THE CHARLTON HESTON COLLECTION - Bonhams › original?src=Images › ...THE CHARLTON HESTON...

THE CHARLTON HESTON COLLECTIONTuesday March 22, 2016 Los Angeles

Bonhams220 San Bruno AvenueSan Francisco, California 94103© 2016, Bonhams & Butterfields Auctioneers Corp.; All rights reserved. Bond No. 57BSBGL0808

TCM PRESENTS... THE CHARLTON HESTON COLLECTIONTuesday March 22, 2016 at 1pmLos Angeles

BONHAMS 7601 W. Sunset BoulevardLos Angeles, California 90046 bonhams.com

PREVIEWThursday, March 17, 10am to 5pm

Friday, March 18, 10am to 5pm

Saturday, March 19, 12pm to 5pm

Sunday, March 20, 12pm to 5pm

Monday, March 21, 10am to 5pm

SALE NUMBER: 23706Lots 1 - 322

CATALOG: $35

BIDS+1 (323) 436 5552+1 (323) 850 6090 [email protected]

To bid via the internet please visitwww.bonhams.com/23706

Please note that telephone bids must be submitted no later than 4pm on the day prior to the auction. New bidders must also provide proof of identity and address when submitting bids. Telephone bidding is only available for lots with a low estimate in excess of $1000.

Please contact client services with any bidding inquiries.

Please see pages 138 to 141 for bidder information including Conditions of Sale, after-sale collection and shipment.

INQUIRIESCatherine Williamson, Ph.D.Vice President, DirectorFine Books & Manuscripts/Entertainment Memorabilia+1 (323) 436 5442+1 (323) 850 5843 faxcatherine.williamson @bonhams.com

Lucy Carr, Associate SpecialistEntertainment Memorabilia+1 (323) 436 5467+1 (323) 850 5843 [email protected]

Chloe GinnegarBusiness ManagerEntertainment Memorabilia+1 (323) 436 5410+1 (323) 850 5843 [email protected]

Automated Results Service+1 (800) 223 2854

ILLUSTRATIONSFront cover: Watch Ben-Hur on TCM at 8pm on March 20.Inside front cover: Courtesy of the Heston familyInside back cover: Courtesy of the Heston familyBack cover: Courtesy of the Heston family

OFFICERSLaura King Pfaff Chairman

Patrick Meade Chief Executive Officer

James Hendy Chief Operating Officer

Leslie Wright Vice President, Trusts and Estates

Jon King Vice President, Business Development

Vice Presidents, Specialists Susan F. Abeles Rupert Banner Gary Espinosa Judith Eurich Alan Fausel Mark Fisher Martin Gammon Dessa Goddard Jim Haas Scot Levitt Mark Osborne Hadji Rahimipour Brooke Sivo Catherine Williamson

BONHAMS *LOS ANGELES DEPARTMENTS7601 W. Sunset BoulevardLos Angeles California 90046(800) 223 2854

20th Century Decorative Arts Angela Past, ext. 65422 Daniel Tolson, ext. 65405

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African, Oceanic & Pre-Columbian Art Fredric W. Backlar, ext. 65416 †

Books & Manuscripts Catherine Williamson, ext. 65442 Brian Kalkbrenner, ext. 65487

Coins & Banknotes Paul Song, ext. 65455

Entertainment Memorabilia Lucy Carr, ext. 65467 Dana Hawkes, (978) 283 1518

Furniture & Decorative Arts Andrew Jones, ext. 65432

Furniture & Decorative Arts, AmericanBrooke Sivo, ext. 65420

Jewelry & Watches Dana Ehrman, ext. 65407Claire De Biasio-Paris, ext. 65483

Collectors’ Motorcars & Motorcycles Nick Smith, ext. 65470

Contemporary Art Dane Jensen, ext. 65451

Photographs Prints Morisa Rosenberg, ext. 65435

Natural History Thomas E. Lindgren, ext. 65437 †Claudia Florian, G.J.G., ext. 65437 †

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Paintings - European Mark Fisher, ext. 65488

Art + Décor (323) 850 7500

Silver Aileen Ward, ext 65463

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WineWalker Strangis, ext. 65404

CONTACTS

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Collectors’ Motorcars & MotorcyclesMark Osborne, ext. 23353Jakob Greisen, ext. 23284

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BONHAMS *NEW YORK DEPARTMENTS 580 Madison Avenue New York, New York 10022 (212) 644 9001

20th Century Decorative Arts Beth Vilinsky, (212) 710 1306

Books & Manuscripts Christina Geiger, (212) 644 9094 Cassandra Hatton, (212) 461 6531

Chinese Works of Art & Paintings Bruce MacLaren, (917) 206 1677

Collectors’ Motorcars & Motorcycles Rupert Banner, (212) 461 6515 Eric Minoff, (917) 206 1630Evan Ide

Furniture, Decorative Arts & Silver Victoria Ayers, (212) 461 6532 Madelia Ring, (212) 710 1300

Fine Art American Alan Fausel, (212) 644 9039 Kayla Carlsen, (917) 206 1699Contemporary Jeremy Goldsmith, (917) 206 1656European Paintings Madalina Lazen, (212) 644 9108Impressionist & Modern Tanya Wells, (917) 206 1685 William O’Reilly, (212) 644 9135

History of ScienceCassandra Hatton, (212) 461-6531

Himalayan Art Mark Rasmussen, (917) 206 1688 Edward Wilkinson, (917) 206 1688

Japanese Works of Art Jeff Olson, (212) 461 6516

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Maritime Paintings & Works of Art Gregg Dietrich, (212) 644 9001 †

Photographs & PrintsShawna Brickley, (917) 206 1690

Russian Fine & Decorative Arts Yelena Harbick, (212) 644 9136

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Trusts & Estates Gene Norden, (917) 206 1671

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Wine & WhiskyGary D’Urso, (917) 206 1653

CLIENT SERVICES DEPARTMENTSan Francisco (415) 861 7500 (415) 861 8951 faxLos Angeles (323) 850 7500 (323) 850 6090 faxMonday - Friday, 8.30am to 5pm

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* Indicates saleroom † Indicates independent contractor

I had the great pleasure of working with Charlton Heston back in 1998 when he sat down with me to record a Private Screenings interview for Turner Classic Movies. Right from the start, he asked me to call him “Chuck.” Not “Charlton” or “Mr. Heston.” And certainly not “Charlie.” Only his wife was allowed to do that. What followed soon after was a pleasant, affable conversation —although I couldn’t help but think that any infraction of the rules would inspire a clap of thunder, a burning bush or a major earth tremor. And why not? He was, after all, a guy who was known to either cause or survive any number of lightning bolts, earthquakes and other calamities, at least on screen. So why risk it? I called him “Chuck.” Meeting Chuck in person made you realize immediately that he was the kind of guy you hoped he would be—a straight-shooter, a thinking man, sturdy, dependable and professional. He was also a shy man one who overcame that shyness because of the nature of his business, but still deep down a shy man. So I imagine he’d be a little baffled to think that people would want to purchase his personal memorabilia included in this auction.

But even he admitted the very nature of his work made people look up to him in a way that reflected the impact of the characters he played— rather than the real Chuck Heston. After all he played some imposing men: Moses, Judah Ben-Hur, Thomas Jefferson, Andrew Jackson, John the Baptist, Michelangelo. As he told me in our interview—these were individuals who did remarkable things and it tends to rub off a little bit. Well I for one think Chuck was being a little too self-effacing because the fact of the matter is, he was a very good actor, a devoted husband and family man, social activist and, in my experience, a genuinely nice person. Thankfully, we’ll always have his films to remember him by— and if the bidding goes your way, perhaps you can have a piece of his memorabilia to remember him by in your own way.

Good luck.

Robert OsborneHost of Turner Classic Movies

Image courtesy of Turner Classic Movies

Ernest Hemingway once wrote of one of his own books that “if this had been enough of a book, it would have had everything in it.” And then he proceeded to list it all. My parents’ life was full of wonders. You could not possibly list them all. They came from humble beginnings—my father thought of himself as “a shy kid from backwoods Michigan who liked to put on tights and funny noses and wave swords around”—my mother Lydia (still going strong at 93) is the plucky and well-educated daughter of a Midwestern high school principal. They married when they were still studying drama at Northwestern, then Dad enlisted in the Army Air Corps and, somewhat to his astonishment, survived the Pacific Theater in World War II.

C.H. (as we call him) scrabbled for small parts off- and on Broadway, got noticed by producer Hal Wallis and Paramount, made the transition to Hollywood and the early days of live TV, then film, was discovered by both C.B. DeMille and William Wyler, won an Oscar®, and yes fame, stardom and fortune followed along with another Oscar®, a SAG Award, two Golden Globes, The Medal of Freedom and countless other awards. All told, he made more than 80 films and television programs, working with great directors from DeMille to James Cameron (and even a pretentious young director named Fraser C. Heston!), interpreting works by great writers from William Shakespeare to Robert Louis Stevenson, Robert Bolt to Arthur Conan Doyle, and starring alongside actors from Jimmy Stewart to Laurence Olivier, Vanessa Redgrave to Orson Welles, Greg Peck to Arnold Schwarzenegger. He played saints and cowboys, prophets, presidents and kings, statesmen, warriors, geniuses, pirates and artists in a career on both stage and screen that spanned the entire second half of the 20th century and more.

While he was at it, he marched with Dr. Martin Luther King and led the arts contingent in the March on Washington (CH did not believe that surviving World War II gave you a “Get-Out-of-Public-Service-Free” card for life). He served six terms as President of the Screen Actors Guild, served on the National Council on the Arts, helped to found the American Film Institute, served several tours for the USO in Vietnam and other combat zones, served on the board and later as president of the National Rifle Association, travelled widely on behalf of the State Department, helped elect four U.S. Presidents and countless Senators, Governors and Congressmen, wrote five books, fathered two children (myself and my sister Holly) and three grandchildren (Jack, Ridley and Charlie), and remained married to the same woman for over 60 years, a remarkable feat in Tinsletown. And through it all, all this marvelous adventure and mélange of a life, Dad was still the shy kid from backwoods Michigan, Lydia the Wisconsin high school principal’s daughter.

It was a magnificent life, full of wonders and riches. There was the brooding backwoods of Michigan and the bleak windswept wartime Aleutian Islands, the mean streets of New York and a walk-up cold-water flat in Hell’s Kitchen; the sun-drenched, palm-lined avenues of Hollywood, then Rome of course, for Ben-Hur in ’58, and the Dolce Vita. My first memory was of C.H. learning to drive a chariot (and taking me on rides) and winning the race as well. There was me as a young lad, fascinated by the movies, sitting in Sophia Loren’s lap on the set of El Cid, or eating fish tacos with Dad and Sam Peckinpah on the set of Major Dundee in Durango one month and dining off silver salvers on roast beef and Yorkshire pudding in the Dorchester Hotel in London the next. Or my sister, dwarfed by a suit of Roman armor, on the set of Antony and Cleopatra, at the age of 11.

CHARLTON & LYDIA HESTON ENOUGH OF A LIFE

Charlton and Lydia Heston on the set of Ben-Hur (courtesy of the Heston family).

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There was crossing the Atlantic on the Queen Mary and the SS United States (one always took trans-Atlantic liners to Europe in those days before jets), sailing a grand wooden yacht across the wine-dark sea of the Aegean in the wake of Ulysses, and then sailing a replica of Captain Cook’s tall ship Endeavor across the Great Barrier Reef. My mother was a fancier of archeology, history, and art, and my father an aficionado of great literature, from William Shakespeare to Ernest Hemingway (and yes there were bull-fights in Madrid and running the bulls in Pamplona), and a lover of great paintings, from Michelangelo to Andrew Wyeth (a personal friend) and J.M.W. Turner, great museums from the Prado to the Louvre to the Tate.

There was what my sister and I called “ruin running” with my mother—more Indiana Jones than any of us—who led us on adventures across ruins from the Parthenon to the Forum, from Hadrian’s Wall to Abu Simbel, from Troy to Masada. Lydia especially loved climbing things, from the Great Pyramids of Cheops to the Tasman Glacier on Mount Cook with (I kid you not) ice axes; running rivers from the Nile to the Noatak (while moose hunting!); adventures from the Amazon to the River of No Return; exploring jungles and Mayan temples in the Yucatan and the mountain-top aeries of the Incas in Machu Picchu. And of course, travel, for its own sake, and also to work and live and serve, to exotic locales from Alaska’s High Arctic to the Pampas of Argentina, from Beijing (directing a play - in Chinese!) to ballooning in the Maasai Mara. And my mother, a talented professional photographer, captured it all, from about the time of The Ten Commandments, winding up with an extraordinary collection of 57,000 color slides (I counted them!) and thousands of color and black and white prints and negatives.

They developed, not surprisingly, an eclectic taste for art, and wound up with a wide-ranging collection of fine art, photography (from Julia Margaret Cameron to Ansel Adams), sculpture, mid-century and antique furniture, and a collection of rare books dating from the 17th century, from a Hemingway first edition to Lewis and Clark and early Shakespeare folios. And of course, movie memorabilia, from Major Dundee’s boots to Ben-Hur’s door knockers, from the sword of Ghengis Khan to the cape of El Cid. Their fascinating and varied collections reflect not so much a love of things but a joie de vivre, a passion for life and everything in it. It was a grand, shining time, rich with experiences and wonderful things. It was a magnificent life. And it had, nearly, everything in it. Thank you for allowing us to share some of it with you.

Fraser C. HestonHollywood, CaliforniaFebruary 2016

Charlton, Holly, and Fraser on the set of Will Penny (courtesy of the Heston family).

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THE GRAND FOYER AND LIVING ROOMLots 1-24

Courtesy of the Heston family6 | BONHAMS

1A COMPOSITION MODEL OF A HORSE’S HEADheight 26 1/2 in$200 - 300

This sculpture is modeled after the Selene Horse from the East Pediment of the Parthenon, which is now at the British Museum in London. This reproduction resided in the forecourt of the Coldwater Canyon house and Heston posed with it in many portraits.

2A PAIR OF RENAISSANCE STYLE CARVED STONE MODELS OF RECUMBENT LIONS second half 20th centuryheight 10 1/4 in$700 - 1,000

3AN AMERICAN MODERN WROUGHT-IRON, GLASS AND CERAMIC LOW TABLEcirca 1960 length 100 in This table was made to Charlton Heston’s specifications, and was the centerpiece of the Heston’s mid-century home (designed by famed architect William Beckett) in Coldwater Canyon.$700 - 1,000

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4A BRONZE SCULPTURE OF CHARLTON HESTON AS MOSES IN THE TEN COMMANDMENTSSigned but signature illegible, numbered “AP 150/350.” Polychrome bronze on stone base. Height excluding base: 21 ½ in$200 - 300

5A BRONZE SCULPTURE OF CHARLTON HESTON IN WILL PENNYLimited edition bronze full-figure statuette by Blair Buswell titled “The Drifter,” with facsimile of Heston’s signature sculpted into bronze base, “Buswell © / 61/70” molded into bronze, on black marble and wooden base. Heston posed several times for acclaimed western sculptor Blair Buswell. This figure depicts Heston as Will Penny in cowboy attire, holding a rifle and lasso. This sculpture served as a maquette for a nearly identical 7 ½ foot tall version that stands in the National Cowboy and Western Heritage Museum in Oklahoma City, gifted to the Museum by the National Rifle Association. Heston often cited his work as an itinerant cowboy in Will Penny (1967) as his favorite of his own performances. 10 x 10 x 23 1/2 in$1,000 - 1,500

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6EARL WESLEY BASCOM (AMERICAN, 1906-1995)Blue Mountain Cowboy titled, dated, inscribed, and signed “1974 © Earl W Bascom” (on the base) bronze with brown patina height excluding base 7 1/2 in$800 - 1,200

This lot is accompanied by a certificate of authenticity signed by the artist together with a typed dedication to Charlton Heston printed on Bascom Fine Arts letterhead.

7JAMES KILLIAN SPRATT (AMERICAN, BORN 1950)Bust of Charlton Heston Signed and dated “J. Spratt 1983.” Bronze with brown patina on a marble base with plaque reading “Charlton Heston.” Height excluding base 12 in$250 - 350

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8A CHARCOAL PORTRAIT OF CHARLTON HESTON AND HIS CHILDRENCharcoal drawing on illustration board, signed (“William George”), framed. Depicting full-figure portraits of Heston, his son, Fraser, and his daughter, Holly. Within frame: 23 1/2 x 32 1/2 in; overall: 25 x 34 in $250 - 350

9TERENCE J. GILBERT (BRITISH, BORN 1946)Untitled (Laurence Olivier as King Lear) signed and inscribed “T.J. Gilbert” (lower left) wash and conté crayon on paper laid down on paper 20 1/4 x 15 7/8 in (51.4 x 40.4 cm)$1,000 - 1,500

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10AMERICAN SCHOOLWaterfront scene unsigned oil on canvas 20 x 23 7/8 in (51 x 60.7 cm)$200 - 400

11A STICKLEY ARTS & CRAFTS STYLE WALNUT AND GREEN LEATHER MORRIS CHAIRlate 20th century bearing Stickley metal tag and stenciled 91-336 height 41 in (104 cm); width 33 in (84 cm); depth 37 1/2 in (95 cm)$250 - 350

12A RUSTIC FREE FORM WOODEN BENCHheight 28 in; width 45 in; depth 21 in$200 - 300

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13A GROUP OF SIX ASSORTED AFRICAN CARVED-WOOD CEREMONIAL AND SOUVENIR SCULPTURES20th century Comprising two contemporary wood figural groups; a contemporary wood horse group; a modern Yoruba wood bell; a modern Yoruba Equestrian Sceptre/Staff; and a modern Ashanti fertility doll. Heights: 7 to 20 in$200 - 300

14AN ELIZABETHAN STYLE CARVED OAK THREE TIER BUFFET early 20th centuryheight 48 in; width 51 1/4 in; depth 16 1/4 in$700 - 1,000

15THREE CHINESE MOTHER OF PEARL INLAID BLACK OR RED LACQUERED TABLE CHESTScomprising a pair and a single height 11 1/2 in (29.3 cm); width 12 in (30.5 cm); depth 10 3/4 in (27.4 cm)$700 - 1,200

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16A CHINESE EBONIZED-WOOD FLOOR-LAMP WITH EMBROIDERED SILK SHADEearly 20th century$200 - 300

17A CHINESE CARVED GREEN-QUARTZ FIGURE OF GUANYINprobably 20th century approximate height: 9 in$200 - 300

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18A GROUP OF THIRTEEN DECORATIVE TABLE BOXES IN VARIOUS MEDIUMSgreatest height 3 in$800 - 1,200

19A MURANO GLASS CYLINDRICAL VASElate 20th century height 17 in (43 cm)$300 - 600

20A FRENCH PATINATED BRONZE FIGURE: LE CHANTEUR FLORENTIN AFTER A MODEL BY PAUL DUBOIS (FRENCH, 1827-1905) LATE 19TH CENTURYOn a later base, now mounted as a table lamp height of bronze 22 3/4 in $700 - 1,000

21A CONTINENTAL BAROQUE BRONZE MORTAR AND PESTLE PROBABLY 16TH/17TH CENTURYheight of mortar 4 in$250 - 350

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22TONY CHYTKA (AMERICAN)Yakima Canutt riding Tipperary inscribed, dated, signed, and numbered “© 1985 T R Chytka 13/100” (on the base) and additionally inscribed “To CHUCK from the CANUTTS 1987” (on the base) bronze with brown patina height excluding base 19 in$200 - 300

Legendary stuntman Yakima Canutt (1895-1986) staged the climactic chariot race in Ben-Hur and trained Heston as a charioteer. Heston’s stunt double in that sequence was Canutt’s son, Joe, who went on to work on many more films with Heston as either the second-unit director or the actor’s stunt double.

23TWO FRENCH SPELTER FIGURES OF ROMAN CHARIOTEERSheight of tallest 21 1/2 in$200 - 300

24BUD BOLLER (AMERICAN, BORN 1928)Charlton Heston as Bill Tyler in Columbia Pictures’ The Mountain Men titled, inscribed, signed, dated, and numbered “© Bud Boller 1980 1/40” (on the base) patinated bronze with polychrome height excluding base 35 in$4,000 - 6,000

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THE DINING ROOMLots 25-39

Jeff Elson © 2015, all rights reserved

25GUY BUFFET (BORN 1943)The waiter signed “Guy Buffet” (lower right) acrylic on canvas 12 x 9 in (30.3 x 22.8 cm)$1,000 - 1,500

26LUCIUSStill life with lemons and orange signed “Lucius” (lower right) oil on board 8 5/8 x 10 5/8 in (21.8 x 26.9 cm)$200 - 400

Provenance Hilda Swarthe Gallery, Beverly Hills.

27AMERICAN SCHOOLStill life with pots, fruit and spoon initialed and dated “M 69” (lower right) oil on canvas 24 x 30 in$200 - 400

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28A PAIR OF MODERN CHINESE STYLE BLACK LACQUER AND BRUSHED METAL BUFFET CABINETSthird quarter 20th century height 32 in (81.5 cm); length 54 in (137.2 cm); depth 19 7/8 in (50.5 cm)$250 - 350

29A PAIR OF BAROQUE STYLE BRASS CANDLESTICKSheight 22 1/2 in$50 - 100

30AN ITALIAN 800 STANDARD SILVER MODERNIST VASEby Zinzi, Milan, mid-20th century Weight approximately 33oz troy height 15 in.$600 - 900

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31AN ASSEMBLED SILVERPLATE ELEVEN PIECE PUNCH SERVICE 20th centuryComprising a punch bowl, stand, ladle and eight cups, together with a Victorian oval two-handled footed wine cistern, 19th century, with Greek-key border Height of punch bowl 12 in; diameter of stand 20 1/2 in$600 - 800

32AN ASSEMBLED GROUP OF INTERNATIONAL SILVERPLATE TABLEWARESby various makers, 19th/20th century Including a tea urn, a caviar server, various condiments, bread baskets, bowls, dishes, shot glasses, approximately 50pcs the tea urn height 22 in$250 - 350

33A PERSIAN 84 STANDARD SILVER AND GLASS CASED TEA SERVICE FOR SIXmarked to underside, third quarter 20th century Comprising: a covered sugar bowl, six tea glasses and holders, six spoons, one pair of sugar tongs and a circular salver, total silver weight approximately 60oz troy (15) diameter of salver 15 3/4 in$800 - 1,200

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34A SHEFFIELD SILVERPLATE PART FLATWARE SERVICE IN A CANTEEN ON STAND20th century Old English pattern, approximately 68 pcs the canteen height 30 1/2 in; width 20 1/4 in; depth 17 in together with approximately 60 assorted pieces of silverplate flatware.$300 - 500

35AN AMERICAN STERLING SILVER FLATWARE SERVICEby International Silver Co., Meriden, CT, mid-20th century Tranquility pattern, comprising: 12 dinner forks, 11 dinner knives, 26 salad/dessert forks, 10 round bowl soup spoons, 13 iced tea spoons, 32 teaspoons, 18 filled handle butter spreaders, 10 flat handle butter spreaders, 9 demitasse spoons, 3 table spoons, 4 casserole spoons, 2 master butter knives, total weighable silver approximately 130oz troy (150) together with 1 Georgian silver ladle, initial: H and 10 other assorted pieces, weight approximately 5oz troy.$1,500 - 2,000

36A PAIR OF GEORGE III STERLING SILVER TWO-HANDLED COVERED SAUCE TUREENSby George Smith (II) & Thomas Hayter, London, 1804 Together with a Scottish George III sauce ladle, probably by James McKay, Edinburgh, 1804, total weight approximately 30.5 oz troy (3) the tureens height 6 in; length over handles 9 in$700 - 1,000

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37A SUITE OF BACCARAT GLASS STEMWARE IN THE NEPTUNE PATTERN 1988-1993Comprising eighteen 9 in (23 cm) red wine goblets and twelve 8 1/4 in (21 cm) white wine glasses, each with acid-stamped factory mark, together with a Cartier crystal drinking set contained in a fitted case. (35)$1,000 - 1,500

38A HEREND PORCELAIN PART DINNER SERVICE IN THE GREEN CHINESE BOUQUET PATTERN 20TH CENTURYComprising 86 pieces, blue printed factory mark, together with a set of Japanese porcelain coffee cups and saucers. height of vase 5 1/2 in For a complete itemized listing, please see online catalog.$800 - 1,200

39AN EXTENSIVE MINTON BONE CHINA PART DINNER SERVICE IN THE GREEN BROCADE PATTERNretailed by T. Goode & Co. Ltd., London second half 20th century Comprising 325 pieces, gilt printed factory mark above retailer, painted pattern number H5066, some impressed MINTON over date codes. For a complete itemized listing, please see online catalog. The Hestons frequently used this china service for formal occasions, including dinners with President Ronald Reagan.$3,000 - 5,000

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THE ART GALLERYLots 40-84


40ITALIAN SCHOOL, 18TH CENTURYA portrait of a gentleman holding a book oil on canvas 37 x 28 in$2,500 - 3,500

41ALBRECHT DÜRER (1471-1528)Christ taking Leave from his Mother, from The Life of the Virgin (BWC. 92; M. 204), c. 1504-05 Woodcut, Tower with Crown watermark (M. 259), the Latin Text edition of 1511, trimmed to borderline, framed. sheet 11 3/4 x 8 1/8 in$2,000 - 3,000

42AFTER MICHELANGELO BUONARROTI (1475-1564), BY JOHAN WIERIX (B. C.1549–1618)Last Judgment, c.1580 Engraving on various sheets of laid paper, with margins. sheet 49 3/4 x 42 in$800 - 1,200

An engraving by Johan Wierix after a painting by Martin Rota of Michelangelo’s Last Judgment.

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43JULIA MARGARET CAMERON (1815-1879)Portrait of Kate Keown, c. 1867-68 Albumen print, signed and inscribed “From Life not Enlarged” in ink and with the Colnaghi, London blindstamp on the wove support, framed. 14 x 11 3/8 in support 23 x 17 in$15,000 - 20,000

This lot is accompanied by a copy of the book Julia Margaret Cameron’s Women (1998) by Sylvia Wolf. Interested parties must contact the department for a condition report.

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44HENRI DE TOULOUSE-LAUTREC (1864-1901)Chevaux de trait (recto); Croquis d’homme (verso) unsigned pencil on paper sight 5 3/4 x 9 1/2 in (14.7 x 24.2 cm)$4,000 - 6,000

Provenance Mme. Dortu, Paris. James Vigeveno Galleries, Westwood Hills, California. Literature M.G. Dortu, Toulouse-Lautrec et son oeuvre, New York, 1971, vol V, p 628, no. D.1.938-1.939 p 322 (illustrated, p 323). M. Joyant, Lautrec II, Paris, 1927, p 181.

45HENRI DE TOULOUSE-LAUTREC (1864-1901)A la Renaissance: Sarah Bernhardt dans Phèdre (W. 378; D. 47; Adr. 50), 1893 Lithograph on wove paper, with red monogram stamp, numbered 41 in pencil, from the only edition of 100, published/printed by L’Escarmouche/Ancourt, with margins, framed. 13 1/4 x 9 1/2 in sheet 15 x 11 in$2,000 - 3,000

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46PIERRE-AUGUSTE RENOIR (1841-1919)Femme nue couchée (D.; S. 14), c. 1906 Etching on laid paper, with full margins, framed. 5 1/2 x 7 3/4 in sheet 10 1/8 x 13 1/4 in$800 - 1,200

47FRANCISCO JOSÉ DE GOYA Y LUCIENTES (1746-1828)El Mismo Vuelca un Toro el la Plaza de Madrid, pl. 16 from La Tauromaquia (H. 219), 1816 Etching, burnished aquatint, drypoint and burin on laid paper, printed later, possibly Harris’ state 6 (of 7), with a circular stamp with portrait of Goya embossed in the lower margin, with margins, framed. 9 3/4 x 13 3/4 in sheet 13 1/2 x 17 1/2 in$800 - 1,200

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48JOSEPH CHRISTIAN LEYENDECKER (AMERICAN, 1874-1951)Harlequin grinning and brandishing his batte signed with conjoined initials “JCLeyendecker” (lower left) gouache and pencil on board 18 x 12 1/4 in (sight); overall board 21 3/4 x 17 in$10,000 - 15,000

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Literature Carter’s Monthly, February 1898, cover illustration.

Carter’s Monthly magazine was published by a relative of Charlton Heston’s father, Russell Carter.


49FRANK XAVIER LEYENDECKER (AMERICAN, 1877-1924)A maiden emerging from a clamshell holding a sprig of laurel signed “Frank X. Leyendecker” (lower right) pastel, ink, and gouache on paper affixed to board 19 3/4 x 13 3/4 in (sight); overall board 21 1/4 x 14 1/8 in$10,000 - 15,000

Literature Carter’s Monthly, March 1898, cover illustration. A Chicago Engraving Company label dated February 14, 1898 is affixed to the reverse.

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50JOSEPH CHRISTIAN LEYENDECKER (AMERICAN, 1874-1951)The Soldiers’ Charge signed “J.C. Leyendecker” (lower left) ink and gouache on paper affixed to board 16 1/2 x 12 in (sight) overall board 19 x 16 in$10,000 - 15,000

Literature Carter’s Monthly, March 1898, cover illustration. Decades later, Leyendecker created a similar illustration for the cover of the June 30, 1917 issue of the Saturday Evening Post, showing George Washington on horseback leading a group of American soldiers into battle. Washington was a favorite subject of Leyendecker’s, with the artist illustrating him five times for the Saturday Evening Post alone.

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51ANSEL ADAMS (AMERICAN, 1902-1984)Redwoods, Bull Creek Flat, California, 1960 Gelatin silver print, printed between 1973 and 1977, signed in pencil on the mount; titled in ink and his Carmel credit inkstamp on the mount verso, framed. 15 5/8 x 19 1/8 in$12,000 - 18,000

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52ANSEL ADAMS (1902-1984)White House Ruin, Morning, Canyon de Chelly, from Portfolio Two: The National Parks and Monuments, 1949 Gelatin silver print, printed in 1950, signed in pencil on the mount; with print number 4 and set number 5 in red pencil and copyright inkstamp on the mount verso, framed. 9 1/4 x 7 1/4 in$4,000 - 6,000

53ALVIN LANGDON COBURN (1882-1966)St. Paul’s from Ludgate Circus; Wapping Bridge, from London, c. 1909; c. 1910 Two photogravures, printed later, each signed in pencil on the mount, tipped in upper corners to wove paper. each approx. 8 1/2 x 6 3/4 in$1,500 - 2,000

54HENRI CARTIER-BRESSON (1908-2004)Andrew Wyeth, 1962 Gelatin silver print, printed later, signed in ink and debossed credit stamp in the margin, framed. 14 1/8 x 9 1/2 in$2,000 - 3,000

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55JOHN SEXTON (BORN 1953)Sculpted Sandstone and Pool, Grand Canyon, Arizona, from Darkroom Edition, 1997 Gelatin silver print, printed 1998, signed and numbered 22/150 (there were also 10 artist’s proofs) in pencil on the mount; further numbered and with studio copyright inkstamp on the mount verso, framed. 9 3/4 x 12 3/4 in$600 - 800

56JOHN SEXTON (BORN 1953)Black Oaks, Morning Mist, Yosemite Valley, California from Listen to Trees, 1985 Gelatin silver print, printed 1995, signed and numbered 34/100 (there were also 10 artist’s proofs) in pencil on the mount; further numbered and with studio copyright inkstamp on the mount verso, framed. 9 3/4 x 12 3/4 in$600 - 800

57GEORGE TICE (BORN 1938)From the Chrysler Building, New York, 1978 Gelatin silver print, printed 1993, signed in pencil on the mount; titled and dated in pencil on the mount verso, framed. 19 1/4 x 15 1/2 in$2,500 - 3,500

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58PAUL GRANLUND (1925-2003)Untitled signed, indistinctly dated and numbered “P.T. Granlund 6/10” (on the base) bronze with brown patina 11 1/2 x 7 x 5 1/4 in (29.1 x 17.8 x 13.4 cm) This work is number six from an edition of ten$600 - 800

59LATHROP BULLENE (1925-2011)Untitled signed “Bullene” (near the base) bronze with dark brown and green patina 21 3/4 x 8 1/4 x 4 in (55.2 x 21 x 10 cm)$1,000 - 1,500

60ART PIATT (20TH CENTURY)Untitled signed and dated “Art Piatt 1966” (on the underside of the base) wire and epoxy with wooden base 10 x 5 1/2 x 4 1/2 in (25.5 x 14 x 11.5 cm) (excluding base)$250 - 350

61ROBERT GRAHAM (1938-2008)MOCA Torso, 1992-95 signed with initials “RG” (on the underside) bronze with reddish brown patina 11 x 4 1/2 x 4 1/2 in (27.9 x 11.4 x 11.4 cm)$2,500 - 3,500

Noted sculptor sculptor Robert Graham, whose best known works include The Great Bronze Door for the Our Lady of the Angels Cathedral in Downtown Los Angeles (2002) and the Los Angeles Olympic Gateway (1984), was married to Anjelica Huston, a personal friend of the Hestons. This sculpture was commissioned by the Museum of Contemporary Art, Los Angeles, and was a gift from Fraser C. Heston and his wife Marilyn.

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62HEAD OF BODDHISATTVAGrey Schist ancient region of Gandhara circa 3rd/4th century$30,000 - 50,000

With classic Hellenistic-inspired features of a luxurious coiffure of defined curls adorned with strings of pearls, his face with heavy-lidded eyes, short nose, sensitively modeled mouth, and wavy moustache.

Gandharan sculptors transformed the Greco-Roman ideal of perfect divine bodies to evoke the perfection of the divine mind. Compare the head with another example in the Norton Simon Museum of Art (Pal, Asian Art at the Norton Simon Museum, Vol. 1: Art from the Indian Subcontinent, Pasadena, 2003, p. 63, no. 30). Also with another sold Bonhams, New York, 14 September 2015, lot 81, and another at Christie’s, New York, 19 March 2013, lot 201.

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63A BLACK STONE FIGURE OF A WINGED ATLASAncient Region of Gandhara, 2nd/3rd century His attention turned to his left beyond the feathered arc of his left wing, the muscular figure with a broad chest seated with his legs cocked as if ready to spring into flight.$2,000 - 3,000

For similar examples in various attitudes, see W. Zwalf, A Catalogue of the Gandhara Sculpture in the British Museum, 1996, vol II, plates 355-68. Also compare with an example sold in our New York rooms, 18 March 2013, lot 7.

64AN INDIAN MINIATUREA Musician and a Family in a Landscape c.1750 Gouache on paper Provenance: Sotheby’s Indian and Southeast Asian Art, New York, March 20, 1997, lot 329 (label and tags on verso 9.5 x 13.5 in; matted and framed to 16 x 22 in$2,000 - 3,000

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65DESCAMPS (20TH CENTURY)Parsecas del Hatillo, 1977 signed and dated “Descamps 77” (lower right); signed again and titled (on the stretcher bar) oil on canvas 24 x 31 1/2 in$250 - 350

66JO DAVIDSON (AMERICAN, 1883-1952)Man reading a newspaper; Three figures in conversation (group of 2) each bearing stamped signature and artist’s device (lower right) first pencil on paper affixed to board; second charcoal on paper affixed to board first 6 x 4 5/8 in; second 8 x 4 7/8 in$100 - 150

Provenance Each with label of Bowinkel’s Gallery, Beverly Hills, California.

67ROBERT DESIDERIO (20TH CENTURY)Arctic Night signed and dated “Desiderio 3.23.87” (on the reverse) oil and charcoal on canvas 24 x 20 in (61 x 50.8 cm)$800 - 1,200

68WILLIAM BRICE (1921-2008)Figure study, 1959 signed and dated “Brice 59” (lower right) pencil on paper 8 1/2 x 11 in (21.6 x 28.1 cm)$300 - 500

Provenance Frank Perls Gallery, Los Angeles.

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69LUNDA HOYLE GILL (BORN 1928)Untitled (Maasai Woman), c. 1980 Etching on wove paper, signed in pencil, annotated “Artist Proof” and inscribed “to Lynda and Chuck-with lasting respect,” with margins, framed. sight 6 1/2 x 4 1/4 in$400 - 600

70LUNDA HOYLE GILL (BORN 1928)Sewing my Mukluks, 1980 Screenprint in colors on Arches paper, signed in pencil, dated and numbered 5/300, published by Hammer Publishing Company, New York, with the blindstamp of the printer, Styria Studio, New York, with full margins, framed. 20 x 24 in sheet 26 1/4 x 30 1/4 in$100 - 150

71MARIO PEZILLA (19TH/20TH CENTURY)Untitled signed “Mario Pezilla” (upper right) ink and gouache on paper 4 x 6 in (10.2 x 17.5 cm)$300 - 500

Provenance Chris Beetles Gallery, London.

72MANUEL MINGORANCE ACIEN (BORN 1920)Figures in a landscape signed “Mingorance” (lower right) oil on canvas 11 3/4 x 15 5/8 in (29.9 x 39.7 cm)$200 - 400

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73MANUEL MINGORANCE ACIEN (BORN 1920)Untitled, 1958 signed, inscribed and dated “Mingorance Acien 58” (lower right) oil on canvas 28 3/4 x 35 3/4 in (73.2 x 91 cm)$600 - 800

74ALFREDO RAMON (BORN 1922)Untitled, 1973 signed and dated “Alfredo Ramón 1973” (lower left) oil on canvas 28 7/8 x 39 5/8 in (73.5 x 100.5 cm)$200 - 300

75DONG KINGMAN (AMERICAN, 1911-2000)View of the set of 55 Days at Peking signed “Kingman” (lower right) and inscribed and dated “To our friend and a Great Artist / -Chuck, and Lydia / Best wishes 63 / Helen and Dong” (lower left) watercolor on paper affixed to board 18 1/4 x 24 1/4 in (sight) overall board 26 x 31 1/2 in$3,000 - 5,000

This painting bears the number “5E.6.62A” underneath its mat in the lower right. It is accompanied by a copy of the book Dong Kingman’s Watercolors (1980). Kingman illustrated the opening titles for 55 Days at Peking (1963).

76DONG KINGMAN (AMERICAN, 1911-2000)Hong Kong signed and inscribed “To dear Lydia & Chuck- / Best Wishes 96 / Helena & Dong Kingman” (lower left) watercolor on paper 22 x 30 in$5,000 - 7,000

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77MARC CHAGALL (1887-1985)Moses, from Verve, Vol. VIII, nos. 33-24 (M. 124; 127 (verso); C. bk. 25), 1956 Lithograph in colors on wove paper, from the edition of 6500 unsigned and unnumbered copies, printed by Mourlot, Paris, the full sheet, framed. sheet 14 x 10 1/4 in$250 - 350

78A SIGNED AND NUMBERED ARNOLD FRIBERG PRINT OF HESTON IN THE TEN COMMANDMENTS WITH BIBLE LEAFDisplay comprised of signed and numbered print of Heston as Moses, titled “Moses receiving the Tablets of the Law”, signed “Arnold Friberg” and numbered “316 of 3000” in gold ink, with first edition King James Bible leaf (c.1611-1650), matted together and framed. Overall: 21 x 34 in$200 - 300

79A DAGNE HANSON PORTRAIT OF CHARLTON HESTONOil on canvas, signed at lower left (“Dagne”), matted and framed. Depicts a bearded Heston in a red shirt, and according to the artist’s website, was painted in 1963. Within mat: 14 x 23 1/3 in; overall: 19 x 28 1/2 in $200 - 300

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80AN ALDO LUONGO PORTRAIT OF CHARLTON HESTONOil on watercolor board, signed (“Aldo Luongo”). An informal portrait of Heston, likely from the 1970s or ‘80s. 27 x 35 in$200 - 300

81SHEILA MACKIE (1928-2010)Mamppumsffa signed with initials “SGM” (center right) and inscribed (lower center) gouache and paper collage on paper 31 1/2 x 21 1/2 in (80.2 x 54.7 cm)$400 - 600

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82A GROUP OF SIX TERENCE GILBERT PORTRAITS OF CHARLTON HESTONOil on board, late 1970s, all signed (“© Gilbert”) at lower right, and inscribed with the characters’ names at lower left, individually matted and framed. Full-figure depictions of Heston in The Savage (1952), The Buccaneer (1958), The Agony and the Ecstasy, The War Lord, Major Dundee (all 1965), and Khartoum (1966). Several paintings in this lot are visible in Roddy McDowall’s portrait photograph of Heston in published in McDowall’s book Double Exposure, Take Three (1992). Terence Gilbert had a close relationship with Heston, who was a great admirer of his work. He painted these portraits as part of series commissioned by Heston, featuring the actor, in costume, in his most prominent roles. Heston believed Gilbert’s paintings were the most accurate artistic rendering of his work as an actor. Within mat: 9 1/2 x 13 1/2 in; overall: 12 1/2 x 16 1/2 in$2,000 - 3,000

83A TERENCE GILBERT PAINTING OF CHARLTON HESTON IN PLANET OF THE APESOil on board, late 1970s, signed (“© Gilbert”) at lower right, and inscribed “Commander Taylor” at lower left, matted and framed. A full-figure image of Heston as astronaut Taylor clad in a loincloth, holding an ape rifle, and standing in the surf as in the film’s climax. Within mat: 9 1/2 x 13 1/2 in; overall: 12 1/4 x 16 1/2 in$250 - 350

84A GROUP OF FIVE TERENCE GILBERT PORTRAITS OF CHARLTON HESTONOil on board, late 1970s, all signed (“© Gilbert”) at lower right, all with the characters’ names inscribed at lower left, all matted and framed. Full-figure depictions of Heston in Counterpoint (1967), Number One (1969), Soylent Green, The Three Musketeers (both 1973), and The Prince and the Pauper (1977). Within mat: 9 1/2 x 13 1/2 in; overall: 12 1/4 x 16 1/2 in$2,000 - 3,000

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THE LIBRARYLots 85-148

Jeff Elson © 2015, all rights reserved42 | BONHAMS

85AN EMPIRE STYLE BRASS MOUNTED POLISHED STEEL AND LEATHER WRITING DESK AND ARMCHAIR SECOND HALF 20TH CENTURYheight of table 29 in; width 62 1/4in; depth 36 1/4 in; depth extended 48 1/2 in; height of chair 32 1/2in; width 24 in; depth of seat 15 3/4 in$800 - 1,200

86A GROUP OF LIBRARY FURNITURE 20TH CENTURYComprising a George III style brass studded leather folding library pole, a set of folding library steps and terrestrial floor globe. greatest height 79 1/2 in$800 - 1,200

87A BRITISH NEEDLEWORK TAPESTRY FRAGMENT DEPICTING A MARITIME SCENE PROBABLY 19TH CENTURY41 3/4 x 28 1/2 in$200 - 300

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88GERMAN RENAISSANCE ILLUSTRATION.PFINTZING, MELCHIOR. 1481-1535. Die Geferlicheite und geschicten, des löblichen streytbaren unnd hochberiempten Helds und Ritters Teurdancks. Augsburg: Hainrich Stainer, 1537. Folio (289 x 184 mm). A-Q6 R8. [1], 98, [4] ff. With large woodcut on title and 118 large woodcuts throughout by Hans Burgkmair, Leonhard Beck, Hans Schäufelein Later morocco-backed boards. Toning and minor scattered spotting, verso of final leaf stained. ONE OF THE FINEST GERMAN WOODCUT BOOKS OF THE 16TH CENTURY. Third edition, after editions of 1517 and 1519. The work celebrates the heroic feats of the emperor Maximilian I in his journey for and with his bride, Mary of Burgundy. Maximilian himself contributed significantly to the composition of the poetic narrative that comprises the text.$5,000 - 7,000

90BENTIVOGLIO, GUIDO. 1579-1644.The History of the Warrs of Flanders ... Englished by ... Henry, Earl of Monmouth. London: Humphrey Moseley, 1654. Folio (287 x 186 mm). [10], 459, [21] pp. Title printed in red and black. With large engraved folding map and 23 (of 24) engraved portraits. Contemporary calf rebacked with original spine mostly preserved. Lacking portrait of Monmouth, spotting to title, some old dampstaining, a few plates working loose, large marginal tear to one plate outside of plate mark, loss to lower right margin of last few gatherings. FIRST EDITION IN ENGLISH. Wing B-1911A.$300 - 500

89GOMARA, FRANCISCO LOPEZ DE. 1511-1564.La Seconda Parte Delle Historie dell’India.... Venice: Giordan Ziletti, 1565. 12mo (140 x 97 mm). [16], 324 ff. Contemporary vellum. Moderate foxing, small holes to title where contemporary ownership signature erased. Provenance: contemporary (?) inked portrait and pen-trials to end leaf. The second part of a 3 volume work usually attributed to Pietro Cieza, author of the first part. Gomara’s work was first published in 1553. Field 315; Sabin 13052 & cf.27737.$800 - 1,200

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91A PAIR OF VIEWS OF ROMEBraun and Hogenberg. Antiquae Urbis Romae imago accuratiss.... Cologne: c 1588. Copper engraved view with hand coloring, 500 x 690 mm. Laid down to board. * Roma Vetus.... n.p., n.d. Copper engraved view with hand-coloring, 480 x 543 mm. Laid down to board.$250 - 350

92[LAFRERI SCHOOL.]EUFROSINO DE VOLPAIA (d.1552), after. Territorio di Roma. [N.P., c.1550]. 260 x 205 mm. Framed.$600 - 900

93MORE, SIR THOMAS. 1478-1535.Ornamenti eximii, Lucubrationes, ab innumeris mendis repurgatæ. Basel: Nicolaus Episcopius the Younger, 1563. 8vo (158 x 102 mm). [alpha]-[beta]8 a-z8 A-N8. [32], 530, [46] pp. Woodcut printer’s device on title and last page, full-page woodcut of the island of Utopia on d3r, large woodcut initials. Full antique sheep. Housed in a rectangular sterling silver box engraved on the id, “... for all seasons... March 17, 1969 / L. to C.,” gifted by Lydia Heston to Charlton Heston on the occasion of his performance in Robert Bolt’s play A Man for All Seasons. Provenance: contemporary signature deleted from title; Trinity College (cancelled library stamp to verso of title and final leaf). FIRST COLLECTED EDITION OF MORE’S WORKS IN LATIN, including Utopia and others. Adams M1752; Gibson 74. A Man for All Seasons was one of Charlton Heston’s favorite plays and he performed the role of Sir Thomas More on stage several times, including opposite Vanessa Redgrave at the Savoy Theater in London. He also starred in and directed a 1988 made-for-television film adaptation of the play for Turner Network Television.$3,000 - 5,000

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94BACON, SIR FRANCIS. 1561-1626.The Essayes or Counsels, Civill and Morall. London: printed by John Haviland, 1632. 4to (185 x 131 mm). A4 a2 B-2V4 2X2 2Y-3C4. Gathering “a” (table) misbound following 2X1 as often. [8], 340, [40] pp. Some fraying to title page, marginal toning to first few leaves, boards bowed, ring stains to covers. Provenance: Robert Robertson (ownership inscription dated 1703 to last blank). A resetting of the 1629 edition. STC (2nd ed) 1150.$300 - 500

95SHAKESPEARE, WILLIAM. 1564-1616.Original Leaves from the First Four Folios of the Plays of William Shakespeare. 1623, 1632, 1663, 1685. San Francisco: printed by the Grabhorn Press for David Magee, 1935. Folio (367 x 240 mm). [30] pp. With full-page reproductions of the title pages of each folio, and with four leaves from the original folios tipped in. Original morocco-backed marbled boards. LIMITED EDITION, ONE OF 65 COPIES, this one unnumbered. The original leaves are as follows: first folio: Henry the Eighth pp 229-230; second folio: Henry the Eighth pp 213-214; third folio: Richard the Third pp 203-204; fourth folio: Richard the Third pp 195-196.$3,000 - 5,000

96SHAKESPEARE, WILLIAM. 1564-1616.[Three Plays from the Second Folio: As You Like It. The Taming of the Shrew. All’s Well, That Ends Well.] [London: printed by Thomas Cotes for John Smethwick et al, 1632.] Folio (320 x 205 mm). Q6 [-Q1 & Q3] R-X6 Y6 [-Y2-Y6]. 185-254 pp. Modern half-morocco. A few stray spots but internally clean. A collection of three complete comedies from the second folio of Shakespeare.$3,000 - 5,000

97SHAKESPEARE, WILLIAM. 1564-1616.[Four plays from the Second Folio: Macbeth; Hamlet; King Lear; Othello.] [London: printed by Thomas Cotes for John Smethwick et al, 1632.] Folio (329 x 219 mm). 2n6 [-2n1-2n3] 2o-2x6 2y6 [-2y5-2y6]. 55 leaves. 20th century roan lettered in gilt. Old dampstaining throughout, a few marginal tears, a few scattered spots, binding rubbed and dry. Provenance: Robert Williams (bookplate). FOUR COMPLETE TRAGEDIES FROM THE SECOND FOLIO.$5,000 - 7,000

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98SHAKESPEARE, WILLIAM. 1564-1616.Macbeth: A Tragedy. Acted at the Dukes-Theatre. London: printed for William Cademan, 1673. 4to (204 x 143 mm). [A]2 B-I4 K2. [4], 67 pp. 20th century roan, spine gilt. Some old staining to title and list of players, long vertical crease to title with a few tears to bound edge and chip to right margin with no loss of text, two tears to B1 touching text but with no loss, small hole to B1 with loss of one word and near complete loss of one other, headlines and page numerals of several leaves shaved, final leaf tattered and with 3 long tears, one of which touches the word FINIS, small hole to E2, a few pencil scribbles and annotations.

FIRST SEPARATE AND FIRST QUARTO EDITION. RARE: we trace no complete copies, and only two incomplete copies, in the auction records of ABPC and RareBookHub. Macbeth was first printed in the first folio of 1623, and did not appear separately until the present edition. The list of players on A2 corresponds to William Davenant’s production at the Duke of York’s Theatre, but the text follows that of the first folio. (Davenant’s edited text appeared the following year.) This copy was unrecorded by Bartlett and Pollard in their 1939 census of Shakespeare’s plays in quarto. The census located just three copies in private hands, one of which lacked the final two leaves. Another private copy, also lacking the last two leaves, last sold at Sotheby’s in 1961. Bartlett 111; Wing S-2929. Cf. Bartlett & Pollard p 131. Charlton Heston played Macbeth on stage and on live television several times in his career, including a production at the Ahmanson Theater in 1975, starring opposite Vanessa Redgrave.$25,000 - 35,000

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99SHAKESPEARE, WILLIAM. 1564-1616.The Tragedy of Hamlet Prince of Denmark. As it is now Acted at his Highness the Duke of York’s Theatre. London: printed by Andrew Clark for J. Martyn and H. Herringman, 1676. 4to (203 x 143 mm). A2 B-M4. [4], 88 pp. 20th century roan lettered in gilt. Some wrinkling and a few stray spots, small soil spot to pp 43-46, tear to lower corner of title touching one letter in imprint. Provenance: contemporary marginal annotations p 85.

FIRST DAVENANT EDITION, Greg’s first issue with 4-line imprint. 6th edition overall. As manager of the Duke of York’s theatre, Sir William Davenant (1606-1668) was “the man mainly responsible for the return of Shakespeare’s plays to the London stage at the Restoration” (ODNB). The present Hamlet was altered by Davenant in both length and diction, and was first staged in 1661, with Thomas Betterton—considered by many to be the finest actor of his era— in the title role (and here named in the list of players). Bartlett 84; Greg I 197(i); Wing S-2950.$15,000 - 25,000

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100[SHAKESPEARE.]LENNOX, CHARLOTTE. Shakespear Illustrated. London: printed for A. Millar, 1753. 2 volumes. 12mo (170 x 93 mm). xii, [2], 292; [4], 274, [2] ad pp. Contemporary calf, spines gilt. Browning to endpapers but clean internally, joints tender, front joint vol 1 repaired, some light wear to boards. FIRST EDITION of the first substantial account of Shakespeare’s sources. A third volume was published in 1755.$150 - 250

101AN 1845 THEATRICAL BROADSIDE FOR A LONDON PRODUCTION OF MACBETHBroadside for production starring Edwin Forrest and Charlotte Cushman, Princess’s Theatre, Oxford Street, Friday, February 21, 1845. Housed in a protective sleeve inscribed in marker, “Christmas / 1973 / To Hestons / from Julee & Chuck.” 9 x 19 3/4 in$150 - 250

102SHAKESPEARE, WILLIAM. 1564-1616.1. The Tragedie of Macbeth. 1952. Publisher’s morocco-backed illustrated boards (spine rubbed). One of 180 copies. 2. The Tragedy of Richard the Third. 1953. Publisher’s limp vellum, slipcase. One of 180 copies. 3. The Tragedie of Julius Caesar. 1954. Publisher’s morocco-backed illustrated boards, plain paper jacket (torn). One of 180 copies. 4. The Tragedie of Anthonie, and Cleopatra. 1960. Publisher’s boards. One of 185 copies. San Francisco: Grabhorn Press. Together, 4 volumes. Folio and 4to. Illustrations by Mary Grabhorn.$200 - 300

103A CHARLTON HESTON COLLECTION OF BOOKS ON SHAKESPEAREComprising 25 volumes about William Shakespeare, Elizabethan theatre, and Shakespeare’s works themselves, most lacking dust jackets. Shakespeare on the Stage by William Winter (1911) is inscribed, “To Chuck / from / Maynard / Christmas 1951” and has a one-page autograph letter signed by William Winter tipped in. Elizabethan Acting by B.L. Joseph (1951) has Lydia Heston’s ownership signature and some annotations in pencil, three others have annotations in pencil in an unknown hand, Shakespeare Without Tears by Margaret Webster has Lydia Clarke and Charlton Heston’s names inscribed in ink, Shakespeare at the Old Vic (1954) has a hand-colored engraving of Laurence Olivier as Macbeth laid in, and Prefaces to Shakespeare by Harley Granville-Barker (1946) has a program for Laurence Olivier’s film Hamlet (1948) laid in.$250 - 350

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104AN ASSORTMENT OF DECORATIVE TABLE ORNAMENTSComprising a pair of patinated bronze figures of hounds, a silver plated oval box, monogrammed H, a gilt metal and bone covered box, a Louis XVI style gilt metal mounted table mirror and a pair of mixed metal figural candelabra. height of candelabra 24 in$800 - 1,200

105A RÉGENCE STYLE GILT BRONZE MOUNTED CUT BRASS INLAID EBONIZED BUREAU PLAT LATE 19TH CENTURYFitted with a single frieze drawer. height 29 3/4 in; width 51 1/2 in; depth 31 in$2,000 - 3,000

106A ROCOCO STYLE CARVED MIXED WOOD EASEL SECOND HALF 20TH CENTURYheight 67 1/2 in; width 23 3/4 in$200 - 300

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107A REPRODUCTION OF MICHELANGELO’S MOSESPainted hollow plaster statuette with verdigris patina, “Alexander Backer Co” logo inscribed to verso. A reproduction of the statue of Moses, by Michelangelo Buonarroti, in the Church of San Pietro di Vincoli, Rome (commissioned in 1505 by Pope Julius II). Charlton Heston was a great admirer of Michelangelo, and played the sculptor and painter in a film adaptation of Irving Stone’s The Agony and the Ecstasy (1965) directed by Carol Reed. Heston studied marble sculpture and fresco painting in preparation for the role. 6 1/2 x 6 1/2 x 15 1/2 in$1,000 - 1,500

108JOHNSON, SAMUEL. 1709-1784.Dictionary of the English Language. London: Rivington et al., 1785. 2 vols. 4to. Contemporary calf, spine gilt. Ownership signature and date (“1790”) in ink and ownership bookplates to front pastedown. Sixth edition. Johnson’s dictionary is one of the most important and influential dictionaries in English and is a magnificent achievement of scholarship. Its author was immortalized by James Boswell in his Life of Samuel Johnson (1791). Both Charlton and Lydia Heston were avid readers and scholars of the English language and treasured this edition.$800 - 1,200

107 108


109RADCLIFFE, ANN. 1764-1823.The Mysteries of Udolpho. London: C.G. and J. Robinson, 1794. 4 volumes. 12mo (172 x 96 mm). [2], 428; [2], 478; [2], 463; [2], 428 pp. Without half-titles. Contemporary tree calf, rebacked with old calf. Scattered foxing but a clean copy overall, some rubbing and light wear to boards. Provenance: W.K. D’Arcy (armorial bookplates); Janas (bookplate). FIRST EDITION of “probably the greatest of all Gothic novels” (Summers). “Radcliffe was unquestionably the dominant romance writer of the 1790s. Her influence on the fiction of the decade, and on what has subsequently come to be known as the Gothic novel, was formative and deep” (ODNB). Summers p 435; Rothschild 1701.$2,000 - 3,000

110AUSTEN, JANE. 1775-1817.Sense and Sensibility. London: Printed for the author by C. Roworth and published by T. Egerton, 1813. 3 volumes. 12mo (171 x 91 mm). [2], 306; [2], 278; [2], 294 pp. Without half-titles or ads. Contemporary half-calf and marbled boards, rebacked. Slipcase. Light to moderate toning and foxing throughout, boards rubbed. Provenance: Norwich (bookplates). SECOND EDITION of Austen’s first published novel. Gilson A2; Keynes 2.$5,000 - 7,000

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111AUSTEN, JANE. 1775-1817.Mansfield Park. Philadelphia: Carey & Lea, 1832. 2 volumes. 8vo (191 x 112 mm). 200; 204 pp + 4 pp publisher’s catalogue at front of vol 1. Original cloth-backed drab paper boards, paper spine labels. Custom folding box. Perforated library stamps to title pages, scattered foxing and a few gatherings working loose vol 1, scuffing and mild edgewear to boards, fading to spines, labels rubbed. FIRST AMERICAN EDITION IN ORIGINAL BOARDS. Gilson B4; Keynes 12.$3,000 - 5,000

112AUSTEN, JANE. 1775-1817.Novels by Miss Jane Austen. London: Richard Bentley, 1833. 5 volumes. 12mo (161 x 95 mm). [iii]-[xvi], 331, [1]; [2], 340; [2], 435, [1]; [2], 424; [2], 440 pp. Without half-titles volumes 1 & 2 (none issued volumes 3-5). Engraved frontispiece in each volume. Without engraved vignette titles. Old calf, spines gilt, marbled edges and endpapers. Cloth slipcase. Offset to title pages but otherwise clean internally, some rubbing to joints and spines, one joint repaired. Provenance: Henrietta Sedgwick from H.D. Sedgwick (gift inscriptions dated January 1, 1854; inkstamp); Jane Minot Sedgwick (ownership signatures). FIRST COLLECTED EDITION, “very rare in any state” (Gilson). Having acquired the copyrights for Austen’s works (which had been out of print for over a decade), Bentley began reissuing the novels individually in 1833 in his “Standard Novels” series. This collected edition from the same year is largely a reissue of the Standard Novels editions, with new printed title pages adding volume numbers. Gilson D6; Sadleir 3735a.$3,000 - 5,000

111 112


113DICKENS, CHARLES. 1812-1870.A Christmas Carol. London: Chapman and Hall, 1843. 8vo (160 x 100 mm). [8], 166, [2] ad pp. Title-page in red and blue, half-title and verso of title in blue. With 4 hand-colored plates by and after John Leech. Original cinnamon cloth blindstamped and gilt, yellow endpapers, a.e.g. Custom cloth chemise and morocco-backed slipcase. Smearing to blue ink of “in prose” on title page, some marginal thumbsoiling, slightly over-opened at center, light wear to cloth but an attractive copy of a delicate book. FIRST EDITION, second issue, with “Stave One” on page [1], title page in red and blue dated 1843, and yellow endpapers. Smith 2:4.$2,000 - 3,000

114[TENNYSON, ALFRED, LORD & THOMAS CARLYLE.]LINDSAY, ROBERT. The History of Scotland; from 1436 to 1565. Glasgow: printed by R. Urie, 1749. 8vo (165 x 90 mm). [2], 430 pp. Contemporary calf rebacked. Custom box. Scattered light foxing and smudging, some light wear to binding. Provenance: Brackenburn (bookplate); Carson Brevoort (bookplate, now loose); Noël J. Cortés (bookplate); pencil and ink annotations in an unidentified hand. WITH A PRESENTATION INSCRIPTION FROM THOMAS CARLYLE TO ALFRED TENNYSON on the front free endpaper, dated “Chelsea / 1 feby, 1845.” Second edition.$1,000 - 1,500

115BRONTË, CHARLOTTE. 1816-1855.The Professor, a Tale. By Currer Bell. London: Smith, Elder & Co., 1857. 2 volumes in 1. 8vo (193 x 115 mm). viii, 294, 2 [ad]; [4], 258, [2], 8 [ad], 16 [ad] pp. Separate title volume 2, half-titles for each volume, publisher’s catalogue dated August 1857. Original green cloth (remainder binding). A few spots within, hinges and spine ends neatly restored. FIRST EDITION, an early remainder issue, with ads dated August 1857 (the ads in the 2 volume first issue are dated June 1857).$200 - 300

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116A GROUP OF 8 MAPS OF THE UNITED KINGDOMOrtelius. Cambriae Typus.... Antwerp: [1598]. 510 x 380 mm. * Smith. A map ... Adjacent to Carlisle.... 275 x 220 mm. * Morden, Robert. Westmorland. c.1695. 425 x 380 mm. ---. Cumberland. c. 1695. * Braun and Hogenberg. Cantuabury. Cologne: c.1588. 445 x 300 mm. * Bowen. An Accurate Map of the North Riding of York Shire. L: 1764. 710 x 555 mm. * Plus 3 others.$1,000 - 1,500

117A GROUP OF THREE MAPS OF SPAINSpeed, John. Spaine.... L: 1626. Copper-engraved map with hand-coloring. 545 x 425 mm. Framed. * Hafner. Madritum Madrit. [Augsberg: 1730 or later]. 1029 x 648m mm. Framed. * Braun and Hogenberg. Burgos celebris et antiqua Hispaniae civitas.... [Cologne: 1577.] 475 x 173 mm. Upper view only.$1,000 - 1,500

118DE WIT, FREDERICK, AFTER.La villa de Madrid de los reyes catolicos de Espagna.... Amsterdam: Covens and Mortier, n.d. Double-page copper-engraved map with hand coloring, 931 x 595 mm.$800 - 1,200

119ORTELIUS, ABRAHAM.Hispaniae Veteris Descriptio. Antwerp: 1586. Copper engraved map with hand coloring, 380 x 490 mm.$300 - 500

116 (partial)

117 (partial)

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120SALAZAR DE MENDOZA, PEDRO. 1549-1629.Crónica de el gran cardenal de España, don Pedro Gonçalez de Mendoço, arçobispo de la muy santa iglesia primada de las Españas. Toledo: En la emprenta de doña Maria Ortiz de Sarauia, 1625. Folio (290 x 195 mm). [8], 479, [13] pp. Engraved portrait, arms, and folding genealogical plate. Contemporary calf. Dampstaining to plates and to last few gatherings, ownership signatures to title, binding rubbed, covers detached, spine deteriorating. FIRST EDITION.$600 - 900

121SWINBURNE, HENRY. 1743-1803.Travels through Spain in the years 1775 and 1776, in which several monuments of Roman and Moorish architecture are illustrated by accurate drawings taken on the spot. London: P. Elmsley, 1779. Folio (293 x 220 mm). xvi, 427 pp. With 13 engraved plates (1 double page, 3 folding). Contemporary calf. Front free endpaper, first blank, and title detached, some scattered spotting, light toning to a few plates, covers detached, spine deteriorating. Provenance: J. Hunt (contemporary ownership signature to title). FIRST EDITION.$200 - 300

122A COLLECTION OF BOOKS ON EL CIDComprising six titles in twelve volumes: El Cid Campeador (1955) by Ramon Menendez Pidal, inscribed by Pidal “Al gran Cid / Charlton Heston” in ink and signed (“R. Menendez Pidal”); Flor Nueva de Romances Viejos (1959) also by Pidal, inscribed by the author, “A mio Charlton Heston” and signed; Cantar de Mio Cid, Volume I (1908), Volume II, and Volume III (both 1911) by Pidal; La España del Cid Volumes I and II (1956), by Pidal, Volume I annotated English in blue ink, probably in Heston’s hand; Poem of the Cid (1974, Spanish language edition); The Chronicle of the Cid by Robert Southey (1958), housed in slipcase, limited edition, #63 of 1500, signed by the printer; Poem of the Cid (1938, translation by John Ormsby) is inscribed to Fraser Heston by Cora Sommer in ink for his eighth birthday, February 12, 1963. Poem of the Cid (1957 English translation); Poem of the Cid (1921) in Spanish and English, translation by Archer M. Huntington, signed in ink to Heston on third blank front page by eight employees of Duff Gordon and Co., makers of the El Cid Sherry line, and inscribed in ink “Un gran placer dedicamos / este libro al Sr. Charlton / Heston en recuerdo del magni- / fico film ‘El Cid’” and, below signatures, “Shippers of El Cid sherry / 6:12:61.” Heston thoroughly studied the lives of the historical figures he portrayed, including that of the 11th century military leader known as El Cid, who he played in the 1961 movie of the same name. While in Madrid, Heston consulted the world authority on the Cid, Nobel Prize nominee Ramon Menendez Pidal. In his memoir In the Arena (1995), Heston vividly describes his visit to Pidal’s home and also mentions that the author gave him several books when he left that day.$1,000 - 1,500

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123A GROUP OF SCIENTIFIC AND NAUTICAL ITEMSComprising a brass telescope, a verdigris metal sundial, a large brass bell inscribed CAVELIER EE LA SALLE LEEHAVRE, a brass lantern, a wooden press, a ship’s compass in fitted box, a clinometer in fitted box, and a brass parallel ruler inscribed KELVIN & HUGHES LTD, MADE IN GREAT BRITAIN. greatest height 14 3/4 in$1,500 - 2,000

124A GROUP OF DECORATIVE ARTICLESComprising a brass telescopic reading stand, leather-clad inkstand and blotter, a gilt porcelain vase, a gilt metal table easel, a brass sliding book rack, and an Art Nouveau gilt metal photograph frame together with a mixed metal stick stand, jardinière and covered vessel. greatest height 35 1/2 inUS$1,000 - 1,500

125A COLLECTION OF GRAND TOUR STYLE AND SOUVENIR TABLE ORNAMENTSOf various age, including two patinated metal miniature models of Caesar on pedestals, an Egyptian style cat figure, two assorted encrusted terracotta amphora, two assorted Egyptian style ushabti, a miniature patinated metal sculpture of Spinario, a Gothic style carved wood table easel, a ram’s head drinking vessel and a pair of book ends modeled as recumbent lions. greatest height 16 1/4 in$1,000 - 1,500

126A PRESENTATION PLATE TO CHARLTON HESTON FROM THE LUXOR BAZAARWooden plate with mother of pearl and mixed material inlays, with hand-painted inscription to recto reading, “To Charlton Heston / Gift from / Sayd El Gabry / Mohammde Ali and Ali / Luxor Bazaar.” Heston visited Luxor, Egypt in 1965 while filming Khartoum (1966). Diameter: 16 in$200 - 300

123 (partial)

124 (partial)

125

126


127A GROUP OF 3 MAPSMoll, Herman. A View of the General and Coasting Trade Winds.... L : [1720-1740]. 540 x 205 mm. With hand coloring. * The World on Mercator’s Projection. Philadelphia: Tanner, Vallance, Kearney & Co, c. 1860. 533 x 482 mm. * Peloponnesus nunc morea.... 1711. 279 x 229 mm.$300 - 500

128ORTELIUS, ABRAHAM.Itala[sic] nam tellus Graecia Maior. Antwerp: 1595. Copper engraved map with hand coloring, 480 x 345 mm.$200 - 300

129CABINET CARD OF C.G. GORDON WITH FACSIMILE SIGNATURE, CIRCA 1880Albumen cabinet card by Adams and Scanlan, London, with facsimile of Gordon’s signature printed or stamped in, printer’s information matted to verso, note likely in Heston’s hand in ballpoint pen to verso “Gen. Gordon, circa 1880 / (Autographed by Gordon),” matted in a two-sided frame. Heston portrayed British hero Charles George Gordon in Khartoum (1966). Within mat: 4 x 6 1/4 in; overall: 11 1/2 x 13 1/2 in$300 - 500

127 (partial)

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130A JAPANESE PATINATED BRONZE FLOOR LAMP WITH SHADElate 19th century Decorated with cranes in flight and dragon swimming in waves. overall height 66 in.$800 - 1,200

131A PAIR OF SILVER BOOKENDSInlaid with carved jade plaques and semi-precious stones height 5 1/2 in.$800 - 1,200

132A GROUP OF FIVE TABLE CLOCKSComprising a Jaeger Le Coultre brass and glass Atmos clock, height 9 1/2 in; an oval carriage time piece,a brass swivel desk time piece inscribed Tiffany & Co. with personal inscription to reverse, a French gilt brass carriage clock retailed by Taylor & Bligh England in fitted leather case with engraved personal inscription plaques, and a mantel clock inscribed Bulova. Various sizes$800 - 1,200

133A COLLECTION OF ASSORTED MINERAL SPECIMENSincluding three pairs of geode bookends and a hardstone-mounted gilt-metal tree. The tallest approximately 10 in$250 - 400

130

131 133

132 (partial)


134CAMPBELL, JOHN.A Concise History of the Spanish America. London: John Stagg and Daniel Browne, 1741. 8vo (204 x 128 mm). viii, [4], 330, [2] pp. Contemporary calf. Some uneven fading and bowing to covers, but a clean, bright copy internally. FIRST EDITION. Sabin 10235. $250 - 350

135A GROUP OF THREE MAPS OF NORTH AMERICADe Vaugondy, Robert. Carte de la Californie... Paris: 1772. Laid down to board. Hand colored. 375 x 305 mm. * Chapman, Isaac. Plan of the Position Taken by Gen’l Burgoyne on the 10th Oct 1777.... Philadelphia: Analectic Magazine, 1818. Engraved with hand coloring. 380 x 234 mm. * Canada and Nova Scotia. N.p. n.d.$300 - 500

136STEDMAN, CHARLES.A Plan of the Action at Bunker’s Hill on the 17th of June 1775.... [London]: 1793. Copper engraved battle plan, 428 x 485 mm. Matted and framed. Stedman published The History of the Origin, Progress and Termination of the American War in 1794, and it is generally agreed to be the best of the British accounts of the revolution. This map predates the book by one year.$700 - 900

134

135 (partial)

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137A CAST IRON SCULPTURE OF GEORGE WASHINGTONPainted cast iron hollow statuette of George Washington on horseback, mounted on painted wooden base with plaque engraved “Washington.” 5 1/2 x 15 x 18 in $300 - 500138

HUNTINGTON, SAMUEL. 1731-1796.Document signed (“Saml Huntington”) as Governor of Connecticut, 1 p, legal folio, Norwich, February 2, 1792, appointing Robert Walker as Notary Public, with seal at upper left corner, framed. Huntington was a Signer of the Declaration, President of the Continental Congress, and Governor of Connecticut. Huntington is a direct ancestor of Lydia Clarke Heston.$800 - 1,200

139JACKSON, ANDREW. 1767-1845.Document signed (“Andrew Jackson”) as President, partially printed and accomplished in manuscript, 1 p, oblong folio, on vellum, Washington, DC, April 6, 1829, being a land grand for George Tureman within the boundaries of Springfield, IL, with red wax/white wafer seal, matted and framed. WITH: a cut signature of Jackson, 1 x 4 in, on vellum, framed. Heston portrayed Andrew Jackson twice in his film career: in The President’s Lady (1953) and The Buccaneer (1958).$1,000 - 1,500

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140LEWIS, MERIWETHER. 1774-1809, & WILLIAM CLARK. 1770-1838.Travels to the Source of the Missouri River and Across the American Continent to the Pacific Ocean. Performed ... in the years 1804, 1805, and 1806. London: Longman, Hurst, Rees, Orme, and Brown, 1814. 4to (275 x 211 mm). [iii]-xxiv, 663, [1 ad] pp. Without half-title. With large engraved folding map, A Map of Lewis and Clark’s Track Across the Western Portion of North America, from the Mississippi to the Pacific Ocean, and 3 engraved plates showing five maps. 19th century 3/4 morocco. Old dampstain and two small tears to folding map along reinforced folds, some marginal thumbing but overall clean internally with wide margins, some rubbing and light wear to binding. FIRST ENGLISH EDITION OF THE OFFICIAL ACCOUNT OF THE LEWIS & CLARK EXPEDITION. Following Lewis’s death in 1809, the text was edited by Nicholas Biddle and Paul Allen, and the first edition was published in Philadelphia in 1814. The American sheets were sent to the English publisher, Thomas Rees. In the preface, Rees states that “the only liberty that has been taken with the language, has been merely

the correction of a few inadvertent grammatical or typographical errors” and the omission of Lewis’s appendix on the state of the Indian nations (“as the subject is altogether of a local nature”). However, he does incorporate Jefferson’s “Message on the Subject of this Expedition” of 19 February 1806 as well as an extract from Lewis’s “Fort Mandan” letter of 17 [7th] April 1805 to Jefferson. The folding map is a close copy of the map in the American first edition. Field 929; Graff 2480; Hill 1018; Howes L317; Sabin 40829; Streeter sale 3128; Wagner-Camp 13; Wheat Transmississippi 317 (map). Charlton Heston played William Clark in the film Far Horizons (1955) opposite Fred MacMurray.$10,000 - 15,000

140

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141AFTER SIR JOSHUA REYNOLDS (1723-1792), AND AFTER WILLIAM HAMILTON (1751-1801)Mrs. Siddons as the Tragic Muse; Mrs. Siddons in the Tragedy of the Grecian Daughter, 1798; 1789 Engravings, printed later, with margins, framed. each sight approx. 25 x 18 in$500 - 700

142AN AUTOGRAPH LETTER SIGNED OF JOSEPH JEFFERSON2 pp, 8vo, Yosemite Valley, July 7, 1878, in calf slipcase with presentation note to Charlton and Lydia Heston. Jefferson was a 19th century actor and comedian most famous for his portrayal of Rip Van Winkle.$50 - 100

143BOOTH, EDWIN. 1833-1893.Portrait of Edwin Booth, pencil on paper, signed center left (but signature illegible), 7 x 5 in, framed. WITH: Clipped signature (“Edwin Booth / March ‘85”), 1 1/2 x 3 1/2 in, n.p., n.d., framed with a lithograph of Booth. Though today we remember Edwin Booth as the brother of John Wilkes Booth, in his day he was the foremost American Shakespearean actor.$300 - 500

144WILSON, WOODROW. 1856-1924.A History of the American People. New York: Harper and Bros., 1918. 4to. Ten volumes. Cloth. Documentary edition. $300 - 500

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144


145HEMINGWAY, ERNEST. 1899-1961.In Our Time. Paris: Three Mountains Press, 1924. Small folio. Woodcut portrait of Hemingway after Henry Strater facing the title. Original decorated tan boards. Custom morocco-backed case. Endpapers discolored as usual, paperclip indentation at head of dedication page, touch of wear at spine ends, but a fine copy. Provenance: Jack Hemingway (ownership signature to first blank).

LIMITED FIRST EDITION; HEMINGWAY FAMILY COPY, with the ownership signature of Jack Hemingway (1932-2000), the only child of Hemingway’s first marriage to Hadley Richardson. No 132 of 170 copies printed on Rives hand-made paper. Hanneman A2a. According to his son Fraser Heston, Charlton Heston believed that Hemingway was the greatest American writer of the 20th century.$25,000 - 35,000

145

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146FITZGERALD, FRANCIS SCOTT KEY. 1896-1940.Autograph Letter Signed (“F. Scott Fitzgerald”), 1 p, 8vo, New York, December 28, 1928, to Mr. Wallace, regarding adapting his work, matted with portrait and framed. Writing from his West 59th Street apartment, Fitzgerald responds to a query from a theatrical producer: “Considering that Head & Shoulders has been done in the movies I’m not inclined to think it’d be financially worth while dramatizing it. And, honestly, I’m not awfully proud of it. / Still working on my novel.” “Head and Shoulders” first appeared in the Saturday Evening Post and was later collected in Flappers and Philosophers. The novel he mentions is likely The Beautiful and the Damned.$2,500 - 3,000

147O’NEILL, EUGENE. 1888-1953.Typed letter signed (Eugene O’Neill”), 1 page, 4to, Belgrade Lakes, Maine, October 5, no year, matted with a small photograph of O’Neill and framed, to a Mr. Hawthorne granting him permission to use O’Neill’s shack in Peaked Hill Bars, Massachusetts. Dealer’s receipt to Lydia Heston to verso of frame, dated March 6, 1977. O’Neill writes to Hawthorne: “Peaked Hill has always been an inspiring place / for me to work, and I hope that you have success there.” O’Neill wrote several of his major plays while living in Peaked Hill Bars. In 1976-1977, Charlton Heston starred in a production of O’Neill’s A Long Day’s Journey Into Night at LA’s Ahmanson Theater; the dealer’s receipt on the verso of this piece indicates Lydia gifted the letter to CH at the conclusion of the run.$800 - 1,200

148CARTIER-BRESSON, HENRI. 1908-2004.The Decisive Moment. New York: Simon and Schuster, 1952. Folio. With 126 photographic plates, mostly full page. Original illustrated paper boards and dust jacket designed by Henri Matisse. Printed caption booklet loosely inserted. Slight toning to spine, minor wear to extremities of boards, jacket toned with some soiling, chips to ends of jacket spine with loss to “I” in “HENRI,” tear to upper front panel of jacket, chip to lower back panel, clear tape to flaps. FIRST AMERICAN EDITION.$1,000 - 1,500

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THE VAULTLots 149-199


149A PAIR OF SOUTH SEA CULTURED PEARL, DIAMOND AND WHITE GOLD EAR PENDANTSpearls measuring approximately 14.5 mm; estimated total diamond weight: 3.60 carats; length: 1 3/4 in$5,000 - 8,000

150A PAIR OF DIAMOND AND WHITE GOLD EAR CLIPSset with marquise, pear and baguette-cut diamonds; estimated total diamond weight: 3.10 carats; length: 1 1/8 in$2,000 - 3,000

151A PAIR OF DIAMOND AND 14K GOLD EAR CLIPSestimated total diamond weight: 2.00 carats; length: 1 in$1,500 - 2,000

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152A DIAMOND AND 18K BI-COLOR GOLD NECKLACE, CIRCA 1960estimated total diamond weight: 7.00 carats; gross weight approximately: 106.0 grams; length: 15 in$8,000 - 12,000

Accompanied by a photograph of Lydia Heston wearing this necklace.

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153A PAIR OF DIAMOND AND 14K GOLD SPRAY EAR CLIPSestimated total diamond weight: 1.85 carats; length: 1 1/4 in$700 - 900

154A DIAMOND AND GOLD RINGsize: 7 1/4$250 - 400

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155A RUBY, DIAMOND AND GOLD RINGsize: 7, with 14k gold hinged shank$250 - 400


156A LEAD GLASS-FILLED RUBY AND SILVER RINGsize: 5 1/2$250 - 400

157A RUBY, DIAMOND AND BI-COLOR GOLD DOME RINGcentering an oval-cut ruby, within marquise-cut diamond and circular-cut ruby surrounds; size: 6$3,000 - 5,000

158A DIAMOND, RUBY AND BI-COLOR GOLD PENDANT NECKLACEset with marquise and round brilliant-cut diamonds, accented by circular-cut rubies; detachable pendant converts into a brooch; estimated total diamond weight: 5.75 carats; gross weight approximately: 54.5 grams; length: 18 in$2,000 - 3,000

157156

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159A PAIR OF DIAMOND, RUBY AND 18K BI-COLOR GOLD EAR CLIPSof wreath design, set with alternating rows of round brilliant-cut diamonds and circular-cut rubies; diameter: 1 in$1,800 - 2,500

160A DIAMOND, RUBY AND 18K BI-COLOR GOLD COLLARset with alternating rows of round brilliant-cut diamonds and circular-cut rubies; estimated total diamond weight: 9.00 carats; gross weight approximately: 127.5 grams; length: 15 1/2 in$12,000 - 18,000

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159


161AN 18K GOLD FANCY LINK CHAIN NECKLACEwith English hallmarks; weighing approximately: 79.2 grams; length: 33 1/2 in$2,500 - 3,500

162A 9K GOLD BRACELETweighing approximately 92.0 grams; with English hallmarks; length: 7 1/4 in$800 - 1,200

163A HARDSTONE CAMEO AND YELLOW METAL NECKLACE, LATE 19TH CENTURYlength: 15 1/2 in$30 - 40

164A HARDSTONE AND GOLD SCARAB PENDANT AND ROPE CHAINthe reverse engraved with hieroglyphs; pendant length: 2 3/8 in; chain length: 23 1/4 in$300 - 500

165A HARDSTONE, FAIENCE AND GOLD SCARAB BRACELETcomprising turquoise, tiger’s eye and jasper and faience carved cabochons; gross weight approximately: 69.2 grams; length: 7 1/4 in$2,000 - 3,000

166A LOW KARAT GOLD AND FAIENCE CHARM BRACELETlength: 7 in$300 - 500

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166

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167A GLASS INTAGLIO AND SILVER PENDANT WITH CHAINdepicting the profile of a Roman gentleman; silver mounting engraved “A Lydia, Ricordo di Roma, Monte Savello, Paolo”; chain in white metal; pendant length: 1 1/2 in$30 - 40

168AN OPAL, RUBY AND DIAMOND PENDANToval opal cabochon measuring approximately 17.0 x 11.9 x 5.2 mm; mounted in bi-color gold; length: 1 1/4 in$250 - 400

169AN OPAL, DIAMOND AND WHITE GOLD PENDANTcentering an oval opal cabochon measuring approximately 14.2 x 10.6 x 3.7 mm; estimated total diamond weight: 1.10 carats; length: 1 1/4 in$600 - 800

170AN OPAL AND 14K GOLD PENDANT WITH CHAINpear opal cabochon measuring approximately 13.4 x 9.3 x 2.8 mm; chain length: 16 in$30 - 40

171A BLACK OPAL AND 14K WHITE GOLD KITE BROOCHlength: 3 3/4 in$800 - 1,200

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168 169


172AN AMETHYST, DIAMOND AND 14K WHITE GOLD RINGrectangular step-cut amethyst measuring approximately 13.6 x 11.3 x 7.4 mm; size: 6$1,000 - 2,000

173AN AMETHYST, DIAMOND AND 14K WHITE GOLD RING, TOGETHER WITH A SYNTHETIC COLOR-CHANGE SAPPHIRE AND GOLD RINGsize: 8$600 - 800

174A PAIR OF AMETHYST, DIAMOND AND BI-COLOR GOLD DAY/NIGHT EARRINGSlength: 1 1/2 in$1,200 - 1,800

175AN AMETHYST, DIAMOND AND 18K BI-COLOR GOLD NECKLACEset with with pear and oval-cut amethysts, accented by round brilliant-cut diamonds; estimated total diamond weight: 4.45 carats; gross weight approximately: 56.5 grams; length: 15 1/2 in$3,000 - 5,000

172 174

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176A CORAL BEAD NECKLACEdesigned as two strands of graduated coral beads, measuring from approximately 13.8 mm to 7.7 mm, completed by an oval coral cabochon and 14k gold leaf motif clasp; accompanied by a fitted box; length: 16 in$4,000 - 6,000

177Y

A CORAL, DIAMOND AND PLATINUM PENDANT WITH SILVER CHAINcentering a heart-shaped coral cabochon, within a rose-cut diamond surround; pendant length: 1 1/4 in$1,800 - 2,500

178Y

A PAIR OF CORAL, DIAMOND AND 18K GOLD EAR CLIPSoval coral cabochons measuring approximately 15.9 x 11.8 mm; estimated total diamond weight: 1.75 carats; length: 3/4 in$2,000 - 4,000

179Y

A CORAL AND 18K GOLD TORSADE NECKLACElength: 16 1/2 in$2,000 - 3,000

Accompanied by a photograph of Lydia Heston wearing this necklace.

176

178

177 179


180Y

A CORAL BEAD NECKLACEcomprising ninety-one coral beads, measuring approximately 9.0 mm, joined by a carved coral and 14k gold rose motif clasp; length: 28 in$800 - 1,200

181Y

A CORAL, CULTURED PEARL AND GOLD SLIDE-PENDANT AND EAR CLIP SEToval coral cabochons measuring approximately 25.0 x 18.7 and 17.7 x 12.7 mm; lengths: 1 3/8 and 1 in$1,500 - 2,500

182A ROSE QUARTZ, GREEN ONYX, AND GOLD NECKLACEdesigned as a strand of alternating rose quartz, green onyx and gold beads, suspending a carved rose quartz foliate motif pendant; length: 28 1/2 in$200 - 300

183A TOURMALINE, BLUE TOPAZ, DIAMOND AND GOLD BEAD NECKLACEdesigned as a strand of alternating pink tourmaline beads, blue topaz rondelles, gold beads and diamond-set spacers, joined by a diamond and 18k gold boule clasp; length: 18 in$3,000 - 5,000

184AN AQUAMARINE, DIAMOND AND AND 14K GOLD BI-COLOR RINGfeaturing one marquise and one pear-cut aquamarine, accented by marquise and pear-cut diamonds; estimated total diamond weight: 3.25 carats; size: 5 1/2$3,000 - 5,000

185A CARVED AQUAMARINE, CITRINE, DIAMOND AND GOLD BROOCHlength: 2 3/4 in$1,200 - 1,800

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186A PAIR OF HEMATITE, SILVER AND 18K GOLD EAR CLIPS, TIFFANY & CO.signed Tiffany & Co.; length: 7/8 in$80 - 130

187A HEMATITE AND SILVER TORSADE NECKLACE, TIFFANY & CO.designed as eight strands of hematite beads, joined by a silver toggle clasp; signed T&Co.; length: 16 1/2 in$100 - 150

188A COLORED BAROQUE CULTURED PEARL AND GOLD FOLIATE MOTIF BROOCHlength: 2 1/4 in (colored cultured pearls untested for origin of color)$300 - 600

189A COLORED SOUTH SEA CULTURED PEARL, DIAMOND AND 14K GOLD RINGpearl measuring approximately 11.1 mm; size: 6 1/2 (cultured pearl untested for origin of color)$1,000 - 2,000

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190A PAIR OF MABÉ CULTURED PEARL, DIAMOND AND GOLD EAR CLIPSdiameter: 3/4 in$250 - 400

191A CULTURED PEARL, SILVER ANCIENT ROMAN COIN AND GOLD NECKLACEdesigned as three rows of graduated cultured pearls, measuring approximately 9.3 to 7.4 mm; joined by a “Tetradrachm, Demetrios I Poliorketes, 306-283 BC.” silver coin, bezel set in gold; clasp mounted in 14k gold; length: 14 1/2 in$800 - 1,200

192A PAIR OF CULTURED PEARL, DIAMOND AND GOLD EAR CLIPScultured pearls measuring approximately 8.0 to 8.2 mm; length: 5/8 in$600 - 800

193A CULTURED PEARL, DIAMOND AND 14K WHITE GOLD BRACELETdesigned as four strands of cultured pearls, measuring approximately from 7.0 to 6.5 mm, joined by an openwork diamond-set clasp; length: 7 1/2 in$1,000 - 2,000

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194A PAIR OF DIAMOND, EMERALD AND BI-COLOR GOLD BRACELETSset with alternating rows of round brilliant-cut diamonds and circular-cut emeralds; estimated total diamond weight: 9.60 carats; gross weight approximately: 88.3 grams; length: 7 in$10,000 - 15,000

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195AN EMERALD, DIAMOND, PLATINUM AND GOLD RINGcentering a rectangular step-cut emerald, measuring approximately 14.08 x 10.20 x 6.78 mm, flanked by baguette-cut diamonds; estimated total diamond weight: 1.00 carat; size: 5 1/2$15,000 - 20,000

Accompanied by AGL report #CS 1073065, dated January 27, 2016, stating the emerald as: Colombia origin, indications of minor clarity enhancement.

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196AN ART DECO DIAMOND AND PLATINUM WRISTWATCH, CIRCA 193017j, unadjusted; movement signed Nastrix, Swiss, case no. 1162; estimated total diamond weight: 1.70 carats; length: 7in.; width: 14mm (later added black cord and white metal strap)$1,500 - 2,000

197A LADY’S DIAMOND, PLATINUM AND 14K WHITE GOLD WRISTWATCH17j, unadjusted; movement signed Libela Watch Co, Swiss; length: 7 in; width: 17 mm$600 - 800

198AN 18K GOLD LADY’S WRISTWATCH WITH 24-HOUR DIAL, CARTIERcase 29mm diameter, case/serial #2886/89957LX Ronde, No. 89957LX / 2886 Quartz movement, circular silvered dial with roman I – XII numerals enclosing arabic 13 – 24 numerals, blued hands, conforming circular case with cabochon crown, back secured by eight screws, maker’s leather strap and 18K gold buckle 29 mm$1,500 - 2,500

199AN 18K GOLD STRAP WRISTWATCH, TIFFANYCase no. 23336 Jeweled manual winding movement, circular silvered dial with roman numerals, blued hands, conforming circular case with cabochon crown, leather strap and gilt metal buckle 31 mm$600 - 800

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MR. HESTON’S STUDYLots 200-253

Courtesy of the Heston family

200A REPRODUCTION PAINTED PLASTER SCULPTURE OF MICHELANGELO’S MOSESStamped “Alexander Backer C.O.” to verso of pedestal. This statue sat on Cecil B. DeMille’s desk at Paramount Studios during the production of The Ten Commandments, and was later gifted by the director to Charlton Heston. Heston wrote in his autobiography In the Arena (1995), “Michelangelo’s marble figure of Moses is one of the greatest statues in the world, certainly the finest representation of the prophet. It looks a lot like me, particularly the nose. Someone pointed this out to C.B. DeMille early in his deliberations on casting the part ... I think he never could get it out of his mind ... I guess I won by a nose.” Height: 14 in$1,000 - 2,000

201A D.J. BAWDEN SCULPTURE OF HESTON AS MOSES IN THE TEN COMMANDMENTSCast plaster figure with bronze patina on a wooden base, inscribed on the base, “Moses” and “DJ Bawden 84” and “/30” to rear. Depicts Heston as the older bearded prophet holding his wooden staff. Height: 23 in; base diameter: 11 in$300 - 500

202A JOHN L. JENSEN PORTRAIT OF CHARLTON HESTON AS MOSES IN THE TEN COMMANDMENTSParamount, 1956. Drawing in pencil on illustration paper, signed and dated at lower right (“J.L. Jenson ‘54”), displayed on foam board with poster mounts in corners. John L. Jensen was one of the key production illustrators on Cecil B. DeMille’s The Ten Commandments, drafting many conceptual drawings of scenes, costumes, etc. Dated two years before the film’s release date, these dramatic studies of Heston as Moses present him at three stages of his life: young and clean-shaven; slightly older and bearded; and older still, with his signature flowing white beard. The white-bearded portrait appears to have been patterned after Michelangelo’s “Moses.” 23 x 18 in$2,000 - 3,000

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203A PAIR OF PORTRAITS OF CHARLTON HESTON AS MOSES IN THE TEN COMMANDMENTSCharcoal and watercolor on watercolor paper, captioned “Charlton Heston as Moses” in pencil, signed (“T.J. Gilbert”), matted and framed. Together with a printed reproduction on canvas, titled at the top, “Charlton Heston as Moses / Prince of the Royal House,” matted and framed. The Gilbert portrait depicts four different close-up studies of a bearded Heston as Moses, three in charcoal, one in watercolor, with the Ten Commandments tablets loosely drawn to upper left. The Friberg reproduction depicts Heston as the younger Moses in full Egyptian regalia. Gilbert within mat: 12 x 14 in, overall: 21 1/2 x 23 1/2 in; Friberg within mat: 13 3/4 x 20 1/4 in; overall: 20 x 26 1/2 in$250 - 350

204A LIMITED EDITION MOSES FOUNTAIN PEN BY KRONE KRONE: Moses Limited Edition 288 Fountain Pen Hand-painted mother-of-pearl barrel depicting Moses bearing the Ten Commandments at the foot of Mount Sinai. Black hard rubber cap & endpiece, vermeil trim. Medium 18K two-tone gold nib, has been inked. Outer box, marble display box, ink bottle, booklet. Year of production: 2001. Limited Edition: 093/288. $800 - 1,200

205WALLACE, LEW.Ben-Hur- A Tale of the Christ., New York: Harper & Bros., [1880]. 8vo. 560 pp. Original cloth. First edition, later issue (with longer dedication), inscribed to “’Ben-Hur’ / Charlton Heston” by Eddie Plimpton Reynolds and dated February, 1998.$300 - 500

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206A PAIR OF DOOR KNOCKERS FROM THE HOUSE OF HUR USED IN BEN-HURMetro-Goldwyn-Mayer, 1959. Comprising two matched circular solid brass doorknockers with diamond and square patterns, attached to brass wall mounts and mounted with Star of David wall plaques. One door knocker has a typed label describing the pieces’ history, the other is inscribed by Charlton Heston in ink on white tape, “Original brass handles / to doors of House of Hur, / built at Cinecitta, Rome for / ‘Ben-Hur’ shoot, 1958, C.H.” Ben-Hur’s art director Edward Carfagno designed these heavy door knockers for the front door of the House of Hur, the title character’s home in Jerusalem. They are clearly visible during the film’s first act, and then after Ben-Hur’s return to his barren house in the film’s final scenes. The door knockers’ Star of David motif ties in with similar designs throughout the House of Hur. Heston’s Beverly Hills home was under construction while Ben-Hur was being filmed, and Heston had the doors of the den designed to accommodate these door knockers. Among Ben-Hur’s many Academy Award® wins, Edward Carfagno shared the award for Best Art Direction with William A. Horning and Hugh Hunt. Accompanied by a copy of the film as well as a photo of Charlton and Lydia Heston in their newly-completed home, standing next to the door knockers. Knocker rings (diameter): 7 in; Star of David mounts: 7 x 8 in$3,000 - 5,000

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207CHARLTON HESTON’S WORKING SCREENPLAY FOR BEN-HURMetro-Goldwyn-Mayer, 1959. Mimeographed manuscript on white, pale pink, bright pink, and green paper, temporary complete screenplay, 207 pp, June 30, 1958 (with revision pages dated as late as June 26, 1959), bound in black calf with upper cover and spine stamped in gilt, “Ben-Hur.” The title page and many of the revision pages are inscribed with Heston’s name. Numerous pages bear annotations from the time of the production, there is also a typed note at the beginning of the chariot race scene, “Pages 159 through 179, describing race were from an earlier script. During shooting, CH removed those pages from this script, because the race was being designed and shot by Yakima Canutt and had very little to do with the description that follows on these pages. 1-28-83.” Heston donated three Ben-Hur screenplays to the Academy of Motion Picture Arts and Sciences, including one with a similar annotation regarding the chariot race, and this is the last of his Ben-Hur screenplays in the family’s possession.$10,000 - 15,000

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208A GROUP OF CHARLTON HESTON STERLING SILVER ACCESSORIESComprising a Bates Pressalist metal address book with sterling silver lid engraved “C.H.” and alphabetized tabs; a Cartier sterling silver and wood desk blotter with felt bottom; a Tiffany & Co. sterling silver money clip, engraved “C.H.,” in original Tiffany & Co. box. Together with a brass and white metal box with lid engraved “Heston.” Various sizes$250 - 350

209A PAIR OF STERLING SILVER BOXESComprising a rectangular sterling silver hinged rectangular box with wooden interior with two dividers with doily liners, engraved to lid “To Charlton Heston / In appreciation of your unselfish devotion and artistic contribution / to the National Council on the Arts during my term as Chairman. / March 11, 1969” with an engraved facsimile of Roger H. Stevens’ signature; and a sterling silver hinged rectangular box with wooden interior and divider, engraved to lid Detective Story / 1984,” presented to Heston as a memento of a 1983-1984 revival of Sidney Kingsley’s play at Los Angeles’s Ahmanson Theater. Various sizes$800 - 1,200

210A GROUP OF HESTON FAMILY STERLING SILVER ITEMSComprising a sterling silver Cartier pen tray with engraved monogram (“CH”); a sterling silver plaque in a sterling silver frame with stand, engraved to verso “Placa San Juan Bosco / 1959 / Fotogramas / otorga a / Charlton Heston / pro su interpretación en / Los Diez Mundamientos / Barcelona 31 Enero 1960,” engraved “Clavaguera” to recto; a sterling silver bell-shaped rattle with ring on top and bell inside, with engraved monogram “FCH”, belonging to Fraser Heston; and a Tiffany & Co. sterling silver star-shaped bookmark, with engraved monogram “L.C.H.” to recto. Various sizes$600 - 800

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211A CHARLTON HESTON GOLDEN MEDAL OF THE CITY OF VIENNAPlated brass medallion with a knight and an engraved inscription on the verso and an image of Vienna on the recto, housed in a presentation case. Presented to Heston by the city’s mayor on April 29, 1995. Diameter: 3 in$300 - 500

212A CHARLTON HESTON GROUP OF AWARDSComprising a Steuben crystal apple paperweight, engraved “Charlton Heston / It’s Time”; a National Association of Theater Owners Award of Merit; two Lucite-encased wooden blocks with engraved plaques, one reading “Charlton Heston / 1976,” topped with NATO logo encased in a Lucite globe; a Producers Guild of America Golden Laurel Award, gilt metal and plexiglass Linden clock with engraved plaque, 1996. Together with a gilt metal Republican Majority Medal with relief of American flag, Washington Monument, and Capitol Building to face, attached to red, white, and blue ribbon, housed in a wooden case; a bronze Andrew Wyeth coin, duplicate of similar coin presented to Wyeth, with relief of Wyeth’s face and signature and artist’s initials (“J.W.”) to face and “AW” and “Act of Congress 1988” in raised letters to verso, housed in a green velvet case; and a brass Texas Heart Institute Denton A. Cooley Leadership Award, with relief of Cooley to face, with “In the Service and Spirit / of Human Endeavor / Leadership / The Texas Heart Institute” in raised letters to verso, housed in a wooden case. Various sizes$250 - 350

213A CHARLTON HESTON LIBERTY BELL STATUETTEWorking miniature brass replica of the Liberty Bell, mounted on a brass yoke on a wooden base with an engraved brass plaque, circa 1976. The inscription on the plaque reads: “In appreciation for his participation / in ceremonies celebrating the / 200th birthday of the United States / at Independence Hall.” 4 1/2 x 6 3/4 x 8 1/2 in$50 - 100

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214A SHOFAR OF PEACE AWARD PRESENTED TO CHARLTON HESTONHollow carved and polished horn Shofar mounted on two wooden racks within a plexiglass case with mirrored backing on a wooden and black stone base, with plaque engraved with Bible verse and “The Shofar of Peace Award / is hereby presented to / Charlton Heston / who so notably embodies the ideals of humanitarianism and fraternity between people / Maimonides Academy Silver Anniversary Banquet / Beverly Hilton Hotel May 24, 1994.” Shofar (length): 17 in; case: 7 x 12 x 20 in; $800 - 1,200

215A GROUP OF CHARLTON HESTON AWARDS AND PLAQUES FROM THE CITY OF BEVERLY HILLSComprising a Key to the City of Beverly Hills, brass key in hinged wooden presentation box with blue velvet lining, with two engraved plaques on the lid naming Heston an “Honorary Citizen” of Beverly Hills by Mayor Robert K. Tanenbaum, March 21, 1989; a Will Rogers Memorial Award, plaque engraved with a relief portrait of Rogers on wooden plaque, presented by the Beverly Hills Chamber of Commerce and Civic Association, February 28, 1986; a laminated wooden plaque of Charlton and Lydia Heston on the cover of Beverly Hills (213) magazine, February 13, 1991 issue; and a large certificate declaring Heston an “Honorary Citizen” of Beverly Hills, with a lengthy biographical calligraphic inscription, signed by Beverly Hills Mayor Robert K. Tanenbaum, March 21, 1989, matted and framed. Various sizes$250 - 350

216A CHARLTON HESTON GROUP OF SPORTS MEMORABILIAComprising a Wilson Official National Football League football, inscribed in permanent marker “To Chuck: / ‘Rookie’ of the year” and signed in permanent marker “Chuck Bednarik” and “Gale Sayers”; a Voit Official Collegiate football, with approximately thirty autographs in permanent marker, primarily members of the 1967 USC football team, including football players Mike Holmgren, Toby Page, Rikki Aldridge, and O.J. Simpson (signed “O. Jay Simpson”) as well as coaches John McKay and Sid Smith, and commentator Willard Scott; and a baseball inscribed in ink, “To Chuck / The greatest / of them all / Your friend / Tom Lasorda / 8/14/93”. Bednarik and Sayers are both members of the Pro Football Hall of Fame and Lasorda is in the Baseball Hall of Fame as a manager.$250 - 350

217A GROUP OF CHARLTON HESTON TENNIS TROPHIESComprising a brass presentation platter engraved “Charlton Heston / Head ‘Director’ / Tennis Tournament 1982 / Mens Doubles Runner Up,” a brass platter engraved “Charlton Heston / Head ‘Director’ / Tennis Tournament 1982 / In Appreciation / AMF Head A.F.I. / L.A. Tennis Center / at U.C.L.A.,” and a sterling silver platter engraved “To / Mr. Charlton Heston / Sportsman of the Year / for the Monte Carlo World’s Pro-Celebrity / Tennis Championships / Monte Carlo Country Club / June 24, 1983,” with the likeness of Prince Rainier of Monaco. Diameter of brass platters: 10 in and 12 in; sterling silver platter: 11 in$300 - 500

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218ERNIE BARNES (AMERICAN, 1938-2009)The Big Ern signed (lower right) and titled (on the stretcher bar) oil on canvas 24 x 36 in$8,000 - 10,000

Gift of the artist to Charlton Heston during the production of the football-themed film Number One (1969).

219A COLLECTION OF EIGHT CHARLTON HESTON MILITARY SERVICE AWARDS INCLUDING ONE SIGN, 1966-1990SComprising a USO World board of Governors Distinguished Service Award, wooden plaque with engraved plaque, 1980s-1990s; a wooden plaque with plaque engraved “Presented to / Charlton Heston / for exceptional service to the / Air Force Space and Missile / Systems Organization / 15 August 1970” and engraved Space Missile Systems Organization logo plaque; a wooden plaque bearing the Special Forces logo with plaque engraved “Presented to / Charlton Heston / from the / Officers and men of C.1 Det. / 5th Special Forces (ABN) / 21 January 66”; a painted metal plaque bearing raised letters to border “US Naval Mobile Construction Battalion with relief figure of a cartoon mascot mounted on wooden plaque; a painted wooden plaque with painted plaques: “Air Ground Team / III / Marine Amphibious Force” and “Presented by / Commanding General / III Marine Amphibious Force / Danang, Vietnam”; a matched pair of wooden plaques, one with “1st 8” H” tank artillery logo, one with 1st Light AA Missile Battalion logo, with painted inscription “To / Charlton Heston / BTRY ‘A’ / Danang Vietnam / 18 Jan 1966”; and a silk sign with embroidered message “Fuck Communism!” signed by various soldiers in ballpoint pen. Heston believed it was his obligation to “attend all wars” in which the United States fought. In addition to serving in the 11th Air Force in the Pacific Theater during World War II, he served three tours in Vietnam for the U.S.O., (1966, 1967 and 1968), visiting front line troops under fire. He also visited troops in action in Lebanon and Ethiopia. Various sizes$1,000 - 1,500

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220A GROUP OF CHARLTON HESTON VIETNAM- AND VETERAN-RELATED AWARDSComprising a framed certificate from the Vietnam Veterans Leadership Program, November 10, 1983; a Veterans of Foreign Wars medal on a multi-colored ribbon in a wood and glass display case; a Department of Defense World War II Commemoration Committee certificate mounted on a wooden plaque signed by Dick Cheney, January 20, 1993; and a wooden plaque with two brass plaques, one engraved “Mr. Charlton Heston / In appreciation / Free Vietnamese Communities World Wide / Presented by Mary Chi Ray / June 25, 1986.” Various sizes$200 - 300

221A CHARLTON HESTON MODEL OF THE SUBMARINE USS CHICAGOA scale model of the submarine mounted on a wooden base housed within a plexiglass case, with engraved brass plate reading, “Presented to / Mr. Charlton Heston / Principal speaker / at the commissioning of the / USS Chicago (SSN-721) / 27 September 1986.” Together with a plaque with a large brass relief sculpture of the United States Submarine Warfare insignia with a plate reading, “Mr. Charlton Heston / Honorary Submariner / at commissioning of / USS Chicago (SSN-721) / 27 Sept. 1986,” and a certificate with the prayer given at the ceremony. Model: 1 1/4 x 17 in; case: 6 x 7 x 20 in; plaque: 10 1/2 x 17 1/2 in$300 - 500

222A GROUP OF CHARLTON HESTON ASTRONAUT MEMORABILIAA color photograph of astronaut Jim Irwin planting the American flag on the Moon with the Apollo 15 moon lander in background, mounted on mat board and framed, inscribed and signed, “To Chuck and Lydia With my very best wishes for your lives. / 5 Sept 1974 Jim Irwin Apollo 15 / High Flight Foundation”, and a framed display with a Moon Landing commemorative plaque captioned “President’s Dinner Honoring Apollo 11 Astronauts,” a clipped signature of astronaut Ken Mattingly’s and a reproduction cloth Apollo 11 insignia. President and Mrs. Nixon hosted this event for the newly-returned astronauts at the Century Plaza Hotel in Los Angeles on August 13, 1969. Apollo 15 overall: 16 x 20 1/4 in; Apollo 11 overall: 15 x 20 in$200 - 300

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223A CHARLTON HESTON RONALD REAGAN COMMEMORATIVE COIN24k electroplated gold coin housed in a USPS envelope bearing Heston’s name and address, postmarked June 11, 2004, within a clear foldout display sleeve, in a blue vinyl binder. Coin diameter: 1 3/8 in$300 - 500

224A GLENNA GOODACRE BRONZE SCULPTURE OF RONALD REAGANBronze bust with brown patina, inscribed on the back “For ‘Michelangelo’ / Many Thanks / Glenna,” signed and dated “G. Goodacre 1998.” Goodacre’s inscription refers to Heston’s role as Michelangelo in The Agony and the Ecstasy (1965). In 1998, Goodacre’s 8 ft. tall full figure sculpture of Reagan was unveiled at the Ronald Reagan Library; a duplicate of that statue is on display at the National Cowboy and Western Heritage Museum. This bust of Reagan wearing a denim jacket was an early maquette for the Reagan Library statue, and was issued in a limited edition of 15 (this example is not numbered). Height: 10 1/2 in$800 - 1,200

225A CHARLTON HESTON PRESIDENT REAGAN AWARD FROM THE HOLLYWOOD WESTERNER HALL OF FAMEA bronze statue of Ronald Reagan dressed as a Western gunfighter, inscribed into the base: “President / Reagan Award / Charlton Heston 1992 / Hollywood Westerner / Hall of Fame” to front, and “By / © George Montgomery / 1979-85” to rear. This figure was presented to Heston for lifetime achievement in motion pictures at a ceremony at the Ronald Reagan Presidential Library on November 7, 1992. Its sculptor, George Montgomery (1916-2000), was himself a Western actor and stuntman with over 100 film credits. 4 1/2 x 6 x 17 in$800 - 1,200

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226A PAIR OF CHARLTON HESTON NATIONAL WILD TURKEY FEDERATION AWARDSThe first with metal figures of a man and two boys hunting, mounted on oblong wooden base, with title plaque engraved “The Tradition Continues,” with other plaque engraved to Heston “For Working to Preserve Our Hunting Heritage / NWTF Convention 2001”; and a Lynn Boykin Hunting Heritage Award with metal figures of turkeys, and a plaque engraved to Heston, “For Working to Preserve Our Hunting Heritage / 2001 / Columbus, Ohio,” and a brass National Wild Turkey Federation seal to base. “The Tradition Continues”: 14 x 15 1/2 x 16 in; Lynn Boykin Award: 9 x 12 1/2 x 14 3/4 in$250 - 350

227A CHARLTON HESTON SAFARI CLUB INTERNATIONAL LIFETIME ACHIEVEMENT AWARDA plexiglass block, engraved with a quote from Chief Seattle, a carving of a lion, reading, “Presented to Charlton Heston / by Safari Club International / January 1997,” mounted on a wood and plastic base. 4 1/2 x 10 1/2 x 15 in$50 - 100

228A CHARLTON HESTON NATIONAL RIFLE ASSOCIATION BOARD OF DIRECTORS CERTIFICATEPrinted and handwritten certificate, mounted on a wooden plaque, stating that Chalrton Heston has been elected to serve on the Board of Directors for the National Rifle Association of American for the term expiring in 1998, dated May 3, 1997 and signed by Edward James Land, the organization’s secretary. Heston was elected President of the NRA in 1998, an office he held until 2003. Overall: 24 1/4 x 13 in$50 - 100

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229A CHARLTON HESTON SIGNED NATIONAL RIFLE ASSOCIATION BILL OF RIGHTS POSTEROffset lithograph poster, 1991, with a stamped caption in gold ink: “Celebrating 200 years of the Second Amendment / to the U.S. Constitution,” framed. The poster features quotations from early American patriots regarding the right to bear arms, and is signed by Heston in gold ink. Within frame: 17 3/4 x 23 3/4 in; overall: 19 1/2 x 25 1/2 in$200 - 300

230A GROUP OF SIX CHARLTON HESTON BOUND VOLUMES OF NATIONAL RIFLE ASSOCIATION PUBLICATIONSSix volumes total, two volumes per title, 1999-2000, titles and dates stamped in gilt to spines, American Guardian, Volumes 3 and 4; American Rifleman Volumes 147 and 148; The American Hunter, Volumes 27 and 28. $200 - 300

231A LARGE CHARLTON HESTON NATIONAL RIFLE ASSOCIATION PLAQUECircular wooden plaque bearing the NRA seal bordered by raised wooden letters reading “National Rifle Association / Charlton Heston,” bearing an engraved plaque on the verso with the artist’s name and address. Diameter: 21 in$300 - 500

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232A GROUP OF FIVE ORIGINAL EDITORIAL CARTOONS RELATING TO CHARLTON HESTONComprising three original cartoons: an LA Herald cartoon by Bill Schorr concerning Heston and Ed Asner (1982); a Cincinnati Enquirer comic by Jim Borgman concerning Ben-Hur, signed and inscribed to Heston by Borgman (1983); a Cincinnati Enquirer cartoon about Heston’s feud with Barbra Streisand (1998). Together with a reproduction cartoon of Heston caricatured as Moses by Michael Ramirez, signed and dated in pencil and inscribed in ink to Heston by Ramirez (2001); and a Knoxville News-Sentinel by Charlie Daniel caricaturing Heston as Moses, concerning politician Fred Thompson and Heston’s political association, unsigned by the artist, signed and inscribed to Heston by Thompson, the actor and politician. Overall: 12 x 15 in to 17 x 22 in$600 - 800

233A GROUP OF FIVE ORIGINAL EDITORIAL CARTOONS, MOST RELATED TO CHARLTON HESTONComprising five original cartoon illustrations: a Jim Lange Daily Oklahoman cartoon, July 2, no year, related to the NRA, headed “Founding Father,” signed and inscribed to Heston by Lange, including a photograph of Lange and Heston with a note from Lange on verso; a Stan Lynde Rick O’Shay daily strip, July 2, 1972, signed and inscribed to Heston by Lynde; an original Raymond Jackson (U.K.) cartoon featuring Heston as Moses, n.d., signed “Jak” to lower right; a large caricature featuring Heston commemorating the 1966 Volkswagen Hardcourt Tennis Championship, signed by artist Ralph Graczak (“Graczak ‘66”) and individually signed by 11 pro tennis players including Michael Davies, Rod Laver, and Barry MacKay; and an Alexander Hunter Washington Times cartoon, circa 1984, featuring Heston as Moses, signed and inscribed to Heston by Hunter. Approximately 5 x 16 1/2 in to 24 x 30 in$250 - 350

234AN ORIGINAL DAILY “HAGAR THE HORRIBLE” COMIC STRIP SIGNED AND INSCRIBED TO CHARLTON HESTON BY DIK BROWNEPen and ink on illustration board, dated “1-14” (year unknown), inscribed in ink to lower border “To Charlton Heston- who invented ‘class’ / from Dik Browne ... a fan,” matted and framed. This three-panel comic strip artwork features a Hun berating Dik Browne’s Viking Hagar and Hagar delivering a withering reply. Heston was a big fan of Browne’s comic strip and once told Time magazine that he had “great sympathy” for Hagar the Horrible. Within mat: 5 x 12 3/4 in; overall: 8 3/4 x 16 3/4 in $250 - 350

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235AN ORIGINAL AL HIRSCHFELD CARICATURE OF HESTON AND THE CAST OF THE BIG COUNTRYPen and ink on illustration board, circa 1958, signed (“Hirschfeld”), framed. In his instantly recognizable style, Hirschfeld depicts the stars of William Wyler’s classic western, including Heston, Gregory Peck, Jean Simmons, Carroll Baker, Burl Ives, Chuck Connors, Charles Bickford, and Alfonso Bedoya. The figures are set against western backdrop with a mob of cowboys on horseback behind them. Within frame: 22 x 30 in; overall: 24 1/2 x 33 in$4,000 - 6,000

236DONG KINGMAN (AMERICAN, 1911-2000)A group of ten drawings depicting rehearsals for The Tumbler each signed “Kingman”; two dated “Jan 27. 60”; four dated “Jan 28. 60” ink on paper each 13 3/4 x 10 3/4 in$1,000 - 1,500

Directed by Laurence Olivier, The Tumbler starred Charlton Heston, Rosemary Harris, and Martha Scott. Heston and Olivier, amongst others, are depicted in these sketches. The Tumbler ran for five performances at the Helen Hayes Theater in New York in February, 1960.

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Charlton Heston sketching in Florence, 1989 (courtesy of the Heston family).


237A CHARLTON HESTON DRAWINGPencil on illustration board, annotated on the verso, “sketch by C.H.” Depicts a medieval nobleman and two elegantly-dressed Medieval women with two crests in the lower foreground. 15 x 20 in$200 - 300

238A GROUP OF CHARLTON HESTON DRAWINGSCirca 1950s, 30 pp, drawings on each page, ownership signature to cover (“Charlton Heston”); a spiral-bound sketchbook, 10 pp, drawings on each page, no cover; two drawings on illustration paper; two drawings on tracing paper; and three pieces of tracing paper with scribbles. From grade school onward, Heston was an avid graphic artist. Throughout his acting career, he regularly sketched on-set, occasionally exhibiting his drawings or using them as illustrations in his books. This undated lot of Heston’s sketches appears to date primarily from the 1940s-1950s. The spiral-bound sketchbook includes miscellaneous drawings in pencil and charcoal pencil of apparently Medieval characters - a king, men fighting with knives, a warrior in a Tartan holding a helmet, etc.—as well as a man and woman embracing, an airplane, a horse, and other subjects. A page from this sketchbook depicting a stage set has come loose. Almost all of the sketches on newsprint here depict a nude female figure model in various poses rendered in marker, with Heston’s occasional notes about the time each drawing took (“5 min.,” etc.). The two sheets of illustration paper feature a watercolor to the verso of one depicting a bearded, robed figure orating, rendered in blues and greys, and, on the recto, pencil drawings of a horse and rider (captioned “Montgomery- 1939”); the second sheet features an interior design (possibly a stage design). The tracing paper drawings depict a nude woman in high heels and a smaller inset drawing of a man seated at a night club table watching a woman onstage; the other drawing depicts a man in sunglasses, baseball cap, and cowboy boots seated in a director’s chair, and was probably drawn on a set or location. Various sizes$1,500 - 2,000

239A COLLECTION OF SKETCHES BY CHARLTON HESTONSixteen drawings in black marker on tracing paper, 1950s, unsigned. Heston’s sketches depict 19th century U.S. Cavalrymen, Native Americans, and horses; two drawings depict Cavalrymen in director’s chairs. These appear to have been drawn on-location during the filming of one of Heston’s Western movies. Each: 14 x 17 3/4 in$2,000 - 3,000

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240A CHARLTON HESTON OIL PAINTING OF NEW YORK CITYOil on canvas, note in marker in Fraser Heston’s hand to verso of frame “’View of the East River’ / by Charlton Heston / c. 1958 / The Heston Estate – F.C.H.”, framed. Depicting the East River, boats, and the surrounding buildings in New York City. According to Fraser Heston, this was the view from the family’s New York apartment. Within frame: 23 1/2 x 29 1/2 in; overall: 27 1/2 x 33 1/2 in $1,000 - 1,500

241A CHARLTON HESTON PAINTING OF A SCENE FROM MACBETHOil on canvas, “Macbeth” written to lower left in oil, with typed explanatory note to verso of canvas, signed (“C. Heston”), framed. This painting depicts the fiery climax of a 1952 production of Macbeth starring Heston, performed in Bermuda and directed by Burgess Meredith. Heston’s note explains that the scene depicted was staged on the battlements of a centuries-old seaside castle with wind fanning actual flames behind the combatants; he concludes by saying, “It was arguably the most effective Macbeth combat ever staged.” Within frame: 11 1/2 x 15 1/2 in; overall: 19 1/2 x 23 1/2 in$1,000 - 1,500

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242AN OVERSIZE PHOTOGRAPH OF CHARLTON HESTON AS AN INFANTGelatin silver print after the 1925 original, dry-mounted on mat board and framed, inscribed on mat in pencil, “Charlton Heston Age 18 mos.” This photograph is reproduced in Heston’s memoir, In the Arena (1995). Within mat: 11 x 14 in; overall: 21 1/4 x 25 1/2 in $100 - 150

243A CHARLES OVERALL PORTRAIT OF HESTON IN THE FAR HORIZONSPastel on paper, signed and inscribed “Charlton Heston as William Clark by Charles Overall,” circa 1950s, matted and framed. Depicts Heston in profile as the great American explorer. Within mat: 15 1/2 x 19 1/2 in; overall: 33 x 39 in $200 - 300

244TERENCE J. GILBERT (BORN 1946)El Cid signed “TJ Gilbert” (lower left) and inscribed (lower right) pastel on paper 12 1/8 x 7 1/2 in (31 x 19 cm)$250 - 350

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245A TERENCE GILBERT PORTRAIT OF CHARLTON HESTON IN WILL PENNYPencil on illustration paper, signed and dated (“Gilbert © ‘76”) in pencil, and inscribed, “Chuck Heston in Will Penny,” at the lower border, matted and framed. Three close-up studies of Heston in a cowboy hat in the film’s title role. Gilbert painted some of the film’s promotional artwork. Within mat: 17 1/2 x 23 1/2 in; overall: 24 x 30 in$800 - 1,200

246A TERENCE GILBERT PAINTING OF CHARLTON HESTON IN MAJOR DUNDEEOil on board, signed (“Gilbert”) at lower right, matted and framed. Depicts Heston as Major Amos Dundee on horseback in the desert. Within mat: 17 1/4 x 22 1/4 in; overall: 20 x 26 in$800 - 1,200

247A PAIR OF MICHAEL WARD BEHIND-THE-SCENES PHOTOGRAPHS FROM THE WRECK OF THE MARY DEARETwo Cibachrome black and white prints, one captioned “Charlton Heston – Gary Cooper – Michael Anderson – MGM – UK – 1959” in ink, the other captioned “Gary Cooper – MGM – UK – 1959” both signed (“Michael Ward”), both bearing Ward’s blindstamp, each matted and framed. One image depicts Heston and Cooper conferring with director Michael Anderson on the film’s set, and the other depicts Cooper seated on-set. Within mat: 10 3/4 x 14 1/4 in; overall: 17 x 20 1/2 in$200 - 300

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248A PORTRAIT OF LAURENCE OLIVIER IN THE ENTERTAINERBritish Lion, 1960. Digital black and white print, photographer unknown, matted and framed. A close-up of the actor in one of his signature roles. Within mat: 7 3/4 x 9 3/4 in; overall: 16 1/4 x 20 1/4 in$200 - 300

249A CHARLTON HESTON COLLECTION OF BOOKS ON THE THEATERComprising 43 theater-related books, 1932-2002: biographies of playwrights and actors (including several of Heston’s notable British costars); classic plays by Shaw, Ibsen, and others; acting texts; and two vintage Theatre World Almanacs featuring Broadway plays Heston in which Heston performed. Several books are signed to Heston, including inscriptions from John Houseman and Hollis Alpert, one with Charlton Heston’s ownership signature and address, a second with Lydia Heston’s ownership signature, a book inscribed to Heston by his mother, and one inscribed to him by his daughter Holly.$800 - 1,200

250A COPY OF THE CORN IS GREEN INSCRIBED TO CHARLTON HESTONWilliams, Emlyn. The Corn is Green. New York: Random House, 1941. Cloth binding, lacking dust jacket. Inscribed to front free endpaper, “To Charlton / Heston- / In appreciation / The / Oak Park / Drama / Study / Group.” Oak Park, Illinois is a suburb of Chicago near New Trier High School, where Heston first developed his interest in acting.$200 - 300

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251A COLLECTION OF CHARLTON HESTON WORKING PLAYSCRIPTSApproximately forty-five plays (including duplicate titles) and several theatrical reference books, circa 1948-1990s; including approximately thirteen plays annotated by Heston’s hand in pen and pencil. Additionally, Detective Story has an ownership signature (“Charlton Heston”) on the front cover in ballpoint pen, and The Pedestrian by Ray Bradbury is signed and inscribed by Bradbury to Heston’s son, Fraser (dated Christmas, 1973). Heston began his professional career on Broadway and regularly took time out from his Hollywood career to perform in plays, as well as serving as the Chairman of the Board of Los Angeles’s Center Theatre Group. These working copies of stage scripts include classics performed by Heston such as The Caine Mutiny Court-Martial and A Long Day’s Journey into Night.$2,000 - 3,000

252A CHARLTON HESTON SCRIPT HOLDER AND SCRIPT FOR TRUE LIESTwentieth Century-Fox, 1994. Xerographic manuscript, first draft screenplay by James Cameron, 140 pp, May 18, 1993 (with revision pages dated as late as August 20), annotated by Heston in pen and pencil, housed in a black leather script binder with “Charlton Heston” stamped in gold on the front cover. Heston costarred in this James Cameron action comedy hit as Spencer Trilby, the scarred, one-eyed head of the counter-terrorism team that employs Harry Tasker (Arnold Schwarzenegger).$250 - 350

253A CHARLTON HESTON MAKEUP KITAlligator skin makeup case with handle, with inner mirror, monogrammed “C.L.H.” below handle, containing various stage makeup supplies including spirit gum, greasepaint sticks, brushes, and scissors, and a door plaque reading “Mr. Charlton Heston.” This makeup case dates from Heston’s early days in student theater at Northwestern University, but the door plaque and some of the makeup supplies in it are of much more recent vintage. Heston briefly used the middle initial “L.” as part of his stage name. 5 1/2 x 10 1/2 x 15 in$300 - 500

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THE WARDROBELots 254-285


254A GENTLEMAN’S STAINLESS STEEL AND GOLD AUTOMATIC CHRONOGRAPH WRISTWATCH AND BRACELET, EBELNo. 2779 / 1134901 Self-winding two button chronograph movement, tachymeter scale enclosing circular white dial with roman numerals, date aperture, subsidiary dials for 30-minute and 12-hour registers and continuous seconds, polished hands, tonneau case with gold bezel, completed by a tapered bracelet of serpentine links 38 mm$250 - 400

255A CHARLTON HESTON BUICK WRISTWATCHGilt metal bezel with “Charlton Heston” engraved on the back, quartz movement, Buick logo and rotating hawk on dial and a black vinyl strap. Heston appeared in the company’s 1967 sales brochure, promoting the Electra 225.$800 - 1,200

256A GROUP OF THREE CHARLTON HESTON STERLING SILVER BELT BUCKLESA Fitch Brothers sterling silver Western-style belt buckle with a gilt metal bull’s head; a Boyd, Reno, NV sterling silver Western-style 77-1 belt buckle with a gilt metal cowboy and bull; and a custom-made sterling silver buckle, engraved “Charlton Heston / NRA / President / 1998” with inlaid flat end of a 12-gauge shell case with faux jewel mounted inside. 2 x 3 1/4 in to 3 x 3 3/4 in$600 - 800

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257A CHARLTON HESTON MONOGRAMMED BRIEFCASE AND DOCUMENT CASEA gray-brown leather briefcase with brass latches and combination lock, and inner divider file system, circa 1950s, and a latched tan leather Homa document case, both monogrammed “C.H.” Briefcase: 5 1/2 x 13 1/2 x 18 1/2 in; document case: 11 x 14 1/2 in$300 - 500

258A CHARLTON HESTON LEATHER BRIEFCASETan leather with dark brown leather straps and brass buckles, monogrammed “CH.” 3 x 12 1/2 x 16 in$150 - 250

259A CHARLTON HESTON THEATRICAL TRUNKOlive green U.S. Army-style metal foot locker trunk, with lock and two latches, missing two handles at ends, with “Heston” painted on in big red letters, and various labels, including: “Leaf & / Bough / Theatre”, “Antony”, and “Design for / a Stained / Glass Window / Theatre”, similar label reading “Detective / Story / Theatre” scratched out with a black marker, with address label to upper left of lid “Heston 438 W. 45 / New York 19 N.Y. / To Nathan / Paramount Studio / Hollywood”, “H” in day-glow tape to side, “Mena House Hotel / Cairo” decal, Railway Express Agency label, and Los Angeles Customs label to side, green and red tape to bottom. The labels likely refer to Antony and Cleopatra, Heston’s first Broadway role (circa 1947), and Design for a Stained Glass Window and Detective Story, two of Heston’s other early Broadway plays. 20 x 32 3/4 x 14 3/4 in.$700 - 900

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260A GROUP OF SIX CHARLTON AND LYDIA HESTON WALKING STICKSComprising a gnarled wood walking stick; a wooden walking stick by “Willie Whiskers” with carved snakeskin pattern and carved antler handle, “NRA” carved to top; wooden walking stick bound in green rope with matching green tassel and Marine Corps insignia to top; walking stick carved with religious slogans, patterns, and “Charlton Heston as Moses”; a wooden cane with polished horn handle; and a Scottish-style carved wood walking stick with Tartan handle, blue tassels, faux jewel and setting to top, and plaque engraved “Presented to / Mrs. Heston / by the Lovats”; and a wooden sword. 48 1/2 in to 67 in $250 - 350

261TWO PAIRS OF CHARLTON HESTON SPURSLeather and brass spurs, one pair with metallic gold decals applied and some ornamentation. Together with a single brass spur with an anchor design.$200 - 300

262TWO PAIRS OF CHARLTON HESTON RIDING BOOTSComprising one pair of reddish-brown leather boots, “AdLife” soles, and a pair of black leather boots, “Xymen” soles. Heston was an avid equestrian, riding in both English and Western styles, and did much of his own riding in his films. He wore these boots while riding from the polo grounds of Cairo to Central Park to the San Fernando Valley, as well as in such films as The Naked Jungle (1954). Size 11-12$1,000 - 1,500

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263A CHARLTON HESTON TAN COWBOY HATTan colored beaver hat with ribbon band, pink lining bearing Porter’s cow’s head logo and “Porter’s/ Phoenix, Arizona” and a brown leather sweatband stamped in gold with same Porter’s logo. Size 7$250 - 350

264A CHARLTON HESTON BLACK “ALAMO” COWBOY HATBlack beaver hat with ribbon band and leather chinstrap, and a brown leather sweatband stamped in gold “The Alamo / Davis Hats / since 1900,” with the name and address of the hat’s seller. Size 7 1/2$250 - 350

265A CHARLTON HESTON TAN RESISTOL COWBOY HATTan colored beaver hat with ribbon band and red lining, bearing an interior Resistol seal of a cowboy on horseback, brown leather sweatband stamped in gold “Designed by Harry Rolnick for Charlton Heston,” “Hand Creased,” and “Self-Conforming.” Size 7 5/8$250 - 350

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266A CHARLTON HESTON CUSTOM-MADE TAN COWBOY HATTan 50X beaver hat with matching band with a silver buckle, a yellow lining bearing the Priest Hat Co. logo featuring a cowboy on a bucking bronco, leather sweatband stamped in gold “Custom made for / Charlton Heston,” “50X Beaver,” and “Priest Hat Co. / Eagle, Idaho,” housed in original fitted Optimo Hats hatbox. No size given$250 - 350

267A CHARLTON HESTON MARDI GRAS CROWN AND BELTComprising a metal and plastic laurel crown inlaid with sequins, and decorated with red and green colored glass grapes, and a brown suede belt with metal ornaments. The Krewe of Bacchus throws an elaborate yearly parade in New Orleans on the Sunday preceding Mardi Gras, with a different celebrity guest portraying the Greek god of wine leading it each year. These are parts of Heston’s costume from his turn as King of the Bacchus Krewe in 1983.$300 - 500

268A CHARLTON HESTON PRO FOOTBALL HALL OF FAME HELMET AND AN L.A.F.D. FIREMAN’S HELMETRiddell VSR4 football helmet, white with red center stripe with Pro Football Hall of Fame logo decal, inscribed and signed in permanent marker, “Chuck / Your being / a part of my / tough guy show / means a great / deal to me. / Your presence alone / makes the show a success. / Howie Long HOF 00.” Together with a First Due firefighter’s helmet, with badge mounted to front reading “Honorary Chief / L.A.F.D.,” stamped “Nov 18 1988” on the inner label. Football helmet: medium; Fire helmet: 6 1/2-7 5/8.$600 - 800

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269A CHARLTON HESTON JUDO TUNICWhite cotton embroidered Judo tunic with matching white cotton belt, size 4, labels sewn in to tunic “Kimono Shop / Honolulu / Made in Japan” and “100% cotton,” label sewn in to belt “Tokyo Judoikogyo Co”. Heston filmed two movies in Hawaii, Diamond Head (1962) and The Hawaiians (1970).$300 - 500

270A CHARLTON HESTON FENCING ENSEMBLEConsisting of matching white cotton jacket and pants, nine buttons to jacket front, five buttons to front of pants, two buttons at each ankle, identical sewn-in labels to jacket and pants: “Castello N.Y.C. / America’s oldest and / largest manufacturer.”$600 - 900

271A GROUP OF CHARLTON HESTON MATADOR CLOTHINGConsisting of a black gaucho jacket with four buttons with tassels to front, five buttons at each cuff, velvet collar and upper lapels, embroidered silk lining, and a label reading “Cornejo / Sastreria Teatral y Cinematografica / Magdalena, 1 – Tel 391646 – Madrid” and a black flat-brim felt gaucho hat with white silk lining and leather sweat band, “Humberto Cornejo Madrid” in gilt to sweatband, label printed to inner lining “Sastreria / Teatral y Cinematografica / Humberto Cornejo / 2 – Magdalena – 2 / Madrid”. Together with an elaborately embroidered blue silk capote de paséo (ceremonial entrance cape), with a red and off-white silk lining, label reading “Santiago / Pelaya / Leon 8 – Madrid”, matador’s inscription to lining in pen “A mi buen amigo / Charlton Heston como / recuerdo de tu admirador” with an indistinguishable signature and a pinned-on tag reading “Santiago / Pelaya / Madrid /Autographed / (Bullfighter)” with unclear matador’s signature. Heston hosted a bullfight in Spain on February 19, 1961 and would occasionally attended bullfights.$250 - 350

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272A CHARLTON HESTON PAIR OF CLAN FRASER KILTS AND ACCESSORIESComprising a wool Clan Fraser tartan kilt with three leather straps with buckles and a label reading “R.G. Laurie Ltd. / Highland costume specialists / The Highland House, Glasgow / All Wool Made in Scotland”; a dark wool Clan Fraser hunting tartan kilt with one black leather adjustable belt at waist and a label reading “Duncan Chisholm / and Sons Ltd / Inverness / Scotland”. Together with a black blazer with six silver metal buttons, black braid at each shoulder and a label reading, “Geoffery (Tailor) / Highland Crafts / Royal Mile / Scotland / House of Kilt Making: 031-557-0256,” a pair of beige knee-high wool socks, and a black leather L & M Highland Outfitters sporran with stamped Celtic designs, and matching black belt, housed in original L & M cardboard box, and a black and white photograph of Heston wearing a kilt, matted and framed. Heston was a member of Clan Fraser on his mother’s side and took great pride in his Scottish heritage, hosting Robert Burns suppers with a strict dress code of kilts. The actor is pictured wearing a Clan Fraser tartan in his autobiography In the Arena (1995).$250 - 350

Heston wearing this kilt and jacket (and the shirt present in lot 283) at a Robert Burns supper at his Coldwater Canyon home.

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273A PAIR OF BLACK LEATHER RIDING BOOTS WORN BY CHARLTON HESTON IN THE PRESIDENT’S LADY AND THE BUCCANEERTwentieth Century-Fox, 1953 / Paramount, 1958. Black leather replica 19th century-style knee-high boots with large knee guards, canvas lining to knee guards, BF Goodrich soles, with note of authenticity from Fraser Heston.$800 - 1,200

274A PAIR OF BLACK LEATHER RIDING BOOTS WORN BY CHARLTON HESTON IN MAJOR DUNDEEColumbia, 1965. Black leather U.S. Cavalry-style boots with short knee guards, size 10-11, button snaps at knees, rubber sole stamped “Adlife,”Heston” written in permanent marker to upper inner lining of both boots. Worn by Heston in the title role of Sam Peckinpah’s western adventure. Accompanied by a still from the film.$800 - 1,200

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275A PAIR OF THIGH-LENGTH BLACK LEATHER BOOTS WORN BY CHARLTON HESTON IN THE AGONY AND THE ECSTASYTwentieth Century-Fox, 1965. Thigh-length black leather boots with attached adjustable belt straps at knees, “Bilt-rite” soles. Worn by Heston as Michelangelo in Carol Reed’s historical drama. Heston can be seen wearing these boots in many scenes in the film, and in a photograph in his autobiography In the Arena.$800 - 1,200

276A PAIR OF BLACK LEATHER RIDING BOOTS WORN BY HESTON IN KHARTOUMUnited Artists, 1966. Black leather riding boots, BF Goodrich soles, on wooden boot shapers with plaques engraved “Charlton Heston Esq. / Maxwell London” on each, with two pinned-on tags, one with Heston’s name and address, the other labeled “Charlton / Heston / Personal / ‘Khartoum.’” Worn by Heston as Charles George Gordon in the film.$800 - 1,200

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277A CHARLTON HESTON CLOAK FROM EL CIDAllied Artists, 1961. Black silk cloak with embroidered patterns and rust colored silk lining, ribbon trim on cap, no labels present. Heston starred in this historical epic as the titular 11th century Castilian knight Don Rodrigo Diaz de Vivar. He is seen wearing this cloak throughout much of the last half of the film, including the key scene where the Cid refuses the Spanish crown. $10,000 - 15,000

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278A CHARLTON HESTON TUXEDO FROM COUNTERPOINTUniversal, 1968. Comprising a black wool tailcoat with black silk lining, six buttons to front, sewn-in Albert Mariani inner label, pinned tag labeled “’Counterpoint’ / Albert / Mariani / Charlton / Heston / 11/18/66” with matched black wool tuxedo pants with a grosgrain stripe to each leg, with pinned-on tag reading “Albert / Mariana [sic] / Bev Hills / 11/18/66 / Charlton / Heston”; two white vests with Albert Mariani labels dated 10/24 and 11/18; a white bowtie; two white tuxedo shirts with labels reading “Machin / Shirtmaker / Los Angeles / CH,” one with a light stain, likely from fake blood. Heston is seen wearing this tuxedo for most of Counterpoint as orchestra conductor Lionel Evans. Together with a pair of black tuxedo pants with a black grosgrain stripe on each leg, no label; a pair of black wool tuxedo pants, no label; a black wool tuxedo tailcoat, with black silk lining, six buttons to front, four buttons to each cuff, two buttons to back, and a pinned-on tag reading “Cifonelli / Paris/Roma / Charlton / Heston”; a black wool tuxedo vest with black silk lining, with Albert Mariani label stamped “Charlton Heston” and “3-22-65” with pinned-on tag reading “Albert / Marini [sic] / Charlton / Heston / 3/22/65”; a black wool tuxedo vest with beige silk lining, with sewn-in Albert Mariani label stamped “Charlton Heston” and “2/24/73”, with pinned-on tag reading “Albert / Mariana [sic] / Charlton / Heston / 2/24/73”; and a a white tuxedo shirt, no label.$600 - 800

Image courtesy of the Heston family.

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279A CHARLTON HESTON PROP MUSICAL SCORE AND CONDUCTOR’S BATON FROM COUNTERPOINTUniversal, 1968. Leather bound musical score composed of several scores, most cut out and glued in, annotated in colored felt-tip markers, approx. 118 pp, includes prop concert program featuring Heston on cover bound into clear window on the binding. Together with a wooden conductor’s baton painted gold, housed in a felt-lined wooden presentation case with plaques engraved “The Battle Horns” (the film’s original title), “To Lionel,” and “From Annabelle.” In Counterpoint, Heston portrayed a conductor captured by Nazis along with his orchestra. This prop score likely used in the film includes pieces like Beethoven’s Fifth Symphony and Brahms’ First Symphony. The baton was also likely used in the film in one or more of the many scenes where Heston is seen conducting. Kathryn Hayes co-starred as love interest Annabelle Rice; the plaques on the prop baton’s case refer to her and Heston’s character names. Score: 10 x 12 1/2 in.; case: 2 x 2 x 21 1/2 in; baton: 20 in$250 - 350

280A CHARLTON HESTON PAIR OF GAUNTLETS AND A BELT FROM THE WAR LORDUniversal, 1965. Maroon velour costume gauntlets, and a long red velour-covered leather belt with brass eyelets and a brass buckle, to be worn wrapped around the waist twice. Accompanied by a photograph of Heston wearing these accessories in the film. Belt length: 69 in$300 - 500

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281A NEW ORLEANS SAINTS FOOTBALL HELMET AND PAIR OF CLEATS WORN BY CHARLTON HESTON IN NUMBER ONEUnited Artists, 1969. Riddell football helmet, gold with blue Saints logo and blue and white stripes; together with a pair of black Adidas football cleats with white stripes. Accompanied by a copy of the film. Heston starred as Ron “Cat” Catlan, a middle-aged quarterback facing imminent retirement. The actor once said of this role, “There is a great deal of me in Catlan ... [he] is as I am, somewhat reclusive, somewhat obsessed with the disciplines and demands of his profession and there is really nothing else that he wants to do with his life than what he does” (Orange Coast magazine, August 1980, p 13). Helmet: size 7 3/4; cleats: size 12$1,500 - 2,000

282A CHARLTON HESTON CORDUROY JACKET FROM THE HAWAIIANSUnited Artists, 1970. Tan corduroy Norfolk jacket with four buttons, no labels present. Heston starred in this follow-up to Hawaii (1966) as a hard-bitten plantation owner in 19th century Hawaii, and can be seen wearing this jacket in several scenes. Accompanied by a copy of the film.$250 - 350

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283A CHARLTON HESTON JACKET AND SHIRT FROM THE OMEGA MANWarner Bros., 1971. Olive green velvet single-breasted two-button blazer with a chartreuse silk lining bearing an Albert Mariani interior label; and a white dress shirt with Edwardian style ruffles sewn in to front and cuffs, adjustable snap catch at collar, sewn in label “Tailored especially for / Charlton Heston / Machin / Shirtmaker / Los Angeles / November 1970.” Accompanied by a copy of the film. Mariani, based in Beverly Hills, was also President Reagan’s longtime tailor. Heston can be seen wearing this jacket and shirt throughout a key early scene in this science fiction classic, and later wore these pieces to formal events.$600 - 800

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284A CHARLTON HESTON OVERCOAT FROM THE CRUCIFER OF BLOODCharcoal gray wool overcoat, no labels present. Together with a poster from the TV movie adaptation of The Crucifer of Blood (1991), backed on foam board. Heston portrayed Holmes in a 1980 Los Angeles stage production of The Crucifer of Blood as well a in the TV movie version; this overcoat seems to be from the stage production. Poster: 25 x 38 1/2 in$300 - 500

285A CHARLTON HESTON SMOKING JACKET FROM THE CRUCIFER OF BLOODMulticolored silk smoking jacket with patterned embroidery, with brown velvet, cuffs, lapels and three matching velvet toggles, with pinned-on tag reading “’Crucifer of / Blood / Western / Costume / Charlton / Heston” and “Charlton / Heston / Personal.” This jacket was apparently worn by Heston in a stage production of The Crucifer of Blood.$300 - 500

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THE SCREENING ROOMLots 286-322


286A MODERN VELOUR UPHOLSTERED THREE-PART SECTIONAL SOFAcirca 1970 with eight throw pillows height 29 in (74 cm); lengths approximately 60 in (150 cm); depth 32 in (81.5 cm)$700 - 1,000

287A PAIR OF AMERICAN MODERN WALNUT AND LAMINATE HEXAGONAL LOW TABLES1970s height 17 in; (43 cm); width 25 in (63.5 cm)$200 - 300

288A PAIR OF TWEED UPHOLSTERED WALNUT HALL CHAIRSheight 46 in (117 cm); width 23 1/2 in (59.5 cm); depth 26 in (66 cm)$200 - 300

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289A NOGUCHI STYLE WALNUT AND BRASS-MOUNTED GLASS COFFEE TABLEassociated top and base height 17 in (43 cm); length 56 in (142 cm); width 32 in (81 cm)$300 - 500

290MANUEL MINGORANCE ACIEN (BORN 1920)Untitled signed “Mingorance Acien” (lower right) oil on canvas 25 3/8 x 39 3/4 in (64.5 x 101 cm)$500 - 700

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291AN AMERICAN MODERN TRAVERTINE AND PAINTED WOOD LOW TABLElate 1950s height 15 1/4 in (39 cm); width 85 1/4 in (216 cm); depth 51 1/2 in (131 cm)$1,500 - 2,000

Charlton Heston designed this table when he and Lydia were living in an apartment on La Brea Avenue in Los Angeles, in the early 1950s, and had it cut from a single piece of Travertine marble. They brought it with them when they moved to the Coldwater Canyon house, and it remained in use for the rest of their lives.

292THOMAS HOLLAND (1917-2004)Untitled, 1969 signed, dated and numbered “T. Holland © 1969 A59” (on the base) bronzed resin 27 1/2 x 14 x 15 in (70 x 35.5 x 38 cm)$3,000 - 5,000

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Charlton and Lydia Heston with this table in their Los Angeles apartment (courtesy of the Heston family).

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293A CHARLTON HESTON DIRECTOR’S CHAIR BACKBrown leather director’s chair back with side mounts, blindstamped “Chuck Heston,” likely 1950s-1960s. 6 x 23 1/4 in$200 - 300

294A CHARLTON HESTON DIRECTOR’S CHAIRWooden folding director’s chair, likely 1980s-1990s, with a gray padded seat cushion and padded backrest with “Charlton Heston” in white embroidery, a removable vinyl script pouch strapped below left armrest, a vinyl storage pouch underneath seat cushion, and black wheels on two rear legs. Unfolded: 22 1/2 x 35 x 54 in$250 - 350 295A CHARLTON HESTON DIRECTOR’S CHAIRWooden folding director’s chair with brown leather seat and back, stamped to back in turquoise “Charlton Heston”, turquoise Greek key border stamped on the back and seat, three hooks to left side. Heston was pictured sitting in this chair on the set of Antony and Cleopatra (1972). Seat: 21 x 31 3/4 in; height: 49 in$800 - 1,200

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295 (courtesy of the Heston family)

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296A PORTRAIT OF CHARLTON HESTON IN MAJOR DUNDEEOil on canvas, signed “J. Appleton ‘74,” unframed, depicts Heston in costume for Major Dundee seated in his director’s chair (lot 295). 48 x 72 in$200 - 300

297A LARGE PORTRAIT OF CHARLTON HESTON IN BEN-HURAcrylic on board mounted on a wooden frame, likely 1990s. A striking full-body sepia-toned portrait of Heston in his charioteer’s costume, with a smaller inset portrait of Heston laid down to the upper right corner. 35 1/2 x 81 in$250 - 350

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298A LARGE PORTRAIT OF CHARLTON HESTON AS CARDINAL RICHELIEU FROM RETURN OF THE MUSKETEERSUniversal, 1989. Oil on canvas, framed. Heston memorably portrayed the domineering Richelieu in Richard Lester’s swashbuckling hits The Three Musketeers (1973) and The Four Musketeers: Milady’s Revenge (1974). He so enjoyed playing Richelieu that, when Lester was preparing a third entry in the series, Return of the Musketeers (1989), Heston was interested in reprising the role. Richelieu had died by the time the third film was set, however, so Heston posed for this Baroque-style portrait of the character which appeared in the film. The portrait was then presented to him after production wrapped, and hung in the tennis pavilion at his Coldwater Canyon home. The pose and overall design of this massive formal painting were patterned after an actual 1639 portrait of Richelieu by Philippe de Champaigne. Within frame: 45 x 86 in; overall: 50 x 90 in; $5,000 - 7,000

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299A PAIR OF LARGE PLASTER FRESCOES OF THE WALLS OF PER-RAMESES FROM THE TEN COMMANDMENTS HAND-PAINTED BY CHARLTON AND LYDIA HESTONParamount, 1956. Two matched painted plaster miniature walls with frescoes of Egyptian charioteers, chariots, and horses, right panel is braced on verso with a metal bar and a wooden bar, left panel is braced with several metal bars molded into plaster and one wooden bar. The gigantic full-size walls of the biblical city of Per-Rameses were built by director Cecil B. DeMille’s crew on-location in Egypt and measured over 100 feet tall. The walls figure prominently in key scenes in the film, such as the beginning of Moses’s (Heston) march with the Israelites as they begin their Exodus from Egypt. These are plaster casts of large miniature versions of those walls, possibly casts of pre-production maquettes. These panels were gifted by Cecil B. DeMille to Charlton and Lydia Heston during the production of The Ten Commandments. They were delivered to the couple unpainted and the Hestons painted them together. Right panel: 2 1/2 x 50 x 51 in; left panel: 2 1/2 x 50 1/2 x 51 1/2 in$8,000 - 12,000

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Charlton and Lydia Heston painting these frescoes (courtesy of the Heston family).


300A COLLECTION OF PHOTOGRAPHS OF CHARLTON HESTON BY LYDIA CLARKE HESTON37 digital photographic prints and one gelatin silver print (21 by Heston and 16 studio photographs), mostly black and white and some color, all but one in matching black mats, labeled, and numbered sequentially, housed in a black plastic padded carrying case. A series of photographs of Heston taken 1940-1995, mainly posed portraits in-costume in his most famous film and theater roles and some candids, primarily taken by his wife, Lydia. Most are modern prints of Mrs. Heston’s photographs that appear throughout Heston’s books The Actor’s Life (1976), In the Arena (1995), and Charlton Heston’s Hollywood (1998). A portrait of Heston in Will Penny is gelatin silver mounted on board and not matted. Photographs: 8 x 11 in; overall: 11 x 14 in.$300 - 500

301A GROUP OF THREE LYDIA HESTON PHOTOGRAPHSThree digital prints on watercolor paper, titles and limited edition numbers inscribed to lower margin in pencil, “Constantine’s Finger / Rome, 1958 / 4/20”, “At the Puppet Show / Spain, 1961 / 9/20”, and “Juanita at Her Doggy Door / Spain, 1961 / 6/20,” all signed in pencil (“Lydia Clarke Heston”) at lower right, mounted and framed. Heston’s son Fraser appears prominently in Constantine’s Finger and The Puppet Show, which depicts an audience entranced by a Punch and Judy puppet show. Within frame: 22 x 30 in; overall (each): 25 x 33 in$1,500 - 2,000

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302A GROUP OF FOUR LYDIA CLARKE HESTON COLOR PHOTOGRAPHSFour digital photograph prints, one is on Somerset watercolor paper and dry-mounted, two photographs are labeled in pencil to verso of frame “Framed for / grand opening / Heston Gallery / 7/4/02,” smaller photograph has notations in pencil to lower border “La Gonna Violetta / Venice, 1983 / Artist’s proof / Lydia Clarke Heston,” matted and framed. Photographs depict an Italian woman and child in Venice and several Middle Eastern scenes: a stylized view of the city of Cairo, shot during filming of The Awakening (1980), a candid street scene, and women and children by a small body of water. Lydia Heston’s photographic career began on the set of The Greatest Show on Earth in 1952, and blossomed into a lifelong passion. She published several books of photographs including The Light of the World (1989) and Children Around the World (1999), and her work showed in galleries from Santa Barbara to Daytona. Various sizes$2,000 - 3,000

303A GROUP OF LYDIA HESTON’S CAMERAS IN DISPLAY CASEComprising: two Hasselblad camera bodies (probably series 500); a Karl Zeiss Sonnar 4/150 lens; a Hasselblad attachment to the Zeiss Sonnar lens with taped note: “80”; a Hasselblad 150mm lens; five film backs, four of which have taped notes to backs (“TX-12,” “12-Ag.200,” “TX,” and one that is scratched-out); three viewfinders (one is attached to a camera body); five filters: green, orange, red, yellow, and clear; and an Arca-Swiss Polaroid camera back for a Hasselblad. A fine assemblage of Lydia Heston’s cameras, used throughout her photography career, carefully arranged in display by her children and hung in a place of honor in her darkroom. Case (overall): 12 1/2 x 24 x 47 1/2 in$2,000 - 3,000

304A COLLECTION OF 23 ISSUES OF US CAMERA ANNUALSComprising 22 US Camera annuals, (New York: 1935-58), two lacking dust jackets, four spiral bound. Together with a US Camera International Pictures magazine, 1963, and four Photography Annual magazines dated 1952, 1959, 1962, and 1963.$300 - 500

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305HESTON’S PERSONAL COPY OF THE STORY OF THE MAKING OF BEN-HURNew York: Random House, 1959. A full-color illustrated program book with foldout scenes from the film.$250 - 350

306A CHARLTON HESTON COLLECTION OF LOBBY CARDS, PRESSBOOKS, AND PROGRAMSComprising 48 lobby cards, most featuring Heston: Dark City (1950) (2), The Savage (1952) (3), Pony Express (1953) (3), The President’s Lady (1953) (2), Lucy Gallant (1955) (1), The Far Horizons (1955) (1), The Private War of Major Benson (1955) (4), The Ten Commandments (1956) (2 Mexican cards), The Big Country (1958) (1), Ben-Hur (1959) (1), El Cid (1961) (4 foreign cards), The Pigeon That Took Rome (1962) (2), The War Lord (1965) (4); Khartoum (1966) (7), Planet of the Apes (1968) (1), Earthquake (1974) (8); a small Ben-Hur program, and pressbooks for The Wreck of the Mary Deare (1959) and The Omega Man (1971). Various sizes$300 - 500

307A PAIR OF CHARLTON HESTON POSTERS FOR THE WAR LORD AND KHARTOUMUniversal, 1965 / United Artists, 1966. Original release one sheet movie posters in matching frames. Overall (both): 27 1/4 x 41 in$300 - 500

308A GROUP OF THREE CHARLTON HESTON MOVIE POSTERSFrom the actor’s personal collection: The Greatest Show on Earth (Paramount, 1952) one sheet poster; El Cid (Allied Artists, 1961) one sheet poster; The War Lord (Universal 1965) one sheet poster. 27 x 41 in.$250 - 350

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309A CHARLTON HESTON REPRODUCTION OF EL CID’S “COLADA” SWORDStraight 32 1/2 in blade with etched decoration at the forte, brass hilt comprising inner and outer rings, quillon with double ball finial, knucklebow and ovoid pommel, wire bound grip, “TMP” maker’s mark and “Made in Spain” all printed on blade. The “Colada” was the historical El Cid’s second most famous sword, after the “Tizona.” The “Colada” was won by El Cid from the Count of Barcelona, and later passed on to one of his knights. Length overall: 39 in$800 - 1,200

309

Charlton and Fraser Heston on the set of El Cid with a similar sword (courtesy of the Heston family).


310A CHARLTON HESTON REPRODUCTION OF EL CID’S “TIZONA” SWORDExecuted in the Spanish Renaissance style, 33 in blade, gilt metal hilt with pierced, downcurving quillons and pierced pommel, with design and “Tizona Del Cid” printed to blade, “Armas de Toledo” tag attached with string. The “Tizona” was El Cid’s most famous weapon, and was won from King Yucef in Valencia. Overall length: 40 in$100 - 150

311A CHARLTON HESTON RENAISSANCE STYLE BROADSWORD FROM EL CIDAllied Artists, 1961. White metal, Broad, straight 33 1/2 in blade with central fuller, white metal hilt comprising downcurving quillons with spade-shaped finials, the quillon block molded with a lion mask, wire bound grip; molded pommel, typed label on blade: “Cid sword used during / siege of Valencia / during filming of / El Cid.” This sword was likely used by a supporting or background player. Overall length: 40 in $1,000 - 1,500

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312A CHARLTON HESTON PROP BATTLE AXE FROM THE WAR LORDUniversal, 1965. 11th century style, metal blade with crescent-shaped edge and long, decorated socket, slightly curved wooden haft, the grip bound in leather strips, with painted-on simulated bloodstains to blade. Used by one of the Frisian raiders in the film. Haft length: 34 in; blade length: 11 in. $200 - 300 313A PROP MONGOL SHORT SWORD USED IN GENGIS KHANInternational Cinema Company, 1992. Straight 23 in blade with central fuller, bronzed metal hilt comprising oval guard, grip molded with decoration and pommel in the form of an ibex. Open-front scabbard bound with leather, the throat with molded panel of a bearded face. This sword was used in the unfinished film Gengis Khan, likely by Heston, who had a costarring role. Footage from Gengis Khan was incorporated into Genghis Khan: The Story of a Lifetime (2010), Heston’s final posthumous movie role. $200 - 300

312

313

313 (courtesy of the Heston family)


314A CHARLTON HESTON ETHOPIAN SHOTEL SWORD19th century, the 30 3/4 in recurve blade molded with two central fullers, I-form horn grip, with original leather scabbard. Overall length: 35 in$100 - 150

315A CHARLTON HESTON QUIRT WITH CONCEALED SWORDNarrow blade with etched decoration; brass grip molded with geometric designs and ovoid pommel. Overall length: 29 in$200 - 300

316A REPRODUCTION BOLLOCK DAGGER IN THE 16TH CENTURY EUROPEAN STYLE 20TH CENTURYStraight 13 in acutely tapered blade, wooden grip of familiar form with flat capstan pommel, leather scabbard. Overall length: 20 1/2 in $50 - 100

317A WOODEN SWORD COMMEMORATING CHARLTON HESTON’S PERFORMANCE IN MACBETHWooden sword, with plaque on wooden blade engraved “Charlton Heston / ‘Brave Macbeth! / Well he deserves that name!’ / Ahmanson Theatre / Jan. 28 – Mar. 8, 1975.” Overall length: 32 in $100 - 150

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318A GROUP OF THREE CHARLTON HESTON AWARDSComprising a Hillsdale College Freedom Leadership Award medal with a blue and white ribbon, housed in wooden display case, September 11, 1990; an Orem, Utah marble plaque shaped like a Ten Commandments tablet with an engraved plaque, commemorating screening of the restored version of The Ten Commandments, March 2, 1990; and a wooden plaque from the Fox Theatre, Detroit, Michigan, commemorating screenings of the 70mm version of Ben-Hur, July 9th-August 4th, 1990. Various sizes$300 - 500

319AN RIAA SALES AWARD PRESENTED TO CHARLTON HESTON FOR DISNEY’S HERCULES SOUNDTRACKEngraved brass Recording Industry Association of America plaque commemorating the sale of 500,000 copies of Walt Disney Records’ Hercules soundtrack, with a copy of the soundtrack CD, an image of the title character and the film’s logo, housed in a display case. Heston provided the soundtrack’s opening narration. Within frame: 12 1/2 x 16 1/2 in; overall: 14 x 18 in$150 - 250

320A PHOTOGRAPH COMMEMORATING THE 90TH ANNIVERSARY OF PARAMOUNT PICTURESColor photographic print, matted and framed. A reproduction of the photograph published in the October 2002 issue of Vanity Fair magazine. Heston is pictured seated at front row center in this massive group portrait of stars of various eras posing together at the Paramount gates to celebrate the studio’s 90th anniversary on July 16, 2002. Also pictured are Harrison Ford, Morgan Freeman, Ernest Borgnine, Samuel L. Jackson, and dozens of others. Within mat: 9 3/4 x 17 in; overall: 13 1/2 x 21 in$300 - 500

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321A GROUP OF SIX CHARLTON HESTON AMERICAN FILM INSTITUTE AWARDSComprised of a certificate commemorating Heston’s ten years on the AFI Board of Trustees (June 12, 2003), matted and framed; an AFI Second Decade Council plaque; three certificates commemorating the inclusion of Touch of Evil (1958), Ben-Hur (1959), and Planet of the Apes (1968) on the AFI’s “Most Heart-Pounding Movies” list (2001), individually matted and framed; and a certificate commemorating Ben-Hur’s inclusion on AFI’s “100 Greatest Movies” list, matted. Together with three personalized acrylic paperweights from the AFI Tributes to Fred Astaire, Frank Capra, and John Huston, and a small plaque reading “Charlton Heston / ‘America at the Movies’ / 1976 / Gratefully, G.S.” (likely from George Stevens, Jr., the AFI’s founding director). Heston was the AFI Board Chairman from 1971-82, and the AFI President from 1983-2002. Various sizes$800 - 1,200

322A CHARLTON HESTON 14K GOLD SAG MEMBERSHIP CARDFacsimile Screen Actors Guild membership card, engraved “Class A Membership”, with facsimile signatures of Heston and the SAG Executive Secretary and an inscription engraved on the verso, “In affectionate appreciation of his / long and devoted service as President / of the Screen Actors Guild from November 14 / 1965 to November 7, 1971 this Honorary / Life Membership is presented to / Charlton Heston / by the Board of Directors.” Encased in clear acrylic and mounted on a matching base. Heston was a board member and vice president of SAG before serving as the organization’s president from 1965 to 1971. Base: 4 x 5 in; height: 4 in $1,500 - 2,000

END OF SALE

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General Notice: This sale will be conducted in accordance with Bonhams Conditions of Sale, and your bidding and buying at the sale will be governed by such terms and conditions. Please read the Conditions of Sale in conjunction with the Buyer’s Guide relating to this sale and other published notices and terms relating to bidding.Payment by personal or business check may result in your property not being released until purchase funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: In the table below, please provide details of the lots on which you wish to place bids at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Buyer’s Guide in the catalog for further information relating to instructions to Bonhams to execute absentee bids on your behalf. Bonhams will endeavor to execute bids on your behalf but will not be liable for any errors or non-executed bids.

Notice to First Time Bidders: New clients are requested to provide photographic proof of ID - passport, driving license, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorizing the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bankers reference.

Notice to online bidders; If you have forgotten your username and password for www.bonhams.com, please contact Client Services.

If successfulI will collect the purchases myselfPlease contact me with a shipping quote (if applicable)I will arrange a third party to collect my purchase(s)

Please mail or fax the completed Registration Form and requested information to:Bonhams Client Services Department 7601 Sunset Blvd Los Angeles, California 90046Tel +1 (800) 223 2854 Fax +1 (323) 850 6090Automated results Tel +1 (415) 503 3410

Auction Registration Form (Attendee / Absentee / Online / Telephone Bidding)Please circle your bidding method above.

Paddle number (for office use only)

Type of bid(A-Absentee, T-Telephone)

Lot no. Brief description(In the event of any discrepancy, lot number and not lot description will govern.)If you are bidding online there is no need to complete this section.

MAX bid in US$ (excluding premium and applicable tax)Emergency bid for telephone bidders only*

* Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

By SIGnInG ThIS fOrm yOU AGree ThAT yOU hAve reAd And UnderSTAnd OUr COndITIOnS Of SAle And ShAll Be leGAlly BOUnd By Them, And yOU AGree TO PAy The BUyer’S PremIUm, Any APPlICABle TAxeS, And Any OTher ChArGeS menTIOned In The BUyer’S GUIde Or COndITIOnS Of SAle. ThIS AffeCTS yOUr leGAl rIGhTS.

Your signature: Date:

Shipping Address (if different than above):

Address: _____________________________________

City: _________________________________________

Country: _____________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded.

ShIPPInG

Sale title: Sale date:

Sale no. Sale venue:

Customer Number Title

First Name Last Name

Company name (to be invoiced if applicable)

Address

City County / State

Post / Zip code Country

Telephone mobile Telephone daytime

Telephone evening Fax

Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 next to the telephone number.

E-mail (in capitals)

By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams and partner organizations. Bonhams does not sell or trade email addresses.

I am registering to bid as a private client I am registering to bid as a trade client

Resale: please enter your resale license number here We may contact you for additional information.

General Bid Increments:$10 - 200 .....................by 10s$200 - 500 ...................by 20 / 50 / 80s$500 - 1,000 ................by 50s$1,000 - 2,000 .............by 100s$2,000 - 5,000 .............by 200 / 500 / 800s$5,000 - 10,000 ...........by 500s

$10,000 - 20,000 .........by 1,000s$20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s$50,000 - 100,000 .......by 5,000s$100,000 - 200,000 .....by 10,000sabove $200,000 ...........at the auctioneer’s discretion

The auctioneer has discretion to split any bid at any time.

OFFSITE SOLD PROPERTY STORAGE INFORMATION

Please note that all lots listed at the beginning of our printed catalog, if not removed immediately after the sale, will be transferred to a nearby storage facility. For the convenience of the successful bidder of one or more of these lots, all purchased lots will be transferred to our offsite storage together. Please read the Conditions of Sale regarding the removal of sold lots.

Bonhams’ storage and logistics partner is Box Brothers, a well-known organization that specializes in crating, packaging and shipping.

Our storage and logistics partnership provides several beneficial services. The first being5 days of free storage.

• During this auction, clients will be expected to pick up all property from Bonhams by 5pm on Friday March 25, 2016.

• All items listed at the beginning of our printed catalog, along with all other items purchased, if not removed immediately after the sale, will be transferred to Box Brothers warehouse. With an appointment made 24 hours in advance, clients can pick up their property at 220 W. Ivy Ave, Unit C in Inglewood.

• Box Brothers will charge an uplift fee to transport your items to their warehouse. Small items that can be handled easily by one person will be charged $50. Larger items that can still be handled by one person will be charged $85. Large items that require two people to handle will be charged $100. Charges will be payable directly to Box Brothers. Should you choose to have Box Brothers ship or deliver your property, this uplift fee will be waived.

• Clients will have 5 days of free storage to retrieve their property or make arrangements with Box Brothers to pack and ship their property. Storage fees will begin to accrue on the 6th day of storage.

• Retrieval from the offsite warehouse is by appointment only. Clients must call 24 hours in advance. Clients can utilize the delivery services offered by Box Brothers or clients may make their own arrangements. Please call +1 (800) 474-7447.

• Box Brothers is available to ship internationally. They offer importing and exporting services. Clients can select either airfreight or ocean cargo delivery options, which range from door-to-port, door-to-airport with door-to-door service also available. Clients can ship one item, co-load or container load at a discounted rate through Box Brothers. Please call +1 (800) 474-7447 for more information.

• All purchases not designated for offsite storage will remain onsite at Bonhams for a period of 21 days beginning the date of the auction. During this 21 day period, clients may remove such property themselves, make arrangements with the Bonhams packaging and shipping department or provide their own shipper for removal of all property. If a client does not retrieve his/her property or finalize shipping arrangements within 21 days, the purchases will be removed to the offsite storage facility of Box Brothers. Again, uplift charges for packing and transport from our gallery to Box Brothers will be charged by Box Brothers.

• Payment of the hammer price, premium and any applicable sales taxes must be made directly to Bonhams prior to the release of property. Any removal, storage or other fees due to Box Brothers should be made directly to Box Brothers.

• Change of shipping address must be authorized by Bonhams Revenue Manager, Martin Romero, before Box Brothers will be permitted to re-route your purchases.

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LOTS TO BE REMOVED TO STORAGE:

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CONDITIONS OF SALE

The following Conditions of Sale, as amended by any published or posted notices or verbal announcements during the sale, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold by Bonhams & Butterfields Auctioneers Corp. and any consignor of such property for whom we act as agent. If live online bidding is available for the subject auction, additional terms and conditions of sale relating to online bidding will apply; see www.bonhams.com/WebTerms for the supplemental terms. As used herein, “Bonhams,” “we” and “us” refer to Bonhams & Butterfields Auctioneers Corp.

1. As used herein, the term “bid price” means the price at which a lot is successfully knocked down to the purchaser. The term “purchase price” means the aggregate of (a) the bid price, (b) a PREMIUM retained by us and payable by the purchaser EQUAL TO 25% OF THE FIRST $100,000 OF THE BID PRICE, 20% OF THE AMOUNT OF THE BID PRICE ABOVE $100,000 UP TO AND INCLUDING $2,000,000, AND 12% OF THE AMOUNT OF THE BID PRICE OVER $2,000,000, and © unless the purchaser is exempt by law from the payment thereof, any California, Arizona, Colorado, Connecticut, Florida, Georgia, Illinois, Massachusetts, Nevada, New York, Pennsylvania, Texas, Washington, D.C., Washington state, or other state or local sales tax (or compensating use tax) and other applicable taxes.

2. On the fall of the auctioneer’s hammer, the highest bidder shall have purchased the offered lot in accordance and subject to compliance with all of the conditions set forth herein and (a) assumes full risk and responsibility therefor, (b) if requested will sign a confirmation of purchase, and © will pay the purchase price in full or such part as we may require for all lots purchased. No lot may be transferred. Any person placing a bid as agent on behalf of another (whether or not such person has disclosed that fact or the identity of the principal) may be jointly and severally liable with the principal under any contract resulting from the acceptance of a bid.

Unless otherwise agreed, payment in good funds is due and payable within five (5) business days following the auction sale. Whenever the purchaser pays only a part of the total purchase price for one or more lots purchased, we may apply such payments, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have collected good funds for all amounts due.

Payment for purchases may be made in or by (a) cash, (b) cashier’s check or money order, © personal check with approved credit drawn on a U.S. bank, (d) wire transfer or other immediate bank transfer, or (e) Visa, MasterCard, American Express or Discover credit, charge or debit card. A processing fee will be assessed on any returned checks. Please note that the amount of cash notes and cash equivalents that can be accepted from a given purchaser may be limited.

The purchaser grants us a security interest in the property, and we may retain as collateral security for the purchaser’s obligations to us, any property and all monies held or received by us for the account of the purchaser, in our possession. We retain all rights of a secured party under the California Commercial Code. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to other remedies available to us and the consignor by law, including without limitation, the right to hold the purchaser liable for the purchase price, we at our option may either (a) cancel the sale, retaining as liquidated damages all payments made by the purchaser or (b) resell the property, either publicly or privately, and in such

event the purchaser shall be liable for the payment of any deficiency plus all costs and expenses of both sales, our commission at our standard rates, all other charges due hereunder, attorneys’ fees, expenses and incidental damages. In addition, where two or more amounts are owed in respect of different transactions by the purchaser to us, to Bonhams 1793 Limited and/or to any of our other affiliates, subsidiaries or parent companies worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction to discharge any amount owed by the purchaser. If all fees, commissions, premiums, bid price and other sums due to us from the purchaser are not paid promptly as provided in these Conditions of Sale, we reserve the right to impose a finance charge equal to 1.5% per month on all amounts due to us beginning on the 31st day following the sale until payment is received, in addition to other remedies available to us by law.

3. We reserve the right to withdraw any property and to divide and combine lots at any time before such property’s auction. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lots shall be divided or combined for sale.

4. We reserve the right to reject a bid from any bidder, to split any bidding increment, and to advance the bidding in any manner the auctioneer may decide. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects.

5. If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the purchaser or a sale otherwise cannot be completed, our liability shall be limited to the sum actually paid therefor by the purchaser and shall in no event include any compensatory, incidental or consequential damages.

6. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an interest in an offered lot and the proceeds therefrom other than our commissions, we may bid therefor to protect such interest. CONSIGNORS ARE NOT ALLOWED TO BID ON THEIR OWN ITEMS.

7. All statements contained in the catalog or in any bill of sale, condition report, invoice or elsewhere as to authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, exhibition and literature of historical relevance, or physical condition ARE QUALIFIED STATEMENTS OF OPINION AND NOT REPRESENTATIONS OR WARRANTIES. No employee or agent of Bonhams is authorized to make on our behalf or on that of the consignor any representation or warranty, oral or written, with respect to any property.

8. All purchased property shall be removed from the premises at which the sale is conducted by the date(s) and time(s) set forth in the “Buyer’s Guide” portion of this catalog. Property designated with a “W” and associated purchased lots, if not removed promptly following sale, will be transferred to an offsite warehouse at the purchaser’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” Purchased property that is permitted to remain onsite at Bonhams’ facility should be removed at the purchaser’s expense not later than 5:00 p.m. Pacific Time five (5) business days following the date of the sale. If not so removed, a storage fee of $5.00 per lot per day will

be payable to us by the purchaser beginning at the close of the 21st day following the sale, and we may thereafter transfer such property to an offsite warehouse at the purchaser’s risk and expense. Accounts must be settled in full before property will be released. Packing and handling of purchased lots are the responsibility of the purchaser. Bonhams can provide packing and shipping services for certain items as noted in the “Buyer’s Guide” section of the catalog.

9. The copyright in the text of the catalog and the photographs, digital images and illustrations of lots in the catalog belong to Bonhams or its licensors. You will not reproduce or permit anyone else to reproduce such text, photographs, digital images or illustrations without our prior written consent.

10. These Conditions of Sale shall bind the successors and assigns of all bidders and purchasers and inure to the benefit of our successors and assigns. No waiver, amendment or modification of the terms hereof (other than posted notices or oral announcements during the sale) shall bind us unless specifically stated in writing and signed by us. If any part of these Conditions of Sale is for any reason invalid or unenforceable, the rest shall remain valid and enforceable.

11. These Conditions of Sale and the purchaser’s and our respective rights and obligations hereunder are governed by the laws of the State of California. By bidding at an auction, each purchaser and bidder agrees to be bound by these Conditions of Sale. Any dispute, controversy or claim arising out of or relating to this agreement, or the breach, termination or validity thereof, brought by or against Bonhams (but not including claims brought against the consignor by the purchaser of lots consigned hereunder) shall be resolved by the procedures set forth below.

MEDIATION AND ARBITRATION PROCEDURES

(a) Within 30 days of written notice that there is a dispute, the parties or their authorized and empowered representatives shall meet by telephone and/or in person to mediate their differences. If the parties agree, a mutually acceptable mediator shall be selected and the parties will equally share such mediator’s fees. The mediator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling mediations. Any communications made during the mediation process shall not be admissible in any subsequent arbitration, mediation or judicial proceeding. All proceedings and any resolutions thereof shall be confidential, and the terms governing arbitration set forth in paragraph © below shall govern.

(b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national arbitration service agreed to by the parties, and shall be selected as follows: (i) If the national arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the national arbitration service does not have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties. If the parties cannot agree on a national arbitration service, the arbitration shall be conducted by the American Arbitration Association, and the arbitrator

shall be selected in accordance with the Rules of the American Arbitration Association. The arbitrator’s award shall be in writing and shall set forth findings of fact and legal conclusions.

© Unless otherwise agreed to by the parties or provided by the published rules of the national arbitration service:

(i) the arbitration shall occur within 60 days following the selection of the arbitrator;

(ii) the arbitration shall be conducted in the designated location, as follows: (A) in any case in which the subject auction by Bonhams took place or was scheduled to take place in the State of New York or Connecticut or the Commonwealth of Massachusetts, the arbitration shall take place in New York City, New York; (B) in all other cases, the arbitration shall take place in the city of San Francisco, California; and

(iii) discovery and the procedure for the arbitration shall be as follows:

(A) All arbitration proceedings shall be confidential;

(B) The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences;

© Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with California law;

(D) Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days;

(E) The award shall be made in writing no more than 30 days following the end of the proceeding. Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof.

To the fullest extent permitted by law, and except as required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitrator.

LIMITED RIGHT OF RESCISSION

If within one (1) year from the date of sale, the original purchaser (a) gives written notice to us alleging that the identification of Authorship (as defined below) of such lot as set forth in the BOLD TYPE heading of the catalog description of such lot (as amended by any saleroom notices or verbal announcements during the sale) is not substantially correct based on a fair reading of the catalog (including the terms of any glossary contained therein), and (b) within 10 days after such notice returns the lot to us in the same condition as at the time of sale, and © establishes the allegation in the notice to our satisfaction (including by providing one or more written opinions by recognized experts in the field, as we may reasonably require), then the sale of such lot will be rescinded and, unless we have already paid to the consignor monies owed him in connection with the sale, the original purchase price will be refunded.

If, prior to receiving such notice from the original purchaser alleging such defect, we have paid the consignor monies owed him in connection with the sale, we shall pay the original purchaser the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the purchaser on the sale and make demand on the consignor to pay the balance of the original purchase price to the original purchaser. Should the consignor fail to pay such amount promptly, we may disclose the identity of the consignor and assign to the original purchaser our rights against the consignor with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as consignor’s agent with respect to said lot shall automatically terminate.

The foregoing limited right of rescission is available to the original purchaser only and may not be assigned to or relied upon by any subsequent transferee of the property sold. The purchaser hereby accepts the benefit of the consignor’s warranty of title and other representations and warranties made by the consignor for the purchaser’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE PURCHASER’S SOLE AND EXCLUSIVE

REMEDY AGAINST BONHAMS FOR ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION.

“Authorship” means only the identity of the creator, the period, culture and source or origin of the lot, as the case may be, as set forth in the BOLD TYPE heading of the print catalog entry. The right of rescission does not extend to: (a) works of art executed before 1870 (unless these works are determined to be counterfeits created since 1870), as this is a matter of current scholarly opinion which can change; (b) titles, descriptions, or other identification of offered lots, which information normally appears in lower case type below the BOLD TYPE heading identifying the Authorship; © Authorship of any lot where it was specifically mentioned that there exists a conflict of specialist or scholarly opinion regarding the Authorship of the lot at the time of sale; (d) Authorship of any lot which as of the date of sale was in accordance with the then generally-accepted opinion of scholars and specialists regarding the same; or (e) the identification of periods or dates of creation in catalog descriptions which may be proven inaccurate by means of scientific processes that are not generally accepted for use until after publication of the catalog in which the property is offered or that were unreasonably expensive or impractical to use at the time of such publication.

LIMITATION OF LIABILITY

EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR THE CONSIGNOR MAKES ANY REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE MERCHANTABILITY, FITNESS OR CONDITION OF THE PROPERTY OR AS TO THE CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE OR PERIOD OF THE PROPERTY OR AS TO WHETHER THE PURCHASER ACQUIRES ANY COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE PURCHASER EXPRESSLY ACKNOWLEDGES AND AGREES THAT IN NO EVENT SHALL BONHAMS BE LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL DAMAGES.

CONDITIONS OF SALE - CONTINUED

as “photo auction estimate”. Alternatively, you can submit your request using our online form at www.bonhams.com/us. Digital images may be attached to the form. Please limit your images to no more than five (5) per item.

CONSIGNING YOUR PROPERTY

After you receive an estimate, you may consign your property to us for sale in the next appropriate auction. Our staff assists you throughout the process, arranging transportation of your items to our galleries (at the consignor’s expense), providing a detailed inventory of your consignment, and reporting the prices realized for each lot. We provide secure storage for your property in our warehouses and all items are insured throughout the auction process. You will receive payment for your property approximately 35 days after completion of sale.

Sales commissions vary with the potential auction value of the property and the particular auction in which the property is offered. Please call us for commission rates.

PROFESSIONAL APPRAISAL SERVICES

Bonhams’ specialists conduct insurance and fair market value appraisals for private collectors, corporations, museums, fiduciaries and government entities on a daily basis. Insurance appraisals, used for insurance purposes, reflect the cost of replacing property in today’s retail market. Fair market value appraisals are used for estate,

tax and family division purposes and reflect prices paid by a willing buyer to a willing seller.

When we conduct a private appraisal, our specialists will prepare a thorough inventory listing of all your appraised property by category. Valuations, complete descriptions and locations of items are included in the documentation.

Appraisal fees vary according to the nature of the collection, the amount of work involved, the travel distance, and whether the property is subsequently consigned for auction.

Our appraisers are available to help you anywhere and at any time. Please call our Client Services Department to schedule an appraisal.

ESTATE SERVICES

Since 1865, Bonhams has been serving the needs of fiduciaries – lawyers, trust officers, accountants and executors – in the disposition of large and small estates. Our services are specially designed to aid in the efficient appraisal and disposition of fine art, antiques, jewelry, and collectibles. We offer a full range of estate services, ranging from flexible financial terms to tailored accounting for heirs and their agents to world-class marketing and sales support.

For more information or to obtain a detailed Trust and Estates package, please visit our website at www.bonhams.com/us or contact our Client Services Department.

SELLING AT AUCTION

Bonhams can help you every step of the way when you are ready to sell art, antiques and collectible items at auction. Our regional offices and representatives throughout the US are available to service all of your needs. Should you have any further questions, please visit our website at www.bonhams.com/us for more information or call our Client Services Department at +1 (800) 223 2854 ext. 23550.

AUCTION ESTIMATES

The first step in the auction process is to determine the auction value of your property. Bonhams’ world-renowned specialists will evaluate your special items at no charge and in complete confidence. You can obtain an auction estimate in many ways:

• Attend one of our Auction Appraisal Events held regularly at our galleries and in other major metropolitan areas. The updated schedule for Bonhams Auction Appraisal Events is available at www.bonhams.com/us.

• Call our Client Services Department to schedule a private appointment at one of our galleries. If you have a large collection, our specialists can travel, by appointment, to evaluate your property on site.

• Send clear photographs to us of each individual item, including item dimensions and other pertinent information with each picture. Photos should be sent to Bonhams’ address in envelopes marked

SELLER’S GUIDE

BIDDING & BUYING AT AUCTIONWhether you are an experienced bidder or an enthusiastic novice, auctions provide a stimulating atmosphere unlike any other. Bonhams previews and sales are free and open to the public. As you will find in these directions, bidding and buying at auction is easy and exciting. Should you have any further questions, please visit our website at www.bonhams.com or call our Client Services Department at +1 (800) 223 2854 ext. 23550.Catalogs Before each auction we publish illustrated catalogs that include dates and times for previews and auctions. Our catalogs also provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. We offer our catalogs by subscription or by single copy. For information on subscribing to our catalogs, you may refer to the subscription form in this catalog, call our Client Services Department, or visit our website at www.bonhams.com/us.Previews Auction previews are your chance to inspect each lot prior to the auction. We encourage you to look closely and examine each object on which you may want to bid so that you will know as much as possible about it. Items are sold “as is” and with all faults; illustrations in our catalogs, website and other materials are provided for identification only. At the previews, our staff is always available to answer your questions and guide you through the auction process. Condition reports may be available upon request.Estimates Bonhams catalogs include estimates for each lot, exclusive of buyer’s premium and tax. The estimates are provided as an approximate guide to current market value and should not be interpreted as a representation or prediction of actual selling prices. They are determined well in advance of a sale and are subject to revision. Please contact us should you have any questions about value estimates.Reserves All lots in a catalog are subject to a reserve unless otherwise indicated. The reserve is the minimum price that the seller is willing to accept for a lot. This amount is confidential and does not exceed the low estimated value.BIDDING AT AUCTION At Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ online bidding facility. Absentee bids can be submitted in person, online, via fax or via email. A valid Bonhams client account is required to participate in bidding activity. You can obtain registration information online, at the reception desk or by calling our Client Services Department.By bidding at auction, whether in person or by agent, by absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale. Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding normally begins below the low estimate. The auctioneer will accept bids from interested parties present in the saleroom, from telephone bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer may also execute bids on behalf of the consignor up to the amount of the reserve, but never above it. We assume no responsibility for failure to execute bids for any reason whatsoever.In Person If you are planning to bid at auction, you will need to register at the reception desk in order to receive a numbered bid card. To place a bid, hold up your card so that the auctioneer can clearly see it. Decide on the maximum amount that you wish to pay, exclusive of buyer’s premium and tax, and continue bidding until your bid prevails or you reach your limit. If you are the successful bidder on a lot, the auctioneer will acknowledge your paddle number and bid amount.Absentee Bids As a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of sale by telephone, by facsimile or in writing on bidding forms available from us. “Buy” bids will not be accepted; all bids must state the highest bid price the bidder is willing to pay. Our auction staff

will try to bid just as you would, with the goal of obtaining the item at the lowest bid price possible. In the event identical bids are submitted, the earliest bid submitted will take precedence. Absentee bids shall be executed in competition with other absentee bids, any applicable reserve, and bids from other auction participants. A friend or agent may place bids on your behalf, provided that we have received your written authorization prior to the sale. Absentee bid forms are available in our catalogs, online at www.bonhams.com/us, and at our San Francisco, Los Angeles and New York galleries.By Telephone Under special circumstances, we can arrange for you to bid by telephone. To arrange for a telephone bid, please contact our Client Services Department a minimum of 24 hours prior to the sale. Online Web users may place absentee bids online from anywhere in the world. To bid online, please visit our website at www.bonhams.com/us.We are pleased to make our live online bidding facility available to bidders in this sale. Additional terms and conditions of sale relating to online bidding will apply. Please see www.bonhams.com/23706 or contact the Client Services Department to obtain information and learn how you can register and bid online in this sale. Bid Increments Bonhams generally uses the following increment multiples as bidding progresses:$50-200 .........................................by $10s $200-500 .......................................by $20/50/80s $500-1,000 ....................................by $50s $1,000-2,000 .................................by $100s $2,000-5,000 .................................by $200/500/800s $5,000-10,000… ............................by $500s $10,000-20,000 .............................by $1,000s $20,000-50,000 .............................by $2,000/5,000/8,000s $50,000-100,000 ...........................by $5,000s $100,000-200,000 .........................by $10,000s above $200,000 .............................at auctioneer’s discretionThe auctioneer may split or reject any bid at any time at his or her discretion as outlined in the Conditions of Sale. Currency Converter Solely for the convenience of bidders, a currency converter may be provided at Bonhams sales. The rates quoted for conversion of other currencies to U.S. Dollars are indications only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors or omissions in the operation or accuracy of the currency converter.Buyer’s Premium A buyer’s premium is added to the winning bid price of each individual lot purchased, at the rates set forth in the Conditions of Sale. The winning bid price plus the premium constitute the purchase price for the lot. Applicable sales taxes are computed based on this figure, and the total becomes your final purchase price.Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment.All sales are final and subject to the Conditions of Sale found in our catalogs, on our website, and available at the reception desk.Payment All buyers are asked to pay and pick up by 3pm on the business day following the auction. Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within 5 business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank.Sales Tax California, Arizona, Colorado, Connecticut, Florida, Georgia, Illinois, Nevada, New York, Massachusetts, Pennsylvania, Texas, Washington DC and Washington state residents must pay applicable sales tax. Other state or local taxes (or compensating use taxes) may apply. Sales tax will be

automatically added to the invoice unless a valid resale number has been furnished or the property is shipped via common carrier to destinations outside the states listed above. If you wish to use your resale license please contact Cashiers for our form.Shipping & Removal Buyers are to review the Offsite Sold Property Storage page for a list of lots that will be removed to the offsite warehouse of Box Brothers. These designated lots must be retrieved by the buyer prior to the day and time designated on the Offsite Sold Property Storage page. If buyers of these designated lots also buy other lots, such as decorations, rugs or works of art, these lots may also be removed to the warehouse of Box Brothers, so all lots remain together and customers can collect or ship from one location. All other items will remain at Bonhams for a period of 21 days, after which time they may be transferred to offsite storage. Wine, Jewelry, Natural History, Collectibles, 20th Century Decorative Arts, Rugs, Native American Art, Tribal Art and most Arms & Armor auctions are not included in this policy.Box Brothers San Leandro (for San Francisco auctions only) 1471 Doolittle Drive, San Leandro, CA 94577 Tel (800) 942 6822; Fax (510) 628 8454Box Brothers Los Angeles (for Los Angeles auctions only) 220 W. Ivy Ave, Unit C, Inglewood, Ca 90302 +1 (310) 419 9915 or +1 (800) 474 7447Box Brothers is open Monday-Friday 8am-5pm with Saturday and Sunday hours available. Buyers must contact Box Brothers 24 hours in advance of pickup. Appointments are required. Bonhams can accommodate shipping for certain items. Please contact our Cashiers Department for more information or to obtain a quote. Refer to Conditions of Sale for special terms governing the shipment of Arms and Wine. Shipments are made during weekday business hours up to four weeks after payment is received. Carriers are not permitted to deliver to P.O. Boxes.International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price(s) will accompany all international purchases.Simultaneous sale property collection notice: If this sale previews in multiple cities, please see the title page for details regarding final location of property for collection.Handling and Storage Charges Please note: For sold lots removed to Box Brothers, there will be no post-sale storage charge for lots collected within 5 days from the sale date. For lots that remain at Bonhams, there will be no post-sale storage charge for lots collected within 21 days of the sale date. Handling fees may apply.Lots uncollected at Bonhams after 21 days may be removed to the warehouse of Box Brothers. Handling and storage fees will apply.Insurance: All sold lots are insured by Box Brothers at the sum of the hammer price plus buyer’s premium.Please refer to Box Brothers for a list of Handling, Storage and Insurance fees.Payment Payments for purchased lots must be made directly to Bonhams. Box Brothers will not release property to a buyer unless the buyer has paid Bonhams first. All charges for handling and storage due to Box Brothers must be paid by the time of collection from their warehouse. Please telephone Box Brothers at +1 (800) 474 7447 in advance to ascertain the amount due. Lots will only be released from Box Brothers’ warehouse with a “Release Order” obtained from the cashier’s office at Bonhams.The removal/storage and/or shipment by Box Brothers of any lots will be subject to their standard Conditions of Business, copies of which are available at Bonhams or from Box Brothers directly.Auction Results To find out the final purchase price for any lot following the sale, please call our automated auction results line at +1 (800) 223 2854 ext. 3400. Auction results are usually available on the next business day following the sale or online at www.bonhams.com/us.

BUYER’S GUIDE

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