Auction 739 April.

ALS in French, signed “Rich. Wagner,” one page, 4.5 x 7.25, no date. Handwritten letter by the celebrated opera composer, in full (translated): "You appeared to me like a phenomenon, and then you disappeared! Do you know that that’s a little cruel? Tell me (since I suppose that you are in town) what I need to do in order to find out what my modest copyrights have earned me through the company of which you made me a member, and how I can withdraw the proceeds. I have 10 francs left. I would therefore not be unhappy to have something at my disposition. Forgive me! Look after me!" Double-matted and framed with a portrait to an overall size of 17 x 14. In fine condition.

Original vintage 5.5 x 8.75 handbill for a concert at the Winter Gardens in Margate, England on July 7, 1963, featuring musical performances by Jet Harris, Tony Meehan, and Peter Jay and the Jaywalkers, signed on the reverse by the Beatles, with John Lennon, Paul McCartney, and George Harrison signing in ballpoint, and Ringo Starr signing in pencil and adding “The Beatles.” The adjacent side of the handbill bears ownership notations. The consignor notes that the autographs were obtained at the venue when the Beatles performed a short residency there between July 8-13, 1963. In very good condition, with light creasing, general handling wear, and old tape stains to the corners. Accompanied by a certificate of authenticity from Tracks and a letter of provenance from the niece of the original recipient: “My auntie…lived in Margate, Kent. She was actually dating someone in a band at the time, and he used to take her to all the bands playing at the Winter Gardens in Margate. She went to see the Beatles in 63, and got their autographs.”

Vintage 1975 ballpoint signature, “John Lennon,” on an off-white 4.75 x 4 sheet. Included with the signature is a period spiral-bound photo album, which contains 20 color semi-glossy 5 x 3.5 candid photographs from the WFIL Helping Hand Marathon, with 14 photos picturing Lennon at the event. In very good to fine condition, with light soiling, and old adhesive and mounting residue on the back.

From May 16 to 18, 1975, the Philadelphia rock station WFIL and the advocacy organization PARC co-sponsored the Helping Hand Marathon, a weekend fundraiser to raise money for multiple sclerosis. Lennon spent the entire three days answering phones, taking pledges, and signing autographs for fans; he even stayed long enough to do the weather report for WPVI-TV.

Ballpoint signatures, "John Lennon" and "Yoko Ono,” on a pink 4.75 x 3 album page; both Lennon and Ono end their signatures by drawing arrows to the other person’s name. In very fine condition. Encapsulated and graded by PSA/DNA as “NM - MT 8.”

Early 1980s UK pressing of the Beatles’ self-titled 1968 album, known as ‘The White Album,’ signed and inscribed on the inner gatefold in black ballpoint, “To John, all the best to ye! Paul McCartney, May, 1983,” “Love to John, Linda McCartney,” and “To John, Good luck and success with the film! George Martin, May 1983.” The consignor notes that the autographs were obtained at Elstree Studios in Borehamwood, England, in May 1983, while McCartney was filming scenes for his 1984 film, Give My Regards to Broad Street. In fine condition. The records are included, as are the portrait photos and poster. Accompanied by a certificate of authenticity from Tracks and a letter from the original recipient, which reads: “To confirm I worked in the Camera department on the feature film ‘Give My Regards to Broad Street,’ which was produced in 1983/84 at Elstree Studios, Borehamwood. During the filming period, this album was signed by Paul McCartney, Linda McCartney, and George Martin.”

Original artwork by Bob Dylan from his celebrated 'Side Tracks' series, based on his most famous 'Drawn Blank' image ('Train Tracks'), hand-embellished in gouache and mixed media on a 36 x 48 giclée, signed below in pencil by Bob Dylan. The work features Dylan's famous image of empty train tracks stretching into the infinite horizon, sky ablaze in the amber hues of sunset. Purple houses line the tracks and crimson-topped mountains loom in the distance. Dylan's brushwork is brilliant and energetic, the whites delivered using a textural impasto technique. The artwork is titled on the reverse in pencil: "2 December 1975, Toronto, Canada." Each work in Dylan's running 'Side Tracks' series carries a unique date, city, and country, based on concerts he performed from 1961 to 2013. Float mounted and framed by John Jones of London to an overall size of 38.25 x 50.5, with a Halcyon Gallery label affixed to the reverse. In fine condition, with the paper gently buckling from the backing mount. Accompanied by a framed 15.5 x 12.5 biographical display.

Bob Dylan's 'Side Tracks' series is a celebrated collection of over 300 artworks that showcase his evolution as a visual artist. Each piece begins with a giclée print of his iconic 'Train Tracks' image, a motif that first appeared in his 'Drawn Blank' series. Dylan then hand-embellishes each piece, making every one unique. The artworks are named after specific locations and dates, corresponding to significant concerts performed by Dylan throughout his lengthy career. This personal connection to his touring history adds resonant depth and narrative to the artworks; his 1975 Toronto show came as part of the legendary Rolling Thunder Revue, a carnivalesque spectacle that featured Joan Baez, Joni Mitchell, Gordon Lightfoot, Ramblin' Jack Elliott, Roger McGuinn, Mick Ronson, and Allen Ginsberg.

Bob Dylan’s 'Drawn Blank Series' marks a significant chapter in his journey as a visual artist, showcasing his ability to translate his observations into expressive paintings. Originally created as sketches between 1989 and 1992 while touring across America, Europe, and Asia, these drawings were a means for Dylan to relax and refocus his mind.

In 2006, he began to revisit the collection, transforming his black-and-white sketches into vibrant watercolor and gouache paintings, each version exploring different moods and color palettes. The series debuted at the Kunstsammlungen Chemnitz museum in Germany before being exhibited at London’s Halcyon Gallery, where critics praised his bold use of color and emotive brushwork. Much like his music, Dylan’s artwork reflects his unique perspective on people, places, and the passage of time, solidifying his status as a multidisciplinary artist with a distinct and evolving visual style.

Limited edition color 22 x 27.5 giclee print by Bob Dylan entitled ‘Train Tracks - Portfolio,' released as part of his original 2008 'Drawn Blank' series, numbered 149/295, signed in the lower border in pencil by Dylan. In fine condition, with a couple of light creases to the left border. Accompanied by a certificate of authenticity from Washington Green Fine Art.

Dylan's popular Drawn Blank art series—a visual autobiography capturing his life on the road—colorfully portrays the people and places he has encountered over the course of his 'Never Ending Tour.' This ‘Train Tracks’ print, which derives from the first artwork suite released in the series, represents Dylan's most coveted subject, and one that he has returned to throughout the series.

Reissue of Bob Dylan’s landmark seventh studio album, Blonde on Blonde, signed neatly on the front cover in black felt tip by Dylan. In very fine condition. The records are included. Accompanied by a certificate of authenticity from Tracks and a letter of provenance from Jeff Rosen, president of the Bob Dylan Music Company, in full: "I represent Bob Dylan and have done so for many years. In 2017 he signed a number of individual albums on a rare and limited basis, including the album photographed here. I can say for certain that it is Bob Dylan's signature. The chain of custody is directly from Bob Dylan to myself." A sensational example of one of Dylan’s greatest albums, signed in a controlled environment, for his trusted business manager of 30-plus years.

Often ranked as one of the greatest albums of all time, Blonde on Blonde represents not only one of the first double albums in rock history, but also the culmination of Dylan's influential 1965–1966 period that included Bringing It All Back Home and Highway 61 Revisited. The genre and boundary-crossing brilliance of Blonde on Blonde—recording sessions were split between Columbia Studios in Nashville and New York City—was praised by critics and the public alike, with the album attaining double platinum status on the strength of singles 'Rainy Day Women #12 & 35' and 'I Want You.'

Tango in the Night album by Fleetwood Mac, signed on the front cover in silver ink by Mick Fleetwood, John McVie, Christine McVie, Stevie Nicks, Rick Vito, and Billy Burnette. In fine condition. The record is not included. Accompanied by a certificate of authenticity from Tracks. The consignor notes that the autographs were obtained at the Hovet Arena in Stockholm, Sweden, on May 29, 1988, by an employee of the Swedish company EMA Telstar. Through his role organising security for concerts and events, he was granted access to many of the world’s leading artists of the period. The show was part of the group’s ‘Shake the Cage Tour,’ the band’s first tour without guitarist Lindsey Buckingham.

Coveted glossy 11 x 8.5 photo of Pink Floyd in their prime, signed and inscribed in black felt tip, "To Anthony, Roger Waters," "Nick Mason,” and “Richard Wright," and in silver ink, "David Gilmour.” In fine condition, with minor ink adhesion issues to Gilmour's signature. A sought-after, fully signed band photo of the prog rock masters.

UK vinyl pressing of the 1988 Prince album Lovesexy, signed on the front cover in blue felt tip, “‘Love God,’” – P 88.” The consignor notes that the album was signed at an autograph-signing session held at the department store Nordiska Kompaniet (NK) in Stockholm, Sweden, on August 12, 1988. Prince had performed at Stockholm's Isstadion on August 10th and 11th. In very fine condition. The record is included. Accompanied by a certificate of authenticity from Tracks.

Two early vintage Queen items: promotional flyer for Queen and their 1973 UK Tour in support of their self-titled debut album, 8.25 x 11.5, signed in ink and ballpoint by Freddie Mercury, Roger Taylor, John Deacon, and Brian May, who adds an inscription above, “With love to Denise,” with Deacon signing again on the reverse; and an ALS from May, signed “Brian,” on a 5.5 x 3.5 postal card, postmarked on March 12, 1974, addressed to Denise Bradbury. The handwritten letter reads: “I’ve been trying to get through to you at work but they don’t seem to know your extension and can’t be bothered to find out. John says you phoned him but this is just to confirm that your names will be on the door at Cheltenham so hope to see you there. Look after yourself.” In overall very good to fine condition, with overall light creasing to the photo, and light brushing to the ink in May's letter.

DS, signed “Brian Jones," "Mick Jagger," "K. Richard," "C. R. Watts," and "Bill Wyman,” one page, 7.75 x 9.75, September 11, 1965. Official letter to B.B. Boreham, the secretary of Rolling Stones Limited, sent from the office address of the group’s manager, Andrew Loog Oldham, in full: “We enclose a letter requiring that an extraordinary general meeting of Rolling Stones Limited should be convened for the purpose of passing the resolutions mentioned in that letter. We suggest that, as a matter of urgency, a Directors' meeting should take place for the purpose of considering this request that such a meeting be convened, for discussing the financial affairs of the Company and any other Company business which should be discussed by the Directors at this stage. In order that all Directors should have more than sufficient notice of the proposed meeting, we have resolved that it should take place on Monday the 20th September 1965 at 3.00 p.m. Since it would probably be most convenient for Mr. Easton and yourself if the meeting were to take place at la Little Argyle Street W.1. we suggest it be there and we look forward to seeing you there.” Signed at the conclusion by all five band members in black ballpoint. In fine condition, with a light diagonal crease to the upper left. Accompanied by a certificate of authenticity from Tracks.

ALS in French, signed “H. Berlioz,” one page, 5 x 7.5, November 9, 1850. Handwritten letter to "Monsieur Riciardi," in part (translated): "I am going to make all necessary from today's date to contact Lumley and to talk to him about your affair. If I do not meet him this evening, I will write to him, and I will not neglect any opportunity to obtain a good response that I will promptly forward to you." Berlioz thanks his correspondent for having chosen him for this request, explaining that it is a proof of confidence. In very good to fine condition, with a rough top edge, light toning, and scattered light foxing.

Original self-portrait sketch by Enrico Caruso, accomplished in black ink on a light green 5 x 6.5 album page, signed below, "Enrico Caruso, Montevideo, 1915." In very good to fine condition, with toning to the left edge, and residue from a removed clipping in the upper right corner. An outstanding drawing from the hand of the acclaimed Italian operatic tenor.

Vintage ballpoint signature, "Jacqueline du Pre,” on a 5.25 x 4 slip clipped from a program. In fine condition.

LS in Hungarian, signed “Liszt Ferencz,” one page both sides, 8.25 x 13.5, October 25, 1876. Letter to the director of the Royal National Hungarian Academy of Music, making recommendations for a stipend to be awarded to talented students. In fine condition. In 1925, the Academy was renamed in honor of its founder, Franz Liszt.

ALS in Italian, signed “G. Puccini,” two pages, 4.75 x 6.5, Grand Hotel de Londres (Paris) letterhead, December 7, 1906. Untranslated handwritten letter from the revered composer regarding his legendary opera Madama Butterfly. Archivally double-matted and framed with a photo of Giacomo Puccini to an overall size of 22.5 x 13. In fine condition, with a couple of small stains to the last page. In 1907, Puccini completed his final revisions to the opera, creating a fifth version that became known as the 'standard version.' Today, this standard version is the one most frequently performed around the world.

TLS, one page, 5 x 8.5, January 26, 1944. Letter to "Mr. Fekete," in full: "Thank you for your letter. We are all going to do our best, and I am sure we are going to do wonderful things. I shall be glad to have your cooperation, and I know we have your good wishes." In fine condition, with some light toning to the tastefully trimmed edges.

TLS in German, one page, 8 x 10, June 11, 1917. Untranslated letter to a friend and colleague. In very good condition, with light creasing, and the typed text badly faded but readable with effort.

Vintage ballpoint signature, "I. Stravinsky, London, Oct. 29/61,” on an off-white 5.5 x 4.25 album page. In very fine condition. Accompanied by a vintage French postcard portrait of the composer.

LS, one page, 4.5 x 7, personal Queen's Mansions letterhead, June 7, 1887. Addressed from London, a letter to Paul Richard, in part: “With regard to your attractive proposition, for which I am obliged, I think it would be better that, sometime when I am in Berlin, or, if you should be in London that we should meet and personally discuss the subject. I am unable, until that has been done, to give you a definite reply to the subjects mentioned in your letter of the 7th.” Notation to the reverse indicates that the letter was penned in the hand of Sullivan's secretary, Walter Smythe. In fine condition.

Vintage glossy 8 x 10 photo of Irving Berlin seated in a suit and tie, signed in fountain pen. In fine condition, with scattered small creases.

Red ballpoint signature, "Miles Davis,” on an off-white 5 x 3.25 notebook page. In very fine condition.

TLS signed “Jerry,” one page, 8.5 x 11, personal letterhead, November 20, 1940. Letter to Decca Records founder Jack Kapp, in part: "I hasten to acknowledge with deep gratitude the receipt of the blow-ups, which we all enjoyed hugely. When I first had the pleasure of meeting you, I knew you were to be relied upon to keep your promises and this substantiation is of the greatest satisfaction to me." In fine condition. Accompanied by Kapp's retained carbon copy of his reply, and a later unsigned typed letter from Kern.