Swinging on a Star: The Collection of Bing & Kathryn Crosby

10.5 x 8.25 in (actual image: 9 x 7 in). A bromide print of Bing Crosby and his first singing partner and fellow Rhythm Boys member, Al Rinker, inscribed with photographer’s mark “Paralta L.A.” to lower right corner.

10.5 x 8.25 in (actual image: 9 x 7 in). A bromide print of Bing Crosby and his first singing partner and fellow Rhythm Boys member, Al Rinker, inscribed with photographer’s mark “Paralta L.A.” to lower right corner. Print presently housed in carved wood frame from Crosby estate.

View 1 of Lot 159: Bing Crosby | A photograph of Bing and Al Rinker, ca. [1920s]

bing crosby | a photograph of bing and al rinker, ca. [1920s]

President Dwight D. Eisenhower Photographic portrait of President Dwight D. Eisenhower, ca. 1945, wearing the uniform of General of the Army, signed and inscribed "For Bing Crosby with warm regards from his friend Dwight D. Eisenhower." Black and white photograph (to sight 7 1/4 x 9 5/8 inches), framed (8 1/4 x 10 1/2 inches); not examined outside of frame.

View 1 of Lot 160: A signed and inscribed photograph of President Dwight D. Eisenhower, ca. 1945

a signed and inscribed photograph of president dwight d. eisenhower, ca. 1945

11.25 x 13.25 in (image: 8x 10 in). Matted and unframed. Black and white print featuring two photographs of Crosby with his horse “High Strike.” Images captioned: “‘HIGH STRIKE’ T. Sena up / BING CROSBY, Owner. / A. Johnson, Trainer. / Wins the California Homebred Stakes of 1937, Oct. 26, 1937, BAY MEADOWS, CALIF. / 6 Furlongs—1.11:1 Claudian 2nd. Better Bet 3rd.”

View 1 of Lot 12: Bing Crosby | A photograph of Bing and his prize-winning horse "High Strike," ca. 1937

bing crosby | a photograph of bing and his prize-winning horse "high strike," ca. 1937

of arched rectangular form, enameled in translucent green enamel over sunburst engine-turning, surmounted by a ribbon suspending four-color gold floral swags, set with seed-pearls at corners, mother-of-pearl reverse, silver-gilt scroll strut the aperture containing a photograph of Bing and Kathryn Crosby, struck to the lower border and strut with Faberge in Cyrillic, workmaster's initials, 56 standard, scratched inventory number 6014, the strut with workmaster's initials, 88 standard

of arched rectangular form, enameled in translucent green enamel over sunburst engine-turning, surmounted by a ribbon suspending four-color gold floral swags, set with seed-pearls at corners, mother-of-pearl reverse, silver-gilt scroll strut the aperture containing a photograph of Bing and Kathryn Crosby, struck to the lower border and strut with Faberge in Cyrillic, workmaster's initials, 56 standard, scratched inventory number 6014, the strut with workmaster's initials, 88 standard height 2 1/2 in. 6.3 cm

View 1 of Lot 72: A Fabergé Varicolored Gold-Mounted Guilloché Enamel Miniature Photograph Frame, Workmaster Viktor Aarne, St Petersburg, 1899-1903

a fabergé varicolored gold-mounted guilloché enamel miniature photograph frame, workmaster viktor aarne, st petersburg, 1899-1903

President John F. Kennedy and First Lady Jacqueline Kennedy

President John F. Kennedy and First Lady Jacqueline Kennedy Photographic portrait of President John F. Kennedy and First Lady Jacqueline Kennedy, inscribed on the mount "For Bing and Kathy Crosby—with appreciation and warmest personal regards. John F. Kennedy—December 1962," likely in the hand of a secretarial proxy. Black and white photograph (7 1/4 x 8 1/2 inches), mounted on card and framed (10 3/8 x 13 1/8 inches); not examined outside of frame, inscription a little faded.

View 1 of Lot 161: A signed and inscribed photographic portrait of President John F. Kennedy and Jacqueline Kennedy, December 1962

a signed and inscribed photographic portrait of president john f. kennedy and jacqueline kennedy, december 1962

Fine Books & Manuscripts, Including Americana

Salinger, J.D. The Graham Family archive, 1951-1989 4 letters (1 ALS and 3 TLS), all signed (“Jerry”), addressed to Mrs. Esther Graham or to Mr. J. Graham, with original mailing envelopes, 1953-1989; a signed and inscribed first edition of The Catcher in the Rye, 1951; a partial The Catcher in the Rye dust jacket, signed by the illustrator E. Michael Mitchell on the same date as the aforementioned first edition, 1951; a rare portrait photograph of Salinger, signed by the photographer Antony di Gesu and presented by Bett Graham to her niece, Pamela, 1952; all items either given or sent to members of the Graham family, documenting their longstanding and, until now, little known friendship with Salinger. In 1949, Salinger met a Canadian couple, Beth (“Bett”) Graham and Michael Mitchell, in Westport, CT, where he was living while finishing his groundbreaking novel, The Catcher in the Rye. The Mitchells had a house nearby and, though it is unclear how exactly they were introduced, they soon became close friends. Salinger would write in their guest house and then read recently written passages from Catcher to the married couple. Michael, a successful magazine illustrator, was asked to design the book’s dust jacket. His striking image of a red carousel horse remains one of the most iconic dust jackets ever created. Even Salinger, notorious for despising his books’ cover art, loved the design. After moving to Cornish, NH, Salinger continued to correspond with the Mitchells, and he occasionally visited them in New York or London. In one of Salinger’s letters to Michael, now at the Morgan Library, he informed the couple that he has “never had two dearer friends,” and refers to their “tri-cornered” friendship (Cowan, Alison Leigh. “Unsealed Letters Offer Glimpse of Salinger. New York Times. February 11, 2010). Bett Graham and Michael Mitchell divorced sometime in the 1960s. From then on, Salinger stayed in touch with them both separately. It is abundantly clear from this archive that the author had a special appreciation for his friendship with the Graham family, especially for Bett and her mother Esther, who he affectionately refers to as “Mother Graham.” Through these unexpectedly warm and revealing letters, spanning nearly forty years, Salinger shows his humor, introspection, and humanity — aspects of his personality which he oftentimes kept hidden. The archive contains: 1) Autograph letter signed “Jerry” to “Dear Mrs. Graham.” Windsor, VT: November 15, 1953 One-page letter (196 x 156 mm), in black ink; old horizontal fold. With postmarked autograph envelope. A short but sympathetic letter where Salinger sends his condolences to Esther soon after the passing of her husband, William. Salinger calls him “the gentlest and best kind of human being.” 2) Typed letter signed “Jerry” to “Dear Mrs. Graham.” Windsor, VT: June 16, 1959 Two-page letter typewritten on one side of a single folded sheet (210 x 271 mm), signed in black ink; old folds, very faint toning along the top edge at center. With postmarked typed envelope. An affable, funny letter from Salinger to Esther Graham, where he discusses Bett and Michael’s recent move to London. He expresses his sadness at not seeing his friends more often, and his desire to go visit them so that they can “all go see the Queen together.” Salinger mentions his grueling work schedule and laments his lonely automat lunches. He goes on to thank Esther for the clipping she sent him and says that the thought of her brother reading his fiction in Glasgow cheers him up. Near the end of the letter, Salinger mentions his 4-year-old daughter, Peggy. He wishes that she could meet Esther and bemoans the fact that his daughter never gets to see Bett and Mike. 3) Typed letter signed “Jerry” to “Dear Mother Graham.” Windsor, VT: March 3, 1971 One-page letter (270 x 210 mm), typed, signed in black ink; old folds. With postmarked typed envelope. Salinger recounts his recent trip to London where he saw Bett, who is now divorced from Michael. He mentions some of their amusing adventures together, including “the police-station stuff and the mixup at Battersea Park,” and praises Bett’s new apartment, her tiny car, and her friends. He goes on to discuss Michael and how, a little while back, he didn’t see him due to a bout of hypoglycemia. Salinger explains that he has been feeling much better recently, “like the gifted sportsman and Oujia player you knew in Westport.” He then updates Esther on his children, who he feels are happy and doing well. 4) Typed letter signed “Jerry” to “Dear J.” Cornish, NH: November 19, 1989 One page letter (270 x 210 mm) to James Graham, typed, signed in black ink; old folds. With postmarked typed envelope. In this heartfelt, yet somber letter, Salinger responds to news of the death of his friend Bett Graham. He writes back to her brother, James, and begins by saying that his memory isn’t what it used to be, before recounting a series of detailed memories. First, he remembers exactly who James is, despite having never met him. He goes on to eulogize Bett, praising her kindness, intelligence, and wit. With his characteristic acerbity, Salinger expresses disdain for the word “compassion,” which he finds overly sentimental. However, he admits that, when referring to Bett, he can make an exception for the word. After a brief digression to discuss Mike, who had already phoned him with the news, he responds to a remark that he thought was disparaging to Bett — a reference to her supposedly turbulent life. He vigorously defends her against this characterization, recalling her selflessness, and imagining her at a kitchen sink washing other people’s dirty dishes — “gloomy thoughts,” he adds. Salinger ends the letter by thanking James for being there with Bett during her last days, and he sends his love to the rest of the Graham family. He signs the letter “Jerry,” before adding “(Salinger)” in typescript. 5) J.D. Salinger. The Catcher in The Rye. Boston: Little, Brown and Company, 1951 8vo (195 x 127 mm). First edition, third printing, inscribed “To Esther and Willie Graham, / with love, / Jerry” and dated September 5, 1951, in blue ink on the front free endpaper; old smudge to the word “Willie” in the inscription. Publisher’s cloth; lacking dust jacket, a few minor spots of rubbing and wear to the extremities, spine title a bit dulled, a slight lean, front hinge cracked. 6) A partial The Catcher in the Rye dust jacket, signed and inscribed by the illustrator E. Michael Mitchell, “To Mother / and Father Graham / with love” and dated September 5, 1951 on the rear flap in light blue ink, the jacket from a Book-of-the-Month Club edition; front cover missing, front flap detached, some creasing, staining, and fraying along edges. 7) Antony Di Gesu. Portrait Photograph of J.D. Salinger reading The Catcher in the Rye. November 20, 1952 Silver gelatin print (216 x 317 mm), double matted and framed. Signed and dated by Di Gesu in gold ink in lower left corner, additionally inscribed in pencil on the frame’s verso, “To: Pamela from Aunt Beth / a portrait of an old friend Nov. 1989.” A studio portrait photograph of Salinger reading from The Catcher in the Rye while smoking a cigarette. This is from one of only two known studio sessions that the author sat for. This print was presumably gifted by Salinger to Bett Graham, who then gave it to her niece shortly before her death in 1989. Anthony di Gesu, the photographer, is known for his celebrity portraits, including Norman Mailer, Truman Capote, Irving Berlin, Margaret Mead, and Jonas Salk. He wrote about Salinger’s visit in his unpublished memoir: “On the 20th of November, 1952, J.D. Salinger (author of Catcher in the Rye) came to the studio and said he wanted a portrait of himself for his mother and his fiancée. Since I didn’t [know] as much then as I do now, I set up the camera and light and sat him right down. His expression was so rigid and self-conscious [that] I was at my wits end. Nothing happened. I decided on something I had never done before with an adult. I excused myself, went up to my apartment and came down with ‘Catcher in the Rye.’ I brought him a table and ashtray, set down the book (why the hell didn’t I ask him to autograph it?) and suggested he do anything he pleased. Read to himself. Read aloud or just smoke. “If I’d thought he was going to be so damned famous, I’d have written down everything we talked about to get the expression we did. I took 48 5 x 7 negatives. Serious, thoughtful, smiling, laughing, howling with laughter. White shirt, white background. Black suit, black background. But I don’t remember a thing. “He was pleased with the results, but asked me not to show the portraits publicly. When I asked why, he said when people recognized him, they usually behaved peculiarly because they thought he would write about them. I promised I wouldn’t and I kept that promise for thirty years.” (Anthony di Gesu. From his unpublished memoir. https://sandiegohistory.org/collection/photographs/digesu2/) For a book inscribed by Salinger to Bett Graham, The Complete Novels of Jane Austen, see following lot.

View 1 of Lot 1065: Salinger, J.D. | The Graham Family archive, including autographed letters, an inscribed Catcher, a rare studio photograph of the author, and more

salinger, j.d. | the graham family archive, including autographed letters, an inscribed catcher, a rare studio photograph of the author, and more

President Ronald Reagan Photographic portrait of President Ronald Reagan with Katherine Crosby, inscribed on the mount "To Catherine Crosby [sic] with best wishes", in the hand of a secretarial proxy, and signed by the president "Ronald Reagan." Color photograph (9 7/8 x 8inches), mounted on card and framed (13.75 x 11 x 0.5 inches).

View 1 of Lot 163: A signed photographic portrait of Ronald Reagan

a signed photographic portrait of ronald reagan

rectangular with arched top, the surface enameled in aquamarine over wavy engine-turning, the aperture framed by rose-cut diamonds, below a rose-cut diamond-set ribbon and flowers at each corner, the gold border surmounted by varicolored gold flowers, each side with acanthus leaf terminals and feet, scroll strut, ivorine reverse, struck to lower edge with workmaster's initials, 56 standard

rectangular with arched top, the surface enameled in aquamarine over wavy engine-turning, the aperture framed by rose-cut diamonds, below a rose-cut diamond-set ribbon and flowers at each corner, the gold border surmounted by varicolored gold flowers, each side with acanthus leaf terminals and feet, scroll strut, ivorine reverse, struck to lower edge with workmaster's initials, 56 standard height 2 ⅝ in. 6.6 cm

View 1 of Lot 98: A Jewelled Varicolored Gold-Mounted Guilloché Enamel Photograph Frame, Carl Blank, St Petersburg, circa 1890

a jewelled varicolored gold-mounted guilloché enamel photograph frame, carl blank, st petersburg, circa 1890

11.25 x 14.5 in (image: 8.75 x 7.5 in). A silver gelatin print of Bing Crosby, signed and inscribed: “To my dear / Kathryn / Much love / Bing” in black ink to upper right by Bing.

11.25 x 14.5 in (image: 8.75 x 7.5 in). A silver gelatin print of Bing Crosby, signed and inscribed: “To my dear / Kathryn / Much love / Bing” in black ink to upper right by Bing. Print presently housed in engraved, silver-toned metal frame from Crosby estate.

View 1 of Lot 1: Bing Crosby | A signed and inscribed photograph to Kathryn

bing crosby | a signed and inscribed photograph to kathryn

An oversize silver gelatin studio publicity <a href="https://www.sothebys.com/en/search?query=photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">photograph</a> of <a href="https://www.sothebys.com/en/search?query=Brigitte%20Bardot&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Brigitte Bardot</a> from the film <a href="https://www.sothebys.com/en/search?query=Les%20Novices&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Les Novices</a>.<ul><li>Gianni Bozzacchi (Italian, b.1943).</li><li>Conservation framed with UV plexiglass.</li></ul> There is a perspex window on the back of the frame showing photographer's stamp and information together with a news agency stamp.&nbsp;

Brigitte Bardot Les Novices Movie Studio Photograph

An archive of more than 1100 photos from the service of a single soldier before, during, and immediately after World War II.<ul><li>Sold as a set of over 1100 photos, contained in 5 albums.</li><li>Peter R. Betz (American).</li><li>Various places, (1927-1946). </li></ul> Contents and Condition Notes: Oblong string-tied commercial album, imitation leather titled "Photographs" with small portrait photo, cut to the shape of a key-hole, fixed to front cover.<ul><li>163 photographs of various snapshot sizes, corner-mounted to leaves recto and verso, most with holograph captions and several small doodles. </li><li>Approximately half are colorized. </li><li>Photographs depict family vacations, bicycle racing, aviation, scouting, and other subjects, dated from 1927 to 1935. </li><li>Five photographs and a bicycle race program laid-in. </li><li>Four hand-made title pages dividing album into sections. </li><li>Album is generally in good condition, with some rubbing and wear and a tear at the front cover to which tape has been applied. </li><li>"Aviation Section" of nine leaves is lacking most photographs. </li><li>First painted title page adhered to the cover opposing it. </li><li>Most photos about fine.</li></ul> Oblong commercial photo album, lacquer cover with surfing scene and "Aloha Hawaii" at rear; lacking front cover. <ul><li>226 black and white photographs, most with captions, corner mounted to 25 leaves recto and verso. </li><li>Photos primarily military scenes in Hawaii and Panama from 1937-1938 with several family photographs.</li><li>Album in poor condition: lacking the front cover, rear cover and leaves edge-worn and many photographs loose from their mounts. </li><li>Still most photographs about fine. </li></ul> Oblong string-tied commercial album titled "Photographs," hand-lettered title page "G.I./ Memories/Feb. 6 1942-Nov. 17 1945" (above right) with domestic and Pacific theatre place names listed. <ul><li>202 photographs, various sizes.</li><li>Photos primarily from Hawaii and New Guinea. </li><li>Laid in at rear is a promotional calendar for 1944, upon which a rendering of a B-2 has been drawn. </li><li>Album generally good. </li><li>Front cover detached but present. </li><li>Covers edge-worn.</li><li>Leaves suffer some chipping to edges. </li><li>Some photographs have come loose from their mounts, but most in fine condition. </li></ul> Oblong string-tied album, brown imitation leather with "Photographs" printed at front cover. <ul><li>252 photographs of various snapshot sizes, a handful larger, mounted recto and verso to 36 leaves plus leaf of photo-strips with a total of 50 images. </li><li>Most photos with holograph captions from Oahu, New Guinea, and various locations throughout the Philippines. </li><li>Dated 1945. </li><li>Album suffers some edge-wear, front joint starting. </li><li>Several pages disbound. </li><li>Some photographs dismounted, most generally fine. </li></ul> Oblong string-tied commercial album, imitation leather embossed with a horse bust design and "Photographs" at front cover. <ul><li>Hand-lettered title page "Nanking China/Nov. 9th 1945/ to/ Feb. 12th 1946". </li><li>Approximately 290 black and white photos, corner-mounted to 14 leaves recto and verso, most with hand-written captions. </li><li>Photographs depict scenes from an airfield, the city of Nanking (Nanjing,) Shanghai, aboard the transport ship USS General Scott, arrival in Seattle, train journey, domestic family scenes and a welcoming parade in Buffalo, NY. </li><li>Laid in are four photographs of various sizes. </li><li>Album lightly edge-worn. </li><li>Some pages disbound but present.</li></ul> Collection by Peter R. Betz with detailed and captioned photographs of the Philippines Campaign, as well as many other experiences of a soldier's life during the WWII. Peter R. Betz (identified by his name and postwar address in the rear of two of the albums) served with the U.S. Army in the Pacific, and his photographs document that theater and the Philippines Campaign in detail. Nearly every photograph features Betz's neat, holograph captions, and the albums in general are highly organized, making for an incredibly thorough photographic biography of a soldier. The earliest photographs are dated 1927 and feature images of a Boy Scout troop and camping trip. Two of the albums also contain several images of the Betz's family, including parents, siblings, and cousins. Many of these family portraits are hand tinted. Betz's documentation of his Army career begins in 1937 and '38, with his service in Hawaii and Panama. The photographs regarding this time are casual and candid: soldiers relaxing in barracks and off-base in Honolulu and Waikiki beach, hiking trips in the mountains of Hawaii, native Hawaiians in traditional dress, a visit from President Roosevelt, as well as (separately) from Gracie Allen and George Burns. And photographs of the Panama Canal lock system in action reveal a keen interest in mechanics and engineering. Wartime photographs are contained primarily in two albums. The first, titled "G.I. Memories, Feb. 6, 1942 - Nov. 17, 1945" (above) features over 200 images. These include stateside images of Camp Croft and Sand Hill, SC. A second deployment to Hawaii also features heavily, including many of the same kinds of images as appeared earlier. The album contains a notable series of 28 photographs taken in New Guinea, identified by Betz as "Native dance...started Friday thru Sunday night." 47 photos from December 1944 to January 1945 in Leyte, Philippines show US Army barracks and soldiers, native Filipinos (mostly children), countryside, numerous aircraft and ships, and the aftermath of one or more unidentified battles (as left). The second album focuses almost entirely on operations in the Philippines. These include eighteen photographs, with aerial shots, labeled "Air Drop," eleven photographs "taken from" and of Japanese soldiers, and six showing a Japanese surrender on an unidentified airfield. Most importantly, however, over 60 photos that trace the U.S. effort to retake islands from the Japanese, including the January 29, 1945 beach landing at San Narciso, which marked the beginning of the Battle of Bataan. Also noteworthy: Mariveles and the aftermath of fighting in Zig Zag Pass, preparing for the detonation of Fort Drum in Manila Bay on April 12, 1945, followed by images of a beach landing on and aerial shots of Carabao Island on April 16. Additionally: 100 photos, dated January-October 1946, of Luzon after the liberation of the island. The photographs show soldiers and native Filipinos, including Negrito resistance fighters armed with bow and arrow, as well as villages and buildings, many showing the effects of the war. A final album documents, in over 200 images, Betz's experience immediately after the end of hostilities, where he served out his enlistment in Nanking and Shanghai, China. Dated Now. 9, 1945 - Feb. 12, 1946, these photographs show various aspects of the city, soldiers, and people, as well as US and Japanese planes, ships, and like. The album concludes with photographs taken from the deck of the USS General Scott during Betz's return voyage to the United States. Betz was a serious student of photography, and his images demonstrate a keen eye for framing and documentary. As comprehensive an archive of a soldier's WWII service as we've encountered. While vernacular albums from this era do turn up, we aren't aware of any as large, or as comprehensively-captioned, that focuses on a single person as this one. Indeed, both circumstances of life in the Pacific theater, as well as formal censorship policies and security restrictions made assembling such a large collection extraordinarily difficult. A rare, compelling, and significant collection.

Photograph Archive of a WWII Soldier's Life In The Pacific Theater

A <a href="https://www.sothebys.com/en/search?query=photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">photograph</a> from the production of the film <a href="https://www.sothebys.com/en/search?query=Breakfast%20At%20Tiffany%27s&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Breakfast At Tiffany's</a>.<ul><li>Photographic production still.</li><li>Conservation framed with UV plexiglass.</li></ul>

Breakfast at Tiffany's Movie Production Photograph

A <a href="https://www.sothebys.com/en/search?query=photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">photograph</a>&nbsp;from the production of the film&nbsp;<a href="https://www.sothebys.com/en/search?query=Babette%20Goes%20to%20War&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Babette Goes to War</a>.<ul><li>Alan Clifton (dates unknown).</li><li>Silver gelatin photograph.</li><li>Conservation framed with UV plexiglass.</li></ul> This photograph was taken on set in London by Alan Clifton for Camera Press Ltd., and used to promote the film in France. There is a perspex window on the back of the frame showing film information, copyright stamp and a couple of press agency stamps. Formerly in the collection of Michel Giniès. Giniès is a French press photojournalist.

British Babette s'en va-t-en Guerre / Babette Goes to War Movie Photograph

A <a href="https://www.sothebys.com/en/search?query=studio%20photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en&amp;filters.type=Buy%20Now" rel="noopener noreferrer" target="_blank">studio photograph</a> produced for the film <a href="https://www.sothebys.com/en/search?query=It%27s%20A%20Wonderful%20Life&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">It's A Wonderful Life</a>.<ul><li>Key book studio photograph.</li><li>Conservation framed with UV plexiglass.</li></ul> A number of the film studios went the extra mile and produced 'keybook stills'. These were either on heavier paper stock or mounted onto linen, and had an extra inch of white at either the top or side, which allowed for punch holes so that these stills could be placed into a special album. Very few of the these albums were produced for each film.

It's A Wonderful Life Movie Studio Photograph

Jean-Michel Basquiat photograph by Nicholas Taylor.<ul><li>Silver gelatin print.</li><li>Signed, dated and numbered 2/5 by the photographer.</li><li>Part of Taylor’s well-documented portfolio exploring his friendship with Jean-Michel Basquiat.</li></ul>

Jean-Michel Basquiat Photograph

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">movie studio photograph</a> for the film <a href="https://www.sothebys.com/en/search?query=The+Great+Escape&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">The Great Escape</a>.<ul><li>Original studio photograph.</li><li>There is a perspex window on the back of the frame showing an NBC TV caption.</li><li>Conservation framed with UV plexiglass.</li></ul>

The Great Escape Movie Studio Photograph

Original silver gelatin gloss photograph of Alan Ladd for The Blue Dahlia film.<ul><li>Philippe Halsman (American, 1906–1979).</li><li>Paramount Pictures.</li><li>Copyright stamp, photographer's signature and "Alan Ladd '45" to reverse</li><li>Paper framed with obeche wood, card mount and UV plexiglass.</li></ul>

The Blue Dahlia Movie Photograph

Panoramic school photograph of pupils, including John Lennon at Quarry Bank High School, Liverpool, May 1957.<ul><li>John Lennon attended the school between 1952 and 1957 and can be seen in the second row from the top, towards the center.</li><li>Rolled and unframed.</li></ul>

 John Lennon High School Class Photograph

René Magritte press photograph published on the occasion of a 1990 Magritte exhibition held at the world famous Pace/Macgill gallery in New York.<ul><li>Published by Pace/Macgill Gallery New York 1990.</li><li>Silver-gelatin print.</li></ul> René Magritte’s cerebral, enigmatic paintings and prints helped define the imagery and philosophy of the Surrealist movement. His most famous works, including The Treachery of Images (1929) and The Son of Man (1946), explore the illusory power of art and juxtapose mundane and fantastical iconography. Magritte was born in Belgium. After a stint at the Académie Royale des Beaux-Arts in Brussels and employment as a designer and draftsman, he moved to Paris and became involved with the Surrealist trailblazer André Breton. In the late 1940s, Magritte made a series of “vache” (“cow”) paintings that embraced bright Fauvist hues and pushed the limits of good taste. His work has been exhibited at institutions including the Museum of Modern Art, Centre Pompidou, Los Angeles County Museum of Art, Museo Reina Sofía, Tate Britain, Kunstmuseum Basel and many others, and belongs to the collections of many more. His work has sold for tens of millions on the secondary market.

Magritte Press Photograph

'Fela in Detroit' photograph by Leni Sinclair, shot in 1986 and printed later.<ul><li>Signed. titled, and dated by the photographer.</li><li>Shot at Detroit's historic Fox Theater just one year after Fela's release from prison.</li><li>Archival Inkjet print.</li></ul>

Fela Kuti Photograph

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Photographs" rel="noopener noreferrer" target="_blank">photograph</a> taken on the set of the <a href="https://www.sothebys.com/en/buy/james-bond" rel="noopener noreferrer" target="_blank">James Bond</a> film, Dr. No.<ul><li>Photographed by Herman Leonard (American, 1923-2010).</li><li>Oversized candid double-weight photograph.</li><li>With a perspex window on the back that displays the original information, along with measurements indicating the required printing size for the press.</li><li>This work is presented framed.</li></ul> This oversized, candid double-weight photograph of the legendary Sean Connery was taken on the set of the first James Bond film,&nbsp;Dr. No. Captured by Herman Leonard, a highly sought-after jazz photographer known for his dramatically lit, smoky images, Leonard’s unique background makes this photograph particularly intriguing. The image of Connery relaxing with a cigarette between takes is nothing short of iconic and represents a truly unique find.

Photograph Of Sean Connery On the Set of James Bond: Dr. No

A <a href="https://www.sothebys.com/en/search?query=movie%20production%20photograph&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">movie production photograph</a> from the film <a href="https://www.sothebys.com/en/search?query=A%20Matter%20of%20Life%20and%20Death&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">A Matter of Life and Death / Stairway to Heaven</a>.<ul><li>Photographic production still.</li><li>Conservation framed with UV plexiglass.</li></ul>

A Matter of Life and Death / Stairway to Heaven Movie Production Photograph

Behind the scenes photographs by Fernando Natalici from the sets of the films 'Unmade Beds' and 'The Foreigner.'<ul><li>Sold as a set of 43 prints.</li><li>Each is hand signed on the reverse by the photographer.</li><li>Director of both 'The Foreigner' and 'Unmade Beds,' Amos Poe's iconic films were connected heavily to the birth of American punk, the New York New Wave and No Wave cinema movement, and the downtown New York art scene. </li><li>The films feature Debbie Harry, Patti Astor, Eric Mitchell, Duncan Hannah, Eric Mitchell and more. These never before seen candid black and white behind the scenes photographs by Fernando Natalici showcase what it was like shooting on set on set for both films.</li></ul>

The Foreigner and Unmade Beds Behind the Scenes Photographs

A French photograph from the production of the film&nbsp;<a href="https://www.sothebys.com/en/search?query=A%20Bout%20de%20Souffle%20%28Breathless%29&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">A Bout de Souffle&nbsp;(Breathless)</a>.<ul><li>Silver gelatin photograph.</li><li>Conservation framed with UV plexiglass.</li></ul> This photograph is of Jean-Paul Belmondo and Jean Seberg on the terrace of the café 'Au vrai Sancerre' in Paris. There is a perspex window on the back of the frame showing handwritten information and press agency stamps. Formerly in the collection of Michel Giniès, born in 1952. Giniès is a French press photojournalist.

French A Bout de Souffle / Breathless Movie Production Photograph

A collection of photographs and film transparencies of Fela Kuti and his live performances.<ul><li>Sold as a set of over 17.</li><li>Includes 2 darkroom publicity photos, circa the early to mid 1980s.</li><li>Also includes over 15 35 mm transparencies of Fela performing live, and 6 transparencies of Fela Kuti's dancers.</li><li>Fela Kuti, byname of Olufela Olusegun Oludotun Ransome-Kuti, also called Fela Anikulapo-Kuti, was a Nigerian musician and activist who launched a modern style of music called Afro-beat, which fused American blues, jazz and funk with traditional Yoruba music.</li></ul>

Fela Kuti Photographs and Film Transparencies

Blinds &amp; Shutters is a limited-edition Genesis Publications book containing Michael Cooper’s superb photographs of The Beatles and The Rolling Stones.<ul><li>Michael Cooper (English).</li><li>Contains forewords by Mick Jagger and Keith Richards, and an introduction by Terry Southern.&nbsp;</li><li>Prepared in consultation with Bill Wyman.</li><li>United Kingdom: Genesis Publications / Hedley, 1990.</li><li>There are over 600 images in total.&nbsp;</li><li>This is No. 4, 333 of 5,000 limited-edition copies and has been hand-signed by Peter Blake, Jenny Boyd, Eric Clapton, Adam Cooper, Spencer Davis, Terry Doran, Jann Haworth, Allen Jones, Anita Pallenberg and Bill Wyman.</li><li>There are approximately 90 contributors including, among others, Eric Clapton, George Harrison, Paul McCartney, Ringo Starr, Neil Aspinall, Derek Taylor, Terry Doran, John Dunbar, Colin Self, Peter Blake, Jann Haworth, Jenny Boyd, Richard Hamilton, Robert Fraser, Marianne Faithfull, Klaus Voormann, Astrid Kirchherr, Anita Pallenburg, Ian Stewart, William Burroughs and Allen Ginsberg.</li><li>The book is fully bound in leather and buckram.</li></ul> Blinds &amp; Shutters provides a unique insider’s view of the sixties, a prolific and exhilarating period of artistic cross-fertilization. Through his association with Robert Fraser, The Stones and The Beatles, Michael met the artists, writers, poets and musicians of the time and the courtiers around them. He introduced these people to each other. Many of those who brilliantly lit up the decade on both sides of the Atlantic were photographed by Michael. His most well-known photographic assignment was the album cover for The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.

Blinds & Shutters, Photographs and Autographs, The Beatles and The Rolling Stones

A collector's edition of Linda McCartney: Life In Photographs, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Autographed%2520and%2520Signed%2520Material" rel="noopener noreferrer" target="_blank">signed</a> by <a href="https://www.sothebys.com/en/search?query=Paul%20McCartney&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Paul McCartney</a>.<ul><li>Linda McCartney (American).</li><li>Germany: TASCHEN, 2011.</li><li>Signed by Paul McCartney.</li><li>Numbered 673 of 750 copies.</li><li>Hardcover book housed in a clamshell box.</li></ul>

Linda McCartney: Life In Photographs

A key book <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">studio photograph</a> from the film <a href="https://www.sothebys.com/en/search?query=Suspicion&amp;pfilters.dateRange=past" rel="noopener noreferrer" target="_blank">Suspicion</a>.<ul><li>Conservation framed with UV plexiglass.</li></ul> This is a key book still. Many studios spent extra money to have their best photographs either backed with linen or printed on a heavier paper, both of which enhanced their durability. They had an extra 1 inch at the left or top with punch holes, owing to being stored in a binder file. The extra area with the punch holes has been trimmed, which often happens with these key book stills.

Suspicion Movie Key Book Studio Photograph

A Key Art <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">photograph</a> from the movie&nbsp;<a href="https://www.sothebys.com/en/search?query=High%20Society&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">High Society</a>.<ul><li>Conservation framed with UV plexiglass.</li></ul>

High Society Movie Key Art Photograph

A silver gelatin publicity <a href="https://www.sothebys.com/en/buy/luxury/collectibles/famous" rel="noopener noreferrer" target="_blank">photograph</a> of <a href="https://www.sothebys.com/en/search?query=Catherine%20Deneuve&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Catherine Deneuve</a> in the film <a href="https://www.sothebys.com/en/search?query=Repulsion&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Repulsion</a>.<ul><li>Conservation framed with UV plexiglass.</li></ul>

Catherine Deneuve Repulsion Movie Studio Photograph

Jean-Michel Basquiat photograph by Nicholas Taylor.<ul><li>Silver gelatin print.</li><li>Signed and numbered by the photographer from an AP of 3.</li><li>Part of Taylor’s well-documented portfolio exploring his friendship with Jean-Michel Basquiat.</li></ul>

This darkroom photograph was captured on the set of Unmade Beds by celebrated New York downtown photographer and graphic designer Fernando Natalici.<ul><li>Fernando Natalici (Brazilian, b. 1949).</li><li>Hand-signed and numbered on the reverse from an edition of four artist proofs.</li><li>Silver gelatin print.&nbsp;</li></ul> Unmade Beds (directed by Amos Poe) stands as a seminal cinematic work at the height of the 1970s American underground—a film which has been documented in virtually every publication pertaining to the history of the late 70s New York downtown art scene.

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