Sell or Auction Your Bill Haley Comets Platters 1956 Concert Poster for up to Nearly $20,000 or More at Nate D. Sanders Auctions
FREE ESTIMATE. To buy, auction, sell or consign your Bill Haley Comets Platters 1956 concert poster that is for sale, please email your description and photos to [email protected] of Nate D. Sanders Auctions (http://www.NateDSanders.com).
Free Appraisal, Auction or Sell Your Bill Haley Comets Platters 1956 Concert Poster
Below is a recent realized price for a Bill Haley Comets Platters 1956 concert poster. We at Nate D. Sanders Auctions can obtain up to this amount or more for you:
Bill Haley Comets Platters 1956 Concert Poster. Sold for Nearly $20,000.
The following are some related items we have sold:
Rolling Stones Signed Limited Edition Poster for the Licks World Tour — With Epperson COA
Rare limited edition Licks 2002-03 tour poster signed by the Rolling Stones. Limited edition is number 240/1,000, signed by Keith Richards, Mick Jagger, Charlie Watts, Ronnie Wood, and artist Jeff Koons. Vivid, colorful poster with metallic stamping measures 39.5″ x 19″. Near fine condition. With Roger Epperson COA. Sold for $5,914.
Rare Led Zeppelin Poster Measuring 12″ x 19″ for Their Show on 1 May 1969 in Irvine, California
Led Zeppelin concert poster for their 1 May 1969 show at University of California Irvine’s Crawford Hall. Psychedelic poster designed by Chris Boulton is rare in this size of 12″ x 19″, with handbills more often seen at auction. It would also be their last concert poster without the appearance of a dirigible, the first showing of which occurred the next night in a poster for their show in Pasadena, and then started to appear in all their promotional materials. Poster on glossy paper measures 12″ x 19″. A few pinholes, light creasing, edgewear along margins, and a peace sign stamped to lower right corner. Some mounting remnants to verso. Overall very good condition, one of the most desirable Led Zeppelin posters. Sold for $5,825.
Exceptionally Rare Sex Pistols & The Clash 1976 “Anarchy in the UK” Tour Poster — From Cancelled Bournemouth Show
Scarce Sex Pistols concert poster, from the 1976 “Anarchy in the UK” tour. Poster lists tour dates and supporting acts, including “The Clash,” “Damned” and “Johnny And the Heartbreakers.” Poster advertises the tour’s cancelled Bournemouth Village Bowl appearance for 7 December 1976, never performed on account of the The Sex Pistols’ profanity laden television appearance. Poster measures 19.5″ x 29″, with some minor scratches, two 1.5″ tears at bottom and one 2″ tear at top. Three of the corners are chipped from mounting. Very good. Sold for $4,967.
1969 Woodstock Concert Poster
1969 “Woodstock Music & Art Fair” poster with Arnold Skolnick artwork. Second printing. Framed and matted ad for the legendary music festival, originally billed as “Three Days of Peace & Music – August 15, 16 & 17″ and featuring performances by Jimi Hendrix, Joe Cocker, Janis Joplin, The Grateful Dead, Sly and the Family Stone, Crosby, Stills, Nash & Young, The Who, Creedence Clearwater Revival, Sha Na Na, and myriad other legendary rock acts. Framed print measures 18″ x 24.5”. An amazing 1960’s artifact in mint condition. Sold for $4,790.
Janis Joplin First Printing Concert Poster — For Show on 25 October 1969 in Oklahoma City
Rare first printing concert poster for Janis Joplin for a show on 25 October 1969 at the Fairgrounds Arena in Oklahoma City. Johnny Dark Productions concert had the James Cotton Blues Band opening for Joplin and her band (the Kozmik Blues), promoted here in the poster designed by R. McIntosh and B.G. Vesper. Attractive poster in orange-brown is coolly accented in metallic blue-grey. Measures 17.5″ x 22.5″. A few small chips to edges and light creasing. Overall in very good plus condition. Sold for $4,400.
One of the Rarest of 1960s Rock Posters — Janis Joplin & Big Brother and the Holding Company Poster From April 1968 — Featured in “Art of Rock”
Extremely rare poster for a 19 April 1968 Fresno concert by Janis Joplin, and Big Brother and the Holding Company, with The Mint Tattoo opening. In this psychedelic explosion of colors, font and visuals, designer Dale Oftedal uses a rainbow of colors to convey his aesthetic, including the depiction of Janis Joplin as a free spirited bird perched upon a branch. This poster was printed in a very limited run, and thus scarce, especially in the condition found here. It was chosen for its uniqueness and scarcity by Paul Grushkin for his reference book, “The Art of Rock from Presley to Punk”, found on plate 3.30 and thus identified as AOR-3.30. Measures 17″ x 24.25″. A well preserved poster with light creasing and edge wear, and a few small scuffs. Overall in very good plus condition. Sold for $4,000.
Very Rare Doors Poster From a 1967 Performance at the Kaleidoscope Club in Hollywood
Original circular hand-pulled silkscreen poster, promoting a three day performance by the up-and-coming band The Doors, at the Kaleidoscope Club in Hollywood on 21-23 April 1967. A series of 20 posters were issued by Kaleidoscope in 1967, one for each concert that year. This dayglo fluorescent poster is considered to be the most rare in the Kaleidoscope series because of the type of ink used by artist John Douglas Kline in production. Posters in this series are almost non-existent because they were issued for promotion only, and the silkscreens used to produce the posters were burned in a fire. The Kaleidoscope was a psychedelic rock venue run by the management of the band Canned Heat. It was only open for roughly six months in 1967, with many memorable bands performing in that brief time. The venue was housed at the Earl Carroll Theater, which was then located at 6230 Sunset Boulevard in Hollywood, and featured two concentrically rotating stages at the center of the venue. For The Doors performance, the show was moved to a club called Ciros, at 8433 W. Sunset Boulevard in West Hollywood, (which is now the Comedy Store) since the original location of the club at the Earl Carroll Theatre had yet to be finalized. Circular poster depicts a silhouette of the faces of The Doors, with the band names in psychedelic 60’s font, and is printed in bright shades in a color combination meant to play tricks on the eye, as if looking through a psychedelic kaleidoscope. Previously owned by Alan Brackett, the original bass player in the Peanut Butter Conspiracy, who played with The Doors at this venue, along with The UFO. Poster measures 18.75″ in diameter, with some pinholes around the edge and very minor creasing. Near fine condition. Sold for $3,936.
Charles Schulz original hand-drawing of Snoopy, signed by Schulz. Illustration of Snoopy in a ranger’s hat and backpack was used for a poster to promote the ”Open Nature” concert on 27 April 1999, with members of the Grateful Dead playing. Drawing is accompanied by the concert poster, signed by Grateful Dead members Bob Weir, Phil Lesh, Mickey Hart and by Van Halen frontman Sammy Hagar. Illustration of Snoopy is complemented by a nature scene of mountains and trees, drawn by Brooks Anderson, and signed ”Brooks ’99”. Lot also includes a laminated pass to the event, also showing the illustration of Snoopy. Schulz illustration measures 8” x 10” inside of black frame measuring 12.5” x 14.5”. Poster measures 13” x 19.5” inside of gold frame measuring 17.5” x 22”. Near fine. Sold for $3,933.
We also sold this music memorabilia:
Michael Jackson’s famous glove worn at the 1984 American Music Awards, accompanied by an autograph book signed four times, attesting to the authenticity of the glove; Jackson writes, ”My original glove / Love / M.J*”. Regarded globally as the greatest entertainer in recorded history, the 25-year old was honored at the 16 January 1984 ceremony for his record ”Thriller,” the best-selling album of all time. The Grammy awards he won that same year made his award-winning volume unprecedented. A radiant Jackson was heavily photographed wearing this glove at the AMA’s, and video footage documents him wearing it in each of his numerous and effusive acceptance speeches that evening. A gloved right hand had been a trademark of Jackson’s, but typically the star wore the glove in white. This is likely the first example of Jackson wearing a black glove to an award show and possibly even the first for any public appearance. Of the glove’s singularity, Jackson told Barbara Walters in a 1999 interview, ”Why one glove? Cooler than two.” He also speaks about it in his autobiography ”Moonwalk.” Extensive provenance includes documentation from Julien’s as well as news clippings and photos from the first owner of the glove after Jackson: a terminally ill boy named David Smithee, to whom Jackson gifted the glove upon a visit arranged by a charity. Jackson later named Smithee in the dedication of the Jacksons’ ”Victory” album: ”…Finally, best wishes and love to…our friend, little David Smithy [sic].” Included in the lot is the autograph book in which Jackson penned a COA for the child in black felt tip: ”My original glove / Love / M.J*”. He signs ”Michael Jackson” to three additional pages. Red velvet book with gilt lettering and all edges gilt measures 5.75” x 4.5”. Dark brown cloth glove is encrusted with black Swarovsky crystal beading and features a single snap closure. Custom-sewn glove bears no size labeling. Measures 8.75” at its longest from cuff to fingertip and 4.25” across the center. Two stones are inconspicuously absent from the seam on the outer edge of the cuff and two from the second finger, with sunning to the seam around the thumb, else near fine. A stunning artifact worn and owned by the entertainer of the century at the height of his superstardom. Sold for $199,069.
Bob Dylan Signed, Handwritten Lyrics to “Like a Rolling Stone” — The Quintessential Rock Song — With COA From Dylan’s Manager
One of the most covered and influential songs of all time, “Like a Rolling Stone” lyrics are here handwritten and signed by their creator, Bob Dylan. With this song, Dylan reinvigorated his passion for his own work and fully embraced rock music as a complement to folk. Clocking in at 6 1/2 minutes long, the song was initially thought too long to be commercially successful, until listeners in the mid-60s harassed radio stations to play it in its entirety. “Like a Rolling Stone” has been covered by Jimi Hendrix, The Rolling Stones and countless others, and inspired even more. Bruce Springsteen first heard it when he was 15 years old: “on came that snare shot that sounded like somebody’d kicked open the door to your mind…The way that Elvis freed your body, Dylan freed your mind, and showed us that because the music was physical did not mean it was anti-intellect. He had the vision and talent to make a pop song so that it contained the whole world. He invented a new way a pop singer could sound, broke through the limitations of what a recording could achieve, and he changed the face of rock’n’roll for ever and ever.” Handwritten lyrics read in full:
“Like a Rolling Stone
Once upon a time you dressed so fine threw the bums a dime in your prime didn’t you
People call say beware doll you’re bound to fall you thought they were all kiddin’ you
You used to laugh about everybody that was hanging out
Now you don’t talk so loud now you don’t act so proud
’bout having to be scrounging for your next meal
How does it feel How does it feel
To be on your own, with no direction home like a complete unknown
Like a Rolling Stone
You’ve gone to the finest school all right Miss Lonely but you know you only used to get juiced in it
Nobody ever taught you how to live out on the street and now you’re gonna have to get used to it
You said you’d never compromise with the mystery tramp but now you realize
He’s not selling any alibi and you stare into the vacuum of his eyes
And say do you want to make a deal
How does it feel how does it feel
To be on your own with no direction home like a complete unknown
Like a Rolling Stone
You’ve never turned around to see the frowns on the jugglers or the clowns when they all came down and did tricks for you
You’ve never understood it ain’t no good you should never let other people get your kicks for you
You used to ride on the chrome horse with your diplomat who carried on his shoulder a Siamese cat
Aint it hard when you discover that he really wasn’t where it’s at
After he’s taken everything he can steal
How does it feel How does it feel
To be on your own with no direction home like a complete unknown
Like a Rolling Stone
Princess on the steeple and all the pretty people drinking thinkin’ that they got it made
Exchanging all precious gifts and things, you better take your diamond rings, you better pawn ’em babe
You used to be so amused at Napoleon in rags and the language that he used
Go to him now he calls you and you can’t refuse. When you got nothing you got nothing to lose
You’re invisible you got no secrets to conceal
How does it feel how does it feel
To be on your own with no direction home like a complete unknown
Like a Rolling Stone
Bob Dylan”
Single page measures 8.5″ x 11″. In near fine condition. With COA from Jeff Rosen, Bob Dylan’s manager. Sold for $90,000.
Bob Dylan Handwritten & Signed Lyrics to “The Times They Are a-Changin'” — The Song of a Generation
Scarce handwritten and signed lyrics by Nobel-Prize winning lyricist Bob Dylan of his classic, “The Times They Are a-Changin'”. Considered one of the greatest songs ever written, its powerful lyrics have transcended the political turbulence of the 1960s that gave birth to them to inspire subsequent generations, revealing their timelessness in the human experience. In recent years, Dylan has shied away from playing his masterpiece in concert which has imbued it with an almost mythical quality. Dozens of major recording artists have covered the song through the years, including Simon & Garfunkel, Peter Paul & Mary, The Beach Boys, Nina Simone, Billy Joel, Joan Baez, Tracy Chapman, Bryan Ferry and Bruce Springsteen to name a few. Dylan wrote the song in the fall of 1963, shortly after Martin Luther King Jr.’s March on Washington, wanting to create an anthem for social justice. As he said, folk music and the Civil Rights movement were natural allies and he felt he could make a contribution to the movement by writing a powerful, “hypnotic” anthem. It is one of the songs that earned Dylan a Nobel Prize in Literature, as the Nobel Committee wrote: “for having created new poetic expressions within the great American song tradition.” Handwritten lyrics by Dylan read in full, “The Times They Are-A-Changin’ Come gather around people wherever you roam And admit that the waters around you have grown And accept it that soon you’ll be drenched to the bone If your time to you is worth saving Then you better start swimmin’ or you’ll sink like a stone For the times they are-a-changing Come writers and critics who prophesize with your pen And keep your eyes wide the chance won’t come again And don’t speak too soon for the wheel’s still in spin And there’s no telling who that it’s naming For the loser now will be later to win For the times they are-a-changing Come senators congressmen please heed the call Don’t stand in the doorway don’t block up the hall He that gets hurt will be he who has stalled There’s a battle outside and it’s raging It’ll soon shake your windows and rattle your walls For the times they are-a-changin’ Come mothers and fathers throughout the land And don’t criticize what you can’t understand Your sons and your daughters are beyond your command Your old road is rapidly aging Get out of the new one if you can’t lend a hand For the times they are-a-changin’ The line it is drawn the curse it is cast The slow one now will later be fast As the present now will later be past The order is rapidly fading And the first one now will later be last For the times they are-a-changin’ Bob Dylan”
Handwritten lyrics and signature have been authenticated by Bob Dylan’s manager. Single page measures 8.5″ x 11″. In near fine condition. Apart from the original draft, these are the only known lyrics of “The Times They Are a-Changin'” that have been offered at auction. Sold for $89,505.
Michael Jackson’s iconic ”Beat It” jacket, worn by Jackson during the 1988 Madison Square Gardens tour, and signed by the superstar. The globally-renowned and beloved entertainer signs the jacket just below the collar in the back, ”To Ari / Love / Michael Jackson / 1988” in black felt tip. Red leather jacket with fine chain mail detailing to the shoulders is universally recognizable as the design worn by Jackson in the music video for ”Beat It.” The chart-topping single was responsible for launching the entire ”Thriller” record on a trajectory toward its ultimate position as the best-selling album of all time. Designed by J. Parks, Jackson wore the ”Beat It” jacket while performing in 1988. Michael gave this jacket to Epic Records President Ron Alexenburg’s son; Alexenburg signed the Jackson 5 to Epic Records, where Michael’s career took off. Size 40 jacket has Alexenburg’s name handwritten on the label; overall near fine condition. With provenance from Julien’s Auctions. Sold for $84,422.
Coveted instrument personally owned and played by music legend and 1960’s cultural icon John Lennon. The first time Lennon played an instrument with a keyboard on a record was for his collaboration with McCartney on 1965’s ”I’m Down”, from the B-side to Beatles single ”Help!” Mason and Hamlin brand reed organ, or pump organ, is made of walnut wood and features a dark cherry finish. Accompanied by a slip inscribed, ”Love to Julie / From John Lennon / xxxx” in red ink. Rubber lining on pedals has been replaced. Near fine. A Steinway brand piano of Lennon’s sold at Sotheby’s in 2000 for $2.1 million. Replaced rubber on the foot pedals, else near fine. With provenance from Sotheby’s including original catalog and house-issued certificate of ownership signed by Yoko Ono. Sold for $74,535.
The original Ludwig drum kit used for the recording of ”Love Me Do”, The Beatles’ first single on their first album ”Please Please Me”, released on 22 March 1963 and ushering in Beatlemania. The session was recorded on 11 September 1962 at EMI London, with this recording of ”Love Me Do” used on the Beatles’ first album ”Please Please Me” as well as the first Beatles U.S. release of ”Love Me Do” and the 1982 re-release of the song. In addition to ”Love Me Do”, this Ludwig drum kit is also heard on ”P.S. I Love You”, which plays on the B-side of the British single and on the ”Please Please Me” album. The kit was played by Andy White during the recording session, who played with the Fab Four that day, with Ringo playing tambourine on ”Love Me Do”. Kit comprises a 14” x 22” bass drum, 16” x 16” floor tom, 9” x 13” tom-tom (which is date-stamped 1956 inside) and 5.5” x 14” snare. Drum head is new. The original Black Diamond Pearl wrapping is present and matches exactly the photo of White playing the drum kit. From the personal collection of Clive Edwards, who studied drum playing under Reg Weller, one of Andy White’s best friends. Weller procured the kit for Edwards after White secured an endorsement deal with Ajax drums. With an LOA from Thea White, the widow of Andy White. Sold for $67,500.
Jon Bon Jovi Stage Played & Signed Acoustic-Electric Guitar
Jon Bon Jovi’s guitar, played onstage by Jon in Dallas on 10 April 2010 during Bon Jovi’s Circle Tour, and signed in gold marker by him. Takamine acoustic-electric guitar is serial #08120413, housed in Takamine hard-shell guitar case. Lot also includes a Bon Jovi backstage pass from their April 10th Dallas performance, as well as a photo of Bon Jovi playing this guitar in Dallas, and a 10” x 8” signed photo. Some light scuffing to body, more so on back, but overall near fine. Accompanied by paperwork from JBJ Soul Foundation. A fantastic rock collectible. Sold for $18,750.
Contract rider for the Beatles 28 August 1965 concert in San Diego at Balboa Stadium, signed by the ”fifth Beatle,” their manager Brian Epstein. This concert was a particularly well-documented event in rock and roll history symbolizing Beatlemania; it was added last-minute to the itinerary of their 1965 North America tour in response to popular demand, and an incident immediately followed the show in which the Beatles’ tour bus broke down and was damaged by a frenzied mob of crazed fans. Typed rider is also signed by a representative from the event purchaser Sight and Sound Productions. The Beatles’ live performance requirements are spelled out in the eleven point rider, including security considerations and crowd control. Also present is their famous requirement that they not play before a segregated audience. Rider arranges for the Fab Four’s transportation from Los Angeles to San Diego for the concert and guarantees the following terms: ”not less than 150 uniformed officers” were to be provided and more if necessary; a ”strong fence or barrier…to prevent any of the audience from climbing over”; also a ”platform for Ringo Starr and his drums” and a high-fidelity sound system equipped with a ”first class sound engineer”; a dressing room with ”four cots, mirrors, an ice cooler, portable TV set and clean towels”; a guest list not to exceed 50 complimentary tickets; one press conference and no further media engagements at the event; prohibition of ticket sales in advance of 31 May 1965; transportation including ”Two seven-passenger Cadillac limousines (air-conditioned if possible) with chauffeurs” and prohibition of unauthorized merchandise sales and bootlegging at the show. Incidentally, the Beatles encountered transportation snafus both coming and going – the airline workers’ strike coincided with their planned flight to San Diego and a touring coach instead brought the band from LA via Highway 1. Three-page document on 3 sheets measures 8.5” x 11”. Toning, creasing and staple punctures to the upper left, else near fine. A scarce record of the Beatles. Sold for $10,780.
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