RR Auction

For over 30 years RRAuctions has provided the world with autographed items. Every month they offer collectors more than 1,250 quality, fully guaranteed signed items, including photos, documents, letters, and books from a variety of categories.

Each autographed item is accompanied by a full 100% lifetime guarantee of authenticity.  RRAuction has experts employed in-house but also collaborate with third-party authenticators in various fields, to ensure correct evaluation is done.

Every month, all items are presented in a full-colour catalogue, with many full-page displays and numerous benefiting from detailed research descriptions. If you become an RRAuction registered bidder, you can access their company’s auction archives.

Countries
  • USA
Objects "RR Auction"

Ernest Shepard

"In 1924 I illustrated A. A. Milne’s ‘When We Were Very Young’ and 2 years later ‘Winnie the Pooh’", ALS signed “Ernest H. Shepard,” one page, 5.25 x 7, personal letterhead, October 26, 1967. Letter to Miss Evelyn B. Byrne, in part: "Many thanks for your letter and for all the information you give me. I am indeed glad to know of the success of your venture and I hope that your new book will meet with great success. By all means reprint my letter. I am particularly pleased to know that schools, parents and teachers showed such interest. I am returning you the typescript of my letter and, as you will see, have added something that may be of interest to you personally." Includes a typescript of a letter he previously sent to Byrne, in which he described his artistic influences from childhood; at the conclusion, Shepard handwrites a lengthy unsigned passage, in full: "I started working for ‘Punch’ when I was 26 and fifteen years later, when I came back from 3 years service as a Gunner in the 1914 war, I was elected to the Punch ‘Table’ staff. In 1924 I illustrated A. A. Milne’s ‘When We Were Very Young’ and 2 years later ‘Winnie the Pooh’ followed by ‘Now We Are Six’ and ‘The House at Pooh Corner.' I also illustrated a New edition of Pepy’s Diary titled ‘Everybodys Pepys.' This was followed by ‘Everybodys Boswell.’ Then a few years later, I illustrated ‘Wind in the Willows’—‘Dream Days’ and the ‘Golden Age’ by Kenneth Grahame. I illustrated ‘Bevis’ the Story of a boy, by Richard Jeffries. Then came Laurence Housman’s Palace Plays ‘Victoria Regina,’ ‘Golden Sovereign’ and Gracious Majesty.’ Within the last 3 years, I have written & illustrated two books for Children ‘Ben & Brock’ and ‘Betsy & Jo.’ Both have been published in the U.S.A. besides in England and several European Countries. I think this may interest you, though it is outside the scope of your new book.” In fine condition. Accompanied by the original mailing envelope addressed in his own hand, incorporating his signature, "E. H. Shepard," in the return address on the flap. Read more

  • USAUSA
  • 21d 11h
Low estimate
1 900 GBP

Princess Diana Wedding Document Archive

The behind-the-scenes creation of Princess Diana's wedding dress, Significant archive of correspondence between Princess Diana’s wedding dress designers David and Elizabeth Emanuel and the vendors involved in the production of the iconic dress, including letters about the fabrics, shoes, flowers, lace, and embroidery. Includes: Seven pages related to her shoes, including two letters from shoemaker Clive Shilton Ltd., plus a few typescripts and press releases. In one letter from Clive Shilton Ltd., March 6, 1981, a company representative writes: “I hope the samples we sent over this morning were right for you…I tried to choose designs that would illustrate some of the many possibilities for wedding shoes. We would love to work with you on special shoes.” Clive Shilton was chosen to make Diana’s shoes as the Emanuels trusted his discretion; two of these pages have been torn up and pieced back together, perhaps in an initial desire for secrecy. Twelve pages related to the flowers, including: a handwritten note on the letterhead of Edward Goodyear Ltd, the royal florist, describing the flowers to be used in the wedding: “The small bridesmaids will be carrying baskets of garden flowers, in mixed colours…On their heads they will be wearing circlets of matching flowers. Lady Sarah Armstrong-Jones will be carrying a loose post and wearing two small sprays of flowers in her hair to match the small bridesmaids.” Other materials include photocopies of press releases from Longmans Florists, copies of bouquet sketches sent to Longmans by the Emanuels, and copies of related letters. A letter from florist David M. H. Longman, April 30, 1981, in part: “We have prepared some more sketches ourselves and will be making a sample bouquet that will be ready for our next meeting. We understand this could be towards the end of May when Lady Diana comes to you for a fitting…We would also like to bring actual flowers so that we can get the correct shades of colour.” Twenty-four pages related to the silks and fabrics to be used in Diana’s dress, including those form silk weavers Stephen Walters & Sons and Lullingstone Silk Farm, plus several sample swatches of silk. The letters describe the silk that the Emanuels ordered from Stephen Walters for Diana’s dress, including color, type, and size. This includes an important introductory letter from Stephen Walters & Sons to the Emanuels, dated March 11, 1981, in part: “We have been delighted to learn from the Times that you are to design the Wedding dress for Lady Diana Spencer. We expect for this very special occasion you will be considering real Silk, and would like to hope the fabric will be woven in this country. As established Silk weavers we are able to offer fabrics in Silk specially designed and woven to order…We did have the honour of weaving the Silk for Princess Anne’s Wedding dress, the material designed and produced specially for the occasion.” In two letters from Lullingstone Silk Farm, the company begs permission to admit that it provided the raw silk for the dress. In a later letter, from June 10th, in part: “We have woven now all your requirements in your special Silk fabric…I very much hope that the various colours have come up to your entire satisfaction, and we all look forward to the ‘revelation’ on the 29th of July.” The Emanuels ordered silk in multiple colors so that the final dress would be kept secret even from the weavers. Diana’s wedding day, July 29th, was the first time the dress was unveiled to the public. A few pages related to the embroidery, including: a press release typescript from S. Lock Ltd., who did the embroidery for the dress, describing their process for embroidering the veil, plus photocopies of the embroidered lace. Also includes two shipping delivery forms hand signed by David Emanuel. Ten pages related to the lace, including letters from the manufacturer, Roger Watson Laces, and a letter from the Royal School of Needlework concerning the historical lace once owned by Queen Mary that was incorporated into Diana’s dress, plus a few small sample swatches. In overall very good to fine condition. A number of the items herein are depicted in the 2006 book A Dress for Diana by David and Elizabeth Emanuel. This remarkable, one-of-a-kind archive offers a behind-the-scenes view of the production of Princess Diana’s wedding dress—considered one of the most closely guarded secrets in fashion history. The intense, detail-oriented work that went into organizing every facet of the famous gown is on full display, and it is a truly remarkable assemblage. Read more

  • USAUSA
  • 21d 11h
Low estimate
1 600 GBP

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Now is the time to close the auction season for 2015, and look back on a year of incredible new records.

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Amherst
NH 03031
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