Sell or Auction Your Rockwell Kent Moby-Dick 289 Prints 1930 for up to Over $200,000 or More at Nate D. Sanders Auctions
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Below is a recent realized price for 289 prints from Moby-Dick 1930 illustrated by Rockwell Kent. We at Nate D. Sanders Auctions can obtain up to this amount or more for you:
Rockwell Kent Moby-Dick 289 Prints 1930. Sold for Over $200,000.
The following are some prices we have realized for rare books and artwork from literature:
1851 1st/1st Melville`s “Moby Dick”
“Moby Dick; or The Whale” by Herman Melville. New York: Harper & Brothers: 1851. First edition, first state. 635pp. with original orange endpapers. A masterwork, and a book collector’s necessity. From its indelible first line, “Call me Ishmael,” to its last, Melville’s singular novel establishes his authority as one of the literary masters of the nineteenth or any century. One of only 2,800 first edition copies published, this volume remains extremely rare as many were destroyed in an 1851 Harper’s warehouse fire. Complete with all leaves for first edition, first state; two flyleaves in the front, 3 at rear along with 6pp. of book ads; title page, dedication page, 2pp. contents, 1p. fore title, 2pp. etymology, 14pp. extracts. Volume measures approximately 5.75″ x 7.75″. Previous owner’s ink inscription to front free endpaper. Overall toning and foxing to interior. Very good, professionally restored condition. Sold for $15,000.
1851 Moby Dick First Edition/ First Printing
Scarce first edition of Herman Melville’s “Moby Dick.” New York: Harper and Brothers: 1851. First American edition. A masterwork, and a book collector’s necessity. From its indelible first line, “Call me Ishmael,” to its last, Melville’s singular novel establishes his authority as one of the literary masters of the nineteenth or any century. Handsome volume is housed in custom quarter-leather blue clamshell case. Octavo hardcover has been rebound in dark green leather; otherwise, near fine condition. Sold for $12,750.
E.H. Shepard Artwork of Winnie-the-Pooh and Piglet, Likely Made for “The House at Pooh Corner” in “The World of Pooh” — Artwork by Shepard Is Very Scarce as Made for a Winnie-the-Pooh Book
Enchanting and scarce artwork of Winnie-the-Pooh and Piglet by E.H. Shepard, the illustrator chosen by A.A. Milne to bring his literary characters to life. Original Shepard artwork from Winnie-the-Pooh is scarce in its own right, here even more so as from one of the Milne books, well-known by fans as from Chapter 8 of “The House at Pooh Corner”, titled “In Which Piglet Does a Very Grand Thing”. Pooh and Piglet are shown in front of Owl’s tree house on that notoriously blustery day.
Large artwork measuring 8″ x 7.5″ is rendered in watercolor, pencil and ink, likely created by Shepard for “The World of Pooh”, a collection of Winnie-the-Pooh stories published in 1957 that included “The House at Pooh Corner”. It is one of the only color Winnie-the-Pooh illustrations made by Shepard in finished form, rather than a rough draft, that has ever come to auction. A smaller watercolor, titled “Christopher Robin’s Braces”, made for a magazine without content from one of the books, sold for over $100,000 in 2013. Interestingly, this artwork features titling in Italian on Owl’s sign, perhaps for an Italian edition of the book. Artwork on Winsor & Newton watercolor board measures 10.5″ x 8.875″. Minute uniform toning but overall near fine with bright coloring. Accompanied by original frame backing, signed by Shepard with his address and his handwritten title, “House at Pooh Corner / ‘A very grand thing’ / The trouble at Owls House”. Backing also contains a sticker from F.W. Charman & Sons, who exhibited Shepard’s work in Haslemere, England in 1965 where this piece was sold. Sold for $85,000.
Exceedingly Rare First Printing Dust Jacket of “The Great Gatsby” — Scarce Jacket Houses First Printing of the Classic Novel
Rare first edition, first printing of one of the most desired books in the history of literature, F. Scott Fitzgerald’s “The Great Gatsby”, with the nearly impossible to find first printing dust jacket, showing the lowercase “j” in “Jay Gatsby” on the rear flap hand-corrected in ink, indicative of the first printing. New York: Charles Scribner’s Sons, 1925. Designed by artist Francis Cugat, the dust jacket echoes the romantic tone of the novel, with hints of loss and opulence at its core, showing a pair of feminine eyes, with two nude figures in her irises, gazing over a Coney Island carnival. Fitzgerald’s reaction to the jacket was captured in a 1924 letter to editor Maxwell Perkins, “For Christ’s sake, don’t give anyone that dust jacket you’re saving for me. I’ve written it into the book.” It is perhaps one of the few instances where the jacket design actually influenced the novel, and is one of the scarcest first printing jackets in modern literature.
For the book itself, every first printing point is present: 1925 printed on title page; Charles Scribner’s Sons logo appears on the copyright page with no subsequent printing statements; “chatter” appears on page 60; “northern” appears on page 119; “it’s” printed on line 16 of page 165; “sick in tired” found on page 205; “Union Street station” mistyped on line 7-8 of page 211. Bound in teal cloth boards with title and author’s name blind-stamped to front board and gilt lettering to spine. Book runs 218pp., and measures 5.5″ x 7.75″. Minor shelf wear and discoloration to half-title page, overall in very good plus condition for book. Light chipping to spine of jacket, and small losses on spine and upper front portion expertly restored, as well as light edgewear. Also in very good plus condition. Housed in custom blue morocco slipcase. A very seldom-encountered true first printing of an enduring classic. Sold for $84,000.
E.H. Shepard Original Artwork of Winnie-the-Pooh, Tigger, Eeyore and Piglet, Published on Page 29 of “The House at Pooh Corner” by A.A. Milne
Scarce Winnie-the Pooh artwork by E.H. Shepard, showing Pooh, Tigger, Eeyore and Piglet as they appear on page 29 of A.A. Milne’s book, “The House at Pooh Corner” in Chapter II, “In which Tigger Comes to the Forest and has Breakfast”. Original Winnie-the-Pooh artwork by Shepard is scarce, even more so as published, with this illustration depicting the scene where Tigger takes a mouthful of thistle, unintentionally putting a bee in his mouth. Artwork is rendered in ink, with Chinese white corrections, on Neman’s Artist illustration board, and signed by Shepard at lower left. With the caption in pencil below the drawing, as it appears in “House at Pooh Corner”, reading, “‘Your friend,’ said Eeyore, ‘appears to have bitten on a bee.'” Illustration board measures 10.5″ x 6.875″ with drawing itself measuring approximately 7.25″ x 3.125″. Some toning, though fortunately confined to margins and not illustration itself. Overall very good condition. A scarce and enchanting drawing, originally from the Mary K. Young illustration art collection. Sold for $78,750.
First Edition, First Printing Hardback of “Harry Potter and the Philosopher’s Stone” by J.K. Rowling — One of Only 500 Copies, the Book That Started It All
The most coveted book in the Harry Potter canon, the first edition, first printing hardback of J.K. Rowling’s first novel, “Harry Potter and the Philosopher’s Stone”. This book is one of only 500 hardback copies published in the first printing, more scarce and collectible than the softcover published at the same time.
With all first printing points present, including “First published in Great Britain in 1997” on the copyright page, along with “Joanne Rowling” credited rather than J.K., and no space between Thomas Taylor and the copyright date (“Taylor1997”). Full number line “10 9 8 7 6 5 4 3 2 1” is present, as is the 10.99 pound price on rear board, Wendy Cooling quote to front board, and the spelling error of “Philospher’s” on rear board. Other early printing points are also present, including the repeat of “1 wand” on page 53, and “highchair” on page 8.
Since most of the 500 copies of the hardcover book were intended for library use, the number of extant copies is unknown, though estimated to be significantly fewer than the 500 published. All 500 were issued without a dust jacket, which wasn’t introduced until the third printing. This copy has part of the library laminate peeled off, corners of board professionally retouched, and previous owner’s inscription to front free endpaper. Some sunning to spine and minute cocking. A wonderful first printing, still in very good condition. A hallmark of children’s literature, one of the few hardback copies still available. Sold for $53,550.
Rare first edition, first printing of one of the most desired books in the history of literature, F. Scott Fitzgerald’s ”The Great Gatsby,” published by Charles Scribner’s Sons: New York: 1925, with the nearly impossible to find first printing dustjacket. Every point is present: 1925 is printed on title page; Charles Scribner’s Sons logo appears on the copyright page with no subsequent printing statements; ”chatter” appears on page 60; ”northern” appears on page 119; ”it’s” is printed on line 16 of page 165; ”sick in tired” is found on page 205; ”Union Street station” is mistyped on line 7-8 of page 211. Bound in dark green cloth boards with title and author’s name blind-stamped to front board and gilt lettering to spine. Francis Cugat’s scarce original unrestored first printing dustjacket has the lowercase ”j” in ”jay Gatsby” on the back panel hand-corrected in ink. Sold for $50,000.
Beautifully rendered watercolor and ink drawing of Winnie-the-Pooh and Piglet by E.H. Shepard, the illustrator chosen by A.A. Milne to bring his literary characters to life. Here, Shepard draws Pooh and Piglet upon a letter to his agent, allowing the characters to express his feelings of gratitude and joy. In the autograph letter signed, dated 29 February 1932, Shepard thanks his agent for a letter, writing that he has “done splendidly” and that “this view is shared by others.” To emphasize his feelings, Shepard draws Winnie-the-Pooh reaching up and Piglet excitedly jumping at his side. Shepard must have been very pleased with his agent, as he very seldom drew his most famous characters; this drawing, done early in the illustrator’s career and just a few years after the Pooh series, is a rare exception. Single page is written from Long Meadow, Guildford. Light uniform toning and mounted to card. Overall in very good to near fine condition. Sold for $40,954.
E.H. Shepard Artwork of Winnie-the-Pooh, Piglet & Owl, Likely Made for “The House at Pooh Corner” in “The World of Pooh” — Artwork by Shepard Is Very Scarce as Made for a Winnie-the-Pooh Book
Beautifully rendered artwork of Winnie-the-Pooh, Piglet and Owl by illustrator E.H. Shepard, signed “EHS” at lower left. Original Shepard artwork from Winnie-the-Pooh is scarce in its own right, here even more so as from one of the Milne books, well-known by fans as from Chapter 8 of “The House at Pooh Corner”, titled “In Which Piglet Does a Very Grand Thing”. After Owl’s tree house becomes dislodged by the wind, Piglet is shown here being hoisted up by Winnie-the-Pooh to squeeze through the letter box while Owl looks on.
Artwork measuring 7.875″ x 3.75″ is rendered in watercolor, pencil and ink, likely created by Shepard for “The World of Pooh”, a collection of Winnie-the-Pooh stories published in 1957 that included “The House at Pooh Corner”. It is one of the only color Winnie-the-Pooh illustrations made by Shepard in finished form, rather than a rough draft, that has ever come to auction. A much smaller watercolor of Pooh and Piglet drawn on a letter to Shepard’s agent, without content from one of the books, was sold by us in 2012 for over $40,000. Artwork on Winsor & Newton watercolor board measures 10.5″ x 6″, titled at bottom “‘up we go’ said Pooh”, also with notation “No 4 House at Pooh Corner p. 285 / 17224” in pencil, and notes for framing in ink. In addition to his signature on artwork, Shepard also signs the back of the board, with his address. Minute uniform toning but overall near fine with bright coloring. Originally sold by Shepard at an exhibition by F.W. Charman & Sons in Haslemere, England in 1965. Sold for $40,000.
Sir John Tenniel original illustration from ”Through the Looking Glass”, the sequel to the enormously successful ”Alice’s Adventures in Wonderland”. This illustration appears on page 201 of the first edition of ”Looking Glass”, done to illustrate the text, ”She was standing before an arched doorway over which were the words QUEEN ALICE in large letters…” A presentation inscription by Tenniel is written to the lower margin, ”With Mr. Tenniel’s kind regards / Christmas 1876”. Pencil drawing was done sometime between 1869-1871 when Tenniel again collaborated with Lewis Carroll in illustrating his novel, an undertaking that Tenniel first rejected due to the time-consuming nature of the work: after drawing preliminary sketches, Tenniel would transfer the artwork onto woodblocks using tracing paper and then finish shading on the blocks. The Brothers Dalziel would then produce engravings from the blocks. Tenniel at first rejected Carroll’s offer to illustrate ”Looking Glass”, but ultimately relented as Carroll could find no other illustrator that matched Tenniel’s ”grotesque” interpretation of the fantasy creatures he envisioned. Drawing measures 3.25” x 4.5”, archivally matted and framed to 11.25” x 12.75”. Very light foxing to margins and light uniform toning, overall near fine condition. From the Bronson Winthrop collection of Tenniel drawings: Parke-Bernet sale of 12 March 1945, lot 164. Sold for $37,500.
Ludwig Bemelmans painting for his ”Madeline” series of children’s books, illustrating a scene here for ”Madeline and the Bad Hat”. Rendered in mixed media on board, signed ”Bemelmans” at lower right. Painting measures 31.75” x 19”, with vividly rich colors. Back of board is stamped by the Hammer Galleries, who originally sold Bemelmans’ work for him, with an additional stamp reading ”Sketch for MADELINE And the Bad Hat by LUDWIG BEMELMANS”. Additional provenance includes sale by the Lenox Hill Neighborhood Association, Inc. in its 16 January 1987 auction. With frame, painting measures 40.5” x 28.5”. Some toning to board consistent in color with the scene, support for painting is bowed, and a small amount of surface cracking on the water. Overall in very good plus condition. Sold for $28,000.
Ayn Rand First Edition, Signed Copy of “Anthem”
Hardcover with dustjacket. Caldwell, Idaho: The Caxton Printers, LTD.: 1953. Copy given to Nathaniel Branden, her purported protege and lover. Signed and inscribed by Rand in blue ink, “To Barbara and Nathan – – who are now fully my children – to mark your first six-months wedding anniversary – Ayn / July 14, 1953.” Book, which measures 6″x 8.5″, runs 105pp. Thinly-veiled sci-fi-ish allegory supports Rand’s classic Objectivist thesis regarding the subjugation of the ego for the greater whole of society. Dust jacket in near fine condition with minor chips at top. Slight cloth board spotting and very mild toning to interior. A near-perfect signed Ayn Rand first edition copy. Our most expensive Ayn Rand first edition that we have handled. Sold for $22,500.
J.K. Rowling Signed First Edition, First Printing Harry Potter Signed Book — “Harry Potter and the Philosopher’s Stone” — With PSA/DNA COA
Extremely rare J.K. Rowling signed first edition, first printing Harry Potter signed book: “Harry Potter and the Philosopher’s Stone,” Bloomsbury: London: 1997. The author signs the dedication page “To Bryony / with best wishes / JK Rowling”. A true first edition, it features the number line 10 9 8 7 6 5 4 3 2 1 on the copyright page, and the first printing misprint on page 53 of “1 wand” listed twice, as well as the Wendy Cooling cover quote: “A terrific read and a stunning first novel”. Indeed, this first of Rowling’s wildly successful Harry Potter book series was published later in the U.S. under the title “Harry Potter and the Sorcerer’s Stone.” Its film adaption became one of the highest-grossing movies of all time. Issued as a paperback, novel runs 223pp. and measures 5″ x 8″. Toning to leaves and edges. Rubbing to spine edges and creasing to hinges, else near fine. With PSA/DNA COA. Sold for $17,000.
First Edition Set of Tolkien’s “Lord of the Rings” — “Fellowship of the Ring” & “Return of the King” Are First Printings; “Two Towers” Is Second Printing — All Three Are Near Fine
Very rare first edition, early printing set of J.R.R. Tolkien’s “Lord of the Rings” trilogy. London: George Allen & Unwin Ltd., 1954 & 1955. All three are in extraordinarily near fine condition for both the books and their original dust jackets. “The Fellowship of the Ring” is a first edition, first printing (London: George Allen & Unwin, 1954) with map attached to rear flyleaf. Publisher’s red cloth with gilt spine titles. With signature mark “4” at the bottom of page 49. Original dust jacket priced “21s net”. “The Two Towers” is a first edition, second printing (London: George Allen & Unwin, 1954) with map attached to rear flyleaf. Publisher’s red cloth with gilt spine titles. Original dust jacket priced “21s net”. “The Return of the King” is a first edition, first printing (London: George Allen & Unwin, 1955) with map attached to rear flyleaf. Signature mark “4” present on page 49, and all lines of type sag in the middle. Publisher’s red cloth with gilt spine titles. Original dust jacket priced “21s net”. All measure 5.75″ x 9″ with top edges red. A beautiful set with only minor edge wear, toning to endpapers and very light wear to jackets. One of the nicest “Lord of the Rings” sets available. Sold for $14,588.
James Joyce Autograph and an Henri Matisse Autograph in a Scarce Limited Edition of “Ulysses”
Scarce copy of “Ulysses” rare book by James Joyce, illustrated by Henri Matisse. New York: The Limited Editions Club: 1935. Number 297 of a limited edition run of 1500 copies. One of only 250 such copies signed by both Joyce and Matisse. Boldly signed by the author and illustrator on limitation page. Full brown buckram boards with gilt embossing to front cover and backstrip. Large octavo measures 9″ x 11.5″. Volume runs 420pp. with an introduction by Stuart Gilbert and illustrations by Henri Matisse including 20 reproductions of preliminary drawings and six original soft-ground etchings. In 1935 George Macy, founder of the fledgling Limited Editions Club, made the bold decision to commission Matisse to illustrate Joyce’s controversial and previously banned masterpiece, “Ulysses.” Matisse, understanding that Joyce’s work parodied the original eighteen episodes of the “Odyssey,” chose to create his 26 full-page illustrations as actual illustrations of Homer’s original work. Matisse later signed all 1500 of Macy’s limited edition, however, as legend has it, when Joyce realized that Matisse had been working from Homer’s “Odyssey” rather than his novel, he refused to sign any more than the 250 copies he had already signed making this double-signed edition exceedingly rare. Rare book without original slipcase, else fine condition. Sold for $14,460.
Original Illustration by Arthur Rackham of the Cheshire Cat, Drawn for Page 106 of “Alice in Wonderland” — With His Signature Mischievous Grin
Original and beguiling illustration of the Cheshire Cat from the 1907 edition of Lewis Carroll’s timeless classic, “Alice’s Adventures in Wonderland,” by noted British illustrator Arthur Rackham. Known as one of England’s “Golden Age” illustrators during the beginning of the 20th century, Rackham illustrated various whimsical scenes for this edition of the book. Illustration appears on p. 106 of the book, in the chapter entitled “The Queen’s Croquet Ground.” Drawn in pen, black ink and watercolor heightened with gum arabic and gouache paint for an opaque effect, illustration depicts the face of the unforgettable cheshire cat grinning widely in a dreamy smoke plume. Rackham signs his initials boldly “AR” at lower left. Drawing measures 8.5″ x 6″, with some later additions added by Rackham, and a glazing over the artwork for further protection. Near fine condition. Sold for $13,613.
Very rare original artwork by the beloved creator of the ”Madeline” books, Ludwig Bemelmans, for Mary MacArthur, daughter of actress Helen Hayes. Ink and watercolor drawing depicts a busy Parisian street scene with Miss Clavel herding twelve little girls through town. Three Parisian buildings stand in the background and in the foreground, a constable stands in salute donning a hat that reads, ”Au Revoir Paris” on the bill. Whimsical and quintessential of Bemelmans’ work. Signed and inscribed in black ink along the bottom, ”To Mary with love / Ludwig Belemans”. Someone has written the year ”1942” in light pencil beneath his signature. Mary MacArthur, a tween in 1942, would die at age 19 of polio. Measures 7” x 8” with very minor toning, else near fine. From the estate of Helen Hayes. Sold for $11,858.
Original Artwork for the Cover of “Harry Potter and the Chamber of Secrets” — Illustration by Cliff Wright Depicts the Charming & Memorable Flying Car Scene
Original ink, pencil and watercolor artwork for the 1998 release of J.K. Rowling’s second book in the groundbreaking series, “Harry Potter and the Chamber of Secrets.” Illustration is by British artist Cliff Wright, whom J.K. Rowling tapped to illustrate most of her Harry Potter characters, including Hedwig the Owl and Harry Potter himself, both displayed here in this watercolor. Unsigned illustration, which appears on the book’s cover, depicts the memorable scene in the book when Ron Weasley steals his father’s Ford Anglia to escort Harry back to Hogwarts. Wright charmingly brings each character to life in the illustration – Potter is depicted in his signature glasses and red pullover, and Ron is depicted with flaming red hair and freckles. Both Harry and Ron are pictured grinning at their flying car feat, while Potter’s famed owl, Hedwig, is perched in the back seat. Illustration is mounted and framed to an overall size of 22.5″ x 19″, with two annotations written along top reading: “please return Aw [artwork] to: / (undamaged)” and “For: Harry Potter shop display / To: Rosamund Walker — Bloomsbury”. Bloomsbury then superimposed this illustration with a background landscape also done by Wright to create the finished cover design. Near fine. Recently sold for 12,500 GBP as lot 170 in Sotheby’s 10 July 2012 sale. Sold for $11,550.
First Edition, Third Printing of F. Scott Fitzgerald’s Second Novel, “The Beautiful and Damned” — With a Charming Inscription to Actor Edward Everett Horton
Signed and inscribed first edition, third printing of F. Scott Fitzgerald’s “The Beautiful and Damned.” New York: Charles Scribner’s Sons: 1922. Fitzgerald’s second novel paints a vivid portrait of the Eastern elite during the Jazz Age in America. Copy is inscribed by Fitzgerald on the front free endpaper: “This book oddly enough is responsible from its title for the phrase ‘beautiful and dumb.’ I doubt if it has any other distinction. For Edward Everett Horton from F. Scott Fitzgerald / Encino 1939.” In publisher’s original green cloth boards with some soiling. Includes a later printing dustjacket from the A.L. Burt edition with minor wear. Very good condition. Sold for $10,781.
Original Artwork for the Cover of “Harry Potter and the Prisoner of Azkaban” — Depicting Harry Riding the Mythical Creature, Buckbeak, Under the Moonlight — Signed by Artist Cliff Wright
Imaginative ink and watercolor cover art for the original 1999 Bloomsbury edition of J.K. Rowling’s third book, “Harry Potter and The Prisoner of Azkaban,” in the series that forever changed children’s literature. This third draft “rough” – nearing the final design – is signed by British artist Cliff Wright, who first brought many of Rowling’s concepts and characters to life for the series. Watercolor and ink drawing depicts Harry on the legendary Hippogriff beast, endearingly called Buckbeak. Here, Wright depicts the climactic scene in the book when Harry Potter and Hermione Granger go back in time, flying on Buckbeak through the night’s sky to save Sirius Black from a tower where he is imprisoned, sending him away to freedom on Buckbeak’s back. Of illustrating the Harry Potter series, Wright has said, “…a passage from the book was suggested and I began to draw ideas working closely with the publisher. So as to retain as much vitality as possible in the final watercolour painting I only produce small-scale quick pencil/pen sketches as roughs. Time is spent on character and composition but not yet on execution, so my roughs are very simple.” This draft shows maturation in the draft process, with colors and design almost entirely fleshed out. Illustration measures 5.5″ x 5″ on a standard-sized sheet of paper and is signed “Cliff Wright” at lower right, with additional handwritten comments in margins noting, “trainers” and “Emma / Changes as requested. Cliff”. Near fine condition. Recently sold for 7500 GBP as lot 171 in Sotheby’s 10 July 2012 sale. Sold for $2,200.
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