopey, and Grumpy f... Starting Bid $200
807. Sneezy production cel from Snow White and the
808. Wolfgang Reitherman early concept storyboard drawing of Doc and D... Starting Bid $200
809. Bugs production drawing from Woodland Cafe Starting Bid $200
810. Cricket bassist production drawing from Woodland Cafe Starting Bid $200
811. Cricket bassist production drawing from Woodland Cafe Starting Bid $200
812. Cricket conductor production drawing from Woodland Cafe Starting Bid $200
813. Cricket conductor production drawing from Woodland Cafe Starting Bid $200
817. Flame production drawing from Moth and the Flame Starting Bid $200
821. Stan Laurel production drawing from Mother Goose Goes Hollywood Starting Bid $200
825.
814. Cricket trombonist production drawing from Woodland Cafe Starting Bid $200
818. Cab Calloway production drawing from Mother Goose Goes Hollywood Starting Bid $200
822. W. C. Fields and Charlie McCarthy production drawings (2) from Mo... Starting Bid $200
826. Chernabog production drawing from
Starting Bid $200
815. Mickey Mouse production drawing from Brave Little Tailor Starting Bid $200
819. Joe E. Brown and Martha Raye production drawings (3) from Mother ... Starting Bid $200
823. Donald Duck production drawings (3) (c. 1939) Starting Bid $200
827.
Starting Bid $200
816. Mickey Mouse production drawing from Mickey's Trailer Starting Bid $200
820. Katharine Hepburn character model sketch from Mother Goose Goes H... Starting Bid $200
824. Ken
gag drawing of Carl
as a Degas
Starting Bid $100
828.
Hultgren
Barks
ballerina
Pinocchio, Figaro, and Geppetto watercolor production painting fo... Starting Bid $200
Fantasia
Flying Pegasus production storyboard drawing from Fantasia
Frank Follmer character concept drawings of Centaurettes and Mada...
829.
833.
Starting Bid $200
841.
830.
834. Frank Follmer concept model sheet drawing of Jiminy Cricket for P... Starting Bid $200
842.
835. Jiminy
Starting Bid $200
836.
843.
Frank Follmer multicharacter panoramic
Hyacinth Hippo model sheet drawing from Fantasia Starting Bid $200
831. Donald Duck production cel from Mr. Duck Steps Out signed by
832. Cleo production drawings (2) from Pinocchio
Frank Follmer concept model sheet drawing of Jiminy Cricket for P...
Cricket production drawing from Pinocchio
Jiminy Cricket production drawing from Pinocchio Starting Bid $200
837. Jiminy Cricket storyboard concept drawing
838. Pinocchio and Geppetto rough character
839. Pinocchio character model drawing from Pinocchio Starting Bid $200
840. Pinocchio production drawing from Pinocchio Starting Bid $200
Pinocchio production drawing from Pinocchio Starting Bid $200
Pinocchio production drawing from Pinocchio Starting Bid $200
Pinocchio rough production drawings (2) from Pinocchio Starting Bid $200
844. Pinocchio, Monstro,
845.
849.
851.
Stromboli production drawing from Pinocchio Starting Bid $200
846. Fred Moore Original Watercolor Painting
847. Mickey Mouse production cel from a
848. Timothy Mouse production drawing from Dumbo Starting Bid $200
Baby bunny rough production drawings (10)
850. Bambi rough production drawings (31) from Bambi Starting Bid $200
Forest animals rough production drawings (68) from Bambi Starting Bid $200
852. Figaro and Frankie
853. Big Toot production cel from Little Toot Starting Bid $200
854. Mickey Mouse and picnic basket production cel from Mickey and the...
855. Donald Duck production cel from a
856. Donald Duck production cel from a
857. Mad Hatter production drawing from Alice in Wonderland Starting Bid $200
858. Mickey Mouse
859. Mr. Smee Production
860. Wendy Darling production drawing from Peter Pan Starting Bid $200
861. Tinker Bell production 862. Lady production cel from Lady and the Tramp
863. Peg production cel 864. Siamese cat and goldfish production cel from
865. Briar Rose and Prince Phillip production cel from 866. Princess Aurora and 867. Cruella de Vil, Pongo, and Roger Radcliffe
868. Roger Radcliffe, Pongo,
869. Ludwig Von Drake production cel from
870. Mickey Mouse production drawings (8)
871. Winnie the Pooh 872. Children's Book
873. Mowgli and King Louie 874. Tinker Bell dye transfer print from the Walt Disney
875. Winnie the Pooh production cel from the
876. Huey, Dewey, and Louie character model drawings (2) attributed to... Starting Bid $200
877. Tod production drawings (4) from Fox and 878. Vixey and Tod production drawings (2)
879. DuckTales characters 880. Mickey and Minnie
881. Jorgen Klubien production storyboard drawing of Sally and Oogie B... Starting Bid $200
882. Jorgen Klubien production storyboard drawing of The Mayor from Th... Starting Bid $200
883. Baby Dumbo limited 884. Mickey and Minnie
885. Tinker Bell limited edition cel from the Magic of 886. Walt Disney Company Unissued Stock Certificate
887. Baby Dumbo and Mrs. Jumbo giclee print signed
888. Snow White and forest animals giclee print signed
889. Fantasia Original 890. Virgil Ross Signed Original Color Model Drawing of Bug Bunny from... Starting Bid $200
891. Virgil Ross Signed Original Color Model Drawing of the Grinch, Ci... Starting Bid $200
892. Virgil Ross Signed Original Color Model Drawing of Bug Bunny Starting Bid $200
893. Virgil Ross Signed Original Color Model Drawing of Michigan J. Fr... Starting Bid $200
897. Virgil Ross Signed Original Drawing of Bug Bunny, Marvin the Mart... Starting Bid $200
901. Virgil Ross Signed Original Panoramic Drawing of Bugs Bunny and Y... Starting Bid $200
894. Virgil Ross Signed Original Color Model Drawing of Bugs Bunny, Ma... Starting Bid $200
898. Virgil Ross Signed Original Drawing of Wile E. Coyote and the Roa... Starting Bid $200
902. Virgil Ross Signed Original Drawing of The Grinch Starting Bid $200
895. Virgil Ross Signed Original Drawing of Bugs Bunny, Gossamer, and ... Starting Bid $200
899. Virgil Ross Signed Original Panoramic Drawing of Looney Tunes Cha... Starting Bid $200
903. Virgil Ross Original Drawing of The Grinch and Cindy Lou Who Starting Bid $200
896. Virgil Ross Signed Original Drawing of Bug Bunny, Marvin the Mart... Starting Bid $200
900. Virgil Ross Signed Original Panoramic Drawing of Bugs Bunny and U... Starting Bid $200
904. Virgil Ross Original Drawing of The Grinch Starting Bid $200
905. Virgil Ross Original Drawing of The Grinch and Max Starting Bid $200
906. Friz Freleng Signed
907. Chuck Jones signed
908. Chuck Jones signed limited edition cel - 'Pepe Le
909.
913.
911.
914.
915.
912.
Chuck Jones signed 910. Doc Stork production drawing from The Stork's Holiday Starting Bid $200
Doc Stork production drawing from The Stork's Holiday Starting Bid $200
Wolf production drawing from Northwest Hounded Police Starting Bid $200
Lion and Mouse production drawing from Slap Happy Lion Starting Bid $200
Barney Bear and Sea Lion production drawings (2) from Goggle Fish... Starting Bid $200
Chuck Jones signed
916. Pink Panther (2) production cels and
917. Woody Woodpecker, Andy Panda, Chilly Willy, and Oswald Rabbit pro... Starting Bid $200
918. Woody Woodpecker limited edition cel signed by 919. Background layout production drawing from the Tom and Jerry carto... Starting Bid $200
920. Yogi Bear Jellystone Diner and Drive-In concept drawing for The Y... Starting Bid $200
921. Flintstones house production background from a television series ... Starting Bid $200
922. Penny, Moonrock, Wiggy, Pebbles, and Bamm-
923. Hong Kong Phooey and Spot the Cat production cel from Hong Kong P...
924. Fred, Dino, and Captain
925. Papa Smurf and Gargamel production cels
926. Brainy Smurf production cel from The
927. Papa Smurf and Grouchy Smurf production
928. Vanity Smurf production cel from The
929. Bill Hanna and Joe Barbera signed George
930. Count Chocula, 934. Rocky and Bullwinkle 935. Rocky, Bullwinkle,
936. Dudley Do-Right, Horse, and Snidely Whiplash limited edition cel ... Starting Bid $200
937. Dudley Do-Right, 938. Matt Groening Signed 'Bartman' Comic Book with Sketch of Bart Sim... Starting Bid $200
939. Mr. Krabs production
940. Mr. Krabs production cel from SpongeBob
941. Patrick Star production 942. SpongeBob SquarePants production
943. SpongeBob SquarePants and Patrick
4. Anna Harrison Autograph
Starting
26. Frances F. Cleveland Signed Photograph as First Lady Starting Bid $200
19. John Adams and Thomas Jefferson: Colombian Centinel from July 15,... Starting Bid $200
23.
27. President Grover Cleveland Congratulates Queen Victoria on the Hi... Starting Bid $200
20. James Buchanan Document Signed as President - Ratifying an Amende... Starting Bid $200
24. George W. Bush
Signatures Starting Bid $200
29. Bill Clinton Signature and Impeachment Trial Ticket Starting Bid $200
21. George Bush Typed Letter Signed: "When NRA attacks our law enforc... Starting Bid $200
Starting Bid $200
30. Hillary Clinton Signed Book - An Invitation to the White House Starting Bid $100
655. Mickey Mantle Signed Baseball Starting Bid $200
656. Mickey Mantle, Willie Mays, and Duke Snider Oversized Signed Lith...
657. Willie Mays Signed Baseball Starting Bid $200
658. NY Giants: Lawrence Taylor and Phil Simms
659. NY Rangers: 1942-1943 (5) Signed Photographs Starting Bid $200
660. NY Yankees Managers and Coaches Oversized
661. David Ortiz Signed Baseball Starting Bid $200
662. David Ortiz Oversized Signed Photograph Starting Bid $200
663. Mariano Rivera Signed Poster (19.75˝ x 15.75˝)
664. Mariano Rivera Signed Photograph Starting Bid $200
665. Mariano Rivera Signed Baseball Starting Bid $200
666. Barney Ross Signed Book - The True Story of
667. Roger Staubach Signed Football Starting Bid $100
953. Lyndon B. Johnson Document Signed as President Starting Bid $200
956. Harry S. Truman Signed Check
Conditions of Sale
ANYONE EITHER REGISTERING TO BID OR PLACING A BID (“BIDDER”) ACCEPTS THESE CONDITIONS OF SALE AND ENTERS INTO A LEGALLY, BINDING, ENFORCEABLE AGREEMENT WITH R&R AUCTION COMPANY OF MASSACHUSETTS, LLC (“RR AUCTION”) TOGETHER WITH BIDDER, THE “PARTIES”).
This Agreement contains important provisions that control rights and liabilities, and specifically has provisions governing how disputes are handled as well as LIMITATIONS OF LIABILITY that can be imposed upon RR Auction, WAIVER OF JURY and ARBITRATION PROVISIONS. This acknowledgement is a material term of these Conditions of Sale and of the consideration under which RR Auction agrees to these terms. PLEASE READ CAREFULLY.
The following terms and conditions (“Conditions of Sale”) constitute the sole terms and conditions under which RR Auction will offer for sale and sell the property on its website, and/or described in the catalog of items for auction (the “Catalog”). These Conditions of Sale constitute a binding agreement between the Parties with respect to the auction in which Bidder participates (the “Auction”). By bidding at the Auction, whether in person, through an agent or representative, by telephone, facsimile, online, absentee bid, or by any other form of bid or by any other means, Bidder acknowledges the thorough reading and understanding of all of these Conditions of Sale, all descriptions of items in the Catalog, and all matters incorporated herein by reference, and agrees to be fully bound thereby.
Section 1
The Parties1.1 RR Auction and Auction
This Auction is presented by RR Auction, a d/b/a/ of R&R Auction Company of Massachusetts, LLC, as identified with the applicable licensing information on the title page of the Catalog or on the www.RRauction. com Internet site. The Auction is conducted under these Conditions of Sale. Announcements and corrections from the podium at live auctions and those made through the Conditions of Sale appearing on the Internet at RRauction.com supersede those in the printed Catalog.
1.2 Bidder
Bidder shall mean the original Bidder on the property offered for sale by RR Auction and not any subsequent owner or other person who may acquire or have acquired an interest therein. If Bidder is an agent, the agency must be disclosed in writing to RR Auction prior to the time of sale, otherwise the benefits of the warranty shall be limited to the agent and not transferable to the undisclosed principal.
The rights granted to Bidder under these Conditions of Sale are personal and may not be assigned or transferred to any other person or entity, whether by operation of law or otherwise without the express written assent of RR Auction. Bidder may not transfer, assign, or otherwise convey these Conditions of Sale or any of the rights herein, and such purported transfer, assignment, or conveyance shall be null and void. No third party may rely on any benefit or right conferred on any Bidder by these Conditions of Sale, and no third party is intended as a beneficiary of these Conditions of Sale.
Bids will not be accepted from minor persons under eighteen (18) years of age without a parent or legal guardian’s written consent containing an acknowledgment of the Conditions of Sale herein and indicating their agreement to be bound thereby on behalf of the Bidder.
All Bidders must meet RR Auction’s qualifications to bid. Any Bidder who is not a client in good standing of RR Auction may be disqualified at RR Auction’s sole option and will not be awarded lots. Such determination may be made by RR Auction in its sole and unlimited discretion, at any time prior to, during, or even after the close of the Auction. RR Auction reserves the right to exclude any person from the Auction.
If an entity places a bid, then the person executing the bid on behalf of the entity agrees to personally guarantee payment for any successful bid and
agrees to be bound by these Conditions of Sale in addition to company for whom the Bidder is acting
By accepting the Conditions of Sale, Bidder personally and unconditionally guarantees payment.
Section 2
Bidding Privileges
2.1 In order to place bids, Bidders who have not established an account with RR Auction must either furnish satisfactory credit information (including two collectibles-related business references) or supply additional information if requested, well in advance of the Auction. Bidders who are not members of RRAuction.com should pre-register before the close of the Auction to allow adequate time to contact references. Privileges will be granted at the sole discretion of RR Auction. Additionally, Bidders who have not previously established credit or who wish to bid in excess of their established credit history may be required to provide a cash deposit prior to RR Auction’s acceptance of a bid. Check writing privileges and immediate delivery of merchandise may also be determined by pre-approval of credit based on a combination of criteria: RRAuction.com history, related industry references, bank verification, a credit bureau report and/or a personal guarantee for a corporate or partnership entity in advance of the Auction venue.
2.2 Bidder providing any false or misleading information provided in connection with the registration shall be a material breach of the Conditions of Sale and in addition to any other remedies at law shall excuse RR Auction from performance under these Conditions of Sale, including the right to any refund.
2.2 Bidding privileges may be revoked without notice, for any reason, at the sole discretion of RR Auction .
Section 3
Buyer’s Premium
3.1 The Bidder acknowledges and agrees that a 25% buyer’s premium will be added to the hammer price on all individual lots sold in timed and live Auctions. . For payment other than by cash, delivery will not be made unless and until full payment has been received by RR Auction, i.e., check or wired funds have fully cleared. Unless otherwise agreed in writing, signed by RR Auction, payment in full is due within thirteen (13) calendar days of the Auction or within twelve (12) calendar days of the invoice date, whichever is earlier. Bidder’s failure to pay any payment in full when due required shall constitute a material breach, and in addition to other damages available under contract or law, at RR Auction’s election, RR Auction may cancel the sale and require full premium still be due along with interest at 1.5% per month from the date of breach, or at the maximum legally allowable rate.
Section 4
Bidding
4.1 Each Bidder’s determination of its bid should be based upon its own examination of the item(s) and independent investigation, rather than the any reliance as to what is represented in the Catalog, online or elsewhere. Bidder affirms that it regards any statements made by RR Auction concerning the item as solely opinion and that Bidder is making its own inspection and independent evaluation of the goods, and is not relying upon any description or statements by RR Auction (including as to quality, authenticity, provenance, ownership, liens existing, on goods legality, or value) in making its determination to bid on or purchase an item. In any purchase or sale, the value of the item(s) is determined by the price. THE BIDDER HEREBY ASSUMES ALL RISKS CONCERNING ANY AND ALL PURCHASES TO THE FULLEST EXTENT UNDER APPLICABLE LAW.
4.2 RR AUCTION IS NOT RESPONSIBLE FOR ERRORS IN BIDDING. A Bidder should make certain to bid on the correct lot and that the bid is the maximum (plus the Buyer’s Premium) that the Bidder is willing and able to pay. Since other Bidders (by mail, facsimile, online, and in person) will be present, and since a re-offering could damage the momentum of the sale, once the hammer has fallen and RR Auction has announced the winning Bidder, such Bidder is unconditionally bound to pay for the lot,
even if the Bidder has made a mistake.
4.3 All prospective Bidders who examine lots in person prior to the sale shall personally assume all responsibility for any damage they cause in so doing. RR Auction shall have sole discretion in determining the value of the damage caused, which shall be promptly paid by the prospective Bidder.
4.4 Title to any lot remains with Consignor, any secured party of the Consignor, or assignee of Consignor, as the case may be, until the lot is paid for in full by Bidder and Bidder has fully satisfied any outstanding financial obligations to RR Auction (including as it concerns aby other lots). RR Auction reserves the right to require payment in full before delivering any lot to the successful Bidder.
4.5 It is the Bidder’s responsibility and obligation to have the lots fully insured while in their possession. Bidder assumes any and all risk of loss upon the earlier of shipment to Bidder or in Bidder’s possession.
4.6 Bidder grants to RR Auction or its assigns the right to offset any sums due, or found to be due by RR Auction, and to make such offset from any past, subsequent or future consignment, or items acquired by Bidder in possession or control of RR Auction or from any sums due to Bidder by RR Auction. Bidder further grants RR Auction a lien consisting of a senior security interest (or purchase money security interest to the extent applicable) in such sums or items to the fullest extent applicable, authorizes RR Auction to file documents concerning the interest, and Bidder agrees to execute any further documents as may be reasonably necessary to grant RR Auction such security interest. Bidder agrees that RR Auction and its assigns shall be a secured party with respect to items bought by Bidder and in the possession of RR Auction, to the extent of the maximum indebtedness, plus all accrued fees and expenses, until the indebtedness is paid.
4.7 By bidding in this sale, Bidder personally and unconditionally guarantees payment. The authorized representative of any corporate Bidder who is present at the sale shall provide RR Auction or its agent, prior to the commencement of the bidding (or at the time of registration), with a statement signed by a principal, director or officer that they he or she personally and unconditionally guarantees any payment due RR Auction.
4.8 RR Auction may at its sole and absolute discretion, make loans or advances to Consignors and/or prospective Bidders.
Section 5
Bidding Options
5.1 Non-Internet bids (including but not limited to in-person, facsimile, phone and mail bids) are treated similarly to floor bids in that they must be on-increment. Any in-person, facsimile, phone, or mail bids that do not conform to a full increment will be rounded up or down to the nearest full increment and this revised amount will be considered Bidder’s high bid.
5.2 When identical bids are submitted, preference is given to the first received. To ensure the greatest accuracy, written bids should be entered on the standard printed bid sheet and be received at RR Auction’s place of business at least twenty-four (24) hours before the Auction start. RR Auction is not responsible for executing mail bids or facsimile bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is RR Auction responsible for proper execution of bids submitted by telephone, mail, facsimile, e-mail, Internet, or in person once the Auction begins.
5.3 In all Auctions, bids on an item must raise the current high bid by at least 10%, or as specified on a per-Auction basis. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted. In a live sale, bids on an item can change at the discretion of RR Auction.
5.4 RR Auction reserves the right to accept or decline any bid. Bids must be for an entire lot and each lot constitutes a separate sale. All bids are per lot unless otherwise announced. Live auction lots will be sold in their numbered sequence unless RR Auction directs otherwise. It is unlawful and illegal for Bidders to collude, pool, or agree with another Bidder to pay less than the fair value for lot(s). For live auctions, RR Auction will have final discretion in the event that any dispute should arise between Bidders. RR Auction will determine the successful Bidder, cancel the sale,
or re-offer and resell the lot or lots in dispute. RR Auction will have final discretion to resolve any disputes arising after the sale and in online auctions. If any dispute arises, RR Auction’s sale record is conclusive.
Section 6 Payment
6.1 Subject to fulfillment of all of the Conditions of Sale set forth herein, upon the sooner of (1) the passing of title to the offered lot pursuant to these Conditions of Sale, or (2) possession of the offered lot by the Bidder, Bidder thereupon (a) assumes full risk and responsibility (including without limitation, liability for or damage to frames or glass covering prints, paintings, photos, or other works), and (b) will immediately pay the full purchase price or such part as RR Auction may require. In addition to other remedies available to RR Auction by law, RR Auction reserves the right to impose from the date of sale a late charge of 1.5% per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. All property must be removed from RR Auction’s premises by the Bidder at his/her expense not later than sixty (60) business days following its sale and, if it is not so removed, RR Auction may send the purchased property to a public warehouse for the account, at the risk and expense of the Bidder.
6.2 Payment is due upon closing of the Auction session, or upon presentment of an invoice. RR Auction reserves the right to void an invoice if payment in full is not received within thirteen (13) calendar days of the Auction or within twelve (12) calendar days of the invoice date. In cases of nonpayment, RR Auction’s election to void a sale does not relieve the Bidder from their obligation to pay RR Auction its fees (seller’s and Buyer’s Premium) on the lot and any other damages pertaining to the lot.
6.3 All sales for total invoices greater than $1,000 are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier checks, eChecks, and bank money orders), and are subject to all reporting requirements.
6.4 All deliveries are subject to good funds; funds being received in RR Auction’s account before delivery of the Purchases; and all payments are subject to a clearing period. RR Auction reserves the right to determine if a check constitutes “good funds”: checks drawn on a U.S. bank are subject to a ten (10) calendar day hold, and ten (10) business days when drawn on an international bank. Clients with pre-arranged credit status may receive immediate credit for payments via e-Check, personal or corporate checks.
6.5 In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If Bidder attempts to pay via check and the financial institution denies the transfer from Bidder’s bank account, or the payment cannot be completed using the selected funding source, Bidder agrees to complete payment.
6.7 If RR Auction refers any unpaid invoice to an attorney for collection, the Bidder agrees to pay and shall be liable for RR Auction’s attorney’s fees, court costs, and other collection costs incurred by RR Auction in addition to the invoice amount and interest the greater of 1.5% per month or at the maximum legally allowable rate from date of invoice to collection. If RR Auction assigns collection to its house counsel, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.
6.8 RR Auction shall have a lien against the merchandise purchased by the Bidder (as well as to the extent it is a consignor any other monies owed or due to Bidder) to secure payment of the Auction invoice. RR Auction is further granted a lien and the right to retain possession of any other property of the Bidder then held by RR Auction or its affiliates to secure payment of any Auction invoice or any other amounts due RR Auction or affiliates from the Bidder. With respect to these lien rights, RR Auction shall have all the rights of a secured creditor, including but not limited to the right of sale. In addition, with respect to payment of the Auction invoice(s), the Bidder waives any and all rights of offset he might otherwise have against RR Auction and the consignor of the merchandise included on the invoice (the Consignor”). If a Bidder owes RR Auction or its affiliates on any account, RR Auction and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bid-
der’s property in their possession.
6.9 All checks, cashiers checks, bank checks, or money orders are payable to R&R Auction Company of Massachusetts, LLC. RR Auction clients with an invoice totaling $1,000 or under will have the option to pay by VISA, Mastercard, Discover or Paypal. All Paypal payments must be sent to FinanceDepartment@rrauction.com. Authorize.net, a third-party service provider contracted by RR Auction for processing on-line payments, charges a nonrefundable service fee of 3%, which will be added to your final invoice should you pay by credit/debit card.
Section 7 Sales Tax
RR Auction is a remote seller and we are now required to collect Sales/ Use Tax from our bidders. The states that we have nexus in we will be required to collect and remit sales tax on your behalf. Each state has different requirements to meet nexus. When RR Auction has achieved a certain monetary and/or invoice threshold in each state we will apply sales tax to your total invoice. The states that are affected are: ARIZONA, ARKANSAS, CALIFORNIA, COLORADO, CONNECTICUT, FLORIDA, GEORGIA, ILLINOIS, INDIANA, IOWA, KANSAS, KENTUCKY, MAINE, MARYLAND, MASSACHUSETTS, MICHIGAN, MINNESOTA, NEBRASKA, NEVADA, NEW JERSEY, NEW YORK, NORTH CAROLINA, OHIO, OKLAHOMA, PENNSYLVANIA,RHODE ISLAND, TENNESSEE, TEXAS, UTAH, VIRGINIA, WASHINGTON, WISCONSIN
If we have not achieved nexus in a particular state it is still your responsibility to pay sales tax on your purchases.
The sales tax rate is determined by the State, Country, and City where purchases are shipped to. If you decide to pick up your purchases at our New Hampshire location you will not be required to pay sales tax. The State of New Hampshire does not have a general sales and use tax. All purchases picked up at our Massachusetts location will be taxed at the current rate of 6.25%.
If you have a resale number please email Sue@RRAuction.com or fax to (603) 732-4288 a copy of your state resale certificate and you will be exempt from paying sales tax.
Section 8
Delivery; Shipping; and Handling Charges
Bidder is liable for shipping and handling and providing accurate information as to shipping or delivery locations and arranging for such. RR Auction is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except when third-party shipment occurs. Bidder agrees that service and handling charges related to shipping items which are not pre-paid may be charged to a credit card on file with RR Auction.
Successful international Bidders shall provide written shipping instructions, including specified Customs declarations, to RR Auction for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price and RR Auction shall use the correct harmonized code for the lot. Domestic Bidders on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.
All duties, customs, and any other import charges are the responsibility of the bidder.
Section 9
Title
Title shall not pass to the successful Bidder until all invoices of Bidder (including those pertaining to the item(s) at issue) and amounts owed to RR Auction are paid in full. It is the responsibility of the Bidder to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.
Section 10
Rights Reserved
RR Auction reserves the right, at any time before, during or after an auction has ended to: withdraw any lot before or at the time of the Auction, cancel any bid, and/or to postpone the Auction of all or any lots or parts thereof, for any reason. RR Auction shall not be liable to any Bidder in the event of such withdrawal, cancellation, or postponement under any circumstances. RR Auction reserves the right to refuse to accept bids from anyone at any time.
Section 11
Conducting the Auction
11.1 RR Auction reserves the right to postpone the Auction or any session thereof for a reasonable period of time for any reason whatsoever, and no Bidder or prospective Bidder shall have any claim as a result thereof, including consequential damages.
11.2 RR Auction’s Discretion: RR Auction shall determine opening bids and bidding increments. RR Auction has the right in its absolute discretion to reject any bid in the event of dispute between Bidders or if RR Auction has doubt as to the validity of any bid, to advance the bidding at its absolute discretion and to determine the successful Bidder in the event of a dispute between Bidders, to continue the bidding or to reoffer and resell the lot in question. In the event of a dispute after the sale, RR Auctions record of final sale shall be conclusive. RR Auction also may reject any bid if RR Auction decides either that any bid is below the reserve of the lot or article or that an advance is insufficient. Unless otherwise announced by RR Auction at the time of sale, no lots may be divided for the purpose of sale.
11.3 Reserves
Lots may be subject to a reserve which is the confidential minimum price below which the lot will not be sold. Consignors may not bid on their own lots or property. RR Auction may, from time to time, bid on items that it does not own. RR Auction may execute bids consecutively or otherwise up to one bid increment below the reserve.
11.4 Off-Site Bidding
Bidding by telephone, facsimile, online, or absentee bidding (advance written bids submitted by mail) are offered solely as a convenience and permitted subject to advance arrangements, availability, and RR Auction’s approval which shall be exercised at RR Auction’s sole discretion. Neither RR Auction nor its agents or employees shall be held liable for the failure to execute bids or for errors relating to any transmission or execution thereof. In order to be considered for off-site bidding in any manner, Bidders must comply with all of these Conditions of Sale and the terms contained on the Registration Form.
11.5 Estimate Prices:
In addition to descriptive information, each item in the Catalog sometimes includes a price range which reflects opinion as to the price expected at auction (the “Estimate Prices”). In other instances, Estimate Prices can be obtained by calling RR Auction at (603) 732-4280. The Estimate Prices are based upon various factors including prices recently paid at auction for comparable property, condition, rarity, quality, history and provenance. Estimate Prices are prepared well in advance of the sale and subject to revision. Estimates do not include the Buyer’s Premium or sales tax (see under separate heading).
11.6 Owned or Guaranteed Property:
RR Auction generally offers property consigned by others for sale at public auction; in very limited occasion, lots are offered that are the property of RR Auction.
11.7 Before the Auction:
Bidder may attend pre-sale viewing for all of RR Auction’s auctions at no charge. All property to be auctioned is usually on view for several days prior to the sale. Bidder is encouraged to examine lots thoroughly. Bidder may also request condition reports (see below). RR Auction’s staff are available at viewings and by appointment.
11.8 Maximum Bids In All Auctions:
To maximize Bidder’s chance of winning, RR Auction strongly encourages
the use of maximum bids. RR Auction will then bid for Bidder until the lot reaches Bidder’s specified maximum. Maximum bids are strictly confidential. Placing arbitrary, non-incremental bids on lots with prior maximum bids may result in these lots being sold for less than 10% above the under Bidder’s bid.
11.9 Successful Bids:
The fall of RR Auction’s hammer indicates the final bid. RR Auction will record the paddle number of the Bidder. If Bidder’s salesroom or absentee bid is successful, Bidder will be notified after the sale by mailed or emailed invoice.
11.10
Unsold Lots:
If a lot does not reach the reserve, it is bought-in. In other words, it remains unsold and is returned to the Consignor. RR Auction has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.
11.11 Bidding in Timed Auction:
Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right. The auctioneer may also execute a bid on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve.
To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids.
Any Bidder may bid on any lot prior to 6 pm EST/EDT. At that time, an extended bidding period goes into effect. If Bidder has not bid on a lot before 6 pm EST/EDT, Bidder may not bid on that lot after 6 pm EST/EDT. Only those Bidders who have placed bids on a lot before 6 pm EST/EDT will be allowed to bid on that lot after 6 pm EST/EDT. If Bidder is the only Bidder on a lot at 6 pm EST/EDT, that lot is awarded to Bidder. During the extended bidding period, a lot will remain open only to those who bid on that lot prior to 6 pm EST/EDT. All lots WITHOUT an opening bid at 6 pm EST/EDT will remain OPEN to ALL Bidders until 7 pm EST/EDT or until they receive their first bid. These lots will close immediately upon receipt of a bid or at 7 pm EST/EDT, whichever comes first. For all lots that are active after 7 pm EST/EDT, bidding will remain open until 30 minutes pass without a bid being placed on THAT lot (the “30 Minute Rule”). The 30 Minute Rule is applied on a PER LOT BASIS; each lot in the Auction closes individually based on bidding activity after 7 pm EST/EDT. On a PER LOT BASIS, the 30 minute timer will reset each time a bid is placed after 7 pm EST/EDT. If Bidder is the high Bidder, raising Bidder’s maximum bid will NOT reset the timer. RR Auction reserves the right to close the Auction at any time at its sole discretion.
11.12 Bidding - Internet Live
Auction:
Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right.
To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays,
or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids.
During live internet or live auction, property is auctioned in consecutive numerical order, as it appears in the catalog. The auctioneer will accept bids from those present in the salesroom or absentee bidders participating by telephone, internet or by written bid left with RR Auction in advance of the auction. The auctioneer may also execute a bid or bids (successively or otherwise) on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve. All auctions for lots are with reserve unless specifically stated otherwise.
During live Auctions, internet bids can be placed in real time through one or more of the following Third Party services: www.liveauctioneers.com, www.invaluable.com and www.icollector.com. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids. RR Auction treats any third-party site bids as floor or telephone bids. Floor bids and telephone bids are always considered first over third party sites bids, and floor bids are considered earlier than telephone bids. All RR Auction lots purchased through the third-party sites carry an additional Buyer’s Premium.
11.13 Miscellaneous:
Agreements between Bidders and Consignors to effectuate a non-sale of an item at Auction, inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize RR Auction’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, RR Auction reserves the right to charge Bidder the applicable Buyer’s Premium and Consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.
Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by RR Auction in the future. In conformity with ”do-not-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. RR Auction may from time to time contact Bidder concerning sale, purchase, and auction opportunities available.
11.14 Rules of Construction: RR Auction presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall be construed to waive the general Conditions of Sale by these additional rules and shall be construed to give force and effect to the rules in their entirety.
Section 12
RR Auction’s Remedies
Failure of the Bidder to comply with any of these Conditions of Sale or the terms of the Registration Form is an event of material breach or default. In such event, RR Auction may, in addition to any other available remedies specifically including the right to hold the defaulting Bidder liable for the Purchase Price or to charge and collect from the defaulting Bidder’s credit or debit accounts as provided for elsewhere herein: (a) cancel the sale, retaining any payment made by the Bidder as damages (the Bidder understands and acknowledges that RR Auction will be substantially damaged should such default occur, and that damages under sub-part (a) are necessary to compensate RR Auction for such damages); (b) resell the property without reserve at public auction or privately; (c) charge the Bidder interest on the Purchase Price at the rate of one and one-half percent (1.5%) per month or the highest allowable interest rate; (d) take any other action that RR Auction, in its sole discretion, deems necessary or appropriate to preserve and protect RR Auction’s rights and remedies. Should RR Auction resell the property, the original defaulting Bidder shall be liable for the payment of any deficiency in the purchase price and all costs and expenses associated there with, including but not limited
to warehousing, sales-related expenses, reasonable attorney fees and court costs, commissions, incidental damages and any other charges due hereunder which were not collected or collectable. In the event that such Bidder is the successful Bidder on more than one lot and pays less than the purchase price for the total lots purchased, RR Auction shall apply the payment received to such lot or lots that RR Auction, in its sole discretion, deems appropriate. If RR Auction does not exercise such discretion, the lots to which the payment shall be applied will be in descending order from the highest purchase price to the lowest. Any Bidder failing to comply with these Conditions of Sale shall be deemed to have granted RR Auction a security interest in, and RR Auction may retain as collateral such security for such Bidder’s obligations to RR Auction, any Bidder’s property in RR Auction’s possession or to which title has not yet passed to Bidder. RR Auction shall have the benefit of all rights of a secured party under the Uniform Commercial Code (U.C.C.) as adopted by the Commonwealth of Massachusetts.
Section 13 Warranties
13.1 RR Auction does not provide any warranties to Bidders, whether expressed or implied, beyond those expressly provided in these Conditions of Sale. All property and lots are sold ”as is” and “where is”. By way of illustration rather than limitation, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to merchantability or fitness for intended use, condition of the property (including any condition report), correctness of description, origin, measurement, quality, rarity, importance, exhibition, relevance, attribution, source, provenance, date, authorship, condition, culture, genuineness, value, or period of the property. Additionally, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to whether the Bidder acquires rights in copyright, trademark, or other intellectual property (including exhibition or reproduction rights) related to the item, or whether the property is subject to any limitations or other rights. RR Auction does not make any representation or warranty as to title.
13.2 All descriptions, photographs, illustrations, and terminology including but not limited to words describing condition (including any condition reports requested by Bidder, see also Terminology), authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, exhibition, and relevance, used in the Catalog, bill of sale, invoice, or anywhere else, represent a good faith effort made by RR Auction to fairly represent the lots and property offered for sale as to origin, date, condition, and other information contained therein; they are statements of opinion only. They are not representations or warranties and Bidder agrees and acknowledges that he or she shall not rely on them in determining whether or not to bid or for what price. Price estimates (which are determined well in advance of the Auction and are therefore subject to revision) and condition reports are provided solely as a convenience to Bidders and are not intended nor shall they be relied on by Bidders as statements, representations or warranties of actual value or predictions of final bid prices.
13.3 Bidders are accorded the opportunity to inspect the lots and to otherwise satisfy themselves as to the nature and sufficiency of each lot prior to bidding, and RR Auction urges Bidders to avail themselves accordingly.
13.4 All lots sold by RR Auction are accompanied by an Auction Certificate (“AC”). On any lot presented with an AC issued by RR Auction, the certification is only as to its attribution to the person or entity described or to the lot’s usage and only as explicitly stated therein (the “AC”), to the exclusion of any other warranties, express or implied, including but not limited to those pursuant to the Uniform Commercial Code. The AC inures only to the original Bidder (as shown in RR Auction’s records). Bidder may not transfer, assign, or otherwise convey the AC and such purported transfer, assignment, or conveyance shall be null and void.
Section 14 Firearms
RR Auction complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A Bidder is required to provide appropriate documents and the payment of associated fees, if any. Bidder is responsible for providing a shipping address that is suitable for the receipt of a firearm.
Section 15 Unauthorized Statements
Under no circumstances is any employee, agent or representative of RR Auction authorized by RR Auction to modify, amend, waive or contradict any of these Conditions of Sale, any term or condition set forth on a registration form, any warranty or limitation or exclusion of warranty, any term or condition in either the Registration Form or these Terms and Conditions regarding payment requirements, including but not limited to due date, manner of payment, and what constitutes payment in full, or any other term or condition contained in any documents issued by RR Auction unless such modification, amendment, waiver or contradiction is contained in a writing signed by all parties. Any statements, oral or written, made by employees, agents or representatives of RR Auction to Bidder, including statements regarding specific lots, even if such employee, agent or representative represents that such statement is authorized, unless reduced to a writing signed Bidder and by an authorized officer of RR Auction by all parties, are statements of personal opinion only and are not binding on RR Auction, and under no circumstances shall be relied upon by Bidder as a statement, representation or warranty of RR Auction.
Section 16
Bidder’s Remedies
16.1 Except as stated expressly herein, Bidder’s sole and exclusive remedy related to or pertaining to items it bids upon, views, or purchases from RR Auction, and any claims by Bidder related to authenticity, ownership, condition, title or value, shall be against Consignor only.
16.2 This section sets forth the sole and exclusive remedies of Bidder as against RR Auction (inclusive of its affiliates, officers, managers, employees or agents), or in any way arising out of, related to, or in connection with these Conditions of Sale, , and is expressly in lieu of any other rights or remedies which might be available to Bidder by law. Time is of the essence with respect to these procedures.
16.3 Title to Items
The Bidder hereby accepts the benefit of the Consignor’s warranty of title and any other representations and warranties made by the Consignor for the Bidder’s benefit. In the event that Bidder demonstrates in writing, satisfactory to the sole discretion of RR Auction, that there was a breach of the Consignor’s warranty of title concerning a lot purchased by Bidder, RR Auction may make demand upon the Consignor to pay to Bidder the Purchase Price (including any premiums, taxes, or other amounts paid or due to RR Auction). Should the Consignor not pay the Purchase Price to Bidder within thirty days after such demand (if any made), RR Auction may disclose the identity of the Consignor to Bidder and may assign to Bidder all or some of RR Auction’s rights against the Consignor with respect to such lot or property. Upon such disclosure and/or assignment, all responsibility and liability of RR Auction, if any, with respect to said lot or item shall automatically terminate related to or arising from these Conditions of Sale or such transaction operating as a complete waiver and general release by Bidder as to RR Auction and its agents, contractors, and affiliates, as to any and all claims concerning or related to the item, if any . RR Auction shall be entitled to retain the premiums and other amounts paid to RR Auction by Consignor only. The rights and remedies provided herein are for the original Bidder only and they may not be assigned or relied upon by any transferee or assignee under any circumstances.
16.4 Authenticity Challenge Process
(1) If Bidder wishes to dispute or challenge the Authenticity of the lot or item (including asserting that it is incorrect), Bidder must adhere to the following procedure: Within 30 days of the Auction Date, Bidder must present written evidence to RR Auction, that the lot is not authentic as determined by a known expert in the field (and one recognized by RR Auction within its discretion) and send the physical item or lot at issue to RR Auction along with all evidence relied upon by Bidder for contesting the Authenticity. (“Authenticity Challenge Process”) “Authenticity” shall mean a gross discrepancy in the between the description, genuiness, or attribution of the item as represented by RR Auction in the Catalog or at the auction, and the item. If RR Auction concurs that the lot is not Authentic as was represented (it is sole discretion), Bidder’s sole and exclusive remedy
as against RR Auction (inclusive of its affiliates, agents, employees, and contractors) shall be a refund of the purchase price of the subject item paid by Bidder, with no other costs, liabilities or amounts recoverable by Bidder. If RR Auction does not agree with the assertion by Bidder, then the Parties shall follow the dispute resolution procedures of these Conditions of Sale. Strict adherence to the Authenticity Challenge Process is a condition of standing for Bidder to initiate suit or claim.
(2) So long as Bidder has complied with the Authenticity Challenge Process, any claim, suit or action, by Bidder concerning an AC or Certification of Authenticity, or related to the authenticity of the item must, without any exception, be brought within one (1) year of Auction Date and is subject to the other limitations and conditions stated in the Conditions of Sale.
16.5 Other Issues. Any dispute or claim by Bidder against RR Auction (or its affiliates, directors, employees, officers, agents, or contractors)) other than Authenticity, concerning any item or lot bid upon, or purchased, including value, title, condition, bidding process, or description must be asserted (if at all) in the following manner:
(1) If the description of any lot in the Catalog is materially or grossly incorrect (e.g., gross cataloging error), or there is any other gross material issue pertaining to the item or lot, the item or lot may be returned if returned within five (5) calendar days of receipt, and received by RR Auction no later than twenty-one (21) calendar days after the Auction Date with explanation in writing.. If there is any discrepancy between the description in the Catalog and a certificate of auction, then the description in the certificate of auction (“Lot Challenge Process”). This paragraph shall constitute Bidder’s sole right with respect to the return of items, and no refunds shall be given for any items not returned to and received by RR Auction within the period of time stated herein or not materially or grossly in deviation from the description. Such a refund is subject to RR Auction’s sole discretionary review, and any request for refund must be made concurrently with returning the physical item or lot to RR Auction. Any item not returned within said frame will constitute acceptance of the item and a waiver and release of any and all claims by Bidder pertaining to the item other than with respect to authenticity; and
(2) Provided that the Bidder has engaged in the Lot Challenge Process, any claim concerning such must be brought no later than one (1) year of the Auction Date for the item or lot at issue and is subject to the other limitations and conditions stated in the Conditions of Sale.
NO RETURN OR REFUND OF ANY AUCTION LOT WILL BE CONSIDERED OR PROVIDED EXCEPT AS PROVIDED IN THESE CONDITIONS OF SALE AND BIDDERS OR AS MAY BE REQUIRED BY LAW. FAILURE TO COMPLY WITH SUCH SHALL BE A COMPLETE DEFENSE TO ANY CLAIMS BY BIDDER RELATED TO THE CONDITIONS OF SALE, ANY AUCTION OR BID.
16.6 LIMITATION OF LIABILITY. For any and all claims by Bidder arising out of or related to this Agreement, Bidder’s viewing, bid, or purchase of items, or any agreement between the Parties, or otherwise, Bidder agrees that to the fullest extent such can be limited under the law, Bidder shall have no right to recover and hereby waives any and all rights to recover from against RR Auction or its affiliates, directors, employees, officers, agents, or contractors, consequential or indirect damages, lost profits damages, punitive, exemplary, statutory (or multiplier damages), physical or emotional distress damages, general or special damages of any kind (beyond amounts actually paid by Bidder for item(s) at issue), and in the event of recovery of any damages whatsoever, such shall be limited by the amounts actually paid by Bidder to RR Auction for the item(s) at issue in such claim, or if no money was paid to RR Auction by Bidder for items at issue, or there items are at issue, the amount of $150.00.
Section 17
RR Auction’s Additional Services
For Bidders who do not remove purchased property from RR Auction’s premises, RR Auction, in its sole discretion and solely as a service and accommodation to Bidders, may arrange to have purchased lots packed, insured and forwarded at the sole request, expense, and risk of Bidder.
RR Auction assumes no and disclaims all responsibility and liability for acts or omissions in such packing or shipping by RR Auction or other packers and carriers, whether or not recommended by RR Auction. RR Auction assumes no and disclaims all responsibility and liability for damage to frames, glass or other breakable items. Where RR Auction arranges and bills for such services via invoice, RR Auction will include an administration charge.
Section 18
Headings
Headings are for convenience only and shall not be used to interpret the substantive sections to which they refer.
Section 19 Entire Agreement
Except to the extent Bidder is also a consignor (in which case the terms of the consignment agreement shall also govern), these Conditions of Sale constitute the entire agreement between the Parties together with the terms and conditions contained in the auction Registration Form. They may not be amended, modified or superseded except in a signed writing executed by all parties. No oral or written statement by anyone employed by RR Auction or acting as agent or representative of RR Auction may amend, modify, waive or supersede the terms herein unless such amendment, waiver or modification is contained in a writing signed by all parties.
If any section of these Conditions of Sale or any term or provision of any section is held to be invalid, void, or unenforceable by any court or arbitrator of competent jurisdiction, the remaining parts of the agreement and remainder of the sections or terms and provisions of the section and all sections shall continue in full force and effect without being impaired or invalidated in any way.
Section 20 Governing Law and Enforcement
20.1 The Parties agree that all agreements between the Parties including but not limited to these Conditions of Sale are entered into in Boston, Massachusetts, no matter where Bidder is situated and no matter by what means or where Bidder was informed of the Auction and regardless of whether catalogs, materials, or other communications were received by Bidder in another location.
20.2 The Parties agree that these Conditions of Sale, any other related agreement(s), along with all claims between the Parties, including those arising out of or related to such are governed by the laws of the Commonwealth of Massachusetts, without regard for its conflict of laws principles. The Parties agree that any dispute between the Parties, including but not limited to those related to or arising out of these Conditions of Sale, or related to or arising out of any other related agreement(s) shall be submitted to confidential binding arbitration (the ”Arbitration”) before a single Arbitrator of the American Arbitration Association (the “AAA”) The Parties agree that the Arbitration shall be conducted pursuant to the commercial rules of the AAA in Boston, Massachusetts, unless the Consumer Arbitration Rules apply, in which case, such rules and venue will govern. In the event that the Parties cannot agree on the selection of the Arbitrator, then the Arbitrator shall be selected by the AAA. The prevailing Party in the Arbitration shall also recover all of its related fees and costs, whether before or after the formal institution of the Arbitration, including but not limited to its reasonable attorneys’ fees and costs, if RR Auction prevails, such recovery, in addition to all remedies available at agreement or law, shall include the Buyer’s Premium as defined in these Conditions of Sale. Federal arbitration law, including the Federal Arbitration Act apply to this agreement to arbitrate and its related provisions. The arbitration and all related proceedings shall be held strictly confidential and all documents and discovery shall be held confidential and not used, published or disclosed publically or to anyone outside the Parties or expert consultants or counsel who shall agree to hold such confidential.
20.3 The Parties consent to the Commonwealth of Massachusetts as exclusive jurisdiction and venue for all claims between the Parties except as provided specifically herein and may seek confirmation of the decision in the Arbitration pursuant to the Federal Arbitration Act in any Court
of competent jurisdiction, including the courts of the Commonwealth of Massachusetts or the United States District Court for the District of Massachusetts. To the extent such is necessary under the law, RR Auction may enforce the Arbitration award against Bidder and any related Party in any court of competent jurisdiction. Nothing in this Agreement shall be construed as RR Auction consenting to jurisdiction or venue in any location outside of the Commonwealth of Massachusetts.
THE PARTIES MAY NOT BRING CLAIMS AGAINST EACH OTHER AS A CLASS OR CLASS MEMBER IN ANY CLAIMED CLASS, OR IN A REPRESENTATIVE ACTION UNLESS OTHERWISE AGREED. UNLESS OTHERWISE AGREED, THE CLAIMS AGAINST EACH OF THE OTHER CANNOT BE CONSOLIDATED OR JOINED WITH MORE THAN ONE ADDITIONAL PERSON OR ENTITIES’ CLAIMS. NO INJUNCTIVE OR DECLATORY RELIEF SOUGHT BY BIDDER IF ANY, CAN AFFECT OR BE ORDERED TO AFFECT ANY OTHER BIDDERS OR PERSONS.
20.4 Except as provided specifically in these Conditions of Sale in Bidder’s Remedies against RR Auction (along with its affiliates, directors, agents, officers, employees, and contractors) for any dispute, claim, cause of action related to or arising out of these Conditions of Sale or any other related agreement(s), brought by Bidder must be brought within the earlier of the Auction Date as it pertains to the item(s) at issue or no later than one (1) year of the acts, omissions or circumstances occurred giving rise to the alleged claim, without exception. This provision is intended as a full, complete and absolute bar to and release of any claims by Bidder initiated after one (1) year of such acts, omissions or circumstances. The Parties agree further that these waiver provisions are intended to be binding in the event of any dispute, specifically including but not limited to third party claims and cross-actions brought by Bidder. These provisions are consideration for the execution of these Conditions of Sale.
20.5 To the fullest extent under applicable law and except as specifically stated herein Bidder hereby holds harmless, releases and discharges RR Auction and its agents, officer’s directors, affiliates, successors, and assigns from any and all claims, liabilities, obligations, promises, agreements, damages, causes of action, suits, demands, losses, debts, and expenses of any nature whatsoever, known or unknown, suspected or unsuspected existing prior to these Conditions of Sale. Bidder agrees to the Conditions of Sale and upon each instance that Bidder participates in any auction, bids, or otherwise agrees to such terms and reaffirms this release as of the date of so participating or agreeing unless Bidder otherwise provides clear written notice to RR Auction prior to so bidding.
20.6 The Bidder hereby agrees that RR Auction shall be entitled to present these Conditions of Sale to a court in any jurisdiction other than set forth in this paragraph as conclusive evidence of the Parties agreement, and the Parties further agree that the court shall immediately dismiss any action filed in such jurisdiction.
20.7
Liquidated Damages for Specific Breaches
In the event that Bidder provides false information in connection with registering for bidding, fails to correct or update information or breaches the Conditions of Sale by failing to pay the purchase price when due after becoming the winning bidder, as liquidated damages associated with such breaches, R&R may obtain from Bidder the greater of (1) 150% the reserve of the item (if any); (2) the amount bidder bid; or (3), the full amount that bidder would have otherwise paid. Bidder will also be liable for an additional 20% of such amount to account for additional administrative costs, shipping, additional advertising, and other damages and liabilities fees that are difficult to calculate on an item-by-item basis.
20.8 Indemnity. Bidder agrees to defend, indemnify, hold harmless RR Auction (along with its officers, directors, agents, contractors, and affiliates) from and against any and all claims, costs, fees, damages, and liabilities arising out of or related to these Conditions of Sale, view of items, or lots, bidding, or participation in any auction by RR Auction, and/or or in any way connected to any item you viewed, bid upon or purchased through RR Auction.
Section 21: State-by-State Law Issues
This Auction is being conducted in and the sale shall take place in the State of Massachusetts. Notwithstanding, the foregoing, should these
terms and conditions violate the law of any State should that state’s law be found to govern, or any provision herein determined to be invalid, the clause itself and the remainder of the Agreement shall be valid to the fullest extent allowed. Also, to the extent other states law apply to any transaction arising out of the Agreement (without admitting such), RR Auction states:
For Residents of California:
SALE OF AUTOGRAPHED COLLECTIBLES: AS REQUIRED BY LAW, A DEALER WHO SELLS TO A CONSUMER ANY COLLECTIBLE DESCRIBED AS BEING AUTOGRAPHED MUST PROVIDE A WRITTEN EXPRESS WARRANTY AT THE TIME OF SALE. THIS DEALER MAY BE SURETY BONDED OR OTHERWISE INSURED TO ENSURE THE AUTHENTICITY OF ANY AUTOGRAPHED COLLECTIBLE SOLD BY THIS DEALER.
A written express warranty is provided with each autographed collectible, as required by law. This dealer may be surety bonded or otherwise insured to ensure the authenticity of any autographed collectible sold by this dealer.
Section 22
Glossary of Condition terms
Information provided to prospective Bidders with respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by RR Auction.
Use of the following terms constitutes an opinion as follows:
VERY FINE describes an item believed to be in virtually flawless condition, and is used sparingly for items of exceptionally attractive appearance.
FINE is the most common statement of condition, and applies to most items that we offer. It describes items that we believe to show expected handling wear, generally acceptable random flaws (such as light creases, small bends, etc.), and an overall appearance that is pleasing to the majority of collectors.
VERY GOOD describes an item that we believe exhibits more moderate flaws (such as toning, light staining, professional reinforcements or repairs, etc.). Most collectors would be comfortable with items in very good condition, and this would be the expected condition for many formats (early presidential documents, for example).
GOOD describes an item which we believe to have obvious visible flaws, including heavy wear, missing portions, or repairs that affect appearance; generally items in this condition are offered only if an item is otherwise believed to be exceedingly rare or important.
Bidder may call and request further details and information about RR Auction’s opinions concerning any item via phone or email which shall provided in RR Auction’s discretion.
Certificate of Auction, Certificate of Authenticity and Goods Acquired:
Bidder warrants that Bidder (and its agents, assigns, successors, and affiliates) shall not purposely deface, destroy, dismember, cut-up into parts the item or Lot purchased at auction from RR Auction and in the event such shall occur whether purposefully or accidently, Bidder (and its agents, assigns, successors, and affiliates) shall refrain from advertising, promoting, or marketing the item as having been purchased from RR Auction and shall in no event display, expressly claim, or imply that the item was certified or auctioned in such state by RR Auction. As liquidated damages for such breach, Bidder agrees to be liable to RR Auction for the greater of the amount of three (3) times the hammer price of the item along with all other fees and costs as otherwise provided in this Terms of Sale.
