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HERGÉ Georges Remi dit (1907-1983) POP-HOP - UN LIVRE ANIMÉ TINTIN

HERGÉ Georges Remi dit (1907-1983) POP-HOP - UN LIVRE ANIMÉ TINTIN LE TRÉSOR DE RACKHAM LE ROUGE Encre de Chine, gouache et encre de couleur sur papier contrecollé sur carton pour la couverture de l'album Pop-Hop « Le Trésor de Rackham le Rouge », publié en 1970 aux éditions Hallmark / Rouge et Or. L'encre de Chine de la main d'Hergé, la mise en couleur réalisée par les Studios. 29,4 x 23 cm. Encadrée. Est joint le certificat des Studios Hergé. Des dessins inconnus d'Hergé Trois dessins en couleur d'Hergé dont on avait perdu toute trace, sont présentés dans ce catalogue. Il s'agit de trois petits chefs-d'œuvre à l'encre de Chine et aquarelle, datant de 1970 et réalisés par Georges Remi pour les albums animés L'Ile Noire et Le Trésor de Rackham le Rouge, édités par Hallmark. Voici l'histoire de ces tableaux tout à fait exceptionnels *. Hergé et le roi des pop-ups Début 1969, Hergé, son éditeur Casterman et l'éditeur américain Hallmark, conclurent un accord sur la réalisation et la distribution d'albums Tintin « animés » ou « pop hop » (pop-up books en anglais). Depuis Paris, l'affaire fut rondement menée par un certain F.C. Bloem, patron de Hallmark Europe. La même année, deux premiers titres étaient mis en vente, On a marché sur la Lune et Le Temple du Soleil. Il faut dire que la maison Hallmark Cards était déjà à l'époque le plus grand fournisseur de cartes de vœux au monde et qu'elle venait de se lancer, avec une ambition certaine, dans l'édition de livres pour la jeunesse. À cet effet, la multinationale, dont le quartier général se trouve encore aujourd'hui à Kansas City dans le Missouri, avait racheté Graphics International, une firme spécialisée dans la réalisation de livres animés, fondée et dirigée par Waldo Hunt. Ce « Wally » Hunt, qu'on surnommait « King of the Pop-Ups », resta quelques années au service du groupe Hallmark et s'occupa des premiers Tintin animés. Grand spécialiste en la matière, il envoya un petit mot à Hergé pour lui faire part de son enthousiasme lorsqu'il découvrit les premiers dessins de celui-ci, envoyés de Bruxelles en mai 1969. Mais quelques mois plus tard, Hergé, lui, fit comprendre qu'il n'était pas très satisfait du travail réalisé par l'équipe de Graphics International à Kansas City. La finition des deux premiers albums était loin d'être parfaite et le père de Tintin n'hésita pas à envoyer ses remarques à Hallmark. Les deux parties se mirent néanmoins d'accord pour poursuivre la série, quitte à changer d'imprimeur. La perfection, rien de moins Hergé s'attaqua aux dessins pour les nouveaux titres, prévus pour les fêtes de fin 1970. Philippe Goddin décrit dans le tome sept de sa Chronologie d'une œuvre (page 316), comment le dessinateur s'y prit : « Si ses collaborateurs gèrent la création des deux prochains albums animés attendus par Hallmark, L'Ile Noire et Le Trésor de Rackham le Rouge, il valide les animations proposées et assure l'essentiel des dessins. » Ce projet d'albums dérivés des Aventures de Tintin lui tenait à cœur, mais il n'était pas complètement rassuré. Car si le dessin est très important pour ce type de livre, la technique de l'animation l'est peut-être plus encore. Hergé créa des illustrations en couleur hors du commun pour ces deux albums, attachant de l'importance à chaque détail, et exigeant rien de moins que la perfection de ses coloristes, Josette Baujot et France Ferrari, ainsi que de Michel Demarets, responsable des maquettes et des animations. Mais le patron des Studios Hergé continua de s'inquiéter pour la qualité du travail à faire à Kansas City. C'est à ce moment qu'apparut Byron McKeown, un jeune homme formé à l'académie du Missouri et engagé par Wally Hunt comme creative director de Graphics International. Entre le créateur belge et ce créatif américain le courant passa tout de suite. Les deux hommes partageaient ce même goût pour le travail bien fait, ce même souci de perfection, ce même amour pour le beau dessin. Dès lors, Byron McKeown s'occupa personnellement des pop-up books Tintin. Il envoya ses instructions et remarques à Paris pour les faire traduire à l'attention d'Hergé et reçut les indications et corrections de ce dernier à Kansas City. Les deux artistes communiquèrent intensément par courrier, télex et téléphone. Une complicité amicale s'installa entre eux. À tel point que lors d'une visite au quartier général de Hallmark, à Kansas City, au printemps 1971, Hergé se rendit également au domicile de la famille McKeow, où Byron lui présenta son épouse Deanne et ses enfants. À son retour en Belgique, Hergé fit placer son nouvel ami sur la liste des personnes à qui envoyer les traditionnelles cartes de vœux des Studios Hergé et lui fit parvenir quelques albums Tintin dédicacés (en anglais). Il est vrai que grâce à Byron McKeown la fabrication et la production des albums pop-up Tintin s'améliorèrent considérablement. L'aventure des pop-ups Tintin se poursuivit avec la réalisation des albums Le Sceptre d'Ottokar et Vol 714 pour Sydney, puis s'arrêta, fin 1971. Georges et Byron restèrent encore en contact pendant plusieurs années et lorsque ce dernier signala à son ami belge, qu'il avait encore une série de dessins originaux en sa possession — dont certains n'avaient même pas été utilisés ! — Hergé les lui offrit. Plus tard, et après un détour par l'Irlande, ces aquarelles revinrent en France. De nombreux dessins inutilisés Aujourd'hui, Artcurial présente trois de ces dessins couleur, tous réalisés par Hergé et son équipe en 1970 : deux pour Le Trésor de Rackham le Rouge et un pour L'Ile Noire. Ils ont été mis au net à l'encre de Chine et coloriés à la main à l'aquarelle. Le trait est fin et élégant, les couleurs vives et inégalées. Le lot ne contient qu'une petite partie des dessins des deux albums, mais une des couvertures en fait bien partie, et, plus extraordinaire encore, on y trouve un dessin qui n'a pas été retenu par l'éditeur Hallmark ! Il s'agit d'un tableau mettant le capitaine Haddock en vedette, dans la scène du combat imaginaire avec le pirate Rackham. Selon Byron McKeown, certains dessins furent en effet refusés par Hallmark, non pour des raisons de qualité, mais uniquement parce que la maquette des albums animés changeait continuellement durant leur réalisation. Comme le nombre de pages était très restreint et les histoires à raconter plutôt longues, le découpage subit de très fréquents remaniements. D'où ces dessins « refusés » et, dès lors, inconnus d'Hergé. L'exemple présenté dans ce catalogue n'est donc pas un cas unique. Plusieurs films noirs tirés durant la production des albums pop hop, et provenant de la même source, nous dévoilent d'autres scènes « éliminées par l'éditeur ». On y découvre, entre autres, une extraordinaire visite — étalée sur deux pages — du laboratoire du professeur Tournesol, réalisée pour Le Trésor de Rackham le Rouge. Ces dessins en noir et blanc démontrent d'autant mieux à quel point le père de Tintin s'est investi dans les albums pop hop. Mais que sont devenus les originaux d'Hergé dont sont tirés ces films ? Nul ne le sait. Raison de plus pour profiter au mieux des trois petits chefs-d'œuvre présentés dans ce catalogue. (*) Les sources utilisées pour cet article sont la correspondance d'Hergé avec Hallmark et le témoignage de Byron McKeown. Estimation 60 000 - 80 000 € Sold for 75,787 €

  • FRAFrance
  • 2013-06-07
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THE TEN COMMANDMENTS, 1956

THE TEN COMMANDMENTS, 1956 A pair of "Tablets" from the Cecil B. deMille epic starring Charlton Heston. The Ten Commandments is arguably the ultimate Hollywood studio achievement. With a cast of thousands, including dozens of major stars and character actors, the four hour film was ten years in the planning and two years in actual production. The artistic design of The Ten Commandments was extravagant, even by Mr. deMille's exacting standards; instead of using the studio research department, respected egyptologist Henry Noerdlinger was hired. Based on his findings, thousands of drawings, sketches, costume designs, storyboards and, of course, the Tablets themselves were created. Their design was the focus of much pre-production attention. Traditional differences among the world's religions in the sequence of the Commandments were considered, as well as discrepancies in the number of Commandments on each Tablet. Research at the Oriental Institute at the University of Chicago suggests that the lettering would have been of early Canaanite style developed during the late Bronze Age, the era of Moses. In a key moment in the film, when Moses comes down from the mountain carrying the Ten Commandments, and finds his people worshipping the Golden Calf, he throws the Tablets into the den of iniquity, which is swallowed up by the opening earth. Fiberglass Tablets, as well as Tablets carved from Mt. Sinai red granite, were used in the making of The Ten Commandments. The Tablets are made of thick, richly hewn fiberglass and are marked on the back Left side facing plaque and Right side facing plaque--24H x 11 3/4L x 1 1/4D in.

  • USAUSA
  • 1995-06-28
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TINTIN - N°17 ON A MARCHÉ SUR LA LUNE

TINTIN - N°17 ON A MARCHÉ SUR LA LUNE Casterman, 1975. Dos carré vert, 4ème plat C1. État neuf. Album exceptionnellement enrichi d'un superbe dessin dédicace de Hergé représentant Tintin et Milou en buste, signé, dédicacé et daté du 27 juin 1976. Album de plus enrichi d'une dédicace de 6 astronautes dont Buzz Aldrin ayant réellement mis le pied sur la lune, à raison d'une dédicace d'un des astronautes de chacune des 6 expéditions qui ont atterri sur la lune, ainsi que de la dédicace du pilote de l'expédition avortée Apollo 13 (les pilotes de cette expédition ayant été à l'époque qualifiés de «naufragés de l'espace»). - Buzz Aldrin : Apollo 11, pilote du LEM. Commandat et pilote de «Eagle», premier engin habité à atterrir sur la lune écrit : «first moonwalker after Tintin» (premier astronaute à avoir marché sur la lune après Tintin). - Alan Bean : Apollo 12, pilote du LEM, écrit : «I might see footprints of Neil, and Buzz, and maybe even Tintin's (J'aurais du trouver des traces de pas de Neil et de Buzz ... et peut-être même celles de Tintin). - Fred Haise : Apollo 13, pilote du LEM, écrit : «like Tintin before me, we have had problems during our flight to the moon, but we came back safe !» (tout comme Tintin avant moi, nous avons eu de gros problèmes durant notre expédition vers la lune, mais nous sommes revenus sains et saufs). - Edgar Michell : Apollo 14, commandant, écrit : 'longest walk on the moon after Tintin's' (j'ai réalisé la plus longue marche sur la lune... après celle de Tintin). - Dave Scott : Apollo 15, pilote du LEM, écrit : 'first man to drive and explore the moon after Tintin (premier homme à avoir exploré la lune en véhicule après Tintin). - Charlie Duke : Apollo 16, pilote du LEM, écrit : 'the youngest man to explore the moon after Tintin' (Le plus jeune homme ayant exploré la lune... après Tintin). - Gene Cernan : Apollo 17, pilote du LEM, écrit : «I am not sure Tintin was the first moonwalker, but I am sur to be the latest one (up to now !)» (Je ne suis pas sûr que Tintin ait été le premier homme à marcher sur la lune, mais je suis certian d'être le dernier (jusqu'à présent !). Rarissime témoignage d'une des plus belles aventures humaines - d'abord sublimée et imaginée sur le papier et la toile, puis vécue - et du projet le plus ambitieux de l'Homme jusqu'à ce jour. Pièce de musée. On y joint les photos des astronautes en train de dédicacer cet ouvrage. Estimation 15 000 - 30 000 € Sold for 73,329 €

  • FRAFrance
  • 2012-11-23
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Bob Dylan

Bob Dylan Poems Without Titles A rare, early collection of poems written by Bob Dylan whilst at the University Of Minnesota, 1960, the 16 pages of poems hand-written in pencil, some showing portions of the text which have been erased and written over, with title page inscribed in blue ink POEMS WITHOUT TITLES, the majority signed Dylan or Dylanism, many of the poems showing Dylan's witty and sometimes coarse sense of humour, some being abstract compositions and some referring to aspects of his life in Minnesota, including references to Dylan's desire to quit smoking, friendships and relationships with various women and references to influences on his music, excerpts include: -- I have to quit smoking But I can't quit smoking I love to smoke Almost as much As I love to love; -- I search the depths of my soul for an answer But there is no answer Because there is no question And there is no time; -- I thought I saw Humphrey pissing Into a hot bowl of tomatoe [sic] soup And as he pissed I watched And as I watched I waited And as I waited I saw ALL society...He pissed beer; he pissed rum He pissed whisky; he pissed wine The deep rich, red wine That he drank only the night before ... Then he pissed in his car - And I felt like an Idiot child trying to read James Joyce in the dark Then from a deep dark commitment He pissed for forty days and forty nights - And a great war was declared And all society starved to death And then as suddenly as he started pissing He stopped pissing And said "Good Shabos"; -- Within this world Of tormented rush Of bastard daughters Of Mother's sons Of Mr Society And of dirty little mouths And of King Clocks And of green pieces of eight That can buy Anything in sight Comes The Ethnic Odetta; -- I thought she Was Hip When we sat and Drank coffee And I flipped when she recited All of Prufrock By heart And when she Clued me in On all the squares Down in Lexington ... I puked Down her sweater And Ordered Some more Coffee; -- A dark haired Einstein Sits And Strums And We all Sing Bald Moutain [sic] Seeking Expression; -- Once there was Judy And she said Hi to me When no one else Could take the Time...But she broke me Up When she didn't Write back and I died for a year - Seela And then there was Ione Who wore a Ring on her Left hand...my mind went Insane Every time I saw her - Seela Then there was Carol Who had tits Like headlights On a fire engine And a face like Helen ... she'd rape my feelings ... Then there was Barbara Her parents liked me And I liked them But I loved Barbara more...Then came another Judy She had a long Pony Tail And wanted Some day To be an Actress ... Now there's Judy again And my Circe starts Over ... I don't fit in anymore I'm Lost And my trouble is I know it; -- I heard this "Let's All Sing Joshua now And we'll really have A grand time And after Joshua We'll do Another one That everyone Knows" And I cut out; -- The motorcycle leans The motorcycle swerves The motorcycle drags The motorcycle doesn't Give a damn Who gets his nuts Stomped on The motorcycle doesn't Give a Damn About old Granny in the middle Of Hennipen Avenue Or of little baby In his play pen The motorcycle just don't Give a damn About anything, 17pp.

  • USAUSA
  • 2005-11-21
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Casey Stengel's 1969 New York Mets World Series Ring

Casey Stengel's 1969 New York Mets World Series Ring, Casey Stengel once quipped with unerring humility, "Managing is getting paid for home-runs someone else hits." One of the games great characters, he managed for twenty-five seasons in major league baseball from 1934 until 1965. Though Stengel won seven championships for the New York Yankees in a span of 10 years, he will forever be held in the hearts of Mets' fans for bringing respectability and a National League baseball team back to New York's Polo Grounds. The New York Mets were created in 1962 and needed an established face to give the franchise a sense of levity and to charm the New York media. Though his "Amazin' Mets" finished last in a 10-team league all four years of his tenure, Stengel remains today as one of the top personalities in club history, and is largely responsible for planting the seeds from which the Mets would ultimately reap glory. That glory came in 1969. Driven by a surprisingly dominant pitching from a young staff that included ace Tom Seaver, along with Jerry Koosman (17-9 record), Nolan Ryan and Tug McGraw, the Mets mounted a late season rally to claim first place and went on to a stunning sweep of a Braves team led by Hank Aaron and Phil Niekro. In the World Series, Baltimore won the opener, but the Mets won the next four to capture the first championship in Mets history. This is the finest symbol of Casey Stengel's significant contribution to the New York Mets franchise within his vast personal collection of career mementos. Manufactured by Jostens, Casey's 10k gold 1969 New York Mets World Series ring is in near perfect original condition with a diamond set into a blue stone on the face. Around the perimeter of the face reads, "New York Mets World Champions 1969." Design elements include a Shea Stadium relief on one side and Stengel's name bannered above the Mets logo with his title "VP" on the other side. His name is engraved inside the band in the form of his facsimile signature. Size 12. LOA from the Stengel family.

  • USAUSA
  • 2007-06-05
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Joe DiMaggio's 1941 New York Yankees World Championship Wristwatch from DiMaggio Estate

Joe DiMaggio's 1941 New York Yankees World Championship Wristwatch from DiMaggio Estate, Joe DiMaggio was more than the most complete all-around player of his generation. He was more than the player who set one of the game's most cherished records, hitting safely in 56 consecutive games. He has proven to be the most enduring symbol of baseball greatness. His fame was recorded in song and prose. In the sixties, when Simon and Garfunkel wanted to express a longing for another time, they wrote in "Mrs. Robinson": "Where have you gone, Joe DiMaggio?  A nation turns its lonely eyes to you." In the summer of 1941, a nation truly did turn its eyes to him. Joe’s 1941 campaign was among the most celebrated seasons enjoyed by any player in baseball history. In its course he captured the AL Most Valuable Player award, Baseball Writer's Award, attained his immortal 56-game hitting streak, and led the Yankees to the 1941 World Championship. This Hamilton 14k gold wristwatch was presented to Joe DiMaggio by Judge Kennesaw Mountain Landis in honor of the Yankees 1941 World Championship. The watch retains its original leather band which exhibits moderate wear with some stiffness to the leather. The gold watch casing has diamonds set at the top and bottom of the front. The reverse is inscribed, "N.Y. Yankees 1941 World Champions Joe DiMaggio" with a crossed bat and ball engraving. The original Hamilton watch buckle is stamped 14k gold. Originating directly from the estate of Joe DiMaggio, the watch was preserved in working order, housed in its original Hamilton case. Includes a vintage photograph from April 1942 picturing Judge Landis handing the watch to Joe DiMaggio. LOA from the DiMaggio estate.

  • USAUSA
  • 2007-06-05
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Withdrawal

ANDRÉ FRANQUIN 1924-1997 SPIROU ET FANTASIO SPIROU ET LES PETITS FORMATS

Dupuis - 1964 Un concentré de vie dans une planche aux enjeux stratégiques ! Cette page a dabord été publiée dans Le Parisien Libéré puis, quatre ans plus tard, dans Spirou. Elle est issue de lâge dor de Spirou et Fantasio. À cette époque, les éditions Dupuis tentent dexporter leurs héros en France. Dans un premier temps, lidée est de se servir dun très grand journal, Le Parisien libéré, et dy proposer des aventures inédites de Spirou et Fantasio, indépendantes de celles qui paraissent dans le journal. Franquin accepte de relever le défi. Cette aventure-ci, Les Petits Formats, se déroule intégralement à Champignac et fait écho au succès incroyable des personnages de BD en latex à la fin des années cinquante. Le héros sy trouve en compagnie du mythique Marsupilami, animal fascinant que Franquin se plaisait à dessiner «au naturel» dans son mélange de candeur, danimalité sauvage et despièglerie. Il faut lobserver tant lorsquil sinterroge dans la première case, une tête réduite dans la main, que dans sa course aux côtés de Spirou ou encore dans les deux dernières cases. Franquin soigne les décors sans en faire trop. Assisté par Roba, il veut avant tout que loeil suive laction et que la vie soit préservée. Utilisant une grammaire quil a créée, il recourt aux ombres, joue avec les pierres apparentes, esquisse les façades en arrière-plan. Tout est animé, même les roses à lavant-plan au début de la deuxième demi-page. Purement exceptionnel !

  • GBRUnited Kingdom
  • 2017-01-21
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A rare and important Märklin Gauge III (75mm.) Romanian-market spirit-fired steam CFR (Caile Ferate Romane) Royal Passenger Train, circa 1902

A rare and important Märklin Gauge III (75mm.) Romanian-market spirit-fired steam CFR (Caile Ferate Romane) Royal Passenger Train, circa 1902 E4023 4-4-0 (2'B) CFR 'E III' Locomotive and three-axle Tender The locomotive hand-painted in black, named 'Romania' in gold on boiler sides and 'CFR' and 'E III' plate on cab side-sheets, tinplate with brass boiler and cab, lined in red, gold and green, cast iron wheels in yellow-lined vermilion, tender with hand-painted springs and rivet detail, 'CFR' on side-sheets. Fitted with twin double-cylinders, each with double-piston valves and rockers, reversing from track or splasher side, fitted with vaporising spirit-lamp to centre-flue boiler, fittings include sight-glass, safety-valve, whistle and blow-down tap, hand-rails fitted with heat-resistant wooden sleeves --28in. (71cm.) long (VG, minor dent to tender side, slight chipping, two tender wheelsets replaced) 1st Series 1841 CFR 1st Class Royal 45cm. Carriage hand-painted in lined royal blue, ivory and grey, with vermilion edges to windows and clerestory glazing, hinged doors with simulated window and curtain detail, lettered 'CFR 1 Cl.' and 'Bucharesti-Jasi', flanking royal crown, with hinged roof and detailed interior, fitted with glass windows and cast-iron bogie frames, corridor fall-plates and one corridor connector (VG, three handles and one coupling replaced, some matt overpainting to underside, 1909 FEM tender bogies fitted) 1st Series 1841 CFR 1st/2nd Class 45cm. Carriage hand-painted in lined royal blue, ivory and grey, with vermilion edges to windows and clerestory glazing, hinged doors with simulated window and curtain detail, lettered 'CFR 1 Cl.' and 'Bukeresti-Constanta', crowns visible under factory overpaint, with hinged roof and detailed interior, fitted with glass windows and cast-iron bogie frames, corridor fall-plates and one corridor connector (G, one footstep damaged, some chipping, one handle replaced, one coupling rivet replaced with wire, some matt overpainting applied to underside, 1909 FEM tender bogies fitted, wear-marks of smaller bogie visible underneath) 1st Series 1844 CFR 45cm. Post Baggage Van hand-painted in lined dark green, with vermilion edges to windows, and simulated window and blind detail, lettered 'CFR' with post horns and letter box posting emblem, with hinged roof and detailed interior, hinged doors and dog flap, sliding baggage doors, fall plates and fitted with glass windows and cast iron bogies (G-VG, some dents to roof, minor chipping, one buffer detached, one coupling rivet replaced, 1909 FEM tender bogies fitted) Twelve seated and one standing painted composition figures (mostly G, sd.), plated train lamp with red lens, fillers and wick, signal and 54 Gauge III tinplate track sections, including Märklin - 20 curves and 7 straights

  • GBRUnited Kingdom
  • 2002-12-16
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Lou Gehrig 1923-25 H&B Sidewritten Rookie-Era Professional Model Game Bat

Lou Gehrig 1923-25 H&B Sidewritten Rookie-Era Professional Model Game Bat, Before he was the Iron Horse, Gehrig was known as Columbia Lou. He attended Columbia College from 1921 to 1923, playing both football and baseball. After his sophomore year, Gehrig signed with the Yankees for a $1500 bonus against the wishes of his beloved mother. In later years, Gehrig recalled why he had abandoned his intention to go on from Columbia to become an engineer: "There's no getting away from it," he told the New York Times in 1939, "a fellow has to eat. At the end of my sophomore year my father was taken ill and we had to have money. I had been playing on the college ball team and I had had eight offers to join professional clubs. So when there was no money coming in there was nothing for me to do but sign up." As first baseman for the New York Yankees for seventeen seasons, Gehrig played in 2,130 consecutive big league games (a record that would stand for more than fifty years), batted .361 in seven World Series, and broke many other major-league records. Known for his remarkable endurance, Gehrig was a four-time Most Valuable Player, earned a lifetime batting average of .340, and hit 493 home runs, including 23 grand slams, a record that still stands today. In 1939, stricken by a rare form of paralysis now widely known as Lou Gehrig's disease, he retired from the Yankees with the most graceful and moving speech ever uttered by an American athlete. He was elected to the Baseball Hall of Fame in a special election in 1939, and was the first baseball player ever to have his uniform number retired. This bat, one of the premier pieces in the esteemed Bill Nowlin Collection, dates from Gehrig's earliest seasons in the big leagues. Its 1923-25 labeling period coincides with the first chapter of a career that plays out like an epic novel. Manufactured by Hillerich & Bradsby, the 36 inch, 36.2 ounce war club shows evidence of outstanding use with a handle crack that has been repaired with one nail and some checking (grain separation) from repeated ball contact on the back barrel that has also been repaired with several nails. All of the manufacturers markings are quite pronounced, including Gehrig's facsimile signature on the barrel. Many ball marks are visible on the right, left and back barrel. Also visible on the bat are cleat marks on the handle and barrel and the remains of a shipping label. The handle had been taped with one tape ring, but the tape has been removed. Further enhancing the bats appeal is faint (illegible) side writing visible on the side of the barrel indicating that the bat was sent back to H&B for replication upon termination of use. Given the quality, appearance and era of this Lou Gehrig gamer, it would be a centerpiece in any baseball collection of any magnitude. LOA from John Taube of PSA/DNA (Graded GU6).

  • USAUSA
  • 2008-04-24
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Joe DiMaggio H&B Professional Model Bat Used in The 1947 World Series (MEARS & PSA/DNA Graded 10)

Joe DiMaggio H&B Professional Model Bat Used in The 1947 World Series (MEARS & PSA/DNA Graded 10), In 1947 the Yankees road to the World Championship went through Brooklyn. The subway series pitted New York led by MVP Joe DiMaggio against Brooklyn and a rookie named Jackie Robinson. The Yankees prevailed in seven games with DiMaggio hitting home runs in games 3 and 5. Offered here is Joe DiMaggio's beautiful Hillerich & Bradsby model D29L professional model bat from that historic series. Uncracked and showing evidence of light use (typical of bats made late in the season for World Series use), it exhibits ball marks visible on the left barrel and scuffing to the right, back and front barrels. The model number (D29L) is stamped into the knob. The bat is accompanied by two letters of provenance outlining the history of the bat. The first letter is dated Dec. 23, 1991, from Al Curcio of Center Field Collectibles; the second is from Mr. Joseph Cortese, nephew of Mr. Joseph Delle Fave, the original owner of the bat. Both letters recount how Mr. Delle Fave obtained the bat on Columbus Day, 1947. Mr. Delle Fave suffered a tragic accident in 1936 at the age of fourteen in a bakery shop explosion, which resulted in the loss of both of his arms. On Columbus Day, 1947, the town of Union City, New Jersey, sponsored a testimonial dinner on behalf of Mr. Delle Fave. Joe DiMaggio was scheduled to attend the dinner, but forced to cancel at the last minute. Mr. Jackie Farrell, who was employed in a public relations capacity with the New York Yankees, attended on Mr. DiMaggio's behalf. Mr. Farrell hand delivered this DiMaggio bat personally to Mr. Delle Fave and indicated that the bat had been used on the fourth day of October, 1947, a game in which Mr. DiMaggio homered at Ebbets Field in a 2-1 Yankees win over the Dodgers. Mr. Farrell, who was also a writer for the "Hudson Time Dispatch", authored an article pertaining to Mr. Delle Faves' accident in 1936, as well as the dinner in 1947. A critical factor in verifying that this Joe DiMaggio pro model bat could have been used in the 1947 World Series, is establishing the date the bat was manufactured. Specific attributes of this bat, including the oversized knob, length and weight, perfectly match bats ordered by DiMaggio on Sept 17th and Sept 25th 1947 according to H&B factory records. Although not noted on the manufacturer's ordering record, the Sept 25th order for 2 bats is DiMaggio's World Series order. Made of the finest quality ash, the bat has been immaculately preserved in virtually the same state as it was when it last left the hands of The Yankee Clipper after vanquishing their Brooklyn rivals. Length: 35.75 inches. Weight 34 ounces. Additional LOAs from MEARS (Graded A10) and John Taube of PSA/DNA (Graded A10), both of which support its use in the 1947 World Series.

  • USAUSA
  • 2008-04-24
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Ted Williams 1955 All-Star H&B Game Bat (Graded A10)

Ted Williams 1955 All-Star H&B Game Bat (Graded A10), Nobody was more dedicated to the art of putting bat on ball than Ted Williams, a human hitting machine equipped with near-perfect eyesight, lightning reflexes, powerful forearms and unnerving patience. The "Splendid Splinter" also came with a heavy dose of arrogance and self-confidence, the most conspicuous traits of a baseball maverick who terrorized American League pitchers from 1939-60. If Williams wasn't the greatest pure hitter of all time, an acclaim which he fervently sought, he certainly was of his era. But the self-disci­pline that so defined Williams the hitter often was lost on Williams the man. His feud with the media might have cost him three MVP awards - in 1941 when he posted baseball's last .400 average (.406) but lost out to New York's Joe DiMaggio; in 1942 and '47 when he won two Triple Crowns but lost out in voting to Yankees Joe Gordon and DiMaggio. The Williams bottom line still is filled with superlatives - two MVPs, six batting crowns, 2,654 hits, a .344 average, 521 home runs, four homer titles and five RBI crowns - numbers that could have been considerably higher if he had not lost four prime seasons to military service during World War II and the Korean War. In eighteen of Ted Williams' nineteen major league seasons he was voted to the American League All-Star team. This bat, one of the finest examples known, All-Star Game or otherwise, was used by Williams during the 1955 mid-summer classic held in Milwaukee's County Stadium. According to H&B factory records, this bat is the only one of its kind, shipped to Williams for the event on July 8, 1955. Measuring 35" and weighing 31.5 oz., the signature model W166 is ideal by every measure collector's use in assessing the quality of game used bat. Its markings are pronounced, including William’s facsimile signature on the barrel and custom notation "All-Star Game Milwaukee 1955" in block letters. The usage wear is extraordinary for an All-Star bat, with distinct stitch marks and grain swelling on the barrel suggesting it likely saw service even after its use in that game. A heavy application of pine tar remains on the uncracked handle. Overall, the bat's visual presentation is superb, remaining exactly as it was the last time it was brought to the plate by arguably baseball's greatest pure hitter. LOA from MEARS (A10).

  • USAUSA
  • 2007-06-05
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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.

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