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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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Former property of Cher, 2005 Bentley Continental GT, Chassis no. SCBCR63W55CO28620, with CHER vanity plates

Former property of Cher, 2005 Bentley Continental GT, Chassis no. SCBCR63W55CO28620, with CHER vanity plates Having purchased Bentley from Vickers in 1998, the VW Group quickly set to work, investing £500 million in the Crewe factory, creating 1,000 new jobs and commissioning an all-new model line-up. In 2003 the Continental GT was the first product to emerge under VW's stewardship of the iconic British marque. Following Bentley tradition it was a luxury coupé, one that took styling cues from famous past models, but in all other regards was bang up to date. Power comes from a twin turbo 6.0-liter W12, and shows all the characteristics you'd expect of a Bentley powerplant: stunning torque, mid-range power and a deep, bassy soundtrack. The 552bhp headline power figure will hurl the car from rest to 60mph in a mere 4.7 seconds courtesy of drive to all four wheels and on to a maximum just shy of 200mph. The statuesque bodywork hides an opulent cabin. Leather, wood and burnished chrome smother every surface and bold lines run through the interior architecture successfully updating the Bentley concept of sporting luxury. Cher's profile dictates nothing but the latest and the best, and her inimitable style dictates it must be in black. And so was delivered her Bentley GT. In Beluga with Beluga interior with Black Onyx wood veneer dash and interior accents, the car was treated to an upgrade to the alloy wheels, and retains her 'lucky' necklace, still hanging from the rear view mirror. Showing 16,780 miles, it remains in excellent condition throughout. Provenance: Sotheby's with Julien's, The Collection of Cher, October 3-4, 2006, lot 184

  • USAUSA
  • 2012-01-24
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George Harrison / The Beatles: A pair of George Harrison's signature 'Beatle' boots, circa 1964,

black leather, calf-length with zip fastening, each inscribed inside in blue and red ballpoints Mr George 2062, left sole indistinctly stamped 8 The Harrison Family Collection: Lots 300 to 313 are all items given by George Harrison to his brother, Harry, and other members of his family. The collection dates from the 1960s and 1970s and three items, in particular, represent important stages in George's career as one of the leading rock musicians of the 20th Century. Firstly, a black leather jacket comes from the period when the newly-named, and little-known, Beatles honed their skills in the clubs of Hamburg and Merseyside. The many hours they spent onstage, from the latter half of 1960 through to 1962, helped hone their musical skills and transformed them into a group poised on the brink of unimagined international fame. Acquired in Hamburg, George wore this jacket both on and offstage and it appears in many of the photographs taken of the group in those formative years. Early in 1962, manager Brian Espstein managed to persuade the group that the only way to progress in the music business was to 'smarten' themselves up, both in their choice of wardrobe and conduct onstage. Out went the leather jackets and trousers and rather sober, tailored suits became the new image. Following the group's phenomenal rise to stardom in 1963, their new look of Pierre Cardin-inspired suits with collarless jackets, worn with black Chelsea boots, widely influenced the clothing adopted by the teenagers of the day. The pair of 'Beatle' boots included in this collection are from the time when Beatlemania was at it height and, whilst various suits worn by the Beatles in 1963-1964 have been preserved, a pair of boots from this period are a rare survivor. After the Beatles broke up in 1970, George embarked on a new stage in his life as a solo artist. He got off to a flying start with the release, in 1971, of several hit singles and the triple-album 'All Things Must Pass'. This year also saw him, along with Ravi Shankar, organising the Concert For Bangladesh, the first rock concert staged to raise funds for humanitarian causes. Since the mid-1960s, George had become deeply interested in Eastern religion and music and this was his response to the suffering of the people of Bangladesh caused by both a devastating tropical cyclone and the effects of civil war. The Concert For Bangladesh was held at New York's Madison Square Garden and an orange shirt identical to that worn by George onstage is another highlight of the sale. Made by Nudie's of Hollywood, suppliers of Western-style clothing to the stars, the shirt bears a label with George's name and features the Hindu 'Om' symbol, to match those on the white suit George also wore for the concert. Other items in the collection reflect daily life as a Beatle, including demo recordings, Fan Club records given away at Christmas, a camera to record the madness surrounding the group from an insider's perspective and publicity photographs signed by George and with signatures of the other Beatles forged by him in an effort to keep up with the overwhelming demand for autographs. George Harrison/The Beatles: A pair of George Harrison's signature 'Beatle' boots,

  • GBRUnited Kingdom
  • 2012-12-12
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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.