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  • 22 Mar 1989—14 Dec 2017

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1887 n172 old judge advertising display featuring an uncut sheet

When most collectors think of 19th Century baseball cards, the N172 Old Judge series is generally the first that comes to mind. The seminal issue is not only the first major set of baseball cards ever produced, but also the most challenging to complete. Issued one to a pack of Old Judge brand cigarettes beginning in 1887, the catalogue of known examples recorded to date includes over 500 different players in a variety of nearly 2,000 poses. Original uncut advertising sheets for the issue, such as that offered here, are considered to be the pinnacle of baseball card related display pieces. As a whole, the existence of N172 advertising sheets is extremely limited, included a few that reside in the Smithsonian. The offered example is a point of purchase enticement consisting of an uncut sheet of 24 player images mounted on a thick, rigid cardboard backing. Printed advertising on the mount appears in red. Among the subjects featured are “Smiling Mickey” Welch, Ned Hanlon, Doc Bushong, Mike “$10,000 Kelly” and Jack Glasscock. The photo portion is in remarkable EX-MT to NM condition with outstanding contrast and only a few minor scratches and light foxing. The red beveled border of the mount is like new with the original hanging cord intact at the top. The field of baseball card collecting can trace it’s origin to the N172 Old Judge set, and as such the offered piece is a monument to the hobby. It has been archivally framed using corner mounts.

  • USAUSA
  • 2005-06-10
Hammer price
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Nat NEUJAN Né en 1923

Nat NEUJAN Né en 1923 TINTIN ET MILOU Sculpture en bronze représentant Tintin et Milou 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. 70 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. Estimation 50 000 - 60 000 € Sold for 63,200 €

  • FRAFrance
  • 2014-11-22
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Circa 1917-21 ty cobb h&b game used bat (mears a9)

Ty Cobb's compulsion to succeed on the diamond prompted one sportswriter to record his belief that he was “possessed by the furies.” Cobb broke into the majors in 1905 after being purchased from the minor leagues for $750. Manager Hugh Jennings made him a regular outfielder in 1907 and Cobb became the youngest player to win the batting title. It was the first of 12 batting crowns, including nine in a row, both still records today. When he retired from the game of baseball in 1928 he held 90 major league records, most of these achieved with his bat. Most telling of his superiority is his .367 lifetime average. Accomplished over a 24-year career, it is a daunting mark that will likely never be approached. This bat was one of Cobb’s, used during the height of his reign as baseball’s most feared and dominant competitor. Never before seen in the marketplace, this recently discovered example has been documented by the most renowned independent bat experts as one of the finest examples among the scarce population of Cobb game bats known. The 34 1/2 in., 35.4-oz. H&B signature model “dash-dot-dash” bat is composed of white ash and features Cobb's facsimile signature stamped along the barrel. Most likely appearing just as it did when it last left Cobb’s hands, this bat displays all of his trademark customizations, including his unique wood treatment process. Cobb was known to "season" his bats with tobacco juice, a process by which Cobb would take a "wad of chew" and copiously apply the saliva/tobacco mix along the surface of the wood. This bat appears to have been treated in just that manner, as evidenced by the darkening of the wood on the barrel. Remnants of Cobb’s customary taping appears along the handle. A number of cleat marks born from the work of Cobb cleaning his spikes can be found on the end of the barrel. These distinctive characteristics are such that one can envision it still wrapped in the calloused hands of Cobb while standing ready at the plate. LOA from MEARS (Grade A9).

  • USAUSA
  • 2006-06-24
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1957-58 wilt chamberlain kansas jayhawks home jersey worn during his

Wilt Chamberlain’s enormous impact on Kansas was immediately established on the KU basketball court and spilled over to the bus seats and lunch counters of the white campus and community. A high school All-American who led Overbrook, PA High School to two City Championships and scored 2,252 points, including 90 in one game and measuring a lengthy seven feet tall, Chamberlain was by far the most coveted schoolboy recruit in the country. Surprising many, he opted for Kansas and its basketball tradition set by its legendary coach, “Phog” Allen. However, in his freshman year in 1955, upon entering a Kansas City restaurant that refused to seat him after he had driven all night from hometown Philadelphia, Wilt found out quickly that much of this area was still segregated. Three years later, Wilt gave up his senior season and joined the Harlem Globetrotters. By then, thanks to Chamberlain’s presence, many of the segregation barriers in the Kansas City area were beginning to come down.  "He was instrumental in helping to integrate public facilities around here in the late '50s," said Bob Billings, a Lawrence, KS, businessman and former Kansas teammate, in a 1999 AP article. Chamberlain’s impact was felt immediately on the court where, as part of the”frosh” team, he scored an incredible 42 points in the annual freshmen/varsity game, scoring an upset of 81-71over the senior squad in front of a near capacity crowd of 14,000. That season the Kansas varsity, without Wilt, finished fifth in its conference, Allen was forced into mandatory retirement and KU looked to Chamberlain to restore the team to glory in the 1956-57 season. Chamberlain did not disappoint. In his sophomore season, wearing number 13, he was the nation’s fourth leading scorer (29.6 ppg) and fourth-best rebounder. The Jayhawks won the Big Seven Championship and made the NCAA tournament. On the eve of the tournament, Allen announced to the national press that his former team would coast to an NCAA trophy with “Wilt, two sorority girls, and two Phi Beta Kappas” in the lineup.” Wilt and Kansas breezed through the field until they met the undefeated North Carolina Tar Heels in the NCAA Finals in Kansas City. UNC, coached by Hall of Famer Frank McGuire, sought to neutralize Chamberlain and used the NCAA rules to their utmost effect. Without a shot clock, the Carolina team ran a slow down offense. In a triple-overtime game, Wilt put up only 14 shots against the Carolina zone and its slowdown tactics. In the first overtime, each team scored one basket. The second overtime featured both teams going scoreless. In the third overtime, down a point, KU set up a play to Chamberlain. Unfortunately, the Kansas player who took the ball out of bounds, Ron Loneski, threw the ball (and the national championship) away in the waning seconds (can anyone say Fred Brown?), and the game, 54-53. Despite losing, Chamberlain was named the tournament MVP and was a unanimous first team All-American. Chamberlain’s skills were so far advanced than his competitors that several rule changes were enacted to harness his awesome ability and level the playing field. These rules changed included widening the lane and instituting offensive goaltending. In his junior season, Wilt found he was constantly double and triple teamed by opponents when he played offense and the stall strategy employed when he played defense to deny him a chance to block or rebound for long stretches. Despite these tactics, Chamberlain still excelled and dominated. During this season he changed his number from 13 to 12, the only year in his high school, college, Globetrotters and NBA career that he wore a different number from 13. Wearing this number 12 home jersey, Wilt was named to the Sporting News First Team All-America and once again a unanimous choice First Team All-America, despite being injured for part of the season. In his two varsity seasons at Kansas, Chamberlain scored 1,433 points, average of 29.9 per game, and grabbed 877 rebounds, an average of 18.3 per game, in 48 varsity games, including 36 rebounds in one game against. Iowa. Chamberlain decided to turn pro after his junior season. He was frustrated that his team didn’t make the NCAA tournament and even more so by the tactics employed against him, citing that he wanted to be paid for being double and triple teamed every night. The Philadelphia Warriors had picked him in 1955 as a territorial pick, but he was ineligible to play in the NBA until his college class graduated in 1959. So, in the 1958-59 season, Wilt played a season with the Harlem Globetrotters for a salary estimated to be $50,000, an astronomical sum for the era. The seven-foot-one “Big Dipper” joined the NBA's Philadelphia Warriors in the 1959-60 season and was an immediate attention grabber and dominating force. Chamberlain became the first player in NBA history named MVP and Rookie of the Year in the same season, and along the way set eight NBA season records. Even through his Hall of Fame career, his time at Kansas was dear to Wilt. In 1998, KU invited Chamberlain to return to celebrate the school's 100th anniversary of basketball. When Wilt entered, 16,000 fans gave him a standing ovation. “When he came off the court,” his friend and teammate Billings remembered, “He said ‘Bob, I've had a lot of great days in my life, but this is the greatest day of my life.' " Wilt Chamberlain has autographed this Kansas junior year game worn home jersey in black sharpie on the front panel under the number 12 and added “12” in sharpie. Also included is the 1957 NCAA Final Four Basketball Championship Program listing all four teams, 28 pages, in excellent condition; 12 issues of the “Jayhawker” Kansas State student magazines yearbooks, bound in three years, from 1956-1958, the 1957 binder is autographed by Chamberlain in blue sharpie. All are in overall excellent condition, binders have some foxing and age wear. This jersey was originally obtained directly from Wilt Chamberlain by SCP Auctions President David Kohler. An LOA from Mr. Kohler is provided. Additional LOAs from MEARS (Grade A10) and PSA/DNA.

  • USAUSA
  • 2006-06-24
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Collection of (48) early autographed hall of fame postcards

Originating from a Cooperstown, New York family, these postcards have never before been offered publicly, having only recently emerged from a safe deposit box, where they’ve laid dormant for most of the 65 years that have passed since they were signed. These postcards are the earliest of several versions produced by the Hall of Fame throughout the years and were initially sold exclusively through the museum gift shop. They were obtained by an usher at the Hall of Fame during its inaugural year of operation in 1939. Thrilled by the baseball legends that passed through the doors during Cooperstown’s Baseball Centennial Celebration that year, he purchased these cards on the spot and gathered as many of their autographs as he could.   The subject categories of the postcards, relative quantities, and signatures offered in this group breakdown as follows; (16) Hall of Fame player plaques (signature matches plaque): Cy Young, Tris Speaker, Walter Johnson, Babe Ruth (extraordinarily rare), Honus Wagner, Connie Mack, Grover Cleveland Alexander, Ty Cobb, and Larry Lajoie.  The following are all signed on Mathewson HoF plaque postcards; Eddie Collins, George Sisler, Arky Vaughan/Lloyd Waner, Ford Frick/W.J. Slocum,  Lefty Grove (on back), McConnell (on back, possibly George) and Dom DiMaggio/Joe Glenn (back of Keeler postcard). (4) exterior shots of the Hall of Fame: Earle Mack/Charlie Berry/Sam Chapman/Earle Bruckner (back), Jim Tadley/Joe Gantenbein/Bill Nagel (back), Dee Miles/D. Lodegraw (back), Arthur James (back). (19) exterior shots of Doubleday Field (all signed on back): Wayne Ambler/Chubby Dean/George Caster, Tom Henrich, Joe Biggs, Steve Sunden, Frank Crosetti, Bill Dickey, Joe Gordon, John Schulte, Bump Hadley, Tim Sullivan, Babe Dahlgren, Atley Donald, Paul Schriber, Charlie Keller/Red Rolfe, Johnny Murphy, Eric Tipton, Buddy Rosar, Monte Pearson, Oral Hildebrand.  (5) Christy Mathewson busts: Walt Yaeger, Mel Ott/Bill Jurges, Doc Prothro/Moe Arnovich/Syl Johnson, William Harridge, and one unidentified. (2) Abner Doubleday Bbaseball: L.H. Addington, one unidentified. (1) Hall of Fame façade: Casey Stengel. (1) Doubleday portrait: John J. Evers/William McKechnie. The signatures are generally quite bold, averaging 8-10/10. Cards vary from VG-EX/MT, with most being about EX. LOA’s from JSA and PSA/DNA.

  • USAUSA
  • 2005-12-10
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Jean-pierre gibrat

JEAN-PIERRE GIBRAT LES CONGÉS RÊVÉS Illustration originale, 2015. Signée. Encre de Chine, encres acryliques de couleur, aquarelle, rehauts de gouache sur papier aquarelle. 97 × 57 cm (38,19 × 22,44 in.) C’est un chant du départ qu’entonne ici Gibrat. Il célèbre le mouvement de tout un peuple en vacances profitant des premiers congés payés de l’Histoire. Ce qui frappe dans la joyeuse description de cette multitude, c’est l’harmonieux balancement entre la rigoureuse composition de l’image, campée sur sa ligne de fuite et son point de vue en surplomb, et l’anecdote : ces avancées sociales saluées en manchette d’un quotidien alors que la guerre menace en Europe, le chef de train scrutant l’heure en sifflant, sans oublier le croisement improbable de Jeanne et Mattéo, deux personnages emblématiques de Gibrat qui ne s’étaient jamais rencontrés jusqu’ici. « C’était la première fois qu’ils allaient voir la mer. Peut-être même la première fois qu’ils prenaient le train, le vrai, l’ambitieux qui ne se contente pas de la banlieue, et pas un vicieux qui vous trimballe jusqu’au front, non, un bienveillant qui emmène les pâlichons au soleil ou vers les grands-parents, les cousins qui prêteront pour les campeurs un bout de terrain sans cabinets. Alors, tu parles s’ils étaient joyeux, c’était une belle foire de départ vers une petite éclaircie d’existence. Deux semaines, pas plus, alors fallait pas gaspiller, mais c’était pas dans leurs habitudes. Depuis toujours, les trains roulaient à gauche. En 36, ça ne faisait aucun doute. » J-P G.

  • FRAFrance
  • 2016-11-19
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PAINT YOUR WAGON

PAINT YOUR WAGON LOEWE, Frederick and LERNER, Alan Jay. "PAINT YOUR WAGON." Opened in New York, 12 November 1951. Produced by Cheryl Crawford, Dances by Agnes de Mille. LERNER AND LOEWE'S WESTERN MUSICAL: "PAINT YOUR WAGON" The rollicking and bawdy California Gold Rush of 1849, which had fascinated Alan Lerner from his childhood, provided the setting for Paint Your Wagon, which opened at the Shubert Theater in New York in November 1951, and ran for 289 performances. Lerner studied the historical records of the Comstock community in his research, and many of the scenes (such as the Mormon who must auction his second wife before he is granted a claim) were drawn from actual incidents. Loewe, for his part, spent considerable time studying 19th century American folk music. According to Sirmay, he "wrote nearly forty songs before settling on the dozen that would appear in the show" (The Lerner and Loewe Songbook, p.84). Brooks Atkinson, in his review, wrote that Lerner and Loewe, "by mixing Western gold dust with show vitality," had "produced bountiful and exultant musical jamboree, the show featured high-energy can-cans choreographed by Agnes de Mille and many fine choral numbers. The score is noted for such enduring gems of song as "I Talk To The Trees," They Call The Wind Maria," and "I Still See Eliza." While it did not enjoy the long run of some other Lerner and Loewe classics, it won Variety's Drama Critics Poll for best score of 1951-52. Loewe's personal archive from the show is extensive and includes mostly piano-vocal scores with lyrics, many with very significant revisions and re-workings in the process of composition. Totaling: 156 pages of manuscript music (mostly in the hand of Frederick Loewe), 18 folder covers with manuscript titles (all but a few in Loewe's hand), 32 pages mechanical copies of several numbers, with pencilled revisions and notes, two typed pages of lyrics. Contents: "Say Hello For Me," autograph manuscript piano-vocal score with lyrics, by Loewe, 3 pages. "Wedding Day" ["Whoop-Ti-Ay"], autograph manuscript piano-vocal score with lyrics, by Loewe, 10 pages "I'm On My Way," manuscript four-voice score, in hand of a copyist, 2 pages, oblong Intro to "I'm On My Way, manuscript piano score, 1 page "I'm On My Way," manuscript piano-vocal score, 12 pages, autograph manuscript piano-vocal score, with lyrics, by Loewe, 2 pages (incomplete) Pages 3-7 of unidentified number, piano score, in hand of a copyist, 5 pages "In Between," autograph manuscript piano-vocal score with lyrics, by Loewe, 10 pages "Trio. Morman's Prayer. Vocal Arr[angment]," autograph manuscript piano-vocal score with lyrics, by Loewe, 5 pages "There's A Coach Comin' In," manuscript piano-vocal score, with lyrics, in hand of a copyist, 10 pages "There's A Coach Comin' In. Vocal Arrangement,." autograph manuscript vocal score (4 parts) with lyrics, by Loewe, 15 pages, pencilled notes regarding who sings each part "I Still See Elsa," autograph manuscript piano-vocal score, with lyrics, by Loewe, 4 pages "Movin'," autograph manuscript piano-vocal score, with lyrics, by Loewe, 8 pages "Hand Me Down That Can o' Beans," manuscript piano-vocal score, in a copyist's hand, partial text added by Loewe, 12 pages "How Can I Wait?," autograph manuscript piano-vocal score with lyrics, by Loewe, 7 pages "The Strike," autograph manuscript piano-vocal score, 9 pages, extensive changes, deletions "They Call the Wind Maria. Vocal Arrangement," autograph manuscript vocal score (four parts), with lyrics, by Loewe, 3 pages 'I Talk To The Trees," autograph manuscript piano-vocal score, with lyrics, by Loewe, 4 pages, with typed lyrics, 1 page "Muchee Good World," autograph manuscript piano-vocal score, with lyrics, by Loewe, 4 pages, with typed lyrics, 1 page "Muchee Good World," autograph manuscript piano-vocal score, with lyrics, by Loewe, 9 pages "Gloria In Excelsius, Deo. Finale Ultimo," autograph manuscript piano-vocal score, with lyrics, by Loewe, 4 pages "Sh!," autograph manuscript piano-vocal score, with lyrics, by Loewe, 4 pages, deleted melodic sketch of "Julio's Song," on back of page 3 Untitled autograph manuscript piano-vocal score, with lyrics ("No more ridin' cross the plain), by Loewe, 1 page only, marked "slowly - quasi recitative." [With:] Mechanical copies of manuscript piano-vocal scores produced during the final stages of revision. Together 32 pages, including "Muchee" (formerly "Muchee Good World"), page 4-7, pencil revisions; "The Strike," 8 pages, "Mormon's Prayer," 4 pages, pencilled note at head by Loewe, dated "1-4-51"; "I'm On My Way," 16 pages, many pencil notes regarding instrumentation. Paint Your Wagon Paint Your Wagon

  • USAUSA
  • 1999-11-18
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The Godfather, 1972

The Godfather, 1972 A collection of material relating to The Godfather, including: - a third draft script, dated 29 March, 1971, 158pp. of mimeographed typescript, the red paper covers gilt-stamped THE GODFATHER; - a collection of mimeographed typescript production paperwork including approximately 30 call sheets, various dates 12 April - 4 June, 1971 and approximately 35 pages of rehearsal schedules; - three memos on The Godfather headed stationery,1971, one from Coppola's assistant enclosing ...some tapes of Mafioso meetings from a Central Intelligence division bug [not present]..., one regarding a rehearsal schedule, the other requesting autographs; - two telegrams, one from Michael Winner to Brando, 19 February, 1971, Congratulations on being the Godfather...Would love to be one of your Godchildren, the other from Malcolm Stuart to Brando, 8 February, 1971, Congratulations on Godfather...I believe I deserve more than pie in the face for being responsible for deal coming about...at any rate I am delighted and know you will be superb...; - various magazines and newspapers containing articles regarding the filming and release of the film, 1971-1972, some depicting Brando on the cover, including: Newsweek (2); Life; Time; Rolling Stone; Variety (4); and The Hollywood Reporter (2); - a quantity of press clippings and publicity material including two U.S. lobby cards, both -- 11x14in. (27.9x35.6cm.); and related material (a lot)

  • USAUSA
  • 2005-06-30
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1927 Babe Ruth and Brother Matthias (St. Mary's School For Boys) Dual Signed Baseball

1927 Babe Ruth and Brother Matthias (St. Mary's School For Boys) Dual Signed Baseball, To appreciate the significance of this dual signed baseball, one must consider the impact that one person’s compassion and support can have in an otherwise loveless life of an orphaned child. The relationship between Babe Ruth, the man whose baseball talent and charisma elevated him to level of celebrity greater than any other figure of his generation, and a Catholic missionary named Brother Matthias, one of the Xaverian brothers at St. Mary's School for Boys, began when Ruth was placed in his care at the age of seven. During his 12 years at St. Mary's, young George rarely saw his family. They did not come to visit on holidays or on the one Sunday per month when family could visit the boys at the school. Little George was an unruly student, infamously classified as "incorrigible." Much of this was due the young man's inability to adapt to the regimented and structured environment at St. Mary's. Estrangement from his parents led George, Jr. to find a father figure in Brother Matthias, the Prefect of Discipline at St. Mary's school. Brother Matthias would have a very positive influence on George's life, despite his reputation for unruliness. Brother Matthias, a very large, muscular man, became an inspiration to George in baseball as well as in other aspects of his life. The time spent with Brother Matthias not only helped hone George's swing, but the guidance and encouragement gave him much needed support that would translate into George's great affection toward children in later years. Throughout Ruth’s life he often expressed his love for Brother Matthias and gratitude for the guidance and care that ultimately allowed him to become the greatest baseball player who ever lived. That the lives of these two intersected more than a century ago still has meaning today when one considers Babe Ruth’s stature as an American cultural icon. It is extraordinary that a ball signed only by this pair is just now surfacing. In addition, this is an official AL (Barnard) ball dating from the historic 1927 season in which Ruth reached the top of the baseball world, leading the Yankees to their finest Championship season and clouting a record 60 home runs. Ruth’s bold signature (7/10) adorns the sweet spot, with his mentor Brother Matthias (5-6/10) occupying a side panel. The ball presents very well with moderate soiling and handling wear. All things considered, it is hard to imagine a greater symbol of Ruth’s road to glory, his humble beginnings, and the man who nurtured the roots of his greatness. LOAs from PSA/DNA and JSA.

  • USAUSA
  • 2007-06-05
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Oscar Robertson 1967 Cincinnati Royals Home Uniform

Oscar Robertson 1967 Cincinnati Royals Home Uniform, Robertson is universally regarded as one of the greatest players in NBA history. A triple threat who could score inside or outside, his stellar play-making ability made an immediate impact in the NBA. His rookie scoring average of 30.5 points per game is the third highest of any rookie in NBA history, and Robertson averaged more than 30 points per game in six of his first seven seasons. Only two other players in the NBA have had more 30 plus point per game seasons in their career. Robertson was the first player to average more than 10 assists per game, doing so at a time when the criteria for assists was more stringent than today. Furthermore, Robertson is the only guard in NBA history to ever average more than 10 rebounds per game, doing so three times. In addition to his 1964 regular season MVP award, Robertson won three All-Star Game MVPs in his career (in 1961, 1964, and 1969). He ended his career with 26,710 points (25.7 per game, eighth-best all time), 9,887 assists (9.5 per game) and 7,804 rebounds (7.5 per game).The ultimate measure of the versatility of “The Big O” is the fact that he averaged a triple-double over the course of his first five seasons, averaging an incredible 30.3 points, 10.4 rebounds and 10.6 assists. For his career, Robertson had 181 triple-doubles, a record that has never been approached. Recognized by the NBA as the first legitimate "big guard”, Robertson paved the way for other over-sized backcourt players like Magic Johnson. Furthermore, he is also credited to have invented the head fake and the fade-away jump shot, a shot which Michael Jordan later became famous for. For the Cincinnati Royals, now relocated and named the Sacramento Kings, he scored 22,009 points and 7,731 assists, and is all-time leader in both statistics for the combined Royals / Kings teams. This Cincinnati Royals home uniform was worn by Hall of Famer Oscar Robertson in the late 1960’s. On the left tail of the jersey is the "Wilson" label with the size "46." Going down the left side of the front of the jersey is the name "Royals" and on the back is the name "Robertson". The player number "14" appears on both the front and back of the jersey. All the letters and numbers are made of blue tackle twill. Included with the uniform are trunks. In the waistband is the "MacGregor" label with the size "34." On the bottom front of each leg is the player number "14" in white tackle twill. Robertson was named as one of the NBA’s 50 Greatest Players in 1996, and of that elite fraternity, his game used artifacts are among the most difficult to obtain. LOAs from MEARS (A9) and Grey Flannel.

  • 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.

Toys & Collectible Items

Both the young and the young at heart will delight in the toys and collectables at auction here. There is a wide variety of dolls, doll’s houses, toy cars, toy soldiers, robots and trains, representing the finest and most collectable makers. Vintage collectables such as film memorabilia can also be found in this section. Under this heading, we have also collected autographs of actors, artists, sportsmen, and politicians amongst other popular collectables.

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