presents the estate of maureen o’hara in a small calf gilt porfolio. among the addresses are actor...

Presents

THE ESTATE OFMAUREEN O’HARA

TURNER CLASSIC MOVIES AND BONHAMS: THE DEFINITIVE PARTNERSHIP FOR CLASSIC MOVIE MEMORABILIA

NOVEMBER 29, 2016

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

TCM PRESENTS … THE ESTATE OF MAUREEN O’HARATuesday November 29, 2016 at 12pmNew York

BONHAMS 580 Madison AvenueNew York, New York 10022bonhams.com

PREVIEW

Los AngelesFriday, November 11 12pm - 5pm

Saturday, November 12 12pm - 5pm

Sunday, November 13 12pm - 5pm

New YorkSaturday, November 26 12pm - 5pm

Sunday, November 27 12pm - 5pmMonday, November 28 12pm - 5pm

SALE NUMBER: 23810

CATALOG: $35

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

To bid via the internet please visitwww.bonhams.com/23810

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 2 to 6 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

Dana HawkesConsultant+1 978 283 [email protected]

Caren Roberts-FrenzelAdministrator+1 323 436 [email protected]

Justin HumphriesConsulting Cataloguer

Automated Results Service+1 (800) 223 2854

ILLUSTRATIONSFront cover: lot 54Session page 1: lot 51Session page 2: lot 54Session page 3: lot 71Session page 4: lot 128Session page 5: lot 192Session page 6: lot 211Back cover: lot 197

TABLE OF CONTENTS

Introduction by Robert Osborne p 3

Director’s Foreword by Catherine Williamson p 4

The Early Years in Ireland and Hollywood p 6

The Quiet Man p 24

The 1950s p 38

The 1960s p 52

Herself at Home p 70

The Later Years p 87

What a treat it was for us to have Maureen O’Hara make an appearance at the TCM Classic Film Festival in 2014. At the time she hadn’t been seen in public in many years, so festival passholders—and staffers alike—were all very excited about the possibility of meeting this great star of films such as The Quiet Man (1952), How Green Was My Valley (1941), Miracle on 34th Street (1947), The Hunchback of Notre Dame (1939), Rio Grande (1950) and numerous others, and getting a glimpse of O’Hara’s world famous red hair while spending a few moments with her. And she didn’t disappoint. She looked amazing, and was as warm and feisty with us as when she was putting leading men like John Wayne, Anthony Quinn and Tyrone Power in their place on the big screen. I have no proof, but I like to think that having her come to our Festival was the final push that was needed—and at exactly the right moment—for Hollywood’s Motion Picture Academy to vote her a much deserved honorary Oscar®. We’ll never see the likes of Maureen O’Hara again, but thankfully we’ll be able to enjoy the O’Hara beauty and the work she did on film for generations to come. Viva, Maureen!

Robert Osborne

Image courtesy of Turner Classic Movies

Director ’s ForewordFor many fans, Maureen O’Hara is the most beautiful star in all of Hollywood. Her classic features, green eyes, and red hair light up the screen like no other—or is it her strong, Irish temperament that makes her so compelling? In either case, it has been a pleasure and a privilege to put together this auction of property from the estate of the great Irish-American actress. In a cold warehouse in Idaho, my colleague and I dug through stacks and stacks of boxes like Hollywood archeologists, piecing together the story of her life from the tangible property she left behind. We found echoes of her childhood: an elocution award bestowed on young Maureen FitzSimons as a teenager and her well-worn copies of Irish poetry and Shakespeare. We found her earliest contracts, and a veritable treasure trove of photographs taken upon her arrival in Hollywood. We found scripts of course, and posters, but also costumes worn onscreen and in publicity photos-such beautiful clothing, so expertly cared for. And her shoes! And gloves! And hats! This was a woman who knew how to dress.

As we worked, we kept an eye out for items relating to Maureen’s most famous film, the 1952 John Ford classic, The Quiet Man. The first piece we saw (how could we miss it?) was the jaunting cart used to carry cast and crew members from their lodgings in the village of Cong to the set. It is nearly identical to the screen used carts, except for the very modern tire treads it sports. Next, we found the tweed jacket she wears as Mary Kate Danaher. Then, we uncovered John Ford’s working script which he gave to Maureen during filming, and which she herself heavily annotated. And finally, we (or rather me, Catherine, and no one else) saw the secret love letters John Ford wrote her during the months leading up to filming, so intimate and intense that O’Hara herself planned to destroy them upon her death, but in later years changed her mind.

As we worked, we began to fill in the other years of Maureen’s life and career. We found a large archive relating to her first and only Broadway appearance in the Pearl S. Buck musical, Christine; we found her scripts to the beloved 1960s family comedies, The Parent Trap, Spencer’s Mountain and Mr. Hobbs Takes a Vacation. We learned that she ran her own Beverly Hills boutique beginning in the 1940s, selling fine china and decorative items, some of which were still in her collection. She also seriously collected Meissen porcelain from the 1950s on, and we have some excellent examples in this sale as well. From her gracious, well-appointed homes in Los Angeles, Ireland and the Virgin Islands, we have art, fine furniture and decorative items, some of which, like her bedroom set, she had owned for 70 years. Of course we found trophies and honorariums for Maureen, particularly from her later years, but we found even more material relating to Maureen’s efforts to lobby Congress to award her dear friend John Wayne a Congressional Medal of Honor, bringing home to us what a generous spirit she was.

Both Bonhams and Turner Classic Movies hope that Maureen’s many fans will find something that speaks to them in the following pages. We hope that all of you are able to attend the previews in either Los Angeles or New York, but if not, please reach out to the department for more information about the auction or any lot in it.

Catherine Williamson, Ph.D.Director, Entertainment Memorabilia

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THE EARLY YEARS IN IRELAND AND HOLLY WOOD

1A GROUP OF BOOKS FROM MAUREEN O’HARA’S EARLY YEARS IN IRELAND AND AMERICAComprising 13 hardbound books, some with dust jackets and ownership signatures to front matter and pages’ edges, many annotated, most related to Ireland including Songs of the Gael, 3rd Edition, with O’Hara’s ownership signature and her Irish and American addresses; Spirit of the Nation, with O’Hara’s ownership signatures and Irish addresses in the 1930s and in 1995 in pen to front matter; Before the Dawn, signed and inscribed to O’Hara by author J. K. Lyons; and books of Irish literature and poetry; also with two illustrated editions of Shakespeare.

$200 - 300

2A GROUP OF MAUREEN O’HARA BOOKS ON IRISH MUSICComprising 26 books, mostly cloth covers lacking dust jackets, circa 1840-1969, many with ownership signatures, some annotated; also 16 booklets of songs, mostly in the Irish Fireside Songs series. O’Hara’s copy of Irish Country Songs by Herbert Hughes has lyrics from the Gaelic song “Siuil a Ruin” to front cover in pencil and other lyrics to endpapers in pencil; Lovely is the Lee by Robert Gibbings signed several times with note under one signature, “1986 / and many years before,”; 1 booklet note in pen regarding a Rossini aria folded in. Maureen O’Hara seldom sang onscreen, but singing became central to her television career from the 1950s to the 1970s. O’Hara often performed the songs of her native Ireland, including recording the 1961 album Maureen O’Hara Sings Her Favorite Irish Songs. These books are mainly of Irish songs, some in Gaelic, along with other musical genres including an annotated copy of The Trapp Family Book of Christmas Songs which O’Hara also signed.

$200 - 300

3¤A MAUREEN O’HARA ADDRESS BOOK, LATE 1930S, AND A BRASS POSTAL SCALEAddress book bound in red calf gilt, annotated in pen and pencil in O’Hara’s hand and signed (“Maureen FitzSimons”) and her Dublin address written in pencil to the front matter. WITH: a small brass postal scale with brass clip attached, housed in a small calf gilt porfolio. Among the addresses are actor Charles Laughton’s in London and that of Mayflower Pictures Corporation, Laughton’s production company. Mayflower was where O’Hara’s career truly began in Alfred Hitchcock’s Jamaica Inn (1939) starring Laughton. Also listed is the Irish convent address of O’Hara’s sister Peggy FitzSimons, a nun. Address book: 3 ½ x 5 in; letter scale: 3 x 2 ¼ in

$300 - 500

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4¤TWO EARLY MAUREEN O’HARA CONTRACTSComprising a Vogue Films Limited contract, printed and finished in type and autograph, 1 p, legal folio, November 10, 1937, with indistinguishable signature in ink to third page, agreeing to pay O’Hara (as Maureen FitzSimons) “(Eleven Pounds) per day with / a minimum guarantee of one day.” WITH: a Mayflower Pictures Corporation, Ltd. contract, 1 p, 4to, November 25, 1939, typed carbon on Mayflower Pictures stationery, signed (“Erich Pommer”), Managing Director, exercising Mayflower’s fourth option on O’Hara’s exclusive services. Two exceedingly early contracts for young Maureen O’Hara, likely not signed by her because she was not yet of legal age.

$200 - 300

5A GROUP OF VINTAGE PHOTOGRAPHS OF MAUREEN O’HARA TAKEN BY PHOTOGRAPHER ERNEST BACHRACH31 silver gelatin prints, 8 x 10 and 11 x 14 in, of O’Hara, all taken by Ernest Bachrach, with his RKO stamp. All of the photos date from the late 1930s to the early 1940s, during the period O’Hara was a fledgling actress under the tutelage of actor Charles Laughton. As RKO’s head of photography, Bachrach was responsible for some of the most iconic images of RKO luminaries such as Fred Astaire, Ginger Rogers and Katharine Hepburn; with O’Hara, Bachrach endeavored to introduce her to and increase her popularity with film audiences by shooting thousands of photos of her for the film magazines, some of the best of which are gathered in this archive.

$1,000 - 1,500

6A GROUP OF VINTAGE PHOTOGRAPHS PERTAINING TO THE HUNCHBACK OF NOTRE DAME, JAMAICA INN, HOW GREEN WAS MY VALLEY, AND DANCE, GIRL, DANCEComprising 8 x 10 in (4) and 11 x 14 in (10) scene stills and portraits from The Hunchback of Notre Dame (1939) ; 8 x 10 in scene stills from Jamaica Inn (1939) (12); 8 x 10 in scene stills and portraits from How Green Was My Valley (1941) (20, incl 5 dupes); and 8 x 10 in vintage publicity portraits, candids, and scene stills from Dance, Girl, Dance (1940) (35). 8x10 to 11 x 14

$600 - 800

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THE ESTATE OF MAUREEN O’HARA | 7

7¤A MAUREEN O’HARA SCREEN-WORN VEST FROM THEY MET IN ARGENTINARKO Radio Pictures, 1941. Green suede vest ending at the waist, with 8 silver buttons down the front, worn in They Met in Argentina. Designed by Edward Stevenson. Though O’Hara had an exceptionally beautiful singing voice, she sang nary a note in this musical by Rodgers and Hart; indeed, one of her greatest regrets was not performing in musical films. O’Hara retained this garment for her personal wardrobe, as evidenced by an accompanying vintage candid, a publicity photo of O’Hara cleaning her house while wearing the vest.

$150 - 250

8MAUREEN O’HARA’S ANNOTATED SCREENPLAY OF HOW GREEN WAS MY VALLEYTwentieth Century-Fox, 1941. Mimeographed manuscript, Second Revised Final, screenplay by Philip Dunne, 169 pp, April 18, 1941, bound in brads in red Twentieth Century-Fox wrappers, with blue revision pages dated May 19, 1941, signed (“Maureen O’Hara”) boldly to front wrapper in pencil and annotated throughout; includes a call sheet dated June 13, 1941, and a small Twentieth Century-Fox visitors’ sign-in sheet annotated by O’Hara. How Green Was My Valley was John Ford’s poignant story of the lasting changes the life of a Welsh mining family undergoes. O’Hara costarred as Angharad Morgan, the family’s sole daughter. O’Hara wrote poems in ink on the script’s inner back wrapper: “I am happy now / here is a mist every morning / and later a little breeze / that ruffles the pidgeons [sic] breast / and blows my hair in my eyes + mouth / then lifts it gently out again”; “Time flys [sic] (swiftly), the sun is gone / and the mists are here again / the long drive home is full / of dreams and whispered thoughts”; and more. Right on the cusp of stardom, O’Hara also wrote: “Oh I am so happy / preparing for happiness.” The film was O’Hara’s first of five major collaborations with Ford and an early major critical and financial hit for her. It received ten Academy Award® nominations, winning five, including Best Picture and Best Director.

$2,000 - 3,000

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9¤A GROUP OF MAUREEN O’HARA POLITICAL CORRESPONDENCEComprising letters, invitations, and other paperwork, 1941-1988, including a file on the 1941 celebration of Franklin D. Roosevelt’s birthday featuring an invitation and two tickets to a Presidential Gold Plate Breakfast, January, 30, 1941; a pack of Franklin D. Roosevelt’s personal matches housed in an envelope noting that one match from the pack had been struck by Roosevelt; a printed invitation to the White House from Eleanor Roosevelt to O’Hara on a White House calling card; and various other related papers. WITH: an extensive file on Ronald Reagan’s 1985 election, which O’Hara attended, containing a guidebook; schedule; inaugural parking cards; an invitation to a presidential luncheon with a place card from the President’s table; White House napkins (one with red lipstick pressing); an 8 x 10 in candid photograph of O’Hara with Reagan at a dinner; 2 typed letters signed (“Ronald Reagan”) secretarially on White House stationery, congratulating O’Hara on various awards, 1982 and 1988; a third secretarial letter from Reagan, signed (“Ron”), circa 1985; Christmas cards from the Reagans and Bill and Hillary Clinton; a National Aviation Hall of Fame induction certificate; a Xerographic calligraphic scroll from the Reagan Clan of Cork, Ireland, to Ronald Reagan, September 16, 1984; approximately 20 black and white photographs of O’Hara with Mayor Ed Koch and others; and other miscellaneous political paperwork.

$800 - 1,200

10¤A LETTER FROM DUDLEY NICHOLS TO MAUREEN O’HARA CONCERNING THIS LAND IS MINETyped letter signed (“Dudley Nichols”), 1 p, 4to, RKO Radio Pictures, Inc., stationery, Los Angeles, CA, December 4th, no year (circa 1942-1943), folded in sixths, framed, note in ink to bottom of letter: “Written to Maureen O’Hara re: Courtroom scene / in ‘This Land is Mine’ – with Charles Laughton- / Produced by Dudley Nichols,” some notes to verso in pencil. Academy Award® winning screenwriter Dudley Nichols wrote and (without credit) produced Jean Renoir’s wartime drama This Land is Mine (1943). Set in Nazi-occupied France, the film starred O’Hara and Charles Laughton; it was their last film together. In this enthusiastic letter, Nichols writes to O’Hara: “Dear girl, I have looked for long at your face / while you lived the courtroom scenes, and I love / you very much for giving me such great pride / in humanity. In these times we need to be reassured / that there will always be in the world beautiful / faces that mirror fine hearts.” Frame: 10 x 13 in

$100 - 200

11¤A GROUP OF MAUREEN O’HARA FAMILY CORRESPONDENCEComprising 41 letters, most autograph but a few typed, approximately 87 pp, most with transmittal envelopes, some on airmail envelopes, 1943-1977, with several small Christmas and birthday cards. Most of the letters in this lot are from O’Hara’s uncle Benny in Ireland and date from the 1940s, and are addressed to O’Hara as “Mrs. Will Price” as well as to her husband, “Lieutenant Will Price.” Mainly, her uncle warmly reports back to her about their family in Ireland; in one, he congratulates Price on the birth of their daughter Bronwyn. There are also four letters from O’Hara’s mother and three from her father, as well as several from her sisters, including Peggy FitzSimons, who became a nun, Sister Margaret Mary. Several letters are to O’Hara’s brother, Charles FitzSimons. A 1957 letter is from Maude Currie, wife of actor Finlay Currie, O’Hara’s co-star in Kangaroo (1952).

$500 - 700

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12A MAUREEN O’HARA SILK DRESS FROM SENTIMENTAL JOURNEYTwentieth Century-Fox, 1946. Full-length gray/blue silk dress with thin dark blue trim on the bodice and at the cuffs, a very full skirt, and a long drawstring of the same trim which cascades down to the floor. This film was the second of O’Hara’s pairings with four-time co-star, John Payne, who claimed this film as his personal favorite. O’Hara wears this gown in a scene where she encourages camaraderie between Payne and the little girl, played by Connie Marshall. Accompanied by a photo of O’Hara wearing the gown.

$500 - 700

13¤A GROUP OF THREE MAUREEN O’HARA EVENING BAGSComprising a gold beaded Saks Fifth Avenue evening bag with a beaded top and a matching coin purse, a white and gold beaded bag made by Josef, and a rhinestone-covered clutch. Accompanied by a vintage photo of O’Hara carrying one of the purses. Largest: 9 1/2 x 6 x 3 1/2 in

$200 - 300

14¤A GROUP OF 9 MAUREEN O’HARA ASSORTED JEWELRY PIECESA group of brooches consisting of a purple stone and thistle brooch; a metal coin brooch; a multi-stone sterling brooch with a Scottish motif from the Maureen O’Hara jewelry line; a brass “M” brooch with a cursive “Maureen” in metal; a multi-stone brooch with a Scottish motif; an eagle door knocker brooch engraved “Maureen”; 2 gilt metal hat pins; and a simulated pearl and metal bracelet with an “M” charm. Accompanied by a vintage photo of O’Hara wearing a Scottish motif pin similar to those in this lot.

$400 - 600

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15¤A MAUREEN O’HARA BLACK STRAPLESS EVENING GOWNBlack strapless evening gown with ruched bodice and light boning, with a corset back and lace-up bodice and full skirt.

$500 - 700

16¤A MAUREEN O’HARA DOUBLE-BREASTED OVERCOAT, 1940SBlue, black and cream houndstooth wool double-breasted knee-length overcoat with inlaid pockets and padded shoulders safety-pinned into the copper-colored lining. Accompanied by an 11x14 vintage photo of O’Hara wearing the coat.

$400 - 600

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17¤A MAUREEN O’HARA PLAID WOOL JACKET, 1940SBlue, black and cream-colored plaid wool jacket with vertical black stripes, a fitted bodice, and black braided trim, bearing an interior label inscribed, “Saks Fifth Avenue.” Accompanied by a color photo of O’Hara wearing the blazer.

$150 - 250

18¤A MAUREEN O’HARA WIDE-BRIMMED HATBlack velvet wide-brimmed hat with three black ostrich feathers cascading over the top, with an inner rim of gray grosgrain ribbon. This hat was such a showstopper that it made headlines in the movie magazines of the day. Accompanied by a vintage photo of O’Hara wearing the hat while at a Hollywood nightspot with first husband, Will Price.

$300 - 500

19¤A GROUP OF 6 MAUREEN O’HARA HATSComprising a cream and black houndstooth wool deerstalker bearing an interior lining label inscribed, “Herbert Johnson, 38 New Bond Street, London., W.”; a black velvet bucket hat adorned with black grosgrain bows and trim bearing an inner rim label inscribed, “Mr. John / Young Elegants”; a tan velvet pleated pillbox hat bearing an inner rim label inscribed, “Bergdorf Goodman”; a black faux fur fedora with a black pleated brim with an inner rim label inscribed, “Robinsons of California”; a brown wool wide-brimmed picture hat with a layered brim and bow-tied band bearing an inner rim label inscribed, “Elizabeth Hill / California”; and a black fur felt medium-brimmed fedora with a black tie band trailing down the back bearing an inner rim label inscribed, “Saks Fifth Avenue.” Accompanied by a vintage photo of O’Hara wearing the last hat listed here.

$300 - 500

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20¤A GROUP OF FOUR MAUREEN O’HARA EVENING BAGSComprising a black velvet box handbag by Josef; a black satin handbag with a large bow; a black velvet clutch with a large peacock embroidered in gold; and a large black sequined clutch, which O’Hara was seen using at various events over a period of 4 decades. Accompanied by a photograph of O’Hara carrying the black clutch. Largest: 15 x 9 x 1 in

$200 - 300

21¤FIVE PAIRS OF MAUREEN O’HARA SHOESLikely 1940s. Comprising a pair of black velvet De Liso Debs size 7-1/2B pumps with black and rhinestone bows; a pair of black and red leather Saks Fifth Avenue Fenton size 7-1/2 pumps with red tassels and numbers written in black ink on the insole; a pair of brown alligator size 6-1/2 open-toe slingback platforms with numbers written in black ink on the insole; a pair of green Vin Baker size 7-1/2M patent oxfords with black laces; and a pair of brown and black leather J.W. Robinson Co. size 7-1/2 pumps with black bows and numbers written in black ink on the insole. Accompanied by a contact sheet with a photo of O’Hara wearing the Saks Fifth Avenue Fenton pumps.

$200 - 300

22A GROUP OF 26 VINTAGE PHOTOGRAPHS OF MAUREEN O’HARA TAKEN BY VARIOUS WELL-KNOWN HOLLYWOOD PHOTOGRAPHERSIncluding 8 x 10 in photos by Alex Kahle (3); an 8 x 10 in nightclub candid by Nat Dallinger (1); a 7 x 9 in candid portrait by Eugene Robert Richee (1); 8 x 10 in portraits attributed to Ernest Bachrach but lacking stamps (5); an 8 x 10 in portrait and an 8 x 10 in candid by John Miehle (1 each); an 8 x 10 in portrait by Robert Coburn; an 8 x 10 in portrait attributed to Robert Coburn (1) and an 11 x 14 in by Robert Coburn with a blind stamp (1); an 8 x 10 casual portrait by Fred Hendrickson (1); an 11 x 14 portrait by Lee Garmes (1); 11 x 14 portraits by A.L. “Whitey” Schafer (2); and an 11 x 14 portrait by Tom Kelley (1).

$800 - 1200

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23¤A MAUREEN O’HARA WOOL BLAZER WORN IN THE HOMESTRETCHTwentieth Century-Fox, 1947. Green and white checked wool blazer with interior label inscribed, “Athena / Beverly Hills.” O’Hara wore this jacket in a scene with Cornel Wilde as they watch a racehorse running the track. O’Hara also retained this blazer for her personal wardrobe. Accompanied by 2 vintage photos: a publicity photo and one of O’Hara wearing the jacket while working at the boutique she owned.

$100 - 200

24¤A MAUREEN O’HARA CHECKED WOOL BLAZER, 1940SBrown and cream checked wool blazer with a single button at the front and 3 buttons at each cuff, with a cream-colored lining bearing a gold label inscribed, “Athena / Beverly Hills.” O’Hara wore this casual wear in several publicity photographs. Accompanied by a vintage black and white portrait photo and a color photo of O’Hara wearing the blazer.

$150 - 250

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25A DIAMOND, SHELL AND 18K BI-COLOR GOLD BROOCHOval cameo which depicts the image of Raphael’s Madonna of the Goldfinch, surrounded by 77 round single cut diamonds in the white gold frame with yellow gold scalloped wire-work. Accompanied by two 4.4 x 5.5 photos of O’Hara wearing the brooch. Total estimated diamond weight: 2.80 carats; measures 3 x 2 1/4 in

$2,000 - 3,000

26¤A GROUP OF 13 PAIRS OF MAUREEN O’HARA GLOVESIncluding a pair of light gray kid leather six-button-length gloves with asymmetrical cuffs; a pair of gold lame Alexander’s three-quarter-length gloves; a pair of salmon-colored suede Bullocks Wilshire six-button-length gloves; a pair of pale pink deerskin Gant Madeleine six-button-length gloves; a pair of cream-colored kid leather Bullocks Wilshire four-button-length gloves with scattered raised dots; a pair of gray kid leather Vera Vogue four-button-length gloves with gray beads in a swirled design at the cuffs; a pair of silver lame Alexander’s four-button-length gloves; a pair of purple suede TC six-button-length gloves; a pair of black and pink suede four-button-length size 7 gloves; a pair of navy and cream polka dot six-button-length gloves with gauntlet-type cuffs, a movie magazine clipping of which appears in lot 50; a pair of cream-colored kid leather two-button-length gloves with embroidered floral design; a pair of cream-colored stretch two-button-length gloves with embroidered floral design; and a pair of black satin size 7 opera-length gloves with small buttoned openings at the wrists. Accompanied by a vintage photo of O’Hara wearing the opera-length gloves.

$200 - 300

27¤A GROUP OF THREE MAUREEN O’HARA HANDBAGSComprising a gold and white beaded drawstring evening bag made by Saks Fifth Avenue; a white beaded evening bag with a rhinestone and gold beaded top; and a pearlized acrylic plastic and faux pearl basket style bag with two handles. Accompanied by 2 photographs of Maureen O’Hara with two of the bags. Largest: 9 1/2 x 6 1/2 x 4 in

$200 - 300

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28¤A MAUREEN O’HARA LINEN DAY DRESSPink striped transparent linen day dress, early 1950s, with full skirt opened from the waist down, side pockets, and back zipper closure. Accompanied by a color publicity photo and a black and white vintage photo of O’Hara wearing the dress.

$150 - 250

29¤A MAUREEN O’HARA BLOUSE WORN ON PUBLICITY JUNKET FOR THE FORBIDDEN STREETWhite linen blouse with delicate navy floral embroidery and navy blue knotted fabric buttons, worn underneath a pinafore on a European publicity junket to promote her film, The Forbidden Street (1949). Accompanied by 3 photos of O’Hara wearing the blouse.

$100 - 200

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30A LARGE ARCHIVE OF MAUREEN O’HARA CONTRACTS AND CORRESPONDENCEComprising approximately 500 pp of paperwork, c.1946-1992, mainly television contracts and business correspondence; also call sheets, script pages, greeting cards, newspaper clippings, fan mail, telegrams, most typed, many handwritten. Among the notable materials in this large lot are a letter from producer Charles Schnee, signed (“Charlie”) on Metro-Goldwyn-Mayer stationery, July 27, 1956, in which he writes, “I think you are the most perfect to play Spig’s wife,” referring to her character in John Ford’s The Wings of Eagles (1957); 12 pp of newspaper clippings re: Miracle on 34th Street sent to O’Hara by Twentieth Century-Fox on their stationery; a letter from producer Fred Coe thanking her for appearing in his television adaptation of Spellbound (1962); two pages of proof sheets of portrait photographs of O’Hara’s daughter Bronwyn, 1960s; Twentieth Century-Fox call sheet from Immortal Sergeant (1943), October 8, 1942; a letter from director Delmer Daves, dated January 15, 1964; O’Hara’s polite rejection letters to various offers to write her memoirs; and much more. Various sizes

$1,000 - 1,500

31¤A GROUP OF THREE FRAMED PIECES RELATED TO O’HARA’S FILMS, 1947-1966Comprising a large framed parchment signed in ink to O’Hara by 53 members of the crew of The Foxes of Harrow (1947) with a comic poem; a large painted parchment from the Consul General of Mexico thanking O’Hara for bettering Mexican-American relations through her film The Magnificent Matador (1955); and a comical wooden plaque commemorating The Rare Breed (1966). The Foxes of Harrow certificate is signed boldly by director John M. Stahl, art directors Lyle Wheeler and Maurice Ransford (who signed it “’Rube’ Ransford”), and dozens of other crew members. Various sizes

$400 - 600

32¤A FRAMED MAUREEN O’HARA GOLDEN GLOBES-RELATED CERTIFICATEHand-painted and lettered certificate from The Hollywood Foreign Correspondents Association, reading, “To / Maureen O’Hara / with heartiest thanks for her / gracious appearance as / Honorary Hostess / at the Golden Globe Awards / Dinner, March 10, 1948 / The Hollywood Foreign Correspondents Association,” with painting of an HFCA Award and the HFCA seal, signed at bottom by the HFCA’s Secretary and President. O’Hara served as mistress of ceremonies for the Hollywood Foreign Correspondents Association at their fifth annual awards ceremony shortly before those awards became the Golden Globes. 8 x 10 ½ in

$400 - 600

33¤A MAUREEN O’HARA PHOTOPLAY MAGAZINE MEDALSmall 14k gold medal with chain loop at top, with relief of Photoplay magazine logo and “The Photoplay / Magazine Medal” to face, engraved to verso “Maureen O’Hara / 1948.” O’Hara won the medal for her performance in Sitting Pretty (1948). Diameter: approx. 5/8 in; weight: 4.9 grams

$500 - 700

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34¤A LARGE GROUP OF MAUREEN O’HARA BUSINESS FILESComprising approximately 75 folders containing hundreds of pages of business-related paperwork, mainly 1945-1950, including extensive banking correspondence, stock reports, car and life insurance policies, agency correspondence, hundreds of cashed checks (“Maureen FitzSimons Price”), with two folders of extensive paperwork related to jewelry robberies O’Hara suffered in 1957 and 1970. This massive collection of files dates largely from the period of O’Hara’s disastrous first marriage to Will Price, who severely mismanaged her finances and squandered much of her money. Price is heavily represented in this paperwork, largely in financial matters, but also in letters to agents and producers attempting to pitch various projects. Various sizes

$500 - 700

35¤MAUREEN O’HARA’S 16 MM COPY OF RIO GRANDERKO, 1950. 16mm safety film on 3 metal reels, black and white, housed in a mailing case with cloth straps and handles, both cases labeled “Rio Grande” in marker and stamped “1600 Ft 2 Reel / US Navy Motion Picture Service” to leader. This film has not been run and is sold as-is. Case: 2 x 14 ¾ x 15 in

$300 - 500

36¤A MAUREEN O’HARA PAPAL BLESSINGHand-painted Apostolic Blessing certificate from Pope Pius XII to “Maureen O’Hara / y familia,” February 15, 1952, text in Spanish, with a reproduction portrait of Pius XII to upper center, with Papal seal blind stamped in lower border, finished with indistinguishable message and signature in ink, matted and framed. Overall: 21 ½ x 25 ½; within mat: 11 x 15 in

$150 - 25018 | BONHAMS

37¤A GROUP OF MAUREEN O’HARA CAMERASComprising an Eastman Kodak CineKodak; a Zeiss Ikoflex with leather case; a small moviola with take-up reel; a Polaroid J66 in a carrying case; a Roknar 55 mm lens; a Zeiss Contaflex in a leather case; a Filmo Auto Master with three lenses; a Technicolor Super 8 Instant Film Loop Player; a Nikon camera with 50 mm lens, flash, and strap; 2 GE projector lamp bulbs, and 6 light meters and flashes. Sold as-is. Various sizes

$200 - 400

38AN ARCHIVE OF APPROXIMATELY 1650 MAUREEN O’HARA VINTAGE AND MODERN PHOTOGRAPHS AND NEGATIVES, INCLUDING PERSONAL SNAPSHOTS, SCENES FROM FILMS, PORTRAITS, AND PUBLICITYA group of mostly vintage and some modern 8 x 10 and 11 x 14 silver gelatin photographs and black-and-white negatives, together with a group of smaller personal snapshots, comprised of approximately 301 portraits and publicity photos, including 2 early signed photos, one signed (“Maureen FitzSimons”) and the other signed (“Maureen O’Hara”) and inscribed in the upper right corner, “Hunchback ‘39”; approximately 516 candids of O’Hara at various Hollywood nightclubs, public events, charity events, publicity junkets, on the set, with other celebrities such as Grace Kelly, Rock Hudson, Noël Coward, and John Wayne, with family members, on her U.S. Navy tour, and of her meeting with Fidel Castro; approximately 362 scene stills from her films, among them Our Man in Havana, They Met in Argentina, Bagdad, McLintock!, and Lady Godiva of Coventry; approximately 183 personal snapshots and smaller photos of O’Hara alone and with family members, friends, and at various events; approximately 72 size 11 x 14 black-and-white vintage photos comprised mostly of glamour portraits; approximately 27 photos of O’Hara’s friends and family, without O’Hara; 6 size 10 x 13.5 candids and portraits; 7 size 10 x 12 candids; 63 contact sheets from Only the Lonely; 23 contact sheets from The Battle of the Villa Fiorita; 43 size 8 x 10 black-and-white negatives of film scenes and portraits; 2 size 8 x 10 color transparencies of O’Hara in a glamour pose and in a publicity portrait for Bagdad; 2 size 4 x 5 color transparencies with Tony Randall; 12 size 4 x 5 black-and-white negatives; 5 size 5 x 7 negatives; approximately 31 size 2 x 2 color and black-and-white negatives of O’Hara on the set and at various events; a 40 x 10.5 photo of “President Roosevelt’s Birthday Banquet to the Visiting Stars of Stage, Screen, Radio and Sports World, Willard Hotel, January

30, 1941, Washington DC”; a 21 x 10.5 photo of “The Masquers Honor Mike Connolly, Masquers Club, Hollywood, March 17, 1961”; 2 copies of a 21 x 10.5 photo of “The 70th Annual Celebration of St. Patrick’s Day, Ancient Order of Hibernians, Honoring Eamon De Valera, Elk’s Club, Los Angeles, March 17, 1948”; a 21 x 12.5 photo of the “What Price Glory company, Grauman’s Chinese Theater, March 1, 1949,” with O’Hara, John Wayne, John Ford, Ward Bond, Harry Carey Jr., Pat O’Brien, Gregory Peck, and a host of others. The archive represents a microcosm of Maureen O’Hara’s personal life and professional career, with many of the photos bearing O’Hara’s notations or signature on the reverse. 3x3 to 11 x 14 in size

$1,200 - 1,800

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39¤A MAUREEN O’HARA FIVE-PIECE VANITY SETComprising a brush; a hand mirror; a square frame with a circular opening (meant for a clock, which is missing from this piece); a box for personal items; and a powder puff canister, all of gilt metal with green paste stones. The inside of the box provides a glimpse into what meant the most to O’Hara: faith and family. The contents of the box include many rosary beads, 3 photographs of family, and various religious artifacts such as holy water and religious medals. Accompanied by a fan magazine article entitled, “What it Takes to Look Like a Star” and a contact sheet with photos of O’Hara clad in a negligee and applying lipstick with the aid of the vanity mirror.

$400 - 600

40¤A GROUP OF 3 MAUREEN O’HARA MAKEUP ACCESSORIESA round gilt metal and mother of pearl compact with raised simulated diamonds and simulated pearls with the powder puff still inside; a square gilt metal and mother of pearl compact with powder remnants still inside; and a small brown faux crocodile leather purse with a comb and lipstick case.

$300 - 500

41A GROUP OF MAUREEN O’HARA SIGNED PHOTOGRAPHS37 photographs, all autographed by O’Hara, mainly black and white, most inscribed to fans and friends. These signed photographs, all but one featuring O’Hara, are mainly portrait images of O’Hara in films like The Quiet Man (1952), The Wings of Eagles (1957), and Against All Flags (1952), often with leading men such as John Wayne. These are likely photographs that O’Hara was unable to mail, such as two depicting O’Hara with Fidel Castro that are both signed with pleasant inscriptions to Castro; one oversize photograph is inscribed to Ronald Reagan. 8 x 10 in to 11 x 14 in

$1,000 - 2,000

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42A GROUP OF MAUREEN O’HARA ONE SHEET POSTERSIncluding Ten Gentlemen from West Point (1942) (2); The Fallen Sparrow (linen-backed), Immortal Sergeant, and This Land is Mine (all 1943); Buffalo Bill (1944); Do You Love Me and Sentimental Journey (both 1946); Sinbad the Sailor (1947) (2); Father Was a Fullback and The Forbidden Street (both 1949); Bagdad (1950); Flame of Araby (1951) (2, one is Argentinian); Kangaroo and At Sword’s Point (both 1952); The Redhead From Wyoming (1953); Fire Over Africa (1954) (linen-backed); The Long Gray Line (1955); Lisbon (2); Everything But the Truth (both 1956) (2); The Wings of Eagles (1957); Spencer’s Mountain (2); and McClintock! (both 1963); Battle of the Villa Fiorita (1965) (2); The Rare Breed (1966); How Do I Love Thee? (1970); The Red Pony (1973); and Only the Lonely (1991) (3). 27 x 41 in

$600 - 800

43¤A GROUP OF 8 MAUREEN O’HARA THREE SHEET POSTERSAll folded, including The Spanish Main (1945); Father Was a Fullback, Forbidden Street (Stone litho) (both 1949); Sons of the Musketeers (1952, aka: At Sword’s Point); The Magnificent Matador (1955); The Deadly Companions (1961); Battle of the Villa Fiorita (1965); and How Do I Love Thee? (1970). 41 x 81 in

$300 - 500

44¤A GROUP OF 16 MAUREEN O’HARA HALF SHEET POSTERSAll prominently featuring O’Hara, including Ten Gentlemen from West Point (1942); To the Shores of Tripoli (1942); The Foxes of Harrow (1947); The Homestretch (1947); The Forbidden Street (1949); Bagdad (1950); Rio Grande (1950); The Redhead From Wyoming (1953); Lisbon (1956) (4 examples, 2 of each style); and McClintock! (1963). 22 x 28 in

$400 - 600

45¤A GROUP OF NINE WINDOW CARDS FOR MAUREEN O’HARA MOVIESIncluding They Met in Argentina (1941); Immortal Sergeant (1943); This Land is Mine (1943); Do You Love Me (1946); War Arrow, The Redhead from Wyoming (both 1953); Lady Godiva, The Long Gray Line (both 1955); and Everything But the Truth (1956). 14 x 22 in

$300 - 500

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46A GROUP OF MAUREEN O’HARA INSERT POSTERS AND WINDOW CARDSComprising 36 insert posters and window cards including several duplicates, all prominently featuring O’Hara, including Ten Gentlemen from West Point (1942); Buffalo Bill (1944); The Spanish Main (1945); Sentimental Journey (1946); The Homestretch (1947); The Foxes of Harrow (1947); The Forbidden Street (1949) (2); Impulse (1949) (alternate title for The Forbidden Street); Bagdad (1950); Flame of Araby (1951) (3); The Redhead From Wyoming (1953) (2); Fire Over Africa (1954, aka: Malaga); The Long Gray Line (1955); The Wings of Eagles (1957); The Parent Trap (1961) (window card); Mr. Hobbs Takes a Vacation (1962) (1 insert, 1 window card); McClintock! (1963); Spencer’s Mountain (1963) (2 window cards); The Battle of the Villa Fiorita (1965); and The Rare Breed (1966). The insert for Impulse is highly unusual; paper material under that title is rare. Also includes one 8 x 10 black and white photograph from Bagdad featuring O’Hara. 14 x 36 in

$800 - 1,200

47A LARGE GROUP OF MAUREEN O’HARA LOBBY CARDSApproximately 450 lobby cards, including 19 smaller American and British lobby cards, most prominently featuring O’Hara, some duplicates, many housed in clear sleeves within matching black binders. Approximately 18 cards are signed (“Maureen O’Hara”) in marker, mainly to cards’ versos and mostly without inscriptions. A nearly complete collection of American lobby cards from O’Hara’s films, ranging from Little Miss Molly (1938) to Only the Lonely (1991). Highlights include cards from Jamaica Inn (2) including a 1949 reissue title card and The Hunchback of Notre Dame (both 1939); How Green Was My Valley (1941) (5, including a 1946 reissue title card); and Miracle on 34th Street (1947) (2). Cards signed by O’Hara and others include a Bagdad (R-1956) card, also signed by Vincent Price with no inscription; a Comanche Territory (1950) card signed by Macdonald Carey with inscription; They Met in Argentina (1941) card; and 2 from Do You Love Me (1946).

$700 - 900

48¤A GROUP OF 10 MAUREEN O’HARA FOREIGN POSTERSComprising Sentimental Journey (1946) (Australian waybill); Sentimental Journey (French grande); The Quiet Man (1952) (Dutch mini); The Quiet Man (Italian Locandina, art by Simeoni); The Long Gray Line (1955) (Japanese one sheet, 1966 reissue); Lady Godiva (1955) (Australian waybill); Beyond the Curtain (1960) (British quad); Mr. Hobbs Takes a Vacation (1962) (British quad); McClintock! (1963) (British quad); and Big Jake (1971) (Spanish one sheet). All are folded except the Japanese poster, which is rolled. O’Hara was not in Beyond the Curtain; it was an adaptation of her husband Charles Blair’s novel of the same name. Various sizes

$300 - 500

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49A GROUP OF MAUREEN O’HARA PRESSBOOKS, MOST AUTOGRAPHED BY HERComprising 24 pressbooks, all signed by Maureen O’Hara unless otherwise noted: The Hunchback of Notre Dame (UK 1939); How Green Was My Valley (1946R, unsigned); The Fallen Sparrow (unsigned); Immortal Sergeant (both 1943); The Spanish Main (1945); The Black Swan (1942); A Woman’s Secret (1949); Bagdad (1949); Rio Grande (1950); Against All Flags (1952); At Sword’s Point (1952); The Quiet Man (1952) (one original pressbook; one 1957R); The Redhead from Wyoming (1953) (2, one unsigned); The Long Gray Line (1955); Everything But the Truth (1955) (unsigned); Lisbon (1956); The Deadly Companions (1961); The Parent Trap (1961) (signature to separate advertising supplement); McClintock! (1963); The Battle of the Villa Fiorita (1965) (unsigned); How Do I Love Thee? (1970) (unsigned); and Big Jake (1971) (unsigned).

$400 - 600

50A LARGE LOT OF PRESS CLIPPINGS AND SCRAPBOOKSComprising 5 very large clipping service albums; 1 box of mainly press-related correspondence; 2 boxes containing hundreds of press clippings from various countries; fan mail and hate mail (stamped “Confidential”); comic books; and movie programs; with a scrapbook entitled “Success Book, Burke School of Education, 20 Kildare Street, Dublin”; and several folded newspapers. The five massive albums are filled with hundreds of clippings related to Maureen O’Hara, starting in 1939, with many articles about The Hunchback of Notre Dame, and continuing until 1953. Various sizes

$500 - 700

51A GROUP OF MOUNTED MAUREEN O’HARA PHOTOGRAPHS AND AN ORIGINAL MOVIE POSTER PAINTINGComprising 11 gelatin silver prints, 1940s-1960s, various sizes, all mounted to boards, several with photographers’ stamps, dates, and other markings, with original 3-sheet artwork to Everything But The Truth (Universal, 1956), gouache on board with additional cutout material, signed (“Roy Besser”) in pencil to lower right. Depicting O’Hara either in portrait poses or scenes from films like The Hunchback of Notre Dame (1939), The Quiet Man (1952), and The Long Gray Line (1955). Five are on matching boards and depict scenes from her films with their years of release painted on. Photographs: 7 ½ x 9 ½ in to 13 x 15 ½ in; backings: 15 ½ x 17 ½ in to 21 x 25 in; artwork: 19 x 30 in

$1,000 - 1,200

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THE QUIET MAN

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52A NEVER BEFORE SEEN CACHE OF LOVE LETTERS FROM JOHN FORD TO MAUREEN O’HARA, WRITTEN DURING THE PERIOD FORD WAS DEVELOPING THE SCRIPT TO THE QUIET MAN12 Autograph Letters Signed (“Sean,” “Sean Aloysius,” “Sean Aloysius O Feeney / John Ford” and “Pappy”), 33 pp recto and verso, various sizes (legal folio to 8vo), various places including Ireland, Korea, Maryland and Miami, November 19, 1950 to February 12, 1951, to Maureen O’Hara, on various stationeries, many with original autograph transmittal envelopes; 3 letters possibly incomplete. In her autobiography, O’Hara describes how her professional relationship with John Ford, who had directed her in How Green Was My Valley and Rio Grande, took a strange turn once his long-time dream project, The Quiet Man, went into production. As O’Hara headed to Australia to film Kangaroo, Ford flew to Ireland with Ward Bond in tow to scout locations, seek inspiration, and flesh out the story. From on board the plane to Ireland, he began to compose the first of a series of what can only be called love letters that surprised and puzzled her. O’Hara’s explanation is that, as Ford immersed himself in the story of Sean Thornton and Mary Kate Danaher, and as she was the only actress ever considered to play the part of Mary Kate, the director fell in love with his film’s love interest, and by extension with his leading lady.

From the December 19th missive: “[Darling Maisin, I have a great need of you—a great physical urge—not the body but the heart—if I could only see you, just to hear you laugh] / I’m sorry about the mail business, the distance makes things tough, but I’m not expecting too much. You’ve a job to do—that comes first. You know my dear, that whatever you feel like doing or do is OK with me. I’m so grateful for the few weeks of happiness you’ve given me (few weeks! It was a lifetime!) You’re still my darling loyal girl—come hell or high water & I’ll always love & revere you. Please think kindly of me, not much—a little bit. BUSINESS: I think honestly we’re getting a great story. The girl’s part is simply terrific! It’s the best part I’ve ever read for a gal, dramatic, comedic, wistful, pathetic—yet full of hell & fire, passionate & sweet. For goodness sake & your family’s sake, bend every effort to get it. This is my farewell to movies & I want it good. It will be only great if you play it for I [sic] written it—guided it—slanted it for you. As my last picture—if the shootin’ war holds off. I can only force myself to enthusiasm if you & Duke are present—” There may be more to the story than O’Hara lets on in her memoir, however, as the letters grow increasingly more urgent and affectionate, counting the days until the two are in the same town again. Ford’s biographers have noted that the director maneuvered to have O’Hara’s room next to his at Ashford Castle during the filming of The Quiet Man, and that everyone on set saw how besotted he was with her, though few believed that she returned his attentions. Because of the personal nature of these letters, the FitzSimons family has asked Bonhams to publish in the catalogue only the text that has already appeared in O’Hara’s autobiography, and to require all previewers of this lot to sign a non-disclosure agreement to not reveal the contents before or after the sale unless the signer is the winning bidder. The letters will be on site at both the Los Angeles and New York previews, but they will be viewed by appointment only. For more information, please contact the department directly.


53JOHN FORD’S WORKING SCRIPT OF THE QUIET MAN, HEAVILY ANNOTATED THROUGHOUT BY MAUREEN O’HARARepublic, 1952. Mimeographed manuscript, shooting script by Frank Nugent from a story by Maurice Walsh, 146 pp, legal folio, n.p., April 30, 1951, with blue revision pages dated May 2 bound in, heavily annotated throughout by O’Hara, housed in custom black cloth clamp binder by Boorum & Pease Co. with “John Ford” stamped in green to upper cover, signed (“O’Hara”) to interior flyleaf, with two sheets of Ashford Castle stationery laid in, one annotated by O’Hara (notes regarding telephone calls). For nearly 20 years, John Ford held onto the source material for The Quiet Man, a short story by Irish writer Maurice Walsh first published in the Saturday Evening Post in 1933. In Walsh’s story are much of the major elements of the film: a prizefighter arrives from America to his hometown and falls in love with a local girl. Their courtship is hindered by her loutish brother, who eventually relents and allows her to marry, only to withhold her dowry. While the husband cares little for the money, the wife cannot feel herself truly married without it, and so the Quiet Man forces a showdown with his brother-in-law, demanding the dowry, burning it, and beating the larger man in a brutal fistfight.

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Once Ford received the greenlight from Republic, he went to work on the screenplay, first hiring Richard Llewellyn, the author of How Green Was My Valley, and later bringing on Frank Nugent to produce the shooting script (it is Nugent who is credited in these pages). To Walsh’s story, Ford added the backstory explaining why Sean refuses to fight for much of the film, and he also brought in colorful village characters such as the priest who narrates the story and the village matchmaker, Michaeleen Oge Flynn. He fleshed out the archaic courtship rituals that Sean and Mary Kate must go through, and he changed the final battle royal from a knockout by Sean to a draw between the two men.

This script is John Ford’s copy, in his custom binder with his name on the cover, but clearly given to O’Hara for her to use for at least a portion of filming (a negative of O’Hara studying the present script was discovered among the images in lot 54). O’Hara has underscored Mary Kate Danaher’s lines throughout in pencil and pen, and she has edited dialogue as well. In several places she has written out the lyrics to early 20th-century Irish melodies, including “Moonlight in Mayo” and “Noreen Bawn,” both of which may have been alternatives to the song she does sing in the film (“Isle of Innisfree”). In several places where the screenplay indicates her dialogue (written out in English) is to be spoken in Gaelic, she has written out the translations in the margins and on the opposite pages, and she often edits her lines into a more authentically Irish patter: “You talk big” becomes “It’s big talk you have,” for example. On the last page of the script, O’Hara seems to have phonetically written out a few Gaelic obscenities (“shee-a-pock—whore / goshthereen—big mistake (In Galway for bastard),” likely for Ford’s edification and use. The John Ford Papers are housed at Indiana University’s Lilly Library, who first purchased the collection of 7000 archival items from the estate in 1982; the collection has since been augmented with gifts from the family over the decades. The Lilly Library, however, does not have a copy of The Quiet Man script among all its others.

$80,000 - 120,000

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54A GROUP OF NEVER-BEFORE-SEEN COLOR NEGATIVES AND BLACK-AND-WHITE PHOTOGRAPHS RELATING TO THE QUIET MAN52 color negatives, 3 x 3 in, taken in Ireland during location shooting of The Quiet Man depicting various aspects of filming the 1952 classic, including O’Hara with director John Ford relaxing between takes; O’Hara posing at the train station; O’Hara lying on the grass studying her script with crew in the background; John Wayne giving a crew member a haircut; visitors posing with John Ford; locations from the film including White O’Morn cottage; Wayne and O’Hara chatting on set with the Irish countryside as their backdrop; village children; O’Hara posing in front of various landmarks used in the film; Wayne chatting with Ford; Ford alone; O’Hara and Wayne between takes of the courting scene; O’Hara chatting with Wayne between takes of the famous scene where Sean Thornton catches sight of the beautiful Mary Kate Danaher; and many more, including the lovely image that graces this catalog’s cover. Truly a rare, unique and personal look behind the scenes of this beloved film. Together with 17 size 4.5 x 5.5 black-and-white vintage photos of John Ford, John Wayne, O’Hara, and a young male background actor; 4 size 8 x 10 black-and-white scenes from the film; 3 dupe black-and-white negatives; 16 size 3 x 3 black-and-white negatives depicting O’Hara resting on the Irish banks with John Ford, O’Hara posing by the sea, O’Hara and Wayne waiting between takes of the courting scene, and O’Hara studying her script, among others.

$1,500 - 2,000

55A MAUREEN O’HARA TWEED JACKET FROM THE QUIET MANRepublic, 1952. Sage green herringbone tweed blazer with three buttons, rounded lapels, and flap pockets, bearing a red-lettered Western Costume Co. Hollywood label with the typed inscription, “No. 59-1475-1 / Name Maureen O’Hara / Waist 28 / Bust 38,” additionally inscribed in black ink, “CH 7.” As Mary Kate Danaher, O’Hara wears this jacket in two pivotal scenes: first, when Sean Thornton (John Wayne) comes to her house to ask her brother for permission to marry her; and the end of the film, when Thornton drags her through a field and they confront her brother over his refusal to pay her dowry, ending in the classic fistfight. The latter is the best known scene in the film and depicted on many of its posters. The style of the jacket exemplifies Mary Kate’s down-to-earth nature and the humble, traditional style of her clothing, which belies her natural beauty and fiery nature.

$5,000 - 7,000

56¤A GROUP OF 5 MAUREEN O’HARA IRISH TAM-O-SHANTERSA group of 5 hand-knit wool Irish tams comprised of 2 forest green tams, a black tam, a blue tam, and a cream-colored tam. No one wore a tam better than Maureen O’Hara, who took great pride in her Irish heritage. The quintessential vision of O’Hara wearing her Irish tam in The Quiet Man is one beloved by audiences all over the world. Accompanied by a vintage photo of O’Hara trying on the cream tam.

$200 - 300

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A PAINT DECORATED JAUNTING CART FROM THE SET OF THE QUIET MANpossibly Irish late 19th/early 20th century Used to carry the cast members to and from different locations in the village of Cong, in County Mayo, during shooting of The Quiet Man. Almost identical in construction and appearance to the jaunting cart used in the scene where Sean Thornton gifts Mary Kate Danaher with a jaunting cart before driving her to town, though the more modern wheels on this cart tell us it was not screen used. Height: 60 in; width: 64 in; depth: 110 in

$80,000 - 120,000

A similar cart from The Quiet Man

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57A¤A MAUREEN O’HARA FINANCIAL LEDGER KEPT ON THE SET OF THE QUIET MANComprising a bound financial ledger, circa 1950s, 40 pp, 8vo, annotated in pencil and pen, with additional sheets laid in. O’Hara’s notes mention an advance from Republic pictures; gifts purchased for John Ford, John Wayne, Ford’s brother-in-law Wingate Smith, Ford’s script supervisor Meta Stern, and others; and a dinner honoring John Ford at Kylemore Abbey (a girl’s school located near Ashford Castle, where she stayed while filming The Quiet Man). WITH: a tan billfold stamped in gilt “Maureen O’Hara Price” to inner card pocket, with “Price” painted over. Approximately 4 x 7 in each

$150 - 200

58¤A MAUREEN O’HARA TELEGRAM FROM JOHN FORDGaelic telegram, partially printed and finished in autograph, 1 p, from John Ford in Santa Monica, California, to Maureen O’Hara, Lugdine, Glengarriff, Ireland, dated December 22, no year. The circumstances surrounding this telegram are uncertain, but Ford writes to O’Hara with his typical surly sense of humor: “Sorry only the gentry’s (sic) were invited / No peasants / The Old Goat.” 5 x 7 ¼ in

$300 - 500

59A MAUREEN O’HARA COLLECTION OF BOOKS ON IRELANDComprising approximately 80 books related to Ireland, 1914-2010, mainly cloth covers lacking dust jackets, including several presentation copies, many bearing O’Hara’s ownership signature, some annotated. Maureen O’Hara was born and raised in Ireland and lived there for much of her life. She remained deeply connected with Ireland and became a kind of media goodwill ambassador for her native land. This lot from her library includes Irish fiction and poetry by authors like Sean O’Casey, James Joyce, and Brendan Behan. Nonfiction subjects include Irish history, patriots, antiquities, cooking, ghosts, an English/Irish dictionary, and a facsimile of The Book of Kells. Notably, there are four books by Maurice Walsh, including Green Rushes featuring the story that inspired The Quiet Man (1952); all four Walsh books have O’Hara’s ownership signature. There is also a book titled, The Quiet Man, by Patrick Purcell, which is about Ireland but unrelated to the film. Under the ownership signature in her copy of Famine by Liam O’Flaherty, O’Hara wrote, “Should be required reading for all peoples.”

$300 - 500

60¤AN OIL PAINTING OF VICTOR MCLAGLEN TITLED “THE PRIZE FIGHTER”Oil on board, initialed “MGH” to lower right corner, The Prize Fighter / Maureen Gavin-Harris / 29th May 1990,” framed. A close-up portrait of ex-boxer and actor Victor McLaglen, Maureen O’Hara’s co-star from The Quiet Man, among other films, in John Ford’s The Informer (1935). Overall: 21 ½ x 25 in; within frame: 18 x 21 ½ in

$200 - 300

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61A MAUREEN O’HARA JOHN WAYNE GIFTED MUG FROM THE QUIET MANPale yellow ceramic mug with a gold handle, painted with the Gaelic phrase “Céad / Míle / Fáilte” and “Duke.” The bottom of the mug is stamped with the name of the maker, McFarren, in Corona del Mar, California. This mug was gifted by Wayne to O’Hara at the end of the production of The Quiet Man. Height: 4 1/4 in

$500 - 700

62¤MAUREEN O’HARA’S PERSONAL 16MM COPY OF THE QUIET MANRKO, 1952. 16 mm safety film on 4 metal reels, color, housed in 2 mailing cases with cloth straps and handles, both cases labeled, “The Quiet Man,” in marker and stamped “1600 Ft 2 Reel.” This film has not been run and is sold as-is. Case: 2 x 14 ¾ x 15 in

$300 - 500

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63¤THE QUIET MANRepublic, 1957R. One sheet poster. 27 x 41 in

$400 - 600

64¤THE QUIET MANRepublic, 1957R. Three sheet poster. Artwork boldly depicts O’Hara in arguably her most famous role with co-star John Wayne. 41 x 81 in

$300 - 500

65¤A GROUP OF THREE MAUREEN O’HARA THE QUIET MAN LOBBY CARDSRepublic, 1952. 3 lobby cards, including 1 reissue card (1957), including the iconic original release card #8 depicting O’Hara and John Wayne preparing to kiss. 11 x 14 in each

$200 - 30065

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66¤A GROUP OF MAUREEN O’HARA RECORDS, SEVERAL SIGNEDComprising 10 33 1/3 rpm records including 3 test pressings with recording studio labels, with The Quiet Man movie edition sheet music of “Mush, Mush, Mush, Tural-I-Addy,” with ownership signature (“O’Hara”) to upper right in pencil, annotated, and a small replica The Quiet Man title card, signed and inscribed “To Tom / Best Always / Maureen O’Hara.” Includes four copies of Maureen O’Hara Sings Her Favorite Irish Songs, one signed and inscribed “To Jack / We can never thank you / for all your help. / All the Best Always / Maureen O’Hara Blair 1969,” likely signed to Columbia Records press chief Jack Kurland; one other annotated to verso in O’Hara’s hand; one copy of Love Letters From Maureen O’Hara, signed and inscribed “To Moya- / Remember the night / we read the ‘Love Letters’ / from ‘Mikey’ / Love Maureen”; the cast album of Christine, O’Hara’s only Broadway role, signed and inscribed “To Moya / Love - / Remember / ‘Jrethorpe’ / Love / Maureen O’Hara”; and Themes and Songs From The Quiet Man. Also three test pressings: one labeled “Maureen O’Hara / Splendor of Ireland / Time 21:45 / Speed 33 1/3 / Stereo / 1/8/70”; the others have Gold Star Recording Studio labels and are numbered. 10 x 13 in

$300 - 500

67¤A LARGE GROUP OF MAUREEN O’HARA RECORD TEST PRESSINGSComprising approximately 65 78 rpm and 33 1/3 rpm records with some duplicates, 1940s-1960s, most in paper sleeves, many with annotated sleeves, with approximately 15 45 rpm records housed in a manila envelope with annotated label and ownership signatures (“Maureen O’Hara”). Maureen O’Hara seldom sang in her films, but she became a successful recording artist and frequently sang on television. Some of the music is related to her films, such as copies of Alfred Newman’s title theme to How Green Was My Valley (1941) and multiple 45s of “A Dream of Love,” the theme from The Deadly Companions (1961). Other non-musical albums include a 1961 audio interview with O’Hara and recordings of her young daughter, Bronwyn. Various sizes

$1,000 - 1,500

68¤A LARGE GROUP OF MAUREEN O’HARA MUSICAL ARRANGEMENTSComprising several hundred pages of sheet music, 1920s-1970s, annotated, some handwritten, some with ownership signatures and addresses in pencil or ink, some with ownership stamps. Notably, this lot includes working arrangements of many of the songs O’Hara recorded on her albums, Love Letters From Maureen O’Hara and Maureen O’Hara Sings Her Favorite Irish Songs. Each of these sets of sheet music are housed in separate matching folders stamped with the songs’ titles, with separate sets of sheet music for various instruments. There are also arrangements from her only Broadway role in Christine and many Irish songs, including “Isle of Innisfree,” which became the theme to The Quiet Man (1952), and “Look to the Rainbow,” which O’Hara performed on television. Also includes sheet music related to O’Hara’s films, various standards, arias, and an annotated score of Handel’s “Messiah.” 9 x 12 1/2 in to 14 x 16 in

$700 - 900

69¤A LARGE GROUP OF SIGNED MAUREEN O’HARA SHEET MUSICApproximately 125 pieces of sheet music, 1920s-1970s, some annotated, many with ownership signatures in pencil or pen. This lot includes music from O’Hara’s films, including “Moonlight Propaganda” from Do You Love Me (1946) and Alfred Newman’s theme from How Green Was My Valley (1941); Irish songs in Gaelic and English; and annotated softbound copies of the scores to Gounod’s Faust, Bizet’s Carmen, Irish County Songs, Songs With Lyrics by Sammy Cahn, and a book of Handel arias. Several sets of arrangements were done with a Las Vegas arranger and musician, Bobby Lucas, and seem to refer to a planned appearance in Las Vegas; O’Hara apparently never performed there. Various sizes

$200 - 300

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THE 1950s

70¤AN ILLUMINATED MANUSCRIPT AND A SACRED HEART SOCIETY CERTIFICATEReynolds, Art. My Golden Ship. Illuminated manuscript on vellum, 12 pp, 4to, inscribed “To Maureen O’Hara on Christmas Day, 1953,” with hand-painted illustrations by Reynolds. WITH: Maureen O’Hara’s signed (“Maureen FitzSimons”) enrollment certificate to the Sacred Heart Society, enrolled by Charles FitzSimons, n.d., issued by the Salesians of St. John Bosco, New Rochelle, New York, housed in a three-part gold leatherette foldout frame with white silk lining, a crucifix, and “An Everlasting Gift” stamped in white to outer folds. Sacred Heart Society certificate (Unfolded): 8 ½ x 24 in

$100 - 200

71¤A MAUREEN O’HARA STRAPLESS SATIN GOWN WORN IN MALAGAFrankovich Productions, 1954. Full-length green strapless satin column gown with light boning in the bodice and raised squiggle applique, worn in Malaga (also known as Fire Over Africa). O’Hara is arguably at her most glamorous in this film; despite this, she and co-star Macdonald Carey did not ignite sparks on screen and the film did not do well at the box-office. O’Hara also wore this gown in many publicity photographs. Accompanied by a color photo and a vintage black and white photo of O’Hara wearing the gown.

$300 - 500

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72¤A MAUREEN O’HARA SCREEN-WORN DRESS FROM MALAGA, TOGETHER WITH TWO COCKTAIL ENSEMBLESFrankovich Productions, 1954. A buttercup-colored silk dress with pleated skirt, matching belt, and matching jacket, worn in Malaga (also known as Fire Over Africa), as well as in many publicity photographs. The inside waist bears a “Pedro Rodriguez / Madrid / Barcelona / S. Sebastian” label. Accompanied by a vintage publicity photo of O’Hara wearing the dress. Together with a navy and white polka dot sheath and navy swing coat with matching polka dot lining, and a navy 1940s silk sheath with a red, navy, and yellow grosgrain-ribbon belt at the waist.

$400 - 600

73¤A MAUREEN O’HARA COCKTAIL DRESS WORN TO THE 1955 GOLDEN GLOBE AWARDSCream-colored sleeveless lace cocktail dress, heavily weighted and lavishly adorned with rhinestones, bearing an interior label inscribed, “Don Loper of California.” O’Hara wore this glamorous dress to several public events, most notably the 1955 Golden Globe Awards where she presented Marlon Brando with the award for “Best Actor.” Accompanied by 2 vintage photographs of O’Hara wearing the gown, one of which shows O’Hara and Brando toasting his win.

$400 - 600

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74¤A MAUREEN O’HARA LINEN DRESSMidnight blue linen dress with a deep V-neck (originally worn with a detachable collar), 8 black buttons on either side of the neckline on front and back of bodice, matching belt, 2 buttons on each cuff, and a full ankle-length skirt. O’Hara wore this day dress on numerous occasions, most notably when she helped raise money for the American Cancer Society in the mid-1950s. Together with a silk cream-colored crinoline bearing an interior label inscribed, “Don Loper Originals.” Accompanied by 2 vintage photos of O’Hara wearing the dress.

$200 - 300

75¤A MAUREEN O’HARA TWEED CAPE AND BLACK SUEDE PURSE, TOGETHER WITH A WOOL SKIRT SUIT.Ankle-length green tweed cape with armholes and a single button at the neck, bearing an interior label inscribed, “O’Maille’s of Galway,” and a companion purse of black suede with a large silver and gold metal clasp. Accompanied by 2 vintage photos of O’Hara wearing the cape. WITH: Black and white houndstooth wool skirt suit comprised of a double-breasted fitted jacket with green buttons, black velvet cuffs, and a unique pocket that runs from one side of the jacket to the other, with quarter-size weights in the hem, and a matching knee-length pencil skirt. Accompanied by a snapshot of O’Hara wearing the suit.

$300 - 500

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40 | BONHAMS

76MAUREEN O’HARA’S ANNOTATED SCREENPLAY OF THE LONG GRAY LINE AND HER BOUND PRESENTATION COPY OF THE SCREENPLAYColumbia, 1955. Mimeographed manuscript, final draft screenplay by Edward Hope, 181 pp, dated December 14, 1953 to front wrapper, December 11, 1953 to front page, bound in brads in green Columbia wrappers, “Columbia Story No. 2450” printed to front cover, with yellow revision pages dated February 12, 1954, signed (“Maureen O’Hara”) in pencil to front wrapper, many annotations in pencil in O’Hara’s hand, pencil drawing of a bathroom to title page, many pages with a pencil line across them, with a magazine clipping of a dress pressed in. WITH: mimeographed manuscript, final draft screenplay by Edward Hope, dated December 11, 1953 on title page, bound in green leather with “The Long Gray Line” and “Maureen O’Hara” stamped in gilt to front cover and “The Long Gray Line” stamped in gilt to spine, with yellow revision pages dated February 12, 1954 and blue revision pages dated March 27, 1954, with 4 size 8 x 10 inch black and white stills of O’Hara and Tyrone Power laid in, with a typed letter signed (“Jerry”) from producer Jerry Wald, which originally accompanied the presentation copy, dated October 19, 1954; a letter from agent George Chasin, dated October 21, 1954, congratulating O’Hara on the film; and a note from Brandt Bros. Theatres. Set at West Point Military Academy, John Ford’s The Long Gray Line followed Irish immigrant Martin “Marty” Maher (Tyrone Power) from his arrival as a waiter through his half-century career at the school, first as a cadet, then as instructor. O’Hara portrayed Maher’s wife, Mary O’Donnell. In her autobiography, O’Hara described how Ford singled her out for intense verbal abuse and humiliation during filming. O’Hara’s deep anger at Ford seems to come across in a note she wrote in pencil on this script’s final page: “God forgive me for humbling my body to you - / Better that I was an ass to an apple man - / or the mother of a gentleman bastard.” On page 74 of her script, O’Hara scratched out a Gaelic prayer her character recites and wrote alternate lines in Gaelic in pencil in the page’s lower half. The script runs 181 pages—approximately three hours of screen-time—but the finished film runs only 138 minutes, indicating that a sizable amount of material was dropped.

$2,500 - 3,000

77AN ARCHIVE OF VINTAGE PHOTOGRAPHS AND NEGATIVES PERTAINING TO THE LONG GRAY LINEAn archive of silver gelatin photographs of the John Ford classic comprised of 57 size 8 x 10 scene stills and behind-the-scenes stills; 11 size 8 x 10 photos from The Long Gray Line parade; 4 size 8 x 10 photos from the film opening in Washington DC; 13 size 5.5 x 4.5 makeup and hairdo test shots; 4 size 6.5 x 5 candids; 19 size 8 x 10 makeup and wardrobe test shots; 1 size 4 x 5 dupe negative; and 12 size 8 x 10 black and white negatives. The Long Gray Line was a film based on the life of West Point legend, Martin Maher, played by Tyrone Power in his second pairing with O’Hara. Directed by John Ford, the film was a major success which has since become a classic.

$500 - 700

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78¤A FRAMED OVAL PORTRAIT OF MAUREEN O’HARAOil on wood by an unknown artist, n.d., framed, framer’s notes to frame’s verso. Overall: 13 ½ x 15 ½ in; painting: approximately 3 ¾ x 5 in

$1,000 - 1,500

79A JOHN FORD HAND-DRAWN VALENTINE TO MAUREEN O’HARA AND SIGNED BOOKCrayon, pencil, and green ink drawing on John Ford’s personal stationery, signed (“Sean”), 1p, 4to, folded, with original transmittal envelope postmarked Los Angeles, CA, February 16, 1955, a name and telephone number written to front of envelope, and a note in O’Hara’s hand to its verso: “From / John Ford.” WITH: Lever, Charles. St. Patrick’s Eve. London: Chapman and Hall, 1845. 8vo. 204 pp. Half green calf. Inscribed: “For Maureen / John Ford / Sean Aloysius Kilmartin O’Feaney” in green ink. O’Hara and Ford’s penultimate film together, The Long Gray Line, had been only recently released on January 22, 1955, when Ford sent O’Hara this affectionate Valentine. The film’s shoot had been troubled, with O’Hara singled out for Ford’s heavy verbal abuse. Ford frequently played up his Irish heritage, as in this hand-drawn Valentine. In it, Ford caricatures himself in Irish garb with his trademark sunglasses and pipe, with O’Hara standing beside him, her back turned, surrounded by shamrocks. From Ford’s pipe, smoke forms a red Valentine’s Day heart, with the descending typed words “St. Valentine’s Day.”

$1,000 - 1,500

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80¤A MAUREEN O’HARA PALE PINK SILK DRESS AND MATCHING STOLE, TOGETHER WITH A PINK CHIFFON HALTER DRESSPale pink silk dress with tonal print overlay and matching stole. Inside label inscribed, “Danny Linden Original.” O’Hara wore this gown to the 1956 Golden Globe Awards when presenting the award for Most Promising Female Newcomer. Together with a pale pink chiffon halter dress with full skirt and satin ribbon trim at bust and waist, bearing an inside label inscribed, “Don Loper Originals.”

$300 - 500

81¤A GROUP OF MAUREEN O’HARA COCKTAIL DRESSES WORN ON A U.S. NAVY TOUR AND VARIOUS PUBLIC EVENTSA group of three cocktail ensembles comprised of a heavy red velvet dress with black embroidery which O’Hara wore on a U.S. Navy Tour in 1956, accompanied by a vintage photo of O’Hara wearing the dress on the tour; a black wool sheath with large satin collar; and a white and black floral dress with a zig-zag design of black chiffon and velvet trim at the waistband.

$400 - 600

82¤A GROUP OF THREE FRAMED PRINTED CARICATURES OF MAUREEN O’HARAComprising a Pictorial Review cover depicting caricatures of O’Hara and Tyrone Power in John Ford’s The Long Gray Line (1955) with West Point cadets, February, 1955, matted and framed, with typed information about the film, magazine, and artwork taped to frame’s verso; Pictorial Review cover picturing caricatures of O’Hara, John Wayne, and Barry Fitzgerald in John Ford’s The Quiet Man (1952), August, 1952, laminated and framed, with typed information about the film, magazine, and artwork taped to frame’s verso; lithograph of caricature of O’Hara with John Candy and Ally Sheedy in Only the Lonely (1991), circa 1991, by Irish cartoonist Jim Cogan, possibly for the Irish Independent, framed. Various sizes

$400 - 600

83¤TWO MAUREEN O’HARA FINANCIAL LEDGERSEach bound with two metal rods, accomplished in manuscript, 4to, one dated February 1955 to March 1961, approximately 500 pp, labeled “Maureen FitzSimons / Transfer Ledger From – 1955” to the upper cover; and the other June 1963 to July 1964, approximately 250 pp, embossed “Maureen” to upper cover, both with ownership signatures throughout.

$100 - 200

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84MAUREEN O’HARA’S ANNOTATED SCREENPLAY OF THE WINGS OF EAGLESMetro-Goldwyn-Mayer, 1957. Mimeographed manuscript, screenplay by Frank Fenton, 123 pp, February 20, 1956, bound in brads in yellow Metro-Goldwyn-Mayer wrappers within a separate black outer wrapper, Metro-Goldwyn-Mayer Script Department label to front wrapper with “Maureen O’Hara” written in pen to label and dated February 2, 1956, annotated throughout in pen and pencil in O’Hara’s hand including a few sketches. O’Hara’s costume notes in pencil to verso of p 66 is loose and is heavily annotated to verso of last page, with a page of notes in pencil and several small sheets of blank paper. This John Ford biopic of his friend, Naval aviation pioneer/screenwriter Frank “Spig” Wead (John Wayne) costarred O’Hara as Wead’s wife, Minnie. O’Hara notes in her autobiography, “The picture gave Duke and me some wonderful dramatic scenes, although much of my best work was left on the cutting-room floor.” O’Hara’s scenes involving Minnie Wead’s alcoholism were removed out of respect for Wead’s children but are present in this script.

$1,200 - 1,800

85A MAUREEN O’HARA JOHN WAYNE GIFTED MUG FROM THE WINGS OF EAGLESMetro-Goldwyn-Mayer, 1957. Ivory ceramic mug with a gold handle, painted with the image of an aircraft carrier and the words, “I’m Gonna Move That Toe,” and on the reverse, “Maureen / from / Duke.” The bottom of the mug is stamped with the name and address of the maker, Bob Williams. The phrase on the front of the mug refers to a scene in which Wayne’s character is rehabilitating in the hospital after a neck injury and Dan Dailey’s character encourages him to try to walk again. Height: 4 1/4 in

$500 - 700

86¤A MAUREEN O’HARA PEARL-ENCRUSTED EVENING DRESSStrapless dress with a full black velvet skirt, a floral lace bodice adorned with rhinestones and faux pearls, and an asymmetrical black velvet sash at the waist, bearing a white “Don Loper of California” label. O’Hara wore this gown for publicity portraits, ad campaigns, and public events. Accompanied by a vintage candid photograph of O’Hara wearing the dress at a formal event.

$400 - 600

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87A GROUP OF 4 SIGNED MAUREEN O’HARA AGENCY CONTRACTSComprising 4 contracts: three-year contract with Famous Artists Associates, Inc., 4to, 12 pp (recto and verso), April 12, 1957, signed by O’Hara (“Maureen O’Hara”) and agent Philip Gersh; three-year contract with MCA Artists, Ltd, 4to, 6 pp (recto and verso), April 29, 1961, signed by O’Hara (“Maureen O’Hara”) and by an agent to last page in ballpoint pen, bound with staple; three-year AFTRA contract with IMA Talent, Ltd., 4to, 4 pp (recto and verso) with two riders stapled in, signed in ballpoint pen (“Maureen O’Hara”) and by agent Jack Bolton; one-year contract with Actors Equity Management, 4to, 4 pp (recto and verso), September 21, 1963, signed and dated by O’Hara (“Maureen O’Hara”) in red ballpoint pen and by agent C. David Hocker; and a letter in ballpoint pen, 1 p, n.d., regarding a Broadway show, The Diamond Orchid, that O’Hara was interested in acting in, with a typed note from “Maye,” 1 p, paper-clipped to it.

$1,000 - 1,500

88¤A GROUP OF MAUREEN O’HARA MEXICAN-THEMED CLOTHINGComprising a full-length lace skirt with colorful embroidered flowers; a white cotton blouse with 3/4-length sleeves, a bateau neck frilled with lace, and a vertical line design, bearing an interior label inscribed, “Jacaranda”; a turquoise and silver short-sleeved blouse trimmed in rickrack with an elastic neckline, bearing an interior label inscribed, “Sante Fe Dresses by Elita Wilson,” with matching skirt and shawl; and an oversized turquoise shawl with embroidered flowers, a crochet border, and fringe.

$300 - 500

89¤A MAUREEN O’HARA MATCHING PEASANT SKIRT AND BLOUSEMatching red cotton peasant skirt and blouse, both trimmed with black rickrack and tiny black pom-poms. Interior label is inscribed, “Santa Fe Dresses by Elita Wilson.” O’Hara wore this ensemble in a series of sensual publicity portraits which appeared in many movie magazines in the 1950s. Accompanied by 2 vintage photos and 19 different black and white vintage negatives of O’Hara wearing the outfit.

$150 - 250

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90¤A MAUREEN O’HARA BLOUSE, TOGETHER WITH A BLACK MESH SWEATERLavender-patterned silk blouse with floral design, cap sleeves, and decorative buttons at the shoulders, bearing an interior label inscribed, “Don Loper of California.” O’Hara got a lot of mileage out of this blouse, wearing it in the 1950s and well into the 1960s for publicity photos, public events, and magazine covers. Accompanied by 2 vintage photos of O’Hara wearing the blouse. Together with a black knit and mesh lightweight sweater, circa 1960s, with an inside label inscribed, “Sefri / New York.” Accompanied by a color photo of O’Hara wearing the sweater.

$400 - 600

91RALPH EDWARDS’S BOUND ANNOTATED SCRIPT TO MAUREEN O’HARA’S EPISODE OF THIS IS YOUR LIFE PRESENTED TO O’HARAMimeographed manuscript, episode #239, airdate March 27, 1957, approx. 40 pp, script pages stapled to rectos and versos of blank pages, annotated throughout in pencil in Edwards’ hand, signed (“Ralph”) in pencil to upper right corner of title page, bound in red leather with This is Your Life logo, “Maureen O’Hara,” and “Prell” stamped to cover in silver with silver border. Also includes 13 pp of correspondence and paperwork related to the episode. O’Hara was the subject of an episode of the hit television series. Guests included four of O’Hara’s siblings, her daughter Bronwyn, and producer Erich Pommer. Host Ralph Edwards is shown holding this bound script throughout the episode. The paperwork in this lot is mainly congratulatory letters, including one from Ralph Edwards, along with a note from New York jewelers, Marchal, Inc., describing the significance of each charm on a 14k gold bracelet that Edwards had commissioned as a gift for O’Hara.

$800 - 1,200

92¤A MAUREEN O’HARA YELLOW FLORAL COCKTAIL DRESS WORN ON HER EPISODE OF THIS IS YOUR LIFENBC, 1957. Yellow and green floral patterned organza cocktail dress with a full skirt and a ruched bodice and waist. Accompanied by a photograph of her wearing the dress. O’Hara wore this to the 29th Academy Awards® on March 29, 1957, where she was “ambushed” by Ralph Edwards for a live episode of “This is Your Life.” The episode featured her parents and siblings, her daughter Bronwyn, producer Erich Pommer, Charles Laughton, and John Ford.

$400 - 600

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93¤A MAUREEN O’HARA ORGANZA GOWN, TOGETHER WITH A NAVY COCKTAIL DRESS, BOTH WORN ON AN EPISODE OF THE DINAH SHORE CHEVY SHOW, 1957Gray and pink silk organza gown with multiple layers of crinolines, silk ruched waistband, scattered sequins, and interlocking diamonds design. The interior bears a CBS cleaning tag (despite the fact that the show aired on NBC). Worn on The Dinah Shore Chevy Show (1957), in a dance number with Shore, Howard Keel, and Robert Wagner. Accompanied by 3 vintage photos. Together with a navy silk cocktail dress with white embroidered flowers on the bodice, bearing a label inscribed, “Beaumelle of California,” also worn on the same episode of The Dinah Shore Chevy Show.

$400 - 600

94¤A MAUREEN O’HARA LAVENDER GOWN WITH MATCHING STOLE, CRINOLINE, AND BRALavender silk evening gown with ruched bodice and floral design throughout, with matching stole, separate cream-colored crinoline, and white Lejaby bra. O’Hara wore this gown as mistress of ceremonies of the annual Motion Picture Costumers’ “Adam and Eve” Awards for costume achievement on October 24, 1958. She also wore the gown in many publicity photographs. Accompanied by 2 photographs of O’Hara wearing the gown.

$400 - 600

95¤A GROUP OF MAUREEN O’HARA CASUAL WEARComprising 6 pieces of clothing including green pleated trousers bearing a “Saks Fifth Avenue” label; gray pleated trousers bearing a “Saks Fifth Avenue” label; a black sleeveless lightweight sweater bearing a “She Shells by Fairfield” label; a short-sleeved green wool lightweight sweater bearing an “Amalfi Imports, 100% Wool, Hand Loomed in Italy” label; a black 3/4 length-sleeved sweater bearing a “Marjorie Montgomery / California,” label and a cleaning tag; and a yellow dickey bearing a “J. & D. McGeorge Ltd / Dumfries / All Wool” label.

$300 - 500

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96MONTAGU MARKS (AUSTRALIAN, 1890-1972)Portrait of Maureen O’Hara signed and dated “Montagu Marks/59” (lower left) oil on canvas 40 x 30 in

$5,000 - 7,000

48 | BONHAMS

97¤A MAUREEN O’HARA SILK SHEATH WORN ON WHAT’S MY LINE? IN 1959, TOGETHER WITH A BLACK VELVET COCKTAIL DRESS WORN ON THE ED SULLIVAN SHOW, 1962Emerald green silk sheath with embroidery and sequins in a floral pattern, with matching clutch. Interior cream-colored label with black lettering inscribed, “Pedro Rodriguez / Madrid / Barcelona / S. Sebastian.” O’Hara wore this ensemble when she appeared on the television game show, “What’s My Line?” (1959), as well as to the inaugural celebration of National Press Club president, Ed Edstrom, in 1960. Accompanied by a photo of O’Hara wearing the dress while chatting with Richard Nixon. Together with a sleeveless black velvet cocktail dress with ornate gold and pink metallic embroidered flowers. O’Hara apparently favored this dress, as it was worn on The Ed Sullivan Show (1962), as well as to the 1960 New York Critics Awards, the 1962 Golden Globe Awards, and to various nightclubs and social outings in Hollywood.

$400 - 600

98¤A GROUP OF FIVE MAUREEN O’HARA SATIN HATSComprising an I. Magnin black spiral form hat with a bow at the back; a small black hat from Best & Co.; two identical Nina Ricci/Saks Fifth Avenue hats, one in pale pink and one in black; and a gathered emerald green hat.

$300 - 500

99¤FIVE PAIRS OF MAUREEN O’HARA SHOESFive pairs of shoes, likely 1950s-60s: A pair of silver leather Carina size 7-1/2 pumps with rosettes at the toes; a pair of hot pink silk Jacqueline size 8 pumps with rhinestones at the toes; a pair of blue satin Spring-o-lators open-toed sandals; a pair of lime green embroidered Taj size 7M mules; and a pair of royal blue silk Mack Brandt size 7-1/2 pumps.

$200 - 300

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100MAUREEN O’HARA’S ANNOTATED SCREENPLAY OF OUR MAN IN HAVANAColumbia, 1959. Mimeographed manuscript, screenplay by Graham Greene, 143 pp, January 12, 1959, bound with one large metal clasp in plain red wrappers, in red calf binding, annotated to cover, “Please Return / to / Miss Maureen / O’Hara,” and throughout in O’Hara’s hand, including notes on her costumes on the title page and notes on her makeup on verso of the last page, with a carbon copy of a page of revised dialogue, with related correspondence and press materials. Author Graham Greene’s adaptation of his satirical Cold War-era novel Our Man in Havana co-starred O’Hara as a secretary from British Secret Intelligence who becomes involved with a vacuum cleaner salesman (Alec Guinness) in Cuba masquerading as a spy. It was directed by Sir Carol Reed and co-starred Noel Coward and Jean Seberg.

$1,000 - 1,500

101¤A MAUREEN O’HARA COCKTAIL DRESS WORN WHEN MEETING FIDAL CASTROA charcoal-colored cocktail dress with large cream-colored organdy collar accentuated by a large bow, worn to an event during the filming of Our Man in Havana (1959), in which O’Hara met Cuban leader Fidal Castro. Although they appeared to be engaged in animated conversation, O’Hara later declared that Castro spoke so softly, she couldn’t hear a word he was saying. Accompanied by 2 vintage photos of the Castro/O’Hara meeting.

$300 - 500

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102¤A MAUREEN O’HARA EVENING DRESS WORN TO THE 1960 GOLDEN GLOBE AWARDSShort-sleeved evening dress with gold brocade bodice decorated with tiny bows and flowing black chiffon skirt. O’Hara wore this gown to the 1960 Golden Globe Awards. Accompanied by a photo of O’Hara at the awards show with Warner Bros. studio boss, Jack Warner.

$400 - 600

103¤A GROUP OF MAUREEN O’HARA 16MM REELS OF TELEVISION APPEARANCES AND HER FILMSComprising approximately 17 films and television appearances, 1950s-1970s, on 16mm safety film on 21 reels, housed in mostly metal film cans (some plastic), several housed in cardboard mailing cases, most labeled with titles and dates in pencil or pen, various labels to cans with television network and film laboratory logos. Includes O’Hara’s appearances on This is Your Life, Ed Sullivan (2), The Andy Williams Show, and others, as well as feature films Jamaica Inn, Lisbon, and Spencer’s Mountain. These films have not been run and are sold as-is. Reels: (diameter) 10 in to 15 in; cases: 10 ½ x 10 ½ in to 3 x 15 x 15 in

$300 - 500

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THE 1960s

104A GROUP OF WORKING SCRIPTS RELATED TO MAUREEN O’HARA’S SOLE BROADWAY PLAY, CHRISTINETyped manuscript with annotations, carbon copy, approx. 95 pp with 5 unbound script pages laid in, housed in green clasp folder, with typed label, “Christine / by Pearl S. Buck” to front cover. Typed manuscript with annotations, carbon copy, Act II only, approx. 30 pp, housed in blue clasp folder, with typed label “Christine / by Pearl S. Buck” to front cover. Approximately 500 loose script pages and lyrics, many heavily annotated in pencil and pen, carbon copies, typewritten and handwritten, with two copies of the 11 pp Theatrical Limited Partnership Agreement for the play. With related correspondence.

In early 1960, Maureen O’Hara began rehearsals of what would be her sole role in a Broadway musical, Christine, by Pulitzer and Nobel Prize-winner Pearl S. Buck, with songs by Academy Award® winners Sammy Fain and Paul Francis Webster. Set in India, Christine dealt with a widow who winds up having to choose a new wife for her widower son-in-law and falls in love with him herself. The show previewed in Boston and Philadelphia. Pearl Buck wrote encouragingly to O’Hara on April 9th: “My Dear Maureen I was in your audience last night and / you looked beautiful I shall be watching you every / night next week with hope and faith I know the / responsibility of all our hope and faith rest heavily / on you but we believe in you and love you and I am sure / you will come to opening night with a great performance / You have it in you / Pearl Buck.” Though poorly received in its test engagements, the show initially did well after its April 28th Broadway opening. It ran for one week only, however, and O’Hara never did another Broadway show. The script pages in this lot show the authors’ rigorous working process; Buck worked with a co-author, which led to a feud when she sought sole writing credit.

$1,500 - 2,000


105¤A MAUREEN O’HARA SILK DRESS WORN ON THE GEORGE GOBEL SHOWKelly green silk dress with inlaid floral design, 3/4-length sleeves, matching belt, and a knee-length full skirt, bearing an interior label inscribed, “Suzy Perette / New York.” O’Hara wore this dress on numerous occasions, most notably on The George Gobel Show (1961), where O’Hara sang with Gobel and musician Ray Anthony. O’Hara also wore this dress in publicity portraits, to film premieres, and to other public events; clearly, it was one of her favorites. Accompanied by 2 vintage photos of O’Hara wearing the dress.

$500 - 700

106¤A MAUREEN O’HARA SILK SHANTUNG COCKTAIL DRESSAn unusually constructed turquoise silk shantung cocktail dress with separate belt and shoulder wrap, with draped skirt and two coin-sized weights sewn into the hem of the skirt. O’Hara wore this ensemble to an event at the New York Harwyn Club in the early 1960s. Accompanied by a vintage photo of O’Hara wearing the dress.

$500 - 700

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107MAUREEN O’HARA’S ANNOTATED SCREENPLAY OF THE PARENT TRAPBuena Vista, 1961. Mimeographed manuscript, first draft screenplay by David Swift titled We Belong Together, 173 pp, June 15, 1960, with blue revision pages dated July 8th, July 18th, August 9th, August 15th, August 19th, August 22nd, 1960, and green revision pages dated July 18th and September 29th, 1960, mimeographed beige revision page of Scene 142 folded in, annotated throughout in pencil and pen in O’Hara’s hand, several pages folded in half. This Walt Disney family classic starred Hayley Mills as twin sisters who set out to reunite their divorced parents (O’Hara and Brian Keith). It was the number-one box-office hit in America for seven weeks throughout 1961. The Parent Trap also marked Disney’s first collaboration with the songwriting duo, the Sherman Brothers; O’Hara wrote some of the lyrics of her song by them from the film, “For Now, For Always,” on the script’s title page in blue ink. O’Hara’s screenplay runs 173 pages—nearly three hours of film—but the finished film only runs two hours, nine minutes, indicating a significant amount of deleted material.

$3,000 - 5,000

108¤A FRAMED BILL THOMAS COSTUME SKETCH OF MAUREEN O’HARA IN THE PARENT TRAPBuena Vista, 1961. Gouache and pencil on board, matted and framed, signed (“Bill Thomas”) in pencil to lower right, notes in pencil to upper right: “Maggie / #9 / Dinner / Scene / 1403-1 / Maureen O’Hara / in / ‘Parent Trap,’” with a sample swatch of cloth attached to upper left with “BW Silks” in pencil beside it. Depicts the white dress that O’Hara wore during the pivotal scene in The Parent Trap (1961) where O’Hara’s character, Maggie McKendricks, is reunited with her estranged husband (Brian Keith) over dinner by her twin daughters (Hayley Mills in a dual role). Bill Thomas designed the costumes for many of Walt Disney’s live-action films from the 1960s to the 1980s. Accompanied by a vintage photo of O’Hara wearing the finished costume. Overall: 19 x 23 in; within mat: 12 ¼ x 15 ¼ in

$400 - 600

109A GROUP OF MAUREEN O’HARA CORRESPONDENCE RELATED TO HER BILLING IN THE PARENT TRAPComprising 28 pp of paperwork related to The Parent Trap, mainly correspondence, typed, and typed carbons, including a 2 pp typed letter signed (“Jack”) from agent Jack Bolton, dated June 17, 1960, on MCA stationery, breaking down the terms of O’Hara’s contract, annotated, and 6 call sheets for the film under the title We Belong Together, with an April 19, 1961, Variety clipping featuring a full-page ad for The Parent Trap and 2 other Variety clippings related to the film. For Walt Disney’s The Parent Trap, Maureen O’Hara claimed that she was contractually guaranteed top billing, but during the film’s release, costar Hayley Mills got top billing playing up her gimmick casting as twins. Incensed, O’Hara took the matter to her agents. These letters and contracts document her complaints against the studio. However, it appears that O’Hara may have been in error: agent Jack Bolton’s June 17, 1960, letter to O’Hara about her contract clearly states that Mills’ name “will follow immediately after ‘Walt Disney Presents’ and be above the title. Your name on the screen and in paid advertising will be in first position below the title.” In 2 Thermofax copies of a March 16, 1961, letter, Walt Disney Productions assures O’Hara that the smaller billing was an accident due to haste. O’Hara took her grievance to the Screen Actors Guild and threatened to sue Disney. Realizing that, even if she won, Disney could wreck her career, O’Hara relented. O’Hara writes in her autobiography that, despite The Parent Trap’s immense popularity, she never worked for Disney again. Accompanied by a vintage photo of O’Hara with Walt Disney in happier times.

$600 - 900

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110¤A MAUREEN O’HARA SILK SHANTUNG COCKTAIL DRESS WORN TO MANY PUBLIC EVENTSBlack silk shantung off-the-shoulder cocktail dress with black bow centered at the neckline and full skirt. O’Hara wore this dress in photos publicizing her television appearances, as well as to many public events. Accompanied by a vintage publicity photo of O’Hara wearing the gown.

$400 - 600

111¤A MAUREEN O’HARA PAISLEY DRESS WORN IN A LIFE MAGAZINE PHOTO SPREADRoyal blue silk paisley dress with matching belt, worn in a Life Magazine photo spread dealing with daughter, Bronwyn, and her graduation. O’Hara also wore this dress to many public events and in various publicity photos. Accompanied by a vintage photo of O’Hara strolling the grounds of her home in this ensemble.

$300 - 500

112¤TWO MAUREEN O’HARA COCKTAIL DRESSESMidnight blue silk cocktail dress with shirred bodice and blue floral design throughout. O’Hara wore this dress to many events, including the premiere of Mr. Hobbs Takes a Vacation (1962). Accompanied by 2 vintage photos of O’Hara wearing the dress. WITH: a similarly colored midnight blue silk cocktail dress with a sequined bodice and floral lace design sprinkled with sequins on the skirt, bearing an interior label inscribed, “Mike Anthony.” O’Hara wore this garment to an event for The Variety Club of Israel, as well as for a series of glamorous publicity portraits promoting Spencer’s Mountain, her box office hit of 1963. Accompanied by 2 photos of O’Hara wearing the dress.

$400 - 600

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113TWO MAUREEN O’HARA ANNOTATED SCREENPLAYS OF MR. HOBBS TAKES A VACATIONTwentieth Century-Fox, 1962. Mimeographed manuscript, shooting final screenplay by Nunnally Johnson, 161 pp, November 16, 1961, bound in brads in yellow Twentieth Century-Fox wrappers, heavily annotated in O’Hara’s hand including notes about her costumes, several pages folded over (likely to indicate they had been completed). Mimeographed manuscript, revised final screenplay by Nunnally Johnson, 154 pp, July 31, 1961, in red Twentieth Century-Fox wrappers, with blue revision pages dated September 12th and 21st, 1961. Also includes 8 pp of contract drafts for the film, November 1961 - May 1962, and 10 pp of correspondence, mainly with producer Jerry Wald. Accompanied by a vintage photo of O’Hara on the set of the film, holding the script. The first of O’Hara’s two film roles opposite James Stewart, Mr. Hobbs Takes a Vacation was the comic tale of harried banker Roger Hobbs (Stewart) whose family vacation plans go awry; O’Hara played Hobbs’s wife, Peggy. In the letters in this lot, producer Jerry Wald highly praises O’Hara’s performance and expresses deep sympathy for her mother’s recent illness. Her mother passed away shortly after in June of 1962. O’Hara received a Golden Laurel Award nomination for Top Female Comedy Performance for this film. Accompanied by a vintage photo of O’Hara on the set, holding the script.

$2,000 - 3,000

114¤A MAUREEN O’HARA CASHMERE SWEATER WITH SEQUIN AND BEAD APPLIQUEBlack cashmere sweater with 3/4-length sleeves, a sequin and bead applique throughout, and a back zipper closure, bearing an interior label inscribed, “100% Imported Cashmere.” O’Hara wore this sweater in publicity photos, one of which is included with this lot.

$100 - 200114


115¤NORMAN ANDREWS (AMERICAN, C.2002)Portrait of Maureen O’Hara signed and dated “Norman Andrews 1961” (lower right) pastel and graphite on paper The artist, a product of the Art Students League of New York, was an illustrator at the New York Daily News in the 1950s before moving to Los Angeles where he played bit parts in films. 15 1/2 x 11 1/2 in (sight)

$300 - 500

116¤AMERICAN SCHOOL (20TH CENTURY)Portrait of Maureen O’Hara signed and dated “Jo Madden ‘62” (lower right) watercolor, ink and graphite on paper 23 1/4 x 22 1/2 in

$300 - 500

117¤A COLLECTION OF 14 MAUREEN O’HARA METAL BANGLE BRACELETS AND 1 METAL BRACELETA variety of 14 bangle bracelets and 1 metal bracelet. Accompanied by a vintage photo of O’Hara wearing some of the bracelets.

$300 - 500

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118MAUREEN O’HARA’S ANNOTATED SCREENPLAY OF SPENCER’S MOUNTAINWarner Brothers, 1963. Mimeographed manuscript, Final screenplay by Delmer Daves, 132 pp, June 11, 1962, bound in brads in yellow Warner Brothers wrappers, with 7 pages of correspondence partly related to the film, and a 4-page Staff and Cast contact list with notes in O’Hara’s hand with a business card for the River View Ranch, Riverside, California, paper-clipped to it, many pages folded over, title page, front matter, last three pages, and front and back wrappers heavily annotated in O’Hara’s hand. Delmer Daves wrote and directed this adaptation of Earl Hamner, Jr’s eponymous novel, a coming-of-age story of an ambitious rural teenager and his large family, headed by Clay Spencer (Henry Fonda) and his wife, Olivia (O’Hara). This lot also includes a folded map by Delmer Daves labeled, “Imaginary Map / for directional purposes / Spencer’s Mountain / Locations,” laying out the film’s fictional landscape; O’Hara wrote a recipe on its verso. The correspondence in this lot includes a letter from Warner Brothers’ president Jack Warner on his personal stationery discussing Spencer’s Mountain and the film Kisses for My President (1964). Warner discusses O’Hara’s efforts lobbying for a role in the latter film and her recent meeting with its director, Curtis Bernhardt. (Bernhardt reportedly didn’t cast her out of spite for Warner.)

$1,500 - 2,000

119¤A MAUREEN O’HARA GOWN WORN IN PUBLICITY PHOTOS FOR SPENCER’S MOUNTAIN (1963)Full-length mustard-colored evening gown with chiffon and lace overlay and white chiffon collar, bearing an interior label inscribed, “Lord and Taylor / Fifth Avenue.” It appears that O’Hara wore this gown backwards on purpose, allowing for a plunging neckline in many publicity photos for Spencer’s Mountain (1963). O’Hara appeared in this gown as early as the 1950s and proceeded to wear it in magazine ads and to public events. Accompanied by 2 vintage publicity photos of O’Hara wearing the dress.

$500 - 700

120A MAUREEN O’HARA GINGHAM HOUSE DRESSBlue gingham Spencer’s Mountain-type house dress with matching belt, bearing a cream-colored I. Magnin & Co. label on the inside collar and an AFL-CIO union label on the inside waist. O’Hara wears an almost identical purple gingham dress in Spencer’s Mountain, and this is possibly an unused costume which she then retained for her personal wardrobe. Spencer’s Mountain paired O’Hara for the second time with leading man, Henry Fonda. She described Fonda as “the gifted, tough, and classy kind of leading man that I most enjoyed working with,” and their screen chemistry resulted in one of O’Hara’s greatest box office successes. O’Hara’s daughter, Bronwyn, also appears briefly in the film. Accompanied by a vintage photo of O’Hara wearing a similar dress in Spencer’s Mountain.

$300 - 500

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121MAUREEN O’HARA’S ANNOTATED SCREENPLAY OF MCCLINTOCK!United Artists, 1963. Mimeographed manuscript, screenplay by James Edward Grant, September 17, 1962, 127 pp, housed in plain red wrappers bound in black leather, annotated in pen and pencil in O’Hara’s hand, “Maureen O’Hara / Part of: Katherine” in ink to front wrapper; pencil drawings of corsets and other costume details to front matter; phone numbers and notes written to recto and verso of title page and to front matter; several drawings of corsets and other vintage costumes to versos of last pages; notes to front and back wrappers; with 4 pp Staff and Crew list; many pages folded over (likely to indicate completed scenes); with a folded-over cast and crew contact list bound in; and 9 pp of correspondence from 1962-1963 related mainly to the film, including a carbon copy of producer Michael Wayne’s letter on Batjac Productions stationery to O’Hara’s agent offering her the role. Director Andrew V. McLaglen’s rowdy western hit McClintock! marked Maureen O’Hara’s penultimate film collaboration with John Wayne. In this take on “The Taming of the Shrew,” O’Hara portrayed McClintock’s estranged wife who is reunited with him in typical fiery Wayne-O’Hara style. O’Hara’s drawings in the script include several of her iconic corset from the film. The correspondence in this lot includes a letter from producer Michael Wayne (John’s son) from February, 1963, relating that the McClintock! television trailer looked “far above our fondest hopes” and that he predicted it would be a huge hit based on a cut version of the film’s first three reels. It became the eleventh highest-grossing film of 1963 and stabilized Wayne’s financially-troubled Batjac Productions.

$1,500 - 2,000

122A MAUREEN O’HARA JOHN WAYNE GIFTED MUG FROM MCLINTOCK!United Artists, 1963. Ivory porcelain mug with a gold handle, bearing the title, “McLintock!” and an illustration of a longhorn weathervane wearing a cowboy hat on one side, and on the reverse, the inscription, “’Ho, Macklin’ / Maureen / from / Duke.” The bottom of the mug is inscribed with the name of the maker, Wallace China. Height: 4 1/4 in

$500 - 700

123A GROUP OF PHOTOGRAPHS SIGNED TO MAUREEN O’HARA36 signed photographs, color and black and white, many inscribed to O’Hara or to fans. With a mounted George Hurrell portrait photograph of producer Merian C. Cooper inscribed to O’Hara’s brother, Charles FitzSimons, and signed (“Coop”) in red pen, mounted on board, signed (“Hurrell 64”) to board in pencil. These photographs are mainly signed by O’Hara’s show business co-workers and friends like Tennessee Ernie Ford (signed “Ernie”), Roddy McDowall, John Candy, and Brian Keith. One color candid depicts O’Hara and John Wayne in McClintock! (1963) and is signed by their co-star Hank Worden. A photograph from Only the Lonely depicting O’Hara with Anthony Quinn is inscribed to Quinn by O’Hara and also signed by Quinn. Other signatures are from political figures such as Ed Koch and Barry Goldwater. Oversize photographs from Bagdad (1949) and Spencer’s Mountain (1963) are inscribed to O’Hara by their respective directors. 8 x 10 in to 11 x 14 in

$800 - 1,200

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124¤A MAUREEN O’HARA GREEN EVENING DRESS WORN ON THE ANDY WILLIAMS SHOWStrapless full-length kelly green crepe evening dress with a ruched bodice and a matching scarf. O’Hara wore this dress on the March 14, 1963 episode of The Andy Williams Show, where she sang “I Wish I Were an Irish Colleen” with Williams and Marian Mercer. Accompanied by a vintage photograph of O’Hara wearing the gown and performing on the program.

$400 - 600

125¤A PAIR OF MAUREEN O’HARA AWARD PLAQUESComprising an Exhibitor Laurel Award with plated metal logo plaque and name plaque engraved, “Maureen O’Hara / Top Five Comedy Performance / 1963,” both mounted on a wooden wall plaque with metal hanger, and a plated metal plaque reading, “Album Award/ 1959 / Music Critics / Southern California” mounted over a gold-painted 45 record with separate engraved plaque to bottom reading, “Love Letters / From / Maureen O’Hara / RCA Victor,” all mounted on a wooden wall plaque with metal hanger, with critics’ names and newspapers written to verso in marker. Love Letters From Maureen O’Hara (1959) was O’Hara’s debut album. The Laurel Award was for Mr. Hobbs Takes a Vacation (1962). Accompanied by a vintage photo of O’Hara at home, with the Album Award hanging on the wall behind her. Laurel Award: 6 ¼ x 9 in; Music Critics Award: 8 x10 in

$300 - 500

126¤A MAUREEN O’HARA EVENING GOWN WORN AS HOSTESS OF THE BELL TELEPHONE HOURFull-length sleeveless kelly green gown with metallic gold embroidered flowers throughout and tiny bows at the waist. Bearing a cream-colored label with maroon lettering inscribed, “Original Design by Manny Johnson, Los Angeles.” O’Hara wore this gown when she hosted “The Bell Telephone Hour” in 1964, and for several publicity portraits promoting the episode. Accompanied by a vintage publicity photo of O’Hara wearing the gown.

$400 - 600

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127TWO MAUREEN O’HARA ANNOTATED SCREENPLAYS OF THE BATTLE OF THE VILLA FIORITAWarner Bros., 1965. Mimeographed manuscript, estimating screenplay by Delmer Daves, 145 pp, January 7, 1964, bound in brads within beige Warner Bros. wrappers, signed boldly to front wrapper (“Maureen O’Hara”), signed and inscribed to title page, “To / Maureen / With / Love / Delmer,” with some notations in O’Hara’s hand in pen and pencil including costume notes, “Italy” written to back wrapper in pencil. Mimeographed manuscript, final screenplay by Delmer Daves, 139 pp, March 20, 1964, bound with brads in light brown wrappers, “Maureen O’Hara” written to cover beside a small sketch, annotated throughout in O’Hara’s hand in pen and pencil. Many pages have pencil or pen slashes across them, label to front wrapper with typed title, “20th March 1964” and “Copy No. 62” to front wrapper, with 2 pp of notes in O’Hara’s hand in pen about her costumes paper-clipped together, 1 call sheet, 3 pp Unit List, O’Hara’s notes on her costumes in pen on Grand Hotel, Florence stationery, with related correspondence including a photo postcard of Debbie Reynolds, with a note in pen from Reynolds: “Rossano has / bribed me to come / immediately to / replace you. / Love and daggers / Deb.” O’Hara starred in this international romance about a married woman being wooed by an Italian composer, and her children’s mission to wrest her away from him. In her autobiography, O’Hara noted how troubled she was by the studio’s decision to badly cut the film’s love scenes, which she considered essential. She made notes in pen on the verso of page 36 of her final script clearly expressing her concerns about their cuts.

$1,200 - 1,800

128A MAUREEN O’HARA EMILIO PUCCI EVENING GOWN FROM THE BATTLE OF THE VILLA FIORITAWarner Bros., 1965. Full-length silk evening dress with short sleeves, adorned in sequins and rhinestones in a patchwork pattern; the signature “Emilio Pucci” appears in the print but the dress does not have a label. Accompanied by a photograph of O’Hara wearing the dress. In the film, O’Hara wears this dress while having a romantic dinner at the villa with Lorenzo (Rossano Brazzi). O’Hara retained the gown after production was complete and wore it to the August 29, 1964, premiere of Mary Poppins. Pucci created many of O’Hara’s costumes for The Battle of the Villa Fiorita and this dress was likely custom made for her.

$600 - 800

129¤A MAUREEN O’HARA SCREEN-WORN COAT DESIGNED BY EMILIO PUCCI FOR THE BATTLE OF THE VILLA FIORITAWarner Bros., 1965. Pucci lime green wool jacket with 3 oversized buttons down the front, bearing an interior label inscribed, “Emilio Pucci / Firenze.” O’Hara can be seen wearing this coat when she arrives and leaves the villa. Accompanied by 2 vintage photos of O’Hara wearing the coat on the set of the film.

$300 - 500

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130¤A MAUREEN O’HARA FLORAL PUCCI BLOUSE WORN IN THE BATTLE OF THE VILLA FIORITAWarner Bros., 1965. Multi-colored silk floral Pucci blouse in blues, pinks, and cream, with wing-like sleeves, high scalloped neckline and scalloped hem, bearing an interior label inscribed, “Emilio Pucci / Florence / Italy.” O’Hara wore this unusual design in the scene where her daughter announces she is going on a hunger strike. Accompanied by a photo of O’Hara wearing the blouse.

$100 - 200

131¤TWO MAUREEN O’HARA PUCCI BLOUSES, BOTH FROM THE BATTLE OF THE VILLA FIORITAWarner Bros., 1965. Pink and purple floral Pucci blouse with V-neck collar, matching gold chain-link and fabric belt, and interior label inscribed, “Emilio Pucci / Florence / Italy.” O’Hara wears this blouse in the scene where her children arrive at the villa after she has abandoned them for her lover, Rossano Brazzi. Together with a pastel Pucci silk shirt with V-neck collar, fabric-covered buttons, and scalloped hem. O’Hara wears this blouse in the scene where Rossano Brazzi insists her children fly back to their home in England. Famed designer Emilio Pucci rarely, if at all, designed clothes for films; he made an exception for Maureen O’Hara. Accompanied by two photos of O’Hara wearing the blouses.

$300 - 500

132A GROUP OF THREE MAUREEN O’HARA PUCCI DRESSESA white silk evening skirt, blouse and belt ensemble with a floral print adorned with sequins, bearing a black “Emilio Pucci / Firenze” label. O’Hara wears this outfit in The Battle of Villa Fiorita (Warner Bros., 1965), while hosting a formal dinner. Together with a hot pink, green and purple patterned silk evening dress, signed in the print but lacking a label, and a knee-length pink, black and brown patterned wool dress with a matching belt, bearing a red-lettered “Emilio Pucci / Florence / Italy” label.

$500 - 700

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133¤A GROUP OF 6 MAUREEN O’HARA CASUAL WEAR PIECESComprising a pale pink and orange cotton sleeveless dress with ruffles at the neck and hem, bearing an interior label inscribed, “The Lilly,” and another label inscribed, “Playdeck / Bullocks / Wilshire”; a pair of pink trousers with silver horizontal lines; a pale pink long-sleeved blouse with ruffles and tie at the neck, with a matching fabric belt, bearing an interior label inscribed, “Helene Sidel”; a pair of hot pink trousers bearing an interior label inscribed, “Emilio Pucci / Florence / Italy”; and a sleeveless orange, purple, and green patterned blouse with matching scarf, bearing an interior label inscribed, “Emilio Pucci / Florence / Italy.”

$500 - 700

134MAUREEN O’HARA’S ANNOTATED SCREENPLAY OF THE RARE BREEDUniversal, 1966. Mimeographed manuscript, Revised Final screenplay, 121 pp, January 7, 1965, housed in yellow Universal wrappers within a blue cloth three-ring binder, with blue, yellow, and pink revision pages dated from January 26th to February 26th, 1965, some folded pages, signed boldly (“Maureen O’Hara”) in ballpoint pen to front wrapper, heavily annotated in O’Hara’s hand in pencil and pen, with a clipped newspaper article folded in, and an empty envelope clipped to binder’s inner front cover. Several pages are folded over, many pages have a pencil slash across them, and versos of last several pages are heavily annotated. Andrew V. McLaglen’s western The Rare Breed starred O’Hara as a widow determined to breed her Hereford bull in the Old West, with the help of an ace wrangler (James Stewart). The screenplay was by Ric Hardman, who gets no credit on O’Hara’s script. There are many revision pages in this script; in her autobiography, ‘Tis Herself, O’Hara recalled Stewart always making sure that his scenes with her were focused on him—in at least one instance, going so far as to have a scene rewritten overnight. Interestingly, O’Hara wrote her name and address on the inner back cover of this script’s binder under her real name, “Maureen FitzSimons.”

$800 - 1,200

135¤A MAUREEN O’HARA VELVET COCKTAIL DRESS, TOGETHER WITH A CHIFFON COCKTAIL DRESSBlack velvet short-sleeved cocktail dress with large pink satin bow across the neckline, with interior Kleinert’s dress shields. O’Hara wore this dress to a formal family event, as well as to several public events. Accompanied by a photo of O’Hara wearing the garment. Together with a black chiffon cocktail dress with sheer neck and sleeves, full pleated skirt and belt. O’Hara wore this to a promotional event for the Overmyer television network in 1966; the network declared bankruptcy in 1967.

$300 - 500

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136¤A MAUREEN O’HARA COCKTAIL DRESS WITH MATCHING JACKET, 1960SA pale pink and cream sleeveless knee-length cocktail dress with an inlaid floral design, accompanied by a matching jacket of the same length with fabric-covered buttons down the front and an interior label inscribed, “Saks Fifth Avenue.” O’Hara wore this ensemble to the Variety Club International convention in Mexico City in May of 1967. Accompanied by 3 vintage photos of O’Hara wearing the outfit at this event.

$300 - 500

137¤A MAUREEN O’HARA DROP-WAIST DRESSBlack dress with cream-colored silk collar and cuffs, zippered front, drop waist with black velvet and rhinestones faux belt, and pleated skirt, bearing an interior label inscribed, “Marisa Ruby.” O’Hara wore this modern version of a 1920s flapper dress to the London Variety Club luncheon in 1967, where she hobnobbed with the likes of Lord Mountbatten. Accompanied by a photo of O’Hara wearing the dress.

$400 - 600

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138A MAUREEN O’HARA JOHN WAYNE GIFTED MUG FROM BIG JAKENational General, 1971. Ivory ceramic mug with a gold handle, with the film’s title and an illustration of a boy and a donkey on one side, and on the reverse, “Maureen / from / Duke.” The bottom of the mug bears the name of the maker, The Mug Shop of Corona del Mar. Height: 4 in

$500 - 700

139¤A GROUP OF MAUREEN O’HARA COSTUME DESIGN DRAWINGS BY PAUL ZASTUPNEVICH11 costume design drawings, 1960s-1970s, watercolor, pen, gouache, crayon, and marker; 5 are on Crescent illustration board, 6 are on paper, 5 signed “Paul Zastupnevich” in crayon, with notes about individual outfits on each; cloth swatches stapled to each in upper left corners, housed in a brown manila carrying case with plastic handle, inscribed in marker, “For Miss Maureen O’Hara” with a woman’s winking face added to the “O.” Costume designer Paul Zastupnevich also designed various actresses’ outfits through his Pasadena boutique, The House of Z. He and O’Hara apparently never worked together, so these designs were likely for her personal wardrobe. Zastupnevich’s film and television credits include many Irwin Allen productions including films like The Poseidon Adventure (1972) and television series like Lost in Space (1965-1968). Zastupnevich received three Academy Award® nominations for Best Costume Design and one Primetime Emmy nomination. Largest: 13 x 20 in

$300 - 500

140¤A GROUP OF 3 MAUREEN O’HARA SKIRT SUITSA 2-piece orange, yellow, and green plaid wool suit comprised of a jacket with a front zipper closure, an oversized fringed collar, and 3/4-length sleeves, with a matching skirt bearing an interior label inscribed, “Bill Atkinson / Glen of Michigan / for / I. Magnin.” Both pieces have cleaning tags. Accompanied by a vintage photo of O’Hara wearing the sporty outfit while signing photos for her fans. Together with a 2-piece green and silver brocade suit comprised of a fitted jacket, matching fabric-covered buttons, and a matching mid-calf-length skirt; and a 3-piece suit comprised of a pink boucle jacket with a lightly padded pink lining, 5 gold buttons down the front, a built-in patterned sash going down each side of the front, and 3 gold buttons at each cuff, accompanied by a pink and red patterned short-sleeved silk blouse which matches the sash, and a pink knee-length boucle skirt with a kick pleat and waistband fabric that matches the sash.

$400 - 600

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141A MAUREEN O’HARA SCREEN-WORN DRESS FROM HOW DO I LOVE THEE?ABC Pictures, 1970. Mint green silk dress with lace overlay, layers of lace at the neckline and cuffs, and a matching belt, worn in How Do I Love Thee? O’Hara starred with Jackie Gleason in this box office bomb which at least allowed her to retain this beautiful dress for her personal wardrobe. She also wore it when appearing on an episode of The Beautiful Phyllis Diller Show in 1968. Evidently, the dress was a personal favorite, as O’Hara wore it in formal personal photographs with her new husband, Charles Blair, one of which is included in this lot. Accompanied also by a black-and-white vintage photo of O’Hara wearing it in the film.

$600 - 900

142¤A GROUP OF MAUREEN O’HARA PHOTOGRAPHS SIGNED TO CHARLES BLAIR, WITH RELATED CORRESPONDENCEComprising 3 size 8 x 10 in black and white portrait photographs of O’Hara, 2 signed and inscribed, “Dear Charlie / I love you / Maureen,” and “To my Poor Charlie / ‘The Zombie’ / Love, Maureen,” housed in a black leatherette foldout picture frame with clear inner windows and silk lining, stamped “CB” in gilt to front cover, 2 black and white portrait photographs of O’Hara, 2 smaller color candid snapshots of O’Hara and Blair, with an autograph letter from Charles Blair, first 2 pp only, legal folio, January 1, 1970, “in Drake’s Passage / en route to St. Thomas,” and 8 pp of autograph notes on 4 leaves, 8vo, in blue ink. This display includes a surprisingly intimate letter to O’Hara from her aviator husband, Charles Blair. Blair writes (in part), “Would like to honeymoon with you / again in 1970, all year. I’ll be your / husband in the daytime. After sundown / I want to be your lover (although that / doesn’t mean I’m going to behave in the / daytime).” The notes in this lot are likely in O’Hara’s hand. Frame: overall: 12 x 30 in; folded: 10 x 12 in; smaller photographs: (each) approximately 3 ½ x 5 in

$800 - 1,200

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143¤ROBERT NOEL BLAIR (AMERICAN, 1912-2003)Portrait of Maureen O’Hara signed “ROBERT N. BLAIR” (lower left) watercolor and graphite on paper Robert N. Blair was Maureen O’Hara’s brother-in-law, a Western New York artist best known for his works in watercolor. 29 3/4 x 22 3/4 in (sheet)

$200 - 300

144A GROUP OF MAUREEN O’HARA BOOKS ON AVIATIONComprising approximately 25 books; four issues of The Clipper Cockpit, Pan American Airlines’ house organ; 2 Jeppeson Flight Computers, Model R-2, housed in vinyl holders, with one instruction booklet; approximately 17 technical books and reports including operating manuals, sight reduction tables for air navigation; 20 copies of a newsprint advertising supplement to Virgin Island Daily News promoting Antilles Air Boats, May 14, 1979; a copy of Red Ball in the Sky by O’Hara’s husband, Charles Blair, which he dedicated to her; with various other papers and aviation-related materials. Charles Blair owned and ran Antilles Air Boats. After Blair’s death in a plane crash in 1978, Antilles’ stockholders voted O’Hara president of the company; as she writes in her autobiography, “In doing so, they made me the first female president of a scheduled airline in the United States of America. It’s a feat of which I’m proud.” Various sizes

$200 - 300

145¤A LARGE GROUP OF MAUREEN O’HARA BUSINESS CARDS, MEMBERSHIP CARDS, AND SIMILAR ITEMSApproximately 184 cards, licenses, notes, Catholic holy cards, a luggage tag, and various other small paper articles, United States and Mexico, some signed by O’Hara and with notes in her and others’ hands. Business cards for Columbia Records executives, Hollywood Foreign Press Association, radiologists, repairmen and other tradespeople, and a New York health club, among many others. Notably, there are cards for executives from Columbia Records, a label that O’Hara recorded on, and Pan American Airlines representatives-- O’Hara’s husband, Charles Blair, was a Pan Am pilot. Membership cards include two Screen Actors Guild cards, her signed British Film Institute card, and two Irish Film and Television Academy Founding Member cards. There are also several signed congratulatory cards from O’Hara’s famous friends, originally sent with flowers after a performance O’Hara gave, possibly her sole Broadway appearance, Christine (1960). Various sizes

$300 - 500

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146¤A MAUREEN O’HARA EVENING GOWN WORN ON THE FABULOUS FORDIES TV SPECIAL, 1972Black V-neck evening gown with lace overlay and scattered rhinestones and sequins on the bodice, lace and sequin sleeves with marabou trim, black skirt with black chiffon overlay, and a black chiffon and beaded sash dangling from the empire waist. O’Hara wore this gown when she appeared with Tennessee Ernie Ford on his television program, The Fabulous FORDies (1972). A “Secret Possessions” black bra is included with this lot. Accompanied by a vintage photo of O’Hara performing in the gown.

$300 - 500

147A COLLECTION OF MAUREEN O’HARA WORKING TELEVISION SCRIPTSComprising 24 mimeographed manuscripts, 1957-1973, most annotated in pen and pencil. Highlights include: The Dinah Shore Chevy Show (November, 1957); The Perry Como Show (March 1958; March 1959; April 1959); The George Gobel Show (October 30, 1958); The Pat Boone Chevy Showroom (March 1959); The Ford Show (October 8, 1959); Special Tonight, “Mrs. Miniver” (December, 1959); Family Classics, “The Scarlet Pimpernel” (October 1960); Theater 62, “Spellbound” (February 11, 1962); The Andy Williams Show (April 1965; March, 1966; n.d.); Off to See the Wizard, “Who’s Afraid of Mother Goose?” (October 1966) (1 bound copy, 1 unbound); Woman in the Case, “Open Windows” (n.d.); The Jimmy Dean Show (November 21, 1963); Hallmark Hall of Fame, “A Cry of Angels” (December 1963); The Garry Moore Show (n.d.; November 1966); The Beautiful Phyllis Diller Show (October 1968); The Tennessee Ernie Ford Show, and The Fabulous Fordies (September 1971). Most are bound in leather, 1 is in a three-ring binder, 4 are unbound. Some have letters or congratulatory telegrams within. Perhaps the most notable script included here is from the 1973 American Film Institute Award presentation to O’Hara’s longtime colleague John Ford.

$1,500 - 2,000

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HERSELF AT HOME

148W

A PAIR OF MEISSEN PORCELAIN FLORAL ENCRUSTED COVERED VASES ON STANDSLate 19th century Vases and stands with underglaze blue crossed swords marks and incised 2745, one impressed 76. Height overall: 28 in

$3,000 - 5,000

149W ¤A PAIR OF FRENCH GILT-HEIGHTENED PORCELAIN AND GILTWOOD TABLE LAMPS20th century The porcelain signed Lajoie. Height (excluding electrical fittings): 14 ¾ in

$200 - 300

(illustration on following page)

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150¤A PAIR OF SPANISH PARCEL-GILT STERLING SILVER FIGURES OF PHEASANTS20th century Height 6 3/4 in; length 15in; total weight approximately 20 oz troy.

$400 - 600

151W ¤A LARGE FRENCH PORCELAIN FIGURAL MANTEL CLOCK EMBLEMATIC OF THE ARTSLate 19th century The twin train movement striking on a bell, applied blue pad mark for Jean Gille, Paris. Height: 17 ¾ in; width: 25 ½ in; depth: 8 ¼ in

$1,500 - 2,000

152W ¤A CARVED MAHOGANY EXTENSION DINING TABLEPossibly Irish Incorporating antique and later elements Height: 29 ½ in; width: 88 ½ in; depth: 48 in

$1,000 - 1,500

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153W ¤A GERMAN TRANSFER DECORATED PORCELAIN PART DINNER SERVICEFirst half 20th century Comprising fifteen 10 3/4 in dinner plates; nine 8 3/4 in salad plates; twelve 8 in dessert plates; ten 6 1/4 in bread and butter plates; one teapot; eleven bouillon cups and twelve stands; six tea cups and ten saucers; one serving bowl and one 12 3/4 in circular serving plate; blue painted Dresden, Germany with gilt flower marks.

$700 - 900

154W ¤A PAIR OF CONTINENTAL PARCEL GILT PORCELAIN CORNUCOPIA FORM TABLE LAMPS20th century Height (to finial): 27 ½ in

$100 - 150

155W ¤A BELLEEK PORCELAIN PART TEA AND COFFEE SERVICE IN THE ‘LIMPET’ PATTERN1946-1955 Comprising coffee pot, height 7 1/2 in; teapot; milk pitcher; two creamers; two covered sugars; fifteen teacups and fourteen saucers; thirteen demitasse cups and thirteen saucers; fifteen 6 1/4 in plates; five covered cereal bowls; two covered muffin plates; two bread plates, 11 in across handles; two shell form plates and two vases, height 6 1/4 in; each with green printed factory mark, some with monogram below mark. Accompanied by a photo of O’Hara cleaning the teapot.

$600 - 800

156W ¤A SET OF SIX ENGLISH MAHOGANY PALE PINK VELVET UPHOLSTERED DINING CHAIRSMid 19th century Height: 37 in; width: 19 in; depth: 18 ½ in

$500 - 700

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156THE ESTATE OF MAUREEN O’HARA | 73

157AN AMERICAN STERLING SILVER MODERNIST PART FLATWARE SERVICE FOR TWELVEby Allan Adler, Los Angeles, CA, 20th century Modern Georgian pattern, monogram: M.F.P., comprising: 12 dinner forks; 12 dinner knives; 12 luncheon forks; 12 butter knives; 12 bouillon spoons; 12 gumbo spoons; 11 salad/dessert forks; 12 cream soup/dessert spoons; 12 iced teaspoons; 24 teaspoons. Total weighable silver approximately 150oz troy (131).

$8,000 - 12,000

158¤IRISH SCHOOL (20TH CENTURY)Portrait of a Man signed “Kieran Griffin” in Gaelic and Roman alphabet (lower left) acrylic on canvas 30 x 24 in

$300 - 500

159W ¤A SUITE OF CONTINENTAL COLORED CUT TO CLEAR GLASS STEMWARE20th century Comprising twelve lime green glasses and twelve cranberry glasses. Height: 5 ¾ in

$400 - 600

160W ¤A CONTINENTAL NEOCLASSICAL STYLE MAHOGANY CENTER TABLEIncorporating antique and later elements Height: 29 in; diameter: 32 in

$300 - 500

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161¤AMERICAN SCHOOL (20TH CENTURY)Shorebirds acrylic on masonite 36 x 36 in (unframed)

$100 - 200

162¤AN ASSEMBLED GROUP OF SILVER, SILVERPLATE, METALWARE AND GLASS DRINKS AND SMOKING ACCESSORIESby various makers, 20th century Comprising: an electroplate wine cooler, five glass coasters and fourteen various ashtrays. (20) height of cooler 10 in.

$200 - 300

163¤AN ASSEMBLED GROUP OF GLASS TABLEWAREComprising eight Waterford crystal tumblers, eight wine glasses, and twelve monogrammed (MPF) caviar dishes. Height of tumbler: 4 1/4 in

$300 - 400

164W ¤A GEORGE III STYLE CARVED MAHOGANY SIDEBOARDc.1900 Height: 53 ½ in; width: 78 in; depth: 22 ½ in

$800 - 1,200

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165W

A PAIR OF DRESDEN PORCELAIN COVERED VASES ON STANDSEarly 20th century Underglaze blue crossed lines with a T for Carl Thieme. Height overall: 42 in

$2,500 - 3,500

166¤A MEISSEN PORCELAIN FIGURAL GROUP OF A SULTANA RIDING AN ELEPHANTEarly 20th century Underglaze blue crossed swords mark, incised 5X, impressed 2. Height: 10 in

$1,500 - 2,000

167W ¤AN ENGLISH TRANSFER DECORATED GLAZED EARTHENWARE PUNCH SETLate 19th century Comprising a punch bowl and eight cups. Height of bowl: 6 ¾ in; diameter: 12 in

$300 - 500

168W ¤A CONTINENTAL BAROQUE STYLE GILT BRONZE MOUNTED MAHOGANY MIRRORED LOW OCCASIONAL TABLE20th century Height: 16 in; width: 57 in; depth: 30 in

$700 - 1,000

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169W ¤A GERMAN PORCELAIN CARRIAGE GROUP20th century Underglaze blue crowned monogram mark for Rudolstadt. Height: 13 ¼ in; length: 22 in; depth: 11 ½ in

$600 - 800

170W ¤A PAIR OF MEISSEN PORCELAIN FIGURAL FOUR LIGHT CANDELABRA EMBLEMATIC OF THE SEASONSLate 19th century Underglaze blue crossed swords, incised E128 and E129; impressed 52 and 143; red painted 28 on one. Height: 20in

$800 - 1,200

171¤A MEXICAN POLYCHROME DECORATED POTTERY “TREE OF LIFE”Height: 32 in; width: 20 in; depth: 7 in

$200 - 300

172W ¤A REGENCY STYLE CARVED MAHOGANY LOW OCCASIONAL TABLESecond half 20th century Height: 18 ¼ in; width: 44 ½ in; depth: 31 ½ in

$200 - 300

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173W ¤A LARGE GERMAN PORCELAIN MUSICAL FIGURAL GROUP20th century Underglaze blue monogram mark for Rudolstadt. Height: 13 ½ in; width: 18 ½ in; depth: 11 ½ in

$500 - 700

174¤UNKNOWN ARTIST (20TH CENTURY)Portrait of a Mexican Family signed “McFagh Cooper” (lower left) oil on canvas 25 1/4 x 30 in

$300 - 500

175W ¤A REGENCY PARCEL EBONIZED CARVED GILTWOOD CONVEX WALL MIRROREarly 19th century Diameter: 33 in

$800 - 1,200

176W ¤A FEDERAL CARVED MAHOGANY BRASS-INLAID FOLD-TOP GAMES TABLE, MASSACHUSETTSFirst quarter 19th century Height: 29 ¾ in; width: 35 ½ in; depth closed: 18 ¼ in

$600 - 800

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177¤UNKNOWN ARTIST (20TH CENTURY)Caribbean Scene with Figures (2) signed indistinctly (lower right) acrylic and graphite on canvas 29 7/8 x 23 3/4 in (both unframed)

$300 - 500

178W ¤A PAIR OF GERMAN PORCELAIN FIGURAL TABLE LAMPS WITH LITHOPHANE SHADES20th century Plaue blue printed factory mark for Plaue (one lamp lacking floral finial) Height: 19 ½ in

$300 - 500

179W ¤A FRENCH GILT BRONZE AND PORCELAIN MOUNTED KINGWOOD AND NEEDLEWORK PANELLate 19th century Together with a Regence style gilt-brass folding fan-form fire screen, a brass coal scuttle, and a group of fire irons. Accompanied by a contact sheet of photos with O’Hara and daughter, Bronwyn, showing panel in background. Height: 33 ½ in; width: 23 ½ in; depth: 3 in

$400 - 600

180W ¤AN ENGLISH MARQUETRY-INLAID FIGURED WALNUT OVAL TILT-TOP LOO TABLEThird quarter 19th century Height: 28 in; width: 53 in; depth: 38 in

$700 - 900

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181W ¤A GROUP OF THREE BRASS TABLE LAMPS IN THE BAROQUE TASTE, TOGETHER WITH A PAIR OF SILVERED METAL THREE LIGHT WALL SCONCESHeight of tallest lamp (excluding electrical fittings): 21 ¼ in

$100 - 150

182¤MONTAGU MARKS (AUSTRALIAN, 1890-1972)Still Life with Roses signed “Montagu Marks” (lower left), dedicated, signed, and dated “For Dear Maureen with Esteem and Love Monty 1959” (on the reverse) oil on canvas 16 x 20 in (Painted in 1959)

$200 - 300

183¤A PAIR OF BELLEEK PORCELAIN “ROSE ISLE” VASES1946-1955 With green printed factory mark. Height: 13 in

$200 - 300

184W ¤A GRADUATED SET OF FOUR GEORGE III STYLE MAHOGANY NESTING TABLES20th century Each with leather inset top, together with an oval occasional table and a mahogany and leather library step. Largest: Height: 26 ½ in; width: 21 in; depth: 12 in

$400 - 600

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185¤VIETNAMESE SCHOOL (20TH CENTURY)Floating Market signed indistinctly (lower right) oil on canvas 21 1/2 x 27 1/2 in.

$200 - 300

186W ¤A PAIR OF NEOCLASSICAL STYLE BRASS AND GLASS TABLE LAMPS20th century Height (excluding electrical fittings): 23 in

$200 - 300

187W ¤A CONTINENTAL EARTHENWARE TABLE LAMP20th century Relief decorated with scenes from Don Quixote. Height: 33 ¼ in

$100 - 150

188W ¤A GRADUATED SET OF THREE PARCEL GILT PAINT DECORATED NESTING TABLES IN THE ROCOCO STYLEHeight: 24 ½ in; width: 22 in; depth: 13 ½ in

$150 - 250

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189W ¤A REGENCY STYLE BRASS AND WROUGHT IRON LANTERNIncorporating antique and later elements Height: 43 in; width: 18 in; depth: 18 in

$100 - 200

190W ¤A GROUP OF SIX CONTINENTAL STAINED GLASS PANELS20th century Depicting Joseph, Mary, three kings and a cow. Height of tallest: 40 in

$200 - 300

191¤A LARGE IRISH BRASS AND MAHOGANY LOCK19th century Together with a pair of eastern brass lion mask handles. Accompanied by a vintage photo of O’Hara with one of the brass lion handles. height of lock: 9 ¾ in; width: 14 ¼ in; depth: 2 in

$600 - 800

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192W ¤A ROCOCO STYLE PARCEL GILT PAINT DECORATED SUITE OF BEDROOM FURNITURE BY JOHN WIDDICOMBComprising a pair of chests of three drawers, a chest of five drawers, a pair of bedside cupboards, a large chest of nine drawers, and a headboard. This suite was purchased by Maureen O’Hara in the 1940s for her Beverly Hills home, but was still in use in her home in Ireland in the mid-2000s. Accompanied by a contact sheet of photos showing O’Hara lounging on the bed. Height: 34 ¼ in; width: 66 in; depth: 21 in

$400 - 600

193¤A GROUP OF SWORDS AND KNIVES WITH A STAND AND A MIQUELET PISTOLComprising 2 brass hilted “hanger” infantry short swords, 18th or early 19th century; German Mauser bayonet, circa 1914-1918, with fanciful scabbard; 2 reproduction swept hilt rapiers in early 17th century style; a reproduction Spanish cup-hilt rapier; an Eastern, probably Indian, saber blade with scabbard, no grip; an American fraternal sword, possibly Knights of Pythias; all housed in a brass stand made from an artillery shell engraved, “Souvenir / H. M. Destroyer ‘Gipsy’ / Sunk / November 21, 1930.” WITH: an Ottoman miquelet pistol, Balkan region, with wooden stock sheathed or cast in brass. Various sizes

$1,000 - 1,500

194W

A GLASS EIGHT-LIGHT CHANDELIER, UNASSEMBLEDc.1910. This chandelier hung in the dining room of O’Hara’s Beverly Hills and Irish homes. We cannot guarantee completeness of this item. Item will preview in Los Angeles only.

$1,000 - 2,000

195W ¤A FRENCH PATINATED BRONZE FIGURAL GROUP: BOURRASQUELate 19th century After the model by Alfred Boucher (French, 1850-1934) With title plaque to front. Height: 30 ¾ in

$1,200 - 1,500

196W ¤A TURKOMAN RUGFirst half 20th century Approx. 65 x 50 in

$300 - 500

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197W

UNKNOWN ARTIST (20TH CENTURY)Portrait of Maureen O’Hara signed “Luz Nardi.” (lower center) oil on canvas (oval) Painted c.1950 31 x 23 1/2 in

$10,000 - 15,000

O’Hara’s living room in Ireland

198¤AN ASSORTED GROUP OF BARWAREComprising 4 earthenware barrels (lacking spigots and tops); a George III style inlaid mahogany tray; a silver plate cocktail shaker; a copper ice bucket and plated tongs; an Orrefors glass decanter and stopper; a Baccarat etched glass decanter and stopper, and 2 other glass decanters and stoppers. Height of tallest decanter: 11 1/2 in

$400 - 600

199TWO SETS OF FINE BINDINGSAusten, Jane. The Novels and Letters of .... New York: Frank S. Holby, 1906. 4to. 12 volumes, brown cloth with paper title labels to spines. Chawton Edition, number 210/1250. WITH: Pollard, Edward, Butler, Pierce, and others. Women in All Ages and in All Countries. Philadelphia: George Barrie and Sons, 1907. 4to. 10 volumes. Bound in half-green calf. Gilt to spines.

$200 - 300

200W ¤A GEORGE III STYLE INLAID MAHOGANY BREAKFRONT BOOKCASESecond half 20th century Height: 80 ½ in; width: 58 ½ in; depth: 14 ½ in

$400 - 600

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201¤A COLLECTION OF DESK ARTICLES20th century Comprising a waste paper basket; a paint decorated cast iron embossing stamp; an enamel decorated gilt metal turtle form timer; a brass and leather notepad stand with date calendar; an inkstand centered by a timepiece with plaque inscribed,”Canadian Club Council Favorite Honorary President 1959 Maureen O’Hara”; and book form box containing religious articles. Dimensions of waste paper basket: Height: 12 3/4in; width: 10in; depth: 10in

$100 - 200

202¤A GROUP OF DESK ARTICLESComprising a globe form weather station; a brass timepiece under glass shade; a large 8-day pocket watch; a gilt brass calendar timepiece in original box. Height of weather station: 7 in

$300 - 500

203¤A MAUREEN O’HARA-OWNED MIQUELET RIFLEAn Ottoman Turkish miquelet rifle, likely 18th century, octagonal barrel with integral rear sight and brass barrel bands, stock of familiar form, butt decorated with pierced brass overlay decorations. Overall: 46 in; barrel: 33 in

$500 - 700

204¤A WORLD WAR II-ERA JAPANESE OFFICER’S SWORDA Japanese shin gunto officer’s sword, 2nd quarter, 20th century, slightly curved 25 1/2 inch blade, with regulation mounts, leather sword knot, leather-covered wooden scabbard. Sword: (overall) 35 1/2 in; scabbard: 28 1/2 in

$500 - 800

205¤AN AMERICAN EAGLE POMMEL OFFICER SWORD, C.1810With a narrow,straight 32 inch blade with conventional blued and gilt decoration, eagle pommel hilt with simple knucklebow, languet molded with Federal eagle; fluted bone grip, housed in a metal scabbard with suspension rings. Sword: 36 1/2 in ; scabbard: 33 in

$400 - 700

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THE LATER YEARS

206A GROUP OF MISCELLANEOUS MAUREEN O’HARA FILM SCRIPTSComprised of approximately 17 mimeographed, Xerographic, or carbon copy manuscripts, 1951-2000, most bound in brads and housed in wrappers, with one duplicate treatment of Marry Marry Me, many undated, including The Magnificent Matador (1955), The Deadly Companions (1961), and O’Hara’s annotated scripts of The Christmas Box (1995) and The Last Dance (2000) with their production paperwork. The Christmas Box script includes a signed postcard from Roddy McDowall to O’Hara. A copy of the first 43 pp of The Mark of the Whip, co-written by O’Hara’s late first husband, Will Price, comes with an original transmittal envelope to Price, postmarked 1951, with a December 1, 1961 letter from Eve Meiers of United Artists to O’Hara’s brother, Charles FitzSimons. This lot includes many unrealized scripts, like Kahuna and Make Mine Djinn. Dancing at Lughnasa is inscribed in ink to O’Hara by actor Gerard McSorley, who appeared in the original Dublin production and subsequent productions including the 1998 film version, along with a program to the 1992 Broadway production.

$1,500 - 2,000

207¤A LARGE GROUP OF MAUREEN O’HARA AWARDS AND PRESENTATIONSComprising 15 award certificates, 1934-1968. Highlights include Guildhall School of Music and Drama Final Examination “in Elocution, with merit” certificate, Dublin, June, 1937; The National Order of the Purple Heart citation, May 9, 1950; The Council of Motion Picture Organizations, Audience Award Nomination, 1955, for Best Performance by an Actress (does not list film’s title); Photoplay Magazine Award, presented to Twentieth Century-Fox for Sitting Pretty, “One of America’s ten most popular motion pictures for the year 1948”; Father Matthew Memorial Hall, Dublin, 2nd Prize for Elocution; certificate in Gaelic, First Prize in “Shakespearian [sic] Dialogue”, circa 1930s; Newspaper Film Critics of America citation, March 1, 1940; The Heart of Variety Show Business Award, Variety Club of Philadelphia, January 18, 1968; Tit-Bits Film of the Month Award, presented to O’Hara for McClintock!, February, 1964; an original pen and ink caricature of several of O’Hara’s co-workers from At Sword’s Point (1952) fencing, including fencing instructor Albert Cavens, inscribed, To Maureen: / A swell gal and a worthy opponent” and signed (“Barrows / ‘52”); a certificate related to The Long Gray Line, Columbia Pictures logo to top, with eleven signatures to lower half; and four Boxoffice Blue Ribbon Awards, presented to O’Hara for her performances in Miracle on 34th Street (July, 1947), Mr. Hobbs Takes a Vacation (July, 1962), Spencer’s Mountain (July, 1963), and McClintock! (December, 1963).

$500 - 700

208¤A GROUP OF EIGHT MEDALSComprising 8 medals: brass or pewter London College of Music medal, dated December, 1937, engraved, “Maureen / FitzSimons / for / Elocution / Associate,” with brass pin; a 4k gold small Order of the Alamo pin, Alamo-shaped, engraved “1960 / To M.O.H / The Order of” to verso; plated metal key with yellow ribbon marked “Phoenix” on a 30 in chain; brass medal with raised inscription, “Consejo Consultivo / Ciudad de Mexico y Del D.F.” with cloth ribbon and brass pin; small brass key to the city of Fort Worth, Texas with city seal on a red, white, and blue ribbon; small medal with crossed tennis rackets, engraved, “1940” and “B.W.R.” to verso, on a red, white, and blue ribbon with brass pin; small pewter or brass badge marked, “Deputy Sheriff / Harris County / Texas / Maureen O’Hara” with pin to verso; and small brass key to the city of Houston, Texas, also marked, “Louie Welch / Mayor.” Various sizes

$500 - 700

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209MAUREEN O’HARA’S ANNOTATED SCREENPLAYS OF THE RED PONYOmnibus Productions (Universal Television), 1973. Xerographic manuscript, final shooting screenplay by Robert Totten, 148 pp, August 7, 1972, with blue revision pages dated August 10, 1972, bound with brads in black wrappers with The Red Pony gilt in to front wrapper, housed within a customized white leather script wrapper with a facsimile of O’Hara’s signature and a green shamrock painted to lower right of front cover, heavily annotated in pen and pencil, also with two ballpoint pens. Xerographic manuscript, screenplay by Robert Totten, 154 pp, n.d., bound with brads in black wrappers with The Red Pony gilt in to front wrapper, with some annotations to script, title page, and verso of last page in pen and pencil, signed boldly (“Maureen O’Hara”) to title page in ballpoint pen, with approx. 35 annotated call sheets folded in. O’Hara costarred with Henry Fonda in this acclaimed made-for-television adaptation of John Steinbeck’s rural novella that aired on the Hallmark Hall of Fame in March, 1973. In her autobiography, O’Hara writes, “I am particularly pleased with the picture and feel it is some of my best dramatic work.” It was O’Hara’s final acting role for nearly twenty years.

$1,000 - 1,500

210¤A MAUREEN O’HARA EVENING GOWN WORN TO THE AMERICAN FILM INSTITUTE LIFE ACHIEVEMENT AWARD TRIBUTE SPECIAL HONORING JOHN FORDA pink evening gown with sequined bodice, empire waist decorated with rhinestones, and flowing chiffon skirt, worn when O’Hara paid her respects to director John Ford on The AFI Life Achievement Award Tribute Special (CBS, 1973). John Ford was the first person ever honored with this prestigious award. As the leading lady in more John Ford films than any other actress, O’Hara paid homage to her beloved (and sometimes despised) “Pappy” when she serenaded him with a medley of songs from The Quiet Man. O’Hara also wore this confection when she appeared with Tennessee Ernie Ford on his television program, The Fabulous FORDies (1972). Accompanied by 2 color photos of O’Hara wearing the gown.

$300 - 500

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211A MAUREEN O’HARA GROUP OF CORRESPONDENCE FROM AND ABOUT JOHN WAYNEFour typed letters signed from John Wayne to O’Hara (signed “Duke” and “Pat and Duke”), two signed (“John Wayne”) in black marker, 1977-1978, with transmittal envelopes stapled to letters; approx. 9 pp of additional correspondence regarding Wayne from various parties including a typed letter from Sen. Barry Goldwater, signed (“Barry”) in blue ink; with materials related to Wayne’s Congressional Gold Medal; three 8 x 10 color photographs of O’Hara, Elizabeth Taylor, and others speaking to Congress; one 8 x 10 in color photograph of John Wayne with others, circa 1970s, with related correspondence; also a DGA program, Six Pioneers, from a screening of How Green Was My Valley (1941), 4 pp, October 7, 1972, signed on first page by John Wayne, John Ford, Walter Pidgeon, Anna Lee, Roddy McDowall, and Philip Dunne in felt-tip marker and pen, stapled; with a file of clippings regarding John Wayne, housed in a manila folder. John Wayne was undoubtedly Maureen O’Hara’s key leading man; their friendship abided from their first film collaboration, John Ford’s Rio Grande (1950), until Wayne’s death in June, 1979. Wayne’s deep affection for O’Hara is obvious from the warm kidding in their correspondence. In a letter on Wayne’s stationery, dated December 27, 1977, Wayne thanks O’Hara and her aviator husband, Charles Blair, for a recent visit to their Virgin Islands home: “Excalibur III looks like it’s held up by more than a string. Maureen, I notice it is made for solo flights. Who holds the first trans-Atlantic speed divorce record? You better get up and get his breakfast once in a while.” In a February 24, 1978, letter from Wayne to O’Hara and Blair, Wayne explains that he has suggested to a Senator that Blair advise him on a specific aeronautical development. Wayne writes, “Sorry to drop this in your lap, but my memory and knowledge of the suggested proposal are dimmed by many a sunrise of both time and tequila.” There are also two form letters from Wayne: an invitation for O’Hara to come participate in a Variety Clubs International salute to Elizabeth Taylor; and a request from Wayne for donations to a Mexican children’s charity. Both are signed (“John Wayne”) in black marker, but these signatures may be preprinted. In 1979, knowing that Wayne’s death was imminent, Sen. Barry Goldwater pushed through legislation to give Wayne a Congressional Gold Medal, a rare honor. O’Hara and others implored a Senate Subcommittee to grant Wayne the medal. They succeeded and Wayne received the medal shortly before his death. In an April 1980 letter, Sen. Goldwater writes to O’Hara, in part: “It was a beautiful tribute to one of America’s most loved citizens, and thank you again

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for being a part of this effort.” In other correspondence, Pat Stacy, Wayne’s companion in his final years, writes to O’Hara on January 13, 1982, explaining that she is writing a book on Wayne and requesting photographs of Wayne’s Virgin Islands visit; this letter is stapled to a carbon copy of O’Hara’s reply, agreeing to help, dated April 29, 1982, and a draft of that letter. In the typed draft, O’Hara wrote a heartfelt passage about Wayne which she later deleted: “We shared two, never to be born again, men during that wonderful time. When I lost Charlie [Blair] first, and then Duke, I thought my world had ended too. Pat, it is not necessary for people to communicate with each other every minute of the day. It is only necessary to know that that friend is there always. Duke loved me and I loved Duke because we knew that that [sic] friendship and that loyalty to each other was always there, to be called upon in time of need, to let gather interest in time of no need,” and she scratched out the last line, “I would like to offer you that same friendship,” then wrote underneath the passage, “Not sent.”

$1,500 - 2,000

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212A MAUREEN O’HARA EVENING GOWN WORN TO TELEVISED JOHN WAYNE TRIBUTE EVENTSFull-length black evening gown with elaborate white ruffled collar and cuffs and embroidered sequined flowers on the flowing chiffon skirt, with separate black petticoat, worn most memorably when O’Hara sang, “I’ve Grown Accustomed to His Face,” to John Wayne at the televised 1977 All-Star Tribute to John Wayne. This sentimental homage to their enduring film legacy and personal friendship brought John Wayne to tears. O’Hara also wore the gown when she presented John Wayne with the award for Favorite Motion Picture Actor of 1976 at the People’s Choice Awards. She continued to wear the gown to public events in later years. Accompanied by a photo of O’Hara wearing the gown. The companion black petticoat, bearing an inside label inscribed, “Don Loper Originals,” was also worn separately by O’Hara as a skirt on her U.S. Navy Tour in 1956. A photo of O’Hara wearing the skirt/petticoat also accompanies this lot.

$700 - 900

213¤A JOHN WAYNE COMMEMORATIVE MEDALUnited States Mint commemorative bronze medal, with relief bust of John Wayne and “John Wayne - American” in raised letters to face, with relief sculpture of John Wayne on horseback riding in Monument Valley, Utah to verso. Shortly before Wayne’s death, Maureen O’Hara passionately lobbied for Wayne to receive a Congressional Medal, which Wayne was given on May 26, 1979, Wayne’s last birthday. This is one of the United States Mint’s mass-produced copies of that medal. Accompanied by 2 photographs of O’Hara with John Wayne’s sons, Michael and Patrick, accepting the medal on Capitol Hill. Diameter: 3 in

$200 - 300

214A GROUP OF MAUREEN O’HARA BOOKS ON JOHN WAYNE AND JOHN FORDComprising 27 books, mainly biographies of Wayne and Ford, circa 1970s-1990s, some annotated, many with ownership signatures, with one reel-to-reel tape. Includes four “making of” books on Ford’s The Quiet Man (1952); in The Complete Guide to The Quiet Man, O’Hara wrote to the front matter in pen, “There are many mistakes in / this book- I hope not on purpose! / Property of Maureen O’Hara / Please return”; also includes a small sheet of paper with her corrections to both sides in ballpoint pen; and the published screenplay of How Green Was My Valley, signed by screenwriter Philip Dunne. A complete list of titles is available upon request.

$500 - 700

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215¤A GROUP OF MAUREEN O’HARA WESTERN WEARBrown suede sleeveless vest with 3 toggle buttons with fringe down each side of the front, fringe at the armholes, and fringe at the bottom, bearing an interior label inscribed, “Nudie’s Rodeo Tailors / North Hollywood / California.” Together with a blue suede sleeveless vest with 3 toggle buttons with fringe down each side of the front, fringe at the armholes, a braided and fringed trim on both front and back of the chest, and fringe at the bottom, bearing an interior label inscribed, “Nudie’s Rodeo Tailors / North Hollywood / California.” Accompanied by tan calf leather Lucchese cowboy boots with a 2 inch heel, dark brown lizard trim at the top, and “O’Hara” applique in dark brown lizard on the front of each boot. Per the Lucchese company, the boots date to 1980-1985. Accompanied by a color snapshot of O’Hara wearing the brown vest.

$400 - 600

216¤A PAIR OF MAUREEN O’HARA STETSON HATSPink 4X beaver quality Stetson hat with maroon grosgrain band and trim, with an illustrated inside top lining of a man and a horse, inscribed, “Stetson,” with a stamp on the inner rim inscribed, “John B. Stetson Co.,” size 7 1/8. Together with a tan 3X beaver quality Stetson hat with brown braided band, a black lining inscribed, “The Gun Club by Stetson,” with stamps on the inner rim inscribed, “John B. Stetson Co.,” “The Gun Club,” and “Stetson,” size 7 1/8.

$200 - 300

217¤A GROUP OF MAUREEN O’HARA COWBOY HATSGroup of three cowboy hats comprised of a cream-colored self-conforming beaver twenty hand-crafted Brazos cowboy hat bearing an inner rim label inscribed, “Teddy Bros. / Fort Worth”; a light gray beaver finish cowboy hat with amber-colored rhinestones scattered above the brim, a band of rhinestones entwined with thin silver rope, a rim of rhinestones, and 4 cowhide appliques under the brim, bearing an inner rim label inscribed, “Imperial Graham”; and a cream-colored 5X beaver quality Stetson hat with a band of feathers, an illustrated inside top lining of a man and a horse inscribed, “Stetson,” with a stamp on the inner rim inscribed, “Nudie’s Rodeo Tailors / North Hollywood / California,” size 7 1/8. Accompanied by a black plastic travel case and a photo of O’Hara wearing the Stetson hat taken by Roddy McDowell.

$300 - 500

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218¤A PAIR OF MAUREEN O’HARA WESTERN AWARDSComprising a Western Heritage Wrangler Award, presented to O’Hara by the National Cowboy Hall of Fame and Western Heritage Center in 1993, featuring a bronze sculpture of a cowboy by John Free, mounted on a wooden base with a plaque; a Golden Boot Award presented to O’Hara in 1991, featuring a golden cowboy boot statue on a wooden base with a plaque, together with two identical metal cowboy boots imprinted, “The Golden Boot Awards / August 17, 1991,” likely souvenirs from that awards ceremony. The Golden Boot Awards commemorate individuals who have contributed to the tradition of Western film and television. Wrangler award height: 14 1/4 in

$300 - 500

219¤A GROUP OF THREE FRAMED MAUREEN O’HARA CIVIC AWARDS AND AN UNFRAMED SCROLLConsisting of three framed awards: Certificate from The Commonwealth of Massachusetts, presented to O’Hara, “The first woman to receive the John F. Kennedy Irish National Award / honoring her outstanding career on stage, screen and television / and her exemplary display, and promotion of, Irish character and pride,” dated March 20, 1982, with facsimile signatures of the Governor and Secretary of the Commonwealth of Massachusetts; Official Citation certificate from the State Senate of Massachusetts congratulating O’Hara on “Receiving the Eire Society of Boston’s Gold Medal - 1989,” signed by the President of the Senate, Clerk of the Senate, and State Senator, dated April 21, 1989; Certificate from the City Council of Los Angeles to O’Hara, thanking her for her help with opening a National Freedom Bond Drive; citation resolved by the Council on September 5, 1962, signed by Los Angeles Councilmen of the 9th and 10th districts, the President of the City Council, and the City Clerk; and an unframed certificate from the City Council of Los Angeles declaring her Irish American Celebrity of the Year, featuring a ten-part biographical sketch of O’Hara, signed by thirteen City Council members, the Los Angeles Mayor, the President of the Council, and the City Clerk, dated March 13, 2002. Sizes: frames approx. 11 x 14 each; certificate: 13 x 22 in

$400 - 600

220W ¤A GROUP OF 5 IRISH CUT-CRYSTAL TROPHIESAll presented to Maureen O’Hara, 1989-2012, including an Anglo/Irish cut crystal pedestal bowl, engraved, “Maureen / O’Hara / ‘Ireland’s Greatest / Movie Star’ / Michael Flatley / Castlehyde / 2012,”; “Top 100 / Irish Americans / 1992 / Maureen O’Hara / Lifetime Achievement Award”; a pedestal vase, engraved, “Presented to / Maureen O’Hara Blair / On the occasion of the / official opening of the GPA / Foynes Flying Boat Museum / 8th July, 1989” and with airplane engraving; “Ireland Chamber of Commerce / in the United States, Inc. / Midwest Region Chapter / In Appreciation / Maureen O’Hara / April 28, 1994”; and a large pedestal bowl engraved “1991 Heritage Award / Maureen O’Hara / Peace-Culture-Charity / The American Ireland Fund.” Diameter: 7 in to 11 in; height: 9 in to 15 ½ in (largest)

$600 - 800

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221¤A GROUP OF 7 MAUREEN O’HARA NECKLACES AND BRACELETSA 5-piece metal and simulated diamond suite, together with a simulated diamond and metal necklace and bracelet set. O’Hara was photographed wearing the 5-piece suite often in the 1980s and 1990s. Accompanied by a photo of O’Hara mixing and matching the two sets at a Hollywood event with former co-star, Anthony Quinn.

$300 - 500

222¤A GROUP OF 8 PAIRS OF MAUREEN O’HARA EARRINGSMany with simulated pearls, gemstones, and diamonds, including both clip-on and pierced styles. O’Hara was photographed wearing these earrings many times during the 1980s and 1990s.

$300 - 500

223¤A GROUP OF 6 MAUREEN O’HARA SIMULATED DIAMOND NECKLACES AND EARRINGSTwo simulated diamond and gemstone and metal necklaces and a simulated diamond, simulated pearl and metal on pendant chain, together with three pairs of simulated diamond and metal earrings. O’Hara was seen attending many public events in the 1990s wearing these pieces.

$300 - 500

224¤A GROUP OF 8 MAUREEN O’HARA IRISH-THEMED PINS AND BROOCHESA collection of metal and simulated diamond brooches and pins, all with an Irish theme, consisting of a rhinestone shamrock pin; an Eire Society of Boston coin with O’Hara’s name on the verso; a silver metal shamrock pin; a rhinestone Irish harp brooch; a rhinestone Irish flag pin; an enamel and rhinestone shamrock bar brooch; and two Irish coin brooches.

$400 - 600

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225¤A GROUP OF 8 MAUREEN O’HARA SCARVESA group of 8 silk or synethic scarves consisting of a scarf of yellow, blue, and gray, depicting scenes in Paris; a scarf of brown and maroon with a map and postcards of Paris; a scarf of black, brown, and green, depicting horses; a Salvatore Ferragamo silk scarf of black and gold depicting butterflies; a scarf of purple and green depicting scenes from Morocco; an A.O. White scarf of black and green depicting shamrocks; a scarf of turquoise, pink, and purple, depicting a poodle; and an Hermès scarf of blue depicting a fox hunt.

$200 - 300

226¤A GROUP OF 4 MAUREEN O’HARA BRIMMED HATSComprising 2 Herbert Johnson of London faux fur fedoras, in red and black, each with a grosgrain band of matching color, each bearing an interior lining inscribed, “Herbert Johnson, 38 New Bond St., London. W.,” size 7; a cream-colored Herbert Johnson of London felt fedora bearing an interior label inscribed, “Herbert Johnson, 38 New Bond St., London. W.,” size 7; and a gold Herbert Johnson of London faux fur fedora with a gold grosgrain band accented by a feather, bearing an inner rim label inscribed, “Herbert Johnson / The Hatters.”

$200 - 300

227¤A GROUP OF 18 MAUREEN O’HARA WATCHES AND ASSORTED JEWELRY PIECESFreshwater pearl and metal torsade necklace with 2 matching bracelets; a simulated pearl and simulated diamond necklace, broken; a simulated pearl and metal necklace, broken; a simulated pearl and metal necklace; a 3-strand freshwater pearl necklace with a metal clasp; a dyed blue baroque cultured pearl and silver double-strand necklace with 1 earring; a strand of freshwater pearls, endless; a strand of simulated pearls, endless; a freshwater pearl bracelet, dyed black; 2 simulated pearl and simulated diamond and metal bracelets; and a pair of simulated diamond and simulated pearl metal ear clips. Accompanied by 2 Princess Grace boxes. Together with 3 watches comprised of a yellow metal Timex wrist watch with strap (crystal is completely damaged); an Astral 18k gold ladies wrist watch with strap (extremely deteriorated); and a metal wrist watch.

$300 - 500

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228MAUREEN O’HARA’S CONTRACTS AND PAPERWORK RELATED TO ONLY THE LONELYTwentieth Century Fox, 1991. Comprising 2 Twentieth Century Fox Deal Player Employment Agreements (draft and final versions) signed (“Maureen O’Hara”) and initialed multiple times by her; a letter from Carol A. Celentano of 20th to Charles B. FitzSimons, January 7, 1992, re: O’Hara’s Deal Player Employment Agreement, with original transmittal envelope; and approx. 150 pp of production paperwork, including 82 pp of Daily Production Reports; 20 pp of call sheets with additional material stapled on; a 23 pp Crew List; a script page annotated by O’Hara; directions to wrap party, December, 1990; and a fan letter with transmittal envelope and small black and white photo of O’Hara. Also, a Mayfair Regent Hotel, Chicago, folder containing approximately 30 pp of correspondence related to publicizing the film; invitations; and related materials. After a nearly twenty-year hiatus from the screen, O’Hara returned in the hit comedy Only the Lonely costarring as a Chicago cop’s (John Candy) overbearing live-in mother. Writer/director Chris Columbus wrote O’Hara’s role specifically for her, and then set about tracking the retired actress down through her brother, Charles FitzSimons.

$1,200 - 1,800

229W ¤AN IRISH-KNIT SWEATER WORN BY MAUREEN O’HARA IN ONLY THE LONELYTwentieth Century Fox, 1991. Cream-colored hand-knit Irish sweater with long sleeves, 5 wooden buttons down the front, and various cable stitch designs throughout, bearing an interior label inscribed, “Aran Sweaters / Cleo / Dublin / Ireland,” worn by O’Hara in the scene where she is being wooed by co-star Anthony Quinn (their 6th film together). O’Hara came out of retirement to make this film in which she played the intimidating mother to meek John Candy. Accompanied by a photo of O’Hara wearing the sweater in the film. Together with a cream-colored hand-knit Irish sweater with a front zipper and various cable stitch designs throughout, bearing an interior label inscribed, “Round Tower”; a cream-colored cotton smock with large front pockets, bearing an interior label inscribed, “Kinsale Smocks / Ireland”; and a cream-colored wool hand-knit Irish open-front poncho with cream fringe, bearing an interior label inscribed, “Studio Donegal.”

$300 - 500

230¤A POSTER TO ONLY THE LONELY SIGNED AND INSCRIBED BY MAUREEN O’HARA AND TWO SHIRTS OF THE FILM SIGNED BY O’HARA AND JOHN CANDYTwentieth Century Fox, 1991. Doubled-sided one-sheet poster, rolled, signed and inscribed in permanent marker: “For Kevin / These are not my legs- / Mine are ‘beautiful’- / Lots of Love, / Aunty Maureen / (Maureen O’Hara).” WITH: two matching size XL white t-shirts with blue Only the Lonely logo, one signed “Love, / Maureen O’Hara” in black permanent marker, the other signed “Thanks! / John Candy” in black permanent marker. Poster: 27 x 41 in

$300 - 500

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231A LARGE ROBERT RISKO CARICATURE OF MAUREEN O’HARALimited edition Giclee print, archival ink on archival paper, signed (“Risko”) to lower right, housed in a large black Macy’s cardboard presentation case with inner padding. Vanity Fair caricaturist Robert Risko created this caricature of Maureen O’Hara for Macy’s Stella 34 Trattoria restaurant at the department store’s Herald Square location in New York City. There was no “original” of this artwork since Risko created the art on his computer; this is the only other print he made of the illustration. Macy’s Herald Square store figures heavily in the plot of O’Hara’s classic Miracle on 34th Street (1947). 16 x 22 in

$1,000 - 1,500

232¤A GROUP OF RODDY MCDOWALL BOOKS AND CORRESPONDENCE INSCRIBED TO MAUREEN O’HARAMcDowall, Roddy. Double Exposure, Take Three. New York: William Morrow, 1992. WITH: Double Exposure, Take Four. New York: 1993. Two copies. Original cloth dust jackets. The earlier title inscribed,”For my GLORIOUS Irish / sister / from her loving / dirty Black Englishman / R. / Roddy McDowall”. AND WITH: three pieces of correspondence from McDowall to O’Hara: a letter on his stationery initialed (“R.”), n.d.; a Christmas card initialed (“R.”), n.d.; and a Christmas postcard with a photograph of a comic painting of McDowall attached, postmarked 1980. Roddy McDowall costarred as O’Hara’s younger brother Huw in How Green Was My Valley. In her autobiography, O’Hara writes, “Roddy remained one of my closest friends for over fifty years, until the day he died.” McDowall’s portrait photograph of O’Hara appears in his Double Exposure, Take Three and O’Hara contributed to Take Four. Lot also includes McKuen, Rod. Another Beautiful Day: The 1985 Rod McKuen Book of Days. Original cloth, dust jacket. Inscribed, “Dear Maureen / Love & / Happy Birthday / Rod.”

$300 - 500

233W ¤MAUREEN O’HARA’S WHITE DIRECTOR’S CHAIR WITH BLACK SEAT AND THREE SEAT BACKINGSWooden folding director’s chair, 1990s, with black cloth seat, with red cloth backing with white lettering to front reading, “Maureen O’Hara” and to back, “The Christmas Box”; black cloth backing with “Maureen O’Hara” in blue embroidery, and black backing with white lettering to front reading “Maureen O’Hara” and “The Last Dance” and film’s logo to back. The Christmas Box (1995) and “Last Dance” (2000), both made-for-television, were two of O’Hara’s final roles. 16 ½ x 22 x 45 in

$400 - 600

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234¤A COLLECTION OF MAUREEN O’HARA RELIGIOUS ARTIFACTSComprising approximately 30 pieces, including 6 pocket-size religious books, Holy Medals, several rosaries and crucifixes on chains, a framed calligraphic quote, a Holy Relic, all housed in a cardboard box. With a small wooden carved figure of the Christ child in a manger with “Bethlehem Nov. 1967” written in pen to base and a small figure of the Infant Jesus of Prague with a cloth cape. Various sizes

$400 - 600

235¤A BOX OF MAUREEN O’HARA LINENSComprising approximately 140 linens, some silk, some marked “Made in Ireland,” many embroidered, including at least two complete place settings, with many other tablecloths, placemats, napkins, and doilies. Various sizes

$200 - 300

236¤A GROUP OF MAUREEN O’HARA DRAWINGSComprising 27 loose drawings on paper; a 24 pp spiral bound sketchbook with 12 pp of drawings plus 4 loose small abstract cutout drawings; 2 drawings on white cloth napkins; and 1 drawing on a placemat from Neary’s restaurant, New York City, NY. Most in ballpoint pen or pencil, circa 1977-1994, many signed (“Maureen O’Hara Blair”) or initialed and dated, several annotated. A collection of sketches, primarily of faces, various people, including tourists, seen at airports and on board airplanes, still lifes, and many abstracts by O’Hara. Drawings: 4 x 7 ½ to 9 x 12 in; sketchbook: 14 x 17 in; napkins: 18 x 18 ½ in; placemat: 9 x 14 in

$300 - 500

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237¤A GROUP OF IRISH WATERCOLOR PAINTINGS AND INTERNATIONAL DRAWINGS GIFTED BY FANSComprising 24 small watercolor paintings on watercolor paper, some gouache, with 4 aquatint etchings titled and signed in pencil mainly by an unknown artist, one titled “San Gabriel Mission” and signed (“John Eskey”); a small black and white photograph of a fan with message in German to verso in pen; a small pen and colored pencil portrait of O’Hara by a Japanese fan with note in pen to verso; a pencil portrait of O’Hara, signed to lower right by an unknown fan; all housed in a large manila Twentieth Century-Fox photographic mailing envelope with “Irish Water Colours” written on front in pencil in O’Hara’s hand. Various sizes

$300 - 500

238A GROUP OF MAUREEN O’HARA BOOKS ON TRAVELComprising 9 books mainly about the Virgin Islands, many with ownership signatures and O’Hara’s address in pen to front matter; six issues of Virgin Islander magazine, circa 1975-1978, with “X-s” in ink to upper covers; 10 guidebooks to European cities; 9 European city postcard sets; also Soul of the City by Oswald L. Zeigler with a presentation bookplate to Maureen O’Hara from the Lord Mayor and Lady Mayoress of Sydney, Australia, n.d. Maureen O’Hara settled in the Virgin Islands with her aviator husband, Charles Blair. Blair owned Virgin Islander magazine, and appointed O’Hara its publisher and editor; she also contributed a regular column.

$200 - 300

239A GROUP OF MAUREEN O’HARA OWNED LITERATUREComprising 42 books, with many presentation copies, including 2 copies of The Christmas Box by Richard Paul Evans, both signed and inscribed to O’Hara by Evans; 1 copy signed by crew members from the television movie adaptation of the book starring O’Hara; 5 Charles Dickens novels from a larger set, London: Chapman and Hall, 1878, with “Twentieth Century-Fox / Film Corp” stamps to front matter of each; O’Hara’s copy of The Fallen Sparrow by Dorothy Hughes with RKO Studio Library stamp to front matter (O’Hara costarred in the 1943 film of the novel); Art in the United States Capitol signed and inscribed, “For Maureen O’Hara Blair / If hearts of gold are contagious / The ‘Duke’ caught it from you / The Best Always / Barry Goldwater Jr.,” dated May 22, 1979, shortly before John Wayne’s death. Around that time, O’Hara lobbied successfully with Goldwater to get Wayne a Congressional Gold Medal. Several titles in this lot are from O’Hara’s friend, columnist Frank Farrell, including Do Re Mi by Garson Kanin, signed and inscribed by Kanin to Farrell.

$500 - 700

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240A GROUP OF MAUREEN O’HARA BOOKS ON HOLLYWOODComprising 17 books mainly about the Golden Age of Hollywood, including two editions of Miracle on 34th Street by Sarah Parker Danielson, both annotated by O’Hara, one inscribed, “To / Aunty / Maureen / Love / Christina / 1996.” Several are signed and inscribed to O’Hara by their authors including The Glamor Factory by Ronald Davis and The Twelfth Hollywood Album by Ivy Crane Wilson. Turner Classic Movies’ Leading Ladies (2004) includes an undated typed letter signed from Tom Karsch of TCM to O’Hara.

$200 - 300

241¤AMERICAN SCHOOL (20TH CENTURY)Portrait of Maureen O’Hara signed “K O’Keeffe” (lower left) acrylic on canvas The portrait is an interpretation of O’Hara’s memoir cover, likely fan art. 30 x 20 in

$200 - 300

242¤TWO ANNOTATED MANUSCRIPTS OF MAUREEN O’HARA’S AUTOBIOGRAPHY ‘TIS HERSELF WITH TWO OTHER MANUSCRIPTS1. Xerographic manuscript of ‘Tis Herself, 568 pp, unbound, housed in cardboard box, annotated in pen and pencil, with notes on box in pen: “Manuscript / ‘Tis Herself” and “Semi-Final / Sept 22-2003 / Corrections made + / Good-Copy mailed Today / Tue 23 2003 to NY.” 2. Xerographic manuscript galleys of ‘Tis Herself, 677 pp, circa 2003, spiral bound, annotated in pen, with photographs used in book, with image of O’Hara on cover, with 2 pp (recto and verso) of corrections on legal paper in pen, dated July 18, 2003. 3. Carbon copy manuscript of The Harvest Burns by Helga Moray, approx. 351 pp, n.d., with handwritten corrections and 2 pp letter from Moray to O’Hara in ink, signed (“Helga Moray”), dated October 1, 1971. 4. Xerographic manuscript of Duke: A Love Story by Pat Stacy, 276 pp. Maureen O’Hara’s autobiography, ‘Tis Herself, was a New York Times bestseller in 2004. In 1954, O’Hara and her brother Charles FitzSimons optioned Helga Moray’s novel Tisa. The Harvest Burns was Moray’s second sequel to her novel Untamed, which was filmed in 1955 with Susan Hayward.

$400 - 600

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ENQUIRIES+44 (0) 20 7393 [email protected]

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ENTERTAINMENT MEMORABILIAThursday 15 December Knightsbridge, London

BREAKFAST AT TIFFANY’S, 1961 A watercolour and pencil working costume sketch of Audrey Hepburn as Holly Golightly in the iconic Hubert de Givenchy black gown worn in the opening sequence of the Paramount production, signed by costume supervisor Edith Head£10,000 - 15,000$12,420 - 18,620

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 $150,000 OF THE BID PRICE, 20% OF THE AMOUNT OF THE BID PRICE ABOVE $150,000 UP TO AND INCLUDING $3,000,000, AND 12% OF THE AMOUNT OF THE BID PRICE OVER $3,000,000, and (c) unless the purchaser is exempt by law from the payment thereof, any Arizona, California, Colorado, Connecticut, Florida, Georgia, Illinois, Massachusetts, Nevada, New Jersey, New York, Pennsylvania, Texas, Virginia, Washington, D.C., Washington state, or other state or local sales tax (or compensating use tax) and other applicable taxes. With regard to New York sales tax, please refer to the “Sales and Use Tax” section of these Conditions of Sale.

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 (c) 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, (c) 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 the catalog. If not so removed, daily storage fees will be payable to us by the purchaser as set forth therein. We reserve the right to transfer property not so removed to an offsite warehouse at the purchaser’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” 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.

SALES AND USE TAX

New York sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property collected or delivered in New York State, regardless of the state or country in which the purchaser resides or does business. Purchasers who make direct arrangements for collection by a shipper who is considered a “private” or “contract” carrier by the New York Department of Taxation and Finance will be charged New York sales tax, regardless of the destination of the property. Property collected for delivery to a destination outside of New York by a shipper who is considered a “common carrier” by the New York Department of Taxation and Finance (e.g. United States Postal Service, United Parcel Service, and FedEx) is not subject to New York sales tax, but if it is delivered into any state in which Bonhams is registered or otherwise conducts business sufficient to establish a nexus, Bonhams may be required by law to collect and remit the appropriate sales tax in effect in such state. Property collected for delivery outside of the United States by a freight-forwarder who is registered with the Transportation Security Administration (“TSA”) is not subject to New York sales tax.

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 (c) 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

CONDITIONS OF SALE

NY/MAIN/V2/11.16

CONDITIONS OF SALE - CONTINUED

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.

(c) 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;

(C) 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 (c) 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; (c) 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.

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

NY/MAIN/V2/11.16

NY/MAIN/V2/11.16

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. 3550.

CatalogsBefore each auction we publish illustrated catalogs. Our catalogs provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. The catalogs also include the dates and the times for the previews and auctions. 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.

PreviewsAuction 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. Except as expressly set forth in the Conditions of Sale, 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.

EstimatesBonhams catalogs include low and high value estimates for each lot, exclusive of the buyer’s premium and tax. The estimates are provided as an approximate guide to current market value based primarily on previous auction results for comparable pieces, 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.

ReservesUnless indicated by the ¤ symbol next to the lot number, which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum auction price that the consignor is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value.

Auction House’s Interest in Property Offered at AuctionOn occasion, Bonhams may offer property in which it has an ownership interest in whole or in part or otherwise has an economic interest. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).

Bonhams may also offer property for a consignor that has been guaranteed a minimum price for its property by Bonhams or jointly by Bonhams and a third party. Bonhams and any third parties providing a guarantee may benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. Such property, if any, is identified in the catalog with a symbol next to the lot number(s).

Bidding at AuctionAt Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, via fax or via email.

Valid Bonhams client accounts are 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 by placing responsive or consecutive bids for a lot 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 PersonIf you are planning to bid at auction for the first time, 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 auction price 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 BidsAs a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of auction online 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, at offsite auction locations, 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.

OnlineWe offer live online bidding for most auctions and accept absentee bids online for all our auctions. Please visit www.bonhams.com/us for details.

Bid IncrementsBonhams 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 discretion

The 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’ auctions. 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. For payments sent by mail, please remit to Cashier Department, 220 San Bruno Avenue, San Francisco, CA 94103.

Sales TaxResidents of states listed in Paragraph 1 of the Conditions of Sale must pay applicable sales tax. Other state or local taxes (or compensation 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 in the Conditions of Sale. If you wish to use your resale license please contact Cashiers for our form.

Shipping & RemovalBonhams can accommodate shipping for certain items. Please contact our Cashiers Department for more information or to obtain a quote. Carriers are not permitted to deliver to PO boxes. International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases.

Collection of PurchasesPlease arrange for the packing and transport of your purchases prior to collection at our office. If you are sending a third party shipper, please request a release form from us and return it to +1 (212) 644 9009 prior to your scheduled pickup. To schedule collection of purchases, please call +1 (212) 644 9001.

Handling and Storage ChargesPlease note that our offices have requirements for freightelevator usage. Please contact us to schedule an elevatorappointment for pickup of any large or awkward items.Bonhams will hold all purchased lots in our gallery untilFriday December 9 without penalty. After December 9collection of lots will be by appointment only. Please call +1(212) 644 9001 at least 24 hours in advance to make anappointment.

Storage charges of $5 per lot, per day will begin accruing for any lots not collected by the 31st day after the auction. Bonhams reserves the right to remove uncollected sold lots to the warehouse of our choice at the buyer’s risk and expense. Handling and storage fees will apply.

Auction ResultsTo 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. All you need is a touch-tone telephone and the lot number. Auction results are usually available on the next business day following the sale or online at www.bonhams.com/us.

BUYER’S GUIDE

NY/MAIN/V2/11.16

IMPORTANT NOTICE TO BUYERS

COLLECTION & STORAGE AFTER SALE

Please note that all oversized lots listed below, that are not collected by 4PM ON FRIDAY, DECEMBER 9, 2016 will be removed to the warehouse of Cadogan Tate Fine Art Storage Limited. Lots not so listed will remain at Bonhams; provided, however, THAT IF BUYERS OF LISTED LOTS ALSO BUY OTHER NON-LISTED ITEMS, THESE OTHER LOTS WILL ALSO BE REMOVED TO THE WAREHOUSE OF CADOGAN TATE, so that all lots remain together and buyers can collect their entire purchases from one location. For any questions please refer to the Bonhams department.

LOTS WILL BE AVAILABLE FOR COLLECTION FROM CADOGAN TATE BEGINNING AT 9AM ET ON TUESDAY, DECEMBER 13

AddressCadogan Tate301 Norman AveBrooklyn, NY 11222

Lots will be available for collection 24hrs following transfer to Cadogan Tate every business day from 9.30am to 4.30pm ET.

Collections appointments must be booked 24 hours in advance (subject to full payment of all outstanding amounts due to Bonhams and Cadogan Tate) by contacting Cadogan Tate at +1 (917) 464 4346.

HANDLING & STORAGE CHARGES

Please note: For sold lots removed to Cadogan Tate there will be transfer and insurance charges but no storage charge due for lots collected within 7 days of the transfer date. For sold lots that remain at Bonhams, there will be no storage charge for lots collected within 21 days of the sale date.

The per-lot charges levied by Cadogan Tate Fine Art Storage Ltd are as follows (plus any applicable sales tax):

FURNITURE/LARGE OBJECTSTransfer .................. $75Daily storage ........... $10Insurance (on Hammer + Premium + tax) 0.3%

SMALL OBJECTSTransfer ................. $37.50Daily storage ........... $5Insurance (on Hammer + Premium + tax) 0.3%

Please contact Catherine More at Cadogan Tate Fine Art Storage at +1 (917) 464 4346+1 (347) 468 9916 (fax)[email protected]

For more information and estimates on domestic and International shipping, please contact Catherine More at +1 (917) 464 4346 [email protected]

PAYMENT

All amounts due to Bonhams and all charges due to Cadogan Tate Fine Art Storage Ltd must be paid by the time of collection of the property from their warehouse.

TO MAKE PAYMENT IN ADVANCETelephone +1 (917) 464 4346 to ascertain the amount due, payable by cash, check, or credit card.

PAYMENT AT TIME OF COLLECTIONMay be made by cash, check, or credit card.

Lots will only be released from Cadogan Tate’s warehouse upon production of the “Collection Slip” obtained from the Cashier’s office at Bonhams.

The removal and/or storage by Cadogan Tate of any lots will be subject to their standard Conditions of Business, copies of which are available at Bonhams.

PLEASE NOTE Cadogan Tate does not accept liability for damage or loss, due to negligence or otherwise, exceeding the sale price of such goods, or at their option the cost of repairing or replacing the damaged or missing goods.

Cadogan Tate reserves a lien over all goods in their possession for payment of storage and all other charges due them.

57148149151152153154155156159160

164165167168169170172173175176178

179180181184186187188189190192194

195196197200220229233

OVERSIZED LOTS

OFFICERSMalcolm Barber Co-Chairman

Matthew Girling Chief Executive Officer

Laura King Pfaff † Chairman Emeritus

Leslie Wright Vice President, Trusts and Estates

Jon King Vice President, Business Development

Vice Presidents, Specialists Susan F. Abeles Rupert Banner Judith Eurich Mark Fisher Martin Gammon Dessa Goddard Jakob Greisen Scot Levitt Mark Osborne 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

20th Century Fine Art Alexis Chompaisal, ext. 65469

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

Books & Manuscripts Catherine Williamson, ext. 65442

Coins & Banknotes Paul Song, ext. 65455

Entertainment Memorabilia Catherine Williamson, ext. 65442 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 †

California & Western Paintings & Sculpture Scot Levitt, ext. 65425

Paintings - European Mark Fisher, ext. 65488

Silver Aileen Ward, ext 65463

Trusts & Estates Leslie Wright, ext. 65408 Joseph Francaviglia, ext. 65443

CONTACTS

BONHAMS *SAN FRANCISCO DEPARTMENTS220 San Bruno AvenueSan Francisco California 94103(800) 223 2854

20th Century Fine ArtDane Jensen, ext. 65451

Arms & ArmorPaul Carella, ext. 23360James Ferrell, ext. 23332

Asian Works of ArtDessa Goddard, ext. 23333

Books & ManuscriptsAdam Stackhouse, ext. 23266

Decorative ArtsJennifer Kurtz, ext. 65478

Furniture & Decorative Arts, EuropeanAndrew Jones, ext. 65432

Jewelry & WatchesShannon Beck, ext. 23306

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

Museum ServicesLaura King Pfaff, ext. 23210

Native American ArtIngmars Lindbergs, ext. 23393

California & Western Paintings & Sculpture Aaron Bastian, ext. 23241

Photographs PrintsJudith Eurich, ext. 23259

Space HistoryAdam Stackhouse, ext. 23266

Trusts & EstatesVictoria Richardson, ext. 23207Celeste Smith, ext. 23214

Wine & Whisky(415) 503 3319

Writing InstrumentsIvan Briggs, ext. 23255

WatchesIvan Briggs, ext. 23255

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

Books & Manuscripts Christina Geiger, (212) 644 9094 Brian Kalkbrenner, (917) 206 1625

Chinese Works of Art & Paintings Bruce MacLaren, (917) 206 1677 Nicolas Rice, (917) 206 1622

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

Fine Art American Kayla Carlsen, (917) 206 1699Contemporary Jeremy Goldsmith, (917) 206 1656 Megan Murphy, (212) 644 9020European Paintings Madalina Lazen, (212) 644 9108Impressionist & Modern William O’Reilly, (212) 644 9135

Himalayan Art Mark Rasmussen, (917) 206 1688

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

Jewelry Susan F. Abeles, (212) 461 6525 Caroline Morrissey, (212) 644 9046Camille Barbier (212) 644 9035

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

Trusts & Estates Sherri Cohen, (917) 206 1671

Watches & Clocks Jonathan Snellenburg, (212) 461 6530

Wine & Whisky(415) 503 3319

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

New York (212) 644 9001 (212) 644 9009 faxMonday - Friday, 9am to 5.30pmToll Free (800) 223 2854

The following information is recorded and available 24 hours a day, 7 days a week, through our telephone system: - Auction and Preview Information - Directions to Bonhams’s salesrooms - Automated Auction Results

REPRESENTATIVES Arizona Terri Adrian-Hardy, (480) 994 5362

California - Central Valley David Daniel, (916) 364 1645

California - Palm Springs Brooke Sivo, (760) 350 4255

Colorado - Denver Julie Segraves, (720) 355 3737 †

Florida Jon King (561) 651 7876, Palm Beach (305) 228 6600, Miami (954) 566 1630, Ft. Lauderdale

Georgia Mary Moore Bethea, (404) 842 1500 †

Illinois Ricki Harris (773) 267 3300, (773) 680 2881

Massachusetts/Boston/New England Amy Corcoran, (617) 742 0909

Nevada David Daniel, (775) 831 0330

New Jersey Alan Fausel, (973) 997 9954 †

New Mexico Michael Bartlett, (505) 820 0701

Oregon and Idaho Sheryl Acheson, (503) 312 6023

Pennsylvania Alan Fausel, (610) 644 1199 †

Texas Amy Lawch, (202) 333 1696 †

Virginia Gertraud Hechl, (713) 621 5988 †

Washington Heather O’Mahony, (206) 218 5011

Canada Toronto, Ontario Jack Kerr-Wilson, (416) 462 9004 †

Montreal, Quebec David Kelsey, (514) 894 1138 †

* Indicates saleroom † Indicates independent contractor

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 Department580 Madison AvenueNew York, New York 10022Tel +1 (212) 644 9001Fax +1 (212) 644 9009Automated Auction 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):

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Country: _____________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded.

SHIPPING

Sale title: Sale date:

Sale no. Sale venue:

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

NY/MAIN/11.16

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