RR Auction: Marvels of Modern Music

MARVELS OF MODERN MUSIC

Featuring The Mark Erbach Collection | December 18, 2025

MARVELS OF MODERN MUSIC

Bidding closes Thursday, December 18, 2025

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Robert S. Eaton Sr. 1940–2001

BEATLES

Uninscribed second pressing of Please Please Me, signed by the Beatles in the spring of 1963

3001. Beatles Signed ‘Please Please Me’ Album (2nd Pressing) - Obtained March/April 1963. April 1963 second pressing of the Beatles album Please Please Me (Mono PMC 1202, Gold & Black Label, Northern Songs credit), signed on the back cover in ballpoint, “Paul McCartney,” “George Harrison,” and “John Lennon,” and in ink, “Ringo Starr.” In very good condition, with skipping to George’s signature, fading to Ringo’s signature, old tape along the edges, and a partially separated bottom edge. The record is included (Northern Songs credit on A1, A2, B4, and B6; Dick James credit on A6 and A7).

Accompanied by a delightful provenance letter from the original recipient, which reads, in part: “‘Oh look, there’s the Beatles,’ someone said as I got off the train at Liverpool Lime Street Station one Saturday afternoon in 1963 – I now can’t remember the month, but it probably was March or early April. I had been doing some overtime at the accounts department of the local electricity board…and as had been usual practice with my work colleagues, when we finished work, we caught the train to Liverpool to do some shopping.

That Saturday morning, my friend had returned my ‘Please Please Me’ album, which she had borrowed, so much to my

annoyance, I had to carry it to Liverpool with me! Such annoyance was very short-lived when I went over to platform one; the London train left from there, and indeed did I see John, Paul, and George standing there with a group of girls around them. I was a very shy 19-year-old so I waited a while before I spoke and then very shyly asked John if he would sign the album. He made some remark to the others and then asked me to turn around and used my back as a rest, signed the back cover, and passed the biro pen to Paul and George.

I listened to the conversation but did not join in; I was too excited and just stood quite mesmerized by the whole experience. It was getting near the time for the train to depart, and so the crowd dispersed and John, Paul, and George got on the train whilst I waited to see if Ringo would get there in time to sign the album. He did at last run on to the platform and I quickly asked him to sign – he used a fountain pen so that it why the signature is a little faint, but I had all four signatures and left the station in a daze clutching the album close to my body never realizing how important it would become in later years.”

Provenance: Christie’s, Pop Culture: June 2014. Starting Bid $1000

Rare fully signed color magazine photo of the Beatles from circa mid-1963

3002. Beatles Signed Rare Color Magazine Photograph (ca. Mid-1963). Vintage mid-1963 color 8.75 x 11.75 magazine photo of the Beatles, containing four individual portraits of the Liverpool musicians, signed on their respective images in blue ballpoint by Paul McCartney, John Lennon, Ringo Starr, and George Harrison. In fine condition, with small tape stains to the corner tips. Accompanied by full letters of authenticity from REAL and Beatles expert Frank Caiazzo. Only a handful of signed color photos of the Beatles are known to exist, making this an item of the utmost rarity. Starting Bid $1000

The Beatles usurp the headlining spot from Tommy Roe and Chris Montez, rock City Hall in Newcastle-Upon-Tyne on March 23, 1963, one

day after the release of their debut album Please Please Me

3003. Beatles Signed Concert Ticket (City Hall in Newcastle-Upon-Tyne, March 23, 1963). Original 3.5 x 3 ticket for a Tommy Roe and Chris Montez concert that took place at the City Hall in Newcastle-Upon-Tyne, England, on March 23, 1963, a musical showcase that also included the Beatles on the bill, signed on the reverse by in blue ballpoint, “John Lennon, xxx,” “Paul McCartney,” and “George Harrison,” and in black ballpoint, “Ringo Starr.” Includes an original program from the Beatles’ 1963 tour with Chris Montez and Tommy Roe, which lists the Beatles as the last act to play before the interval. In very good to fine condition, with intersecting folds, corner tape stains, and skipping to Starr’s and Harrison’s last names. The Beatles performed a six-song set at the show, which consisted of ‘Love Me Do,’ ‘A Taste of Honey,’ ‘Do You Want to Know a Secret,’ ‘Please Please Me,’ and ‘I Saw Her Standing There.’

Accompanied by a certificate of authenticity from Tracks and by a letter from the original recipient: “I attended the Tommy Roe concert at Newcastle City Hall on 23rd March 1963. Before the show I was walking down City Road with a friend and we saw the four Beatles walking around the venue. I produced my ticket for the show and they gladly signed the back of it as we were standing in the street. I remember Paul McCartney being the most beautiful man I had ever seen!”

Although Montez and Roe were initially slated as the tour’s headliners, their lead position didn’t last long. Despite how the programs read, the Beatles became the tour’s headliners on the second performance of the tour’s second day, March 10, 1963, at the Granada Cinema in East Ham, London. With ‘Please Please Me’ at the top of the charts, this Newcastle show came the day after the release of their highly anticipated debut album, an event that triggered the worldwide phenomenon known as Beatlemania. Starting Bid $1000

Magnificent band-signed 1963 PYX Beatles program, with classic color Dezo Hoffman cover

3004. Beatles Signed 1963 PYX Program with Classic Color Dezo Hoffman Cover. Exceptional 1963 PYX Productions Limited program for the Beatles, 7 x 9.5, 28 pages, signed and inscribed on the front cover in blue ballpoint, “To Marilyn, Paul McCartney,” “John Lennon,” “George Harrison,” and “Ringo Starr.” The front cover features Dezo Hoffman’s iconic photograph of the band in their matching gray collarless suits. In fine condition, with a repaired tear to the back cover and trivial loss to the lower front corner tip; the young girl’s ownership inscription, “Marilyn Andrews,” is penciled on the first page. All four autographs—especially those of Lennon, McCartney, and Starr—are choice examples, especially neat, clear, and well-placed. With desirable Hoffman imagery and a crisp cast of signatures, this is a marvelous piece of modern music memorabilia. Starting Bid $1000

Series C ‘fiver’ banknote signed in full by the Beatles circa late 1965

3005. Beatles Signed Bank of England 5-Pound Banknote. Scarce Series C five-pound banknote from the Bank of England, 5.5 x 3.25, signed on the back in blue ballpoint by the Beatles: John Lennon, George Harrison, Paul McCartney, and Ringo Starr. In very good to fine condition, with short splits to the ends of the three folds. Accompanied by a certificate of authenticity from Tracks and by a letter of authenticity from Beatles expert Perry Cox, who states: “This note was signed within a few weeks of the Beatles’ last ever UK tour ending in either late December 1965 or early January 1966.” A decidedly uncommon format signed by the entire Fab Four, with this example representing our first Fab Four-signed currency item from the Bank of England. Starting Bid $1000

Rare, early front-signed 1962 Parlophone promo card of the Beatles— the first to feature Ringo Starr

3006. Beatles Rare, Early Signed 1962 Parlophone Promo Card - The First to Feature Ringo Starr. Vintage 1962 Parlophone Records 5.75 x 3.5 promotional card of the Beatles during a recording session at Abbey Road Studios, signed on the front in blue ballpoint, “John Lennon, xxx,” “Paul McCartney, xxx,” “George Harrison,” and “Ringo Starr.” Harrison also began to sign on the reverse—where these cards are typically signed—writing, “Geo.” Handsomely mounted, matted, and framed to an overall size of 10.75 x 9, with a window in the backing showing George’s partial signature. In very good to fine condition, with old tape stains to the top and bottom edges, and a very small surface tear in the bottom border. Accompanied by a letter of authenticity from noted Beatles expert Frank Caiazzo, in part: “These signatures are on the front on an October 1962 issue Parlophone Records promotional photocard…This card was signed by The Beatles in late 1962. Early Parlophone promo cards, such as this one, signed on the front are extremely rare and highly desirable.”

Parlophone Records produced a small number of promotional photo cards in two formats—a horizontal version and a vertical one, with pictures shot by famed Beatles photographer Dezo Hoffmann while the band was in the studio recording their first single, ‘Love Me Do,’ at EMI Studios, Abbey Road, London, England.

Taken on September 4, 1962, the image shows the group in their final incarnation at the very beginning of their storied career, and the first promo card with new drummer Ringo. Interestingly, George Harrison has a black eye in the photograph, the result of an argument with a Beatles fan several days before the recording session. The recent firing of drummer Pete Best had rankled a large contingent of Beatles fans, one of whom showed his displeasure by punching Harrison in the face before a concert at the Cavern Club on August 19, 1962. Starting Bid $1000

Amazing quartet of uninscribed Beatles portraits, all with ideal autograph placement

3007. Beatles (4) Signed Photographs - A Rare Single-Signed, Uninscribed Quartet. Superb set of four 5.75 x 8 program photos of the Beatles, individually signed in blue ballpoint, “John Lennon,” “Love, Paul McCartney, xxx,” “George Harrison,” and “Ringo Starr, xxx.” Double-matted to an overall size of 17 x 22. In very good to fine condition, with light creasing, visible at an angle. An amazing, perfectly displayable quartet of uninscribed Beatles portraits, all with bold signatures and ideal autograph placement—each name standing out against a light background. Starting Bid $1000

Marvelous early 1962 photo of the Beatles, signed during their Cavern Club days

3008. Beatles Early Signed Photograph (c. 1962). Remarkable vintage glossy 8 x 6 photo of the Liverpool lads before their international fame, taken by photographer Peter Kaye in 1962, signed on the reverse in blue ballpoint during the same period, “John Lennon, xxx,” “Lots of love, Paul McCartney, xxxxx,” “George Harrison, xxx,” and “Love, Ringo Starr, xxx.” The reverse also bears notations identifying the Beatles members in the order shown on the front, as well as a youthful pencil sketch showing the band in their familiar formation—with Paul accurately portrayed as a lefty. In very good to fine condition, with creasing to the image, soiling and light staining to the signed side, and ballpoint notations to reverse. Accompanied by a letter of authenticity from noted Beatles expert Frank Caiazzo, in part: “These signatures are on the reverse of a photograph which depicts the group in an early pose in Liverpool which was taken by photographer Peter Kaye…These signatures date from late 1962.” Starting Bid $1000

Early, fully signed 1963 newspaper photo of the Beatles: “Their second self-penned single ‘Please Please Me’ is released at the end of next week”

3009. Beatles Signed Newspaper

Photograph: “Their second selfpenned single ‘Please Please Me’ is released at the end of next week”.

Vintage circa early 1963 newspaper photo of the Beatles, 5 x 2.75, signed in blue ballpoint by the band, “John Lennon,” “Paul McCartney, xxx,” “George Harrison,” and “Ringo Starr.” The image of the Fab Four is captioned: “The Beatles: Their second self-penned single ‘Please Please Me’ is released at the end of next week.” In good condition, with tears, folds, and old tape stains.

The Beatles’ song ‘Please Please Me’ was released in the United Kingdom on January 11, 1963, as their second single. It became the band’s first number-one hit on several UK charts, marking their breakthrough into mainstream success. Its energetic tempo and catchy melody helped establish The Beatles’ signature sound and launched them toward international fame. Starting Bid $500

3010. Beatles Signatures (c. 1963).

Early vintage circa 1963 red ballpoint signatures of John Lennon, Paul McCartney, George Harrison, and Ringo Starr on an off-white 2.75 x 4.5 card, all adding inscriptions to “Pat.” Matted with a portrait of the Fab Four to an overall size of 16 x 20. In good to very good condition, with soiling, heavy creasing, several heavy folds, and smudging to Lennon’s signature. Starting Bid $500

3011. Beatles Signatures with Tommy Roe and Chris Montez - Co-Stars of Their First ‘Headliner’ Tour. Unique display honoring the Beatles’ first tour as headliners with Tommy Roe and Chris Montez in the spring of 1963, including: a vintage 4.25 x 7.25 diary page, signed and inscribed in black ballpoint, “Love from the Beatles, John Lennon, x,” “George Harrison, xx,” “To Janet, with love, Chris Montez,” and “Sincerely, Tommy Roe”; a ballpoint signature, “Paul McCartney,” on a lined 3.5 x 1 slip; a ballpoint signature, “Love, Ringo Starr,” on a 3 x 3.25 slip; and a 10 x 8 photo of the Beatles with Roe and Montez, signed and inscribed in black felt tip by the American singers. “To Jim, Chris Montez” and “To Jim, Thanks, Tommy Roe, 2010.” Matted and framed together to an overall size of 20.5 x 21.5. In very good to fine condition, with intersecting folds, overall creasing, and a tear to the Lennon/Harrison sheet. Accompanied by a certificate of authenticity from Tracks for the Lennon/Harrison sheet, stating that the signatures were obtained at the Embassy Theatre, Peterborough, following their concert there on March 17, 1963. Starting Bid $500

“Buy Them Here!”—rare, elusive 1963 record shop Parlophone promotional poster— “We Stock The Beatles’ Sensational Records”

3013. Beatles Original Parlophone Records Promotional Poster - “We Stock The Beatles’ Sensational Records” (28.5˝ x 8˝). Incredibly rare original 28.5 x 8 Parlophone Records promotional poster that reads “We Stock The Beatles’ Sensational Records On Parlophone, Buy Them Here!” The poster, featuring white and DayGlo orange text on a black background, was issued to select UK record shops and stockists in 1963 to promote the Beatles’ releases. In fine, folded condition. Accompanied by a certificate of authenticity from Tracks. One of the earliest known promotional Beatles posters ever to emerge. Starting Bid $500

3014.Beatles ‘Third State’ Butcher Cover AlbumYesterday and Today (Stereo). The Beatles Yesterday and Today stereo ‘third state’ butcher cover (Capitol Records, ST 2553), its previously affixed ‘trunk’ cover professionally peeled from the album jacket to reveal the ‘butcher’ cover underneath. In very good condition, with light soiling and tape stains to the reverse. Encapsulated by AMG as “Authentic.” Accompanied by a mono example of the Yesterday and Today vinyl record.

Within days of releasing this miscellany of previous hits, Capitol recalled all copies in response to retailers’ negative reactions to the original macabre cover image. The recalled copies were ‘retrofitted’ with a new pictorial flat, pasted over the first, featuring an innocuous image of the boys posed around a steamer trunk; these have frequently been peeled away by collectors to reveal the infamous butcher image below. Stereo covers are much rarer than the mono versions, as they were produced in far fewer quantities. Starting Bid $200

Exceedingly rare original poster for the Beatles at Leyton Super Baths in April 1963, amidst their meteoric rise to fame

3012. Beatles Exceedingly Rare 1963 Leyton Super Baths Concert Poster. Exceedingly rare original first printing color 15 x 20 concert poster for the Beatles at Leyton Super Baths on April 8, 1963, with the band’s name printed in remarkable bright red day-glo ink within a black box. The poster reads: “Leyton Super Baths, Leyton, E.10, Monday, 8th April, The Fabulous Beatles, Bus Routes: 35, 38, 38A, 69, 249, 257, 234, 70, 170, 26, Nearest Underground Leyton (Central).” In fine condition, with light creasing and flattened intersecting folds.

This incredibly rare poster comes from the personal collection of Norman Jago, who assisted in creating and distributing it in 1963 to advertise the Beatles’ first and only show at Leyton Super Baths; this is his only remaining example, in an excep-

tionally well-preserved state. We find no record of another ever being offered at auction.

By the spring of 1963, the Beatles were skyrocketing to fame across the United Kingdom. Their debut album, Please Please Me, had just hit the airwaves—soaring up the charts and transforming them from local favorites into national sensations. Though a major tour with Roy Orbison was already being planned, manager Brian Epstein held firm that the band honor their dance hall bookings. One such date, at Leyton Super Baths on April 8, 1963, drew a packed and electric crowd eager to witness Britain’s hottest new act in person. The raw excitement that night crackled with the first sparks of Beatlemania—an unstoppable cultural wave that was just beginning to roll. Starting Bid $1000

The Beatles’ classic Sgt. Pepper’s Lonely Hearts Club Band, signed on the iconic gatefold by Paul, George, and Ringo

3015. Beatles: McCartney, Harrison, and Starr Signed Album - Sgt. Pepper’s Lonely Hearts Club Band. Sgt. Pepper’s Lonely Hearts Club Band album by the Beatles (Capitol Records, SMAS 2653), nicely signed on the gatefold in ballpoint by Paul McCartney, George Harrison, and Ringo Starr. In fine condition. The record and cardboard ‘Sgt. Pepper Cut-Outs’ insert are included.

The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, released in May 1967, stands as one of the most important and influential albums in the history of modern music, hailed as a masterpiece that redefined the artistic possibilities of the rock album. With its groundbreaking production, eclectic musical styles, and conceptual unity, it captured the cultural spirit of the 1960s and set new standards for creativity in popular music. An autographed copy of Sgt. Pepper’s stands among the most desirable of all Beatles collectibles, and this is a superior example—uninscribed and exceptionally well preserved. Starting Bid $2500

Coveted complete set of signed Beatles checks, drawn on the accounts of their music publishing companies

3016. Beatles (3) Signed Checks with Lennon, McCartney, Harrison, and Starr - A Sought-After Complete Set, Drawn on their Music Publishing Companies. Amazing set of three business checks signed by the members of the Beatles, all encapsulated by PSA/DNA. Includes:

- Sought-after Maclen (Music) Ltd. business check, 7.75 x 3.5, filled out in another hand and prominently signed by John Lennon and Paul McCartney as company directors, payable to Pyramid Records Ltd. for £800, November 28, 1975. Encapsulated and graded by PSA/ DNA as “MINT 9.”

Maclen Music was the company through which Lennon and McCartney received songwriting royalties for the songs they wrote together during the Beatles’ days. Both were well into their solo careers by this point, with both releasing albums in 1975—McCartney’s Wings came out with their fourth album, Venus and Mars, and Lennon released his sixth, Rock ‘n’ Roll. Post-Beatles material signed by both Lennon and McCartney is extremely scarce.

- Harrisongs Ltd. business check, 7.75 x 3.5, filled out in another hand and signed by George Harrison, payable to Woking Motors Ltd. for £19.24, May 6, 1971. Encapsulated in a PSA/DNA authentication holder. Harrisongs was Harrison’s own music publishing company, founded in 1964.

- Apple Publishing Ltd. business check, 7.75 x 3.5, filled out in another hand and signed by Ringo Starr, “R. Starkey,” payable to Graham Lyle for £9.99, March 5, 1974. Encapsulated and graded by PSA/DNA as “GEM MT 10.” Apple Publishing was founded in 1967 by the four Beatles to serve as a music publisher under their larger Apple Corps umbrella.

In overall fine condition. Accompanied by a certificate of authenticity from Tracks for the Lennon/McCartney check. Starting Bid $1000

The Beatles rock the Dutch village of Blokker on June 6,

1964—large photograph album with vintage signatures of John,

George,

and Paul, dated to the opening

European

leg of their first world tour

3017. Beatles Signed Photograph Album - Dated to Blokker, Netherlands, on June 6, 1964. Large vintage photograph album, 11.25 x 14.25, prominently signed inside on the same page in blue ballpoint by three members of the Beatles: George Harrison, John Lennon, and Paul McCartney. The page bears an affixed magazine clipping of the group, with the respective signers adding their names next to their likeness. The photo album derives from the personal collection of Oscar Rexhauser, a member of The Hot Jumpers, a Dutch Indo-rock band that opened for the Beatles during one of the band’s two concerts at Velinghal in the village of Blokker outside Amsterdam on June 6, 1964. Included in the album are several original candid photographs from the Hot Jumpers’ performance, as well as four color photographs of the Beatles warming up backstage in the dressing room, which include snapshots of McCartney, Lennon, Harrison, and backup drummer Jimmie Nicol. The balance of the album contains numerous affixed newspaper clippings and photographs from the Hot Jumpers’ tours in 1963 and 1964, which also includes images and signatures of Jim Reeves, Chet Atkins, and Bobby Bare. In overall fine condition, with spine damage only to the album itself; interior pages are all clean and fine. Starting Bid $1000

Beatles autographs signed at the Deauville Hotel on the day of their second Ed Sullivan Show appearance

3018. Beatles Signatures - McCartney, Harrison, and Starr, Obtained at the Miami Deauville Hotel (1964 Ed Sullivan Show Appearance). Vintage circa 1964 ballpoint signatures, “Beatles, Ringo Starr,” “George Harrison,” and “Paul McCartney,” on the reverse of a postcard for the Deauville Hotel in Miami, where the Beatles performed a special live concert for the Ed Sullivan Show on February 16, 1964. In very good condition, with light soiling, overall creasing, and old tape stains to the edges.

The original recipient won a radio contest to meet the Beatles at the Deauville Hotel, and the autographed postcard is accompanied by several related materials, including: a TLS by Michael Haptman, promotion manager for WINS Radio 1010, also signed by popular radio DJ and Beatles promoter Murray the K, February 14, 1964, in part: “I am happy to enclose two tickets for Eastern Flight #’s 607 and 2650 for February 16th, taking you and your guest down to Miami, Florida for The Beatle’s performance at The Deauville Hotel!”; an original ticket stub for the CBS Television production of the Ed Sullivan Show at the Deauville Hotel on February 16, 1964; the hotel room key, on its blue plastic Deauville Hotel keychain; an unopened Deauville Hotel sugar packet; an “I Love the ‘Beatles’” pinback button; and a newspaper clipping about the sixth-grader’s trip to Miami to meet the Beatles.

One week after making their famous appearance on the Ed Sullivan Show, broadcast from New York, the Beatles again joined Sullivan—this time at Miami’s Deauville Hotel—for a special live show. This served as the band’s second televised introduction to the American public, helping to launch Beatlemania in the United States. Starting Bid $300

John Lennon and

Neil Aspinall

agree to

a

royalties contract for the fan-favorite Beatles song ‘Dear Prudence’

3019. John Lennon Signed Royalties Contract for ‘Dear Prudence’. DS, one page, both sides, 8 x 13, October 15, 1968. An original Memorandum of Agreement between Maclen (Music) Limited, John Lennon and Paul McCartney, and Northern Songs Limited for royalties related to the Beatles song ‘Dear Prudence,’ which appeared on the group’s 1968 self-titled album, otherwise known as the ‘White Album.’ Signed at the conclusion in black felt tip by John Lennon, and countersigned in black ballpoint by Neil Aspinall. In fine condition, with paperclip marks to the upper right. Accompanied by a certificate of authenticity from Tracks and by a letter of authenticity from noted Beatles expert Frank Caiazzo.

‘Dear Prudence’ was written by John Lennon during the Beatles’ trip to Rishikesh, India, in early 1968. It was inspired by actress Mia Farrow’s sister, Prudence Farrow, who became obsessed with meditating while practicing with Maharishi Mahesh Yogi. Her designated partners on the meditation course were John Lennon and George Harrison, who both attempted to coax Farrow out of her seclusion, which led to Lennon writing the song that appeared on the band’s 1968 self-titled album.

The Beatles recorded the song at Trident Studios in late August 1968 as a three-piece after Ringo Starr temporarily left the group out of protest at McCartney’s criticism of his drumming on ‘Back in the U.S.S.R.’ and the tensions that typified the sessions for the White Album. Critics have long praised ‘Dear Prudence’ for its lyrics and the band’s performance, and Lennon himself selected it as one of his favorite songs by the Beatles. Starting Bid $1000

John Lennon approves a proxy to vote at the First Annual General Meeting of Python Music Limited

3020. John Lennon Document Signed for Python Music Limited. DS, one page, 8.5 x 13, no date (circa 1968-1969). Apple Corps and Python Music Limited document appointing P. J. Howard to serve as proxy to vote at the First Annual General Meeting of Python Music Limited, to be held at 3 Savile Row, London. Signed below in black felt tip by John Lennon as director. The front bears a stapled exhibit sheet. In fine condition. Accompanied by a certificate of authenticity from Tracks. Starting Bid $1000

Exceedingly rare Lennon and Harrison signatures that date to the Beatles’ spiritual sojourn at the Maharishi’s Academy of Meditation

3021. John Lennon and George Harrison Signatures - Dated to the Beatles’ 1968 Stay at the Academy of Meditation with the Maharishi. Vintage ballpoint signatures and inscriptions, “To Diane, with love from George Harrison, x,” and “and love to Diane, from John Lennon, x,” on an off-white 5.75 x 7 sheet. In very good to fine condition, with edge toning, intersecting folds, and light creasing.

The autographs were obtained during the Beatles’ stay at the Academy of Meditation in Shankaracharya Nagar, Sawargashram, Rishikesh, India, with the Maharishi Mahesh Yogi at some point between February 15th and April 12, 1968. The Beatles had traveled to the country to attend an advanced transcendental meditation program at the ashram after they had previously met the Maharishi in Bangor, Wales, in August 1967. Beatles autographs signed at the Maharishi’s camp in India are supremely rare, as the Beatles were either busy writing songs or meditating and were not approached by other attendees or employees of the ashram for their autographs.

Accompanied by a certificate of authenticity from Tracks and by a letter from the niece of the original recipient: “It was 1968 that my uncle, Tony Rittendale, dropped everything at his Las Vegas pit boss job to join the Maharishi in India as an initiator to teach people how to meditate. There were so many famous people there at the time, The Beatles, Mia Farrow, The Beach Boys. Many others. In one of the sessions, he asked John and George to sign an autograph ‘for Diane’! I’ve had it ever since.” Starting Bid $500

Scarce uninscribed second edition of Grapefruit, dual-signed by “John Lennon” and “Yoko Ono Lennon”

3022. Beatles: John Lennon and Yoko Ono Signed Book - Grapefruit. Scarce signed book: Grapefruit. Second edition, first printing. NY: Simon and Schuster, 1970. Hardcover with dust jacket, 5.75 x 5.5. Signed neatly on the first free end page in black ballpoint, “John Lennon” and “Yoko Ono Lennon.” In fine condition, with light wear and sunning to the dust jacket. A wonderful, uninscribed presentation copy of this uncommon Fluxus volume, famous as an early example of conceptual art. Starting Bid $500

John Lennon lends a ‘Helping Hand’ for three days at a Philadelphia radio marathon fundraiser for multiple sclerosis

3023. John Lennon Signature with (20) Candid Photographs from the 1975 WFIL Helping Hand Marathon. Vintage 1975 ballpoint signature, “John Lennon,” on an off-white 4.75 x 4 sheet. Included with the signature is a period spiral-bound photo album, which contains 20 color semi-glossy 5 x 3.5 candid photographs from the WFIL Helping Hand Marathon, with 14 photos picturing Lennon at the event. In very good to fine condition, with light soiling, and old adhesive and mounting residue on the back. From May 16 to 18, 1975, the Philadelphia rock station WFIL and the advocacy organization PARC cosponsored the Helping Hand Marathon, a weekend fundraiser to raise money for multiple sclerosis. Lennon spent the entire three days answering phones, taking pledges, and signing autographs for fans; he even stayed long enough to do the weather report for WPVITV. Starting Bid $500

“Communist are people too!”— the acerbic Lennon discusses his Vietnam peace campaign, music, and current affairs

3024. John Lennon Handwritten ‘John & Yoko Peace Club’ Questionnaire: “Charles Manson should be made a General”. Typed ‘John & Yoko Peace Club’ questionnaire filled out by John Lennon and returned to a young fan and club secretary, Barbara Clark, one page both sides, 8 x 10, no date but circa 1971. Lennon responds to ten typed questions posed by Clark, relating to his activities as a peace campaigner, current affairs, and music. Asked why he and Yoko has been out of the public eye for so long, Lennon writes: “We come and we go.” Asked for thoughts on “Lieutenant Caley’s case in America,” Lennon writes: “Charles Manson should be made a General.” Replying to a question about British troops in Ireland, he writes: “They should be thrown out!”

Asked if the ‘Peace Campaign’ is moving forward, he notes: “It is not our campaign, it is everyone’s—so you have the answer yourself.” Asked if he recorded ‘Power to the People’ with the intention of releasing it as a single, he writes: “Yes.” Commenting on classical music (such as Mozart) getting into the charts, Lennon reacts: “Didn’t know it was in charts! I’ve no idea.” Asked if he has anything to say to the young people, Lennon writes: “Communist are people too!” Finally, asked what he would like the peace club to be doing in the future, Lennon writes: “Be in Washington on May 1st.” At the bottom, Clark has sketched an acorn “Peace” emblem and signed her name. In fine condition.

Accompanied by the original mailing envelope and a transmittal letter signed by “Diana” (probably Lennon’s assistant, Diana Robertson), dated April 15, 1971, in part: “I am returning your questionnaire which John & Yoko have completed at last. Your acorn designs are fine but at the moment John and Yoko are still undecided as how exactly to use it (the acorn). However, the acorn is still the symbol they will use so they would like you to design your membership cards around it.”

Provenance: Lot 55, Rock & Pop, Sotheby’s, September 29, 2015.

In 1969, John Lennon and Yoko Ono held two ‘bed-ins for peace’—one in Amsterdam and another in Montreal—as a form of nonviolent protest against the Vietnam War. Instead of marching, they invited the press to their hotel room to discuss peace while they stayed in bed for a week. During the Montreal bed-in, they recorded the anthem ‘Give Peace a Chance,’ which became a rallying cry for the anti-war movement. Lennon continued his activism with songs like ‘Power to the People,’ released as a single in 1971, further amplifying his call for peace and social change and cementing his image as a symbol of countercultural resistance. His caustic remarks about Charles Manson—prompted by an inquiry about William Calley, convicted of murder for his role in the My Lai massacre—are typical of Lennon’s acerbic wit and irreverent sense of humor. On a more serious note, he encourages the youth to show up for the 1971 May Day protests against the Vietnam War—a march that would result in the arrest of 12,000 participants, marking the largest mass arrest in U.S. history. Starting Bid $500

Lennon and Nicol sign a 1964 Danish concert program on the first night of the latter’s eight-show fill-in with the Beatles

3025. John Lennon and Jimmie Nicol Signed Danish Concert Program - K.B. Hallen in Copenhagen, June 4, 1964. Original vintage program for a Beatles concert at K.B. Hallen in Copenhagen, Denmark, on June 4, 1964, sixteen pages, 8 x 10.25, signed on the centerfold in ballpoint by John Lennon and by substitute drummer Jimmie Nicol. In fine condition, with light handling wear. Accompanied by a certificate of authenticity from Tracks.

At the start of the Beatles’ 1964 world tour, drummer Jimmie Nicol replaced Ringo Starr from June 3-15 while the latter was recovering from tonsillitis and pharyngitis. Nicol’s first concert with the Beatles took place on June 4th at the KB Hallen. He was given the distinctive Beatle mop-top hairstyle, put on Starr’s suit, and went on stage to an audience of 4,500 Beatles fans. McCartney recalled: ‘He was sitting up on this rostrum just eyeing up all the women. We’d start ‘She Loves You’: [counting in] ‘one, two’, nothing, ‘one, two’, and still nothing!’ Their set was reduced from eleven songs to ten, dropping Starr’s vocal spot of ‘I Wanna Be Your Man.’ McCartney teasingly sent Starr a telegram saying: ‘Hurry up and get well Ringo, Jimmy is wearing out all your suits.’ Starting Bid $300

John and Paul sign during their Cavern Club days— an ultra-early

signed Beatles image

3026. John Lennon and Paul McCartney Signed Magazine Photo (c. 1962). Vintage circa 1962 clipped 6.25 x 4.5 magazine photo of the Beatles in their Cavern Club years, nicely signed and inscribed in blue ballpoint, “More love from John (to Mary)” and “Love, once again, from Paul McCartney.” Stapled to a larger page alongside a caption and clipped Cavern Club performance calendar, matted and framed to an overall size of 15.75 x 10. In very good to fine condition, with light creasing, and two rusty old staples. Starting Bid $300

John Lennon and George Harrison visit the Hollywood Walk of Fame after the filming of their first movie, A Hard Day’s Night

3027. John Lennon and George Harrison Signatures with (3) Original Candid Photographs - Obtained Outside Grauman’s Chinese Theatre on May 25, 1964. Vintage ballpoint signatures of John Lennon and George Harrison on an off-white 3 x 5 card, which bears a collector’s date notation of May 25, 1964. Includes three original glossy 5 x 3.5 candid photographs of Lennon and Harrison outside of Grauman’s Chinese Theatre in Los Angeles, California, on the morning of May 25, 1964, the same date the autographs were obtained. The three photos, which feature identifying captions to the borders, individually show: George Harrison and Pattie Boyd; John Lennon and his wife, Cynthia; and Harrison signing an autograph, with the Lennons and Boyd pictured walking in the background. n overall fine condition. Accompanied by three period newspaper clippings referencing Lennon and Harrison’s trip to Hawaii and Tahiti, which included a quick layover in Los Angeles, where the two Beatles did some sightseeing, which included visiting the stars of the Hollywood Walk of Fame. The two musicians took the trip to take a much-deserved break from the chaos of Beatlemania after the filming of their first movie, A Hard Day’s Night. Starting Bid $300

3028. John Lennon Signed ‘Bag One’ Lithograph (Ltd. Ed. #8/300). Limited edition 30 x 22.75 lithograph from John Lennon’s ‘Bag One’ series of erotic drawings showing Yoko Ono in an intimate act of self-pleasure, numbered 8/300, prominently signed in the lower right corner in pencil, “John Lennon.” In very good to fine condition, with scattered creasing.

In 1969, as a wedding gift for Yoko, John drew the ‘Bag One Portfolio’—a chronicle of their wedding ceremony, honeymoon, and their plea for world peace in the Bed-In. The following year the artwork was produced in a series of 300 portfolios of 15 signed prints each. The majority depict John and Yoko’s most intimate, private moments—upon their first exhibition in London, more than half were deemed ‘indecent’ and confiscated by Scotland Yard. The complete set of Bag One lithographs is on permanent display at the Museum of Modern Art in New York. Starting Bid $300

3029. John Lennon Original Test Pressing for ‘Power to the People’. Rare Apple Corps Ltd. single-sided 7-inch test pressing for the 1971 John Lennon song ‘Power to the People,’ which was credited to John Lennon/Plastic Ono Band and recorded at his Ascot Sound Studios between January 22 and February 9, 1971. The record retains its original white-and-green Apple Corps Ltd. label with typed captions, “John Lennon / Plastic Ono Band, R. 5892, A Side, Power to the People, Comp: John Lennon, Pub: Maclen (Music) Ltd, Prod: Phil Spector / John & Yoko.” In fine condition. Accompanied by a certificate of authenticity from Tracks.

The single, ‘Power to the People,’ which was released in the UK on March 12, 1971, with the catalogue number R 5892, was written by Lennon in response to an interview he gave to Tariq Ali and Robin Blackburn, published in Red Mole. As Lennon explained: ‘I just felt inspired by what they said, although a lot of it is gobbledygook. So I wrote ‘Power to the People’ the same way I wrote ‘Give Peace a Chance,’ as something for the people to sing.’ Starting Bid $200

“Gauloises

Disque Bleu” cigarette

package, signed by John Lennon at a

midwest Big Boy—plus the Apple Records single gifted to the autograph seeker

3030. John Lennon Signed Cigarette Package. Vintage red ballpoint signature of John Lennon on a 3.5 x 2.25 crushed package of “Gauloises Disque Bleu” cigarettes. In very good condition, with overall creasing, and a skip to the start of the signature. Accompanied by an Apple Records 45 RPM single of Yoko Ono’s ‘Mindtrain / Listen, the Snow Is Falling,’ given to the autograph seeker by John Lennon. Includes a detailed provenance statement from the original recipient, in part: “I was working as a busboy at an Elby’s Big Boy restaurant in Cambridge, Ohio, back in 1972. I noticed one table had 3 people sitting there and 2 of them I recognized as John Lennon and Yoko Ono. The third individual remains unknown to this day. Initially they denied who they were. We kept bugging them and followed them out to their car. I had already picked up this empty pack of cigarettes and a pen for him to sign with. He then pulled out a stack of 45s and started handing them out to us. I wish I would have had both of them sign that too but it’s hard to think of that when you are so excited just meeting them. They said they were heading to New York to try and get custody of his son, Julian. They talked for 5 or 10 minutes but it soon got pretty crowded around them so they got into their ordinary looking station wagon and drove off.” Starting Bid $200

McCartney Productions check signed by Paul in June 1970, roughly two months after he released his self-titled debut solo album and announced his departure from the Beatles

3031. Paul McCartney Signed ‘McCartney Productions’ Business Check - Two Months After Announcing His Beatles Departure. McCartney Productions Ltd. business check (Westminster Bank Limited), 6 x 3, filled out in another hand and signed by McCartney in red ink, “Paul McCartney,” payable to Mark Fisher for £224.80, June 12, 1970. In fine condition. The recipient is ostensibly British architect and stage designer Mark Fisher, who designed stage sets for bands like Pink Floyd, the Rolling Stones, U2, and Lady Gaga. This check dates to roughly two months after McCartney released his self-titled debut solo album and announced in a press release that he was no longer working with the Beatles. Starting Bid $1000

3032. Paul McCartney Twice-Signed 1973 Wings UK Tour Program. Program for the Paul McCartney and Wings UK Tour of 1973, in support of the album Red Rose Speedway, eight pages, 8.25 x 11.75, signed on the illustrated front cover in ink by Paul McCartney, who signs again on an inner page in blue ballpoint. The consignor notes that the autograph was obtained after a performance at the Odeon Theatre in Edinburgh on May 23, 1973. Includes an unofficial ‘Show Souvenir’ booklet from the Paul McCartney and Wings 1973 UK tour, which was sold outside the venues on the tour. In very good to fine condition, with light handling wear, and a central vertical fold. Accompanied by a certificate of authenticity from Tracks. Starting Bid $200

3033. Paul McCartney and Wings Limited Edition Promotional Picture Disc AlbumBack to the Egg. Original MPL promotional picture disc for the 1979 Wings album Back to the Egg, one of only 200 pressed for the launch of the LP in June 1979, with a total of 100 distributed to family and friends. The consignor notes that the other 100 were ready to be dispersed at the album launch, but were left in a taxi; purportedly, this album is one of those copies.

The matrix number on side one is YEX 987-2, and the matrix number on side two is YEX 988-1. The run-out grooves are engraved on each side with the words “Nick W” and “Nick,” respectively, and the catalog number on the edge of the record is PCTCP 257. The record’s included die-cut picture sleeve bears the catalog number “PCTC 257,” and the inner bag has the blue stripe in the upper corner; these bags were exclusive to EMI at the time. In very fine condition. Accompanied by a certificate of authenticity from Tracks. Starting Bid $200

3034. Paul McCartney Signed 1989 World Tour Promotional Card. Color semi-glossy 4 x 5.75 MPL Communications promotional card for Paul McCartney’s 1989 World Tour in support of his album, Flowers in the Dirt, signed in the lower border in black felt tip. In very fine condition. Accompanied by a certificate of authenticity from Tracks. Starting Bid $200

Stage-worn at the Cavern Club by George Harrison, won at a raffle for “Choice of personal belongings of the Beatles”

3036. George Harrison’s Stage-Worn Shirt from the Cavern Club, with Winning Oxfam ‘Beatle Raffle’ Ticket. George Harrison’s personally-owned stage-worn pink long-sleeve button-down shirt from his Cavern Club days with the Beatles, won at a “Beatle Raffle” sponsored by the Bredbury and Romiley Oxfam Committee on April 4, 1964. The dressy shirt measures 17.5˝ from shoulder seam to shoulder seam, with an arm length of 22˝, and has a “Jewel” maker’s label sewn in the collar. In very good to fine condition, with the armpit areas darkened. Accompanied by the original “Beatle Raffle” ticket, which notes the top four prizes as a “Choice of personal belongings of the Beatles,” as well as two original candid photographs of George Harrison’s mother, Louise, at his childhood home on Mackets Lane, one showing her in front of his wardrobe.

Also includes a lengthy, explanatory twelve-page story by Marilyn Barry, chronicling her sojourn to Liverpool to track down Beatles relics and family members in February 1964, during which time she met Louise Harrison and purchased the winning raffle ticket, plus a photocopy of her nineteen-page scrapbook, which brings the story to life. Filled with the bold vigor of youth, Barry and her three friends also visited the homes of Ringo Starr, Paul McCartney, and John Lennon, taking photographs, collecting autographs and relics, and engaging with various members of their families.

Writes Barry, in small part: “Mackett’s Lane was right out in the suburbs of Liverpool and the Harrison’s home was a modern Council house. Mr. Harrison opened the door and said, ‘Come in girls’…Mrs. Harrison was rather quiet but very sweet. She was busy unwrapping George’s twenty-first birthday presents, of which there were many…After a while the two Oxfam girls arrived. They were collecting personal items for a Beatles’ raffle. Mrs. Harrison brought down one of George’s old shirts, which we all kissed. It was pink with black stains under the arms. She told us that George wore a black polo-neck jumper underneath it in the Cavern. When he played at the Cavern, he used to sweat so much that his clothes were dripping when he came home. We all bought tickets for the raffle, which included some of John Lennon’s hair. I don’t normally win anything in raffles, but I won George’s shirt and John’s hair. I kept the shirt but gave the hair to Janice who loved John the most.” Starting Bid $500

“Thanks a lot for the Honda it was a complete surprise, and the best present I’ve had for a long time”—

George Harrison thanks EMI Records for his Xmas present—a Honda ‘Monkey’ motorbike—four months before the Beatles officially call it quits

3035. George Harrison Autograph Letter Signed to EMI Records - Dated Four Months Before the Beatles Breakup. ALS from George Harrison, penned on the reverse of a 4.75 x 4 greeting card, dated January 1, 1970. Addressed from “Esher-Surrey,” a handwritten letter to Ken East, the managing director of EMI Records in the UK, in full: “Thanks a lot for the Honda it was a complete surprise, and the best present I’ve had for a long time. Many thanks and good wishes for the future years.” The reverse of the card bears an artistic array of dried flowers. In fine condition, with a partial punch hole to the lower right corner. Accompanied by a certificate of authenticity from Tracks.

This letter was sent by Harrison just four months before the official breakup of the Beatles, which happened on April 10, 1970. It is worth noting that Harrison was still living in his home in Esher ‘Kinfauns’ at this time, and that he would move to ‘Friar Park’ three months later on March 10, 1970. EMI Records gave each member of the Beatles a Honda ‘Monkey’ motorbike as a Christmas present in 1969. Just two days after the card was sent on January 3, 1970, Paul McCartney, Ringo Starr, and Harrison were at the Abbey Road-based studio to help complete the recording of Harrison’s song, ‘I Me Mine.’ Starting Bid $500

Blinds & Shutters signed by George Harrison, Ringo Starr, and other pop culture icons of the era

3037. Beatles: George Harrison, Ringo Starr, and Others Signed Genesis Book - Blinds & Shutters (Ltd. Ed. #1760/5000). Signed book: Blinds & Shutters. Limited edition, numbered 1760/5000. England: Genesis Publications, 1990. Hardcover with presentation box, 11 x 15.5, 368 pages. Signed on a special tipped in page in various inks by George Harrison, Bill Wyman, William S. Burroughs, Peter Blake, Neil Aspinall, Colin Self, Brian Auger, Larry Bell, Adam Cooper, Terry Doran, and Nicholas Monro; and further signed and inscribed at the top in ballpoint, “To Hillary, Merry Christmas 1990, Love, Ringo Starr.” In fine condition, with light wear to the box.

This remarkable book was created as a tribute to rock and roll photographer Michael Cooper—the photographer behind the famous Sgt. Pepper’s album sleeve—and features over 600 of his images, many of which were previously unpublished. The books in the limited edition were signed by various groups of Cooper’s friends, and this is a particularly desirable combination of Harrison and Starr of the Beatles, Wyman of the Rolling Stones, Sgt. Pepper’s cover artist Blake, and other cultural notables of the 1960s—a truly magnificent work. Starting Bid $300

3039. Beatles Original ‘Let It Be’ Mother Disc - Side B, Variation 4 (Winchester, 1970). Rare ‘mother disc’ for Side B of the Beatles’s twelfth and final studio album, Let It Be, which was released by Apple Records on May 8, 1970. This metallic disc, 13.5˝, was pressed at the Capitol Records Pressing Plant in Winchester, Virginia (“-?”), and the lacquer was cut at Bell Sound Studios by engineer Sam Feldman (“sf”). The matrix number in the run-out groove area is stamped “Phil + Ronnie JS-17,501 - 12 #2 Bell Sound sf -?,” information that points to this disc representing variation #4 of 31 recorded variants of the mother disc from the Winchester plant. The outer ring of the disc is engraved in cursive lettering, “Apple.” In very good to fine condition, with some dings to the edge, and scattered scuffs and marks.

A ‘mother disc’ in vinyl record production is a metal positive copy created during the electroforming process between the metal father (negative) and the stampers (negatives used for pressing records). The process starts with cutting music onto a lacquer master, which is then plated to form the metal father. From the father, the mother is made—its grooves match the original recording and can be played back for quality control. The mother, which serves as a durable intermediate that preserves the master and enables consistent reproduction, is then used to create multiple stampers for pressing vinyl records. An impressive early piece of Beatles vinyl history; surviving ‘mother discs’ are very rare, given that the majority were recycled after use. Starting Bid $200

3042. Beatles (3) Production Cels from Yellow Submarine. (King Features, 1968) Three original hand-painted production cels from the Beatles’ animated feature film Yellow Submarine, depicting a Beatle with a blue-and-purple pinwheel, an exotic creature, and a man and woman side by side. Images measure from 3.25 x 3 (creature) to 11 x 11.25 (man and woman), with overall dimensions of 16 x 12.5. In overall fine condition.

Yellow Submarine (1968) is an animated musical film inspired by the music of The Beatles. The story follows the band as they journey in a yellow submarine to free the peaceful Pepperland from the music-hating Blue Meanies. Known for its groundbreaking psychedelic animation and iconic soundtrack, the film became a cultural symbol of the 1960s. Starting Bid $200

3043. Brian Epstein Typed Letter Signed - “With regard to interviewing Paul, I will tell him that you have contacted me”. TLS from Brian Epstein, one page, 8 x 10, NEMS Enterprises Ltd, November 25, 1966. Letter to student journalist Norman J. Partington, sent in relation to a planned interview with Paul McCartney for the Liverpool University newspaper, The Guild Gazette. In full: “Thank you for sending me a copy of ‘Sphinx.’ I do, of course, regret the delayed response. With regard to interviewing Paul, I will tell him that you have contacted me and inform him that he can expect to hear from his brother, but so far as I am concerned it is all in order.” In fine condition. Accompanied by a certificate of authenticity from Tracks and by the original mailing envelope.

On the Liverpool University website, Partington recalled his memories about the letter stating: ‘I realised at the time though, that the real coup, being in Liverpool, would be to interview the Beatles. Despite the Union’s ability to attract the major bands of the day, regrettably it didn’t extend to the major world sensation the Beatles had become. I was aware though that Paul McCartney was in the habit of dropping in on the town, so in November 1966 I wrote a letter to Brian Epstein asking if I could interview Paul when he next visited Liverpool. Regrettably this never came to pass, but Brian replied on NEMS Enterprises headed paper saying he would tell Paul to expect to hear from his brother Mike (of The Scaffold) who I was hoping to use as an intermediary.’ Starting Bid $200

3044. Stuart Sutcliffe Original Sketches of Dancers. Double-sided page of original drawings removed from one of Stuart Sutcliffe’s sketchbooks, 7.5 x 9.75, showing dancers in six different poses. The artwork was originally in a workbook that Sutcliffe submitted as an applicant for admission to the Royal College of Art, which was the property of the Sutcliffe estate and sold at Bonhams auction in July 2003. Matted and framed with a portrait and color copy of the reverse side to an overall size of 27 x 15.75; a window in the backing displays the reverse of the page. In fine condition. Accompanied by a letter of authenticity from Beatles expert Perry Cox.

Sutcliffe was a talented fellow student of John Lennon’s at the Liverpool College of Art, who played the bass in the first incarnation of the Beatles. He chose his passion for painting above being a Beatle and left the group to devote himself to his art career; not long after, he died of a cerebral hemorrhage at the age of twenty-one. Starting Bid $200

3045. Brian Epstein NEMS Enterprises Business Card. Scarce original personal NEMS Enterprises Ltd. business card, 3 x 1.75, listing Brian Epstein as the “Managing Director.” In fine condition. Accompanied by a certificate of authenticity from Tracks. Starting Bid $200

THE MARK ERBACH COLLECTION

Mark Erbach is a renowned expert and leading collector of Beatles and solo Beatles acetates and rare recordings. His passion began more than 40 years ago starting with the purchase of a 10 inch, Sterling Sound recording of John Lennon’s “Woman”. Since then, he has meticulously assembled over 125 Beatles and solo acetates spanning the entire careers of John, Paul, George, and Ringo. It is considered one of the largest and most authentic Beatles acetate collections in existence.

Mark has spent thousands of hours studying the intricacies of all the major record studios acetates used by the Beatles, including EMI, Apple, Capitol, Dick James, Sterling Sound, Bell, and the Cutting Room. His expertise allows him to examine a particular acetate and not only ascertain whether it was authentic, but also determine the approximate date of when it was cut, along with which specific engineer was responsible for cutting the acetate. As a result, his collection has become a significant resource and reference for authenticating and studying rare Beatles recordings.

Mark has contributed to authoritative books on the Beatles’ discography, including several by recognized Beatles authors, historians, and recording experts Bruce Spizer and Perry Cox. He has also worked with several major auction houses to provide authentication of acetates prior to sale.

Mark’s collection is notable for its provenance and the authenticity of the items within it, making any acetate from his collection highly desirable in the collector’s market. RR Auction is honored to present select highlights from this extraordinary collection in the upcoming Marvels of Music auctions in December 2025 and June 2026.

Ringo Starr’s personal gold record award for the 1964 Beatles album ‘A Hard Day’s Night’

3050. Ringo Starr’s 1964 United Artists Gold Record Award for the Beatles Album ‘A Hard Day’s Night’. Amazing original United Artists in-house gold record award, presented to “Ringo Starr, commemorating the first one million albums sold of the original motion picture soundtrack ‘A Hard Day’s Night,’ 1964.” Framed with its gold disc and engraved plaque to an overall size of 16.75 x 20. In very good to fine condition, with some light scratches to the frame and the glass recently replaced.

This award was issued to Ringo Starr on September 20, 1964, after the Beatles’ final performance of their 1964 North American Tour. It was acquired by the current owner indirectly from Maureen Cox’s family (Ringo’s first wife).

In 1964, United Artists executive David Picker recognized the immense potential of the Beatles and spearheaded the production of their first feature film, A Hard Day’s Night. The film’s corresponding soundtrack album, released in the United States by United Artists on June 26, 1964, became an unprecedented success—selling over 5.3 million copies that year and dominating the Billboard charts for 14 consecutive weeks. Despite this massive achievement, United Artists was not a member of the Recording Industry Association of America (RIAA) at the time and was therefore ineligible to receive official RIAA gold record certification. To honor the Beatles’ accomplishment, United Artists decided to create its own custom in-house gold record awards for the band.

These special awards were commissioned on a tight timeline as the Beatles’ 1964 U.S. tour drew to a close. Picker arranged for the awards to be presented on September 20, 1964, immediately following the Beatles’ final concert of the tour—a charity performance at the Paramount Theatre in New York City. Each of the four awards was meticulously crafted with a black and gold wooden frame, black felt matte, gold-plated metal record, and engraved brass plaque.

Because of the short production window, the awards were manufactured using available pressing plates from the United Artists record department rather than the original A Hard Day’s Night album plates. Nevertheless, their presentation carried significant symbolic weight, celebrating not only the band’s musical success but also the film’s cultural impact and the Beatles’ unparalleled popularity in America at the time.

The ceremony was captured by renowned music photographer William ‘PoPsie’ Randolph, whose images document the Beatles proudly holding their gold record awards backstage. The event was later featured in music industry trade publications, marking it as a notable moment in Beatles history. These in-house awards represent a unique chapter in the story of A Hard Day’s Night, reflecting United Artists’ ingenuity in commemorating one of the defining achievements of the Beatles’ early career.

Accompanied by a comprehensive report by Beatles specialist Mark Erbach, documenting the history of the piece. Starting Bid $2500

Capitol Records in-house award plaque presented to celebrate “Beatle Year I”

3051. Beatles KGB Radio “Beatle Year 1” Perma-Plaque Capitol Records Award (1964). Scarce original vintage 12.5 x 19 Capitol Records in-house award plaque, featuring a portrait of the Beatles with reproduction secretarial signatures, with text reading: “Beatles Award, To Radio Station KGB, in recognition of Outstanding Promotion, Programming, and Merchandising of the Beatles during Beatle Year I, 1965.” At the bottom are facsimile signatures of Capitol Records Distributing Corp. executives Stanley M. Gortikov and William B. Tallant, Jr. Reverse bears the label of the Professional Plaque Co., Hollywood. In fine condition, with only a few light marks toward the lower right; color is bright and edges are unmarred.

In 1964, toward the end of the first year of Beatlemania, the Capitol Records promotional department wanted to thank radio stations and individuals who were instrumental in promoting the Beatles during their first year in the U.S.A. The result was a nicely designed and manufactured wood-backed, laminated award that highlighted their specific contribution over that year.

This specific award was presented to radio station KGB in San Diego, California. In 1964, KGB was involved in a promotion with the San Diego Beatles fan club president to bring the Beatles to San Diego, though the concert itself did not take place until August 1965. The station was actively involved in creating excitement for the event, which would eventually become the band’s only concert in San Diego. It is unknown how many total awards Capitol Records manufactured and distributed in 1964, but given their extreme scarcity, these awards were evidently given out very infrequently and are exceptionally rare. There are less than 15 known documented examples in existence. Starting Bid $200

Exceedingly rare original Emidisc acetate for the Beatles’ breakthrough hit, “Please Please Me”

3052. Beatles Rare EMI Mono Acetate for “Please Please Me” (1962) - As Released on Their Breakthrough 45 RPM Single. Exceptionally rare 7˝ EMI one-sided acetate pressing of the Beatles’ breakthrough hit “Please Please Me,” as heard on the mono 45 RPM single released on January 11, 1963. The acetate disc bears a blackand-white Emidisc label with handwritten notations: “Please Please Me, The Beatles.”

One of the earliest known Beatles Emidisc acetates, this example was cut from a late November 1962 take. By this point, the song’s arrangement had been radically altered from earlier demos, ultimately requiring 18 takes to achieve the version that producer George Martin immediately recognized as a hit. His prediction proved accurate—’Please Please Me’ was the Beatles’ first single to reach number one on both the NME and Melody Maker charts. It then became the title track of their first studio album, recorded soon after to capitalize on the single’s success.

Although this acetate lacks the recording engineer’s initials on the label, research confirms that the handwriting is that of pioneering EMI cutting engineer Peter Vince, who joined the studio in April 1962, just prior to the Beatles’ first sessions there in June.

This very acetate was featured in Record Collector Magazine (September 2017), noted as part of a collection once owned by UK session musician Laurie Payne.

To date, we know of only two genuine Emidisc acetates of ‘Please Please Me’ to have surfaced. This particular example was last sold by Omega Auctions (UK) in 2022.

Condition (VG+): The disc displays a fair amount of surface marks and scuffs, but no feelable scratches to the playing surface. The label is clean, showing only proper aging. There is no deterioration to the lacquer on the playing side (with some minor wear to the lacquer around the rim), with some ‘ring like’ effects to the blank ‘B’ side. It plays great!

Accompanied by a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick. Starting Bid $1000

Dick James “Demo Disc” acetate of the Beatles’ signature song— “She Love You”

3053. Beatles Dick James Music ‘Demo Disc’ Acetate for “She Loves You / I’ll Get You” (1963). Desirable 7˝ Dick James Music Limited two-sided acetate for the Beatles’ hit single, “She Loves You,” backed by “I’ll Get You.” The acetate disc bears red-and-white Dick James “Demo Disc” labels, filled out in type: “45 R.P.M., Title: She Loves You, Artist: The Beatles” and “Title: I’ll Get You, Artist: The Beatles.”

Released in the UK on August 23, 1963, “She Loves You” became the defining anthem of Beatlemania and Britain’s best-selling record of the 1960s, with sales surpassing 1.3 million copies.

Dick James, the band’s music publisher, co-founded Northern Songs in February 1963 to handle Lennon-McCartney com-

positions. Acetates like this were typically cut to promote new Beatles material and to present Lennon and McCartney’s songs to other artists for potential cover recordings. “She Loves You” was indeed covered by a variety of artists throughout the mid1960s, including Brenda Lee, Mary Wells, The Chipmunks, and Count Basie.

The acetate was ‘play tested’ to assess sound quality and it played well with some noticeable background noise. Visually the play surface is starting to show signs of age and deterioration, with some craquelure evident to the lacquer in the inner ring, so we recommend limiting future playback to preserve this rare artifact. The Dick James Music Limited labels are very clean, and the acetate has an overall VG-/G playing surface. Starting Bid $200

Cut by EMI sound engineer Geoff Emerick, an original acetate of the Beatles’ international mega hit,

“Can’t Buy Me Love”

3054. Beatles Rare EMI Mono Acetate for “Can’t Buy Me Love” (1964). Rare 7˝ EMI one-sided acetate pressing of the Beatles’ hit “Can’t Buy Me Love,” as heard on the mono 45 RPM single released on March 20, 1964. The acetate disc bears a black-and-white Emidisc label with blurred and faded handwritten notations with the band name, song title, and runtime.

Released in March 1964, “Can’t Buy Me Love” was featured on A Hard Day’s Night—both the album and the film of the same name. Only four takes were needed to capture a perfect performance, with this acetate representing the final,

released version of Take 4. The single topped charts in the United Kingdom, the United States, Australia, Ireland, New Zealand, South Africa, the Netherlands, France and Sweden. In the UK, it was the fourth highest selling single of the 1960s.

The disc exhibits light surface scratches, but is in VG+ overall condition. Cut by renowned EMI sound engineer and record producer Geoff Emerick, this acetate delivers exceptional audio fidelity, having been dubbed directly from the original master tape. A superb, highly sought-after acetate of a popular Beatles song. Accompanied by a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick. Starting Bid $300

Brian Epstein’s personally-owned Capitol Records acetate for The Beatles’ Second Album—a Billboard chart-topper released at the height of Beatlemania

3055. Brian Epstein’s Personally-Owned US Capitol Records Acetate for The Beatles’ Second Album (T-2080, 1964). Brian Epstein’s personally-owned 12˝ US Capitol Records two-sided acetate for the mono release of The Beatles’ Second Album (Capitol Records, T-2080, 1964). The acetate disc bears purple-and-white Capitol labels, filled out in type: “Time 15:16, Project No. T-2080, Side 1, Artist Beatles, Proof 3-17-64” and “Time 11:24, Project No. T-2080, Side 2, Artist Beatles, Proof 3-17-64.”

What sets this example apart is its extraordinary provenance—it originates from the personal collection of Brian Epstein, who managed the Beatles from 1961 to 1967. Epstein was instrumental in securing the group’s first recording contract with EMI/Parlophone in 1962 and played a pivotal role in shaping their early success. Tragically, he passed away just months after the release of their groundbreaking Sgt. Pepper’s Lonely Hearts Club Band in 1967.

During a 1978 trip to England, Beatles historian Gareth Pawlowski acquired 59 original Beatles acetates directly from Brian’s brother, Clive Epstein. Following Pawlowski’s death in 1995, his collection was sold through his estate to various collectors. This specific acetate was first publicly offered at a major auction in 1997. It is prominently featured in Pawlowski’s acclaimed book How They Became the Beatles, illustrated on page 180.

The acetate was originally cut by famed mastering engineer Maurice Long at the Capitol Records Tower on March 17, 1964. Upon completion, it was shipped to England, where it was reviewed by Epstein and the Beatles for approval. The group often voiced dissatisfaction with Capitol’s mastering and remixing of the original EMI tapes, finding the US mixes inferior to those produced in the UK.

Condition (VG-): The lacquer displays light surface marks to both sides, with no major scratches or issues that affect play. Audio playback is very nice with little overall background noise and fantastic mono acoustic range, as is often present with most acetates. The labels on both sides are in beautiful overall condition. Accompanied by a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick.

Released in April 1964, The Beatles’ Second Album holds a special place in Beatles history in the United States. Compiled exclusively for the U.S. market, it showcased the band’s explosive early sound with tracks like ‘She Loves You,’ ‘Roll Over Beethoven,’ and ‘Long Tall Sally.’ The record captured the raw energy of Beatlemania at its height and became the group’s second number-one album in America within just three months, solidifying their dominance on both sides of the Atlantic. A tremendous, top-quality acetate from the height of the the band’s American fame, originating from the personal collection of their legendary manager. Starting Bid $1000

Rare acetate “proof” for an unreleased 1964 Capitol greatest hits compilation— Best of the Beatles

3056. Beatles US Capitol Records Acetate for Best of the Beatles (Unreleased, 1964). Rare 12˝ US Capitol Records two-sided acetate for a mono version of the unreleased album tentatively entitled Best of the Beatles, intended for release as a greatest hits compilation in mid-1964. The acetate disc bears red-and-white Capitol Records “Mono Type B” labels annotated in blue ballpoint: “Master No. 46934-41, Time 14:30, Side 1, Title: Best of the Beatles, Artist: Beatles, Proof, 5-25-64” and “Time 14:30, Project No. 46934-41, Side 2, Title: Best of the Beatles, Artist: Beatles, Proof, 5-25-64.”

In 1964, Capitol Records was experiencing a phenomenal surge in success driven by onset of Beatlemania in the United States. By the time this acetate was produced in May, Capitol had already issued Meet the Beatles! and The Beatles’ Second Album, with Something New scheduled for release in July.

Beatle record expert and author Bruce Spizer discusses this in an interview for The World Beatles Forum: “In the summer of 1964, Capitol prepared a double album called Best of the Beatles, which was to combine the Capitol and Vee-Jay hits. While this would have been a terrific album, Capitol could not release it because Vee-Jay didn’t lose its rights to its 16 Beatles songs until October of 1964. I don’t know why Capitol’s production department did not know that. So, much to the horror of the Capitol sales force, that LP never happened.”

This amazing rarity represents Sides 1 and 2 of the proposed release, as follows:

Side 1

- Twist and Shout

- Love Me Do

- I Want To Hold Your Hand

- From Me To You (not released on a US Beatles LP until the 1973 Red Album (1962-1966))

- This Boy

- Roll Over Beethoven

Side 2

- Do You Want to Know a Secret

- Boys

- Ask Me Why

- She Loves You

- You Really Got a Hold On Me

- Long Tall Sally

The acetate grades VG with some very light surface marks not affecting play. Accompanied by a letter of authenticity from Rockaway Records, explaining: “This proposed release was canceled and only a few 2LP sets of acetate discs were made, likely no more than two mono sets and two stereo sets. This disc is one only of a mono set, which is labeled as ‘Mono Type B.’ This denotes that the recordings are not the original UK mono mixes, but rather a ‘fold-down,’ which simply combines the left and right channels of the stereo mix.” Accompanied by a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick. Starting Bid $500

Unique acetate for “Ain’t She Sweet” featuring John Lennon on vocals, prepared for an unreleased 1964 MGM/Verve single

3057. Beatles MGM/Verve Mono Acetate for “Ain’t She Sweet” (1964) - Recorded During Their 1961 Hamburg Sessions, Prepared for an Unreleased US Single. Unique 10˝ MGM/ Verve Records one-sided 45 RPM mono acetate pressing of “Ain’t She Sweet,” originally recorded as one of eight songs for Bert Kaempfert Produktion in Hamburg, Germany, in 1961. The acetate disc bears a black-and-white MGM/Verve Records “Reference Recording” label, filled out in type: “Title: Ain’t She Sweet, Artist: The Beatles - John Lennon.”

In early 1964, shortly after Beatlemania exploded in the United States, MGM Records leased the rights to four of the eight Beatles 1961 Hamburg recordings, most of which featured Tony Sheridan on vocals. MGM rapidly released these four songs (‘My Bonnie,’ ‘The Saints,’ ‘Cry for a Shadow,’ and ‘Why’) in the United States in the first half of 1964— with tremendous success—and were preparing to release singles for the remaining songs, including ‘Ain’t She Sweet,’ in the second half of the year.

Before the release could proceed, MGM learned that Atlantic Records had secured the rights to the remaining four Hamburg tracks. This acetate represents the only known surviving artifact of MGM’s planned but unreleased 45 of “Ain’t She Sweet,” making it a unique and historically significant relic from the peak of Beatlemania.

When Atlantic Records released ‘Ain’t She Sweet’ on July 6, 1964 (ATCO 45-6308), the label indicated the artist as ‘The Beatles,’ but added ‘Vocal By John Lennon’—distinguishing it from the other Hamburg sessions led by Tony Sheridan. Similarly, this MGM acetate lists the artist as “The Beatles - John Lennon,” singling out John as the lead vocalist.

This acetate is featured on page 84 of The Beatles Swan Song: She Loves You & Other Records by acclaimed Beatles author and historian Bruce Spizer.

Condition (VG-): The lacquer looks well-used, with a couple of tiny edge chips, but plays well with no skips and some moderate background noise. Starting Bid $300

3058. Beatles and Beach Boys US Capitol Records Acetate for The Big Hits From England & U.S.A. (T-2125, 1964). Unique 12˝ US Capitol Records two-sided acetate for the stereo release of the compilation album “The Big Hits From England & U.S.A.,” a fun record that showcased their strong roster of rock acts (Beatles, Beach Boys, Peter & Gordon) and pop singers (Nat King Cole, Al Martino, and Cilla Black). The highlights are ‘Can’t Buy Me Love’ and ‘You Can’t Do That’ by the Beatles, and ‘I Get Around’ and ‘Don’t Worry Baby’ by the Beach Boys. All the rockers are on side one and the pop tunes are on side two. Interestingly, prior to its inclusion on the ‘Hey Jude’ LP in 1970, ‘Can’t Buy Me

Love’ had not been issued on a Beatles Capitol LP in the US.

The acetate disc bears black-and-white Capitol labels, filled out in type: “Master No. ST-1-2125, Time 15:10, Side 1, Title: Big Hits from England & USA, 6-15-64, Artist: Various” and “Master No. ST-2-2125, Time 12:22, Side 2, Title: Big Hits from England & USA, 6-15-64, Artist: Various.”

The only known example of this acetate, the disc is in nice VG+ condition overall. Accompanied by a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick. Starting Bid $200

3059. Beatles US Capitol Records Acetate for Something New (ST-2108, 1964). Incredibly rare 12˝ US Capitol Records two-sided acetate for the stereo release of the Beatles album Something New, released in 1964 for the North American market. The acetate disc bears black-and-white Capitol Records “Stereo” labels, filled out in type: “Master No. ST-1-2108, Time 13:53, Title: Something New, 7-2-64 ml, Artist: The Beatles” and “Master No. ST-2-2108, Time 11:29, Title: Something New, 7-2-64 ml, Artist: The Beatles.”

The acetate was cut from the master tape by famed mastering engineer Maurice Long (ml) at the Capitol Records Tower on July 2, 1964, just three weeks before the album’s release. The

contents of the acetate include: ‘I’ll Cry Instead,’ ‘Things We Said Today,’ ‘Anytime At All,’ ‘When I Get Home,’ ‘Slow Down,’ ‘Matchbox,’ ‘Tell Me Why,’ ‘And I Love Her,’ ‘I’m Happy Just to Dance With You,’ ‘If I Fell,’ and ‘Komm, Gib Mir Deine Hand.’

The acetate is in VG+ condition, with some light scratching to both sides of the disc, not affecting play, and a tiny edge chip to Side 2. The overall sound quality is spectacular as it comes coming directly from the master tape. The name “Satnick,” who was an employee at Capitol Records, is diminutively penned on the Side 1 label. Accompanied by a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick. Starting Bid $300

Unique “Capitol Custom” acetate for the Beatles’ ‘Here’s to Veterans’ program, featuring introductions by Paul McCartney

3060. Beatles US Capitol Custom Acetate for ‘Here’s to Veterans’ Program No. 953 (September 1964). Incredibly rare 12˝ US Capitol one-sided acetate for the mono release of ‘Here’s to Veterans’ program no. 953, featuring the Beatles. The acetate disc bears blackand-yellow “Capitol Custom” label, filled out in type: “74th Series, HTV The Beatles 74-8 Cap EMI 9/22/64, GI Ins Fitzgerald Spec.” The program features ‘I Want to Hold Your Hand’ as its opening theme, followed by four songs off the Beatles’ recently released LP Something New: ‘I’ll Cry Instead,’ ‘Tell Me Why,’ ‘If I Fell,’ and ‘Roll Over Beethoven.’ Paul McCartney starts the show by saying, “The Beatles sing for Here’s to Veterans….Yahoooooo,” as it jumps into ‘I Want to Hold Your Hand.’ In between the remaining Beatles songs, Paul introduces each track and offers some specific background commentary. The program length is 14:30.

Produced by the U.S. Veterans Administration, the ‘Here’s to Veterans’ program was a long-running series of radio broadcasts designed to promote veteran services and programs. Pressed on vinyl records, each disc featured two 15-minute segments with popular music and era-specific content intended for public information and outreach.

Under a special arrangement with the American Federation of Musicians and Capitol Records, the series showcased performances and commentary by some of the era’s most celebrated artists—including The Beatles, Nat King Cole, Jo Stafford, Stan Kenton, and Les Paul—who not only presented their latest hits but also delivered messages highlighting VA benefits.

Spanning 35 years, from 1946 to 1981, the complete series encompassed more than 1,800 individual programs.

This is the only known acetate of the program in absolutely gorgeous NM condition. Accompanied by a photocopy of the ‘Here’s to Veterans’ program notes, and a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick. Starting Bid $200

Emidisc acetate for an unreleased version

of “She’s a Woman,” featuring stripped-down instrumentation and Paul’s

impassioned screams

3061. Beatles EMI Mono Acetate for an Unreleased Version of “She’s a Woman” (1964) - The Extended Jam ‘Take 7’ Cut. Remarkable 7˝ EMI one-sided acetate pressing of an unreleased version of the Beatles’ hit “She’s a Woman,” known as the ‘Take 7’ extended jam version. The acetate disc bears a black-and-white Emidisc label, filled out in faded blue ink: “She’s a Woman” and “The Beatles,” with a couple of indiscernible notations.

The Beatles recorded “She’s a Woman” in a single, five-hour session on October 8, 1964, at EMI Studios in London, completing it in seven takes plus overdubs. McCartney composed it quickly, writing much of the song shortly before recording. The Beatles selected take six as the master for the official release; this acetate features the unreleased ‘Take 7,’ a longer and more unrestrained version of the song, boasting an extended instrumental jam and exuberant vocalizations from McCartney at the end.

The full take runs nearly 5:50, including more than three minutes of spontaneous jamming and Paul’s impassioned screams. This acetate presents a 4:37-minute edit, fading out neatly before the full conclusion of the session.

Following a couple of random notes from Paul McCartney’s bass guitar, the band jumps right into the beginning of the

song but breaks down after about seven seconds. After a quick “one-two-three-four” count-in, the band restarts and launches into the take proper. The first three minutes mirror the structure of the released version, though McCartney’s vocal delivery is even more raw and impassioned. The final minute features an energetic jam with Paul’s ad-libbed shouts of “She’s a Woman!” and Little Richard–inspired whoops echoing across some bluesy guitar licks.

A distinctive feature of this version is its stripped-down instrumentation, with only three players: Paul McCartney on bass and lead vocals, John Lennon on rhythm guitar, and Ringo Starr on drums. George Harrison’s guitar overdub, McCartney’s piano part, and double-tracked vocals were added later that evening to Take 6 for the commercial release.

Original EMI acetates featuring Beatles material are exceedingly scarce and of the utmost desirability, particularly those containing unreleased takes. The disc exhibits a number of surface scratches, but is in a very nice playable VG overall condition. Cut by sound engineer and record producer Geoff Emerick, the sound quality of the recording on the disc is excellent having been dubbed directly from the master tape recording. Accompanied by a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick. Starting Bid $500

3062. Beatles EMI Mono Acetate for “She’s a Woman” (1964). Sought-after 7˝ EMI one-sided acetate pressing of the Beatles’ hit “She’s a Woman,” as heard on the mono 45 RPM single released on November 23, 1964. The acetate disc bears a black-and-white Emidisc label over a black-and-red Audiodiscs label, filled out in bold ballpoint: “She’s a Woman, 45 r.p.m., The Beatles.” The song’s runtime is also annotated in pencil: “2:57.”

The Beatles recorded “She’s a Woman” in a single, five-hour session on October 8, 1964, at EMI Studios in London, complet-

ing it in seven takes plus overdubs. This acetate is the same as the released version (Take 6 with overdubs). It was released as the B-side to ‘I Feel Fine’ and charted in the United States, reaching number four on the Billboard Hot 100 and number eight on the Cash Box Top 100.

The disc is in VG+ overall condition, with light surface scratches and discoloration to the label. Accompanied by a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick. Starting Bid $300

Capitol Records acetate for the unreleased “Beatle Tour” interview album, compiling candid clips from their 1965 American tour

3063. Beatles US Capitol Records Acetate for Beatle Tour (Unreleased, 1966). Fantastic 12˝ US Capitol Records two-sided acetate for the unreleased project entitled Beatle Tour, featuring mono clips from Jerry G.’s interviews with the Beatles during their 1965 North American tour. The acetate disc bears purple-and-white Capitol labels, filled out in type: “Title: Beatle Tour, 9/26/1966.”

From August 13th to September 1st, the Beatles were accompanied by Chicago and Cleveland broadcast personality, Jerry G. Bishop (‘Jerry G.’), who was able to conduct and record a variety of interviews with the band, compiling nearly five total hours of material. With nearly 42 minutes of content, this acetate collects the most fascinating, behind-the-scenes bits from these interviews, interspersed with brief clips of Beatles tunes and some narration and introductory remarks.

Writing in Way Beyond Compare: The Beatles’ Recorded Legacy, Volume One, 1957-1965, collector and historian John C. Winn observes: ‘In general, these conversations are a cut above the usual Beatle interviews, with each group member candidly discussing their childhood, musical development, and their thoughts on wealth, family, and protest singers.’

In an interview published in “The World Beatles Forum” newsletter for November/December 2001, Jerry G. reflected on the Beatle Tour concept: “Tom Morgan was the Head of A&R at Capitol Records. He was the guy who oversaw The Beatles projects…His job was to package them and promote them etcetera. Somebody sent him a tape of the special [a one hour radio special Jerry G. had done called There’s More There Than Hair]. He called me and sent me a telegram saying, ‘I’m going to take this to England and play it for Brian Epstein.’ His idea was to release a double-sleeved album—one sleeve The Beatles talked; sleeve two, The Beatles sing all new material. It was going to be their next release. I was hysterical with the idea. First of all, it seemed like a lot of money. Morgan and Capitol were all excited about it too. Everybody loved the idea but Epstein, who said, ‘No.’ He just didn’t want them talking for some reason or he may have thought that if they ever talk, ‘We’ll do it ourselves.’” Though the project was scrapped by Capitol, Jerry G. eventually released all of the interview material found on this disc through Backstage Records on the LPs ‘The Beatles Talk with Jerry G.’ (1982) and ‘The Beatles Talk with Jerry G., Volume 2’ (1983). However, this acetate contains extracts of Beatles songs not included in these early 1980s pressings.

This is one of only three known acetates for Beatle Tour—all mono versions—and remains in strong VG- condition, playing very well with no background noise. Accompanied by a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick. Starting Bid $500

3064. Beatles Dick James Music ‘Demo Disc’ Acetate for “And Your Bird Can Sing” (1966). Uncommon 7˝ Dick James Music Limited one-sided acetate for the Beatles’ song “And Your Bird Can Sing,” first released in 1966 on Yesterday and Today in the United States and on Revolver in the United Kingdom. The acetate disc bears a red-and-white Dick James “Demo Disc” label, filled out in type: “45 R.P.M., Title: And Your Bird Can Sing, Artist: The Beatles.”

Showcasing the band’s shift toward more complex and experimental pop, “And Your Bird Can Sing” features intricate dual-guitar harmonies from Paul McCartney and George Harrison that give the track a bright, jangly sound. Lyrically, John Lennon’s cryptic words are often interpreted as playful or mocking, directed at materialism or a rival musician.

Dick James, the band’s music publisher, co-founded Northern Songs in February 1963 to handle Lennon-McCartney compositions. Acetates like this were typically cut to promote new Beatles material and to present Lennon and McCartney’s songs to other artists for potential cover recordings.

The acetate has a very nice clean label and excellent VG+ playing surface. Accompanied by a high-fidelity digital transfer (.wav file) of the acetate’s contents on a USB stick. Starting Bid $200

3065. Beatles A Hard Day’s Night Mono White Label Promo (United Artists UAL 3366, 1964). Beatles A Hard Day’s Night Mono White Label Promo (United Artists UAL 3366, 1964). The first US promotional Beatles album to be released in 1964, this seldom-seen white label promo was produced by United Artists to promote the band’s landmark film A Hard Day’s Night. Pressed at a Columbia Records plant, this variant features the “NOT FOR SALE” text printed in a large typeface below the catalog number on the record labels. All versions of this promo were released in standard first-issue mono jackets bearing the “I Cry Instead” misprint on the back cover. These white label promos are estimated to have been pressed in quantities as few as 500 copies.

This example is in strong VG- condition with many light marks, but no major scratches or issues. The labels are in beautiful condition with a vivid white background on each side and no writing or radio station markings. The album cover is in nice VG+ condition with good front cover color and a slightly off-white back, with a small address stamp at the upper left. A great example of their landmark album. Starting Bid $200

3066. The Beatles vs. The Four Seasons LP - Mono in Shrinkwrap (Vee-Jay DX30, 1964). The Beatles vs. The Four Seasons LP - Mono in Shrinkwrap (Vee-Jay DX-30, 1964). This is one of the scarcer Vee-Jay Beatles albums, as the public realized quickly it was merely a repackaging of “Introducing the Beatles” (VJLP 1062) with “Golden Hits of the Four Seasons” (VJLP 1065) into a twodisc set. As such, Vee Jay anticipated slow sales due to the higher price charged as a double LP and consequently distributed less than 20,000 copies.

This example is in spectacular, near mint condition, still in its original shrinkwrap with a slit on the right side (along the mouth) to gain access to the two album record set and a bonus 23” x 11.5” full-color Beatles poster (advertised on the front as 8˝ x 15˝). Both records have never been used and in near mint condition, with pristine labels. The double album cover is in beautiful condition with bright, bold, crisp colors, and an unused scorecard on the back. The corners have minor tip wear (about 1/8˝). The shrinkwrap is fine condition with no major flaws. The spine is solid and fully legible through the shrink. Finally, the full-color poster insert is in mint, unused condition. This is one of the best copies available of this title—the final upgrade for any collector. Starting Bid $200

3067. The Beatles vs. The Four Seasons LP - Stereo (Vee-Jay DXS-30, 1964). The Beatles vs. The Four Seasons LP - Stereo (Vee-Jay DXS-30, 1964). In an effort to capitalize on the Beatles’ skyrocketing popularity before losing their rights to the group’s recordings, Vee Jay Records swiftly repackaged Introducing… The Beatles into a distinctive two-record gatefold set titled The Beatles vs. The Four Seasons. However, it quickly became apparent to the public that this was simply a reissue of the earlier album—an inventive way for Vee Jay to clear out their remaining stock of stereo pressings.

This set pairs a Version 2 stereo copy of Introducing… The Beatles (SR 1062) with The Golden Hits of The Four Seasons (SR 1065), housed together in a striking gatefold sleeve. The cover bills the set as “The International Battle of the Century,” to be adjudicated by the listener with a “Scorecard” for each group’s greatest hits imprinted on the reverse.

With an estimated 750 copies produced, and very few surviving today, this release remains one of the rarest Beatles albums ever issued.

Most copies of this album are in very poor condition with splits, writing, and aggressively played discs. This copy, in comparison, is a gem given its strong condition. Both records are in VG+ condition; the only thing holding the Beatles record from being graded closer to VG++ is a needle mark on both sides not affecting play. The labels on both are beautiful and bright. The double album cover is strong with most of the vivid, bold colors intact with some light yellowing. The corners have minor tip wear and slight splitting. The rest of the cover has no splits, tears or major defects. The scorecard on the rear is unmarked. The spine is solid and fully legible. This example lacks the scarce bonus poster. Starting Bid $200

3068. Beatles No. 5 Japanese Dark Red Stereo Promo WhiteLabel Vinyl Test Pressing (Odeon, OR 7103). White-label test pressing (on dark red ‘Everclean’ vinyl) of Beatles No. 5, Odeon’s 1965 compilation featuring a very interesting blend of early singles and album cuts. The 14-song track listing features “Long Tall Sally,” “She’s a Woman,” “I Feel Fine,” “This Boy,” “Sie Liebt Dich” (the German version of “She Loves You”), and “Komm, Gib Mir Deine Band” (the German version of “I Want To Hold Your Hand”), among others. Sleeve is in VG condition (with a seam split in the bottom area), lyric book is in VG condition, and the disc is in very nice VG+ condition.

Throughout the 1960s, it was customary for record companies to release Beatles promotional test pressings prior to the official album release. These pressings were created mainly as manufacturing samples, intended to check the quality of the record before it was mass-produced. Additionally, they were sent out for radio station and music critic review. In the UK, Parlophone released white/black label test pressings, in the U.S., Capitol released standard albums with “Promo” drilled into the cover, and in Japan, Odeon released custom red vinyl test pressings. Of all three, the Japanese test pressings are by far the rarest of all Beatles original LP test pressings.

Produced in minuscule numbers, these Japanese test pressings play wonderfully, often with a different EQ than the US or UK issues (resulting in a brighter sound, especially the drums). Toshiba pressed the records on beautiful red translucent ‘Everclean’ vinyl which was designed to be less prone to collecting static electricity and dust than the more common black vinyl. The record information, song titles, and catalog number are manually stamped on custom Odeon labels. It should be noted that Japanese test pressings came in standard fabricated covers, but without inserts or obi bands, as is the case here.

Provenance: David Swartz Vintage Vinyl Collection, Heritage Auctions, March 2022. Starting Bid $200

3069. Beatles Please Please Me Japanese Dark Red Stereo Promo White-Label Vinyl Test Pressing (Odeon, OP-7548). White-label test pressing (on dark red ‘Everclean’ vinyl) of Odeon’s 1966 release of Please Please Me by the Beatles. This Japanese version of the band’s debut album has a different and unique cover (with bound-in 8-page color booklet), and the record carries a re-ordered track listing as compared to the standard UK issue. Pressed on gorgeously dark red vinyl with fantastic sound quality, the book is in VG condition (with ring wear and bending), the sleeve is in VG+ condition (with small tape and minor discoloration), and the disc is in a very strong VG+ condition with minor sleeve scuffing.

Throughout the 1960s, it was customary for record companies to release Beatles promotional test pressings prior to the official album release. These pressings were created mainly as manufacturing samples, intended to check the quality of the record before it was mass-produced. Additionally, they were sent out for radio station and music critic review. In the UK, Parlophone released white/black label test pressings, in the U.S., Capitol released standard albums with “Promo” drilled into the cover, and in Japan, Odeon released custom red vinyl test pressings. Of all three, the Japanese test pressings are by far the rarest of all Beatles original LP test pressings.

Produced in minuscule numbers, these Japanese test pressings play wonderfully, often with a different EQ than the US or UK issues (resulting in a brighter sound, especially the drums). Toshiba pressed the records on beautiful red translucent ‘Everclean’ vinyl which was designed to be less prone to collecting static electricity and dust than the more common black vinyl. The record information, song titles, and catalog number are manually stamped on custom Odeon labels. It should be noted that Japanese test pressings came in standard fabricated covers, but without inserts or obi bands, as is the case here.

Provenance: David Swartz Vintage Vinyl Collection, Heritage Auctions, March 2022. Starting Bid $200

3070. Beatles With the Beatles Japanese Dark Red Stereo Promo White-Label Vinyl Test Pressing (Odeon, OP-7549). White-label test pressing (on dark red ‘Everclean’ vinyl) of Odeon’s 1966 release of With the Beatles by the Beatles. This Japanese version of the band’s second studio album has a vivid full-color portrait on the cover (in stark contrast to the iconic black-and-white faces shot of the UK version), with an accompanying 8-page color booklet, and the record carries a re-ordered track listing as compared to the standard UK issue.

Pressed on gorgeously dark red vinyl with fantastic sound quality, the cover is in VG condition with some dings and wear, but with a beautiful VG++ disc.

Throughout the 1960s, it was customary for record companies to release Beatles promotional test pressings prior to the official album release. These pressings were created mainly as manufacturing samples, intended to check the quality of the record before it was mass-produced. Additionally, they were sent out for radio station and music critic review. In the UK, Parlophone released white/black label test pressings, in the U.S., Capitol released standard albums with “Promo” drilled into the cover, and in Japan, Odeon released custom red vinyl test pressings. Of all three, the Japanese test pressings are by far the rarest of all Beatles original LP test pressings.

Produced in minuscule numbers, these Japanese test pressings play wonderfully, often with a different EQ than the US or UK issues (resulting in a brighter sound, especially the drums). Toshiba pressed the records on beautiful red translucent ‘Everclean’ vinyl which was designed to be less prone to collecting static electricity and dust than the more common black vinyl. The record information, song titles, and catalog number are manually stamped on custom Odeon labels. It should be noted that Japanese test pressings came in standard fabricated covers, but without inserts or obi bands, as is the case here.

Provenance: David Swartz Vintage Vinyl Collection, Heritage Auctions, March 2022. Starting Bid $200

A ‘holy grail’ of modern music memorabilia—the iconic ‘first state’ Beatles butcher cover

3071. Beatles ‘First State’ Butcher Cover Album - Yesterday and Today (Mono). The Beatles Yesterday and Today mono ‘first state’ butcher cover (Capitol, T 2553). The ‘holy grail’ of Beatles collectibles, this original example features the notorious ‘butcher’ cover in which John, Paul, George, and Ringo are seen in white smocks, draped with meat and decapitated doll parts; ‘first state’ signifies that this is an original example that never had the ‘trunk cover’ pasteover applied. The record is included.

The initial front cover artwork for Yesterday and Today featured a photo of the Beatles wearing butcher smocks, gruesomely covered with decapitated baby dolls and raw meat. Capitol Records prepared 750,000 covers featuring this controversial artwork for the album’s release before testing consumer reaction—which was extremely negative. To avert potential disaster, Capitol recalled all copies of the LP from distributors to replace the offending image and destroyed any other macabre promotional material. The recalled copies were ‘retrofitted’ with a new pictorial flat, pasted over the first, featuring an innocuous image of the boys posed around a steamer trunk; these have frequently been peeled away by collectors to reveal the infamous butcher image below. Original first-state versions, untouched by the recall and pasteover process, are among the most desirable and elusive of all Beatles collectibles—only a small number exist today.

This mono first state of the ‘Butcher’ album is in VG+ overall condition, but most importantly, it retains an incredible and nearly flawless NM front cover slick. Front white borders have some aging and a couple of minor stains. Top seam is very nice with only some tip wear. The bottom seam and spine have some minor splitting, but very tight overall. The record is also VG+. Accompanied by two letters of authenticity from Beatles expert Perry Cox, as well as a modern copy of the Capitol Records recall notice. Starting Bid $1000

Unaired interviews with Paul and George on the set of Help!, recorded by LA radio personality Dave Hull

3072. Beatles Unaired Interview Tape with Los Angeles DJ Dave Hull - (Recorded on the Set of Help!, Bahamas, 1965). Fascinating interview tape from the personal collection of Los Angeles radio DJ Dave Hull, who was one of the major promoters of the Fab Four in Southern California at the height of Beatlemania in the mid-1960s. He spent a lot of time with the boys, conducting dozens of interviews with them both as a group and individually. He even spent two weeks with them on the set of their second film, ‘Help!,’ filmed in the Bahamas from February–April, 1965, during which time this interview tape was recorded.

The 7˝ reel of ¼” Scotch-brand audio tape opens with a fascinating conversation between Dave Hull and Paul McCartney, beginning with some discussion about a personal conflict arising from Hull’s giving away addresses affiliated with McCartney and his family. Though McCartney expresses some discontent over the violation of privacy, he offers a bit of forgiveness: “It doesn’t worry me too much, I don’t hate you or anything ‘cause of it.” There is quite a bit of discussion about Paul’s vacation, the places the Beatles have played, and his tourist visits around Hollywood and New York City.

After about eight minutes of discussion with McCartney, Hull talks to George Harrison about his clothes (“a pair of faded blue jeans and an old straw hat”) and about the making of the film, speaking about a difficult one-shot take. Comparing it to their previous film, Harrison relates: “The only thing really that’s the same as Hard Day’s Night is the fact that we’re still playing ourselves. But I mean this has got a story line to it whereas Hard Day’s Night didn’t really, it was more or less like a documentary.” He also explains that they had recorded eleven new songs in one week, expecting to use about seven in the film. They also briefly discuss his travels and his family. The Harrison segment also lasts about eight minutes.

The tape closes with some insightful commentary from the Beatles’ hairdresser, interviewed by Derek Taylor: she says that Ringo has the softest hair, and that John’s has a slight auburn tinge. The tape’s content totals 19 minutes and 28 seconds.

To our knowledge, this fascinating tape has never been aired and remains unreleased. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents on a USB stick. Starting Bid $200

Unaired interviews with the Beatles on the set of their 1965 film Help!

3073. Beatles Unaired Interview Tape with Derek Taylor - (Recorded by Dave Hull on the Set of Help!, Bahamas, 1965). Significant interview tape from the personal collection of Los Angeles radio DJ Dave Hull, who was one of the major promoters of the Fab Four in Southern California at the height of Beatlemania in the mid-1960s. He spent a lot of time with the boys, conducting dozens of interviews with them both as a group and individually. He even spent two weeks with them on the set of their second film, ‘Help!,’ filmed in the Bahamas from February–April, 1965, during which time this interview tape was recorded.

The 7˝ reel of ¼” Scotch-brand audio tape features interviews between Derek Taylor and the Beatles, beginning with a nearly 14-minute long conversation with George Harrison. George discusses the Beatles’ rigorous working schedule in the Bahamas: “We’re up at 7 in the morning every day, on the set filming…We all prefer to be up and working.” He refers to their upcoming tour of Europe—to bring them to Spain, France, and Italy—as well as other upcoming projects, speculating about future tours and films: “For all we know we might start on our third film, after the American trip…We enjoy it so much more than anything else. When the film is finished you get more sort of satisfaction from it. You feel as though you’ve done something worthwhile, more so than a tour.” Harrison

also talks about what he does in his leisure time, talks about buying a new house, chats about his time in London, and contemplates living in the Bahamas.

After George, there is a five-minute interview with Walter Shenson (the producer of Help!) and Beatles road manager Mal Evans, who was given a part in the film. Each talk about the film, roles of the people in the film, and how certain people were chosen for parts.

The tape concludes with an interview between Taylor and all four Beatles—John Lennon, Paul McCartney, George Harrison, and Ringo Starr—talking about their families and the film. John and Ringo explain that the forthcoming film is very different from A Hard Day’s Night: “It’s in color, and it’s got a plot… basically it’s a comedy.” Paul humorously relates that the script was “written originally by an American gentleman and then translated into English by a fellow called Charles Wood.” The interview ends with Paul talking about the upcoming European and U.S. tours.

To our knowledge, this fascinating tape has never been aired and remains unreleased. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents on a USB stick. Starting Bid $200

Background on the Capitol Records/King Features masters:

In February 1964, just weeks after the Beatles’ mesmerizing performance on The Ed Sullivan Show, Al Brodax—head of film and television development at King Features—approached Brian Epstein with the idea of producing a Beatles cartoon series. The concept envisioned short, adventurous stories built around popular Beatles songs, complemented by ‘sing-along’ segments featuring on-screen lyrics.

Each cartoon ran approximately 8 to 10 minutes, with two included per weekly episode. The sing-along portions were a highlight of the show, inviting audiences to learn and sing the songs along with the Beatles. Music selections were drawn from the U.S. Beatles albums—from Meet the Beatles through Revolver—along with non-album singles up to ‘Strawberry Fields Forever / Penny Lane.’

The series premiered on September 25, 1965, and concluded on October 21, 1967, spanning 39 episodes and featuring a total of 78 Beatles songs.

As production ramped up in 1965, a meeting was held between King Features and Capitol Records to determine how the music would be integrated into the weekly sing-alongs. Capitol’s initial plan was to provide direct copies of their original U.S. master tapes so King Features could pull songs as needed. However, this proved impractical—technology at the time did not allow for precise tape stops between the one-second song gaps typical on standard master reels.

To overcome this challenge, Capitol Records created a custom set of master tapes specifically for King Features. These reels incorporated a five-second gap between tracks and featured a ‘voice slate’ introduction recorded by the Capitol mastering engineer. In some cases, the song formats differ slightly from the official releases, making these tapes truly unique.

The lots offered in this auction comprise nearly the entire King Features cartoon music library from the show’s three-year run. Each reel is presented in mono, offering exceptional sound quality sourced directly from the original Capitol master tapes. Notably, several reels predate the official album releases, underscoring their historical significance and rarity.

3074. Beatles US Capitol Records Master Tape Reel for Meet the Beatles!, Produced for King Features Syndicate. Capitol Records mono master reel-to-reel tape of Meet the Beatles!, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original box with an affixed Capitol Records track listing filled out in type, applied by masking tape annotated along the bottom in black felt tip: “Beatles (Songs) Reel #5.”

The reel contains the twelve tracks from Meet the Beatles!—the group’s first American album to be issued by Capitol Records—plus “Roll Over Beethoven” off of The Beatles’ Second Album. There are unique five-second gaps between tracks featuring ‘voice slate’ introductions of each song recorded by the Capitol mastering engineer.

The box cover also carries the following notice: “The recorded performances in the tapes in this reel are the property of Capitol Records, Inc. They may only be used for the limited purposes set forth in the letter of July 16, 1965 from F. M. Scott, III, Vice President of Capitol Records, Inc. to King Features Syndicate.”

In fine condition, with toning to the masking tape. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents on a USB stick. Starting Bid $200

3075. Beatles US Capitol Records Master Tape Reel for The Beatles’ Second Album, Produced for King Features Syndicate. Capitol Records mono master reel-to-reel tape of The Beatles’ Second Album, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original box with an affixed Capitol Records track listing filled out in type, applied by masking tape annotated along the bottom in black felt tip: “Beatles (Songs) Reel #4.”

The reel contains the tracks from The Beatles’ Second Album, minus ‘Roll Over Beethoven.’ However, it appends the two songs omitted from the Beatles VI master—”Kansas City” and “Eight Days a Week”—at the conclusion. There are unique five-second gaps between tracks featuring ‘voice slate’ introductions of each song recorded by the Capitol mastering engineer.

The box cover also carries the following notice: “The recorded performances in the tapes in this reel are the property of Capitol Records, Inc. They may only be used for the limited purposes set forth in the letter of July 16, 1965 from F. M. Scott, III, Vice President of Capitol Records, Inc. to King Features Syndicate.”

In fine condition, with toning to the masking tape. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents on a USB stick. Starting Bid $200

3076. Beatles US Capitol Records Master Tape Reel for Something New, Produced for King Features Syndicate. Capitol Records mono master reel-to-reel tape of the Beatles’ album Something New, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original box with an affixed Capitol Records track listing filled out in type, applied by masking tape annotated along the bottom in black felt tip: “Beatles (Songs) Reel #1.”

The reel contains all of the tracks from Something New, along with the addition of “From Me to You.” Notably, this song was never released by Capitol Records in the U.S. during the 1960s—its first official appearance on a Capitol album did not occur until 1973—making its inclusion here particularly significant. There are unique five-second gaps between tracks featuring ‘voice slate’ introductions of each song recorded by the Capitol mastering engineer.

The box cover also carries the following notice: “The recorded performances in the tapes in this reel are the property of Capitol Records, Inc. They may only be used for the limited purposes set forth in the letter of July 16, 1965 from F. M. Scott, III, Vice President of Capitol Records, Inc. to King Features Syndicate.” In fine condition, with toning to the masking tape. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents. Starting Bid $200

3077. Beatles US Capitol Records Master Tape Reel for Beatles ‘65, Produced for King Features Syndicate. Capitol Records mono master reel-to-reel tape of Beatles ‘65, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original box with an affixed Capitol Records track listing filled out in type, applied by masking tape annotated along the bottom in black felt tip: “Beatles (Songs) Reel #6.”

The reel contains the eleven tracks from Beatles ‘65—highlighted by the singles “I Feel Fine” and “She’s a Woman”—which Capitol originally released as the North American alternative to the UK’s Beatles for Sale. There are unique five-second gaps between tracks featuring ‘voice slate’ introductions of each song recorded by the Capitol mastering engineer.

The box cover also carries the following notice: “The recorded performances in the tapes in this reel are the property of Capitol Records, Inc. They may only be used for the limited purposes set forth in the letter of July 16, 1965 from F. M. Scott, III, Vice President of Capitol Records, Inc. to King Features Syndicate.” In fine condition, with toning to the masking tape and minor corner peeling to the affixed licensing notice. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents on a USB stick. .Starting Bid $200

3078. Beatles US Capitol Records Master Tape Reel for The Early Beatles, Produced for King Features Syndicate. Capitol Records mono master reel-to-reel tape of the Beatles’ album The Early Beatles, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original box with an affixed Capitol Records track listing filled out in type, applied by masking tape annotated along the bottom in black felt tip: “Beatles (Songs) Reel #2.”

The reel contains all of the tracks from The Early Beatles, along with two from the soundtrack for A Hard Day’s Night: “Hard Day’s Night” and “I Should Have Known Better.” These two songs were not officially released by Capitol Records until 1980; it is unknown how Capitol Records obtained the masters for both of these songs from United Artists, but their presence on this reel is both unusual and historically noteworthy. There are unique five-second gaps between tracks featuring ‘voice slate’ introductions of each song recorded by the Capitol mastering engineer.

The box cover also carries the following notice: “The recorded performances in the tapes in this reel are the property of Capitol Records, Inc. They may only be used for the limited purposes set forth in the letter of July 16, 1965 from F. M. Scott, III, Vice President of Capitol Records, Inc. to King Features Syndicate.”

In fine condition, with toning to the masking tape. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents on a USB stick. Starting Bid $200

3079. Beatles US Capitol Records Master Tape Reel for Beatles VI, Produced for King Features Syndicate. Capitol Records mono master reel-to-reel tape of the Beatles’ album Beatles VI, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original box with an affixed Capitol Records track listing filled out in type, applied by masking tape annotated along the bottom in black felt tip: “Beatles (Songs) Reel #3.”

The reel contains most of the tracks from Beatles VI—minus ‘Kansas City’ and ‘Eight Days a Week’— but adds four additional songs: “Misery,” “There’s a Place,” “Ticket to Ride,” and “Can’t Buy Me Love.” Capitol would not release “Misery” or “There’s a Place” until 1980, while the latter two were included on 1970’s Hey Jude LP. There are unique five-second gaps between tracks featuring ‘voice slate’ introductions of each song recorded by the Capitol mastering engineer.

The box cover also carries the following notice: “The recorded performances in the tapes in this reel are the property of Capitol Records, Inc. They may only be used for the limited purposes set forth in the letter of July 16, 1965 from F. M. Scott, III, Vice President of Capitol Records, Inc. to King Features Syndicate.” In fine condition, with toning to the masking tape. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents on a USB stick. Starting Bid $200

3080. Beatles US Capitol Records Master Tape Reel for Rubber Soul, Produced for King Features Syndicate. Capitol Records mono master reel-to-reel tape of the Beatles’ album Rubber Soul, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original box with an affixed Capitol Records label annotated in black ballpoint, “1-20-66, King Features 57444, Beatles, Album T-2442 ‘Rubber Soul,’” with an affixed track listing filled out in carbon-copy type. Masking tape along the cover’s bottom edge is annotated in black felt tip: “Beatles #8.”

The reel contains all twelve tracks from the Beatles’ sixth studio album, Rubber Soul, mastered on January 20, 1966, about six weeks after its official release. There are unique five-second gaps between tracks featuring ‘voice slate’ introductions of each song recorded by the Capitol mastering engineer.

The box cover also carries the following notice: “The recorded performances in the tapes in this reel are the property of Capitol Records, Inc. They may only be used for the limited purposes set forth in the letter of July 16, 1965 from F. M. Scott, III, Vice President of Capitol Records, Inc. to King Features Syndicate.”

In fine condition, with toning to the track listing from old adhesive on the reverse. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents on a USB stick. Starting Bid $200

3081. Beatles US Capitol Records Master Tape Reel for Yesterday and Today, Produced for King Features Syndicate. Capitol Records mono master reel-to-reel tape of the Beatles’ album Yesterday and Today, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original box with an affixed Capitol Records track listing filled out in type, applied by masking tape. The lid is annotated along the bottom edge in blue ballpoint: “Beatles Reel-10.”

The sheet is annotated in blue ballpoint, “6/14/66,” one day before the album’s actual release.

The reel contains all eleven tracks from the album Yesterday and Today, plus two additional gems: “Rain” and “Paperback Writer,” which were not released on a US album until Hey Jude in 1970. Many fans and critics consider “Rain” to be one of John Lennon’s finest songs, particularly for its innovative studio techniques like the slowed-down rhythm and backward vocals. There are unique five-second gaps between tracks featuring ‘voice slate’ introductions of each song recorded by the Capitol mastering engineer.In fine condition, with toning to the masking tape and paper loss to the track listing’s upper right corner. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents on a USB stick. Starting Bid $200

3082. Beatles US Capitol Records Master Tape Reel for Revolver, Produced for King Features Syndicate. Capitol Records mono master reel-to-reel tape of the Beatles’ album Revolver, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original box with an affixed Capitol Records track listing filled out in type, applied by masking tape. Masking tape along the cover’s bottom edge is annotated in black felt tip: “Beatles (Songs) Reel #11.” The sheet is annotated in black ballpoint “8-19-66,” about two weeks after the album’s official release. The reel contains eleven tracks from the album Revolver, missing only ‘I’m Only Sleeping,’ ‘And Your Bird Can Sing,’ and ‘Doctor

Robert.’ There are unique five-second gaps between tracks featuring ‘voice slate’ introductions of each song recorded by the Capitol mastering engineer.

The box cover also carries the following notice: “The recorded performances in the tapes in this reel are the property of Capitol Records, Inc. They may only be used for the limited purposes set forth in the letter of July 16, 1965 from F. M. Scott, III, Vice President of Capitol Records, Inc. to King Features Syndicate.” In fine condition, with toning to the masking tape and small tears to the track listing’s upper corners. Accompanied by a high-fidelity digital transfer (.wav file) of the tape’s contents on a USB stick. Starting Bid $300

3083. Beatles US Capitol Records Master Tape Reels for Sgt. Pepper’s Lonely Hearts Club Band, Produced for King Features Syndicate. Two Capitol Records mono master reel-to-reel tapes of the Beatles’ album Sgt. Pepper’s Lonely Hearts Club Band, created for and licensed to King Features for use in their 1960s Beatles cartoon series. This rarity was transferred from the Capitol Records master onto two reels of Scotch brand ¼” audio tape in mono at 15 i.p.s. Housed in the original boxes with an affixed Capitol Records track listing filled out in type, applied by masking tape. The lids are annotated along the bottom edges in black ink: “Sgt. Pepper - 12-A” and “Sgt. Pepper - 12-B.” The sheets are dated June 22, 1967, about a month after the album’s official release.

The reel contains all thirteen tracks from the album Sgt. Pepper’s Lonely Hearts Club Band, with the “12-A” reel representing Side 1 and the “12-B” reel representing Side 2; interestingly, the non-album singles “Strawberry Fields Forever” and “Penny Lane” were also added at the end of the second reel. There are unique five-second gaps between tracks on the first reel

featuring ‘voice slate’ introductions of each song recorded by the Capitol mastering engineer; the second reel lacks voice slates preceding each track, as noted on the track listing. Hailed as a groundbreaking work that redefined the artistic possibilities of popular music, Sgt. Pepper’s is considered to be the Beatles’ masterpiece by critics and listeners alike. The band paid particular attention to the mono mix, with engineer Geoff Emerick reflecting: ‘We spent three weeks on the mono mixes and maybe three days on the stereo.’

The box covers also carry the following notice: “The recorded performances in the tapes in this reel are the property of Capitol Records, Inc. They may only be used for the limited purposes set forth in the letter of July 16, 1965 from F. M. Scott, III, Vice President of Capitol Records, Inc. to King Features Syndicate.” In fine condition, with toning to the masking tape and small tears to the track listing’s upper corners. Accompanied by a high-fidelity digital transfer (.wav file) of the tapes’ contents on a USB stick. Starting Bid $300

3084. Beatles Cartoon B&W 16mm Film Reel by King Features Syndicate with (7) Shows. Reel of 16mm black-and-white film featuring seven Beatles cartoons, housed in its original 11˝-diameter metal canister with affixed “King Features Syndicate TV” label, filled out in type: “16mm Dupe Negative, Subject: The Beatles, Episode - Show #23, #148, #140, #245, #230, #342, #330, B & W.” In very good to fine condition.

In February 1964, just weeks after the Beatles’ mesmerizing performance on The Ed Sullivan Show, Al Brodax—head of film and television development at King Features—approached Brian Epstein with the idea of producing a Beatles cartoon series. The concept envisioned short, adventurous stories built

around popular Beatles songs, complemented by ‘sing-along’ segments featuring on-screen lyrics.

Each cartoon ran approximately 8 to 10 minutes, with two included per weekly episode. The sing-along portions were a highlight of the show, inviting audiences to learn and sing the songs along with the Beatles. Music selections were drawn from the U.S. Beatles albums—from Meet the Beatles through Revolver—along with non-album singles up to ‘Strawberry Fields Forever / Penny Lane.’

The series premiered on September 25, 1965, and concluded on October 21, 1967, spanning 39 episodes and featuring a total of 78 Beatles songs. Starting Bid $200

BOB DYLAN

Massive, four-foot-tall original artwork from Bob Dylan’s acclaimed ‘Side Tracks’ series

3201. Bob Dylan Massive Original Mixed Media Painting - ‘Side Tracks’. Original artwork by Bob Dylan from his celebrated ‘Side Tracks’ series, based on his most famous ‘Drawn Blank’ image (‘Train Tracks’), hand-embellished in gouache and mixed media on a 36 x 48 giclée, signed below in pencil by Bob Dylan. The work features Dylan’s famous image of empty train tracks stretching into the infinite horizon, the sky ablaze in hues of orange at sunset. Purple houses line the tracks and crimson mountains loom in the distance. Dylan’s brushwork is brilliant and energetic, the whites delivered using a textural impasto technique. The artwork is titled on the reverse in pencil: “13 September 1987, Turin, Italy.” Each work in Dylan’s running ‘Side Tracks’ series carries a unique date, city, and country, based on concerts he performed from 1961 to 2013. Beautifully mounted, matted, and framed by Castle Fine Art of Birmingham, England, to an overall size of 40 x 52. In very fine condition.

Bob Dylan’s ‘Side Tracks’ series is a celebrated collection of over 300 artworks that showcase his evolution as a visual artist. Each piece begins with a giclée print of his iconic ‘Train Tracks’ image, a motif that first appeared in his ‘Drawn Blank’ series. Dylan then hand-embellishes each piece, making every

one unique. The artworks are named after specific locations and dates, corresponding to significant concerts performed by Dylan throughout his lengthy career. This personal connection to his touring history adds resonant depth and narrative to the artworks; his 1987 Turin show came as part of the Temples in Flames Tour, which featured Tom Petty and the Heartbreakers as his supporting band. Bob Dylan’s ‘Drawn Blank Series’ marks a significant chapter in his journey as a visual artist, showcasing his ability to translate his observations into expressive paintings. Originally created as sketches between 1989 and 1992 while touring across America, Europe, and Asia, these drawings were a means for Dylan to relax and refocus his mind. In 2006, he began to revisit the collection, transforming his black-and-white sketches into vibrant watercolor and gouache paintings, each version exploring different moods and color palettes. The series debuted at the Kunstsammlungen Chemnitz museum in Germany before being exhibited at London’s Halcyon Gallery, where critics praised his bold use of color and emotive brushwork. Much like his music, Dylan’s artwork reflects his unique perspective on people, places, and the passage of time, solidifying his status as a multidisciplinary artist with a distinct and evolving visual style. Starting Bid $10,000

Portfolio of eight limited edition signed prints from Bob Dylan’s iconic ‘Drawn Blank’ series

3203. Bob Dylan Suite of (8) Signed Giclee Prints‘Drawn Blank, 2011’ (Ltd. Ed. #295/295). Exquisite portfolio suite of eight limited edition giclee prints from the 2011 release of Bob Dylan’s ‘Drawn Blank’ series, all numbered 295/295, 22 x 27.5, each signed in the lower border in pencil by Dylan. The prints include: ‘Man on a Bridge,’ ‘Sidewalk Cafe,’ ‘Motel Pool,’ ‘Woman in Red Lion Pub,’ ‘Still Life with Peaches,’ ‘Mexico,’ ‘Three Chairs,’ and ‘Truck.’ Housed together in their original ‘Drawn Blank’ folders and portfolio box, each print is accompanied by its corresponding certificate of authenticity from Washington Green Fine Art. The prints are in very fine condition; the portfolio box has some tape reinforcements to the corners.

Dylan’s popular Drawn Blank art series—a visual autobiography capturing his life on the road—colorfully portrays the people and places he has encountered over the course of his ‘Never Ending Tour.’ Vividly rendered in this large ‘medium format’ size, it is a stunning set of prints from the multi-talented singer-songwriter. The collection represents Dylan’s rare fusion of musical genius and painterly vision, offering a glimpse into the restless creativity that defines his work across all mediums. Starting Bid $1000

Large-format limited edition giclées from the ‘Drawn Blank’ series, each signed by Bob Dylan

3204. Bob Dylan Suite of (4) Signed Giclee Prints‘Drawn Blank, 2013’ (Ltd. Ed. #109/295). Impressive portfolio suite of four limited edition giclee prints from the 2013 release of Bob Dylan’s ‘Drawn Blank’ series, all numbered 109/295, 28 x 36, each signed in the lower border in pencil by Dylan. The prints include: ‘House on Union Street,’ ‘Sidewalk Cafe,’ ‘Bicycle,’ and ‘Motel Pool.’ Housed together in their original ‘Drawn Blank’ folders and portfolio box, each print is accompanied by its corresponding certificate of authenticity from Washington Green Fine Art. The prints are in very fine condition; the portfolio box has some splitting to the corners.

Dylan’s popular Drawn Blank art series—a visual autobiography capturing his life on the road—colorfully portrays the people and places he has encountered over the course of his ‘Never Ending Tour.’ Vibrantly rendered in this sought-after ‘large format’ size, it is an exemplary set of prints from the multi-talented singer-songwriter. These compelling compositions highlight Dylan’s instinctive grasp of color and mood, transforming everyday scenes into poetic meditations on solitude. A striking and desirable ensemble, it exemplifies the depth of Dylan’s artistic vision beyond the realm of music. Starting Bid $500

Uninscribed copy of Bob Dylan’s pioneering Highway 61 Revisited album, signed in 2017 for the president of the Bob Dylan Music Company

3205. Bob Dylan Signed Album - Highway 61 Revisited. German 2015 vinyl pressing of Bob Dylan’s 1965 album, Highway 61 Revisited, signed on the front cover in black felt tip by Bob Dylan. In fine condition, with a small ding to the left edge. The record is included. Accompanied by a certificate of authenticity from Tracks and by a letter of provenance from Jeff Rosen, the president of the Bob Dylan Music Company, which reads: “I represent Bob Dylan and have done so for many years. In 2017 he signed a number of individual albums on a rare and limited basis, including the album photographed here. I can say for certain that is Bob Dylan’s signature. The chain of custody is directly from Bob Dylan to myself.”

First released in 1965, Highway 61 Revisited marked a pivotal moment in Bob Dylan’s career as he blended folk roots with electric rock to create a pioneering sound. The groundbreaking album features the iconic track ‘Like a Rolling Stone,’ which became a defining anthem of the 1960s, as well as classics like ‘Highway 61 Revisited,’ ‘Queen Jane Approximately,’ and ‘Desolation Row.’ With its innovative lyrics and bold musical style, Highway 61 Revisited solidified Dylan’s status as a leading voice in contemporary music and culture—a marvelous, uninscribed example of a classic record. Starting Bid $500

3206. Bob Dylan Signed Album - Blonde on Blonde. Blonde on Blonde album signed on the front cover in blue felt tip by Bob Dylan. In fine condition. The record is not included. Originally obtained by in-person specialist Mike Wehrmann and accompanied by his certificate of authenticity, stating that he personally obtained the autograph in July 2009.

Blonde on Blonde is widely regarded as one of the greatest albums of all time, marking a pivotal moment in Bob Dylan’s career and in rock history. As one of the first double albums in the genre, it showcased Dylan’s genre-defying creativity during his groundbreaking 1965–1966 period. Recorded in both Nashville and New York, the album’s innovative sound and poetic depth earned critical acclaim and commercial success, achieving double platinum status with hit singles like ‘Rainy Day Women #12 & 35’ and ‘I Want You.’ Starting Bid $500

The

Times They Are a-Changin’ album signed by folk icon Bob

Dylan

3207. Bob Dylan Signed Album - The Times They Are a-Changin’. The Times They Are a-Changin’ album signed on the back cover in blue ballpoint by Bob Dylan. In fine condition, with toning to the edges and a “Paul Daniel” ink stamp to the reverse. The record is not included. Accompanied by a full letter of authenticity from REAL. Dylan wrote the song ‘The Times They Are a-Changin’’ in the fall of 1963, shortly after Martin Luther King Jr.’s March on Washington, wanting to create an anthem for social justice. As he said, folk music and the Civil Rights movement were natural allies and he felt he could make a contribution to the movement by writing a powerful, ‘hypnotic’ anthem. The title track of his third studio album, it is one of the songs that earned Dylan a Nobel Prize in Literature, recognized ‘for having created new poetic expressions within the great American song tradition.’ Starting Bid $500

JIMI HENDRIX

The Jimi Hendrix Experience direct

“monies payable with respect to any and all songs” to their managers

3227. Jimi Hendrix Experience Document Signed (1968) - Hendrix, Redding, and Mitchell Direct Payment of Royalties to their Management Team. DS, one page, 8.5 x 11, August 22, 1968. Agreement between music publisher Sea-Lark Enterprises and the Jimi Hendrix Experience, along with manager Michael Jeffery and manager/producer Chas Chandler, by which it is understood that “until further written notice is received from us to the contrary that all monies payable with respect to any and all songs written by any of the undersigned are to be paid only to Jeffery & Chandler, Inc.” Signed at the conclusion in blue ballpoint by Jimi Hendrix, in black felt tip by Noel Redding, Mitch Mitchell, and Michael Jeffery, and in fountain pen by Chas Chandler. In very good to fine condition, with two file holes to the top edge, and creasing and short tears along the rough right edge. Accompanied by a full letter of authenticity from PSA/DNA.

Chas Chandler, former bassist of The Animals, discovered Jimi Hendrix performing in Greenwich Village in 1966 and brought him to London, convinced of his potential as a groundbreaking guitarist. He partnered with manager Michael Jeffery to co-manage Hendrix, helping launch the Jimi Hendrix Experience and guide his early career. Sea-Lark Enterprises, Inc., a subsidiary of A. Schroeder Music Corporation, was Hendrix’s music publisher; the Reprise Records compilation ‘Smash Hits’ credits Hendrix/Sea-Lark Enterprises on several tracks, including ‘Purple Haze,’ ‘Fire,’ and ‘The Wind Cries Mary.’

Signed in 1968 at the height of Hendrix’s meteoric rise to fame, this agreement highlights the business framework supporting the group as they revolutionized rock music with their electrifying sound. With the full complement of Jimi Hendrix Experience signatures—guitarist/lead vocalist Jimi Hendrix, bassist Noel Redding, and drummer Mitch Mitchell—this document stands as a marvelous piece of 1960s music history. Starting Bid $1000

Original printing of Rick Griffin’s iconic ‘Flying Eyeball’ poster for Jimi Hendrix at the Fillmore

3228. Jimi Hendrix 1968 Fillmore Concert Poster (First Printing) - ‘Flying Eyeball’ (14˝ x 21.25˝) - CGC

Restored Apparent 9.0. Outstanding original first printing color 14 x 21.25 concert poster for Jimi Hendrix, John Mayall, and Albert King at the Fillmore Auditorium and Winterland in February 1968, featuring the famous ‘flying eyeball’ design by Rick Griffin (BG-105). Encapsulated by CGC with a restored grade of “Apparent 9.0, Slight/Mod. A-2,” noting a small amount of color touch. A vibrant example of this iconic poster, widely regarded as a psychedelic masterpiece. Starting Bid $300

3229. Jimi Hendrix Signature. Fantastic vintage ballpoint signature and inscription, “Love always to Vicki Starr, Stay Sweet, Jimi Hendrix,” with a small sketch of a heart, on the reverse of a color 5.5 x 3.5 postcard depicting the Sheraton Motor Inn in Memphis, Tennessee. Also signed and inscribed by Hendrix’s bassist, “Best wishes Vicki, Billy Cox.” In very good to fine condition, with a strip of toning to the left edge, and heavy creasing to the right edge, neither of which affects Hendrix’s signature. Starting Bid $500

3230. Jimi Hendrix (2) Negative Film Strips from the 1970 Isle of Wight Festival. Original vintage pair of film strips, 9 x 1.5 and 7.5 x 1.5, containing 11 original negatives of Jimi Hendrix performing live on stage at the Isle of Wight Festival on August 30, 1970. In overall fine condition. Accompanied by a certificate of authenticity from Tracks. In an attempt to outdo Woodstock from the year prior, the record-breaking five-day-long 1970 Isle of Wight Festival enlisted a vast and diverse array of musical talent, which included the likes of The Doors, Jimi Hendrix, Rory Gallagher, Chicago, the Moody Blues, The Who, Miles Davis, Joan Baez, Joni Mitchell, Jethro Tull, and many others. The negatives are sold with copyright. The buyer is solely responsible for ascertaining that each image is otherwise cleared for publication. Starting Bid $200

3231. Jimi Hendrix Experience Original 1969 Reprise Records Promotional Press Kit. Scarce original 1969 USA promotional press kit for the Jimi Hendrix Experience issued by Reprise Records with assistance from Michael Jeffery Management and The Goldstein Organization, all of which is contained in its original 9 x 12.25 folder with colorful artwork by noted poster artist David Byrd. The contents include 13 glossy photographs, 8 x 10 and 10 x 8, a glossy promotional postcard, and an assortment of typed documents, such as: dates for the group’s US 1969 tour; two pages regarding the group’s stage presence; two pages about the upcoming tour; three pages about the group; two pages about Jimi renting a home in London; three pages about recent performances; a page regarding Hendrix playing the USA National Anthem at the Albert Hall; a page about a performance by Noel Redding’s Fat Mattress at the Albert Hall; a page about the group being the Billboard Artist of The Year; and biography pages for Jimi Hendrix, Noel Redding, and Mitch Mitchell. In very good to fine condition, with foxing and handling wear to the folder. Accompanied by a certificate of authenticity from Tracks. Starting Bid $200

3232. Jimi Hendrix Experience Original ‘The Pavilion’ Concert Handbill (February 20, 1967). Scarce original 5 x 7.5 handbill promoting a concert by the Jimi Hendrix Experience at The Pavilion in Bath, England, on February 20, 1967. The handbill also promotes shows by Zoot Money and Keith. In very good to fine condition, with light folds and creases. Accompanied by a certificate of authenticity from Tracks. The Pavilion was one of many small clubs that Hendrix and the Experience played when they weren’t recording their debut album at London’s Olympic Studios. Are You Experienced would be released just three months later to widespread critical acclaim, jump-starting the Jimi Hendrix global phenomenon. Starting Bid $200

ROLLING STONES

Jagger writes out a huge set of 19 Rolling Stones songs for the band’s rock concert at the Sporthalle in Cologne, Germany, on June 2, 1976

3251. Mick Jagger Handwritten 19-Song

Rolling Stones Concert Set List – Sporthalle in Cologne, Germany (June 2, 1976). Handwritten set list by Mick Jagger for a Rolling Stones concert at the Sporthalle in Cologne, Germany, on June 2, 1976, for The Rolling Stones Tour of Europe ‘76. The set list, unsigned, one page, 8.25 x 9.75, features a total of 19 songs penned in felt tip by Jagger. The list captures the raw energy of the Stones’ mid-’70s live performances and features a mix of fan favorites and tracks from Black and Blue, which was released earlier that year. The songs are as follows:

“Honky Tonk Woman”

“If You Cant Rock Me”

“Hand of Fate”

“Hey Negrita”

“Aint Too Proud”

“Fool to Cry”

“Hot Stuff”

“Starfucker”

“You Gotta Move”

“You Cant Always Get”

“Happy”

“Tumbling Dice”

“NFN”

“OS” [Jagger notes that the latter two songs, ‘Nothing from Nothing’ and ‘Outa-Space,’ are “Billys Tunes,” a reference to Billy Preston]

“Midnight Rambler”

“Its Only Rock N Roll”

“Brown Sugar”

“Jumping Jack Flash”

“Street F Man”

The upper portion bears collector’s notations. In fine condition, with minor paper loss to the bottom corners.

From the estate of Franz-Peter Bach, an avid German autograph collector active from the 1980s onward. Bach was known for following major music tours throughout Germany and attending autograph fairs in Hanover, where he exchanged signatures and collected celebrity addresses for correspondence. His collection was carefully organized in albums, from which this item originates. Starting Bid $500

The legendary debut album of the Rolling Stones, signed by the full classic lineup

3252. Rolling Stones Signed Debut Album. Sought-after Decca Records UK mono pressing (LK 4605) of the self-titled debut album by the Rolling Stones, signed on the back cover in blue ballpoint by Mick Jagger and Brian Jones, and in black ballpoint by Keith Richards, Charlie Watts, and Bill Wyman, who has added the inscription, “Love to Jill.” The consignor notes that the signatures date to late 1965, and were signed for the secretary of the Herman’s Hermits Fan Club. In fine condition. The record is included. Accompanied by a certificate of authenticity from Tracks and by a letter from the son of the recipient: “During the 60s, my mum Jill Warren was the fan club secretary for Herman’s Hermits. She had the privilege of meeting many stars and was lucky enough to have met the Rolling Stones.” A desirable vintage-signed example of the Stones’ classic debut release. Starting Bid $1000

Choice, fully signed 1963 Rolling Stones promotional card—the earliest form of a Stones fan club card—dated after the debut at the High Wycombe Town Hall

3253. Rolling Stones Signed Fan Club Promotional Card (c. 1963). Fantastic vintage circa 1963 Rolling Stones fan club promo card (the earliest form of a Stones fan club card), 5.25 x 4.75, signed on the reverse in blue ballpoint, “Mick Jagger,” “Brian Jones, xx,” “Keith Richard,” “Charlie Boy,” and “Bill Wyman.” A printed caption on the reverse lists the address of the fan club’s national secretary, Diane Nelson. In very fine condition. A hugely desirable example of this rare promo card, boasting a scarce quintet of ultra-early Rolling Stones autographs — quite possibly the finest example of this early fan card that we have encountered.

Accompanied by a certificate of authenticity from Tracks, a full letter of authenticity from Beckett Authentication Services, and a letter of provenance from the original recipient: “‘This letter shall serve to authenticate the full set of Rolling Stones autographs on the rear of an early promotional card. I received their signatures whilst in their presence, following a concert on 13th August 1963, at High Wycombe Town Hall. As I recall, they only had one single out at the time and were just starting to venture outside of London. The five bandmembers were quite scruffy but pleasant, and I enjoyed meeting them very much!”

The iconic early image on the frontside of the card was captured by Philip Townshend during the group’s first professional photo session in London on May 4, 1963. Townshend’s brief was to make them the opposite of the Beatles. He instructed the band to wear normal clothes, and then he walked them around the streets of Chelsea to Cheyne Walk, a disused wharf on the Thames, and finally to a pub, The Australian. Just days earlier, the band had signed a management agreement with 19-year-old Andrew Loog Oldham. On the day of the photoshoot, Oldham decided on a makeover for the boys.

‘We went with [Oldham] on the morning of May 4, 1963, to Carnaby Street,’ bassist Bill Wyman said in his Stone Alone autobiography. ‘He bought us all these tight black jeans, black roll-neck sweaters and highly fashionable Anello & Davide black Spanish boots with Cuban heels.’ The day after the photo session, and on the recommendation of George Harrison of the Beatles, Dick Rowe (head of A&R at Decca Records) saw the band perform at the Crawdaddy in London; within the week, they were signed to the label. Their debut single, a raw version of the Chuck Berry rocker ‘Come On,’ was issued just a month later. Starting Bid $500

Exceptionally rare fully signed Rolling Stones photograph dated to their 1970 concerts in West Germany

3254. Rolling Stones Signed Photograph - Dated to September 1970 During Their European Tour. Vintage original glossy 9.5 x 7 photo of the Rolling Stones in Germany during their 1970 European Tour, with Mick Jagger shown holding a guitar, signed and inscribed in black felt tip by Mick Jagger, Charlie Watts, Keith Richards, Mick Taylor, and Bill Wyman, who adds the inscription, “To Richard, Love, the Rolling Stones.” The reverse bears the photo and copyright stamp of the recipient, Reinhard Segelhorst, the manager of the Inter-Continental Hotel in Dusseldorf, where the Stones stayed when they performed in Western Germany in September 1970. In very good to fine condition, with old tape stains and pin holes to the corners, lightly tarnished/scuffed feel to the emulsion, and the Taylor signature very faint but still legible. Signatures of the Rolling Stones from this period, a little over a year after the death of Brian Jones and the subsequent hiring of Mick Taylor, remain rare across all formats as the band was virtually untouchable at this point in their career. Starting Bid $300

3255. Rolling Stones 1963 Handbill for the 3rd National Jazz Festival. Scarce vintage dual-sided yellow 5.75 x 7.5 handbill promoting the 3rd National Jazz Festival at the Athletic Grounds in Richmond, Surrey, held on August 10-11, 1963. The Stones are slated to perform as part of the ‘Traditional and Rhythm & Blues’ portion on the August 11th show, which includes other acts like the Acker Bilk’s Band, the Terry Lightfoot Band, the Freddy Randall Band, and more. In very good to fine condition, with two small edge tears, and a crease to the lower left edge. Accompanied by a certificate of authenticity from Tracks. Starting Bid $200

3256. Rolling Stones Stereo ‘Factory Sample’ Test Pressing - Aftermath. Original UK Decca Records stereo factory sample test pressing of the Rolling Stones’ 1966 album Aftermath, with labels to both sides marked as “Factory Sample, Not For Sale,” and bearing handwritten notations, which read: “Aftermath, The Rolling Stones, XZAL 7210 4W, SKL 4786” and “XZAL 7209-4W, SXL 4786.”

The side one matrix is marked as XZAL-7209-4W with 1 G stampers, and the side two matrix is marked as XZAL-7210-4W with 1 G stampers. In fine condition. Accompanied by a certificate of authenticity from Tracks. Starting Bid $200

3258. Rolling Stones and Andy Warhol (14) Promotional Photographs for ‘Love You Live’. Uncommon set of 14 vintage glossy 5 x 7 promotional photographs of the Rolling Stones, which were originally taken by Andy Warhol and issued in conjunction with a promotional EP that was released ahead of the September 1977 release of the Rolling Stones’ double live album, Love You Live. The images show the band members—Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood, and Bill Wyman—playfully biting one another. Warhol created the cover artwork for Love You Live, and these images were used on various promotional items related to the album. In overall very fine condition. Accompanied by a certificate of authenticity from Tracks. Starting Bid $200

3257. Rolling Stones and Andy Warhol 1977 ‘Love You Live’ Launch Party Promotional Poster (36˝ x 48˝).

Extremely rare original 36 x 48 promotional poster designed by Andy Warhol issued for the launch party for the Rolling Stones’ 1977 double live album, Love You Live, which took place at the Trax nightclub in New York City on September 27, 1977. The poster contains a collage of photographs taken by Warhol of the band members—Mick Jagger, Keith Richards, Charlie Watts, Ronnie Wood, and Bill Wyman—playfully biting one another, with “Love You Live” placed on the right side. In very good to fine condition, with intersecting folds, and light creases and stains. Accompanied by a certificate of authenticity from Tracks. Amongst the many stars in attendance at the party were the Rolling Stones and Warhol, who created the album’s cover artwork and also designed the tablecloth exclusively for the party. The posters, which were given to selected guests who attended the launch party, were never made commercially available to the public. Starting Bid $500

THE WHO

Hugely desirable ‘Live at Leeds’ album signed in full by The Who—Pete Townshend, Roger Daltrey, John Entwistle, and Keith Moon—complete with all 12 original high-quality record inserts

3292. The Who Rare Fully Signed ‘Live at Leeds’ Album with All (12) Original Inserts. Stunning UK first vinyl pressing of The Who’s 1970 album Live At Leeds, which has been signed on the front cover in bold ballpoint by the full group: Pete Townshend, Roger Daltrey, John Entwistle, and Keith Moon. In very good to fine condition, with creasing, toning, and tape stains, all constrained to the edges. The record is included. Full vintage-signed albums by all four original members of The Who, including Keith Moon, are exceedingly scarce. This outstanding early and complete example of their highly coveted ‘Live at Leeds’ album boasts a bold quartet of extremely large and well-spaced signatures.

Accompanied by a full letter of authenticity from Beckett Authentication Services and a certificate of authenticity from Tracks, which affirms that the autographs were obtained backstage at Liverpool University in Liverpool, England, on May 14, 1971. The record is included, as are all 12 of the album’s original high-quality inserts, including the early Marquee Club poster. Starting Bid $1000

Polydor Records promo poster signed by The Who

3293. The Who Signed Polydor Mini Promotional Poster (11.5˝ x 16.25˝). Phenomenal original 11.5 x 16.25 Polydor Records promotional poster for The Who, showing the four band members staring into the camera against a red background, signed in black ballpoint by Keith Moon, Pete Townshend, Roger Daltrey, and John Entwistle. The poster is an offset print on cardstock by the printing house R. Stöpfgeshoff GmbH & Co. KG of Wuppertal, Germany. In very good to fine condition, with tiny tack holes to the corners, and small areas of surface loss to the edges.

After releasing their first two albums—My Generation and A Quick One—through Decca and Brunswick Records, The Who signed with Track Record in 1967, an upstart independent record label founded by their managers Kit Lambert and Chris Stamp. During the label’s early days, Track remained very reliant upon distribution support in the United Kingdom from the large Polydor Records label based in Germany. A remarkable and highly appealing early band poster signed by the full Who lineup. Starting Bid $200

3294. The Who Collection of (52) Color Concert Slides from the Houston Summit - November 20, 1975. Collection of 52 color slides of The Who performing live on stage at the Houston Summit in Houston, Texas, on November 20, 1975. The shots are primarily of Roger Daltrey singing and Pete Townshend playing the guitar on stage, with sporadic shots of bassist John Entwistle and drummer Keith Moon. In overall fine condition. Accompanied by a certificate of authenticity from Tracks. The 2012 concert film The Who Live in Texas ‘75 captures this Who show at The Summit on November 20th, 1975, which occurred at the start of their US leg of the tour in support of The Who by Numbers album. Starting Bid $200

3295. The Who Signatures. Vintage ballpoint signatures of The Who — Keith Moon, Pete Townshend, John Entwistle, and Roger Daltrey, who has written “The Who” above — on individual multi-colored 4.5 x 3.5 album pages, with the reverse of the Moon page bearing another Daltrey signature. The consignor notes that the signatures date to the mid-1960s. In overall fine condition, with light soiling to the Townshend page. Accompanied by a certificate of authenticity from Tracks. Starting Bid $200

GRATEFUL DEAD

Handwritten lyrics by Jerry Garcia to ‘The Maker,’ a staple of his 1990s concert set list

3307. Jerry Garcia Handwritten Lyrics to ‘The Maker’. Unsigned handwritten lyrics by Jerry Garcia, one page, 8 x 12.5, no date. Garcia pens the lyrics to ‘The Maker,’ a song by Daniel Lanois that was regularly played in concert by the Jerry Garcia Band from 1992 to 1995. Garcia writes, in full:

“Oh deep water

Black and cold like the nite I stand with arms wide open

I’ve run a twisted line

I’m a stranger, in the eyes of the Maker

I could not see for the fog in my eyes I could not feel for the fear in my life

And from across the great divide

In the distance I saw light Jean Baptiste walking to me, with the Maker

My body is bent & broken By long & dangerous sleep

I can’t work the fields of abraham And turn my head away

I’m not a stranger in the hands of the Maker

Brother John, have you seen the homeless daughters

Standing there with broken wings

I have seen the flaming swords there over east of Eden Burning in the eyes of the Maker 3 X Oh river rise, through your sleep.”

Handsomely double-matted and framed with a concert flyer for the Grateful Dead at the Philadelphia Civic Center to an overall size of 25.25 x 20.25. In fine condition, with light folds and creases. Starting Bid $300

3308. Grateful Dead Complete Set of (16) Unused Backstage Passes from the 1995 Summer East Coast Tour

– The Last with Jerry Garcia. Rare and complete set of 16 unused backstage passes for the Grateful Dead’s 1995 Summer East Coast Tour, remembered as the final shows with frontman Jerry Garcia, including his last show on July 9, 1995, which took place at Soldier Field in Chicago, Illinois. Created by Crest Craft, each cloth pass measures 2.5 x 3.5 or 3.5 x 2.5, and features the band’s name, concert date and venue, and colorful designs, many of which bear Marvel Comic characters like Thor, Spider-Man, Galactus, Captain America, and Ghost Rider. In overall fine condition. Read more online at www.RRAuction. com. Starting Bid $200

LED ZEPPELIN

3333. Led Zeppelin Signed Album Sleeve - Early Jitters. Wraparound sleeve from the unofficial ‘Early Jitters’ album, with “Those BBC Concerts, London, 1971” printed along the bottom, signed in ink by Jimmy Page, Robert Plant, and John Paul Jones. Candid concert photos of Page and Plant are affixed at the bottom, and the piece is matted and framed to an overall size of 17.25 x 17. In fine condition, with some light creasing. The record is not included. Accompanied by a full letter of authenticity from REAL. Starting Bid $200

3334. Jimmy Page Signed Genesis Book - Jimmy Page (Ltd. Ed. #1938/2500). Signed book: Jimmy Page by Jimmy Page. First edition, limited issue, numbered 1938/2500. England: Genesis Publications, 2010. Hardcover hand-bound in morocco leather and screen-printed laser-cut Perspex, with slipcase, 11.5 x 13.5, 512 pages. Signed inside on a numbered bookplate in black felt tip by Jimmy Page. Complete with its drawstring bag. In very fine condition, with fading to the drawstring bag.

This monumental limited edition spans over 500 pages and features more than 650 photographs and illustrations, making it Genesis’s largest edition to date. Expertly fine-screen printed and image-varnished on heavyweight art paper, the book is hand-bound in bespoke ‘midnight hue’ morocco leather with laser-cut Perspex boards, screen-printed with two of Page’s favorite portraits. Gilded page edges, a gold-blocked spine, and custom marbled endpapers in blues, blacks, and silver add to the luxurious detailing, while a hand-crafted slipcase in matching silk, trimmed in morocco leather and blocked in gold leaf, completes this extraordinary volume. Starting Bid $200

QUEEN

Fully signed example of Queen’s A Night at the Opera—a landmark album of the 1970s

3352. Queen Signed Album - A Night at the Opera. A Night at the Opera album signed on the front cover in black felt tip by Freddie Mercury, Brian May, John Deacon, and Roger Taylor. In fine condition, with some faint toning, light soiling, and a trivial brush to Mercury’s signature. The record is included.

Queen’s A Night at the Opera, released in November 1975, is one of the band’s most ambitious and acclaimed albums, blending rock, opera, and theatrical influences. Showcasing Queen’s musical diversity and technical mastery, the album features the iconic track ‘Bohemian Rhapsody,’ which has become one of the most celebrated songs in rock history. Starting Bid $300

Three dual-signed Queen business checks from the early 1980s, containing signatures of the entire band

3351. Queen (3) Business Checks Signed by Each Band Member. Set of three 7.5 x 4 Coutts & Co. ‘Queen Productions Ltd.’ and ‘Raincloud Productions Ltd.’ business checks from 1980, 1981, and 1983, each filled out in another hand and signed in ballpoint or ink by two members of Queen, with John Deacon signing all three as “John R. Deacon.” The earliest check, November 19, 1980, payable to British property developer “Stanhope Woodford Ltd” for £1095.09, is co-signed by Freddie Mercury; the second, July 2, 1981, also payable to the aforesaid property developer for £1121, is co-signed by Roger Taylor; and the third, November 15, 1983, payable to British Telecom for £639.30, is co-signed by Brian May. In overall fine condition. Accompanied by a certificate of authenticity from Tracks. Starting Bid $500

Fully signed program from Queen’s epic 1975

‘A Night at the Opera Tour’

3353. Queen Signed ‘A Night at the Opera’ Tour Program. Scarce original program for the UK leg of Queen’s 1975 ‘A Night at the Opera Tour,’ 16 pages, 10.5 x 8.25, signed on the front cover in black felt tip by Freddie Mercury, and in blue ballpoint by Brian May, John Deacon, and Roger Taylor. The inside front cover bears an affixed ticket stub from Queen’s concert at the Guild Hall in Preston, England, on December 8, 1975. In fine condition, with light handling wear, and a ticket stub taped to the inside of the front cover.

To support their landmark fourth studio album, A Night at the Opera, Queen embarked on a massive 78-show world tour that began on November 14, 1975, and concluded on April 22, 1976. The tour, which marked the debut of the classic Queen rock epic ‘Bohemian Rhapsody,’ included a total of 26 shows in the United Kingdom that ran from mid-November to late December. Starting Bid $300

3354. Queen Original Acetate for ‘Flash’. EMI Records Abbey Road 7-inch acetate record for the Queen song ‘Flash,’ which was released on November 24, 1980, as the theme song of the 1980 film Flash Gordon. The 45 rpm record bears its original Abbey Road spiral-crosswalk label, which is marked in black ballpoint, identifying the record as side “A,” the title as “Flash,” the artist as “Queen,” and the duration as “2” minutes and “54” seconds, which differs from the official single release 2:48. In fine condition. Accompanied by a certificate of authenticity from Tracks.

Featuring shared lead vocals by Brian May and Freddie Mercury, with Roger Taylor adding high harmonies, ‘Flash’ was written as the long single for the soundtrack to the 1980 space opera Flash Gordon, which was one of the earliest high-budget feature films to use a score primarily composed and performed by a rock band. The movie’s album, which served as Queen’s first soundtrack album and ninth studio album, reached number 10 on the UK charts and number 23 on the US Billboard 200, and ‘Flash,’ the single, reached number 10 on the UK Singles Chart and number 42 on the U.S. Billboard Hot 100. The following year, the song was included on Queen’s multi-platinum-selling Greatest Hits compilation album. Starting Bid $300

3355. Queen Signed 1980 ‘The Game Tour’ Program (Mercury, May, and Deacon). Scarce original program for Queen’s 1980 American Tour in support of their eighth studio album, The Game, 24 pages, 9.5 x 11.75, signed inside on separate pages in ink and felt tip by Freddie Mercury, Brian May, and John Deacon; May has signed twice, on the front and back sides of the same page, and Deacon has signed three times, with two of his signatures having very poor contrast. In fine condition. Carried by hit singles ‘Another One Bites the Dust’ and ‘Crazy Little Thing Called Love,’ The Game remains Queen’s best-selling studio album in the U.S., with four million copies sold to date. Starting Bid $200

3356. Queen Collection of (19) Concert Color Negatives from the Houston Summit - August 20, 1982. Five original color negative film strips, ranging in size from 3 x 1.25 to 6.25 x 1.25, containing a total of 18 images of Queen performing live on stage at the Houston Summit in Houston, Texas, on August 20, 1982. Includes a 4 x 5 color negative of John Deacon playing the bass during the concert. In overall fine condition. The negatives are sold with copyright. The buyer is solely responsible for ascertaining that each image is otherwise cleared for publication. Starting Bid $200

JAZZ, BLUES, AND AMERICAN STANDARDS

“Hope you like it!”—Tony Bennett paints, frames, and sends Hollywood legend Mickey Rooney a watercolor portrait

3362. Tony Bennett Original Watercolor Portrait Painting of Mickey Rooney - Presented to the Legendary Hollywood Actor. Original portrait painting of actor Mickey Rooney by legendary singer Tony Bennett under his real name of Anthony Benedetto. The painting, which is accomplished in watercolor on 9 x 12.5 artist paper, depicts Rooney in later age, wearing a beige turtle neck, with his hair slightly unkempt, and his chin and cheeks speckled with gray and white stubble. The painting is signed by Bennett in the lower right corner, “Benedetto.” Archivally cloth-matted and framed to an overall size of 20.5 x 24; the reverse bears a Central Art Framing of New York label, where Bennett personally selected and purchased this frame. Includes an ANS from Bennett to Rooney, handwritten in ballpoint on his off-white 7 x 5 personal stationery card: “Dear ‘Mickey,’ Linda Solomon, photographed you, which inspired me to do an interpretation of the photo – with great admiration, Tony Bennett. P.S. Hope you like it!” In fine condition. Accompanied by the original cardboard shipping box, and an issue of Art & Antiques magazine from April 2001, which features Bennett on the front cover with main article title, “Tony Bennett Paints the Town.” The offered Rooney watercolor is pictured on page 68. Starting Bid $500

3363. John Coltrane Quartet Signed Album - Impressions. Impressions album signed on the gatefold track listing in ballpoint by John Coltrane, McCoy Tyner, Elvin Jones, Art Taylor, and Jimmy Garrison. In fine condition. The record is included. John Coltrane’s Impressions, released on Impulse Records in 1963, is a powerful example of his modal jazz explorations, featuring intense improvisation and spiritual energy. The title track, based on the same harmonic structure as ‘So What’ by Miles Davis, showcases Coltrane’s signature ‘sheets of sound’ technique. The album captures a pivotal moment in Coltrane’s evolution, bridging his hard bop roots with his later avant-garde style. Starting Bid $200

Rare 1936 RKO agreement with both Gershwin brothers

3364. George and Ira Gershwin Signed Contract with RKO Studios (1936). Rare DS, one page, 8.25 x 12.75, September 30, 1936. An agreement between “RKO Studios, Inc., and George Gershwin and Ira Gershwin…under the terms and conditions of which the compensation payable to the said George Gershwin and Ira Gershwin…will be divided and allocated between them in the ratio of sixty per cent (60%) to the said George Gershwin and forty per cent (40%) to the said Ira Gershwin.” Nicely signed at the conclusion by both George and Ira Gershwin, and countersigned by a notary. Attractively cloth-matted and framed with an image and engraved biographical plaque to an overall size of 26.5 x 24.5. In fine condition.

RKO Radio Pictures recruited George and Ira Gershwin to score the 1937 film Shall We Dance, a musical comedy starring Fred Astaire and Ginger Rogers that blended classical ballet with modern jazz-just as George Gershwin did throughout his body of work. Although Ira was less enthusiastic about the concept, George embraced it and composed music in a different style for each scene. The film was released only two months prior to George’s sudden and unexpected death from a brain tumor, and he posthumously received his only Academy Award nomination for Best Original Song for a now-classic tune, ‘They Can’t Take That Away from Me.’ Starting Bid $200

1960s

Scarce, early publicity photo of ‘The Cream,’ signed by Clapton, Bruce, and Baker

3407. Cream Signed Photograph. Vintage glossy 8 x 10 ATCO publicity photo of The Cream, signed in black felt tip, “Eric Clapton” and “Ginger Baker,” and in blue ballpoint, “Jack Bruce.” In fine condition, with subtle brushing to Baker’s autograph. As pioneers of the power trio format, Cream’s groundbreaking blend of blues, rock, and improvisation cemented their place as one of the most influential bands in rock history—an ideal band-signed photograph, boasting a legible, early Clapton signature. Starting Bid $500

Rare, large-format example of the sought-after 1967 Monterey International Pop Festival poster, which marked the American debut of the Jimi Hendrix Experience

3408. Monterey International Pop Festival 1967 Rare Original Poster (19˝ x 35˝). Extremely rare original first printing color 19 x 35 poster for the Monterey International Pop Festival—which famously marked the American debut of the Jimi Hendrix Experience—held at the Monterey County Fairgrounds from June 16–18, 1967. Designed by Tom Wilkes and printed on a silver-metallic foil paper, this is a highly condition sensitive issue. In very good condition, with scattered creasing, and tack holes to the corners.

A seminal festival that kicked off the 1967 ‘Summer of Love,’ the Monterey Pop Festival is remembered for the first major American appearances by the Jimi Hendrix Experience, The Who, and Ravi Shankar, the first large-scale public performance of Janis Joplin, and the introduction of Otis Redding to a white audience. Other major acts included the Grateful Dead, the Byrds, Simon and Garfunkel, the Mamas and the Papas, and Buffalo Springfield. The influential event became an inspiration and a template for future music festivals, including Woodstock two years later. Starting Bid $300

Original

sketchbook with eight drawings by Edie Sedgwick, filled with her typical ‘art therapy’ subjects

3409. Edie Sedgwick Original Sketchbook with (8) DrawingsHorses, Humans, and Dogs. American actress, model, and socialite (1943–1971) known as one of Andy Warhol’s superstars. Edie Sedgwick’s spiral-bound 12.75 x 9.5 ‘Studie Aquarel Bloc’ sketch pad, containing eight original unsigned drawings in graphite (several back-to-back on a single leaf). Subjects are: a trotting horse, shown from the side; a trio of horse sketches, including a detailed, close-up portrait and two rough full-body sketches; a dove and a ballerina; five rough sketches of a small dog lying down; a detailed portrait of a girl and the dog; the same dog in five poses, rolling over and sitting up; a profile portrait of a young woman; and a rough side-view sketch of a horse. On one page, Sedgwick jots an address: “Lyden, 2 & 3 o’clock, Chopin St. No. 5, before Amsterdam, (020 712772).” On the front cover, she writes “beleive,” “Budha,” and “arose, arrose.” In fine condition, with some damage only to the covers; interior pages are clean and unaffected.

Sedgwick left the St. Timothy’s School boarding school in 1959 and returned to her family’s La Laguna ranch in California, where she remained until the fall of 1962 when her family forced her to confront her eating disorder. At the age of 19, she was sent to the private Silver Hill psychiatric hospital in New Canaan, Connecticut, before eventually being moved to Bloomingdale, the Westchester Division of New York Hospital, residencies that allowed her to focus on artwork during occupational therapy sessions. These drawings portray Sedgwick’s typical subject matter, including human figures and animals. She was especially fond of horses—an early love cultivated in her youth on the ranch—and often returned to them in her artwork. Starting Bid $1000

Desirable drawing of a lion by the teenage Edie Sedgwick

3410. Edie Sedgwick Signed Original Drawing - Lion. American actress, model, and socialite (1943–1971) known as one of Andy Warhol’s superstars. Exquisite original pen-and-ink drawing of a lion yawning, accomplished by Edie Sedgwick on a white 9 x 7.5 sheet, trimmed and applied to a gray 12 x 9 mount, signed on the mount in ink, “Edith Sedgwick, ‘60.” The detailed drawing showcases Sedgwick’s deft linework and her keen ability to capture an animal in motion. Mounted and framed to an overall size of 15 x 12.75. In fine condition, with light staining to the wide borders.

Sedgwick left the St. Timothy’s School boarding school in 1959 and returned to her family’s La Laguna ranch in California. She remained there until she was sent to the private Silver Hill psychiatric hospital in New Canaan, Connecticut, in the fall of 1962. Her date notation of 1960 places her at the age of either 16 or 17 when this work was created. Sedgwick’s childhood on the ranch instilled in her a great love for animals of all sizes, from majestic horses and lions to the smallest of woodland creatures. Starting Bid $500

Beautiful, early portrait of an Arabian horse by Edie Sedgwick

3411. Edie Sedgwick Signed Original Painting - Arabian Horse. American actress, model, and socialite (1943–1971) known as one of Andy Warhol’s superstars. Magnificent original watercolor painting of a white Arabian horse, accomplished by Edie Sedgwick on a white 7 x 8 sheet, trimmed and applied to a brown 9 x 9 mount, signed on the mount in ballpoint, “Edith Sedgwick, 1959.” The gorgeous painting perfectly captures the beauty and elegance of the horse, exquisitely done by the teenage Sedgwick. Mounted and framed to an overall size of 13.75 x 17.75. In fine condition.

Sedgwick left the St. Timothy’s School boarding school in 1959 and returned to her family’s La Laguna ranch in California. She remained there until she was sent to the private Silver Hill psychiatric hospital in New Canaan, Connecticut, in the fall of 1962. Her date notation of 1959 places her at the age of either 15 or 16 when this work was created. Sedgwick’s childhood on the ranch instilled in her a great love for animals of all sizes, from majestic horses to the smallest of woodland creatures.

Horses, as much of her artwork reveals, served as a creative anchoring point for Sedgwick throughout her life, a go-to subject from a childhood spent on California ranches. As a youth, she topped broomsticks with hand-made animal heads and she often enjoyed ‘playing horse,’ which her sister Suky described as: ‘You had to look at a picture and you would choose what you wanted to look like. Edie used to make me stare at the picture of a goddamn horse’s face for hours…She inevitably chose something that was very delicate and very Arab…always a beautiful prancing princess-type horse.’

According to her brother Jonathan Sedgwick: ‘When it came to real horses, Edie would always get the best-looking one. She could get anything she wanted. Spoiled. Even if I had the best-looking horse, it became her horse because she convinced everyone that I was too heavy for him and that he’d get tired under my weight. That was cool; it didn’t bother me. We were on top of horses at fourteen months. They’d prop us up on them for a picture to be taken, and then you’d keep wanting a horse. Everybody rode, and you just started riding the first thing you could…Edie and Suky rode at night, through the moonlight.’ Starting Bid $500

Original artwork by 1960s ‘It Girl’ and Warhol superstar Edie Sedgwick

3412. Edie Sedgwick Original Female Study Artwork (1962). Original artwork by Edie Sedgwick of a female figure, accomplished in mixed media on an off-white 12 x 16 canvas sheet, signed in the lower right in black ink, “ES–62.” Removably corner-mounted in an off-white mat to an overall size of 20 x 24. In fine condition.

Sedgwick left the St. Timothy’s School boarding school in 1959 and returned to her family’s La Laguna ranch in California, where she remained until the fall of 1962 when her family forced her to confront her eating disorder. At the age of 19, she was sent to the private Silver Hill psychiatric hospital in New Canaan, Connecticut, before eventually being moved to Bloomingdale, the Westchester Division of New York Hospital, residencies that allowed her to focus on artwork during occupational therapy sessions. Given her history of anorexia and body dysmorphia, this artwork of a nude female figure offers insight into what Sedgwick may or may not have considered to be a healthy female body. She left Bloomingdale soon thereafter and, at the age of 20, she moved to Cambridge, Massachusetts, to study art with her cousin Lily Saarinen in the fall of 1963. From the Michael Post Collection. Starting Bid $300

Exquisite limited edition book chronicling Bowie’s travels during the Ziggy Stardust era and beyond 1970s

3469. Clarence Clemons Personally-Owned and -Used L.A. Sax Tenor Saxophone. White-finish L.A. Sax tenor saxophone personally-owned and -used by Clarence Clemons, saxophonist for Bruce Springsteen and The E Street Band from 1972 until his death in 2011. The saxophone bears a red painted-on logo, and the back of the body is stamped, “T8806.” Includes the original carrying case, which contains accessories like extra reeds and mouthpiece parts. In fine condition, with scattered scuffs and marks from use.

Accompanied by an original photograph of Clemons and a friend posing with the saxophone, which Clemons gave to her as a birthday present, and a copy of a notarized letter of provenance: “1984 was the year that I received the white sax. Clarence had a room especially for his saxophones, pictures, and his memorabilia. At that time, he had 7-8 different saxs which he notated playing. He did not often leave the house without a sax. He used the white LA Sax quite a bit in the seventies. He had a Grace Jones haircut, wore a white tux, & played a white sax.” Starting Bid $200

3468. David Bowie Signed Book - From Station to Station (Ltd. Ed. #1838/2000). Signed book: From Station to Station: Travels with Bowie, 1973–1976, by Geoff MacCormack. First edition, limited issue, numbered 1838/2000. England: Genesis Publications, 2007. Hardcover with clamshell case, 10 x 13, 200 pages. Signed in black felt tip by David Bowie on a special ‘While You Were Out’ plate affixed to the front pastedown, and signed on the colophon in black felt tip by Geoff MacCormack. Complete with its drawstring bag. In very fine condition.

This exquisite volume chronicles the untold story of Geoff MacCormack’s three years of writing, recording, performing, living and traveling with ‘The Man Who Fell To Earth,’ David Bowie. Lusciously bound and comprehensively illustrated with previously unseen photographs, this handsome limited edition offers a rare glimpse into life and work of a music icon. Starting Bid $300

Returned to America in his breakout year, Cohen writes to his Hydra muse, the inspiration for his song ‘So Long, Marianne’—

“I’d like to get to know you some time. Standing in your leather boots on that honey island in my mind”

3470. Leonard Cohen Autograph Letter Signed to His Hydra Muse, Marianne Ihlen. Rare ALS signed “Leonard,” one page, 6 x 9.5, University Manor Motel (Buffalo, New York), March 31, 1967. Handwritten letter to his girlfriend and muse Marianne Ihlen, to whom he refers as “Darling.” In full: “It’s good to know you. I love that picture you sent. I’ve looked at it a long time. Woke up in this little American city thinking about you. I’d like to get to know you some time. Standing in your leather boots on that honey island in my mind. It’s morning! I read and sang here last night. All my love.” In very fine condition. Accompanied by the original mailing envelope hand-addressed by Cohen to “Kiria Marianne Ihlen Cohen, Hydra, Greece.”

Provenance: Christie’s, Write Me and Tell Me Your Heart: Leonard Cohen’s Letters to Marianne, June 2019.

This remarkable letter dates to a pivotal juncture in Cohen’s personal and artistic life. He moved to America in early 1967, thus concluding a nearly seven-year romance with the Greek island of Hydra and, consequently, his girlfriend Marianne Ihlen. It was there in 1960 where they had met on Hydra—the “honey island” referred to in our letter—and it was there where Ihlen had served as Cohen’s muse. Life on Hydra was productive for Cohen, who published a collection of poetry, Flowers for Hitler, the novels The Favorite Game (1963) and Beautiful Losers, as well as several of his better-known songs, including ‘Bird on the Wire’ and ‘So Long, Marianne,’ the latter of which was inspired by Ihlen.

But as the fates would have it, Cohen, then 33, settled in New York City in 1967, when and where he formally transformed into a singer/songwriter. On March 30, 1967, a day before Cohen wrote this letter, he participated in readings alongside author Joseph Heller at the University at Buffalo. The event’s blend of music and poetry was a significant one for Cohen, who alludes to his performance at the close of his letter: “I read and sang here last night.”

Buffalo provided a stepping stone for Cohen, who, a month later, received an invitation from musician Judy Collins, who had recorded his song, ‘Suzanne,’ a year earlier for her album, In My Life. Collins, a champion of Cohen who encouraged his transition to public performance, added him as an act at a Vietnam protest concert at New York City’s Town Hall on April 30, 1967. Cohen sang ‘Suzanne,’ but wracked with nerves and too shy to continue, walked off the stage halfway through – for a brief while. Collins and the audience convinced him to return, and Cohen completed the performance to raucous applause. Later that year, he released his debut album through Columbia Records, Songs of Leonard Cohen. Starting Bid $1000

3471. Rush Signed Album - Moving Pictures. Moving Pictures album signed on the front cover in blue felt tip by Neil Peart, Geddy Lee, and Alex Lifeson. In fine condition, with edgewear and poor contrast to Lee’s signature. The record is not included. Originally obtained by in-person specialist Mike Wehrmann.

Released in 1981, Moving Pictures is one of Rush’s most acclaimed albums, blending progressive rock complexity with more accessible, radio-friendly structures. It features iconic tracks like ‘Tom Sawyer,’ ‘Limelight,’ and the instrumental ‘YYZ,’ showcasing the band’s depth and virtuosity. The album marked a turning point in Rush’s sound, incorporating synthesizers more prominently and cementing their status in modern rock history. Starting Bid $200

PUNK ROCK

3569. The Clash 1979 Concert Handbill (Notre Dame Hall). Original 8.25 x 11.75 handbill for two concerts by The Clash that took place at Notre Dame Hall in Leicester Square, London, England, on July 5 and 6, 1979, which shows a man playing a trumpet and another man (possibly Joe Strummer) seated with an umbrella, and the lower section listing The Modettes and The Low Numbers as supporting acts. In fine condition, with some light edgewear. Accompanied by a certificate of authenticity from Tracks. Starting Bid $200

Amazing Live Aid concert book signed by Queen (twice!), David Bowie, Elton John, and many other of the concert’s biggest stars

3588. Live Aid Multi-Signed Book with Queen, David Bowie, Elton John, and (20+) Musical Acts. Multisigned book: Live Aid: The Greatest Show on Earth. London: Sidgwick & Jackson, 1985. Softcover, 8.25 x 11.75, 192 pages. Signed inside on their respective band and musician pages by 24 performing musical acts and bands, highlighted by two full sets of Queen signatures (Freddie Mercury, John Deacon, Roger Taylor, and Brian May, who signs a third time later in the book). Other signers include: David Bowie, Elton John, Bono, Joan Baez, Sting, Phil Collins, Bo Diddley, Carlos Santana, Ric Ocasek, Duran Duran (Simon Le Bon and Nick Rhodes), Harry Belafonte, Patti LaBelle (2), Tina Turner (2), Bob Geldof (2), Nik Kershaw, Paul Young, Udo Lindenberg, Run-DMC, Status Quo, Ultravox, Spandau Ballet, and the Thompson Twins. In fine condition. Starting Bid $1000

Classic Blizzard of Ozz album signed by the full band, including heavy metal titans Ozzy Osbourne and Randy Rhoads

condition, with light edge wear, and reduced ink flow to the end of

signature. The record is included. Accompanied by a certificate of authenticity from Tracks. Starting Bid $500

3589. Ozzy Osbourne Band-Signed Album - Blizzard of Ozz. Sought-after Blizzard of Ozz album by Ozzy Osbourne, signed on the front cover in blue or black ballpoint by Osbourne, Randy Rhoads, Bob Daisley, and Lee Kerslake. In fine

Ozzy’s

“Paul Hewson,” “David Evans,” “Larry Mullen,” and “A. Clayton”—rare 1990 legal document signed by U2 with their legal names

3591. U2 Document Signed with their Legal Names (1990). Scarce DS, signed “Paul Hewson,” “David Evans,” “Larry Mullen,” and “A. Clayton,” four pages, 8.25 x 11.75, May 30, 1990. Legal document titled ‘Deed of Extension,’ involving U2’s holding company, Not Us (UK) Ltd., and Royal Life Trustee Services Ltd, along with all four founding members of U2— Bono, Edge, Adam Clayton, and Larry Mullen—acting as trustees of a retirement benefits scheme. The deed extends the deadline to finalize and execute a Definitive Trust Deed and Rules that would govern a retirement benefits scheme (essentially, a company pension plan). The original deadline was set out in an Interim Trust Deed dated May 30, 1988, which required that the Definitive Deed be completed within 24 months. Because it was not possible to do so in that timeframe, this Deed of Extension extended that deadline by a further 24 months. Signed at the conclusion in black ballpoint by all four members of U2 with their legal names. The document is also signed by U2’s longtime manager, Paul McGuinness. The penultimate page bears a rare red ‘Not Us Ltd. seal. In very fine condition. Official documents containing the legal names of all four U2 band members, plus their longtime manager Paul McGuinness, are virtually nonexistent in the hands of the public. Accompanied by a certificate of authenticity from Tracks and a full letter of authenticity from Beckett Authentication Services.

This document offers a fascinating behind-the-scenes look at U2 during the height of their ‘Joshua Tree’ era success, but from a business and legal perspective, rather than a musical one — the band signed in their capacity as trustees of the retirement scheme, not in their role as musicians. This underscores U2’s involvement in the corporate governance of its business operations. While U2 were dominating charts and arenas, this 1990 legal document reflects the mature infrastructure behind their public image. It highlights the moment U2 evolved from a rock band to a global business entity – an early example of artists taking full control of their empire. Starting Bid $300

Diamonds and Pearls VHS tape with rare video of Prince used for the album’s famous holographic front cover

3634. Prince Original ‘Diamonds and Pearls’ Hologram Shoot VHS Tape. Original VHS tape cassette containing various takes of Prince during a film shoot to create the holographic image used on the front cover of his 13th album, Diamonds and Pearls, the first with his backing band, The New Power Generation, which was released on October 1, 1991, by Paisley Park Records and Warner Bros. Records. Both the VHS and its accompanying original clamshell box feature matching affixed labels, which read: “Prince Hologram Shoot, Crown Holo-Grafx ‘91.” The tape bears another label annotated “D” and marked “25LA204452,” and the front of the box bears a holographic “Made in USA” label. Included with the VHS tape is an unused 3.25 x 2.75 prototype hologram sticker of the final cover (with Prince posing with dancers Lori Werner and Robia LaMorte, who were known as Diamond and Pearl) and a digital DVD copy of the VHS tape. In overall fine condition. Accompanied by a signed letter of authenticity from Jeff Gold, the owner of Recordmecca and a former executive vice president/general manager of Warner Bros. Records, who worked closely with Prince during the 1990s and art directed numerous album covers for him, including Diamonds & Pearls, Love Symbol, and The Hits/The B-Sides. The letter reads: “This letter is to authenticate a VHS video tape of the Prince hologram shoot for his Diamonds and Pearls album cover, along with a digital transfer ot the same, and a prototype hologram. I art-directed a number of Prince’s album covers, including Diamonds and Pearls, which featured a hologram on the cover. In order to produce the hologram, we had to do a film shoot of Prince and his dancers, moving in the specific way he envisioned. They repeated this motion numerous times, in multiple takes. After the film was processed, the hologram company gave me two VHS videos of the different takes, one for myself and one for Prince, so he could choose which take he wanted to use. This VHS tape is my copy, along with a DVD transfer and one of the prototype holograms sent to me for my approval. I don’t recall which take we chose, but after all these years it’s remarkable to see the shoot in full color – the hologram had barely any color – and to see how disciplined Prince and his dancers were, repeating the same moves with little variation, in take after take. As far as I can determine, this is the only surviving copy of this video, which is unknown to even the most fervent Prince collectors.”Starting Bid $200

“Love God, Prince”—the superstar signs a UK release of his catchy classics ‘1999 / Little Red Corvette’

3635. Prince Signed 45 RPM Promo Single - ‘1999 / Little Red Corvette’. Warner Bros. 45 RPM single record of Prince’s popular tracks ‘1999 / Little Red Corvette,’ signed and inscribed on the reverse in black felt tip, “Love God, Prince.” In fine condition, with a “PR-Copy” label at lower right. The record is included. Accompanied by full letters of authenticity from REAL and music expert Perry Cox. Released in the UK in 1985, this Purple Rain-era double A-side single fuses the apocalyptic party anthem ‘1999’ with the sleek ballad ‘Little Red Corvette,’ giving listeners a strong introduction to Prince’s crossover sound. The single contributed to his growing international recognition—peaking at number 2 in the UK—paving the way for his wider success in Europe. Widely played on both radio and MTV, these tunes helped to establish Prince as a mainstream superstar. Starting Bid $200

Headliner Prince sets his broadcasting stipulations in the lead-up to the massive 1991 Rock in Rio 2 festival in Rio de Janeiro, Brazil

3633. Prince Document Signed for the 1991 ‘Rock in Rio 2’ Festival. DS, signed “PRN,” two pages, 8.5 x 11, November 20, 1990. Three-way agreement between PRN Productions, Inc. (Prince), Artplan (Latin American concert producer), and Société Anonyme de Spectacles Internationaux (international TV rights holder), modifying an existing contract related to Prince’s scheduled performance at the Rock in Rio 2 festival in Rio de Janeiro, Brazil, and how it will be filmed, broadcast, and distributed, with Prince retaining full creative and approval control. The contract grants Artplan limited rights to broadcast and include a few songs in television specials within Latin America, and gives Société Anonyme de Spectacles Internationaux limited rights to use select songs for broadcasts in the rest of the world. All uses require Prince’s approval, are restricted in scope and duration, and are subject to California jurisdiction. Signed at the conclusion in black ink by Prince with his initials, “PRN,” for Prince Rogers Nelson. In fine condition.

Accompanied by additional documents related to Prince’s planned involvement with the Rock in Rio II festival that was held at the Maracanã Stadium in Rio de Janeiro, Brazil, from January 18–27, 1991. Alongside fellow headliners Guns N’ Roses and George Michael, Prince received top billing for two of the event’s nine nights, with INXS, New Kids on the Block, and A-ha earning headliner status for one night each. Prince served as the headliner for the festival’s opening night on January 18th, and then again on January 24th.

Rock in Rio II, broadcast live to 55 countries and watched by over 580 million people, was a massive production involving more than 3,000 organizers. Although MTV filmed Prince’s full concert for broadcast, he later bought back the television rights, preventing U.S. airing; however, it was shown on Argentina’s I-Sat channel. The event featured elaborate staging—3,000 spotlights (including 480 airplane headlights), a 500,000-watt sound system, and two towering video screens that displayed Portuguese subtitles for English lyrics and dialogue. Despite the impressive setup, language delays sometimes dampened the audience’s responses.

Prince performed with a minimal stage set due to the festival’s shared format, earning around $500,000 per show. Although his first performance began nearly two hours late, drawing some jeers from the crowd, he ultimately won over the massive crowds with standout renditions of ‘Purple Rain,’ ‘Thieves in the Temple,’ ‘Kiss,’ ‘Baby, I’m a Star,’ and ‘Nothing Compares 2 U.’ Starting Bid $1000

3636. Prince ‘Purple Rain Tour’ Tambourine - From the Collection of Susie Davis. Scarce dark purple double-row tambourine with a 10” open head, bearing a printed “Love God” label on the handle in the style of Prince’s handwriting. In very fine condition. Prince used this type of tambourine during the Purple Rain Tour in 1984-1985. Accompanied by its original cardboard box.

From the collection of Susie Davis, former keyboard player for Sheila E., who has toured with legendary artists such as Prince, Mick Jagger, Billy Idol, Van Morrison, Sinead O’Connor, and many others. Davis performed with Prince and the Revolution during the Purple Rain Tour.

The Prince Estate is not affiliated, associated, or connected with RR Auction or this auction, nor has it endorsed, authenticated, or sponsored the items available for auction. Further, The Prince Estate has not licensed any of its intellectual property to RR Auction. Starting Bid $200

3637. Prince: Susie Davis Stage-Worn Blazer from the Purple Rain Tour (Capital Centre, November 19, 1984). Dazzling sequined teal blazer worn by keyboardist Susie Davis when she appeared on stage with Prince at the Capital Centre in Landover, Maryland, on November 19, 1984, as part of the legendary Purple Rain Tour. The custom-made jacket, size small, features full-length lapels and vertical rows of sparkling light blue sequins. The inner collar retains its original Ellene Warren label. In fine condition, with a few light stains to the inner liner. On November 19, 1984, Prince and the Revolution played their second of three straight nights at the Capital Centre in Washington, D.C. When the show’s main set ended, Prince requested that Sheila E. and three of her band members – Susie Davis, Eddie Mininfield, and her brother, Juan Escovedo – join him on stage for his encore songs, ‘I Would Die 4 U’ and ‘Baby I’m a Star.’ The concert marked the second time that Davis performed with the Revolution on tour.

As Davis recalls, after the show, Prince’s manager, Steve Fargnoli, came up to her and told her not to wear the blazer anymore. When she asked why, he informed her that the sequins were too glaring and that they distracted attention away from Prince. That was the last time that the jacket was used on stage with Prince.

From the collection of Susie Davis, former keyboard player for Sheila E., who has toured with legendary artists such as Prince, Mick Jagger, Billy Idol, Van Morrison, Sinead O’Connor, and many others. Davis performed with Prince and the Revolution during the Purple Rain Tour. The Prince Estate is not affiliated, associated, or connected with RR Auction or this auction, nor has it endorsed, authenticated, or sponsored the items available for auction. Further, The Prince Estate has not licensed any of its intellectual property to RR Auction. Starting Bid $200

3638. Prince Oversized ‘Diamonds and Pearls’ Hologram Sheet. Ultra rare oversized hologram sheet created for the cover of Prince’s 13th studio album, Diamonds and Pearls, 8.5 x 7.5, which depicts Prince posing with dancers Lori Werner and Robia LaMorte, who were known as Diamond and Pearl. In fine condition. An exceptionally rare oversized hologram created for Diamonds and Pearls, examples of which were never commercially released. Accompanied by a signed letter of authenticity from Jeff Gold, the owner of Recordmecca and a former executive vice president/general manager of Warner Bros. Records, who worked closely with Prince during the 1990s and art directed numerous album covers for him, including Diamonds & Pearls, Love Symbol, and The Hits/The B-Sides. The letter reads: “This letter is to authenticate a large-scale prototype hologram made during the production of Prince’s 1991 album Diamonds and Pearls. I art-directed a number of Prince’s album covers, including Diamonds and Pearls, which featured a hologram on the cover. In order to produce the hologram, we had to do a film shoot of Prince and his dancers, moving in the specific way he envisioned. During the design process, the hologram company sent me different versions of the hologram, including this large-scale one, which has been in my personal collection since 1991.”Starting Bid $200

Worn by Prince on his wedding day— a custom-designed pair of gloves representing love and duality

3640. Prince’s Personally-Worn Wedding Gloves with Zodiac Symbols. Prince’s pair of personally-worn black leather gloves from his wedding to Mayte Garcia on Valentine’s Day, 1996, featuring Zodiacal symbols appliquéd on the top of each hand: Prince’s Gemini symbol on the right hand, and Mayte’s Scorpio symbol on the left hand. Prince desired to wear these two symbols on their wedding day, representing their interconnectedness. In very good to fine condition, with scattered wear and staining.

The presence of the Gemini sign is especially noteworthy, as Prince had long explored the idea of duality in his music: it was not only his star sign, but a name used for an alter-ego in multiple music videos, including ‘Batdance’ and ‘Partyman.’

Consignor notes that these gloves were acquired directly from Prince’s ex-wife Mayte Garcia. The Prince Estate is not affiliated, associated, or connected with RR Auction or this auction, nor has it endorsed, authenticated or sponsored the items available for auction. Further, The Prince Estate has not licensed any of its intellectual property to RR Auction. Starting Bid $500

Prince’s complete, unique screen-worn outfit from Under the Cherry Moon

3641. Prince’s Screen-Worn Outfit from Under the Cherry Moon. Prince’s unique screen-worn two-piece ensemble from his role as Christopher Tracy in the 1986 film Under the Cherry Moon, seen in the film and in iconic promotional photo shoots of the period. The custom-made jacket and pants are crafted from a sheer black-and-gray devoré fabric decorated with a vine pattern, backed by solid white. The jacket boasts a high band collar, padded shoulders, a long rounded hemline to the front, high-cropped hem to the back, and features decorative silver-tone buttons on the front, cuffs, and rear vent. Executed in a matching style, the fitted trousers feature decorative black-and-silver buttons along the outside of the left pant leg, with stirrups at the bottom. In overall fine condition. An iconic, stylish wardrobe piece from one of Prince’s iconic films of the 1980s. Accompanied by a Blu-ray copy of Under the Cherry Moon.

Provenance: Property from the Life and Career of Prince, Lot 104, Julien’s Auctions, May 18, 2018. The Prince Estate is not affiliated, associated, or connected with RR Auction or this auction, nor has it endorsed, authenticated or sponsored the items available for auction. Further, The Prince Estate has not licensed any of its intellectual property to RR Auction. Starting Bid $2500

One of Prince’s iconic stage-worn styles— a luxurious black silk PJ jacket from the Act II Tour

3642. Prince’s Stage-Worn Black Silk PJ Robe from the Act II Tour. Prince’s stageworn black silk pajama (PJ) robe from the Act II Tour, featuring an open front with side-tie closure, lightly padded shoulders, a single breast pocket, and five golden coin-style buttons on each cuff. One of Prince’s iconic styles, this PJ jacket reflects his desire to be relaxed and cozy while still looking perfect on every occasion—both on stage and in everyday life. Prince had several versions of the same style of PJ outfit in various colors, including black, red, and multicolor striped. In fine condition.

Following the Act I Tour of the United States in the spring of 1993, Prince took Europe by storm in Act II, traveling far and wide throughout the continent from July through September. Focusing on his greatest hits during the whirlwind concert series, Prince played in a total of eleven different countries. An iconic, instantly recognizable piece of Prince’s stage-worn wardrobe.

Consignor notes that this was acquired directly from Prince’s ex-wife Mayte Garcia. The Prince Estate is not affiliated, associated, or connected with RR Auction or this auction, nor has it endorsed, authenticated or sponsored the items available for auction. Further, The Prince Estate has not licensed any of its intellectual property to RR Auction. Starting Bid $500

Scarce Hormoaning EP signed by the kings of grunge Nirvana

3664. Nirvana Signed CD Sleeve - Hormoaning: Australian 1992 Tour EP. Rare CD booklet for the Nirvana EP Hormoaning, signed on the front in black felt tip, “Kurdt,” “Dave,” and “Chris,” who adds “Not for sale.” In fine condition. The CD and the track listing sleeve are included. In conjunction with Nirvana’s first and only Australian tour, a 12-date stretch in early 1992, Geffen Records released the Hormoaning EP on January 27, 1992. Limited to 10,000 copies, the six-song album was presented to their Australian fans as gratitude for their support of the band’s breakthrough 1991 album, Nevermind, and their chart-topping single, ‘Smells Like Teen Spirit.’ The consignor notes that the signatures were obtained at Adelaide’s Thebarton Theatre just three days after the EP’s release. With only a handful of autographed copies known to exist, this exceptionally rare CD was signed near the start of Nirvana’s unprecedented three-year window of record-setting popularity. Starting Bid $500

90s and Beyond

3667. Stevie Ray Vaughan Signed Cassette Tape - In Step. In Step cassette tape signed on the cardstock insert in black felt tip by Stevie Ray Vaughan. In fine condition. Accompanied by two ticket stubs for the Stevie Ray Vaughan & Double Trouble show at the Schnitzer Concert Hall on December 8, 1989; the consignor notes that the signed tape was acquired at the show. A desirable piece associated with Vaughan’s penultimate album; he would be killed in a helicopter crash just 14 months after the release of In Step. Starting Bid $200

‘Rehab’ remixes signed by Amy Winehouse for a prison guard at HMP Pentonville, autographed during a visit to her husband

3668. Amy Winehouse Signed 12˝ Single Record - Rehab (Remixes), Signed for Her Husband’s Prison Gate Guard. Rehab (Remixes) 12˝ promo single signed on the front cover in black ballpoint, “Lotsa love girl, look after him for me! Amy, x, 11/02/08.” In fine condition. The record is included. Accompanied by a provenance statement from the original recipient, in part: “I was a Prison Officer at HMP Pentonville from 1988 until 2019. During the period that Amy Winehouse was coming in to visit her husband, Blake Fielder-Civil, I was the Senior Officer of Roman Way Gate which was a vehicle entrance to the Prison. Due to the risk of disruption from paparazzi at the Main Gate entrance it was decided that Ms. Winehouse’s vehicle would drive into Roman Way Gate and a member of staff would then escort her through the grounds to the visits area. On numerous occasions I was her escort and always found her to be humble, polite and easy to talk to. On one such visit I asked if she would be willing to sign the cover of her record that I had bought on eBay. She said she’d be happy to.” Starting Bid $200

3110. Beatles

4-Track Reel-to-Reel Tapes, with Revolver, Abbey Roa... Starting Bid $200

3111. Beatles Original 1963 Press Kit for ‘From Me to You' Starting Bid $200

(22)

3112. Beatles: Richard Avedon Complete (5) Daily Express Poster Set Starting Bid $200

3113. Beatles 'Third State'

3115. Beatles A Hard Day's 3116. Beatles Original Issue

3118. Beatles RIAA Gold Sales Award for 'Hey Jude' Starting Bid $200

3119. Beatles (53) 8-Track Tapes, Many Still Sealed Starting Bid $200

3120. Beatles (30) Long Box Compact Discs Starting Bid $200

3121. Beatles 'Second State' Butcher Cover AlbumYesterday and Today ... Starting Bid $200

3122. Beatles (33) Sealed Long Box CD3 Singles Starting Bid $200

3123. Beatles 1970 Fan Club

3124. Beatles Vintage 1960s Photograph Starting Bid $200

3125. Beatles Vintage Photograph Starting Bid $200

3126. Beatles Vintage Candid Concert Photograph (Majestic Ballroom - Ju... Starting Bid $200

3127. Beatles (9) Dolls and Figurines Starting Bid $200

3135.

Starting Bid $200

Starting Bid $200

3136.

Complete Set of

Monthly (1963-1969, 77 ... Starting Bid $200

Starting

Starting

3137.

Starting Bid

Starting Bid $200

3128. Beatles (6) Sericels by DenniLu Co. (Ltd. Ed. of

3129. Beatles 1966 Shea Stadium Concert Ticket and

3132. Beatles (16) Film Screening and Convention Tickets, including 'A ...

3133. Beatles (14) Lobby Cards for A Hard Day's Night, Help!, and Let I...

3134. Beatles Magical

Beatles (5) TwinTrack PlayTapes

Beatles:

The Beatles Book

Beatles (4) 1991 Figurine Dolls by Hamilton Gifts

$200

3138. Beatles (3) Official Fan Club Christmas Records

3139. Beatles 1963 Cavern Club Promotional Card

Bid $200

3140. Beatles: Apple Music Ltd. Letterhead Sheet (1967)

Bid $200

3141. Beatles 1962 Parlophone Promo CardThe First to Feature Ringo S...

3142. Beatles Vintage 1963 Dezo Hoffmann Photograph Starting Bid $200

3143. Beatles Vintage 'Mersey Sound' Photograph

3144. Beatles 1968 Fan Club Promotional Card Starting Bid $200

3145. Beatles 1967 Twin Track Mono Tape Record for

Starting Bid $200

Starting Bid $200

3146. Beatles 1963 NEMS Business Card

3147. Beatles 'Apple Records' Hair Comb and Apple Boutique 'Dezo

3148. Beatles: A Hard Day's Night Album Cover Proof Starting Bid $200

3149. Beatles: Yellow Submarine Merchandise Starting Bid $200

3150. Beatles Christmas 3151. Beatles (2) Vinyl Record Sets: 'The Singles Collection, 1962–1970...

3152. Beatles Butcher Cover Eight-Track CartridgeYesterday and Today...

3153. Beatles (6) Yellow Submarine Action Figures and Clock Starting Bid $200

3154. Beatles (4) Factory Sports Time Entertainmen...

3155. Beatles (5) Applause Plush Dolls Starting Bid $200

3156. Beatles: Yellow Submarine 'Porthole' Plush Rugs (4) Starting Bid $200

3157. Beatles Embroidered Fan Club

3158. Beatles (4) Yellow Submarine Prints by Bob

3159. Beatles: 1964 Topps 'A Hard Day's Night' Complete Set (55/55)

3160. Beatles (4) Oversized Fiberglass Head Busts

3161. Pete Best Signed Drum Head

3162. Pete Best Signed Photograph Starting Bid $100

3163. Pattie Boyd Signed Photograph Starting Bid $200

Starting Bid $200

Starting Bid $200

3164. Mal Evans StudioUsed Reference Lyrics for the Beatles Song 'Helt... Starting Bid $200

3165. Mal Evans (3) Sheets of Handwritten Song Lyrics Starting Bid $200

Starting Bid

Starting Bid $200

Starting Bid

3166. Dhani Harrison 2012 'Save the Date' Wedding Card

3167. George Harrison Signed Album - Cloud Nine

3168. Beatles: George

3169. George Harrison Rough Proof 'Cavern Club' Photograph by Peter Kay...

$200

3170. George Harrison Oversized Lithograph Signed by Barry Feinstein

3171. John Lennon 'White

3172. John Lennon Photographic Print by Linda McCartney - Sgt. Pepper's...

3174. John Lennon Oversized Photograph Signed by Bob Gruen

3175. Beatles: John Lennon 'Rock 'N' Roll' Lithographic

3176. John Lennon 1964 NEMS Enterprises Limited

3177. John Lennon Daily Telegraph Newspaper Hoarding Poster (December 1...

3178. John Lennon The Australian Newspaper Hoarding Poster (December 10...

$200

3179. John Lennon Daily Telegraph Newspaper Hoarding Poster (December 1... Starting Bid $200

3183. John Lennon (6) Original Photographs by David Gahr Starting Bid $200

3187. Paul McCartney Original Photograph by Mike McCartney (ca. 1962) Starting Bid $200

3180. John Lennon Daily Mirror Newspaper Hoarding Poster (December 10, ... Starting Bid $200

3181. John Lennon Daily Mirror Newspaper Hoarding Poster (December 10, ... Starting Bid $200

3182. Beatles: John Lennon Oversized Photograph by Robert Freeman (Ltd.... Starting Bid $200

3191.

Handbill

3184. John Lennon and Yoko Ono (4) Original 'Apple Office' Negatives - ... Starting Bid $200

3188. Paul McCartney 1983 'Pipes of Peace' Record Store LP Promotional ... Starting Bid $200

3192. Yoko Ono Signed Lithograph - 'Imagine' (Ltd. Ed. #270/250) (34˝ x... Starting Bid $200

3185. George Martin Signed Book - Playback (Ltd. Ed. #249/2000) Starting Bid $200

3189. Paul McCartney and Wings Original Test Pressing for 'Band on the ... Starting Bid $200

Letter

3190. Paul McCartney and Wings Original Promotional Poster for 'Red Ros... Starting Bid $200

3186. Paul McCartney Photographic Print by Linda McCartney - Post No Dr...

Yoko Ono Original 1961 'Carnegie Recital Hall'

- Works o...

3193. Mimi Smith Autograph

Signed - "I suggest

3194. Ringo Starr Signed Book - Postcards from the

3195.

Ringo Starr Photographic Print by Terry O'Neill - Cigar and Peace...

3196. Ringo Starr Signed Print - 'Hat Man' (Ltd. Ed. #61/100) (29˝ x 23...

3197. Ringo Starr and Barbara Bach Signed

3198. Ringo Starr: Rory Storm and the Hurricanes

3199. Ringo Starr: Rory Storm and the Hurricanes

3200. Klaus Voormann Signed Poster (Ltd. Ed. #201/500) - 16.5˝ x 16.5˝ Starting Bid $200

3208. Bob Dylan Photographic Print by Jim Marshall - Greenwich Village

3209. Bob Dylan Signed CD Booklet - Time Out of Mind Starting Bid $200

3210. Bob Dylan Oversized Photographic Print by Daniel Kramer - Bringin...

3211. Bob Dylan Oversized Photographic Print by Daniel Kramer - Bringin...

3212. Bob Dylan Mixed Media Collage by Bobby Hill

3213. Bob Dylan and Robbie Robertson Oversized Photograph Signed by Wil... Starting Bid $200

3214. Bob Dylan 1969 Isle of Wight Festival Concert Poster (34˝ x 22.5˝... Starting Bid $200

3215. Bob Dylan Oversized Print Signed by Photographer William Scheele ... Starting Bid $200

3216. Bob Dylan Oversized Print Signed by Photographer William Scheele ... Starting Bid $200

3217. Bob Dylan Limited Edition Plate-Signed Print Starting Bid $200

3218. Bob Dylan Original 3219. Bob Dylan Original Oversized Photograph by Jerry Schatzberg - Rec...

3220. Bob Dylan Original Vintage Photograph by

3221. Bob Dylan Oversized Signed Photograph (Ltd. Ed.

3222. Bob Dylan Oversized Print by Daniel Kramer (31˝

3223. Bob Dylan, Peter Yarrow, and John Hammond, Jr. Oversized Print by... Starting Bid $200

3224. Bob Dylan Oversized Print by Daniel Kramer (38˝ x 24.5˝) - O. Hen... Starting Bid $200

3225. Bob Dylan and Johnny Cash Oversized Print by Daniel Kramer (40˝ x... Starting Bid $200

3226. Rock and Roll Hall of Fame 1988 Induction

3233. Jimi Hendrix 1971

3234. Jimi Hendrix Experience November 1967 Ticket Stub Starting Bid $200

3235. Jimi Hendrix 1970 Love and Peace Festival Concert Poster (11.5˝ x... Starting Bid $200

3236. JImi Hendrix Photographic Print by Elliott Landy - On Stage at Fi... Starting Bid $200

3237. Jimi Hendrix 1968 Fillmore Concert Poster (Second Printing) - 'Fl... Starting Bid $200

3238. Jimi Hendrix: Isle of Wight Festival 1970 Original

3239. Jimi Hendrix Oversized Photograph Signed by Gene Anthony Starting Bid $200

3240.

Starting Bid $200

3241.

1967 Track Records Promotional Poster (19.25˝ x 29˝) Starting Bid $200

3245.

Starting Bid $200

Starting Bid $200

Starting Bid $200

Starting Bid $200

Jimi Hendrix Headstone Rubbing

Jimi Hendrix

3242. Jimi Hendrix: Linda McCartney Photograph

3243. Jimi Hendrix Vintage

3244. Jimi Hendrix Vintage 'Monterey Pop Festival' Photograph

Jimi Hendrix Vintage Photograph

3246. Jimi Hendrix (2) Original Vintage Photographs by Ed Caraeff

3247. Jimi Hendrix and Led Zeppelin: 1969 Annual Northern California Fo...

3248. Jimi Hendrix and The Doors 1970 Isle of Wight Festival Concert Po... Starting Bid $200

3249. Jimi Hendrix Experience Original Saville

3250. Jimi Hendrix: George Pratt 'Voodoo Child: The Illustrated Legend ...

3259. Mick Jagger 1988 Australasian Tour

3260. Mick Jagger Oversized Photograph Signed by John Rowlands'Jagge... Starting Bid $200

3261. Mick Jagger Oversized Photograph Signed by John Rowlands'Jagge... Starting Bid $200

3262. Brian Jones Signed 1964 Rolling Stones Fan Club Card Starting Bid $200

3263. Rolling Stones (9)

3269.

3271.

3264. Rolling Stones Limited Edition Book (1972),

3265. Rolling Stones Album:

3266. Rolling Stones Album for 'I Wanna Be Your

3267. Rolling Stones

3268. Rolling Stones (3) Releases for The Rolling S...

Rolling Stones Photographic Print by Gered Mankowitz -

3270. Rolling Stones: Issue of Jazz News & Review Magazine (January 9, ...

Rolling Stones 1977 Telegram Invitation for the 'Love You Live' L... Starting Bid $200

3272. Rolling Stones and Pearl Jam 1997 Oakland Stadium Concert Poster ... Starting Bid $200

3273. Rolling Stones 1965 Decca Disques French Promotional Poster (15.5... Starting Bid $200

3274. Rolling Stones 1976 Frankfurt Concert Poster (23.25˝ x 33˝) Starting Bid $200

3275. Rolling Stones 1971 Sticky Fingers Promotional Poster (35˝ x 23˝) Starting Bid $200

3276. Rolling Stones Tour Ephemera Collection (1989–2006) - From the Co...

3277. Rolling Stones Original 1969 Hyde Park

3278. Rolling Stones Original Vintage Photograph

3279. Rolling Stones Collection of (15) Crew and

3280.

3288.

Starting Bid $200

3281.

Starting Bid $200

3289.

Starting Bid $200

3282.

Starting Bid $200

3286.

Original Photographs by David Gahr Starting Bid $200

3283.

Starting Bid $200

3287.

and Andy

1977 Unused Sticker Sheet for 'Lov... Starting Bid $200

3291.

Starting

Rolling Stones 1972 American Tour Crew Jacket

Rolling Stones 1975 Cow Palace Concert Poster (22˝ x 33˝)

Rolling Stones 1981 Candlestick Park Concert Poster (20˝ x 30˝)

Rolling Stones 1972 Winterland Concert Poster Signed by Artist Da...

3284. Rolling Stones 1983 3285. Rolling Stones (2) Oversized Photographs Signed by Barry Feinstei...

Rolling Stones (3)

Rolling Stones

Warhol

Rolling Stones and Elton John 1975 Fort Collins Backstage Photogr...

Rolling Stones and Lynyrd Skynyrd 1976 Knebworth Fair Concert Pos...

3290. Rolling Stones and Simon & Garfunkel (2)

Charlie Watts Oversized Photograph by Anthony Stern - 'The Smokin...

Bid $200

3297. Pete Townshend Oversized Photograph Signed by John Rowlands Starting Bid $200

3298. The Who 1971 Track Records UK Tour Poster (19.75˝ x 30˝) Starting Bid $200

3299. The Who (5) Oversized Original Photographs by Ed Fennell (Ltd. Ed... Starting Bid $200

3300. The Who: Glad Rag Ball Program (Empire Pool, November 19, 1965)

3301. The Who 1973 Cow Palace Concert Poster Proof Signed by Artist Dav... Starting Bid $200

3302. The Who and Cream 1967 'Sundays at the

Starting Bid $200

Starting

3305. Jim Morrison (3) Original Photographs by Elliott Landy, with (6) ...

3311.

Artist Rights Today Artist's Proof Print Signed... Starting Bid $200

3306. Jim Morrison Oversized Photograph Signed by Henry Diltz Starting Bid $200

3309. Jerry Garcia Oversized Photograph Signed by Herb Greene (Ltd. Ed.... Starting Bid $200

3310.

Starting Bid $200

Saville'

3303. The Doors 1967 Fillmore Concert Poster (13.75˝ x 23.75˝)

3304. The Doors 1967 Avalon Ballroom Concert Poster (14˝ x 20˝)

Bid $200

Jerry Garcia Oversized Lithograph Signed by Herb Greene (Ltd. Ed....

Jerry Garcia 1987

3312. Jerry Garcia and Bob Weir Signed AlbumAmerican Beauty Starting Bid $200

3313. Jerry Garcia and Kurt Vonnegut Document Signed

3314. Grateful Dead

3315. Grateful Dead 1968 Carousel Ballroom Concert Poster Signed by Art... Starting Bid $200

3316. Grateful Dead and Black Sabbath 1970 Hollywood Music Festival Pos... Starting Bid $200

3317. Grateful Dead Oversized Photograph

3318. Grateful Dead, Creedence Clearwater Revival, and Santana 1971 Fil... Starting Bid $200

3319. Grateful Dead 1970 Fillmore Concert PosterThe Mushroom Man (14... Starting Bid $200

3323. Grateful Dead 1977 Movie Poster (22˝ x 28˝) Starting Bid $200

3327. Grateful Dead (3) Unused New Year's Eve Concert Tickets - 1990 an... Starting Bid $200

3320. Grateful Dead 1966 Fillmore Concert Poster (14˝ x 22˝) Starting Bid $200

3324. Grateful Dead 1966 Fillmore Concert Poster (13.5˝ x 21˝) Starting Bid $200

3328. Grateful Dead (4) 1992 Sam Boyd Stadium Concert Tickets Starting Bid $100

3332. Stanley

Signed Airbrush Artwork (26˝ x 20˝) Starting Bid $200

3321. Grateful Dead 1980 Warfield Theatre Concert Poster Signed by Arti... Starting Bid $200

3325. Grateful Dead 1973 Wake of the Flood Promotional Poster (17˝ x 23... Starting Bid $200

3335.

3322. Grateful Dead 1988 Worcester Centrum Concert Poster (15.5˝ x 23˝) Starting Bid $200

3326. Grateful Dead 1977 Bakersfield Civic Auditorium Concert Poster (1... Starting Bid $200

Starting Bid $200

Starting Bid $200

1972 Tokyo Concert Poster (20.25˝ x 28.5˝) Starting Bid $200

3329. Grateful Dead: Jerry Garcia and Bob Weir Signed

3330. Grateful Dead 1988 Tour Poster Signed by Artist Peter Max (24˝ x ...

3331. Grateful Dead: Stanley Mouse Original 'Jerry Garcia' Emblem Water...

Mouse

Led Zeppelin

3336. Led Zeppelin II U.S. Promotional 'Robert Ludwig'

3337. Led Zeppelin 1969 Winterland Concert Poster (13.75˝ x 21.5˝) Starting Bid $200

3341. Led Zeppelin and Vanilla Fudge 1969 Albuquerque Civic Auditorium ... Starting Bid $200

3345. Jimmy Page Signature Starting Bid $200

3349. Pink Floyd 1975 Pittsburgh Concert Poster (17.25˝ x 22˝) Starting Bid $200

3338. Led Zeppelin 1969 Fillmore Concert Poster (14˝ x 21˝) - CGC 8.5 Starting Bid $200

3342. Led Zeppelin and Jethro Tull 1969 Santa Barbara Fairgrounds Arena... Starting Bid $200

3346. Robert Plant Oversized Photograph Signed by Henry Diltz Starting Bid $200

3339. Led Zeppelin, Black Sabbath, Pink Floyd, and The Who 1971 Bill Gr... Starting Bid $200

3343. Jimmy Page Signature with Handwritten Address for "The Old Mill H... Starting Bid $200

3347. Pink Floyd 1977 Oakland Coliseum Concert Poster Proof Signed by A... Starting Bid $200

3340. Led Zeppelin Original 1977 American Tour T-Shirt Starting Bid $200

3348. Pink

(3) 1970s Promotional Photographs Starting Bid $200

Starting Bid $200

3344. Jimmy Page Original 1975 Earls Court

Floyd

3350. Roger Waters Signed Album - The Pros and Cons of Hitch Hiking

3357. Freddie Mercury Signed Magazine Centerfold

3358. Freddie Mercury Oversized Photograph by Laurens Van Houten - 'Daf... Starting Bid $200

3359. Freddie Mercury Original Christmas Card (ca.

3366. Count Basie Document Signed Starting Bid $200

Starting Bid $200

3360. Queen Oversized Photograph by Tony Brainsby - 'Bicycle Race' (Ltd... Starting Bid $200

3367. Sidney Bechet Signed Contract with Columbia Records Starting Bid $100

Starting Bid $200

Starting Bid $200

3361. Queen (2) EMI Publicity Photographs from 1979/1980 Starting Bid $200

3368. Bix Beiderbecke Signed Photograph Starting Bid $200

3372.

Starting Bid $200

3369. Hoagy Carmichael's Music Shop Sheet Music Posters and Flexi-Disc ...

3373. George

Signed Check to Publisher Alfred A. Knopf Starting Bid $200

3365. Pearl Bailey

3370. Nat King Cole Trio, Duke Ellington, and Sarah Vaughan 1951 Buffal...

3371. Miles Davis 1988 Pantages Theatre Concert Poster (15˝ x 22˝)

Duke Ellington Signed

Gershwin

3374. Benny Goodman and Norman Granz Document

3375. Earl 'Fatha' Hines Typed Letter Signed

3376. Billie Holiday Document Signed

3377. Skip James Oversized Photograph by Jim Marshall Starting Bid $200

3378. Jazz Greats Signatures with Louis Armstrong, Cozy Cole, and Earl ... Starting Bid $200

3382.

Autograph Musical Quotation Signed from 'Moon River... Starting Bid $200

3379. Jerome Kern Signed Photograph Starting Bid $200

3383. Buddy

Document Signed Starting Bid $200

3380. Jerome

Autograph Musical Quotation Signed Starting Bid $200

3384.

Signed Photograph Starting Bid $100

Q... Starting Bid $200

Bid $200

Kern

3381. Henry Mancini Signed Photograph with 'Moon River Theme' Musical

Henry Mancini

Rich

Richard Rodgers

3385. Muddy Waters 1966 Fillmore Concert Poster (13.75˝ x 22.25˝) Starting Bid $200

3386. Elvis Presley Flamingo Hilton Security

3387. Elvis Presely and Colonel Tom Parker (2) Original Photographs by ...

3388. Elvis Presley (2) Vintage Plastic Toy Guitars Starting Bid $200

3389. Elvis Presley Original 1970s 'Top of the Pops' Title Card Starting

3390. Elvis Presley (2) 1977 Asheville Civic Center Arena Concert Ticke... Starting Bid $100

3391. Harry Belafonte Signed Album - Calypso

3392. Bo Diddley and Etta James 1955 Chattanooga Concert Poster (22˝ x Starting Bid $200

3393. Everly Brothers Signed Photograph Starting Bid $100

3394. Bill Haley Document Signed Starting Bid $200

3395. Buddy Holly: Joe Mauldin Archive of (19) Early Letters and Postca...

3396. Jerry Lee Lewis

3397. Little Richard Signed Album - The Wild & Frantic

3398. Little Richard Signed Poster (29.5˝ x 19.5˝)

3399. Little Richard Oversized Signed Photograph Starting Bid $100

3400. Les Paul Signed Photograph Starting Bid $100

3401. Brooks and Dunn Signed Guitar - Epiphone LP100

3402. Johnny Cash (4) 3403. Jonathan Edwards and Livingston Taylor Original 1978 'New

3404. George Strait Signed Guitar - Guild D4 Starting Bid $200

3406. Concert Poster Lot of (10) with Grateful Dead, Jimi

3413. Beach Boys 3414. Beach Boys: Brian Wilson and Al Jardine

3415. Big Brother and the Holding Company 1967 The Matrix Concert Poste... Starting Bid $200

3416. Blind Faith 1969 Santa Barbara Fairgrounds Arena Concert Poster (... Starting Bid $200

3417. Blues Against Blindness Signed Poster with John Lee Hooker, Wavy ... Starting Bid $200

3421. Buffalo Springfield Oversized Photograph

3425. The Byrds (2) 1967 California Concert Posters (14˝ x 21˝ and 17˝ ... Starting Bid $200

3418. The Blues Project 1968 Avalon Ballroom Concert Poster (13.5˝ x 20... Starting Bid $200

3422. Buffalo Springfield (2) Posters: Family Dog and Sparta (14˝ x 20˝... Starting Bid $200

3426. The Byrds Signed 1967 Fillmore Concert Poster - McGuinn and Hillm... Starting Bid $200

3431. Dave

Signed Photograph Starting Bid $200

3419. Blues Project 1966 The Matrix Concert Poster (14˝ x 20˝) Starting Bid $100

3423. Eric Burdon Signed 1967 Fillmore Concert Poster Starting Bid $200

3420. James Brown 1968 Concert Poster (Rhode Island Auditorium) - 22˝ x... Starting Bid $200

3424. Butterfield Blues Band 1968 Fillmore Concert Poster (14˝ x 21˝) Starting Bid $200

3427. Canned Heat Signed

3429.

Chambers Brothers 1968 Fillmore Concert Poster (14˝

21˝) Starting Bid $200

3433. Eddie

Typed Letter Signed Starting Bid $200

The

x

3430. Chubby Checker Signed Album - King of

Clark Five

3432. Dave Clark Five

Cochran

3434.

3438.

3439.

Colosseum Signed Promotional Card Starting Bid $200

3435. Cream 1968 Atco Records Promotional Poster

3436. Fillmore Poster Tie

3437. Jefferson Airplane (2) 1966-67 California Concert

Janis Joplin (2) Avalon Ballroom Concert Posters (14˝ x 20˝) Starting Bid $200

Janis Joplin 1969 Fillmore Concert Poster (14˝ x 21˝) Starting Bid $200

3440. Ken Kesey and Mountain Girl Signed BookI Want To Take You High...

3441. The Kinks: Ray and Dave Davies Signed Poster (23˝ x 23˝) Starting Bid $200

3442. The Loading Zone 1968 Fillmore Concert Poster (14˝ x 21˝) Starting Bid $200

3443. Jim Marshall Signed Book with (2) Handwritten

3444. John Mayall 1968 Fillmore Auditorium Concert Poster (14˝ x 21.5˝) Starting Bid $200

3445. Joni Mitchell Oversized Photograph Signed by Henry Diltz Starting Bid $200

3446. Joni Mitchell 1983 Concert Ticket (Madison Square Garden, New Yor... Starting Bid $100

3447. Bob Moog Signed

3448. Van Morrison Oversized Original Photograph for 'Moondance'

3449. Van Morrison 1986 'No Guru, No Method, No Teacher' Summer Tour Ep... Starting Bid $200

3450. Van Morrison 1995 'Days Like This' North American Tour Crew

3454. Peter, Paul, and Mary 1968 Kleinhans Music Hall Concert Poster (1... Starting Bid $200

3458.

3462. Ten Years After Signatures Starting Bid $200

3451. Van

Signed Photograph Starting Bid $200

3455. David Ruffin 1969 Salem Civic Center Concert Poster (22˝ x 31˝) Starting Bid $200

3459. Edie Sedgwick Original Photograph Starting Bid $200

3463. Frankie Valli and the Four Seasons Document Signed Starting Bid $200

3452.

3456. Carlos Santana Signed Oversized Photograph by Jim Marshall

3460. Simon and Garfunkel Signed Album - Bookends Starting Bid $200

3464. Vanilla Fudge Signed Commercial 7-inch Reel-toReel Tape and Post... Starting Bid $200

3457. John Sebastian 1970 Fillmore Concert Poster (14˝ x 21˝) - CGC 7.5 Starting Bid $200

3461. Grace Slick and Steve Winwood (2) Oversized Photographs by Joe Si... Starting Bid $100

3465. Woodstock Three-Day Admission Ticket Starting Bid $200

Morrison

Roy Orbison Signed Album - The Connoisseurs' Orbison - Volume 2

3453. Peter and Gordon Signed Album - True Love

Edie Sedgwick Signed Original Painting - Squirrel

3466.

3476.

The Yardbirds 1966 Fillmore Concert Poster (14˝ x 20˝) Starting Bid $200

3467. The Youngbloods (3) Avalon Ballroom Concert

3472. AC/DC (5) Original Photographs (ca. 1976) Starting Bid $200

3473. Aerosmith (7) Tour Crew Shirts

3474. Aerosmith 1987-1988 Permanent Vacation Tour

3475. Aerosmith 1984-1985 Back in the Saddle Tour

Aerosmith (5) 1978 Mississippi Concert Tickets Starting Bid $100

3477. Allman Brothers 1971 Charlotte Coliseum Concert Poster (13˝ x 24˝... Starting Bid $200

3478. Allman Brothers 1989 20th Anniversary Tour Poster Signed by Artis... Starting Bid $200

3479. The Allman Brothers: Dickey Betts Signed CD Set

3480. Black Sabbath Signed CD - Reunion Starting Bid $200

3481. Blondie Signed Drum Head Starting Bid $200

3482. Blondie: Debbie Harry Oversized Photograph Signed by John Rowland... Starting Bid $200

3483. David Bowie Signed Poster for The Elephant Man

3484. David Bowie Oversized Photograph by John Rowlands - 'BowieThe ... Starting Bid $200

3485. David Bowie Signed CD - Earthling Starting Bid $200

3486.

Starting Bid $200

3487. David Bowie Oversized Photograph Signed by John Rowlands'Isola... Starting Bid $200

3488. David Bowie Oversized Photograph Signed by John Rowlands'The A... Starting Bid $200

3492.

David Bowie Signed Album - Golden Years

3489. David Bowie 1976 'Station to Station' German Tour Poster (23˝ x 3... Starting Bid $200

3490. David Bowie Signature

3491. Jackson Browne Signed Album - Running On

Beach Boys, Jeff Beck, and Frank Zappa 1972 Capitol Theatre Conce... Starting Bid $200

3493. Eric Carmen Signed Book - Marathon Man (Ltd.

3494. Chicago Signed Drum Head Starting Bid $200

3495. Eric Clapton (7) 1977 Texas Concert Tickets Starting Bid $200

3496. Eric Clapton Signed Album - Slowhand Starting Bid $200

3497. Eric Clapton Signed Album - August Starting Bid $200

3498. Eric Clapton Signed CD Booklet - Journeyman Starting Bid $200

3499. Eric Clapton 2001 Reunion Arena Concert Poster Signed by Artist D... Starting Bid $200

3500. Concert Tickets (45) with Led Zeppelin, Rolling Stones, Johnny Ca... Starting Bid $200

3501. David Crosby Oversized Photograph

3502. Crosby, Stills, Nash, and Young Oversized

3506. The Eagles Signed Photograph Starting Bid $200

3503. Crosby, Stills, Nash, and Young 1974 Oakland Stadium Concert Post... Starting Bid $200

3507. The Eagles and Jimmy Buffett 1979 Aloha Stadium Concert Poster (1... Starting Bid $200

3511. Foreigner Signed Photograph Starting Bid $200

3514.

Starting Bid $200

3515.

3504. Crosby, Stills, Nash, and Young 1969 Winterland Concert Poster (2... Starting Bid $200

3508. Emerson, Lake, and Palmer Signed Drum Head Starting Bid $200

3512. Foreigner Signed Drum Head Starting Bid $200

3516.

3505. The Eagles Signed Album - Hotel California Starting Bid $200

3509.

3513.

Fleetwood Mac: Jeremy Spencer Signed and Filled-Out New Musical E... Starting Bid $200

3510. Fleetwood Mac 1977 Oakland Stadium Concert Poster (16.5˝ x 28˝) Starting Bid $200

Peter Frampton Signed Book - Do You Feel Like I Do?

Hall and Oates Tour Ephemera Group Lot (1990 -1994) - From the Col...

Rick James Original Handwritten Song Lyrics for

Rick James Original Handwritten Song Lyrics for

3517. Rick James Original Handwritten Song Lyrics for

3518.

Starting Bid $200

Starting Bid

3519.

Starting Bid $200

Starting Bid

Starting

3520.

Starting Bid $200

Starting

Starting Bid $200

Rick James 'Throwin' Down' Sweat Suit - A Gift from Boxing Legend...

Elton John Original 'Caribou' Photograph by Ed Caraeff

Elton John Signed Album - Greatest Hits

3521. Elton John 1975 Dodgers Stadium Concert Photograph

3522. Elton John 1975 Dodgers Stadium Concert Photograph

$200

3523. Elton John Original Photograph by David Gahr

3524. KISS Signed Jigsaw Puzzle

3525. Loggins and Messina 1974 UC Santa Barbara Concert Poster (14.25˝ ...

3526. Lynyrd Skynyrd Concept Artwork for 'The Last Rebel Tour' Backstag...

3527. Bob Marley 1978 Babylon by Bus Tour Poster (25˝ x 38˝)

$200

3528. Lee Michaels 1970 Fillmore Concert Poster (14˝ x 21˝) - CGC 9.8

Bid $200

3529. Steve Miller and Chicago 1969 Fillmore Concert Poster (14˝x 21˝) Starting Bid $200

3530. Steve Miller and Bo Diddley 1970 Fillmore Concert Poster (14˝ x 2...

Bid $200

3531. Mills Brothers 1970s Vancouver Concert Poster

3532. Neumann KU-80 Microphone, Attributed to Hansa Tonstudio, West

3533. Tom Petty and the Heartbreakers Signed

3534. The Platters 1972 San Francisco Concert Poster (17˝ x 22.25˝) Starting Bid $200

3535. Robbie Robertson Signed Album - Robbie Robertson Starting Bid $100

3536. Rock and Roll (8) Backstage Passes from the Late 1970s and Early ... Starting Bid $200

3540.

3537.

Starting Bid $200

Southside Johnny and the Asbury Jukes 1993 'Liberty on Lansdowne ...

3538. Bruce Springsteen (4)

3539. Bruce Springsteen Photographic Print by Annie

Bruce Springsteen Photographic Print by Danny Clinch - On Stage a... Starting Bid $200

3541. Bruce Springsteen Photographic Print by Annie

3542. Bruce Springsteen Photographic Print by Richard E. Aaron - On Sta... Starting Bid $200

3543. Bruce Springsteen Signed Album - Lucky Town Starting Bid $200

3544. Bruce Springsteen 1981 Vietnam Veteran Benefit Concert Poster (22... Starting Bid $200

3545. Bruce Springsteen (5) Original Photographs by David Gahr Starting Bid $200

3546. Bruce Springsteen (3) Oversized Original

3547. Cat Stevens Signatures Starting Bid $200

3548. Rod Stewart Signed Photograph Starting Bid $100

3549. Stephen Stills and Graham Nash (2) Signed

3550. Supertramp: Mick Haggerty Signed Lithograph (Ltd. Ed. #AP 7/20) -... Starting Bid $200

3554. The Tubes Signed Album - What Do You Want from Live Starting Bid $200

3551. The Sweet Signed Promotional Card Starting Bid $200

3552. James Taylor Signed Album - Mud Slide Slim Starting Bid $200

3555. Van Halen Signed 3556. Wildflower 1967 The Matrix Concert Poster Signed by Artist Victor... Starting Bid $200

3553. Traffic (2) 1968

Concert Posters (14˝ x 21˝) Starting Bid $100

3557. Johnny Winter And Signatures Starting Bid $200

3558. Steve Winwood (4) Signed Album Cover Proofs

3559. Stevie Wonder: Margo Z. Nahas Signed Lithograph (Ltd. Ed. #AP 7/2... Starting Bid $200

Starting Bid $200

3560. Yes Signatures Starting Bid $200

3564.

Starting Bid $200

3561. Yes Signed Album Flat - Yes 50 Starting Bid $200

3565. Frank Zappa and the Mothers of Invention Signatures Starting Bid $200

Fillmore/Winterland

3562. Neil Young Signed

3563. Neil Young 1984 Greek Theatre Concert Poster (18˝ x 24˝)

Frank Zappa 1966 Fillmore Auditorium Concert Poster (14˝ x 20˝)

3566. The Ramones Signed 3567. Ramones Signed 45

3568. Ramones Original Photograph by David Gahr Starting Bid $200

3570. Bad Brains: H.R. Signed Print Starting Bid $100

3571. The Buzzcocks 3572. The Clash Signed 45

3573. The Clash 1978 Concert Photograph by

3574. The Clash 1977 Promotional Photograph Starting Bid $200

3575. The Clash and Talking Heads 1980 Heatwave Festival Concert Poster... Starting Bid $200

3576. The Clash: Mick Jones Original Photograph by David Gahr Starting Bid $200

3577. The Clash: Paul Simonon Signed

3578. The Jam Signed 45 RPM Single Record - 'Down

3579. Plasmatics 1984 Concert Poster (Strand Theater) - 11˝ x 17˝ Starting Bid $100

3580. Iggy Pop Vintage 1977 'Lust for Life' T-Shirt

3581. Sex Pistols Early Nashville Rooms Concert Handbill (April 29, 197... Starting Bid $200

3582. Sex Pistols (5) Original 10.5-Inch Reel-toReel Tapes with Interv...

3583. Sex Pistols Rare Complete 1977 Warner Bros. Records Press Kit

3584. Sex Pistols Original 1977 Voucher for 'Never Mind the Bollocks' Starting Bid $200

3592.

Starting

3585. Sex Pistols Unused Winterland Ballroom Ticket (January 14, 1978) ... Starting Bid $200

3593.

3586. Sex Pistols Signed Photograph Starting Bid $200

3587. Patti Smith: New York Daily Planet from May 1976 -

Rock and Roll Lot of (21) Backstage PassesFrom the Collection ...

Bid $200

Pat Benatar 1995-2000 Tour Collection - From the

3594. Bon Jovi 1992-1993 Keep the Faith World Tour

3595. Belinda Carlisle 1998 ‘Good Heavens!’ Tour Collection - From the ...

3596. The Cars Signed

3597. The Church Signed Poster (13.5˝ x 16˝) Starting Bid $200

3598. Phil Collins Signed

3599. Phil Collins Signed Photograph Starting Bid $200

3600. Def Leppard Signatures Starting Bid $200

3601. J. Geils Band Lot of (9) Concert and Tour Shirts

3602. J. Geils Band Crew

3603.

Starting Bid $200

Starting Bid $200

J. Geils Band 1980 Cobo Hall (Detroit, Michigan) Concert

3604. J. Geils Band Signed 1971 Concert Poster (Gloucester High School)...

3605. J. Geils Band RIAA Gold Sales Award for 'Sanctuary'

3606. J. Geils Band 1978 'St. Patrick's Day' Concert Poster (Rhode Isla... Starting Bid $100

3607. Guns N' Roses Signed Drum Head Starting Bid $200

3608. Debbie Harry 1989

3609. Robert Plant and Jeff Beck Signed Album - The Honeydrippers: Volu... Starting Bid $200

3610. Whitney Houston

3611. Billy Idol 1987 Tour Ephemera Collection - From

3612. Billy Idol Signed Drum Head Starting Bid $200

3613. INXS Signed CD - X 3614. Journey 1980 Oakland Stadium Concert Poster (30˝ x 20˝) Starting Bid $200

3615. Mr. Mister Signed Photograph Starting Bid $200

3616. Ozzy Osbourne Signed 'Ban Trophy

3618. Ozzy Osbourne Signed 'Randy Rhoads Tribute' Poster (24˝ x 36˝) Starting Bid $200

3619. Ozzy Osbourne Signed Book - Trust Me, I'm

Starting

Starting

Starting

Starting

Starting

3620. Psychedelic Furs Signed Album - Talk Talk

3621. Quiet Riot Signed Album - Metal Health

Starting Bid $200

3622. Rock and Roll Hall of Fame 1988 Induction Dinner Program Starting Bid $100

3623. Rock and Roll Hall of Fame 1989 Induction Dinner Program

3624. Sheila E. 1984-1986 Tour Ephemera CollectionFrom the Collectio...

3625. Michael Jackson

3626. Michael Jackson

3627. Michael Jackson (5) Promotional Posters

Bid $100

3628. Michael Jackson (5) Original Promotional Posters

Bid $100

3629. Micahel Jackson (2) Original Promotional Posters

Bid $100

3630. Michael Jackson (3) Original Promotional Posters

Bid $100

3631. Michael Jackson (3) Original Promotional Posters

Bid $100

3632. The Jacksons 1984 Victory Tour Crew Jacket

3643. Prince 1982 Rockford Concert Poster (12.75˝ x 19.75˝) Starting Bid $200

3644. Prince and Sheila E. (3) Concert and Rehearsal Cassette Tapes - F... Starting Bid $200

3645. New Power Generation Hand-Painted Art Fabric Starting Bid $200

3646. Prince Original Drawing Study for 'When Doves Cry' by Doug Hender... Starting Bid $200

3647. Prince Original Painting Study for 'When Doves Cry' by Doug Hende... Starting Bid $200

3648. Prince (7) Unused Purple Rain Tour Concert Tickets - From the Col...

3649. Prince (2) Unused Purple Rain Benefit Ball Tickets - From the Col... Starting Bid $200

3650. Prince 1985 Masquerade Ball Invitation ("No costume - No

3651. Prince Purple Rain Tour Items - Rare VHS Christmas Video and (5) ...

3652. Prince Purple Rain Tour Itinerary DocumentsFrom the Collection...

3653. Prince (4) Purple RainEra Lapel Pins - From the

3654. Prince (2) Original Purple Rain Tour Programs

3655. Prince: Prince Paisley Park Brochure (1987)

3656. Prince 'Love Symbol'

3657. Prince 1992 Love

3658. Prince Paisley Park Archives: Celebration 2017 (Exhibition Series... Starting Bid $200

3659. Prince Paisley Park Classic Tamboracca Replica (Official Merchand... Starting Bid $200

3660. Prince: 3121 Party Waitress Dress Designed by Lady J (Size 0) Starting Bid $200

3661. Prince's Purple Rain Cufflinks (Black and Red) Starting Bid $200

3662.

Prince's Purple Rain Cufflinks (Silver and Gold) Starting Bid $200

3663. Prince's Stage-Worn Waist Chain from the

3665. Kurt Cobain: Nirvana (2) Unused Concert Tickets for Dublin's RDS ... Starting Bid $200

3669. Adele RIAA Platinum

3670. Beastie Boys Signed CD - Hello Nasty Starting Bid $200

3671. Jeff Buckley (2)

3672. Collective Soul Signed Drum Head Starting Bid $200

3673. Collective Soul Signed Promotional CD Starting Bid $200

3674. Melissa Etheridge 1992 Never Enough Tour Ephemera Collection - Fr... Starting Bid $200

3675. Mylene Farmer 1996 3676. Foo Fighters Signed Drum Head Starting Bid $200

3677. Foo Fighters Signed Album - The Colour and The

3678. Lenny Kravitz (3) 3679. Courtney Love Autograph Letter Signed"Kurt wants to take you o... Starting Bid $200

3680. Courtney Love Handwritten Lyrics Starting Bid $200

3681. Courtney Love Autograph Letter Signed to Filmmaker Oliver Stone

3682.

Starting Bid

Madonna Signed Check

$200

3683. Madonna Twice-

3684. Madonna Oversized 'Bedtime Stories' Advertisement Proof for Billb... Starting Bid $200

3685. George Michael Signed Invitation

3686. Nas Signed AlbumIllmatic Starting Bid $200

3687. Sinead O'Connor 1990 Collection - From the Co...

3688. Oasis: Noel and Liam Gallagher Photograph by

3689. Oasis Signed DVDThe Importance of Being Idle Starting Bid $200

3690. Oasis: Noel

3691. Oasis: Noel Gallagher Photograph by Michael

3692. The Offspring (2)

3693. Soundgarden Signed 'Down on the Upside' Promotional Poster (35.5˝... Starting Bid $200

3694. Britney Spears Signed 3695. Britney Spears Early Autograph Letter Signed to Her First Boyfrie... Starting Bid $200

3696. Stone Temple Pilots Signed Guitar - Epiphone

3697. Kanye West Signed Album - The College Dropout Starting Bid $200

Promo Card

3698. Amy Winehouse Signed

3699. Amy Winehouse's

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 reoffering could damage the momentum of the sale, once the hammer has fallen and RR Auction has announced the winning Bidder, such Bidder is unconditionally bound to pay for the lot, even if the Bidder has made a mistake.

4.3 All prospective Bidders who examine lots in person prior to the sale shall personally assume all responsibility for any damage they cause in so doing. RR Auction shall have sole discretion in determining the value of the damage caused, which shall be promptly paid by the prospective Bidder.

4.4 Title to any lot remains with Consignor, any secured party of the Consignor, or assignee of Consignor, as the case may be, until the lot is paid for in full by Bidder and Bidder has fully satisfied any outstanding financial obligations to RR Auction (including as it concerns 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 fur-

ther grants RR Auction a lien consisting of a senior security interest (or purchase money security interest to the extent applicable) in such sums or items to the fullest extent applicable, authorizes RR Auction to file documents concerning the interest, and Bidder agrees to execute any further documents as may be reasonably necessary to grant RR Auction such security interest. Bidder agrees that RR Auction and its assigns shall be a secured party with respect to items bought by Bidder and in the possession of RR Auction, to the extent of the maximum indebtedness, plus all accrued fees and expenses, until the indebtedness is paid.

4.7 By bidding in this sale, Bidder personally and unconditionally guarantees payment. The authorized representative of any corporate Bidder who is present at the sale shall provide RR Auction or its agent, prior to the commencement of the bidding (or at the time of registration), with a statement signed by a principal, director or officer that they he or she personally and unconditionally guarantees any payment due RR Auction.

4.8 RR Auction may at its sole and absolute discretion, make loans or advances to Consignors and/or prospective Bidders.

Section 5 Bidding Options

5.1 Non-Internet bids (including but not limited to in-person, facsimile, phone and mail bids) are treated similarly to floor bids in that they must be on-increment. Any in-person, facsimile, phone, or mail bids that do not conform to a full increment will be rounded up or down to the nearest full increment and this revised amount will be considered Bidder’s high bid.

5.2 When identical bids are submitted, preference is given to the first received. To ensure the greatest accuracy, written bids should be entered on the standard printed bid sheet and be received at RR Auction’s place of business at least twenty-four (24) hours before the Auction start. RR Auction is not responsible for executing mail bids or facsimile bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is RR Auction responsible for proper execution of bids submitted by telephone, mail, facsimile, e-mail, Internet, or in person once the Auction begins.

5.3 In all Auctions, bids on an item must raise the current high bid by at least 10%, or as specified on a per-Auction basis. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted. In a live sale, bids on an item can change at the discretion of RR Auction.

5.4 RR Auction reserves the right to accept or decline any bid. Bids must be for an entire lot and each lot constitutes a separate sale. All bids are per lot unless otherwise announced. Live auction lots will be sold in their numbered sequence unless RR Auction directs otherwise. It is unlawful and illegal for Bidders to collude, pool, or agree with another Bidder to pay less than the fair value for lot(s). For live auctions, RR Auction will have final discretion in the event that any dispute should arise between Bidders. RR Auction will determine the successful Bidder, cancel the sale, or re-offer and resell the lot or lots in dispute. RR Auction will have final discretion to resolve any disputes arising after the sale and in online auctions. If any dispute arises, RR Auction’s sale record is conclusive.

Section 6 Payment

6.1 Subject to fulfillment of all of the Conditions of Sale set forth herein, upon the sooner of (1) the passing of title to the offered lot pursuant to these Conditions of Sale, or (2) possession of the offered lot by the Bidder, Bidder thereupon (a) assumes full risk and responsibility (including without limitation, liability for or damage to frames or glass covering prints, paintings, photos, or other works), and (b) will immediately pay the full purchase price or such part as RR Auction may require. In addition to other remedies available to RR Auction by law, RR Auction reserves the right to impose from the date of sale a late charge of 1.5% per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. All property must be removed from RR Auction’s premises by the Bidder at his/her expense not later than sixty (60) business days following its sale and, if it is not so removed, RR Auction may send the purchased property to a public warehouse for the account, at the risk and expense of the Bidder.

6.2 Payment is due upon closing of the Auction session, or upon presentment of an invoice. RR Auction reserves the right to void an invoice if payment in full is not received within thirteen (13) calendar days of the Auction or within twelve (12) calendar days of the invoice date. In cases of nonpayment, RR Auction’s election to void a sale does not relieve the Bidder from their obligation to pay RR Auction its fees (seller’s and Buyer’s Premium) on the lot and any other damages pertaining to the lot.

6.3 All sales for total invoices greater than $1,000 are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier checks, eChecks, and bank money orders), and are subject to all reporting requirements.

6.4 All deliveries are subject to good funds; funds being received in RR Auction’s account before delivery of the Purchases; and all payments are subject to a clearing period. RR Auction reserves the right to determine if a check constitutes “good funds”: checks drawn on a U.S. bank are subject to a ten (10) calendar day hold, and ten (10) business days when drawn on an international bank. Clients with pre-arranged credit status may receive immediate credit for payments via e-Check, personal or corporate checks.

6.5 In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If Bidder attempts to pay via check and the financial institution denies the transfer from Bidder’s bank account, or the payment cannot be completed using the selected funding source, Bidder agrees to complete payment.

6.7 If RR Auction refers any unpaid invoice to an attorney for collection, the Bidder agrees to pay and shall be liable for RR Auction’s attorney’s fees, court costs, and other collection costs incurred by RR Auction in addition to the invoice amount and interest the greater of 1.5% per month or at the maximum legally allowable rate from date of invoice to collection. If RR Auction assigns collection to its house counsel, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.

6.8 RR Auction shall have a lien against the merchandise purchased by the Bidder (as well as to the extent it is a consignor any other monies owed or due to Bidder) to secure payment of the Auction invoice. RR Auction is further granted a lien and the right to retain possession of any other property of the Bidder then held by RR Auction or its affiliates to secure payment of any Auction invoice or any other amounts due RR Auction or affiliates from the Bidder. With respect to these lien rights, RR Auction shall have all the rights of a secured creditor, including but not limited to the right of sale. In addition, with respect to payment of the Auction invoice(s), the Bidder waives any and all rights of offset he might otherwise have against RR Auction and the consignor of the merchandise included on the invoice (the Consignor”). If a Bidder owes RR Auction or its affiliates on any account, RR Auction and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession.

6.9 All checks, cashiers checks, bank checks, or money orders are payable to R&R Auction Company of Massachusetts, LLC. RR Auction clients with an invoice totaling $1,000 or under will have the option to pay by VISA, Mastercard, Discover or Paypal. All Paypal payments must be sent to FinanceDepartment@ rrauction.com. Authorize.net, a third-party service provider contracted by RR Auction for processing on-line payments, charges a nonrefundable service fee of 3%, which will be added to your final invoice should you pay by credit/debit card.

Section 7 Sales Tax

RR Auction is a remote seller and we are now required to collect Sales/Use Tax from our bidders. The states that we have nexus in we will be required to collect and remit sales tax on your behalf. Each state has different requirements to meet nexus. When RR Auction has achieved a certain monetary and/or invoice threshold in each state we will apply sales tax to your total invoice. The states that are affected are: ARIZONA, ARKANSAS, CALIFORNIA, COLORADO, CONNECTICUT, FLORIDA, GEORGIA, ILLINOIS, INDIANA, IOWA, KANSAS, KENTUCKY, MAINE, MARYLAND, MASSACHUSETTS, MICHIGAN, MINNESOTA, NEBRASKA, NEVADA, NEW JERSEY, NEW YORK, NORTH CAROLINA, OHIO, OKLAHOMA, PENNSYLVANIA,RHODE ISLAND, TENNESSEE, TEXAS, UTAH, VIRGINIA, WASHINGTON, WISCONSIN

If we have not achieved nexus in a particular state it is still your responsibility to pay sales tax on your purchases.

The sales tax rate is determined by the State, Country, and City where purchases are shipped to. If you decide to pick up your purchases at our New Hampshire location you will not be required to pay sales tax. The State of New Hampshire does not have a general sales and use tax. All purchases picked up at our Massachusetts location will be taxed at the current rate of 6.25%.

If you have a resale number please email Sue@RRAuction.com or fax to (603) 732-4288 a copy of your state resale certificate and you will be exempt from paying sales tax.

Section 8

Delivery; Shipping; and Handling Charges

Bidder is liable for shipping and handling and providing accurate information as to shipping or delivery locations and arranging for such. RR Auction is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except when third-party shipment occurs. Bidder agrees that

service and handling charges related to shipping items which are not pre-paid may be charged to a credit card on file with RR Auction.

Successful international Bidders shall provide written shipping instructions, including specified Customs declarations, to RR Auction for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price and RR Auction shall use the correct harmonized code for the lot. Domestic Bidders on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.

All duties, customs, and any other import charges are the responsibility of the bidder.

Section 9

Title

Title shall not pass to the successful Bidder until all invoices of Bidder (including those pertaining to the item(s) at issue) and amounts owed to RR Auction are paid in full. It is the responsibility of the Bidder to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.

Section 10

Rights Reserved

RR Auction reserves the right, at any time before, during or after an auction has ended to: withdraw any lot before or at the time of the Auction, cancel any bid, and/or to postpone the Auction of all or any lots or parts thereof, for any reason. RR Auction shall not be liable to any Bidder in the event of such withdrawal, cancellation, or postponement under any circumstances. RR Auction reserves the right to refuse to accept bids from anyone at any time.

Section 11

Conducting the Auction

11.1 RR Auction reserves the right to postpone the Auction or any session thereof for a reasonable period of time for any reason whatsoever, and no Bidder or prospective Bidder shall have any claim as a result thereof, including consequential damages.

11.2 RR Auction’s Discretion: RR Auction shall determine opening bids and bidding increments. RR Auction has the right in its absolute discretion to reject any bid in the event of dispute between Bidders or if RR Auction has doubt as to the validity of any bid, to advance the bidding at its absolute discretion and to determine the successful Bidder in the event of a dispute between Bidders, to continue the bidding or to reoffer and resell the lot in question. In the event of a dispute after the sale, RR Auctions record of final sale shall be conclusive. RR Auction also may reject any bid if RR Auction decides either that any bid is below the reserve of the lot or article or that an advance is insufficient. Unless otherwise announced by RR Auction at the time of sale, no lots may be divided for the purpose of sale.

11.3 Reserves

Lots may be subject to a reserve which is the confidential minimum price below which the lot will not be sold. Consignors may not bid on their own lots or property. RR Auction may, from time to time, bid on items that it does not own. RR Auction may execute bids consecutively or otherwise up to one bid increment below the reserve.

11.4 Off-Site Bidding

Bidding by telephone, facsimile, online, or absentee bidding (advance written bids submitted by mail) are offered solely as a convenience and permitted subject to advance arrangements, availability, and RR Auction’s approval which shall be exercised at RR Auction’s sole discretion. Neither RR Auction nor its agents or employees shall be held liable for the failure to execute bids or for errors relating to any transmission or execution thereof. In order to be considered for off-site bidding in any manner, Bidders must comply with all of these Conditions of Sale and the terms contained on the Registration Form.

11.5 Estimate Prices:

In addition to descriptive information, each item in the Catalog sometimes includes a price range which reflects opinion as to the price expected at auction (the “Estimate Prices”). In other instances, Estimate Prices can be obtained by calling RR Auction at (603) 732-4280. The Estimate Prices are based upon various factors including prices recently paid at auction for comparable property, condition, rarity, quality, history and provenance. Estimate Prices are prepared well in advance of the sale and subject to revision. Estimates do not include the Buyer’s Premium or sales tax (see under separate heading).

11.6 Owned or Guaranteed Property:

RR Auction generally offers property consigned by others for sale at public auction; in very limited occasion, lots are offered that are the property of RR Auction.

11.7 Before the Auction:

Bidder may attend pre-sale viewing for all of RR Auction’s auctions at no charge. All property to be auctioned is usually on view for several days prior to the sale. Bidder is encouraged to examine lots thoroughly. Bidder may also request condition reports (see below). RR Auction’s staff are available at viewings and by appointment.

11.8 Maximum Bids In All Auctions:

To maximize Bidder’s chance of winning, RR Auction strongly encourages the use of maximum bids. RR Auction will then bid for Bidder until the lot reaches Bidder’s specified maximum. Maximum bids are strictly confidential. Placing arbitrary, non-incremental bids on lots with prior maximum bids may result in these lots being sold for less than 10% above the under Bidder’s bid.

11.9 Successful Bids:

The fall of RR Auction’s hammer indicates the final bid. RR Auction will record the paddle number of the Bidder. If Bidder’s salesroom or absentee bid is successful, Bidder will be notified after the sale by mailed or emailed invoice.

11.10 Unsold Lots:

If a lot does not reach the reserve, it is bought-in. In other words, it remains unsold and is returned to the Consignor. RR Auction has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.

11.11 Bidding in Timed Auction:

Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right. The auctioneer may also execute a bid on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve.

To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids.

Any Bidder may bid on any lot prior to 6 pm EST/EDT. At that time, an extended bidding period goes into effect. If Bidder has not bid on a lot before 6 pm EST/ EDT, Bidder may not bid on that lot after 6 pm EST/EDT. Only those Bidders who have placed bids on a lot before 6 pm EST/EDT will be allowed to bid on that lot after 6 pm EST/EDT. If Bidder is the only Bidder on a lot at 6 pm EST/ EDT, that lot is awarded to Bidder. During the extended bidding period, a lot will remain open only to those who bid on that lot prior to 6 pm EST/EDT. All lots WITHOUT an opening bid at 6 pm EST/EDT will remain OPEN to ALL Bidders until 7 pm EST/EDT or until they receive their first bid. These lots will close immediately upon receipt of a bid or at 7 pm EST/EDT, whichever comes first. For all lots that are active after 7 pm EST/EDT, bidding will remain open until 30 minutes pass without a bid being placed on THAT lot (the “30 Minute Rule”). The 30 Minute Rule is applied on a PER LOT BASIS; each lot in the Auction closes individually based on bidding activity after 7 pm EST/EDT. On a PER LOT BASIS, the 30 minute timer will reset each time a bid is placed after 7 pm EST/EDT. If Bidder is the high Bidder, raising Bidder’s maximum bid will NOT reset the timer. RR Auction reserves the right to close the Auction at any time at its sole discretion.

11.12 Bidding - Internet Live Auction:

Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right.

To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including

but not limited to transmission, execution or processing of bids.

During live internet or live auction, property is auctioned in consecutive numerical order, as it appears in the catalog. The auctioneer will accept bids from those present in the salesroom or absentee bidders participating by telephone, internet or by written bid left with RR Auction in advance of the auction. The auctioneer may also execute a bid or bids (successively or otherwise) on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve. All auctions for lots are with reserve unless specifically stated otherwise.

During live Auctions, internet bids can be placed in real time through one or more of the following Third Party services: www.liveauctioneers.com, www.invaluable. com and www.icollector.com. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids. RR Auction treats any third-party site bids as floor or telephone bids. Floor bids and telephone bids are always considered first over third party sites bids, and floor bids are considered earlier than telephone bids. All RR Auction lots purchased through the third-party sites carry an additional Buyer’s Premium.

11.13 Miscellaneous:

Agreements between Bidders and Consignors to effectuate a non-sale of an item at Auction, inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize RR Auction’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, RR Auction reserves the right to charge Bidder the applicable Buyer’s Premium and Consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.

Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by RR Auction in the future. In conformity with ”donot-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. RR Auction may from time to time contact Bidder concerning sale, purchase, and auction opportunities available.

11.14 Rules of Construction: RR Auction presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall be construed to waive the general Conditions of Sale by these additional rules and shall be construed to give force and effect to the rules in their entirety.

Section 12

RR Auction’s Remedies

Failure of the Bidder to comply with any of these Conditions of Sale or the terms of the Registration Form is an event of material breach or default. In such event, RR Auction may, in addition to any other available remedies specifically including the right to hold the defaulting Bidder liable for the Purchase Price or to charge and collect from the defaulting Bidder’s credit or debit accounts as provided for elsewhere herein: (a) cancel the sale, retaining any payment made by the Bidder as damages (the Bidder understands and acknowledges that RR Auction will be substantially damaged should such default occur, and that damages under subpart (a) are necessary to compensate RR Auction for such damages); (b) resell the property without reserve at public auction or privately; (c) charge the Bidder interest on the Purchase Price at the rate of one and one-half percent (1.5%) per month or the highest allowable interest rate; (d) take any other action that RR Auction, in its sole discretion, deems necessary or appropriate to preserve and protect RR Auction’s rights and remedies. Should RR Auction resell the property, the original defaulting Bidder shall be liable for the payment of any deficiency in the purchase price and all costs and expenses associated there with, including but not limited to warehousing, sales-related expenses, reasonable attorney fees and court costs, commissions, incidental damages and any other charges due hereunder which were not collected or collectable. In the event that such Bidder is the successful Bidder on more than one lot and pays less than the purchase price for the total lots purchased, RR Auction shall apply the payment received to such lot or lots that RR Auction, in its sole discretion, deems appropriate. If RR Auction does not exercise such discretion, the lots to which the payment shall be applied will be in descending order from the highest purchase price to the lowest. Any Bidder failing to comply with these Conditions of Sale shall be deemed to have granted RR Auction a security interest in, and RR Auction may retain as collateral such security for such Bidder’s obligations to RR Auction, any Bidder’s property in RR Auction’s possession or to which title has not yet passed to Bidder. RR Auction shall have the benefit of all rights of a secured party under the Uniform Commercial Code (U.C.C.) as adopted by the

Commonwealth of Massachusetts.

Section 13 Warranties

13.1 RR Auction does not provide any warranties to Bidders, whether expressed or implied, beyond those expressly provided in these Conditions of Sale. All property and lots are sold ”as is” and “where is”. By way of illustration rather than limitation, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to merchantability or fitness for intended use, condition of the property (including any condition report), correctness of description, origin, measurement, quality, rarity, importance, exhibition, relevance, attribution, source, provenance, date, authorship, condition, culture, genuineness, value, or period of the property. Additionally, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to whether the Bidder acquires rights in copyright, trademark, or other intellectual property (including exhibition or reproduction rights) related to the item, or whether the property is subject to any limitations or other rights. RR Auction does not make any representation or warranty as to title.

13.2 All descriptions, photographs, illustrations, and terminology including but not limited to words describing condition (including any condition reports requested by Bidder, see also Terminology), authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, exhibition, and relevance, used in the Catalog, bill of sale, invoice, or anywhere else, represent a good faith effort made by RR Auction to fairly represent the lots and property offered for sale as to origin, date, condition, and other information contained therein; they are statements of opinion only. They are not representations or warranties and Bidder agrees and acknowledges that he or she shall not rely on them in determining whether or not to bid or for what price. Price estimates (which are determined well in advance of the Auction and are therefore subject to revision) and condition reports are provided solely as a convenience to Bidders and are not intended nor shall they be relied on by Bidders as statements, representations or warranties of actual value or predictions of final bid prices.

13.3 Bidders are accorded the opportunity to inspect the lots and to otherwise satisfy themselves as to the nature and sufficiency of each lot prior to bidding, and RR Auction urges Bidders to avail themselves accordingly.

13.4 All lots sold by RR Auction are accompanied by an Auction Certificate (“AC”). On any lot presented with an AC issued by RR Auction, the certification is only as to its attribution to the person or entity described or to the lot’s usage and only as explicitly stated therein (the “AC”), to the exclusion of any other warranties, express or implied, including but not limited to those pursuant to the Uniform Commercial Code. The AC inures only to the original Bidder (as shown in RR Auction’s records). Bidder may not transfer, assign, or otherwise convey the AC and such purported transfer, assignment, or conveyance shall be null and void.

Section 14

Firearms

RR Auction complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A Bidder is required to provide appropriate documents and the payment of associated fees, if any. Bidder is responsible for providing a shipping address that is suitable for the receipt of a firearm.

Section 15

Unauthorized Statements

Under no circumstances is any employee, agent or representative of RR Auction authorized by RR Auction to modify, amend, waive or contradict any of these Conditions of Sale, any term or condition set forth on a registration form, any warranty or limitation or exclusion of warranty, any term or condition in either the Registration Form or these Terms and Conditions regarding payment requirements, including but not limited to due date, manner of payment, and what constitutes payment in full, or any other term or condition contained in any documents issued by RR Auction unless such modification, amendment, waiver or contradiction is contained in a writing signed by all parties. Any statements, oral or written, made by employees, agents or representatives of RR Auction to Bidder, including statements regarding specific lots, even if such employee, agent or representative represents that such statement is authorized, unless reduced to a writing signed Bidder and by an authorized officer of RR Auction by all parties, are statements of personal opinion only and are not binding on RR Auction, and under no circumstances shall be relied upon by Bidder as a statement, representation or warranty of RR Auction.

Section 16

Bidder’s Remedies

16.1 Except as stated expressly herein, Bidder’s sole and exclusive remedy related to or pertaining to items it bids upon, views, or purchases from RR Auc-

tion, and any claims by Bidder related to authenticity, ownership, condition, title or value, shall be against Consignor only.

16.2 This section sets forth the sole and exclusive remedies of Bidder as against RR Auction (inclusive of its affiliates, officers, managers, employees or agents), or in any way arising out of, related to, or in connection with these Conditions of Sale, , and is expressly in lieu of any other rights or remedies which might be available to Bidder by law. Time is of the essence with respect to these procedures.

16.3

Title to Items

The Bidder hereby accepts the benefit of the Consignor’s warranty of title and any other representations and warranties made by the Consignor for the Bidder’s benefit. In the event that Bidder demonstrates in writing, satisfactory to the sole discretion of RR Auction, that there was a breach of the Consignor’s warranty of title concerning a lot purchased by Bidder, RR Auction may make demand upon the Consignor to pay to Bidder the Purchase Price (including any premiums, taxes, or other amounts paid or due to RR Auction). Should the Consignor not pay the Purchase Price to Bidder within thirty days after such demand (if any made), RR Auction may disclose the identity of the Consignor to Bidder and may assign to Bidder all or some of RR Auction’s rights against the Consignor with respect to such lot or property. Upon such disclosure and/or assignment, all responsibility and liability of RR Auction, if any, with respect to said lot or item shall automatically terminate related to or arising from these Conditions of Sale or such transaction operating as a complete waiver and general release by Bidder as to RR Auction and its agents, contractors, and affiliates, as to any and all claims concerning or related to the item, if any . RR Auction shall be entitled to retain the premiums and other amounts paid to RR Auction by Consignor only. The rights and remedies provided herein are for the original Bidder only and they may not be assigned or relied upon by any transferee or assignee under any circumstances.

16.4 Authenticity Challenge Process

(1) If Bidder wishes to dispute or challenge the Authenticity of the lot or item (including asserting that it is incorrect), Bidder must adhere to the following procedure: Within 30 days of the Auction Date, Bidder must present written evidence to RR Auction, that the lot is not authentic as determined by a known expert in the field (and one recognized by RR Auction within its discretion) and send the physical item or lot at issue to RR Auction along with all evidence relied upon by Bidder for contesting the Authenticity. (“Authenticity Challenge Process”) “Authenticity” shall mean a gross discrepancy in the between the description, genuiness, or attribution of the item as represented by RR Auction in the Catalog or at the auction, and the item. If RR Auction concurs that the lot is not Authentic as was represented (it is sole discretion), Bidder’s sole and exclusive remedy as against RR Auction (inclusive of its affiliates, agents, employees, and contractors) shall be a refund of the purchase price of the subject item paid by Bidder, with no other costs, liabilities or amounts recoverable by Bidder. If RR Auction does not agree with the assertion by Bidder, then the Parties shall follow the dispute resolution procedures of these Conditions of Sale. Strict adherence to the Authenticity Challenge Process is a condition of standing for Bidder to initiate suit or claim.

(2) So long as Bidder has complied with the Authenticity Challenge Process, any claim, suit or action, by Bidder concerning an AC or Certification of Authenticity, or related to the authenticity of the item must, without any exception, be brought within one (1) year of Auction Date and is subject to the other limitations and conditions stated in the Conditions of Sale.

16.5 Other Issues. Any dispute or claim by Bidder against RR Auction (or its affiliates, directors, employees, officers, agents, or contractors)) other than Authenticity, concerning any item or lot bid upon, or purchased, including value, title, condition, bidding process, or description must be asserted (if at all) in the following manner:

(1) If the description of any lot in the Catalog is materially or grossly incorrect (e.g., gross cataloging error), or there is any other gross material issue pertaining to the item or lot, the item or lot may be returned if returned within five (5) calendar days of receipt, and received by RR Auction no later than twenty-one (21) calendar days after the Auction Date with explanation in writing.. If there is any discrepancy between the description in the Catalog and a certificate of auction, then the description in the certificate of auction (“Lot Challenge Process”). This paragraph shall constitute Bidder’s sole right with respect to the return of items, and no refunds shall be given for any items not returned to and received by RR Auction within the period of time stated herein or not materially or grossly in deviation from the description. Such a refund is subject to RR Auction’s sole discretionary review, and any request for refund must be made concurrently with returning the physical item or lot to RR Auction. Any item not returned within said frame will constitute acceptance of the item and a waiver and release of

any and all claims by Bidder pertaining to the item other than with respect to authenticity; and

(2) Provided that the Bidder has engaged in the Lot Challenge Process, any claim concerning such must be brought no later than one (1) year of the Auction Date for the item or lot at issue and is subject to the other limitations and conditions stated in the Conditions of Sale.

NO RETURN OR REFUND OF ANY AUCTION LOT WILL BE CONSIDERED OR PROVIDED EXCEPT AS PROVIDED IN THESE CONDITIONS OF SALE AND BIDDERS OR AS MAY BE REQUIRED BY LAW. FAILURE TO COMPLY WITH SUCH SHALL BE A COMPLETE DEFENSE TO ANY CLAIMS BY BIDDER RELATED TO THE CONDITIONS OF SALE, ANY AUCTION OR BID.

16.6 LIMITATION OF LIABILITY. For any and all claims by Bidder arising out of or related to this Agreement, Bidder’s viewing, bid, or purchase of items, or any agreement between the Parties, or otherwise, Bidder agrees that to the fullest extent such can be limited under the law, Bidder shall have no right to recover and hereby waives any and all rights to recover from against RR Auction or its affiliates, directors, employees, officers, agents, or contractors, consequential or indirect damages, lost profits damages, punitive, exemplary, statutory (or multiplier damages), physical or emotional distress damages, general or special damages of any kind (beyond amounts actually paid by Bidder for item(s) at issue), and in the event of recovery of any damages whatsoever, such shall be limited by the amounts actually paid by Bidder to RR Auction for the item(s) at issue in such claim, or if no money was paid to RR Auction by Bidder for items at issue, or there items are at issue, the amount of $150.00.

Section 17

RR Auction’s Additional Services

For Bidders who do not remove purchased property from RR Auction’s premises, RR Auction, in its sole discretion and solely as a service and accommodation to Bidders, may arrange to have purchased lots packed, insured and forwarded at the sole request, expense, and risk of Bidder. RR Auction assumes no and disclaims all responsibility and liability for acts or omissions in such packing or shipping by RR Auction or other packers and carriers, whether or not recommended by RR Auction. RR Auction assumes no and disclaims all responsibility and liability for damage to frames, glass or other breakable items. Where RR Auction arranges and bills for such services via invoice, RR Auction will include an administration charge.

Section 18

Headings

Headings are for convenience only and shall not be used to interpret the substantive sections to which they refer.

Section 19

Entire Agreement

Except to the extent Bidder is also a consignor (in which case the terms of the consignment agreement shall also govern), these Conditions of Sale constitute the entire agreement between the Parties together with the terms and conditions contained in the auction Registration Form. They may not be amended, modified or superseded except in a signed writing executed by all parties. No oral or written statement by anyone employed by RR Auction or acting as agent or representative of RR Auction may amend, modify, waive or supersede the terms herein unless such amendment, waiver or modification is contained in a writing signed by all parties.

If any section of these Conditions of Sale or any term or provision of any section is held to be invalid, void, or unenforceable by any court or arbitrator of competent jurisdiction, the remaining parts of the agreement and remainder of the sections or terms and provisions of the section and all sections shall continue in full force and effect without being impaired or invalidated in any way.

Section 20

Governing Law and Enforcement

20.1 The Parties agree that all agreements between the Parties including but not limited to these Conditions of Sale are entered into in Boston, Massachusetts, no matter where Bidder is situated and no matter by what means or where Bidder was informed of the Auction and regardless of whether catalogs, materials, or other communications were received by Bidder in another location.

20.2 The Parties agree that these Conditions of Sale, any other related agreement(s), along with all claims between the Parties, including those arising out of or related to such are governed by the laws of the Commonwealth of Mas-

sachusetts, without regard for its conflict of laws principles. The Parties agree that any dispute between the Parties, including but not limited to those related to or arising out of these Conditions of Sale, or related to or arising out of any other related agreement(s) shall be submitted to confidential binding arbitration (the ”Arbitration”) before a single Arbitrator of the American Arbitration Association (the “AAA”) The Parties agree that the Arbitration shall be conducted pursuant to the commercial rules of the AAA in Boston, Massachusetts, unless the Consumer Arbitration Rules apply, in which case, such rules and venue will govern. In the event that the Parties cannot agree on the selection of the Arbitrator, then the Arbitrator shall be selected by the AAA. The prevailing Party in the Arbitration shall also recover all of its related fees and costs, whether before or after the formal institution of the Arbitration, including but not limited to its reasonable attorneys’ fees and costs, if RR Auction prevails, such recovery, in addition to all remedies available at agreement or law, shall include the Buyer’s Premium as defined in these Conditions of Sale. Federal arbitration law, including the Federal Arbitration Act apply to this agreement to arbitrate and its related provisions. The arbitration and all related proceedings shall be held strictly confidential and all documents and discovery shall be held confidential and not used, published or disclosed publically or to anyone outside the Parties or expert consultants or counsel who shall agree to hold such confidential.

20.3 The Parties consent to the Commonwealth of Massachusetts as exclusive jurisdiction and venue for all claims between the Parties except as provided specifically herein and may seek confirmation of the decision in the Arbitration pursuant to the Federal Arbitration Act in any Court of competent jurisdiction, including the courts of the Commonwealth of Massachusetts or the United States District Court for the District of Massachusetts. To the extent such is necessary under the law, RR Auction may enforce the Arbitration award against Bidder and any related Party in any court of competent jurisdiction. Nothing in this Agreement shall be construed as RR Auction consenting to jurisdiction or venue in any location outside of the Commonwealth of Massachusetts.

THE PARTIES MAY NOT BRING CLAIMS AGAINST EACH OTHER AS A CLASS OR CLASS MEMBER IN ANY CLAIMED CLASS, OR IN A REPRESENTATIVE ACTION UNLESS OTHERWISE AGREED. UNLESS OTHERWISE AGREED, THE CLAIMS AGAINST EACH OF THE OTHER CANNOT BE CONSOLIDATED OR JOINED WITH MORE THAN ONE ADDITIONAL PERSON OR ENTITIES’ CLAIMS. NO INJUNCTIVE OR 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 dam-

ages and liabilities fees that are difficult to calculate on an item-by-item basis.

20.8 Indemnity. Bidder agrees to defend, indemnify, hold harmless RR Auction (along with its officers, directors, agents, contractors, and affiliates) from and against any and all claims, costs, fees, damages, and liabilities arising out of or related to these Conditions of Sale, view of items, or lots, bidding, or participation in any auction by RR Auction, and/or or in any way connected to any item you viewed, bid upon or purchased through RR Auction.

Section 21: State-by-State Law Issues

This Auction is being conducted in and the sale shall take place in the State of Massachusetts. Notwithstanding, the foregoing, should these terms and conditions violate the law of any State should that state’s law be found to govern, or any provision herein determined to be invalid, the clause itself and the remainder of the Agreement shall be valid to the fullest extent allowed. Also, to the extent other states law apply to any transaction arising out of the Agreement (without admitting such), RR Auction states:

For Residents of California:

SALE OF AUTOGRAPHED COLLECTIBLES: AS REQUIRED BY LAW, A DEALER WHO SELLS TO A CONSUMER ANY COLLECTIBLE DESCRIBED AS BEING AUTOGRAPHED MUST PROVIDE A WRITTEN EXPRESS WARRANTY AT THE TIME OF SALE. THIS DEALER MAY BE SURETY BONDED OR OTHERWISE INSURED TO ENSURE THE AUTHENTICITY OF ANY AUTOGRAPHED COLLECTIBLE SOLD BY THIS DEALER.

A written express warranty is provided with each autographed collectible, as required by law. This dealer may be surety bonded or otherwise insured to ensure the authenticity of any autographed collectible sold by this dealer.

Section 22

Glossary of Condition terms

Information provided to prospective Bidders with respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by RR Auction.

Use of the following terms constitutes an opinion as follows:

VERY FINE describes an item believed to be in virtually flawless condition, and is used sparingly for items of exceptionally attractive appearance.

FINE is the most common statement of condition, and applies to most items that we offer. It describes items that we believe to show expected handling wear, generally acceptable random flaws (such as light creases, small bends, etc.), and an overall appearance that is pleasing to the majority of collectors.

VERY GOOD describes an item that we believe exhibits more moderate flaws (such as toning, light staining, professional reinforcements or repairs, etc.). Most collectors would be comfortable with items in very good condition, and this would be the expected condition for many formats (early presidential documents, for example).

GOOD describes an item which we believe to have obvious visible flaws, including heavy wear, missing portions, or repairs that affect appearance; generally items in this condition are offered only if an item is otherwise believed to be exceedingly rare or important.

Bidder may call and request further details and information about RR Auction’s opinions concerning any item via phone or email which shall provided in RR Auction’s discretion.

Certificate of Auction, Certificate of Authenticity and Goods Acquired:

Bidder warrants that Bidder (and its agents, assigns, successors, and affiliates) shall not purposely deface, destroy, dismember, cut-up into parts the item or Lot purchased at auction from RR Auction and in the event such shall occur whether purposefully or accidently, Bidder (and its agents, assigns, successors, and affiliates) shall refrain from advertising, promoting, or marketing the item as having been purchased from RR Auction and shall in no event display, expressly claim, or imply that the item was certified or auctioned in such state by RR Auction. As liquidated damages for such breach, Bidder agrees to be liable to RR Auction for the greater of the amount of three (3) times the hammer price of the item along with all other fees and costs as otherwise provided in this Terms of Sale.

For over 40 years, relationships have been the backbone of RR Auction. We have made it a priority to keep our consignors informed and involved, encouraging them to share their voices, to instill their knowledge, and to forge a partnership based on our shared passion for history. With a mutual desire to achieve greatness, these relationships are at the heart of our success.