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GONE WITH THE WIND

GONE WITH THE WIND Clark Gable's personal script for Gone With The Wind, 1939. The cover of the maroon leather bound script is embossed GONE WITH THE WIND SCREEN PLAY and CLARK GABLE, on the inside cover, the actor's personal bookplate; the text pages bound with eight black and white stills from the film featuring the actor as "Rhett Butler" with Vivien Leigh as "Scarlett O'Hara". Inscribed and signed by producer David Selznick on the first page of the script: For Clark, Who made the dream of fifty million Americans (who couldn't be - and weren't - wrong!), and one producer come true! With gratitude for a superb performance and a happy association, David Xmas, 1939 By the late 1930s millions had read a sensational book by Atlanta author Margaret Mitchell. "Gone With The Wind" was an overnight success, selling millions of copies and immortalizing it's characters. Selznick International Pictures was overwhelmed from the start with letters from the public suggesting casting possiblities for it's beloved Scarlett and Rhett. While everyone wanted Clark Gable as the dashing leading man, there was only one problem; Gable did not want to play Rhett Butler. He was quoted as saying, "It wasn't that I didn't appreciate the compliment the public was paying me, it was simply that Rhett was too big an order. I didn't want any part of him, Rhett was too much for any actor to tackle in his right mind." Since he was signed to Metro-Goldwyn-Mayer Studios, who did not want its' star making money for anyone else, Gable felt safe that he could avoid taking on the role. Fate had a different idea when David Selznick and M.G.M. Studio head Louis B. Mayer made one of the most infamous deals in Hollywood history. For the services of Clark Gable and a cash investment of over one million dollars, M.G.M. would receive the distribution rights and one half of the profits for Gone With The Wind. In August 1938 Gable signed on; "I could have put up a fight," the actor said, "I didn't." As they say, the rest is history.

  • USAUSA
  • 1996-12-15
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GONE WITH THE WIND 1939, BEST DIRECTOR ACADEMY AWARD PRESENTED TO

GONE WITH THE WIND 1939, BEST DIRECTOR ACADEMY AWARD PRESENTED TO VICTOR FLEMING The gold plated brittania statue with the front plaque inscribed ACADEMY FIRST AWARD TO VICTOR FLEMING FOR DIRECTION OF "GONE WITH THE WIND"; on the reverse of the base of the plaque [ACADEMY OF MOTION PICTURE ARTS AND SCIENCES FIRST AWARD] 1939--12 in. high--replated--slightly leaning. Victor Fleming (1883 - 1949) began his career in Hollywood as an assistant cameraman at the American Film Co. in 1910. After a stint in the photographic section of the U.S. Army Signal Corp. during World War I, he directed his first silent feature film, the 1919 When Clouds Roll By, starring Douglas Fairbanks. After seven years with Paramount Pictures, Fleming began his long-term relationship with M.G.M. Studios. 1939 was an historical year for Louis B. Mayer and Company: The Wizard of Oz, their most expensive production to date, was in full swing with Dick Thorpe at the director's helm, soon to be replaced by George Cukor, who was waiting to begin work on Selznick Picture's epic Gone With The Wind. In the middle of the production of the Wizard Of Oz, Cukor left to fulfill his commitment to Selznick, and Victor Fleming took over on Gone With The Wind. In a classic Hollywood twist, George Cukor (citing "creative differences" with David Selznick) proceeded to walk off the production of Gone With The Wind in a panic. After checking around at M.G.M., Selznick decided to pull Fleming off the set of The Wizard of Oz (with three weeks of filming remaining, King Vidor finished the picture). Out of loyalty to his great friend Clark Gable, Victor Fleming agreed to do it. Victor Fleming was appalled with the Gone With The Wind script and refused to begin shooting until a final screenplay had been drafted. Ben Hecht was brought in and instead of reading the book, Selznick and Fleming acted out the story (Selznick playing the parts of Scarlett and Ashley, Fleming as Rhett and Melanie). After five days and nights the script was finished and Victor Fleming resumed shooting. One of his many invaluable touches was the filming of the wounded soldier scene. Since only eight hundred out of two thousand extras answered the call, the panoramic spectacle and "pullback" shot was achieved with the actors groaning in pain and manipulating mannequins at the same time. Gone With The Wind would go on to capture a record ten Academy Awards in 1940. Hollywood folklore has it that when Fleming won the Award for Best Director (and Gable lost out to Robert Donat), the director playfully tossed the Oscar to his friend claiming "Here, you have it!" - thus the slight lean to the statue. Victor Fleming's technical and creative contributions to two of the great American films of all time is immeasurable.

  • USAUSA
  • 1994-12-06
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CITIZEN KANE

CITIZEN KANE Dateline -- New York City, 1941. "Citizen Kane is far and away the most surprising film and cinematically exciting motion picture to be seen here ... As a matter of fact, it comes close to being the most sensational film ever made in Hollywood." Bosley Crowther 'New York Times'. "Staggering and belongs at once among the great screen achievements." New York 'World Telegram'. "Not since Chaplin's A Woman in Paris, has an American film struck an art and an industry with comparable force" Archer Winston, 'New York Post'. CITIZEN KANE Gold plated metal statue on black base with front plaque inscribed "Academy of Motion Picture Arts and Sciences First Award 1941" and plaque on opposite side inscribed "Academy First Award to Herman J. Mankiewicz for Writing Original Screenplay of Citizen Kane". Statue is a substantial 7.5 lbs, lightly patinated and bears the inscription 'G. Stanley". Citizen Kane tells the story of an American icon and begins simply enough, with a man's death, and a news reel obituary, in which he is alternately vilified for being a communist, a fascist, a vulgar man of the people, a robber baron and a number of other contradictory stereotypes. When a reporter finds the story intellectually unrevealing, he sets out to penetrate the enigma of the great man. A team is assembled to find people who were close to Kane. And so begins a perplexing journey of discovery to uncover the nature of the enigma known as Charles Foster Kane and, by extension, of America itself. It was not, strictly speaking, a commercial success. It was densely detailed and structurally unfamiliar for the audiences of the day, more used to stories with a straight line of advance. But more to the point, it was the object of a smear campaign directed by the man it was popularly thought to portray. William Randolph Hearst, marshaled all the considerable resources of his media empire to do his utmost to undermine and destroy the film. Those theaters that showed the picture did so at their peril, and were denied advertising in the pages of Hearst newspapers. In one particularly obscene gesture, Louis B. Meyer offered to pay RKO the full amount of its investment in the picture, if it would destroy the negative before the film could be released. The picture so many tried so hard to destroy is viewed differently today. The American Film Institute has ranked Citizen Kane as the greatest American film of all time -- this in a field where Selznick's Gone With the Wind is ranked number four behind Kane, Casablanca and The Godfather. Citizen Kane was different from any movie made previously in the United States. It was a radical departure and in a sense, an awakening of what film was capable, and incapable of achieving under the studio system. The actors were virtual unknowns, indeed, totally inexperienced in the movie business having been veterans of Welles' New York theatre company. Greg Toland was hired for his revolutionary lighting techniques and his brilliance behind the lens, many of which he manufactured himself from his own designs as they did not yet exist commercially. And, finally, for his most important acquisition, Herman J. Mankiewicz who would in seclusion in the desert town of Victorville, California conceive and write his most brilliant and subversive work -- American. Herman Mankiewicz *(1897-1953) began his career as a reporter for the New York Tribune, and after serving in the marines during WWI, worked in Paris and Berlin, eventually finding his way back to New York where he wrote for the New York Times, and later became the first drama critic for The New Yorker. In 1926 he moved to Hollywood, and over the next quarter century wrote or co-wrote nearly 50 films. Although he was often uncredited, he had a hand in some very good pictures, including Horsefeathers, Duck Soup, The Wizard of Oz, Gentlemen Prefer Blondes, Dinner at Eight and others. But his supreme achievement was American, later retitled Citizen Kane for which, perversely enough, he was still almost dealt out of the credits. It may also worth mentioning that the year after he took the Oscar for Kane, he was again nominated for Best Screenplay for Pride of the Yankees. Propelled by American, Citizen Kane forever changed the character of American cinema. Sound, cinematography, direction, casting were all approached in new ways. And although nominated by the Academy for Best Director, Best Cinematography, Best Score, and Best Screenplay, it won only the latter. The award was shared with Welles, largely because his RKO contract had required that he act, produce, direct and write the film. But it was Mankiewicz whose original conception culminated in the magnificent script for which recognition -- despite all the hostility, distrust and animosity of the Hollywood and Hearst forces -- could not be denied. And was Hearst's aversion justified? Was Charles Foster Kane really William Randoph Hearst? It can be said that Mankiewicz, a brilliant man and serious student of American history, had chaffed in his part as a bit player in a system which treated the writer as a necessary if contemptible evil. He knew Hearst and of his film mogul pretensions. He had been to San Simeon. He was, in fact, a frequent dinner guest at the castle, and usually sat at Hearst's right hand at the grand table. Where Kane's story departed from Hearst's, Hearst saw misrepresentation; where it paralleled his own, he saw insult, ingratitude and invasion of privacy. Who knows what Mankiewicz saw, but it's clear how he felt. In many respects he represented a whole generation of disenfranchised, and neglected writers. He had here got his revenge, and provided Welles his magnum opus. Welles himself had written about how Mankiewicz felt in these words: "The big studio system often made writers feel like second-class citizens a lot of them were pretty bitter and miserable. And nobody was more miserable, more bitter, and funnier than Mank ... a perfect monument to self-destruction." Kane undoubtedly was a product of both minds. Yet Rita Alexander, who typed the original script and had custody of all the drafts through shooting, has said that Orson Welles did not write "one single word." Richard Corliss of 'Time' writes, "The obvious answer to the dilemma is that Herman Mankiewicz wrote the film, and Orson Welles directed it." In the end, both men had made history. And how does Citizen Kane truly stand the test of time, and where is it really in the pantheon of American cinema, and popular culture? David Thomson, the respected film historian and author of highly acclaimed books on Welles and Selznick both, writes in his 1996 biography Rosebud, that "[Citizen Kane is] the greatest movie that ever has been or will be made, the work that sums up the entire medium and holds it in reserve for those prepared to look and consider the ultimate destruction of the thing called cinema." For this, the most important American film ever made, there exists but two gold statues. Of the two, the one belonging to the Mankiewicz heirs is offered here, while Welles' award is the subject of litigation between the Estate and those currently holding it in their possession. Rosebud? What is the central enigma that is Kane, which at heart is beyond a simple and ubiquitous case of lost innocence? "The structure is very intricate; the dialogue is brilliant; the overall view of America and its functioning is ironic; and the mood is pessimistic - not just in wondering whether this man was happy or fulfilled but in its suspicion that meaning itself, and human purpose, is a vain hope. The script's role and originality can never be denied, for Kane is nearly the only movie to suspect that power, wealth, prowess and ambition are forlorn engines, the noise of which tries to hide silence and emptiness." David Thomson -- "Rosebud" Citizen Kane Citizen Kane Citizen Kane Citizen Kane

  • USAUSA
  • 1999-11-18
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Joe DiMaggio's 1936 New York Yankees Rookie Home Uniform

Joe DiMaggio's 1936 New York Yankees Rookie Home Uniform, "I'm just a ballplayer with one ambition, and that is to give all I've got to help my ball club win. I've never played any other way." Joe DiMaggio From 1936-1951, less three years in the service during Word War II, Joe DiMaggio gave his all to the New York Yankees, helping them win 9 World Championships. Joe began his pro career with the San Francisco Seals in 1933, where, as an eighteen-year old rookie, he set a Pacific Coast League record by hitting safely in 61 consecutive games, a portent of his future success. "Baseball didn't really get into my blood until I knocked off that hitting streak," DiMaggio said. "Getting a daily hit became more important to me than eating, drinking or sleeping. Overnight I became a personality." After the 1934 season, the Yankees bought DiMaggio for a reported $25,000 and five players. They kept Joe in San Francisco for another year of seasoning, where, in 1935, he starred with a .398 average, 34 homers and 154 RBI. 1936 While DiMaggio was tearing up the PCL, the Yankees were struggling to recapture their championship identity. In the spring of 1936, they were a team that in the past seven years had won only one pennant and World Series. They had played the 1935 season without Babe Ruth who, after being insulted by Jacob Ruppert's $1 offer, left to play briefly for the Boston Braves before retiring for good. While Lou Gehrig continued his quiet excellence and George Selkirk picked up a bit of the Bambino's slack with 94 RBI's, in 1935 the Yankees once again finished second to the World Champion Detroit Tigers, led by their quartet of slugging Hall of Famers, Cochrane, Greenberg, Goslin and Gehringer. Could the San Franciscan rookie lead the Yankees back to the World Series? The anticipation that surrounded DiMaggio's debut with the Yankees was without precedent. The frenzy, perpetuated among fans, team officials, and especially the media, was heightened by an unexpected delay as a result of a foot injury that kept DiMaggio sidelined for the first few weeks. While the star rookie mended what one New York paper dubbed "The Most Famous Hot-Foot in Yankee History" the Yankee Box office got hundred of letters asking: When would DiMaggio play? The papers covered his medical exams, his every appearance at the ballpark, even satirically speculating on the new layers of skin on his foot. The New York Times ran a lively exchange of letters from readers arguing out the pronunciation of "Dee-Mah-Jee-O". The Yanks were playing well, but not well enough: after eighteen games, at eleven and seven, they were just where they'd finished the last three years-second place. Finally the papers trumpeted the glad news: the kid would play on Sunday, May 3 against the St. Louis Browns. A crowd of more than twenty -five thousand (by far the largest since Opening Day) braved cool and showery weather to cheer the debut. "An astonishing portion of the crowd," said the New York Post "was composed of strangers to sport-mostly Italians- who did not even know the stadium subway station." Perhaps it was these fans who rose to their feet along with the rest, whose cheers were heard above all others when young Joe, wearing number 9, made his first plate appearance-with Yankee runners on first and third. Even as Joe grounded a tame "fielder's choice" to third, the electricity of the moment was sustained. Later, in the sixth, Joe got a hold of a pitch from "Chief" Elon Hogsett and drove it, as the Post remarked, "like a cannon shot between the center and left fielders," and DiMaggio had his first big-league triple. The game as a whole was never in doubt: the Browns' pitching was awful; but who cared? The daily news ran DiMaggio headlines three inches high, but in the lead tried to keep matters in perspective: "This is the story of Joseph DiMaggio, a kid from San Francisco, though it might be proper to mention that the Yankees beat St Louis 14-5, at the stadium yesterday." From the moment DiMaggio first put on his pinstripes, he made the Yankees "his" team. By late May, Joe was leading the league with a .411 average, and the Yankees were streaking. On the last day of May, they won their fifth straight, to sweep the Red Sox (whom they now led by four and a half games), when DiMaggio singled in the seventh to tie, and tripled in the twelfth to win the game. Almost forty-two thousand fans, including Mayor Fiorello La Guardia, left Yankee Stadium to tell of the rookie's glory. Young Joe had to leave the ballpark in a phalanx of cops, to protect him from adoring fans. It was seldom mentioned all year that Gehrig was having an AL MVP season, that Dickey was pounding the ball flat: or that the whole Yankee offense was producing runs at the rate of the mighty '27 Yanks. The story was painted in bold black and white: The Yanks, resurgent, were racing toward a pennant. And the reason for the resurgence was Joe. DiMaggio and the Yanks were the story everywhere in the country. Writers in every AL town used the coming of the rookie wonder to build attendance for their local clubs. In the month before the All-Star Game, the AP baseball feature named the rookie DiMaggio seven times (Dizzy Dean, with four mentions, ranked a distant second.) Little wonder, in the count of two million ballots from fans in forty-eight states and Canada, Joe led the voting for the 1936 AL All-Star outfield. And in case anyone had missed the story, in its July 13th issue, Time Magazine took the occasion of the All-Star Game to look in on baseball- and on the cover there appeared a full length photo of DiMaggio, swinging ferociously in his rookie pinstripes. The 1936 Yankees won the pennant by a whopping 19 ½ games over the Tigers, largely due to Joe's .323 average, 29 HRs, and 125 RBI and league leading 22 assists. Had there been a Rookie of the Year Award in 1936 it would have been Joe's. In the 1936 Series match up with the cross town Giants, Joe added the exclamation point on his extraordinary rookie campaign, hitting .346 in the six game series, helping secure a World Series title for the Yankees, the first of four consecutive championships. His rookie year of 1936 was the first of many spectacular seasons for DiMaggio, in a career that would include a litany of feats and eight more World Series rings. When DiMaggio retired in 1951, he had a lifetime average of .325. He won two home-run crowns (1937 and 1948) on his way to 361. DiMaggio hit over .300 eleven times and won two batting titles - .381 in 1939 and .352 in 1940. In 1941, he hit in 56 consecutive games, a record to this day. He knocked in more than 100 runs nine times, leading the American League with 125 in 1941 and 155 in 1948 and finishing second with 167 in 1937. He won three Most Valuable Player Awards (1939, 1941 and 1947). But for DiMaggio himself, 1936 would forever remain his most dear season in baseball. His fond reflections of 1936 later in his life are well documented. Those who knew him best have recalled that a picture of the 1936 Yankees team was among the few baseball-related photographs that hung in his home. And of all the rings, hardware, and other honors bestowed upon one of baseball's most highly decorated players, it was his 1936 World Series ring he cherished above all others, worn with pride until it was removed from his finger on the day he died. Charles "Smoke" Mason Growing up in the Ozarks area of southwest Missouri, Mason's live arm earned him the nickname "Smoke" and took him to the University of Missouri. After his final season there in 1938, he was approached by Yankees scout Bill Essick. Signed in May of 1938 for $1,300, including $1,200 to pay off school debt and $100 for his pocket, Mason boarded a bus to Joplin, Missouri to play for the Yankees' Joplin Miners farm team. When he arrived in Joplin, Mason met the equipment manager, who chose a work out uniform for Mason from a mound of used uniforms that had been sent down from New York by the big league club as a cost saving measure. In a decision that took but a moment of thought, with consideration given only to size and shape, Charles Mason was handed what, unbeknownst to him, would someday be looked upon as a national heirloom. Mason worked out in his designated uniform only for a few weeks before the Joplin season began and he donned the official Miners team uniform. He kept the pinstriped "workout uniform" in his locker throughout the 1938 season, with little use for it then and virtually no sense of its significance. It stayed with him through a second season with Joplin in 1939, during which he experienced the one and only encounter of his life with Joe DiMaggio in person. During spring training in Kansas City, Florida, DiMaggio, taking a break from preparing for his fourth big league campaign, paid a visit to the aspiring Yankee prospects. Mason recalled that he was seated in the dugout along with five other players when the Yankee Clipper strolled by, pausing to greet them casually. According to Mason he simply said, "Hello fellas", but the impact was lasting. The impression left by DiMaggio, whose legend was rooted, but far from fruition at that time, abolished Mason's obliviousness to the old uniform, which bore this man's name in red stitching. At seasons end, Mason asked Mr. Becker if he could keep it. Becker said "Well, what the heck are you going to do with it, Charles?" Charles said, "I need a uniform to wear when I go back to Willow Springs. We play a lot of ball down there in the hills." Years later, Mason would reflect that his being allowed to keep the uniform was not customary; attributing Mr. Becker's exception to his feeling that he had a good prospect on his hands in "Smoke" Mason.  Upon his return to Willow Springs in 1939, baseball became secondary in Mason's life. His father took ill, passing away shortly thereafter, and the uniform was relegated to a closet at his parent's house. The next drastic turn in his life came with World War II when Mason went to serve in Panama. After the war, he met and married Frances Cochran in 1950. The forgotten uniform lay dormant until sometime in the 1950's when Frances discovered it in the corner of the closet, while helping clean out his mother's house. Its fate resting in her hands, she opted to save what another might have deemed disposable.     Number Nine Manufactured by Spalding, the uniform, consisting of a jersey and pants is one of only two home pinstriped uniforms issued to Joe DiMaggio for the 1936 season (He was also issued two road uniforms, one of which resides in the Hall of Fame). Tagged exclusively for DiMaggio, the uniform features red chain stitching in the collar that reads "Joe DiMaggio 9", while similar chain stitching in the pants reads, "Joe DiMaggio 9, 36" referencing the player, uniform number, and year of issue. DiMaggio was only assigned the uniform number 9 for his rookie season, after which he would don number 5 for the remainder of his career. It is important to note that in 1936, uniform numbers were issued based on a player's appearance in the batting order (ie: Gehrig's number 4 denoting his position in the clean-up spot). For incoming rookies who had not established such a position within the order, numbers were assigned in ascension based on their status as a prospect. DiMaggio was so highly touted that he was issued number 9, the lowest number available to a rookie. Every technical aspect of this uniform is as it was when Joe DiMaggio made his Yankees debut with the exception of the sleeves having been cut and the customary removal of the "NY" logo from the front of the jersey, which was done upon its designation for minor league service. No other lettering was ever applied to the front, and the "NY" outline is still clearly visible on the left breast. The jersey and pants retain superb visual appeal, demonstrating substantial, but not excessive usage wear.  Team repairs appear on the pants and a few rust spots on the uniform have been cleaned. In addition to the jersey's documented lineage, it is supported by no less than half a dozen "photo matches". Every Yankee pinstriped flannel garment of this era is as unique as a snowflake because each jersey and pants were hand stitched, so the pinstripe patterns vary from uniform. The alignment of the pinstripes on both the pants and jersey (most readily apparent at the seams of the shoulders, collar, number, and 'NY' outline) and pants (waistband, belt loops, inseam) provide exact matches to several photos of DiMaggio from 1936, many of which are presented here. Among the most compelling photo matches is an image catalogued by Corbis as being taken during the 1936 World Series (shown), providing clear evidence that this jersey was worn by Joe during his first appearance in the Fall Classic. LOA from MEARS.

  • USAUSA
  • 2008-04-24
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Edgar p. jacobs

EDGAR P. JACOBS BLAKE ET MORTIMER LE MYSTÈRE DE LA GRANDE PYRAMIDE T.2 (T.4), LE LOMBARD 1955 Planche originale n°52 prépubliée dans Le Journal de Tintin belge n°20 de mai 1952. Encre de Chine sur papier 36 X 46,5 CM (14,17 X 18,31 IN.) Après avoir sauvé le monde de la dictature de “Bazam le cruel”, Blake et Mortimer partent à la recherche du secret le mieux gardé d’Égypte : le trésor de la Grande Pyramide. Le Papyrus de Manéthon met le sagace Mortimer sur sa piste… Mais bien des surprises l’attendent dont la moindre n’est pas le retour de son pire ennemi : Olrik ! Jacobs aura mis trois ans à préparer cet album. Trois ans à rassembler et compulser des documents afin d’élaborer sa thèse : celle d’une chambre secrète inexplorée, dissimulée dans la Grande Pyramide, qui recèlerait un trésor inestimable. Il se plonge dans les ouvrages des grands auteurs de l’histoire de la civilisation égyptienne : Hérodote, la liste des sept merveilles de Strabon, ainsi que dans divers travaux d’égyptologues français dont Gaston Maspero, évoqué dans cette aventure, qui fonda le Musée égyptien du Caire et fit désensabler le Sphinx de Gizeh. C’est donc en véritable érudit qu’il va voir pour la première fois le professeur Pierre Gilbert, directeur de la Fondation égyptologique Reine-Elisabeth et conservateur du Musée d’Art et d’Histoire du Cinquantenaire à Bruxelles. Il lui expose ses hypothèses concernant l’existence de la chambre d’Horus et, tout en lui laissant la responsabilité de ses théories, l’homme de science leur accorde une certaine validité scientifique. Il tente toutefois de le dissuader de situer son aventure sur le plateau de Gizeh, tant le nombre de fouilles archéologiques menées jusque-là y rendaient toute nouvelle découverte improbable. Mais Jacobs tenait à son idée. Bien lui en prit : au moment même où s’achève la publication du Mystère de la Grande Pyramide dans Le Journal de Tintin, l’archéologue égyptien Kamal El Mallak découvre au pied des pyramides une barque solaire de Khéops en parfait état de conservation ! Cette planche se situe à la toute fin de l’aventure. Dans cet épilogue, nos amis ont réussi à s’échapper de “l’empire des morts”, et laissent le cheikh Abdel Razek condamner le redoutable Olrik aux affres de la folie. Là encore, la composition de Jacobs fait merveille. Triangulaire – pyramidale à tout dire –, elle démontre une nouvelle fois son talent pour la mise en scène. La page est balancée entre l’ombre des profondeurs et la lumière éclatante du jour : « Ouf ! Enfin, le soleil !... » dit Mortimer.

  • FRAFrance
  • 2016-05-21
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Franquin

FRANQUIN GASTON GALA DE GAFFES (T.2), DUPUIS 1963 FRANQUIN - JIDÉHEM, couverture originale. Gouache, aquarelle et encre de Chine sur papier 30 X 25,6 CM (11,81 X 10,08 IN.) Nous voici en présence de l’une des rares couvertures de Gaston Lagaffe disponibles sur le marché. Elle a été réalisée pour le deuxième volume de la collection (le troisième, si l’on compte le Gaston 0) publiée au format à l’italienne, par respect pour le format original de publication de Gaston en demi-pages à la Une du Journal de Spirou. Ces gags ont ensuite été compilés différemment, ce qui fait de ce dessin une pièce unique. Dans cette première partie des gags de Gaston, Jidéhem tient une part active, Franquin étant débordé par ses autres activités, notamment sur Spirou et Modeste et Pompon. Jidéhem a-t-il travaillé sur cette couverture ? Il revendique en tout cas la réalisation de la partie gauche du dessin. Je pense comme Philippe Queveau et les auteurs Yann, Batem, Colman et Hardy, tous spécialistes de l’oeuvre de Franquin, que ce dessin est entièrement de la main de Franquin. À noter que les indications manuscrites sur l’original sont autographes de Franquin. Ici, nul besoin de bulle explicative, le gag fonctionne sous la forme d’une ellipse dialoguée, un procédé narratif jusqu’ici totalement inédit : alors que Fantasio découvre un chalumeau, négligemment oublié par Gaston, en train de consumer le courrier des lecteurs, le gaffeur clame silencieusement son innocence. Exceptionnel. Daniel Maghen

  • FRAFrance
  • 2016-05-21
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HERGÉ Georges Remi dit (1907-1983) LES AVENTURES DE TINTIN

HERGÉ Georges Remi dit (1907-1983) LES AVENTURES DE TINTIN L'ÉTOILE MYSTÉRIEUSE Encre de Chine pour la copie dite de sécurité d'une planche au format à l'italienne, composée des strips 24 à 26 de « L'Étoile Mystérieuse », publiés dans le journal « Le Soir » en 1941, au rythme d'un strip par jour. Chaque strip monogrammé. 33,8 x 46,2 cm. Encadrée. Superbe passage au cours duquel Tintin, fou de joie car venant d'échapper à la soi-disante « fin du monde », sonne à la porte de l'observatoire et se retrouve nez à nez avec l'astronome Hippolyte Calys et son collaborateur. Historique : Le 5 février 1942, avant même d'employer Alice Devos le 15 mars de la même année comme coloriste, Hergé se rend chez Casterman à Tournai. De grand projets innovants, bouleversant sa façon de travailler, sont en route. En effet, le passage à la couleur et la refonte en 62 pages de ses albums changent sa manière de travailler et notamment le format de ses planches. Hergé travaillant seul doit découper celles-ci au format rectangulaire en 4 strips ; il commence par L'Étoile Mystérieuse. Avant le découpage, il réalise une copie de sécurité à l'aide d'une table lumineuse à l'encre de Chine sur papier avant de découvrir le système des bromures, ancêtre de la photocopie. Il se doit de garder une trace pour une éventuelle publication dans un quotidien étranger dans l'ancien format à l'italienne en 3 strips. Il était difficile pour Hergé d'effacer définitivement son travail, il mit donc tout son talent et toute son habileté dans la réalisation de ces planches dites de sécurité. Cette œuvre représente une des rarissimes opportunités d'acquérir une planche au format qu'Hergé utilisait pendant la guerre, et tout simplement une planche de cette époque mythique dans l'œuvre d'Hergé. Estimation 160 000 - 200 000 € Sold for 202,099 €

  • FRAFrance
  • 2013-06-07
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Heisman trophy original plaster sclpture by frank eliscu, 1935

For seventy years, the Heisman trophy has been awarded to the best player in college football, voted on by more than 1,000 sportswriters and announced every December at New York’s vaunted Downtown Athletic Club (DAC). Many of the players have become both household names, first round draft picks and Pro Football Hall of Famers, such as Paul Hornung, Marcus Allen, Barry Sanders and Roger Staubach, while winning the award remains the pinnacle for others who have left football for more private lives. Their excellence remains embodied in sport’s most dynamically sculpted trophy. The first award was called the DAC trophy. However, in 1936 gridiron coach, innovator  (he pushed to legalize the forward pass) and first DAC athletic director John Heisman passed away, and, in his honor the DAC renamed the trophy to reflect his contributions. The trophy itself - the running back in full stride with lhis right arm outstretched  is an icon of the sport of football, chosen by the DAC committee and instantly recognizable to the hardcore and casual fan alike. Frank Eliscu, a 23-year old sculptor New York native was chosen to design it to be cast in bronze. His first design was made of clay; his second sculpted in plaster to be used as the model for the mold. The follwing tribute to Eliscu and the Heisman trophy, written in 1990 by the late legendary New York Times obituary writer Robert McG. Thomas, Jr., most aptly describes the story behind the creation of the trophy and its sculptor. Frank Eliscu - From Feet of Clay to Greatness in Bronze Time is running out. His team is behind, and he has gotten the call. He has taken the handoff, broken through the line and bulled his way past the linebackers until he is not in the open field with only a single determined defender between him and the goal line. The game is in the balance. As the defender closes in from the right, sure that he can bring the ballcarrier down, the runner shifts the ball from his right hand and tucks it firmly into the crook of his left arm, pressing it close to his body. Then, in one fluid motion just as the tackler arrives, he takes a sudden graceful sidestep and throws his right arm out, shoving the tackler away with his open hand. As quickly as he appeared the tackler is gone, now merely an implicit fallen figure as the runner surges forward. The touchdown is made. The game is won. A beautiful run, but this is the moment we remember: the runner alone in full stride, his arm outstretched, moving away toward football immortality. If ever there was a run and a moment worthy of Heisman Trophy, this is it, but then, of course, this is the Heisman Trophy. That the Heisman Trophy is at once one of the world’s most recognized and respected awards for individual athletic achievement and an actual trophy-cast in bronze and standing on a black onyx base on a marble pedestal-may be more than happenstance. It is tempting to wonder whether the club’s annual presentation could have attained its present preeminence if the committee of founders had decided to honor the year’s outstanding college football player by establishing, say, a Heisman Award, symbolized by a suitably imposing plaque, or even a Heisman Cup, complete with graceful handles. But the actual unassailable fact is that when the members of the Downtown Athletic Club created the annual award in 1935 they also decreed that a trophy depicting a football player would be created along with it. And Frank Eliscu is the man they chose to create it. It is also tempting to wonder what the Heisman may have become if the founders had entrusted the trophy to another sculptor. They could hardly have known at the time that the Heisman would be the first of hundreds of celebrated works by Eliscu ranging in scale from the inaugural medals of President Gerald Ford and Vice President Nelson Rockefeller to the monumental “Cascade of Books” above the entrance to the James Madison Building of the Library of Congress. At the time he was assigned to create what became known as the Heisman Trophy, Eliscu was an impoverished 23-year-old graduate of Pratt Institute whose sole professional output has been department store mannequins and dolls’ heads.  To be sure, he was not the first choice. To a man, those who were considered the leading sculptors of the day either turned up their noses at the very idea of creating a sports trophy or hid their disdain behind a demand for payment far beyond the club’s means. Eliscu was different. He needed the money. He no longer remembers exactly how he came to the committee’s attention, but as the 82-year-old Eliscu recalled in an interview from his home in Sarasota, Florida, in the spring of 1994, “It was my first commission.” If there seems to be a prayerful veneration in Eliscu’s work, it may be no accident. Eliscu, who was born in Brooklyn on July 13, 1912, and grew up in the Washington Heights section of Manhattan, recalled that the first tentative explorations of what was to become his art were made with the residue of his great-grandmother’s prayer candles. “I would take the paraffin with me into the tub when I took a bath and work it underwater,” he said. His first figures were of horses’ heads. “I loved to make animals,” he said. Eliscu’s horses seemed so real, so alive that his talent was instantly apparent. “I became something of a local celebrity,” he said. In time, word of his talent spread beyond Washington Heights to Harrison Tweed, one of New York’s most prominent lawyers and a major patron of the arts. Tweed, who operated what amounted to a summer arts colony for talented youngsters at his estate in Montauk, Long Island, invited Eliscu to spend 10 weeks at the camp, and a lasting friendship was born. “He became the closest thing next to my own father,” Eliscu said. Tweed introduced the young Eliscu to leading American artists and gave Eliscu’s own art an important boost by paying the production costs of his first work in bronze, “Diana and the Fawn,” which was exhibited at the National Academy of Design while Eliscu was still in high school. Unable to afford college after graduation from George Washington High School, Eliscu worked for a mannequin maker and a toy company before he won a scholarship covering the first year of a three-year art program at Pratt. When the scholarship ran out, Tweed came to the rescue, paying for the last two years in exchange for art lessons every Monday night in his apartment at 10 Gracie Square. Tweed, whose name has been preserved in the law firm, Milbank, Tweed, Hadley & McCloy, also performed a critical service when Eliscu was offered the Heisman assignment. “He insisted on looking over the contract before I signed it,” Eliscu said. After it passed muster, Eliscu signed it and went to work. Much as he needed the $200 fee, Eliscu has always insisted that he approached the work not as a commercial venture but as a labor of love, which is to say, a labor of art.  “I wanted to make the best thing I could,” he said. “I worked and I changed, and I gave it everything I could.”   Working entirely from his imagination, his only guidance from the club was to produce a football player in action, Eliscu made three wax “sketches,” about four inches high, of different poses. It is interesting to speculate how well defensive players might have fared in the annual balloting if the club had selected Eliscu’s favorite. It was of a lineman tackling a ballcarrier, their conjoined bodies rising into a graceful S. When the sketches were completed, a three-coach delegation from the club, Lou Little of Columbia, Jim Crowley of Fordham and John Heisman himself, paid an inspection visit to Eliscu’s studio at the old Clay Club at 4 West 8th Street. All agreed on the straight-arming ballcarrier, but after studying the figure, it was suggested that the outstretched arm, which Eliscu has pointed straight ahead, would be more natural if it extended out to the side, to better mimic how a runner would push a tackler away. To drive their point home, as Eliscu watched openmouthed, three of the most famous figures in the world of football held an impromptu mock scrimmage right there in this studio, taking turns stiff-arming each other. Eliscu got the point and simply pushed the pliable wax arm back until it pointed in the correct direction. To translate the form into the ultimate trophy, Eliscu worked in clay attached to an armature made of lead wire. He used his own imagination, “artistic license,” he calls it, in forming the body and shaping and detailing the powerful biceps and calf muscles that are so prominent on the muscular figure. Even the face, he said, was of his own imagining. The one area he was not willing to trust to his artistic vision was the figure’s costume. Knowing that Ed Smith, a high school classmate, was a football player at New York University, Eliscu asked Smith to bring his uniform to the studio and pose in it. The Heisman may have been Eliscu’s first professional work, but it was hardly his last. Since then there has rarely been a day that Eliscu has not spent creating. He even rendered crucial artistic service to the nation in World War II. Assigned to an Army engineering unit at Fort Belvoir in Virginia, he spent the early part of the war making invasion maps and models for landings from Salerno to Normandy. Then, after a flood of war casualties began arriving back in the United States, he was transferred to a medical unit at Valley Forge, Pennsylvania, where he assisted in the grisly work of assisting in plastic surgery and cutting cartilage to form into noses and chins. Eliscu, by then a sergeant, gained an unusual footnote in the history of plastic surgery when he developed a technique of tattooing to remove birthmarks and provide color to reconstructed lips. Since the war Eliscu has not only been one of the nation’s most acclaimed and honored artists, he has also been one of the most prolific. He has turned out hundreds of pieces from the studio he maintained first at his home in Ossining, New York, and more recently in Sarasota, Florida, where he lived with his wife, Mildred. Whatever his subject and whatever his medium, Eliscu, who has worked in everything from wax to stone, strives to satisfy his lifelong passion for breathing movement into otherwise inanimate objects. “To me, movement is almost giving life to bronze,” he said. “I try to put [in] action even if a thing is stilled or seated, through expression or a tilt of the head.” He also shuns abstract art in favor of realistic forms, which allow him to achieve, as he puts it, “a sense of recall, where you look at something and you’re moved to recall what it makes you feel.” Ask him to name his favorite works, and Eliscu, who can choose them from museums all over the country, mentions his original, “Diana and the Fawn,” “Holocaust,” in Orlando; “Cascade of Books,” in Washington, D.C.; the “Shark Diver,” at Brookgreen Gardens in South Carolina; and, yes, the Heisman. “It’s an honest work,” he said. “I think that the Heisman has a feeling. I think that you can feel not only the movement but the intensity of the piece. That’s what I call honesty.” It is true that the statue depicts a run that never literally happened. Yet it symbolizes a run that happens every fall, year after year, just as Frank Eliscu imagined it. For him the Heisman is more than a trophy. It is a work of art. “I liked it then,” he said, “and I like it now.” Robert McG. Thomas Jr.

  • USAUSA
  • 2005-12-10
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Babe ruth 1920 game bat signed and presented to chicago mayor william

Babe in the Big Apple "They all flock to see him,” because the American fan "likes the fellow who carries the wallop." – Miller Huggins In a time when baseball, reeling from the 1919 Black Sox scandal, declining attendance and declining credibility, needed a revitalization, Babe Ruth's bat saved the day. By destiny’s hand, the most visible, dominating, and popular athlete in American history was brought to New York City to play on baseball’s biggest stage. At the dawn of the Roaring Twenties, Babe Ruth turned baseball on its head, sparking fan interest and excitement, and the birth of the most enduring dynasty in sports history. As one of the games most promising young pitchers, Babe Ruth had led the Boston Red Sox to World Series titles in 1915, 1916 and 1918. Ruth's pitching mark was 89-46 with the Sox, but his booming bat was too loud to be heard only every four days. Red Sox manager Ed Barrow, at the suggestion of outfielder Harry Hooper, began playing the Babe in the outfield in-between his starts. By 1919, he played 130 games and was now an everyday player hitting home runs with unprecedented regularity. The long balls that flew from Babe Ruth’s bat also flew in the face of the games convention, changing its very nature with each successive clout. He seemed poised to lead the Red Sox to the top of the league for years to come. But, despite the Babe's obvious value as a slugger, he was dealt to the New York Yankees prior to the 1920 season, in a deal that would haunt Boston owner Harry Frazee forever. America was in a social revolution as the 1920’s began – Prohibition went into effect on January 16, just days after the announcement of Ruth’s sale to the Yankees – and baseball turned around as radically as the country did. The game changed more between 1917 and 1921 than it did in the next forty years. Despite the high-profile presence of such outstanding batters as Cobb, Wagner, Lajoie, Speaker, Jackson, and a few others, during the first two decades of the century hitting was a lesser art in a game that honored pitching and low scores. The term “inside” baseball was almost sacred, and John McGraw was its high priest. It meant playing for a run, a single run. Bunting, base-running, sacrificing were the core elements of baseball offense. All of this changed after Ruth’s breakthrough in 1919. It was not a gradual evolution but sudden and cataclysmic. Crushed by his sale to the Yankees, Ruth was uncertain of his future upon his arrival in New York City. But his doubts failed to affect his performance in 1920. During his first season in pinstripes Ruth clouted 54 homers, surpassing the combined totals of every other team in the majors except one. That same season, Ruth slugged an astonishing .847, a record that stood for more than 80 years. In 1920, the Yankees, coincidentally, became the first team to draw more than one million fans to a ballpark, more than double the attendance of any other club. In the media capitol of the world, the combination of Ruth’s boundless charisma and unmatched prowess on the diamond, elevated him to a level of popularity in his day greater than that of any public figure in American history.                       The Babe Meets Big Bill “My greatest desire is that no shadow of corruption, dishonesty or wrong-doing shall cloud any of the varied and multitudinous activities of the city government during my term of office.” – Chicago Mayor William Thompson in his Inaugural Address, April 26, 1915 William Hale Thompson, also known as 'Big Bill' Thompson, was one of Chicago's most interesting, colorful and eccentric mayors. He was known as the Builder Mayor, taking the mayoral oath of office a mere three short months before the city’s Eastland disaster. His corresponding actions and reactions immediately following the disaster and are a measurable and irrevocable part of Chicago history. Much like Babe Ruth, Big Bill was a larger-than-life demagogue. As a brilliant chameleon of a politician, he brought excitement and theatrics to the office and was renowned for his showmanship. Thompson once staged a "debate" between himself and two white rats, which he carried on stage to represent his political opponents. His speeches on many occasions provide a great insight into the period, the politics, and the mayor himself. However, in spite of many notable achievements throughout his three terms in office, Thompson’s tenure is characterized by controversy. Chicago in the twenties was ruled by gangsters - first Johnny Torrio, and then his successor Al Capone. Mayor Thompson was suspected of being in the pocket of both. During Big Bill's reign as mayor, the police were ineffective in combating organized crime. Bribery and corruption were rampant. Thompson was reputed to allow the gangsters free rein over the city. His critics said he ignored crime, concentrating instead on his own issues - including more anti-British saber rattling, and threats to "punch King George in the snoot." Thompson’s memorable political career ended after losing the race for governor in 1936 and a fifth campaign for mayor in 1939. On March 19, 1944, he died at the Blackstone Hotel at the age of 76. At the time of his death, though never factually linked to the underworld figures he was presumed to be beholden, two safe deposit boxes in his name were discovered to contain nearly $1.5 million in cash. While in office, the flamboyant Thompson never missed an opportunity to attract attention, regularly rubbing elbows with members of Chicago’s high society. In 1920, when Thompson’s home town White Sox hosted the Yankees at Comiskey Park, a press opportunity presented itself that Big Bill could not resist. No spotlight shone brighter than that which followed Babe Ruth, the most popular and enigmatic baseball star in the world.  Thompson sought to meet the great slugger, knowing full well that such a meeting of moguls would be great fodder for the local media. A Gift For the Ages Accepting a gracious invitation on the part of the Mayor of Chicago, Ruth was escorted to the office of Big Bill after an afternoon game on September 17th, 1920, which saw the Yankees fall to the White Sox by the score of 6-4 at Comiskey Park. He arrived bearing a gift of his game bat. Prior to handing over his embattled club in front of ready cameras, Ruth inscribed the barrel, “To Mayor Thompson, From ‘Babe’ Ruth September 17th, 1920”. No finer present could a baseball fan receive. Immediately, a place of prominence was designated for it, so that all whom entered the Mayors office could see that considered among Big Bill’s friends was the greatest ballplayer in the world. Things began to sour for Thompson in 1923. In the midst of campaigning for a third consecutive term, he learned that he was being investigated for fraud by the State's Attorney. Upon learning of this investigation, Thompson withdrew from the mayoral race. Going out with a flourish, the former mayor announced that he was leaving to head an expedition to the South Seas to find tree-climbing fish. "I have strong reason to believe that there are fish that come out of the water, can live on land, will jump three feet to catch a grasshopper, and will actually climb trees" he proclaimed. Prior to leaving office, Thompson asked his longtime secretary, one of his most loyal employees, if there was a certain memento he’d like to have as a keepsake from their years of working together. Having admired the bat every day since it was delivered by Ruth himself, it was given to him as a symbol of gratitude from the former Mayor. Babe Ruth 1920 Game Bat Signed and Presented to Chicago Mayor William “Big Bill” Thompson This bat is offered here on behalf of the family of this former secretary of Mayor Thompson. It is a monumental revelation in the field of sports memorabilia. In the category of Babe Ruth game used bats it stands near the pinnacle.  Condition wise, the 35 ¾ inch, 42 ½ ounce relic has few peers.  The markings, finish, and overall quality of the Hillerich & Bradsby Co., “dash-dot-dash” model 125 are extraordinary. The usage wear is magnificent, indicating it was a favored weapon of Ruth’s. Furthermore, with provenance that is beyond reproach, it is one of a precious few legitimate Ruth game bats that bear his signature. An accompanying photograph of Ruth presenting the bat to the Mayor is detailed enough to show its grain pattern (a veritable “thumbprint” for bats). The addition of this “photomatch” elevates the status of this Ruth gamer into rarified company. It is a museum caliber treasure from Ruth’s pivotal first season as a Yankee, and arguably the most important of his storied career.  LOA’s: SCD Authentic (grade: A10* - Dave Bushing, Dan Knoll & Troy Kinunen), PSA/DNA (John Taube & Vince Malta), PSA/DNA (Steve Grad), Consignor Manufacturer Characteristics: Center Label: Louisville Slugger, Louisville, Ky. Label Description: Hillerich & Bradsby Co., 125 dash dot dash.  Trade Mark Reg. US Pat Off. Labeling Period: 1917-1921 (early Ruth signature model) Bat Weight: 42 ½ ounces Bat Length: 35 ¾ in. Finish: Standard Wood: Professional Grade Ash

  • USAUSA
  • 2005-06-10
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HERGÉ Georges REMI dit 1907 – 1983

HERGÉ Georges REMI dit 1907 – 1983 TINTIN AU TIBET Mine de plomb pour le crayonné de la planche n°5 (pl.11 & 12) de Tintin au Tibet, publié en 1960 aux éditions Casterman. Croquis et annotations dans la marge. Planche dédicacée et signée. Encadré. Très beau passage qui se termine avec un gag concernant Haddock. À noter la présence du dessin d'annonce du Journal Tintin pour cette aventure. Au verso plusieurs croquis de la page de titre du journal Tintin. 55 x 36,5 cm. Avec cette planche crayonnée, on retrouve quelque peu l'esprit comique du cinéma muet dont Hergé a toujours reconnu l'influence. Le capitaine Haddock, qui donne du rythme avec ses phases de colère et de maladresse, temporise. Mais, une fois de plus, le dessinateur procède par allusion pour que son personnage perde momentanément l'équilibre. Le dessin, volontiers extravagant, et fidèle à un mouvement qui se renouvelle constamment, déborde du support : le trait passe d'une case à une autre, d'un niveau à un autre, et occupe l'espace pour mieux affirmer son pouvoir temporel, dans une anarchie contrôlée où se développent les grandes lignes directrices. Tout est pensé en terme d'action et de fluidité, de combinaisons entre les différents éléments, mais toujours avec une vision esthétique d'ensemble. La ligne claire est un état de conscience, une démarche ascétique beaucoup plus cérébrale et exigeante qu'elle ne le laisse supposer. Alors Hergé explore, expérimente. Le trait, immatériel et impatient, se dissimule, s'efface, se contredit, puis se libère enfin. Sans pesanteur. Net, parfaitement identifiable. La magie opère : c'est le plaisir absolu du dessin. Fidèle à Ingres, « Probité de l'art ». Estimation 120 000 - 180 000 € Sold for 189,600 €

  • FRAFrance
  • 2014-11-22
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HERGÉ Georges Remi dit (1907-1983) LES AVENTURES DE TINTIN

HERGÉ Georges Remi dit (1907-1983) LES AVENTURES DE TINTIN TINTIN AU TIBET Mine de plomb pour le crayonné de la planche 32 de l'album « Tintin au Tibet », 20ème album de la série, publié en 1960 aux éditions Casterman. La dernière case reprend la case 10 de la planche 33 de l'album. 55 x 36,5 cm. Nombreux croquis et annotations dans les marges dont plusieurs études d'expressions de Tharkey et 3 crayonnés de Haddock pour les cases 4 et 9 de la planche 33 de l'album. Au verso (reproduit page 40), une version totalement inédite de la suite de l'histoire dans laquelle Tharkey découvre Tintin gisant inanimé au fond de la crevasse et lui prodiguant les premiers secours. Tintin lui racontant alors ses découvertes notamment la pierre sur laquelle le nom de Tchang est gravé en caractères chinois et dans notre écriture, ainsi que la découverte d'ossements au fond de la grotte. Tharkey en déduit naturellement « moi croire lui enlevé par Yéti !... Et lui mangé par Yéti ». Les crayonnés d'Hergé sont très exactement dans le même rapport avec ses mises à l'encre (et les imprimés qui s'en suivent) que les lavis de Poussin ou les dessins de Monsieur Ingres avec leurs tableaux. Chaque fois les bouillonnements de l'esquisse furent discrétisés (voire discrédités) par des mises-au-net de l'œuvre finale. En ce sens, Hergé est un classique. Mais ses brouillons nous révèlent aussi son versant résolument moderne ! Des milliers de traits turbulents y captent le mouvement. Et la puissance du monde de Tintin s'est jouée à ce niveau là : fluides, motricités, chocs, vitesses. La planche 32 des crayonnés de « Tibet » est particulièrement importante parce que Hergé y affrontait le blanc des neiges éternelles. Cette achromie n'étant pas du tout celle de la virginité de la surface du papier (ni celle d'une pureté morale) mais bien celle d'une vibration première qui qualifie les tout grands dessinateurs et peintres : Turner, Delacroix, Klee, Pollock. Pierre Sterckx Estimation 140 000 - 160 000 € Sold for 189,468 €

  • FRAFrance
  • 2013-06-07
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1932 babe ruth autographed game used bat - (psa/dna autograph grade mint 9)

"He was a circus, a play and a movie, all rolled into one," said teammate Lefty Gomez. "Kids adored him, Men idolized him. Women loved him. There was something about him that made him great." The most visible, dominating, and popular athlete in American history, Babe Ruth turned baseball and the world on its head. Long after his last home run, his name has come to signify greatness and strength. No item in the realm of sports memorabilia symbolizes the essence of American sport more so than a bat used by Babe Ruth. It is the tool he used to single handedly lift the game of baseball from its depths in the wake of the 1919 Black Sox scandal and reclaim its status as America’s National Pastime.  This is a game used Babe Ruth Hillerich & Bradsby professional model 125 bat that dates from one of the most storied seasons in his career. Based on factory records, this model is one of two identical bats, featuring a distinctive “Hack Wilson” style knob that was shipped to Ruth in 1932. That epic season culminated with Ruth’s infamous “Called Shot” against the Cubs in the World Series. The Yankees victory in that series brought Ruth his last of seven World Series titles. Measuring 33 ¾” in length and weighing 36.4 oz., the uncracked bat shows solid game use including numerous ball marks on the barrel. Made of the finest quality ash, the bat retains rich color, with strong factory markings. Elevating the stature of this bat into the pantheon of elite Ruth gamers is the fact that several years after it was retired by Ruth, the bats keeper got the Bambino to add his large, bold inscription, “To Jerry From Babe Ruth Sept. 11th 1939” ideally placed on the barrel. The quality of the inscription warranted a grade of MINT 9 based on a third party assessment by PSA/DNA, making it the highest graded autographed Ruth game bat recognized by that firm to date. The bat has been cautiously preserved, retaining a look and feel that reaches back to the golden years of baseball, when Ruth was King of the Diamond. LOAs from MEARS (Bat grade A8.5) and PSA/DNA (Auto. grade MINT 9).

  • USAUSA
  • 2006-06-24
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A Dorothy "test" dress and pinafore from The Wizard of Oz

A Dorothy "test" dress and pinafore from The Wizard of Oz Metro-Goldwyn-Mayer, 1939. Comprising a cornflower blue cotton dress with a cream-colored bodice and sleeves, a high neckline, and blue rickrack trim at the collar, shoulders and sleeves, bearing a label inscribed in black ink, "Judy Garland / 4208," and an MGM cleaning tag; and a blue-and-white gingham pinafore with blue rickrack trim at the neckline, shoulders, and pockets, bearing a label inscribed in black ink, "Judy Garland / 4461," and an MGM cleaning tag. Accompanied by two wardrobe test photographs dated October 31, 1938 of Garland wearing this dress, one black-and-white of her wearing the dress and the pinafore, and one color photo of her wearing the dress alone. This costume was designed during the brief tenure of George Cukor on The Wizard of Oz, after the departure of original director Richard Thorpe. Thorpe began work on the film on October 12 and was fired twelve days later, due to producer Mervyn LeRoy and the MGM executives' dissatisfaction with the look of the early rushes. LeRoy brought in Cukor to review Thorpe's work and direct a few days of test shoots. Though his time on the film was brief, Cukor had a dramatic impact on the look of The Wizard of Oz. He took away Judy Garland's blonde wig and artificial-looking makeup and simplified her costume, emphasizing the characterization of Dorothy as a typical American teenager from a farm in Kansas. Ray Bolger and Margaret Hamilton's makeup was also redesigned during this period. After these new tests were complete, Cukor departed again and Victor Fleming arrived to direct the film. October 31 was Cukor's last day on The Wizard of Oz. The final costume worn by Judy Garland is a combination of these two garments, taking the style of the dress and adding the gingham pattern of the pinafore.

  • USAUSA
  • 2014-11-25
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Fine and Important Märklin "Lusitania" Ocean Liner

Fine and Important Märklin "Lusitania" Ocean Liner Germany, circa 1912 , The first class passenger's acronym for the most desirable cabins, P.O.S.H. (Portside Out, Starboard Home) has become synonymous with sumptuous luxury. This is an apt description for the "Lusitania," one of Märklin's most important ocean liners crafted at the height of their creative genius. The deck, finished in faux wood planking, is fitted with a host of elegant and intricate details including working anchors and chain, tall foremast fitted with searchlight and crow's nest set just before a multi-tiered superstructure. This is fitted with a bridge with stairs and an observation post, four top quality funnels and over two dozen ventilators of various shapes and sizes, a walkway incorporating a cabin and domed panel skylight, and ship's wheel controlling the rudder bearing the Märklin logo. The hull is handsomely finished in white with portholes over a blue lower deck with portholes over copper red over brick red at keel and two hinged gates on railing with gangway secured below. Marked "Lusitania" in gold at bow on either side. There is a view of the lower deck made possible by small cutouts in the hull on both sides. This adds to the toy's realism on one hand while stirring the imagination on the other. Electric (dry cell) motor housed in hull. In the case of the "Lusitania" what is often said about wine is true of the toy's finish. Age has improved it. Its gentle fading and crazing add to its appeal and enforces the feeling that it is a regal survivor of a long ago era.   Length: 37 ½ inches

  • USAUSA
  • 2010-12-17
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Withdrawal

Circa 1931 Lou Gehrig New York Yankees Home Jersey

Circa 1931 Lou Gehrig New York Yankees Home Jersey, Lou Gehrig will forever be lost 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. This is one of only a handful of known examples of a Lou Gehrig game used Yankees home pinstriped jersey. Based on a thorough inspection of jersey’s own physical traits as well as documented photographs of Gehrig wearing what appears to be an identical jersey, we have identified its era of usage to the 1931 season. In a career full of great seasons, 1931 was a watershed for Gehrig. He batted .341 and led the league with 184 RBIs setting a still-standing single season record. During the 1931 season, Ruth and Gehrig combined for 92 home runs and 347 runs batted in, the most ever by a pair of teammates. The Yankees, as a team, averaged more than seven runs a game. Gehrig, having never won a home run title, finally notched a league leading total of 46 in 1931. However, Gehrig had to share the title with Ruth who matched his output of 46. In April of that season an event occurred that can be viewed as a capsulization of Gehrig’s subordination to Ruth. With Lyn Lary on base, Lou Gehrig hit a home run into the stands at Washington. The ball, however, bounced back on the field and Lary saw a Washington outfielder catch it for what he believed was the last out of the inning. Gehrig circled the bases, but was called out when he "passed" Lary on the basepath as Lary headed for the dugout. Instead of a home run, Gehrig was credited with a triple, costing him the single home run he needed to claim sole ownership of the home run title at seasons end. Manufactured by Spalding, this jersey is tagged exclusively for Gehrig featuring red chain stitching in the collar that reads “L. Gehrig.” Every technical aspect of the body of this uniform is as it was when last in the custody of Gehrig with a few exceptions. All of the seams and tagging are original and unaltered. Gehrig’s own customization of cutting the sleeves can be validated by the photograph presented in the catalogue. Appropriately, there is no evidence of an “NY” logo ever having appeared on the front since this feature was not instituted on Yankees uniforms until 1936. Post-Gehrig alterations to the jersey include the removal of the felt portion of Gehrig’s number 4 on the back, although remnants of black stitching still reveal the outline of the numeral. Secondly, the outline of lettering that appears to be “STANTON” appears faintly on the front of the jersey indicating its one time designation for service in a minor league. The jersey shows signs of extensive use and wear including general and consistent soiling throughout the jersey. Significant fabric stress/damage appears in the upper back portion of the jersey as well as in the front shoulders with a 1/2”  hole on the left shoulder and fabric tears on the left. Most of these damaged areas have been professionally restored and reinforced in some cases by the addition of supportive fabric applied to the interior.  There are a few areas of red staining/fabric bleed in the lower 1/3 portion of the jersey. The second button from the top has been replaced, but this appears to be a vintage repair. In spite of these technical imperfections the jersey retains excellent visual appeal. 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 MEARS.

  • USAUSA
  • 2007-06-05
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A trio of Casablanca scripts, including a rare Aeneas MacKenzie typescript, a May 11 draft, and Jack Warner's bound copy of the final draft

A trio of Casablanca scripts, including a rare Aeneas MacKenzie typescript, a May 11 draft, and Jack Warner's bound copy of the final draft Warner Bros., 1942. 3 items: 1. Typed carbon, 137 pp, 4to, screen adaptation by Aeneas MacKenzie, no place, no date (but early 1942), housed in plain blue wrappers with typed title and story department stamp, marked "Only Copy" in pencil to upper cover. MacKenzie was one of the first writers brought onto the project after Warners bought the rights to the play "Everybody Comes to Rick's" in December of 1941. He was enthusiastic about the story and convinced Wallis that there was strong material present for a film. This draft is not very far from the playscript itself; the female lead is still named Lois, and most of the action still takes place in Rick's café or his apartment. Warner Bros. records indicate that MacKenzie and Wally Kline were assigned to write drafts, though it is not clear if they wrote this draft together, or if a Kline version was also produced. For many years, the MacKenzie version was thought to be lost before it surfaced at auction in the 1990s. 2. Mimeographed Manuscript on white and yellow paper, 150 pp, no place, May 11, 1942 (with pink revision pages dated as late as May 22 bound in, housed in plain blue wrappers with title, date, and "Part 1 / Final" stamped to upper cover, some thumbing and wear to leaves, wrappers with restoration. This copy is the three part draft by the Epstein Brothers and Howard Koch, the last before the June 1 final shooting version. This copy breaks down as follows: Part I: pp 1-68; Part II: pp 69-94; Part III: pp 95 to end. The pink revision pages include the LA Belle Aurore scene that is fairly close to the final version, though without "Here's looking at you, kid," and the first meeting between Laszlo and Strasser which transitions into the first meeting onscreen between Rick and Ilsa in the crowded café, which here is much longer and more verbally bitter than the final version. 3. Mimeographed manuscript, approx. 167 pp (not continuously paginated), 4to, n.p., June 1, 1942 (with pink revision pages dated as late as July 16 bound in), with 8 tipped-in black and white stills from the film, bound in custom green calf gilt with "Mr. and Mrs. J.L. Warner" at base of spine, minor wear to spine, otherwise fine. This version, likely provided by the steno department, is the June 1 draft with revisions that most agree was the script used primarily during shooting. It contains the pink revision pages, and does not contain the film's final line ("Louis, I think this is the beginning of a beautiful friendship") which was not composed and recorded by Bogart until weeks after production shut down. This handsomely bound copy was prepared for studio boss Jack Warner, with his and his wife's name embossed on the spine. These three scripts were acquired at various times over the last 25 years by a Los Angeles collector. They represent various points along the road to the completion of the script and the film, and as such represent an unusual opportunity to acquire a complete archive charting the evolution of one of the greatest films ever made. Each: 8 1/2 x 11 in.

  • USAUSA
  • 2015-11-24
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Babe ruth’s 1938 brooklyn dodgers full uniform

In 1933, with Ruth aging and Gehrig slumping, the Yankees fell to second place. By this time the Babe seldom played an entire game, often being removed for defensive reasons in the late innings. His playing career clearly winding down, Ruth set his heart firmly on becoming the manager of the Yankees. After making his wishes known, they suggested he manage their Class AAA club in Newark to get some experience. With injured pride he refused.  After the 1934 season Ruth, somewhat sulking with an uncertain future, led a group of Americans on a tour of Japan. Upon his return, Ruth, the greatest star the game has ever known, was presented with a contract offer for $1 dollar by the franchise he had almost single-handedly built into a dynasty. The Yankees offer was a mere formality, enabling Ruth to refuse, and thus retire on his own recognizance. In 1935 the Braves came forward and offered Ruth what they described as a three-level position: player, assistant manager, and vice president. The last two were a sham. Boston was only trying to beef up their attendance by using the aging legend as a gate attraction. In spite of his rapidly diminishing skills, Ruth showed one last glimpse of his former greatness. On May 25, 1935, in Pittsburgh, Ruth homered in his first two trips to the plate, singled in his third appearance, and in the seventh inning hit a ball over the right field roof of Forbes Field. It was his final major league home run, and it was, typically, a monster shot. He played in only a handful of games after that for the Braves. The closest Babe Ruth ever came to realizing his managerial dream came three years later when he returned to New York as a coach with the Dodgers in 1938. Ruth’s hope was renewed briefly, as he proudly donned this Brooklyn uniform, hoping to parlay the position into something bigger. During his first and only return to Major League baseball after his official retirement in 1935, Ruth was a tremendous drawing card for the talent starved Dodgers, and the Brooklyn front office made sure he kept very high profile. Not only was Ruth appointed first base coach, (where the fans would be sure to see him throughout the entire game), but he was also ordered to take pre-game batting practice with the club so the fans could once again witness the “Sultan of Swat” hitting a few balls out of the park. In spite of the “side show” atmosphere, Ruth clung to hope. But when the club’s managerial post opened the next year Leo Durocher got it, and Ruth wasn’t rehired. He hung up his Brooklyn Dodgers uniform after one season. This would be the last baseball uniform he would ever wear as a professional. Ruth spent the next ten years of his life waiting for the call to become a manager, but it never came. Ruth’s last major league uniform, from his lone season with the Brooklyn Dodgers in 1938, consists of his jersey, pants, and socks. The heavy white flannel Spalding jersey and pants each feature Ruth’s name in red chain stitch. Other significant features include the 1939 World’s Fair patch on the left sleeve of the jersey, and custom lacing affixed to the tail allowing Ruth to keep it neatly tucked into his pants. The royal blue matching socks are stitched with separate numbers “14” and “26”, differing from Ruth’s uniform number 35. Consistent wear is evident throughout, and many characteristics of the uniform can be matched to accompanying vintage photos of Ruth wearing it. It remains in its original state, unaltered since the day removed it for the last time, thus ending the greatest career in sports history. LOA: SCD Authentic (A 9.5).

  • USAUSA
  • 2005-06-10
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Albert uderzo

ALBERT UDERZO ASTÉRIX, LES LAURIERS DE CÉSAR (T.18), DARGAUD 1972 Planche originale n°13 prépubliée dans Pilote n°627 de novembre 1967. Signée. Encre de Chine sur papier 43,8 X 53,4 CM (17,24 X 21,02 IN.) Formidable planche des Lauriers de César où René Goscinny et Albert Uderzo sont au sommet de leur art. On se rappelle qu’au cours d’un repas très arrosé, le chef Abraracoursix avait promis de rapporter à son beau-frère rien de moins que les lauriers de César ! Nos deux Gaulois cherchent donc, coûte que coûte, à se faire engager au service du dictateur romain, ce qui leur vaut une exposition au marché des esclaves, seul moyen trouvé pour se faire recruter. Cette planche, qui se suffit à elle-même sur le plan narratif, rassemble toutes les qualités de la série Astérix : elle commence par une bagarre générale, la spécialité d’Uderzo qui, selon les propres mots de Goscinny, est « capable de dessiner clairement et avec talent n’importe quoi, jusqu’a, et y compris, un combat de pieuvres dans de la gelée de groseilles ». La suite est comme un petit théâtre : les personnages sont posés à même la case, comme sur une scène. Le dialogue, goscinnien à souhait, est un chef-d’oeuvre d’absurde. C’est une des séquences les plus savoureuses de l’album. Il est normal qu’Astérix prenne l’ascendant dans la négociation puisque le marchand d’esclaves n’avait accepté de vendre nos héros qu’à contrecoeur, d’où cette réplique-culte : « Bon, je vous prends mais pas a compte ferme. Si je ne vous vends pas aujourd’hui, vous irez vous faire vendre ailleurs ! »

  • FRAFrance
  • 2016-05-21
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CASABLANCA 1942, BEST SCREENPLAY ACADEMY AWARD PRESENTED TO HOWARD KOCH

CASABLANCA 1942, BEST SCREENPLAY ACADEMY AWARD PRESENTED TO HOWARD KOCH The gold plated brittania statue with the front plaque on the base inscribed ACADEMY OF MOTION PICTURE ARTS AND SCIENCES FIRST AWARD 1943; on the reverse the plaque ACADEMY FIRST AWARD TO HOWARD KOCH FOR WRITING SCREENPLAY OF "CASABLANCA"--12 in. high. Howard Koch (1902 - ) began his career as a playwright in the late 1920s including Give Us This Day and In Time To Come. John Houseman had read his work and told Mr. Koch that he and Orson Welles had an hourly radio play to do; they were looking for a writer they could get very quickly. In 1938 his script the War Of the Worlds became a legendary radio broadcast, directed by Orson Welles. Arriving in Hollywood in 1939, director John Huston helped him get a job at Warner Bros. for $300 a week; Howard Koch's initial contribution to film came in 1940 with Virginia City. After writing The Sea Hawk for Errol Flynn, and The Letter for Bette Davis, Hal Wallis asked him to collaborate with writing team Julius and Philip Epstein on Casablanca. Howard Koch is unquestionably responsible for giving Humphrey Bogart's character "Rick" his fierce political beliefs. While the Epsteins and Koch worked on eachother's scripts, Hal Wallis acted as intermediary and the three writers never actually wrote together. The final result shows the contributions and talent of all writers involved. In 1947 Howard Koch was subpoenaed by the House Un-American Activities Committee. Most of the nineteen "unfriendly" witnesses were writers and despite the fact that Mr. Koch had not been called to testify, and was not a member of any Communist party, he was nonetheless "blacklisted" and forced into exile. He continued his writing career in Europe under an assumed name, completing such works as "A Letter From An Unknown Woman", for which he was named one of the 10 "great's" of all time at the World's Critics Meeting in Lisbon in 1948. In 1961 he once again began to script British films (Loss Of Innocence, The War Lover) under his own name.

  • USAUSA
  • 1994-12-06
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Casey Stengel’s 1951 New York Yankees World Series Ring

Casey Stengel's 1951 New York Yankees World Series Ring, Nineteen fifty-one will forever stand as a definitive year in the history of the New York Yankees franchise. Not only does it represent the hub of the Yankees record run of five consecutive titles, but it also signifies the lone convergence of three of the team's most iconic figures. Casey Stengel, whose tenure with the Yankees would prove to be the most successful in team history, had managed DiMaggio for two seasons since Casey took the helm after the departure of Bucky Harris in 1948. They had won the World Series twice together in two tries. However, by 1951, the great DiMaggio's career was winding down. It has often been reported that he wanted to retire before he became an "ordinary" player. His retirement was also hastened by bone spurs in his heel. The 1951 season would be the curtain call of the "Yankee Clipper". However, it also marked the arrival of the "Oklahoma Kid", Mickey Mantle, who bore the weight of unbridled expectations to fill the gap in centerfield. Word had spread that this young phenom’s monumental power and blazing speed might actually make him a viable replacement to the irreplaceable Joe DiMaggio as the "new" Yankee idol. So convinced of this were the Yankees that they assigned their young prodigy uniform number "6," the next in a sequence that included Ruth (#3), Gehrig (#4), and Joltin' Joe (#5). Though some referred to 1951 as a season of change for the Yankees, the end result was more of the same, another championship title. The Yankees dispatched their cross-town rival New York Giants in 6 games, ending their Cinderella season ("The Giants Win The Pennant!"). It was a sweet ending for some and a new beginning for others; Game 6 marked the final Major League game for DiMaggio, who was headed for retirement at age thirty-six, while Mantle would appear in eleven more World Series. The Yankees were now 14-4 in World Series appearances and 1951 marked the solidification of the second coming of a baseball dynasty. This is Casey's own 14k gold 1951 Yankees Championship ring, remaining in virtually the same condition as when he received it. A shimmering .30-carat diamond rests in the center of the ring's face. The manufacturer's stamping "Dieges & Clust" and his name "Charles D. Stengel" appear inside the size 10 band. Classic design elements include the proclamation "New York Yankees World Champions" encompassing the face, and the year "1951" on both sides above the Yankees top hat logo. Casey's ultimate prize ranks among the most important World Series rings ever offered for sale publicly. LOA from the Stengel family.

  • 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.