Hollywood Auction 43

Martin Charnin autograph manuscript lyrics to “It’s the Hard-Knock Life” from the Broadway production of Annie.

Martin Charnin autograph manuscript lyrics to “You’re Never Fully Dressed Without a Smile” from the Broadway production of Annie

Typed contract, five pages, Quarto, Culver City, California, August 25, 1938. The contract – an unsigned carbon copy of the original employment agree

Six page typed manuscript speech which Orson Welles prepared for his acceptance of the New York Film Critics Award to Citizen Kane as best picture of

Before America involved itself directly in the European conflict, England was well entrenched and receiving heavy losses to Germany, inspiring British

Louise Brooks appearing in “The Wichitan” annual yearbook of Wichita High School for 1922, 8 x 10.75” in embossed, decorated wraps, 192 pp. This was h

(Thomas Ince, 1912/1925 extended version) (8) Virtually mint, unused hand-watercolored 11 x 14” lobby cards with original printed envelope, for the 1

Beautifully constructed Airco DH.4 biplane filming miniature with metal body and wings, mesh grille and wooden prop. Nicely detailed with exposed eng

Extraordinary and absolutely unique beyond any stretch of the imagination is an understatement for this oversize, custom-crafted (almost certainly by

(MGM, 1940) Silkscreen ink on satin cloth with original wooden dowel hanger, 39 x 50”. One of the first films to offer young Judy Garland the transit

(RKO, 1932) Canvas “burgee” banner with silkscreen printing, grommets in top margin for hanging, and finished at bottom with golden fringe. This film

(Universal Pictures, 1938/1950 reissue) Folded US 27 x 41” one-sheet poster for the 1950 release as a feature compilation of the 1938 15-chapter seri

(United Artists, 1930/1937 reissue) Folded US 27 x 41” one-sheet poster for this film’s reissue in 1937. Legendary silent film director D.W. Griffith

(Hammer Film Productions, 1964) French original 47 x 63” stone-lithograph poster with artwork by Guy-Gerard Noel. One of several entries by Hammer Stu

(Ealing Studios, 1945; U.S. release 1946) U.S. 81 x 81“ six-sheet poster. Considered by many cineastes as arguably the greatest gothic horror film ev

(Paramount, 1950) Original release US 14 x 36” insert poster. Billy Wilder’s Sunset Boulevard is not just a true classic in the Film Noir genre, but

Limited Edition lithograph of the Polish one-sheet poster style-B with wonderful Expressionistic artwork by Waldemar Swierzy featuring Gloria Swanson.

(Universal International, 1954) Original 3-D release US 14 x 22” window card poster. The Creature is the only horror character from the 1950’s with t

(Allied Artists, 1956) Original US 27 x 41” one-sheet poster for one of the quintessential science-fiction films of the 1950’s, in which alien “pods”

(Columbia, 1956) Original US 27 x 41” one-sheet poster for a top favorite title among 1950’s science-fiction fans, best remembered for Ray Harryhause

(Warner Bros., 1951/1961 reissue) Italian 39 x 55” due-foglio poster by Rodolfo Gasparri for the 1961 reissue of Alfred Hitchcock’s timeless and clas

(Titanus, 1972) Approximately 19 in. x 26 in. Gouache on board. The artist is Picchioni (presumably Franco). Very bright and vivid overall, small

(20th Century-Fox, 1977) Folded original “post-Oscar” general release 30 x 40” UK “quad” poster with art by Chantrell for George Lucas’ Star Wars (no

(Zoetrope, 1979) Original rolled 41 x 58” Japanese B-Zero size poster by noted stage and costume designer Eiko Ishioka for Francis Ford Coppola’s Vie

(Zoetrope, 1979) Original rolled 41 x 58” Japanese B-Zero size poster by noted stage and costume designer Eiko Ishioka for Francis Ford Coppola’s Vie

(Avco Embassy, 1981) Original concept artwork featuring Kurt Russell in his memorable role as the special forces-soldier-turned-criminal, “Snake Pliss

(Universal Pictures, 1983) Commercial poster print, 23 x 34” of Al Pacino’s most popular film character, Tony Montana in the film Scarface, boldly ha

Gouache on 9.75 x 12.5” chocolate-brown illustration paper by de Zamora(1889-1971) of African-American exotic entertainer Josephine Baker, at the heig

(Paramount, 1965) Pencil and watercolor on 14 x 17” illustration-pad paper by famed designer Edith Head of one of the signature dresses worn by Carro

(Desilu Studios, 1964) Pencil and watercolor on 11 x 15” illustration paper by Edith Head and signed by her on lower right recto, for Lucille Ball in

(CBS-TV, 1951-1957) Original costume concept sketch accomplished in gouache, pencil and ink on an approx. 9 in. x 14 in. leaf of artist’s illustration

(RKO, 1948) Pencil and watercolor on 4-ply illustration board by Dorothy Jeakins of Ingrid Bergman in Joan of Arc, for which Jeakins won the Academy

(Columbia, 1969) Pencil, watercolor and gouache on 16 x 20” 4-ply illustration board, executed and signed by Moss Mabry, one of the most recognized a

(Warner Bros., 1959) Pencil and watercolor on 11.5 x 16” illustration paper with fabric swatch affixed, by prolific designer Howard Shoup, recognized

(Universal International, 1963) Pencil and watercolor on 4-ply illustration board with fabric swatch affixed(on verso), by Rosemary Odell, veteran of

(TCF, 1955) Original costume design sketch accomplished in gouache, pencil and ink on a 15 in. x 20 leaf of artist’s illustration board, featuring Ric

(20th Century-Fox, 1955) Pen & ink and gouache on vellum, 9.25 x 12” costume sketch by Kay Nelson for Charles Le Maire, of Leslie Caron in Dadd...

(Paramount, 1974) Pencil and watercolor on 15 x 20” 4-ply illustration board with fabric swatch affixed, executed and initialed by Theadora Van Runkl

(Paramount, 1954) Pencil, pen & ink, and watercolor with fabric swatch affixed, on 13.5 x 19” illustration paper by famed designer Edith Head o...

(Paramount, 1934) Pencil, pen & ink, colored pencil and watercolor on 14.25 x 22.5” 2-ply illustration board, signed in pencil by Paloma Gibson...

(United Artists, 1954) Pencil, watercolor and gouache on 14.5 x 23” 2-ply illustration board with two fabric swatches affixed, executed and pencil-si

(20th Century-Fox, 1954) Pencil, pen & ink, and watercolor on 15 x 20” 4-ply illustration board, executed by costume designer Miles White and s...

(United Artists, 1944) Pencil, pen & ink, watercolor, and gouache on 13 x 20” 4-ply illustration board, executed and signed in pencil by Santia...

(United Artists, 1945) Pencil, pen & ink, watercolor, and gouache on 10 x 20” 4-ply illustration board, executed and signed in blue pencil by O...

(Universal International, 1958) Pencil, watercolor and gouache on 13 x 19.5” 1-ply caramel-colored illustration paper, with fabric swatch affixed, st

(Warner Bros., 1963) Pencil, watercolor and gouache on 15 x 22” 2-ply illustration board, executed and pencil-signed by Norma Koch, whose noted work

(20th Century Fox, 1936) Pencil, pen & ink, colored pencil and watercolor on 11.5 x 14.5”” 2-ply illustration board, signed in pen by Paloma Gi...

(MGM, 1954) Pencil, pen & ink, watercolor, and gouache on 15 x 22” 2-ply illustration board, by Helen Rose for Anne Francis’ ingénue chara...

(Columbia, 1969) Pencil, watercolor and gouache on 15 x 20” 4-ply illustration board with fabric swatches affixed, executed and signed by Moss Mabry

Pencil, crayon, and gouache on 10 x 17” 4-ply colored matboard by Peter Menefee (with his COA), one of the most prolific designers for big television

(Paramount, 1974) Pencil and watercolor on 15 x 20” 4-ply illustration board, executed and initialed by Theadora Van Runkle, and identified by her as

(Paramount, 1955) Pencil, pen & ink, watercolor, and gouache on 14.5 x 19” 2-ply illustration board, by Edith Head of Grace Kelly in Alfred Hit...

Original costume sketch accomplished in ink and gouache on an approx. 16 in. x 20 in. leaf of artist’s illustration paper, featuring Liberace wearing

(20th Century-Fox, 1964) Pencil, pen & ink, watercolor, and gouache on 14 x 17” illustration paper, executed and very boldly signed by Edith He...

(Warner Bros., 1963) Pencil, watercolor and gouache on 15 x 22” 2-ply illustration board, executed and boldly pencil-signed by Norma Koch, of Dean Ma

(Republic Pictures, 1954) Pencil, watercolor, and gouache on 15 x 20” 4-ply illustration board, executed and signed by Sheila O’Brien, who for severa

(King’s Road Entertainment, 1987) Pencil, watercolor, India ink and gouache on 16 x 20” 2-ply illustration board, executed and signed by Moss Mabry f

Costume sketch of historical character Evelyn Nesbit Thaw from either The Girl in the Red Velvet Swing or Ragtime. Pencil, watercolor, and glitter on

(Mirisch Corporation, 1964) Pencil and watercolor on 15 x 20” 8-ply illustration board by Bill Thomas of Kim Novak’s signature costume for Billy Wild

(MGM, 1957) Pencil, watercolor, and gouache on 15 x 22” 2-ply illustration board with fabric swatch affixed, pencil initialed on verso by Helen Rose

(TCF, 1951) Original costume design sketch by Charles Le Maire accomplished in pencil and gouache on a 15 ½ in. x 20 ¼ in. leaf of artist’...

(Paramount, 1969) Pen & ink and watercolor on special screen-printed period-style newsprint 1-ply illustration paper, 16 x 22” laid onto 18 x 2...

(Universal Pictures, 1967) Pen & ink and gouache on 8.5 x 14” vellum, mounted on 13.25 x 19.25 4-ply matboard with fabric swatch affixed, execu...

(MGM, 1958) Pencil, watercolor and gouache on 15 x 20” illustration board with fabric swatch affixed, attributed to Walter Plunkett, costume designer

(MGM, 1953) Pencil, pen & ink, watercolor, and gouache on 15 x 20” 4-ply illustration board, executed and initialed on verso by Walter Plunkett...

(Warner Bros., 1963) Pencil, watercolor and gouache on 15 x 22” 2-ply illustration board by Norma Koch of Frank Sinatra in the Robert Aldrich directe

(Paramount, 1954) Pencil and watercolor on 8-ply illustration board, 15 x 20”, executed and pencil-signed by John L. Jensen (for Edith Head) of exoti

(MGM, 1951) Pencil and watercolor on 15 x 20” illustration board of a test costume for Robert Taylor’s character “Marcus” in Quo Vadis. Herschel McCoy

(20th Century-Fox, 1944) Pencil, pen & ink, and watercolor on 15 x 20” 8-ply illustration board, executed and pencil-signed by Bonnie Cashin. T...

(20th Century-Fox, 1966) Collection of (4) original pencil and watercolor on 10 x 15” illustration board costume sketches of Asian character types fo

(20th Century-Fox, 1961) (2) Pencil, pen & ink, watercolor, and gouache designs on 11.5 x 17” 1-ply illustration paper, executed and pencil-sig...

(Fox Film Corp., 1933) Pencil, pen & ink, and gouache on 13 x 20” 2-ply illustration paper, executed and pencil-signed by Walter Plunkett of An...

(Paramount, 1963) (3) Pencil, pen & ink, watercolor, and gouache designs on 14 x 17” 1-ply illustration paper by Edith Head(one is signed in pe...

(RKO, 1955) Pencil, pen & ink, and watercolor on 15 x 20” 4-ply illustration board (Dale Robertson design, which is pencil-signed by Woulfe), a...

(Paramount, 1986) Colored pencil and chalk pastel on 19 x 24” 1-ply illustration paper, executed by Wayne Finkleman for the Eddie Murphy comedy, and

(Paramount, 1969) Pen & ink and watercolor with three fabric swatches affixed on special screen-printed period-style newsprint 1-ply illustrati...

(MGM, 1932) This is one of Greta Garbo’s most unusual films, and the only one in which she plays a blonde. The source of the screenplay was Luigi Pir

(Fox Film Corporation, 1933) Original studio mimeo, 134 pp in printed covers, final shooting script by John Balderston(from his play) dated 4/5/1933,

(Warner Bros., 1934-38) Legal-size original studio dialogue-continuity scripts (6) professionally bound in cloth (including original studio printed w

Collection of three dialogue subtitling scripts for James Cagney and Humphrey Bogart films including Roaring Twenties, Amazing Dr. Clitterhouse, and M

(Warner Bros., 1935-41) Legal-size original studio dialogue-continuity scripts (4) with extensive typed and hand-written notes for foreign-language s

(Warner Bros., 1935-39, and UA, 1931) Legal-size (7) and letter-size(1) original studio dialogue-continuity scripts with extensive typed and hand-wri

(MGM, 1935) Typed original manuscript legal-size dialogue continuity screenplay by George F. Kaufman and Morrie Ryskind (with hand-corrections to typ

(MGM, 1936) Original studio mimeo “temporary/incomplete” early draft screenplay, 41 pp in printed covers, by noted novelist and screenwriter James Hi

(Republic, 1937) Complete script, 322 pp, in protective hardcover binding. Zorro Rides Again is often cited by George Lucas and Steven Spielberg as i

Bound volume of six dialogue subtitling scripts for Bette Davis and Humphrey Bogart films of the 1930’s and 40’s, including Dark Victory and The Lette

Bound volume of five dialogue subtitling scripts for Bette Davis films of the 1930’s and 40’s, including Dashiell Hammett and Lillian Hellman’s Watch

(Gainsborough Pictures, 1938) Original studio mimeo legal-size dialogue continuity by Sidney Gilliatt and Frank Launder, 59 pp (with correct UK distr

(TCF, 1939) Complete 193pp Revised Final script, dated May 17, 1938, by Ernest Pascal and Edwin Blum. Darryl F. Zanuck’s personal copy with his penci

(MGM, 1939) Complete original script dated 10/28/1938, 162 pp with orange color corrections, in studio printed cover, for James Hilton’s Goodbye Mr.

(Vanguard Films, 1944) Original studio final shooting script, dated September 9, 1943, for SINCE YOU WENT AWAY by Margaret Buell Wilder from her own

(MGM, 1944) Complete studio script, 127 pp., in original printed cover dated 8/10/43,, with pink revision pages through 11/15/43. Gaslight is revere

(MGM, 1938) Lot consists of six charcoal production drawings of set designs, including home of Bob Cratchit, office of Marley and Scrooge, and other b

(MGM, 1944) Extensive collection of (35) individual works, a few being blueprints for set construction, but the vast majority are original hand-drawn

(MGM, 1945) Extensive collection of (25) individual works, a few being blueprints for set construction, with the rest original hand-drawn charcoal on

(RKO, 1946) Complete 134pp Final shooting script, dated March 17, 1945 (blue revision pages dated March 21), for Tomorrow Is Forever starring Orson We

(2) identical original typewriter carbons of an 8 pp screenplay rough synopsis written by actor Errol Flynn for a color adventure film to be shot unde

(MGM, 1946) Original studio mimeo “temporary/complete” early draft screenplay dated 12/7/1944 with various-dated revisions, 141 pp in printed covers,

Collection of 13 Final Scripts with original studio covers, many with blue revision pages and inserted pages of added scenes, including four (4) from

(Merrill Company Publishers, 1953) Gouache and pencil on two separate 16 x 24” 2-ply illustration boards, which have been mounted together into archi