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Rare Bob Feller sidewritten Bill Knickerbocker professional model baseball bat.

Rare Bob Feller sidewritten Bill Knickerbocker professional model baseball bat c.1937-40. Louisville Slugger 125 model bat with Knickerbocker facsimile signature burned into the barrel measures 35" long and weighs 33oz. The bat has been sidewritten in grease pencil "Bob Feller 5-28-40" and vault marked "F22" on both the knob and barrel ends. As noted on the accompanying PSA/DNA letter "From the teens to the early 1940's, when players were in need of bats of the same model, it was commonplace for the player to send his preferred model back to the factory...Upon receipt, an area on the barrel was planed and inscribed." Bats displaying clear sidewriting are exceptionally desirable and this particular example is further enhanced by direct mention with Louisville Slugger factory records of its return by Feller in 1940 specifically. Strong usage wear evident throughout with ball and stitch marks visible on the barrel along with grain swelling and an "H" shaped crack in the handle. Feller game bats are notably rare with a select few examples ever having surfaced. Of those this is perhaps the most well documented to have been used by the Hall of Famer to have been offered in many years. Signed in marker "Bob Feller 266 Wins #19" rating 9 out of 10. Includes auction LOA from JSA (autograph) and LOAs (bat) from Hunt Auctions and PSA/DNA: EX. *Please note: Global shipping available.*

  • USAUSA
  • 2017-07-10
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Carl Barks - Original Artwork to the Painting entitled "Hands Off My Playthings"

Carl Barks - Original Artwork to the Painting entitled "Hands Off My Playthings" 1975, Oil with brush applied to gessoed masonite, signed by the artist on the lower left margin with the Walt Disney copyright line, this is the sixteenth painting done by Carl Barks in 1975, it is the 106th painting of his career for his Walt Disney paintings, and it is the ninth money-bin painting. The money-bin paintings have always been at the top of the food-chain in the Carl Barks painting market from their very first inception, and it is well known that the artist did not want to do very many of them because of the tremendous labor involved in making every single gold coin look as realistic as possible. Carl was quoted in The Fine Art of Walt Disney's Donald Duck book as saying about the very first Money-Bin painting that he did…"Most people who see it sort of can't believe it's real." He went on to also say that another collector had seen the painting in his studio and said…"he would like very much to have it, and as asked me to ask you to put his name first on the list if you ever want to sell it. You can make a nice profit right away." Barks was commenting on the simple fact that as soon as these particular paintings were done there was an already existing market that far outstripped his ability to supply for the demand. Years later when Diamond Comic Gallery owner Steve Geppi hosted the first Retrospective Exhibit of Carl's paintings at the Diamond Comics Gallery in Baltimore Maryland with a lavish special dinner and opening to honor Carl, the artist found himself surrounded by a host of collectors. During the course of the evening one of those collectors asked Carl what were his favorite that he had done (for here he was surrounded by 90% of his entire output, which had never been seen at one time in one location before at any time). He commented that he had many favorites, but his favorite money-bin painting was "Hands Off My Playthings." This painting has changed hands between three collectors before coming to Bonham's & Butterfield's and it has never before been offered on the public market. In the opinion of the consultant this is the finest money-bin painting ever publicly offered at an auction house during the past twenty years. It is also one of the only money-bin paintings to ever enter the public market (usually they trade hands for thousands of dollars between private collectors), image size is 16 1/4 x 20 1/4", condition is Excellent, the margins have been cleaned by a professional restorer for Bonham's at the request of the client to remove some very small (1/16") sections of wood slivers that had adhered to the painting surface during the course of its time spent in the wooden gilt frame that it was put into by Carl Barks, there was no paint removed for this cleaning, matted and framed in its original wooden gold gilt painted frame.

  • USAUSA
  • 2007-06-05
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Circa 1933 Lou Gehrig New York Yankees Road Jersey

Circa 1933 Lou Gehrig New York Yankees Road Jersey, Lou Gehrig will forever be cast in the glare of New York Yankees teammate Babe Ruth's vast spotlight. But nothing about Gehrig's accomplishments should be minimized, from the 2,130 consecutive games he once played as the "Iron Horse" to his longtime link with Ruth as the enforcer of baseball's most prolific slugging duo. Gehrig was a rock-solid 6-foot, 210-pound left-handed slasher who rocketed line drives to all sections of the park, unlike the towering, majestic home runs that endeared Ruth to adoring fans. And unlike the gregarious Ruth, Gehrig was withdrawn, modest and unassuming, happy to let his teammate drink the fruits of their tandem celebrity. But those who played with and against Gehrig understood the power he could exert over a game. As the Yankees' first baseman, cleanup hitter and lineup protection for Ruth, Gehrig was an RBI machine. He won four American League titles and tied for another and his 184-RBI explosion in 1931 is a still-standing A.L. record. His 13 consecutive 100-RBI seasons (he averaged an incredible 147 from 1926-38) were a byproduct of 493 career home runs and a not-so-modest .340 average. It's hard to overstate the havoc wreaked by Gehrig's bat. He topped 400 total bases in five seasons, topped 150 RBIs seven times, hit a record 23 grand slams, won a 1934 Triple Crown, hit four homers in one 1932 game and cranked out a World Series average of .361 with 10 homers and 34 RBIs. In 1927, when Ruth hit his record 60 home runs, Gehrig batted .373 with 47 homers and 175 RBIs winning the MVP award. The Ruth-Gehrig relationship powered the Yankees to three World Series championships, and when Ruth left New York after the 1934 season, Gehrig and young Joe DiMaggio powered the team to three more. But Gehrig is best remembered for the iron-man streak that lasted from 1925-39, when Amyotrophic Lateral Sclerosis' now known as Lou Gehrig's Disease, ended his career prematurely and tugged at the heart strings of a nation. Gehrig, finally accorded the recognition that long had eluded him, died two years later. The style of this road grey Yankees flannel jersey dates it to the pivotal 1933-34 period, when Ruth was in his final seasons in New York and the torch of Yankee greatness was being passed into a single hand. Manufactured by Spalding, this jersey is tagged exclusively for Gehrig featuring red chain stitching in the collar that reads "L. Gehrig." A "Spalding" manufacturer's tag resides to the right. Every technical aspect of the of this jersey appears as it was when last in the custody of Gehrig with the exception of the letters "YO" of "New York" on the front and Gehrig's number "4" on the back having been expertly restored. Each sleeve has been trimmed of approximately two inches of length, a customization attributed to Gehrig, and supported by numerous photographs from the era. Several small holes on the front and back have been patched on the interior with vintage material. The jersey shows signs of usage wear to an awe-inspiring degree, yet retains outstanding display quality and a sense of timelessness. In the pantheon of sports memorabilia a jersey worn by Lou Gehrig has few peers. Columnist Jim Murray called Gehrig "Gibraltar in cleats" and sportswriter John Kieran said of him, "His greatest record doesn't show in the book. It was the absolute reliability of Henry Louis Gehrig. He could be counted upon. He was there every day at the ballpark bending his back and ready to break his neck to win for his side. He was there day after day and year after year. He never sulked or whined or went into a pot or a huff". Gehrig was the same in baseball as he was when he faced a fatal disease that struck him in the prime of his life. Ruth may have been rightfully dubbed "The Sultan of Swat" or the "The Colossus of Clout" among other things, but Gehrig's acclaim as "The Pride of The Yankees" has never been disputed. LOA from Richard Russek/Andy Imperato.

  • USAUSA
  • 2008-04-24
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Bendera Kaos Oblong (Flag T-shirt)

The figure, the human figure is its own drama, its own theatre; it is both actor and story. Thats how I sometimes see it. Its everything. The figure is acting, is seeing and is telling the story too. Its the figure that carries everything I Nyoman Masriadi[1] I Nyoman Masriadis obsessive fascination with the human body, as vessel to divulge the private and public psyche and as site of socio-political commentary, has driven the artists expansive oeuvre. Known for his large-scale renditions of hyperbolic masculine tropes, the Balinese-born artist has earned critical success for his ability to condense satire, narrative and personal experience in a distinctly powerful visual language. Bendera Kaos Oblong (Flag T-Shirt) is yet another momentous work by the artist, punctuated with Masriadis usual sharp humour while tinged with a shade of melancholy. A sole male figure stands in absolute rigidity, wearing nothing but a pair of army camouflage shorts and an unwavering stare into the distance. Masriadi frames his main protagonist tightly in a stark minimalist composition in order to accentuate his domineering presence and physicality. His scorched tanned skin has been rendered in Masriadis signature sheen, a result of the artists painstaking layering of paint to sculpt the figures overt musculature. Sinuous veins bulge against the surface of his taunt skin, as he clenches a bamboo pole with a pink t-shirt tied at its end. The Indonesian artists painterly world is reputably inhabited by these hulking, unnaturally zealous male figures who speak to something profoundly heartfelt, despite their absurdity. Together with Masriadis extensive vocabulary of symbolic elements, these canvases depict scenarios that are at once deceivingly direct and comically subtle. As underscored in the works title, the artist subverts the symbolic meaning of a flag, an object of power and politics. Masriadi suggests that the man has nonchalantly taken off his clothes and hung it on a bamboo stick, making the figure both the subject of interest and the agent of his own ridicule. All the patriotism and pride associated with a national flag belies itself in Masriadis makeshift caricature; it is a sagging symbol rather than an icon of strength. Even Masriadis deliberate choice of a stereotypically feminine colour for the pink t-shirt flag is a disjuncture from customary practice. Pink coincidentally is also a mix of the red and white bands on the Indonesias national flag. Nonetheless, the bare chested man appears oblivious, his intense focus on the task at hand standing stillcomes across as an uncanny disciplinary act. Unfailingly, the artists aversion to explicit messages imbues his works with a curious ambiguity that encourages different readings from his audiences. Bendera Kaos Oblong brilliantly treads between an image of an amateurish gimmick and the appearance of exaggerated control, a conduit of the artists cultivated brand of humour. While Masriadi often plays with spirited facial expressions, it is this characters stoicism that is the centre of the artists mockery, taking his role as a sort of military guard all too seriously. Furthermore, Masriadi toys with viewershiphis audience studies the present lot with a concentration akin to the protagonists very own fixated gaze and thus moving a pictorial act onto a theatrical stage. In a painting devoid of context, Masriadi insinuates interpretations on multiple levels that reference an irrelevance of authority, vacant facades of security or perhaps inflated egos in contemporary society. It is this mastery of satire, which is never bitter but always comical, that is so evident in Bendera Kaos Oblong and continues to fascinate Masriadis wide audience. In their own witty ways, each of Masriadis paintings impresses upon us messages that transcend normalcy and provoke something daringly personal. 1 T.K. Sabaptahy, Nyoman Masriadi: Reconfiguring the Body, Gajah Gallery, 2010, p. 115. Signed and dated 7 OKT 2014; signed, titled and dated 2014 on the reverse

  • HKGHong Kong SAR China
  • 2017-04-03
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Henry “hank” aaron 1954 milwaukee braves rookie road jersey

Henry Louis Aaron, born in 1934, grew up as one of eight children in Mobile, Alabama. As a youngster he worked hauling 25 pound blocks of ice, building strength in his wrists that would serve him well when he became a professional ball player. Like many resourceful children without money and material things, he did what he could do to hone his skills, including swatting bottle caps with a broomstick for hour on end. Though Hank never played for his high school baseball team (they did not have one), he participated in sandlot contests where he could, and by age 16 was good enough to join a semi pro club, the Mobile Black Bears. A year later in 1951, the Indianapolis Clowns of the Negro Leagues signed Hank.  They put him at shortstop though they were sure he could play anywhere and signed him for $200 a month. Henry’s major league break came a year later when the Boston Braves signed him in 1952 and sent him to Eau Clair Wisconsin of the Northwest League. He hit an impressive .336 and was named to the Leagues All Star team as well as its Rookie of the Year. A year later, he was one of a trio of African Americans to break the color line in the South Atlantic “Sally” League. Racial animosity was constant on road trips through the South, but the baseball diamond proved to be Hank’s refuge from a sometime distressing life.  The game was his personal tonic and Hank led the circuit with a .362 batting average with 125 RBI and 115 runs scored. In 1954, fate pointed its finger Hank’s way when Bobby Thompson, the Braves starting left fielder broke his ankle. Even the gracious Thompson years later said “Magic is the only way to describe it” when recalling his raw 20 year old replacement. Hank’s Braves debut took place not in Boston, but in Milwaukee where the team had recently moved. For that 1954 season alone Aaron was assigned jersey number 5, which would later be changed to the number 44 he is most readily identified with. Hank’s .280 average, 13 homers and 69 RBI in 122 games in ’54 were impressive for any rookie, but for Aaron it was just an adjustment period. Soon, as history tells us, Hank became as formidable as any hitter in baseball, frustrating even the games most experienced pitchers. “Throwing a fastball past Henry Aaron is like tying to sneak the sun past a rooster”, said the St. Louis Cardinals fireballer Curt Simmons, speaking on behalf of shell shocked pitchers throughout the National League. Sheer ability, consistency and resilience were the earmarks of Aaron’s prolific career. For 20 consecutive seasons he totaled more than 20 home runs; 15 times topping the 30 homer mark, and eight times he walloped 40 or more home runs. As Aaron biographer Lonnie Wheeler wrote, "(Hank) Aaron's excellence was not expelled in blinding bursts of energy, but rather played out, patiently and inexorably, over a whole generation." It is from 1954, Hank’s rookie year that we offer one of the finest game used jerseys ever presented at auction. Manufactured by Wilson, the size 40, zip-front flannel survives in outstanding original condition, with solid evidence of game use. Tagging on the front tail includes Aaron’s name and year “’54” chain stitched on a felt backing. Among its superb design features are the team name and tomahawk logo embroidered on the front, and the colorful Braves patch on the left sleeve. Aaron’s number “44” adorns the front and back, which was changed by the team from his original 5 at the end of the 1954 season. A portion of the outline of the original number “5” is faintly visible behind the “44” on both sides of the jersey. As was common in this era, Aaron likely donned this jersey for spring training the following season in 1955, and perhaps a portion of that regular season as well. Aaron’s vintage signature and “Best Wishes” salutation appear on the left side of the front. LOAs from MEARS (Grade A9), PSA/DNA and JSA. NOTE: A portion of the proceeds from the sale of this jersey are being donated by consignor Steve Myland to the Big Brothers and Sisters of America, an organization for which both Mr. Myland and Hank Aaron have been longtime supporters through time and personal resources.

  • USAUSA
  • 2006-06-24
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1898: 2001 Bentley Azure Convertible, Special T Packag

2001 Bentley Azure Convertible Special S Package Photo 1 Photo 2 Photo 3 Photo 4 Photo 5 Photo 6 GovernmentAuction.com is proud to present this Investment Opportunity. Our asset pieces are acquired for immediate liquidation from Bankcruptcies, Estate Sales, and Foreclosures. The condition and values may vary from lot to lot. We make every effort to include all pertinent information and descriptions, but please keep in mind that we are not Artwork experts, so please bid accordingly. Artwork is a great long term investment opportunity. It is a wise strategy to invest and diversfy your money in different commodities such as Fine Art and Collectibles. Bid with confidence with GovernmentAuction.com. We are the Internet's largest Liquidator of Real Estate, Jewelry, Rare Coins, Gold Plated Records, and Fine Artwork. GovernmentAuction.com - America's Direct Source of Fine Jewelry and Investment Items       Item Profile: GOV FILE # M-00250 Asset Type: Automotive Description: 2001 Bentley Azure Convertible w/Special S Package17,000 Original Miles Excellent Condition Black w/Black interior     Shipping and Fees You must call for PICK UP INSTRUCTIONS on this item (item located in Tehachapi, CA) This auction requires that the winning bidder pay a Buyer's Premium of ten percent (10%) of the winning bid amount. (The buyer's premium covers the costs associated with the auction.) This amount will be added to the winning bid and will be included in the total purchase price paid by the buyer to the seller. Winning Bid + Buyer's Premium = Total Purchase Price. The Fees mentioned above are non-refundable if the item is returned, except if the error is ours. In most cases, for multiple purchases of similar items we'd be happy to combine shipping charges upon request. Contact and Payment Information Email info@governmentauction.com Phone (661) 823-1543 Payment Options We accept all major credit cards , personal checks, cashier checks, money orders, and Bank Wire Transfers for the payment of your winning bid. If you're the Winning Bidder, please make a payment within 5 days after this auction has closed otherwise a Non paying bidder report will be filed against the winning bidder. Non Performing Bidder Reports lead to suspension from all online auctions. IMPORTANT Notices & Disclaimers - Please Read Items are sold "as-is" with no guarentee as to resale value. All information contained in this listing page has come from reliable sources and is accurate to the best of our knowledge. We make no guarantee expressed or implied as to the condition of the item(s) or information contained in this listing. Appraisals are done by a third party gemologist and are included with all those that are appraised. Please allow 14-21 days for delivery. Bid and invest with confidence from America’s number one auctioneer; GovernmentAuction.com. Copyright 2007 GovernmentAuction.com

  • USAUSA
  • 2008-12-28
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Babe Ruth 1921-31 Louisville Slugger Professional Model Bat (Graded A10, GU10)

Babe Ruth 1921-31 Louisville Slugger Professional Model Bat (Graded A10, GU10), Babe Ruth played baseball like he lived life: with loud, gaudy, entertaining gusto. There was nothing subtle about the happy-go-lucky Sultan of Swat, who paraded through his career, forged an enduring relationship with adoring fans and then withstood the test of time as the greatest power hitter in baseball history. Ruth's legendary home run totals-714 in his career, 60 in 1927—are no longer records, but they still stand as milestone numbers by which all power hitters are judged. His legendary carousing still enhances the irascible image that colors his aura. More than anything, the magnetic Ruth is hailed as the savior of the game, the man who ushered in the longball era and revitalized baseball when it was mired in the bog of the 1919 Black Sox scandal. Ruth became a New York icon as he powered his way through the Roaring '20s and the Great Depression, posting shocking homer totals of 59 (1921), 60 (1927) and 54 (1928) while leading the Yankees to four World Series championships and anchoring one of the most devastating lineups in history. Lost in the fog of Ruth's 12 American League home run titles, 13 slugging championships, four 50-homer seasons and six RBI titles was a career .342 average that still ranks 10th all time. No single sports memorabilia item consistently inspires more awe than a bat used by Babe Ruth. For veteran hobbyists or casual fans, the allure of a bat wielded by Ruth in his prime, the ultimate tool of his trade, is unfailing. For many reasons this example is among the finest of known Ruth gamers. The first and most identifiable feature of this George "Babe" Ruth professional model bat is its rich, dark “Hornsby” finish, so described because it was a preferred finish on bats used by fellow batting legend Rogers Hornsby. Its usage characteristics are ideal. Manufactured during 1921-31 period, the uncracked 35 1/4", 40 oz. club shows many ball marks visible throughout the barrel. A close examination of the handle indicates there was once three rings of tape, of which the 'ghosts' are still visible. Available photos show Ruth holding a bat with similar tape present. All barrel brands are deeply burned with no visible flaws. Enhancing the considerable physical qualities of the bat is its spectacular provenance. This Ruth game used bat is accompanied by a letter from former Brooklyn Dodger, Tony Cuccinello, who was given the bat by the Babe when he was a coach for the Boston Braves in 1936. Cuccinello's letter of authenticity is dated November 21, 1981. We must note there are two typos in Cuccinello's letter, both of which are innocent in nature and in no way alter the spirit of the letter. In his letter Cuccinello mistakenly refers to Ruth being coach with the Brooklyn Dodgers in 1936, as opposed to the correct year of 1938. Also, he erroneously refers to the 1938 Boston Bees as the "Braves." In a third party assessment conducted by both SCD Authentic (precursor to MEARS) and John Taube of PSA/DNA, it earned their highest marks of “A10” and “GU10” respectively. Its physical attributes notwithstanding, rarely do game bats of this importance include player provenance of this magnitude. A remarkable gift from the Babe to Tony. LOAs from David Bushing and Troy Kinunen of SCD Authentic (Grade A10), and John Taube and Vince Malta of PSA/DNA (Grade GU10) and Tony Cuccinello.

  • USAUSA
  • 2007-06-05
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FRANQUIN André (1924-1997) LE TROMBONE ILLUSTRÉ

FRANQUIN André (1924-1997) LE TROMBONE ILLUSTRÉ Encre de Chine pour la couverture du recueil de cette revue, publié en 1980 aux éditions Dupuis. Signée et datée « 1980 » à l'encre de Chine, dédicacée à l'encre bleue par Franquin et sa femme Liliane. 49,8 x 39,7 cm. Est joint le calque de mise en couleur aux crayons. 44 x 32,7 cm. Exceptionnelle illustration résumant tout l'univers de Franquin. Les mots « Le » et « Illustré » sont imprimés. Pièce de musée. Ce recueil reprenait les 30 numéros de Trombone Illustré parus dans Spirou en 1977. Au début des années 70, Franquin regardait du côté des revues Charlie Hebdo et Hara-Kiri. « Nous aurions aimé trouver dans Spirou d'autres choses amusantes et nous aurions voulu le voir s'adapter à notre temps ». Fidèle à Spirou, il va tenter de bâtir quelque chose de nouveau à l'intérieur même du journal. Il fait alors appel à Delporte pour l'aider dans ce projet. L'objectif était de faire rentrer l'actualité dans le journal et d'adopter un ton plus irrévérencieux. C'est sous la forme d'un supplément pirate que le Trombone Illustré voit le jour dans le journal Spirou. Franquin y créé sa première Idées Noires. Franquin réalisera 26 des 30 bandeaux titres du Trombone Illustré qui sont autant de miniatures d'une extrême précision et splendeur graphiques. « C'est un truc fait avec patience. Nous avions fait imprimer les lettres, mais c'est tout de même un sacré travail, car lorsque je voulais dessiner un personnage devant une lettre, je devais gratter puis reconstituer ce qui manquait ». Franquin entoura les lettres du logo titre d'une foule de personnages « Les couvertures du Trombone Illustré, c'était habituer les gens à une famille de personnages. Il y a une foule de choses intéressantes à faire avec cela ». Dans cette couverture, on retrouve un couple d'amoureux, la famille Marsupilami ou encore l'évêque peu orthodoxe qui deviendra la Mitre Railleuse. Les éditions Dupuis décideront en 1980 d'en faire un recueil qui s'épuisera très rapidement. En voici la couverture. Estimation 30 000 - 40 000 € Sold for 145,259 €

  • FRAFrance
  • 2012-03-31
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NAT NEUJEAN (né en 1923) SCULPTURE EN BRONZE REPRÉSENTANT TINTIN ET MILOU

NAT NEUJEAN (né en 1923) SCULPTURE EN BRONZE REPRÉSENTANT TINTIN ET MILOU Sculpture en bronze réalisée en 1976 selon la technique dite « à la cire perdue », signée Nat Neujean. Cachet de la fonderie Pinella de Andreïs et Figli à Milan sur le socle. Hauteur : 180 cm. En 1947, «Les Amitiés Belgo - Françaises» firent appel à Nat Neujean pour réaliser un buste d'André Malraux. Connaissant l'admiration de Malraux pour Tintin, l'Ambassade de France conseilla à Neujean de se rendre chez Hergé. C'est à partir de cette date que se nouera entre le sculpteur et Hergé une amitié réciproque. Vers 1951, Hergé et les «Éditions du Lombard» eurent l'idée de commercialiser des figurines en vinyle des personnages de Tintin avec la société de jouets pour enfants MIRIM. Ils proposèrent à Nat Neujean de réaliser les modèles en plâtre. Le sculpteur se montra réticent, étant donné que les personnages n'étaient pas sa propre création. Finalement, à partir de dessins qu'Hergé lui avait fournis et après de nombreuses entrevues, Nat Neujean modela la première sculpture de Tintin de 20 cm de haut. Le père de Tintin et Milou fut très surpris du résultat: il découvrait pour la première fois son héros en trois dimensions! Suivront Haddock, Tournesol et les Dupondt. Peu de temps après, Hergé commanda à Nat Neujean un buste de Tintin de 40 cm de haut, taillé en pierre de France. Celle-ci trônera fièrement sur le bureau d'Hergé à partir de 1954. En 1958 toujours à la demande d'Hergé, Nat Neujean réalisa son portrait en bronze. Malheureusement pris par le temps, Hergé ne posa que très rarement pour le sculpteur, néanmoins Nat Neujean en fit un portrait saisissant de ressemblance. En 1975, à l'occasion du 30ème anniversaire du Journal Tintin, Raymond Leblanc (Directeur des Éditions du Lombard) et Guy Dessicy (Publiart) ont l'idée de faire une surprise de taille à Hergé: une statue en pied de Tintin et Milou de plus d'un mètre quatre vingt! Et c'est tout naturellement que sa réalisation fut confiée à Nat Neujean. Il commença par entreprendre une première étude préliminaire en terre de 70 cm de haut, d'abord sans Milou (il l'intégrera par la suite quand l'œuvre sera plus aboutie). Un mois sera nécessaire à Neujean pour réaliser l'œuvre finale de 180 cm de haut. Celui-ci confronté à divers problèmes de proportions fera appel à son fils Bertrand, alors âgé de 8 ans pour prendre la pose. Quant à Milou l'entreprise fut plus complexe, le modèle (le chien d'Alain Baran, secrétaire particulier d'Hergé) ne se montra pas très docile, mais Neujean tenait à avoir un vrai chien en face de lui, afin de donner à Milou une touche plus personnelle. Le compagnon de Tintin sera placé à coté de lui, mais tournera le dos à son maître témoignant de sa propre existence et de son indépendance. Inauguré le 29 septembre 1976, en présence d'Hergé et de Nat Neujean (ainsi que de nombreux invités de marque), au parc du Wolvendael à Uccle, le monument sera faute de temps présenté en plâtre patiné et coulé par après en bronze à la Fonderie Milanaise de Nat Neujean (De Andreis & Figli) selon la technique de la «cire perdue». Après plusieurs tentatives de vol et de dégradations, le monument fut placé momentanément en lieu sûr au Centre Culturel d'Uccle, où l'œuvre peut toujours être admirée aujourd'hui. Nat NEUJEAN (de son vrai nom Nathanaël Neuman) est né à Anvers le 5 janvier 1923. À 14 ans, il quitte son milieu familial, occupe un atelier à Anvers où il s'initie à la sculpture. Il est accepté comme élève libre à l'Académie des Beaux-Arts de cette ville, durant les années 1939 à 1942. En 1942, les autorités allemandes exigent l'expulsion des étudiants Belges d'origine juive des lieux d'enseignement. Nat Neujean quitte Anvers et réside à Bruxelles où il travaille tout en vivant dans la clandestinité. Après la guerre, il s'établit à Paris pendant les années 1946 et 1947, puis retourne à Bruxelles où il s'installe définitivement. C'est de cette époque que datent ses premières commandes et ses premiers portraits, parmi lesquels ceux d'Hergé, André Malraux et Ben Gourion. Il réalise à partir de 1950 ses premières expositions de groupe et une série de commandes officielles pour les villes de Namur (La Sambre et La Meuse en 1950), de Charleroi, de Bruxelles («L'Âme Sentinelle» 1982-84). Fortement éprouvé par les horreurs de la deuxième guerre mondiale, il commence les études préliminaires à «la Mémoire de la Déportation» à laquelle il consacrera une grande partie de son œuvre. Les victimes de l'Holocauste resteront omniprésentes dans son travail, offrant une image bouleversante de ces figures fantomatiques, destinées à la destruction totale. Une première exposition à New York (1964) est suivie d'une rétrospective au Musée des Beaux-Arts de Boston (1964) et d'une invitation à enseigner comme professeur étranger à la Fine Art School de l'Université de Boston. Par la suite, les sculptures de Nat Neujean seront exposées tout au long de la deuxième moitié du XXème siècle à Washington, Chicago, Dallas, Houston, Palm Beach, Detroit, (États-Unis), à Toronto, Montréal (Canada), en Australie. La Belgique, les Pays-Bas, la France, l'Italie, l'Angleterre lui ont consacré à de nombreuses reprises, des expositions personnelles, ainsi que collectives avec des artistes de renom. Neujean est reconnu également comme portraitiste de personnalités tels que Paul Delvaux, Robert Schuman, Trammell Crow, Frank Stanton (Président de la Croix Rouge) M.Mannilow (Président des hôtels Sheraton), Giacomo Manzu, Henri Moore. Il est élu membre de l'Académie Royale de Belgique en 1972, et directeur de sa classe en 1978. Il est élu membre correspondant de l'Accademia Nazionale di San Luca di Roma en 1995. Nat Neujean travaille exclusivement depuis 1955 avec la Fonderie De Andreis à Milan. Estimation 125 000 - 150 000 € Sold for 143,883 €

  • FRAFrance
  • 2011-11-26
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1915 Cracker Jack Baseball Card Complete Set of (176) In Original Cracker Jack Album

1915 Cracker Jack Baseball Card Complete Set of (176) In Original Cracker Jack Album, The Gill Collection - 1915 Cracker Jack Baseball Cards As an eleven year-old in Kingston, Ontario, Canada in 1914, young Ernie Gill pulled his first few Cracker Jack cards out of boxes of his favorite caramel coated popcorn treat. As with many young boys of the period who nurtured both a sweet tooth and love of baseball, he was captivated. The next year, inspired by the offer printed on the back of each card, he scraped together the requisite 25 cents to mail away for the entire 1915 set of Cracker Jack baseball cards and the additional 10 cents for the "Handsome Album" to keep them in. A keen collector, he carefully recorded the name and card number of each player in the album beneath their card. The set stayed with Ernie through several moves through the years, including his first move from Kingston to a boarding house in Toronto in the early 1920s. After graduating from Queen's University in Kingston, a gold medalist in mathematics, Ernest moved to Toronto to work for the Canada Life Assurance Company and to write his actuarial exams. He eventually became CEO and Chairman of the Board of Canada Life. In his spare time, he maintained his boyhood interest in baseball, playing the same position of catcher for Canada Life in the insurance league in Toronto that he had for the local Kingston area league teams of his youth. In the late 1980s, Ernie's cards came to light again with his final move and were subsequently passed down first to his daughter, Mary Byers, and then to his grandson, Christopher Byers, in whose care they have remained until being offered here publicly for the first time. The Cracker Jack baseball card series of 1914 and 1915 are the most popular caramel cards ever produced. Accurate player depictions replicated from photographic images set against a brilliant red background is the hallmark of the series. Their timeless design and ideal player selection has made the issue a favorite among collectors since the earliest beginnings of the hobby of card collecting. In 1914, cards from the series could only be obtained as inserted "surprises", one per every box of Cracker Jack. As a result, most of the Cracker Jack cards retrieved from boxes were already affected by some degree of staining even prior to being subjected to handling by sticky fingered children. The same one per box distribution method was employed in 1915, however, the newly established redemption offer for a complete set, gave ambitious kids like Ernie Gill the opportunity to get a complete series of 176 pristine cards that never had to be subjected to contact with the caramel coated product. This complete set of (176) 1915 Cracker Jack Baseball cards appears in predominantly the same uncirculated condition in which it was received and placed in its paper album by Ernie Gill in 1915. The whiteness of the white borders and redness of the red backgrounds are as vibrant as if time stood still. Typical of the issue, centering varies somewhat throughout, but is better than average overall. It is important to note, that the album was designed to secure the cards on its pages through paper corner mounts (tabs) and no adhesives have been utilized. The cards were inserted in two different ways, one way in which the corners of a card were slid behind the tabs, showing the corner tips. The other way was to insert the cards over the corner tabs, hiding the corner tips. In many cases, mostly when the corners were slid behind the tabs, faint marks and even line impressions appear on the cards. A more complete technical description of this set is available online. It is our pleasure to offer this heirloom on behalf of the family of the late Ernest Clark Gill (1903-1992).

  • USAUSA
  • 2008-04-24
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DINGLEY HALL

DINGLEY HALL a painted wooden dolls' house of five bays and three storeys with roof balustrade, pediment with clock and finial, double steps with four bronze Gryphon on plinths, each bay with hinged door, the central section with oriel window above an Italianate balcony, above a 16th century style Flemish strap-work scroll, carved with intials L I C 1877, --113¾in. (289cm.) wide, 77¼in. (196cm.) high and 20in. (51cm.) deep (for condition report and full inventory please contact the department) THE INTERIOR The little red sitting room (AT) Painted pink with a dark blue felt carpet, furnishings include a Rock and Graner painted wood grain day bed, upholstered in original buttoned red silk with gilt and chenille braid; an unusual large scale Gothic eight piece set of Waltershausen drawing room furniture, upholstered in red ribbed paper 'leather', printed in gold; a Waltershausen buffet printed with landscapes; an early simulated rosewood wall clock; a painted tinplate fireplace with 'smoking fire', gilded soft metal decoration and firearms; four wood grain Waltershausen items; a quantity of milk glass jugs, cups and saucers, painted with pink rosebuds and green leaves; a lobster; gilt-metal ornaments; a bisque headed doll with moulded blonde hair in original 18th century style frock coat; and ten gilt framed pictures The Drawing Room (AM) the walls hung with maroon cloth the floor with dark blue felt carpet; furniture includes a rare set of white and gold Rock and Graner upholstered in red silk; a pair of unusual Waltershausen four-tier corner shelves and five other Waltershausen pieces including a side table with heraldic devices; a miniature model of a Royal Naval frigate; a pinperle doll dressed as a Zoave with moulded composition turban; gilt-metal items; china and glass including bisque ornaments and a Chamberlains Worcester cat on grass The Kitchen (AB) The cream paper with printed blue borders and fitted bell-board, containing a painted tinplate 'Ice-Box' and cupboard; five bisque headed servants including a page in 18th century-style costume and chef with jointed wood body; a large wood grain painted dresser; copper and tinplate cooking pans; a boot brush; wooden bottles; a bone coffee grinder; cat and mouse; a boars head and a silver cup The Nursery (BT) The deep red flock paper printed with a gold diaper pattern, the carpet of green cloth, with six all-bisque children jointed at shoulder and hip, moulded blonde curls and painted features, in original clothes, two all-bisque dolls' house dolls jointed at neck and shoulder with moulded brown and grey boots and elaborate original clothes; a soft metal sewing basket, canopied bed and music stand; a Waltershausen globe; a Rock and Graner yellow 'bentwood' rocking chair, half-tester bed and side chair; a bone sailing boat, a painted bone Pantin and cup and ball; a cheval mirror; tinplate fireplace and bath The Study (BM) The paper with yellow stripe and carpet of green cross stitch, with elaborate tinplate fireplace; a wood day bed with original blue silk hangings surmounted by an eagle; four chairs and footstool upholstered in blue silk; a wood grain book case containing six miniature Latin books; other miniature books; a gilt metal pier glass with H.W. Morrell's sticker; a quantity of gilt metal framed pictures; a carved bone firescreen of a hunter; a cross-stitched hearth rug embroidered 'L.C.'; flagons, bottles and glasses; and a pinperle man with original top hat, red tail cot, blue waistcoat and breeches with gilt paper bands The Oriental Room (BB) Hung with Japanese prints, the carpet of red, blue and green cross-stitch with a very rare soft-metal hanging lantern containing four lithophanes of children; seven pieces of Japanese furniture with painted decoration, one drawer raises the curtain of a shrine when opened; eight German bisque figures of Chinese acrobats; a South German carved bone cupboard containing vessels, a chess set, ink stand and hand screen; a gilt fish bowl and stand; and a pinperle officer (See back cover for lantern) The Music Room (CT) Pink paint to side walls with a Waltershausen working square piano, an extending stool, a chair, an extending table, a sofa and a chess table with stained bone pieces; three Avery chairs upholstered in velvet; a soft metal plant stand, a small table, a magazine rack, a fire screen and pictures; silver lustre lamp and flagons; a pair of clear glass six-light chandeliers; and two pinperle gentleman in original clothes The Landing (CM) The panelled walls and battoned ceiling with turned wood banisters; a large elaborate pink, blue, yellow and clear Murano glass chandelier; two carved ivory heads of Baccus; two velvet coloured sheilds, one with original miniature musical instruments, the other with arms and armour, both with shop labels from London and Paris; two pinperle military gentleman; a Westacre red lacquer longcase clock and a pair of late 17th century portrait miniatures of a lady, and gentleman on ivory, gilt-metal frame ovals, approx --3 5/8in. (9.2cm.) The Hall (CB) Panelled, the central staircase carpeted in blue and flanked by doors, with elaborate soft-metal chairs, key cupboard, wall clock and corner shelves, the chairs and shelves brightly painted with tassels and cords; three varnished wood plant stands with original pots painted with flowers; a hall stand; four pieces of luggage including a travelling bath, two with Cremer labels; three pinperle men including a jockey; and a china headed doll wearing Alsatian costume The Chapel (DT) Panelled back and sides, furnishings including turned oak pillars and blue carpet with alter; rare Waltershausen prie-Dieu; Florentine paintings of angels on gilt-wood; soft-metal mass toys; miniature books; hand embroidered vestments and alter clothes; three bisque-headed dolls wearing red and white livery; and other worshippers Visitor's Bedroom (DM) The walls with striped green wallpaper, the carpet of mauve cross-stitch with a Rock and Graner cheval mirror; a table Lithophane; a set of pink upholstered drawing room furniture with gilt embossed paper decoration including piano, bookcase and day bed; soft metal firescreen, fire surround and letter holder; gilt metal framed prints and mirrors; and a clear glass four-light chandelier The Cabinet Room (DB) The walls with striped green wallpaper, the coloured crossed stitched carpet with key pattern border; furnishings include a rare set of large scale drawing room furniture, the backs upholstered with shell designs in green and pink brocade; a Waltershausen large scale break-front china cabinet containing a quantity of milk glass painted with flowers and a bonheur du jeur with soft-metal furniture; a six-light clear glass chandelier; a purple lustre decanter; a soft-metal magazine holder painted with a squirrel, belows and a fireplace; a pack of cards and gilt-metal framed pictures The Pink Bedroom (ET) Papered in pink with blue cloth carpet; furnishings include a set of 'satinwood' bedroom furniture hung and upholstered in pink silk; an Avery work table; a soft-metal towel horse, firescreen, fire surround and hanging what-not; two of Mon. Simone photographs of dolls; a copper coal scuttle; a carved bone hand mirror; glass candlesticks; two pinperle puppets and bisque headed doll dressed in green satin The Yellow Bedroom (EM) The walls with yellow striped paper with two glazed windows hung with original blue silk curtains over gauze, the carpet with green and blue cross-stitch; furnishings include a part set of 'rosewood' bedroom furniture upholstered in pale blue silk with lace edging; a gilt-metal birdcage, lorgnettes, picture and mirror frames; an elaborate pier glass decorated with gilt paper; a pair of German bisque figures of an 18th century style couple; a clear glass six-light chandelier and a pinperle puppet The Grand Salon (EB) The walls with yellow striped paper and carpets with green and blue cross-stitch; furnishings include a set of unusual drawing room furniture, the shaped backs with pale blue buttoned silk, the serpentine fronts with ribbed gilt paper; a Walterhausen bureau, octagonal table with shaped sides, two bookcases and matching sofa tables; a German bisque Chinese couple; a paraffin lamp; a turned wood teaset on tray; soft metal fire screen and five pinperle figures

  • GBRUnited Kingdom
  • 2003-10-29
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A Jerry Garcia electric guitar custom-made by Doug Irwin, 1971

A Jerry Garcia electric guitar custom-made for him by Doug Irwin, 1971 The body made of curly maple (and other exotic woods) with a purple heart center and stained sides; two black plastic pick-ups noting "Hi-A;" between the pick-ups, there is a slot that Ram Rod routed out to insert an additional pick up that was never installed. Garcia's slide from the late 1960s is inside the electronics compartment to add weight, per Garcia's instructions, along with a few of Ram Rod’s son, Rudson’s, fishing weights. (When the guitar is picked up, these weights can still be heard, moving around inside); the fretboard made of ebony with ten iridescent mother-of-pearl inlays depicting Sanskrit symbols; the headstock with an iridescent mother-of-pearl inlay depicting an eagle in flight; small brass placard on back of headstock reads "D. Irwin 025;" back body panel has three inlays (two silver symbols plus the Alembic Studios logo) as well as the serial number which reads "GD [Grateful Dead] 025;" original strings from the last time Garcia played it (even the High E string that he broke) are still attached. In fact, Garcia was the last person to ever play this guitar, circa 1973. This was the first guitar completed by Doug Irwin, who states that the "GD025" serial number is indeed his first complete guitar. Included is the guitar's original case with a circular sticker on it reading "Manor Downs." Length: 40in

  • USAUSA
  • 2007-05-09
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THE RAREST OF MOST IMPORTANT OF ALL EARLY AMERICAN TIN TOYS THE ALTHOF

Perhaps the acme of clockwork American tin toys as well as holiday items, this toy would be the focal point of any collection. As pictured on page 149 in American Antique Toys by Bernard Barenholtz/Inez McClintock, unquestionably the most important American toy in the Barenholtz Collectoin and was one of Barney's favorite toys. It also became the centerpiece of Malcolm's collection. Of the three known existing examples (B. Barenholtz, Leon Perelman & Margaret Strong Museum), this is without a doubt the finest all original example. Upon examination one must wonder about the whimsy and fabrication combining painted American tin, goats with bells, a clockwork mechanism and a crepe dressed Santa...certainly an odd assortment effectively creating a spectacular toy. Excerpt from Barenholtz book American Antique Toys, page 15, "A New York City store featuring antique toys advertised the sale of a well-known collection; none were to be sold before the announced opening time, 9:30 A.M.; no wheeling and dealing in advance. Because the sale was so widely publicized it was certain that collectors from all over the country would be there. I had seen the collection and remembered one particular toy-one of the treasures over the hill that I had always hoped to find. Abruptly our initiation period was over. We knew that toy collecting was not just a hobby; it was a hard-nosed business. I had no choice, if I wanted this particular toy, but to be among the first arrivals at the sale. This meant leaving Princeton, New Jersey, by 5:30 A.M. I arrived at 7. I was the first in line and spotted Santa in the window. By 9:30 the queue was about one hundred collectors long. When the door opened I avoided the rush as best I could and went directly to the shelf in the window where I had seen Santa in Sleigh with Goats. As I examined it the details were not quite as I had remembered them and to myself I questioned the correctness of the toy. I was well aware of the rumors about this collection: the current owner had been known to repaint, to make repairs so skillfully as to be undetectable, even to own some toys that had been made of 'married parts,' the collectors' term for a toy made up of pieces that had not originally belonged together. So I deliberated: Where was a sleigh ever pulled by goats? Why not reindeer? The closest examination I could make revealed that the goats fitted perfectly on the shaft. The soldering was old; it did not appear to have been touched. But crepe paper clothes for Santa? I knew of some European toys that had figures dressed in crepe paper. The more closely I examined it, the more European the Santa figure began to look. The sleigh was definitely American: the type of paint and the technique of soldering on the goats were similar to work on toys attributed to Althof Bergmann, and since detachable figures are often missing or broken, it was possible that the Santa was not the original figure. Other collectors were eyeing the toy; a decision was imperative. It was such a rare toy, in such good condition, it would be worth having even if the Santa figure were a replacement. And so I made my purchase. The next step was researching the Santa figure. Catalogues were checked, collectors queried, all to no avail. The seller was positive it was the correct figure; at least, he claimed, 'That's what was there when I bought it.' Four years later we heard of a duplicate. On comparing this with ours we found that they were indeed identical-goats, crepe paper clothing, and all. This is a treasured toy in the collection and, in retrospect, I feel much better about having gotten up at 5:30 to be the first in line at a toy sale." If you desire the finest and most coveted pieces for your collection you will likely never do better for an early American tin toy. This is a truly extraordinary piece! SIZE: 20" l. PROVENANCE: Ex-Barenholtz Collection, Collection of Malcolm Deisenroth, Jr. CONDITION: Toy appears to be in untouched, original condition with light soiling, most notably to Santa's crepe paper outfit (minor tear/loss on Santa's hat). Some flaking to paint, but overall uniform. Bell stanchion on right goat has loose solder connection. 1-10205

  • USAUSA
  • 2010-07-01
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Rare lou gehrig 1934-36 h&b "small signature" game bat

Lou Gehrig was the greatest player who was rarely considered the best player on his team. For more than a decade he shared the spotlight with Babe Ruth and then Joe DiMaggio, unable to match their flare or popularity. Asked about toiling alongside Ruth, Gehrig responded with typical modesty, "It's a pretty big shadow. It gives me lots of room to spread myself." Gehrig played the game in a machine-like fashion, pounding out home runs and driving in piles of runs year after year in that shadow. However, as Gehrig's consecutive games played streak mounted, it clearly set him apart from the other superstars in the game. But the modest Gehrig even shunned the attention that the streak brought him, all the while letting his performance speak for itself, earning deeper admiration from both fans and peers alike. Lefty Grove was one such peer who seemingly admired the humble Gehrig. This assumption is based on the offered bat, which was kept amongst his collection of career mementos. Gehrig and Grove were teammates on several All-Star teams beginning in 1933, and even toured Japan together during the famous off-season. Hillerich & Bradsby factory records indicate that the bat was produced for Gehrig between 1934-36. By every measure used in evaluating game used bats it is simply extraordinary. Measuring 34 ½ inches and weighing 36 ounces, its pronounced manufacturer’s markings include Gehrig’s facsimile signature stamped on the barrel in a form identifying the bat as a rare “small signature” style. Residue of a pine tar like substance appears on the barrel and heavy game use is apparent. In a third party assessment conducted by SCD Authentic, it was designated as the first Lou Gehrig bat ever to earn their highest mark of “A10”. Its physical attributes notwithstanding, rarely do game bats of this importance include player provenance of this magnitude. A remarkable gift from Lou to Lefty. LOA’s: SCD Authentic (A10).

  • USAUSA
  • 2005-06-10
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The extremely rare and important 'Gardiner' Märklin American-market Gauge V (120mm.) spirit-fired Steam Passenger Train, circa 1906

The extremely rare and important 'Gardiner' Märklin American-market Gauge V (120mm.) spirit-fired Steam Passenger Train, circa 1906 Comprising: 4025 'Mignon' Locomotive and six-wheel Tender 41A 1st and 3rd Class Corridor Car 42A 1st Class Dining Car with Verandah 44A Smoking Car with Luggage Compartment Track and Points Details: Locomotive and Tender Paintwork details: The locomotive hand-painted throughout in black with gold banding to boiler, side footboards, borders to cab sheets, windows and roof, smoke box saddle and horizontal dome straps, generally with straw lining above and red lining below, cab interior in terracotta and boiler frames and wheels in red, with black edging to driving wheel spokes. The tender with gold painted rivets, some also embossed, gold banding to tender base, horizontal banding under top flaring, side and rear sheets with juxtaposed wide and thin straw lining, the frames with red edging and silver details and wheels in red. Mechanical Details: The brass locomotive boiler with brazed and crimped end plates, domed fire box, single fire tube to chimney, transverse water tubes and 'U'-bend hot-steam boiler feed to cylinders. Fitted with safety-valve filler, pressure gauge, sight glass (glass missing) and fittings for cab-floor mounted feed-water pump (missing). Body of heavy gauge sheet steel. Chassis fitted with twin double-acting cylinders, each with two piston valves and pivoted rocker arms, reverse activated from cab or track through centrally-mounted steam reverse block. Cylinders, cylinder-lubricators, guides and motion all in nickel-plated brass, with cast iron locomotive wheels. The tender body of heavy gauge tinplate, with water tank and feed pipe and cast iron wheels and frames. --Locomotive and tender 52in. (132cm.) long overall (Locomotive structure generally sound, cab roof slightly dished, probablty from use a ride-on train. Paintwork original, surface rusting and paint loss to frames and some horizontal surfaces, fair to good on cab sheets, roof, lower half of boiler and domes. Lining still visible on corroded surfaces. Lacks cowcatcher (pilot), front bogie, vaporising spirit lamp, bell, whistle, sight-glass and feed-water pump. Boiler tubing repaired. Tender with paintwork dry-flaking and corrosion, rust to interior and water tank. Part of tender body coming loose from frames). Coaches: 41A bogie clerestorey 1st and 3rd Class Corridor Car Exterior Hand-painted tinplate in tuscan red panels including upper sides, doors and ends, all lined in gold and lower side panels bordered in black, the inset window frames with vermilion red edging. The roof, with five vents, painted in shades of tan brown with clerestorey sides in tuscan red, with ten hand-painted skylight panels edged in vermilion red. The coach side frame-boards and cast iron bogie side-frames in vermilion-lined black, with details picked out in silver. Interior The hinged roof in ivory inside with wall surfaces in light blue, the pressed tinplate button-back seats textured in bottle green, surmounted by ornate luggage racks, coat and hat hooks and ornately pressed lighting brackets in copper gilt. The wash-room with lavatory, wash basin, tap and ledge, in ivory, simulated wood and gold. The windows with simulated curtains in shades of green painted on glass. --Coach 31in. (79cm.) long (Paint flaking, some corrosion and paint loss, minor damage, some paint loss to interior and curtains, lacks two footsteps, one coupling, two vents and light bracket, sides and part of ends split at solder-join along base, one door window cracked) 42A bogie clerestorey 1st Class Dining Car with Verandah Exterior Hand-painted tinplate in light brown, with simulated match-board sides shaded in mid-brown and tangerine, with horizontal bands continuing across doors and over coach ends, with door panels and upper coach sides lined in straw, the inset window frames in brown, edged in vermilion red. The roof, with five roof vents, painted in shades of tan brown, with clerestorey sides in light brown, with ten painted skylight panels edged in vermilion red. The coach frame-boards in dark brown and cast iron bogie side-frames in vermilion-lined black, with details picked out in silver. Interior The hinged roof in ivory inside, with wall panels in light lime yellow, the pressed tinplate button-back seats textured in dark red with gilded ornamental finials, table tops in marbled white with ornately pressed lighting brackets in copper gilt. The kitchen compartment fitted with cooking range with hinged lid, dresser, wash basin, tap, towel rail and etched glass sliding service hatch to dining area. The windows with simulated curtains in shades of green painted on glass. --Coach 31in. (79cm.) long (General paint loss and surface corrosion, interior paint flaking and fragile paint loss to simulated curtains, lacks verandah structure, couplings and two vent tops, crease damage to one door, one side split from base, set of steps damaged and loose) 44A bogie clerestorey Smoking Car with Baggage Compartment Exterior Hand-painted tinplate in shades of green, with ivory lining on lower panels and simulated fielded rectangular panels on lower baggage compartment sides, doors and ends, the inset window frames in dark green edged in vermilion red, surrounded by ivory lining. The roof, with five vents, painted in shades of tan brown, with clerestorey sides in green, with ten painted skylight panels edged in vermilion. The coach side frame-boards in ivory-edged dark green, with the cast iron bogie side frames vermilion-lined black, with details picked out in silver. Interior The hinged roof in ivory inside, with wall surfaces in yellow ochre, furnished with individual tinplate wicker seats in tuscan red with green textured seats, two green textured sofas and ornately pressed lighting brackets in copper gilt. The baggage compartment fitted with two sets of double doors, wall desk, pigeon holes, table and lamp bracket. The coach windows with simulated curtains, the baggage compartment with blinds, all in shades of light green and ivory painted on glass. --Coach 31in. (79cm.) long (Some corrosion and wear to paint, some crease damage to baggage end door, clerestorey section rusty, some corrosion to interior and paint loss to floor, some splitting of solder joint to lower coach sides at base, minor damage, three door window glasses, two frames and one coupling missing) Overall length of train --12ft.1in. (369cm.) Track and Points (Gauge V - 4 3/4in./120mm. rail centre to rail centre, 4 5/8in./11.75cm. inside rails) Sturdy fabricated steel flat-bottom 'T'-section rail made to special order. Painted in grey, with outside flat-section fish-plates with bolt holes for each connection, five sleepers per rail, riveted through rail bottom. Points fitted with hinged blade sections, activated by lever mounted on solid elongated sleeper. With detachable lever-operated track ramp to engage locomotive track reverse mechanism. Thirty-six straight sections --each 39 1/2in. (100cm.) long Twenty-five curved sections --each 42in. (107cm.) long Two left-hand points --each 42in. (107cm.) long Two right-hand points --each 42in. (107cm.) long Total length of track, including points --220ft. (67m.) (Considerable paint loss and some rusting, some bending to fishplates)

  • GBRUnited Kingdom
  • 2001-12-17
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SATURDAY NIGHT FEVER, 1977

SATURDAY NIGHT FEVER, 1977 The white suit worn by actor John Travolta as he portrayed "Tony Manero" in the classic film; one of the most instantly recognizable film costumes in history. The 1978 movie which so defined the disco decade, is still considered the standard of 1970s contemporary anthropology. John Travolta's portrayal of the dancing boy from Brooklyn remains a timeless classic, with the soundtrack from the film still on the best seller list. The film's plot revolves around the night of the eagerly anticipated dance contest at the 2001 Odyssey Discotheque. "Tony Manero" entered the competition with his dance partner "Stephanie" played by Karen Lynn Gorney. "Tony's" entrance onto the pulsating dance floor in his white polyester suit, established the tough and sensitive street kid as the ultimate Disco King. The three piece body-hugging white suit is made by LEADING MALE of Kings Highway, Brooklyn. The jacket is constructed with wide stitch trimmed lapels, two matching closure buttons, four sleeve buttons, satin interior lining with rear double vent and two oversized side pockets. Handwritten in blue ink on the interior lining To Gene, So here's to a classic, your friend, John Travolta. The vest and flare bottom trousers are of the same fabric as the jacket. The black polyester shirt with white stitching, made by PASCAL OF SPAIN, is attached to the waistband of the trousers with an elastic fabric; this allowed Mr. Travolta the freedom to dance and strike his now legendary poses. (4)

  • USAUSA
  • 1995-06-28
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CASABLANCA, 1942

CASABLANCA, 1942 BEST PICTURE ACADEMY AWARD PRESENTED TO HAL B. WALLIS The gold plated britannia statue with the front plaque on the base inscribed ACADEMY FIRST AWARD TO "CASABLANCA" BEST PICTURE OF 1943 WARNER BROS. HAL B. WALLIS, PRODUCER--12 in. high. The Academy Award for Best Picture of 1942 possessed all the elements of a true life Hollywood drama. The Academy had been formed in 1927 by the major studios, and back then there were no steadfast rules for receiving Awards, etc. The system almost always favored the Studios above the individuals, and the rules continued to change every year. While there were no real guidelines for the Award for Best Picture, a Studio head would pick up the Oscar, a practice that wouldn't change until 1948. When a producer would receive a Best Picture Oscar, it was usually someone on the level of David O. Selznick who also ran his own studio. In an odd turn of events, Mr. Wallis did not actually accept the Best Picture Oscar, even though his contribution was recognized by the Academy and he attended the event. When Casablanca was named the winner, Jack Warner, head of the Studio, ran up to receive the Oscar before anyone else could reach the podium. In his autobiography Mr. Wallis recalled the moment, "I started up the aisle to receive my Award. To my astonishment, Jack Warner leapt to his feet, ran to the stage, and received it ahead of me. Almost forty years later, I still haven't recovered from the shock of it." While Mr. Wallis did eventually receive a Best Picture Academy Award for Casablanca, the incident set in motion a chain of events which permanently severed his relationship with Jack Warner and the Studio. Mr. Wallis departed shortly thereafter, and relocated his production company to Paramount Pictures.

  • USAUSA
  • 1995-06-28
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CECIL BEATON TRYPTICH PHOTOGRAPH OF MARILYN MONROE

CECIL BEATON TRYPTICH PHOTOGRAPH OF MARILYN MONROE A 1956 photograph of Marilyn Monroe Miller taken by society photographer Cecil Beaton. In one of her most famous sittings, the actress is posed reclining, holding a rose. The photograph is signed on the mat Cecil Beaton and is accompanied by two page autograph letter signed from Beaton. He describes his fascination and perspective on his subject in detail, "Miss Marilyn Monroe calls to mind the bouquet of a fireworks display, eliciting from her awed spectators an open mouthed chorus of ohs and ahs... In her presence, you are startled, then disarmed, by her lack of inhibition. What might at first seem llike exhibitionism is yet counterbalanced by a wistful incertitude beneath the surface. If this star is an abandoned sprite, she touchingly looks to her audience for approval. She is strikingly like an overexcited child asked downstairs after tea. The initial shyness over, excitement has now gotten the better of her. She romps, she squeals with delight, she leaps onto the sofa. She puts a flower stem in her mouth, puffing on a daisy as though it were a cigarette. It is an artless, impromptu, high spirited, infectiously gay performance. It may end in tears. Equally impromptu is her general appearance. This canary blond nymph has been so sufficiently endowed by nature as to pay no attention to the way she looks. Her hair, her nails, her make-up, have a makeshift, spontaneous attractiveness. It is all very contemporary: Marilyn Monroe conjures up two straws in a single soda, juke-boxes, sheer nylons and drive- in movies for necking (does she not project a hynotized nymphomania?). This, then, is the wonder of the age - a dreaming somnabular, a composite of Alice in Wonderland, Trilby, or a Minsky artist. Perhaps she was born the post war day we had need of her. Certainly she has no knowledge of the past. Like Giraudoux's Ondine, she is only fifteen years old; and she will never die." Cecil Beaton, June 1956. Encased in a silver tryptich, engraved on the center panel To Marilyn Monroe Miller Love Nedda and Joshua Logan. Gelatine silver print. 1956. Signed "Cecil Beaton" in red pencil on the mount.

  • USAUSA
  • 1999-10-27
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Pair of 24k solid gold presentation trophy balls and gold plinths

In 1975, Arthur Ashe was awarded these 24 karat solid gold tennis balls for winning the World Championship of  Tennis. The WCT was founded in 1967 as a tour for professional male tennis players. In 1975, the tourney was played in May between the top eight ranking players. Ashe defeated Sweden's greatest player, Bjorn Borg, in four sets, 3-6, 6-4, 6-4, 6-0, a warmup for Ashe's sensational Wimbledon championship run later that summer. Both are solid gold and sculptured as tennis balls, slightly differing in size, engraved blue enamel label HAGGAR (the sponsor). Each ball is set on a solid gold dome-shaped plynth, one inscribed ARTHUR ASHE, the other inscribed in smaller text, 24 KT, MADE BY ADELSTEIN. Larger Ball  5308.9 grams/11.7 lbs     998.8 (Gold Part Per Thousand) Smaller Ball  4441.3 grams/9.79 lbs   998.1 (Gold Part Per Thousand)                                                                                                            Stand             1270.3 grams/ 2.8 lbs 997.9 (Gold Part  Per Thousand)          Stand 552.1 grams/ 1.217 lbs. 991.9 (Gold Part Per Thousand) Total Weight 11572.6 grams                                          Condition is excellent, with minor age wear. LOA: Jeanne Moutoussamy Ashe At the time of printing the melt value for gold was approximately $150,000 at  $13 per gram.

  • USAUSA
  • 2005-06-10
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* Note that the price doesn’t correlate with today’s value, but only relates to the actual end price at the time of the purchase.

Toys & Collectible Items

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