1985 Live Aid Concert Program, Signed by 130 Performers

1985 Live Aid Philadelphia concert program signed by 130 performers, estimated at $10,000-$20,000 at Collective Hudson.

KINGSTON, N.Y. – Live Aid, the 1985 concert event held in London and Philadelphia on July 13, 1985, is best remembered for the sheer number of performers who took the stage in support of Ethiopian famine relief. Organized by Bob Geldof of the Boomtown Rats and Midge Ure of Ultravox, the event was shown live on television worldwide and was one of the first mega-fundraising events in history. It is estimated that the combined events reached 1.9 billion people in 150 nations, nearly 40 percent of the world’s population at that time.

A program from the Philadelphia concert, signed by 130 performers, actors and Olympic athletes – every one who appeared on that stage, with the exception of Teddy Pendergrass – is headed to market at Collective Hudson on Friday, December 8. The 64-page program was printed in full color and features images of the luminaries, accompanied by their signatures.

The one-of-a-kind program and its signatures were meticulously collected at the event by a dedicated volunteer who was part of the lead-up tech team. The consignor later traveled extensively at her own expense worldwide to obtain the additional signatures that were not secured that day. The program is estimated at $10,000-$20,000.

Allan Ramsay Half-Portraits of King George III and Queen Charlotte

Allan Ramsay half-portraits of King George III and Queen Charlotte, estimated at £25,000-£35,000 ($31,075-$43,500) at Lyon & Turnbull.

EDINBURGH, U.K. – Allan Ramsay (1713-1784) was one of the most celebrated portraitists of his time, befriending a young Prince of Wales in 1757 with a portrait deemed so lifelike and accurate that a life-long association developed, resulting in the Prince-turned-King George III appointing Ramsay Principal Painter to the King in 1767.

From all accounts, Ramsay was an amazing individual, considered highly intelligent, quick and witty, and popular. He endeared himself to the biggest names of the time, including Adam Smith and Samuel Johnson, the latter of whom wrote that there was no man “in whose conversation there is more instruction, more information, and more elegance, than in Ramsay’s.”

These portraits were commissioned in or around 1761 – the year of George III’s coronation – for use in designing coinage for the British Empire, and as such did not require full-length renditions. Ramsay’s photography-like accuracy made him the natural choice for the job.

Only three versions of these half-portraits are known of the British monarch who would be best remembered for his role in the American Revolutionary War (at least, in America). They are estimated at £25,000-£35,000 ($31,075-$43,500) and are a featured lot in Lyon & Turnbull’s Scottish Paintings & Sculpture sale on Thursday, December 7.

Group of Seven 1950s Basketball Jerseys

Group of seven 1950s basketball jerseys from the St. Paul’s, Nachusa team, estimated at $200-$400 at Rivich Auction.

CHICAGO – An unusual entry in the Holiday Party: Fashion & Jewelry Auction to be held by Rivich Auction on Thursday, December 7 is a group of seven vintage 1950s basketball jerseys.

Enough for a starting lineup and two bench-warmers – provided the players are covered by the choice of two smalls, two larges, and three mediums – the maroon and yellow colors by Southern Athletic Wear were those of St. Paul’s, Nachusa, a Lutheran church team from Lee County, Illinois. The estimate for the lot is $200-$400.

J. S. G. Boggs Presentation Display

Presentation display of J. S. G. Boggs art, change and receipt, estimated at $600-$800 at Roland New York.

NEW YORK – Was it performance art? Or was it, as the United States Secret Service believed, brazen counterfeiting? That is the eternal question when it comes to the banknote artwork of J. S. G. Boggs (1955-2017), one of the quirkier artists to emerge in the late 20th century.

Boggs, born Stephen Litzner, began drawing American banknotes — some quite accurately, others more stylized and with clearly changed elements — in 1984 and soon discovered he could trade them as art, rather than currency, for goods and services. Though often uncannily accurate, Boggs only ever drew one side of a note, leaving the reverse blank.

Curiously, Boggs would keep the change he received (if any), the receipt and whatever he had transacted for, sell this ephemera to a collector, and then direct them to the recipient of the banknote artwork to complete the collection.

In this presentation display, Boggs has included a playing card with artwork, a $1 bill from change he received (with a description of the transaction, a date and a signature), and the bill from the event. It is accompanied by a gallery’s announcement of a Boggs exhibition. The lot will be sold at Roland NY on Saturday, December 16 and carries an estimate of $600-$800.