TV TREASURES

TV TREASURES

 
 

 



 



TV TREASURES FOR THE FIRST TIME, AVAILABLE FOR ACQUISITION

Carnac the Magnificent (Johnny Carson) turban from the iconic recurring sketch on The Tonight Show Starring Johnny Carson . Acquired from Mr. Johnny Carson

CURATED BY JAMES COMISAR

THE C OMISAR C OLLECTION

“The world’s greatest collection of TV memorabilia” “The market for pop culture memorabilia is booming, and Comisar has seen it coming for years. He has not only cornered the market, he also sometimes sets it, given the strength of his collection. An item’s price increases if Comisar is the seller, a sign of respect for his devotion to authenticity and provenance. The world’s greatest collection of TV memorabilia.” Abram Brown, Forbes “The Comisar Collection is now the gold standard” “In 1989 James Comisar began a one-man mission to save television’s treasures, and today he conserves thousands of costumes, props and sets, even more than the mighty Smithsonian in Washington. The Comisar Collection is now the gold standard for how television artifacts are cared for and celebrated, and we owe him our thanks.” Larry King, CNN “Amazing!” “He owns two warehouses filled with TV memorabilia. Amazing! James, how much would you sell that Andy (Gri ffi th) suit for?” Oprah Winfrey, Apple TV “No amount of money could recreate a collection with this depth” “James Comisar is a notoriously meticulous collector who seeks out pieces that are the finest examples available in the best condition possible. Many of the pieces in the Comisar Collection are singular and quite likely the only extant examples from some of the most revered and critically acclaimed television programs. No amount of money could recreate a collection with this depth, as the assets are simply not available.” Laura Woolley, Antiques Roadshow “Television is the essential storytelling medium, and James Comisar is its best friend and caregiver” “Television is the essential storytelling medium, and James Comisar is its best friend and caregiver. This collection includes the iconic pieces that tickled every kid’s imagination including my own, and it can transport you back to your young, hopeful self. Now, that’s magic!” David Copperfield “Thank God for James!” ”What James Comisar has been able to capture with his foresight cannot be measured. These are objects that just happened to exist in the moment. To even think about and collect these things that normally would be destroyed or forgotten provides us a connection to the popular culture of yesteryear. Thank god for my buddy James!” Howie Mandel “It’s like the shroud of Turin” “It’s incredible! The Batman (costume) symbol is just a piece of cardboard with printing on it, but it changed my life. It’s like holding the shroud of Turin to some degree. How proud is a geek fan that when I was a kid you’d go to a revolutionary war museum and they’d be preserving costumes of minute men. We’ve aggregated to this: 'We’ve gotta save Pufnstuf’s suit!’ James, I gotta go change my pants!” Kevin Smith

Photo credit: Gregg Segal for Comisar Collection

The Comisar Collection curator James Comisar with “old friends” from a childhood filled with television.

 

 

 

It is the opinion of this appraiser that many of the pieces in the Comisar Collection are singular and quite likely the only extant examples from some of the most revered and critically acclaimed television programs. It is therefore remarkable that a collection like this exists. No amount of money could recreate a collection with this depth and breadth, as the assets are simply not available. This collection began at a time when very little attention was given to television assets. While all eyes were squarely focused on film costumes, props, posters and animation art, this collection grew slowly and steadily made possible in great part to the fact that James Comisar, first as a TV writer and later as an advocate for preservation, built connections to people who had access to unique and important television artifacts. While most collectors were actively seeking out film related material, Comisar was deliberate in his desire to preserve television history and his pioneering e ff orts helped establish and foster a demand for television related materials in the marketplace. Comisar is a notoriously meticulous collector who seeks out pieces that are the finest examples available in the best condition possible and he adheres to these acquisition guidelines. In 99.9% of collections of this size there are invariably a good number of pieces that are not museum quality but perhaps the most a ff ordable example available. With rare exception, the pieces in the Comisar collection are of the finest quality available. In the vast majority of cases the objects in the collection have been identified as “Fine” to “Very Good” condition as pieces of lesser condition do not meet the exacting standards set for the collection and as such are not acquired or archived. Not only would it be impossible to source the variety of items represented by the collection in the current market, it would also be impossible to source the quantity of pieces represented at the level of condition found in this collection. The Comisar Collection has maintained a rigorous conservation campaign performing in-painting, stabilization, visual integration, conservation and restoration as necessary. The Comisar Collection uses Cara Varnell as their primary collection care manager. Varnell worked at the Los Angeles County Museum of Art before forming her own firm, Textile Arts Conservation Studio, and continues to work for Disney, Warner Bros., Fashion Institute of Design and Management, and the Smithsonian among others. Many leading conservators have waiting lists of weeks, months and in some cases years. The payo ff for this investment of time and money is the fact that a great many of the artifacts in the Comisar Collection are “exhibit-ready.” In addition Comisar has, at great expense, maintained the majority of these objects with archival standards that exceed those used by most museums. This attention to detail has essentially put the objects in suspended animation slowing the process of further deterioration as much as is scientifically possible providing additional value to the collection overall. Because of his precise focus on television artifacts Mr. Comisar has become the go-to expert for all things television. Christie’s, Sotheby’s, Bonhams, Julien’s, Profiles In History, Heritage Auctions, ScreenBid, and institutions like the Smithsonian, The Paley Center, and the studios themselves have all called upon Comisar to o ff er his expertise in helping to authenticate pieces. Because of his reputation for such scrutiny, the items in his collection are thought to be beyond reproach by other collectors and specialists. This product knowledge, together with his level of care has often pushed prices achieved through his own private sales beyond their market value. Collectors have shown a willingness to pay a premium for the fact that they don’t have to worry about any surprises concerning the provenance or condition of a piece. One of the most important benefits of all of the meticulous work that has gone into the research, conservation, documentation and archiving of the objects in the collection is the fact that the entire collection is as turn key as it could possibly be for anyone to be able to conceive of, curate and mount a myriad of exhibitions touching on a vast array of topics that go well beyond the history of television alone, allowing revenue producing scenarios to hit the ground sooner rather than later. Laura Woolley

Certified Appraiser Antiques Roadshow The Collectors Lab [email protected]

[A complete appraisal document is available to qualified parties. Please inquire]

 

 
 
 

Over 30 years the Comisar Collection has located, acquired and conserved artifacts that represent nearly 75 years of American television. What started as an interest in classic TV grew into a mission as I realized television’s cultural importance. Now, with thousands of artifacts, the Comisar Collection is the definitive archive telling the story of America’s favorite pastime, and through that lens, America’s story. The time has come for the Comisar Collection to find a permanent home in a qualified museum, archive or attraction. For the first time the entire collection—from Batman’s costume, Captain Kirk’s bridge uniform, Fonzie’s leather jacket, Archie Bunker’s living room chairs and Johnny Carson’s home base set to Tony Soprano’s pistol and Walter White’s blue sky meth—will be available, as a whole, for acquisition. The intention has always been to share these TV treasures with the public. This ultimate goal has guided the collection’s care from its early years until now; striving to meet the highest standards set by museums in order for the collection to be safely archived and exhibition ready. Representing both the artistic and the technical evolution, the Comisar Collection has focused on our history as viewed through the unique nature of the medium. The artifacts in this collection help spark a very personal connection with the audience, in e ff ect giving emotional life to the intimate and often times inspiring history of our collective experience. Early television programs followed radio’s proven character types and story structures until public tastes and entertainment expectations pushed the medium to expand. The American story as seen on TV o ff ers a glimpse into the lives of its citizens, only possible with skillful storytelling that brings viewers back each week. Television has helped shape the narrative of how we see ourselves and our place in the world. These familiar artifacts from television’s history would complement a museum mission to tell the story of our shared past across all screens, mediums and platforms. This would especially resonate with school kids, teens & families, as it would be an organic extension of their daily lives. Nielsen’s 2021 report confirms that the American audience escaped to the comfort of watching long-gone classic TV comedies during the pandemic. Programs born when TV content was tamer became a reliable option for multi-generational households who watched together. And even with dramatic growth in streaming platforms, there is not a decline in interest for traditional TV. We are again on the brink of something new. The delineation between film and television continues to fade as content seamlessly merges and streams to smart phones and mobile devices. TV storytelling today rivals the artistry and sophistication of the cinema, and there is no longer a sell-by date on erstwhile entertainment, as it all has a potential to connect with new generations. The dream has always been for the Comisar Collection to become a permanent part of an American museum or other appropriate public venue. We are presenting this collection as an opportunity for your stakeholders to acquire the treasures from America’s most beloved and ubiquitous narrative art form. I invite you to reach out if you would like additional information about terms and pricing. Cheers, James Comisar The Comisar Collection, Inc. (310) 273-1717 P z (310) 600-5210 M Publicist: Je ff Abraham z (310) 866-1825 ComisarCollection.com

19”

EARLY KIDS SHOWS & WESTERNS

88”

116”

SCREEN MATCH!

Howdy Doody & Princess Summerfall

“Howdy Doody” yellow felt studio logo pennant (top left), a coveted ticket to sit in the “Peanut Gallery” (top right)—the studio audience with up to a five year waiting list, Howdy Doody red plaid shirt & jeans puppet ensemble (bottom left), Princess Summerfall Native American green suede puppet ensemble (bottom right), and the beige corduroy center stage curtain with applied felt polka-dots circa 1950s from Howdy Doody. All objects acquired from the estate of series lead puppeteers Rufus & Margo Rose.

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Clarabell the Clown (Lew Anderson) signature striped clown costume (top center), and his latex clown pate with orange rigid hair c. 1970s (top right) from Howdy Doody later productions and appearances; Bu ff alo Bob (Bob Smith) signature suit ensemble circa 1955 (bottom left) with bu ff alo largely applied on the verso (bottom center) and metal bu ff alo nickel belt (not pictured); and an Emmy nomination lacquer plaque for Howdy Doody as Best Children’s Series for the year 1955 (bottom right). Costumes acquired from Bob Smi th and Lew Ander son , respectively.

Clarabell The Clown

VERSO

Howdy Doody - Best Kid ’ s Series - 1955

Bu ! alo Bob

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Mouseketeer Annette

Mouseketeer Annette (Annette Funicello) blue satin logo jacket with “Mouseketeers” circular patch at proper left chest (top right) her Western Round-up white leather boots with similar logos set into westerns stars (middle left), and signature black felt Mouseketeer ears (various artists) from The Mickey Mouse Club. Jacket & boots acquired from the Western Costume Star Collection and the mouse ears from the estate of 1950s Disney actor Henry Calvin.

Mouseketeer Annette

Mouseketeer Annette Funicello

Various Artists

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Zorro (Guy Williams) signature black Spanish hat & identity-concealing mask (top left), cape & cummerbund (not pictured) from Zorro ; Davy Crockett (Fess Parker) coonskin cap (middle left) from Davy Crockett; and a Daniel Boone (Fess Parker) bloodied long knife (middle center) & Mingo (Ed Ames) metal Native American tomahawk (bottom right) from Daniel Boone . Zorro

Daniel Boone

SCREEN MATCH!

Mingo

Davy Crockett

“SCREEN MATCH” designation appears when an image from production or elsewhere features what is likely to be the exact same object pictured from this archive. This is the most di ffi cult manner of authentication to accomplish.

SCREEN MATCH!

11

Dale Evans

Roy Rogers

SCREEN MATCH!

Roy Rogers (Roy Rogers) green and navy plaid western shirt (top left), Dale Evans beige beaver western hat with cord trim (top right), her plaid ensemble with burgundy large stars (top right), and short cowhide tie with silver engraved details (top right) from The Roy Rogers Show; and Little Joe Cartwright (Michael Landon) bandana collection (bottom right)) Hoss Cartwright (Dan Blocker) signature 10-gallon western hat (bottom left), and circa 1960s “Bonanza” production clapper (bottom right) from Bonanza .

Little Joe Cartwright

Hoss Cartwright

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Lassie

Timmy Martin

Lassie & Rudd Weatherwax

Timmy Martin (Jon Provost) signature child-sized plaid shirt (top left), Lassie chair back (top right), and Lassie prop dog bone (top left) from Lassie ; Rusty (Lee Aaker) child-sized cavalry uniform tunic (bottom right), and Rin Tin Tin 1947 dog license & dog tag (below middle & bottom left) from Rin Tin Tin . The shirt was acquired from child actor Timmy Martin’s boyhood friend and neighbor, who had it taped to his bedroom wall for years.

Rin Tin Tin

Rusty

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SCREEN MATCH!

Spanky (George McFarland) child-sized three- piece champagne satin tuxedo featuring a long swallow tailcoat with peak lapel and flat pearl buttons (lapel overlay and perhaps buttons removed for subsequent production); his matching satin shawl lapel vest; and satin trousers with “Metro-Goldwyn-Mayer” and “Spenky” (sic) labeled within. From the Our Gang theatrical short titled “Ye Olde Minstrels” (1941) to be packaged in the 1950s as Little Rascals television content. Acquired from the 1970 MGM studio auction.

Spanky

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SCREEN MATCH!

Buckwheat (Bill Thomas) child-sized three-piece houndstooth suit ensemble (bottom left) with original red si lk carnation and green and gold striped suspenders wi th “Metro-Goldwyn- Mayer” and “Buckwheat” labeled within. From the Our Gang theatrical short “Unexpected Riches” (1942) to be packaged in the 1950s as Little Rascals television content. Acquired from the 1970 MGM studio auction.

Buckwheat

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29”

21”

Miss Kitty

SCREEN MATCH!

Miss Kitty (Amanda Blake) western saloon ensemble (top left), “U.S. MARSHALL, DODGE CITY” exterior sign (center right), and Marshal Matt Dillon “U.S. MARSHALL” western badge (bottom right), western ensemble (bottom left) & boots (bottom center) from Gunsmoke . Ensembles acquired from Western Costume Star Collection, and the badge from series property master Clem Wedrig.

Marshal Matt Dillon

Marshal Matt Dillon

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Chuck Connors

Johnny Crawford

“Starring Chuck Connors” (Chuck Connors) opening title art painted on glass (top left), “and Johnny Crawford” (Johnny Crawford) opening title art painted on glass (middle right), and Lucas McCain signature western shirt & cowboy hat (bottom left) from The Rifleman. The title art was acquired from Pacific Title, whose earlier practice was to remove the paint and re-use the glass for subsequent productions; the shirt from son Je ff Connors, and the hat from the estate of series stuntman Fritz Ford.

Lucas McCain

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The Lone Ranger

The Lone Ranger

The Lone Ranger (Clayton Moore) ranger uniform tunic (top right) and identity-concealing mask (bottom left) from The Lone Ranger. Opposite page, Superman (George Reeves) uniform tunic with “S” chest logo (top left) and his dense rubber molded muscle suit (bottom right) from The Adventures of Superman. Both tunics were acquired from the Western Costume Star Collection, the mask from the estate of Clayton Moore, and the muscle suit from series special e ff ects supervisor Thol “Si” Simonson. CURATOR’S NOTE: “Western and superhero programs of the 1950s & 1960s o ff ered families and especially children a steady diet of ‘truth, justice & the American way.’ The Lone Ranger was among the most popular, and his gray ensemble had a special cloth strap sewn into the tunic so it remained tucked into his trousers even while riding horseback or maintaining order. The Lone Ranger black mask was specifically worn after production ended after Mr. Moore was prohibited by rights holder The Wrather Corporation to wear his show-worn mask at public events. To prevent further legal action, his workaround, said daughter Dawn Moore, was to create another mask out of high-grade black leather and adhered to Italian black lacquer eyeglass frames that were just similar enough. At the conclusion of each season of The Adventures of Superman, ‘man of steel’ George Reeves was known to remove the iconic “S” chest emblem from his uniform tunics and mail them to sick kids who had written him. I acquired such a Superman tunic sans chest emblem, then searched nearly 10 years so the corresponding “S” patch could rightfully be sewn back onto center chest.” - James Comisar

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Superman

Superman

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END OF TRIBUTE

EARLY FAMILY COMEDIES

11”

13”

Lucille Ball

Lucille Ball

12”

This page: Lucille Ball human hair orange-red wig on a lace foundation (top left) custom made for Lucy circa 1960s for Here’s Lucy; a Lucille Ball rare vintage photograph (top right) largely signed in blue ballpoint: “This script certainly is lousy but you’re nice - Lucille”; and a Lucy Ricardo (Lucille Ball) costume sketch (lower left) of a chartreuse blouse & long brown skirt ensemble signed by costume designer Elois Jenssen in lower right and approved for construction “OK, LB” by Lucille Ball in lower left for I Love Lucy. Opposite page: Lucy Ricardo (Lucille Ball) signature polka-dot jacket & dress ensemble (along left) featured in the “Lucy Goes to Mexico” episode of I Love Lucy , which by 1957 the series had changed its thirty minute format and was retitled The Lucy- Desi Comedy Hour ; and a Lucy double-strand of vintage pearls circa 1950s/1960 (middle left). The

18”

costume sketch was acqu i red f rom the e s t a t e o f s e r i e s cos t ume des i gne r Elois Jenssen, the polka-dot dress from t h e MGM s t u d i o auction, and the wig from Lucy’s daughter, Lucie Arnaz.

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ICONIC EPISODE: LUCY GOES TO MEXICO

CURTOR’S NOTE: “This Lucy Ricardo (Lucille Ball) costume is the only one known to have survived I Love Lucy or The Lucy-Desi C.omedy Hour It was worn 37 out of 50 minutes on ‘Lucy Goes to Mexico,’ one of the last episodes filmed before she and husband Desi Arnaz, Sr. divorced—and the famous duos of Ricky & Lucy and Fred & Ethel would never reunite again. The Lucy human hair wig exhibits crude sewing repairs to its lace foundation, and her wig maker Marie Skaien shared that Lucy was known to make such repairs herself while watching TV to save a few bucks. The wig was discovered stu ff ed deep inside a hat that daughter Lucie Arnaz donated in the early 1990s to a charity auction. Lucy’s familiar dot dress is what Hard Rock Cafe founding archivist Warwick Stone would call a ‘going to church’ piece: ‘You recognize it from across the room and you just go quiet.’” - James Comisar

Lucy Ricardo

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SCREEN MATCH!

Ricky Ricardo

ICONIC EPISODES: LUCY & RICKY RICARDO WERE TV’S FIRST INTER-RACIAL COUPLE

Ricky Ricardo (Desi Arnaz, Sr.) royal-blue polka-dot smoking jacket (top left) from seasons 1 & 2 of I Love Lucy; and a 1953 corresponding letter from Mr. Arnaz (not pictured) stating the jacket was a prize in a contest; a Desi Arnaz, Sr. acoustic guitar (bottom left) similar in style to a 1940s Gibson LG-1 flat-top with tobacco sunburst finish with no visible manufacture marks likely custom made for the artist. Smoking jacket acquired from the James R. Puckett estate, the guitar from Desi Arnaz, Sr.

Desi Arnaz , Sr .

CURATOR’S NOTE: “The Ricky Ricardo (Desi Arnaz, Sr.) smoking jacket was worn during seasons 1 & 2 in five episodes of I Love Lucy. Program sponsor Phillip Morris Cigarettes would later o ff er it as a prize to the salesman who sold the most cigarettes during their 1952 Christmas Sales Contest. I acquired it from the daughter of contest winner James R. Puckett and was floored that the original Desi Arnaz congratulations letter was still kept with the jacket. The straw boater hat was first worn by real-life bandleader and singer Desi Arnaz, Sr., who the Ricky Ricardo character was based upon. Having had a hit with The Straw Hat Song, it quickly became his signature piece of wardrobe during live performances, and it was also famously worn in the I Love Lucy season 1 episode “The Diet”, when Lucy (Lucille Ball) and Ricky sing the ‘Cuban Pete-Sally Sweet’ number. - James Comisar

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Ethel Mertz (Vivian Vance) Native American lavender dress with beaded flower motif & suede trim (restored) (middle right) from the I Love Lucy fan-favorite episode “The Black Wig,” when Lucy (Lucille Ball) and Ethel try to disguise themselves to see if their husbands would flirt with them; and a Lucille Ball Productions camera slate circa 1960-70s (bottom left). Dress acquired from the Western Costume Star Collection.

ICONIC EPISODE: LUCY & ETHEL DISGUISE THEMSLEVES TO TEST RICKY & FRED

Lucille Ball

Ethel Mertz

SCREEN MATCH!

23

George Burns

SCREEN MATCH!

George Burns

Gracie Allen

Various script pages hand-annotated by George Burns (top center & right) from The Burns and Allen Show ; the 1955 City of Hope Torch Award statue to George Burns for distinguished service (middle left); George Burns human-hair salt & pepper hairpiece (middle right) circa 1970s-1996; his signature round glasses (sans glass to protect against studio light glare) from the same circa; and Gracie Allen clear acrylic cat-shaped glasses with embedded silver glitter circa 1940s-1950s. The Burns and Allen Show began in radio in 1936. The comedy duo’s routine was reimagined in 1950 as a television series loosely based on their life as performers living in Beverly Hills, California and it was honored with eleven Emmy Award nominations. After the passing of wife Gracie, George Burns went on in the 1970s as a solo act to become among the most popular variety & talk show guests and a motion picture star, winning an Academy Award in 1976. Later in life, he would enjoy another revival, becoming a top live performer until he reached 100 years-old. All objects acquired from the George Burns estate and his longtime business manager Irving Fein.

SCREEN MATCH!

END OF TRIBUTE

24

Steve Douglas

Steve Douglas

SCREEN MATCH!

Steve Douglas (Fred MacMurray) fishing hat (top left); his smoking pipe marked “Made in England - 1946” (middle right); his green sweater ensemble from My Three Sons acquired from the estate of Fred MacMurray; and a vintage hightop Converse sneaker (possibly production wardrobe) signed by cast members Don Grady, Barry Livingston & Stanley Livingston.

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STAR TREK: THE ORIGINAL SERIES

Various costume sketches and drawings rendered in graphite, pen & ink, marker, etc., for main cast, guest starring spacecraft crews, and visiting aliens (throughout this page) in the hand of ser ies costume designer Wi l l iam Ware Theiss and others from Star Trek: The Original Series. All objects acquired from the estate of William Ware Theiss.

Costume designer William Theiss

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FRONT

The first known drawing of U.S.S. Enterprise insignias or uniforms (top left & bottom center) for the new television series Star Trek: The Original Series. It is hand drawn on the back of a 1968 Howard Johnson paper placemat in the hand of series costume designer William Ware Theiss. Acquired from the estate of William Ware Theiss.

VERSO

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Mr . Spock

Captain James T . Kirk

CURATOR’S NOTE: “Mr. Spock (Leonard Nimoy) ear tip appliances were baked each morning in the home oven of lead make-up artist Fred Phillips for Star Trek: The Original Series , and this pair was acquired from his estate and sold by Christie’s. These U.S.S. Enterprise bridge tunics of Captain Kirk (William Shatner) and Lt. Uhura (Nichelle Nichols) are especially coveted, made from a soft velour that was exclusive to season 1 episodes. This fabric would later be replaced by a less form-fitting polyester that could conceal the changing weight of a certain captain, who was known to frequent craft service tables. I acquired Uhura’s uniform & boots from Anita Doohan, wife of fellow cast member James Doohan, who portrayed ship engineer Montgomery ‘Scotty’ Scott. She managed Ms. Nichols, and these pieces were set aside for a charity auction that never came to fruition, remaining in her possession until I acquired them in the early-1990s.” - James Comisar

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Opposite page: Mr. Spock (Leonard Nimoy) Vulcan latex ear tip appliances (top left); acquired from series make- up artist Fred Phillips; and Captain James T. Kirk (William Shatner) U.S.S. Enterprise season 1 gold velour bridge tunic (middle right) from Star Trek: The Original Series. This page: Lt. Nyota Uhura (Nichelle Nichols) U.S.S. Enterprise season 1 rust velour bridge dress (top left) and her black leather uniform boots (bottom right) from Star Trek: The Original Series; and “Star Trek” set slate (bottom left) from Star Trek: The Motion Picture. Uhura dress and boots were acquired from her 1960s manager Anita Doohan, and the slate board from the movie’s property master Dick Rubin.

Lieutenant Nyota Uhura

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Lieutenant Nyota Uhura

ICONIC EPISODE: KIRK KISSES UHURA - TV’S MOST FAMOUS INTER-RACIAL KISS

Captain Kirk (William Shatner) rust and salmon striped grecian toga (bottom opposite page) worn when he—under the influence of a spell—kisses Lt. Uhura (Nichelle Nichols) in the Star Trek: The Original Series episode “Plato’s Stepchildren”. One of the first inter-racial kisses on network television, this highly controversial scene had national sponsors dropping their commercials from this historic episode. Acquired from the estate of series costume designer William Ware Theiss.

CURATOR’S NOTE: “I was asked in 1991 to market William Ware Theiss’ personal collection of career memorabilia from Star Trek: The Original Series. The imaginative costume designer for the run of series set forth in his will that it should all be sold to benefit Project Angel Food, a Southern California charity that delivers hot meals to those challenged with HIV-AIDS, where I sat on the Board of Directors. With the help of science fiction archivist Fuller French and memorabilia specialist Kathi Gates of Butterfield & Butterfield auction house, we were able to carefully research and identify hundreds of pieces. Also, personally, I had the intention to purchase a large selection of these Star Trek costumes, jewelry, sketches, correspondence and more that would be on o ff er for the first time (some of which had previously anchored an exhibit at the Smithsonian Institution’s National Air & Space Museum). In the end, nearly three decades ago, I spent about $70,000. This was a great financial risk for me, and it was only possible because auction house owner Barney Osher was willing to make loans to those wanting to make larger purchases. Even at 27 years-old and at the beginning of my hunt, I knew that if I wasn’t willing to stretch to collect pieces from classic shows like I Love Lucy, Batman, Star Trek and a few others, I should go back to only watching television.” - James Comisar

“SCREEN MATCH!” designation appears when an image from production or elsewhere features what is likely to be the exact same object pictured from this archive. This is the most di ffi cult manner of authentication to accomplish. 30

Captain James T . Kirk

Mr . Spock

SCREEN MATCH!

SCREEN MATCH!

31

Lethe

Lethe red paisley dress ensemble (bottom right) and her corresponding costume sketch (top right) from the Star Trek: The Original Series season 1 episode “Dagger of the Mind.” The script describes the character as a “tall, handsome, if slightly cadaverous, young woman with a slight lack of moral human spontaneity in both manner and voice” and wearing "a technician version of the Tantalus Colony garb.” Acquired from the estate of series costume designer William Ware Theiss.

Lethe

SCREEN MATCH!

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Photo credit: Justin Miller & Marcelles Murdock for Comisar Collection

Ellan of Troylus

SCREEN MATCH!

SCREEN MATCH!

Elaan of Troylus

Ambassador Petri

Elaan of Troylus orange sheer dress ensemble (bottom left), Ambassador Petri purple sash ensemble (bottom center), and Elaan corresponding costume sketch (top left) from the Star Trek: The Original Series episode “Elaan of Troylus”. Upon witnessing hand props & sets from the series being thrown into the trash following the conclusion of the series’ low rated final season, costume designer William Ware Theiss was given permission to keep his favorite costumes, which he archived until his death in 1992. A number of these costumes were featured in a Smithsonian Institution exhibit that proved so popular it was moved to a larger location and was held over for an extra year to become the most attended exhibit in the history of the national institution.

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Odona

Ambassador Hodin

Odona (Sharon Aker) deep purple mesh and faux textured hide ensemble (bottom left), her corresponding costume sketch (top middle); Ambassador Hodin rust honeycomb motif long tunic (bottom right), and his corresponding costume sketch (top right) from the Star Trek: The Original Series episode “The Mark of Gideon”. All objects acquired from the estate of series costume designer William Ware Theiss.

SCREEN MATCH!

Ambassador Hodin

SCREEN MATCH!

Odona

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Rael , the Scalosian

Deela , the Scalosian

Real, the Scalosian (Jason Evers) iridescent uniform ensemble, neck communicator & boots (top left); his corresponding costume sketch (middle center); Deela, the Scalosian (Kathy Brown) iridescent dress ensemble (bottom right) with large floral motif, floral belt, shoes, and neck communicator; and her corresponding costume sketch (top center) drawn on a paper placemat from the Star Trek: The Original Series episode “Wink of an Eye.” This ensemble was formerly on exhibit at the Smithsonian Institution and acquired from the estate of series costume designer William Ware Theiss.

Deela , the Scalosian

SCREEN MATCH!

35

Droxine (Diane Ewing) sea foam-green metallic bikini top, ice-blue pleated cape, and matching very full pleated gown ensemble (bottom right) from the Star Trek: The Original Series episode “The Cloud Minders”. This ensemble was formerly on exhibit at the Smithsonian Institution and acquired from the estate of series costume designer William Ware Theiss.

Droxine

SCREEN MATCH!

36

Ruth Bonaventure (Maggie Thrett) lime-green solidly beaded and sequined long sleeveless dress with asymmetrical bodice (bottom right) from the Star Trek: The Original Series season 1 episode “Mudd’s Women”. It was one of three episodes considered to serve as the series’ second pilot. This ensemble was formerly on exhibit at the Smithsonian Institution and acquired from the estate of series costume designer William Ware Theiss.

Ruth Bonaventure

SCREEN MATCH!

37

END OF TRIBUTE

EARLY SCIENCE FICTION & FANTASY

Video Ranger

Space Cadet

Space Ranger

A Video Ranger uniform jacket with large lightening bolt across front (top left) from Captain Video ; a Space Ranger uniform jacket with planetary patch at proper left chest (middle right) from Rocky Jones, Space Ranger; and a Space Cadet uniform tunic w. circular rocket logo at center chest (bottom left) from Tom Corbett, Space Cadet. Video Ranger jacket acquired from series cameraman Arthur Forrest.

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Original opening title concept art (bottom center) with “Irwin Allen’s - Voyage to the Bottom of the Sea - Produced and Directed by Irwin Allen” in white gauche letters on black board from Voyage to the Bottom of the Sea; an original show title card with: "Tonight’s Episode - The Ivy Curtain” (top left) painted onto black paper and celluloid for this season 1 episode of The Invaders; and a second original show title card with: "Tonight’s Episode - The Spores - © 1967 QM Productions” painted onto black paper and celluloid for this season 2 episode of the same series.

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Chf . Curley Jones

Adm . Harriman Nelson

Capt . Lee Crane

41

IRWIN ALLEN SCIENCE FICTION

36”

DETAIL

36”

The Flying Sub

Flying Sub miniature submarine (approximately 36” in diameter) with male figures poised on the observation deck and working lighting within from Voyage to the Bottom of the Sea .

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68”

Pilot Dan Erickson

Flight Attendant Betty Hamilton

Capt . Steve Burton

Pilot Dan Erickson (Don Marshall) tan flight uniform jacket (middle left); Betty Hamilton (Heather Young) gray flight attendant jacket & skirt (middle center); Captain Steve Burton burgundy flight uniform jacket (bottom left) each with orange emblem chest patch with inverted “G”; and an oversized burgundy screwdriver with carved handle and metal shaft from Land of the Giants . SCREEN MATCH! 42

Robinson Family

Lost in Space

10.5”

Robinson family

Will Robinson

Penny Robinson

Robinson Family season 1 black space pistol (top center) and season 2 silver space pistol (middle center); Will Robinson (Billy Mumy) orange velour space ensemble (bottom center) from season 2; Penny Marshall (Angela Cartwright) orange jumpsuit (middle center) from season 2; and Robinson male carved wood miniature (center right) from Lost In Space . Weapons acquired from Fuller French, and the costumes from Western Costume Star Collection. END OF TRIBUTE

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EARLY SPY SHOWS

Encyclopedic archive of hundreds of Mission: Impossible photographic and printed props from the files of series supervising property master Art Wasson. Acquired from History For Hire.

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James West

Richard Kimble

“Richard Kimble” (David Janssen) fugitive wanted poster (top left) for interstate flight and murder seen throughout the series The Fugitive ; James West (Robert Conrad) western gentleman black hat (top right), and his signature royal-blue traveling ensemble (bottom right) with four-in- hand tie and floral vest from The Wild, Wild West .

James West

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Maxwell Smart

Maxwell Smart

SCREEN MATCH!

Agent 99

SCREEN MATCH!

SCREEN MATCH!

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Agent 99

SCREEN MATCH!

Opposite page: Maxwell Smart (Don Adams) cheese sandwich concealed phone top right) from the Get Smart season 2 episode “Smart Fit the Battle of Jericho“; Maxwell Smart (Don Adams) ice cream cone concealed phone (middle right)) from the Get Smart season 3 episode “The Hot Line,“ and Agent 99 (Barbara Feldon) orange acrylic powder compact concealed phone from the Get Smart season 1 episode “Our Man in Leotards.” This page: Agent 99 (Barbara Feldon) bar of soap concealed phone (top left) from the Get Smart season 3 episode “Operation Ridiculous; and Maxwell Smart (Don Adams) shoe phone with removable sole and his Top Clearance photo ID from the 1980s reboot Get Smart…Again. Classic phones acquired from Ellis Mercantile rental house.

CURATOR’S NOTE: “Hollywood’s oldest prop rental houses El l is Mercantile was purchased by an equity firm solely interested in their real estate. They were eager to empty the buildings packed with props & set dressing accumulated over 50 years, and I advised on what pieces might thrill at a big auction. One particular fragile, yellowed file box gave me the tingle known to every collector (Must. Buy. Now!), and it contained prop phones & gadgets from the 1960s spy spoof Get Smart . These were as good as it gets; each handmade, one of a kind, and the first to come to market. With so many buying choices, I struggled to buy a few, and I still regret every one that I didn’t bring home. In the words of super spy Maxwell Smart, ‘Missed it by that much!’” - James Comisar

Maxwell Smart

Maxwell Smart

END OF TRIBUTE

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1960s FANTASY COMEDIES

“Wilbur - Youngstown 1962” circular cordovan leather award presentation to Alan Young with Mister Ed (Bamboo Harvester) profile and horseshoe center (top left), four Mister Ed horseshoes (middle left) taken home from production by Alan Young and polished to gift to fans; a leather riding crop (bottom right) used by Mister Ed trainer Lester Hilton, who just below camera would lay it across the animal actor’s front legs to signal him to chatter as if he were talking; and a Wilbur Post (Alan Young) red sweater ensemble (bottom right) from Mister Ed . All objects acquired from Alan Young.

Alan Young

Mister Ed

Wilbur Post

SCREEN MATCH!

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First Mate Gilligan

First Mate Gilligan

“S.S. MINNOW” distressed life ring (top left); and first mate Gilligan (Bob Denver) signature beige bucket hat (bottom right) from Gilligan’s Island . Life ring acquired from the CBS Radford Studios, and the hat from Bob Denver.

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Jeannie

Jeannie

Jeannie

Jeannie (Barbara Eden) animation cel (top right) featuring her dancing with her colorful bottle (paint restored) from the opening titles or related bumpers; a Jeannie ornate bottle (bottom right) with teal blue base color and hand-painted gold leaves & golden windows related to the production of season 1; and an early graphite painting schematic sketch of the bottle (top left) with notations indicating it is related to the season 1 “final episode” of I Dream of Jeannie.

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Jeannie (Barbara Eden) signature harem ensemble (top left) with a deep red velvet cropped jacket with pink chi ff on short sleeves and matching harem pants, a pink pleated bra with tassel ornamentation (middle right), and her pillbox hat with pink chi ff on veil (bottom left) from I Dream of Jeannie . Later re- purposed in subsequent productions, some fanciful trim has been removed. Acquired from Hollywood actor and archivist Debbie Reynolds.

Jeannie

CURATOR’S NOTE: “Underneath the paint job of TV’s most memorable bottle is a 1964 Jim Beam Whiskey Christmas decanter. The producers received it as a gift shortly before filming of the I Dream of Jeannie pilot episode, they embellished it with a hand-painted teal base coat and distinctive fig leaves motif, and it became the most recognizable bottle in Hollywood history. The genie harem costume worn by Jeannie (Barbara Eden) is famously high-waisted, and NBC believed her belly button would be too racy for its viewership, so they sent a censor to set each day to assure it never poked out. Eden’s name appears within the costume, as does “1965 - New” indicating it was made towards the later half of season 1. Some pink serpentine trim has been removed, suggesting the costume was slightly modified for re-use after series wrap. I acquired the ensemble from motion picture actor & archivist Debbie Reynolds when she needed to raise some cash to buy mattresses for her forthcoming Las Vegas hotel & casino.” - James Comisar

Jeannie

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SCREEN MATCH!

SCREEN MATCH!

Samantha Stephens

Endora

Samantha Stephens (Elizabeth Montgomery) Witches & Warlocks green metallic witch ensemble with stand-up collar (middle left); and Endora (Agnes Moorehead) signature lilac empire-waist dress with stand-up collar & Kelly green floor- length cape (middle right) featured in the Bewitched season 7 episode “Samantha’s Bad Day in Salem” and others; and an animation cel (top left) featuring a distant Samantha on her broom flying through a hand-painted field of stars on a laser background from the opening title, a bumper, or related commercial. Endora ensemble acquired from actor and archivist Debbie Reynolds

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Mother Superior

Sister Bertrille (Sally Field) nun habit ensemble, oversized coronet, and rosary beads & crucifix (all bottom right); and Mother Superior Plaseato (Madeline Sherwood) nun habit, oversized coronet, rosary beads & crucifix (all middle left) from The Flying Nun . Acquired from actor and archivist Debbie Reynolds.

Sister Bertrille 53

Eddie Munster

Herman Munster

Lily Munster

As race riots broke out across America in the mid-1960s, The Munsters was programmed to provide a silly take on what happens when a family that looks di ff erent moves into the neighborhood. Herman Munster (Fred Gwynne) two-piece crypt-gray tattered suit ensemble (middle left); Eddie Munster (Butch Patrick) two-piece child-sized purple velvet short pants suit (top right); and Lily Munster (Yvonne DeCarlo) mocha-brown signature dress with bat wing-shaped sleeves (bottom right) from The Munsters . Opposite page: Grandpa Dracula (Al Lewis) two-piece tuxedo ensemble with blood-red lapels & trouser stripes (top right); Munster mansion carved wood lion head door knocker with heavy brass drop ring (top left); and the Munster mansion weathered metal bat-shaped weathervane (bottom right) from The Munsters. Both the door knocker and weathervane dressed the Munster mansion used for exterior shots located on the Universal Studios back lot. All costumes acquired from the Western Costume Star Collection.

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14”

24”

Grandpa Dracula

END OF TRIBUTE

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1960s RURAL COMEDIES

7” Train Station

14” Water Tower

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C & F.W. Railroad Car - 11”

Train Locomotive - 14”

CURATOR’S NOTE: “I made the acquaintance of actor Linda Kay at a collector’s show, where I quickly agreed to purchase the wedding dress she wore memorably on Petticoat Junction . But she teased that she had something else to show me, and invited me to the home of her father, who had recently passed away. Noteworthy, her dad Paul Henning was the creator of this series and others, and his English Tudor home memorialized their popularity and his success. Linda pointed up to a ledge that ran above the tall bookcases in their great room, and sitting high atop were the production-used miniature buildings that made up the rural town of Hooterville and its fabled train the Hooterville Cannonball. Linda said if I could get up there, she would sell them to me, so I was either going to get every piece down or have a great story about how I broke my back! These models were old school, extremely detailed, hand-painted, and far better than they needed to be for camera because of pride in workmanship. I’m thankful that someone thought to take them home, because they wouldn’t have survived one day in a studio out building.” - James Comisar

Opposite page: Hooterville miniature distressed wooden water tower (bottom left) with hand-painted sign advertising the “Shady Rest Hotel” featured in the opening titles of Petticoat Junction and later in the spin-o ff series Green Acres; and the Hooterville Cannonball train station miniature (top center) with hand-painted signs that read “HOOTERVILLE ELEV. 1427” and “MAGNETIC TELEGRAPH OFFICE” seen in stock shots when the vintage, perennially late train was pulling into station. This page: Hooterville Cannonball train miniature (top center) consisting of a black locomotive with red and green detail and “HOOTERVILLE CANNONBALL” signs on both sides of the engineer’s compartment; a green passenger & baggage combine car (not pictured); and a red railroad cargo car filled with scaled cordwood with fanciful “C & F. W. Railroad” hand-painted sign on both sides; and a free-standing covered wooden slat bench with “Shady Rest Hotel” hand-painted sign above (not pictured). Acquired from cast member Linda Kay Henning. daughter of show creator Paul Henning.

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Sheri ! Andy Taylor

Goober Pyle

Sheri ! Andy Taylor

Sheri ff Andy Taylor (Andy Gri ffi th) khaki uniform shirt with “SHERIFF MAYBERRY” star patch on proper right shoulder (top right); his silver metal “SHERIFF MAYBERRY” star badge (middle right); Goober Pyle (George Lindsey) brown felt crown (middle left); and Gomer Pyle (Jim Nabors) distressed leather work boots (bottom right) worn on every episode he appears on The Andy Gri ffi th Show. Each object acquired from the respective actor.

Gomer Pyle

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Jed Clampett

Jed Clampett

Granny Moses

Jed Clampett (Buddy Ebsen) navy-blue cotton “Sunday best” suit jacket & blue dress shirt (top left), his beige and brown bushy human hair mustache (top right); Granny Moses (Irene Ryan) gray, blonde & brown human hair wig (middle right); and her brown distressed boots (bottom left) from The Beverly Hillbillies. Acquired from Buddy Ebsen, Irene Ryan & others.

END OF TRIBUTE

Granny Moses

Photo credit: Getty Images

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Fort Courage

Hannibal Dobbs

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Col . Robert Hogan

Sgt . Hans Schultz

Opposite page: Fort Courage charcoal concept sketches (2) (one shown top right); “F TROOP” red & white pennant flag with crossed sword motif (middle left); Hannibal Dobbs (James Hampton) and brass cavalry horn (middle right) from F-Troop ; and a pastel and ink painting of a wagon train journeying over mountainous terrain (bottom left) seen in the opening title under the series name “WAGON TRAIN” on Wagon Train . This page: Colonel Robert Hogan (Bob Crane) brown leather bomber jacket with “COl. R. E.HOGAN” leather name patch (replaced) proper left chest (top left); and Sergeant Hans Schultz (John Banner) gray wool Nazi uniform overcoat (top right) from Hogan’s Heroes; and a Bret Maverick (James Garner) western ensemble (bottom right) from Maverick . Bomber jacket acquired from series costumer Ray Harp, the Nazi overcoat and the Maverick ensemble from Western Costume Star Collection. 61

Bret Maverick

ICONIC EPISODE: IN THE SERIES PILOT, THE RIDDLER IS INTRODUCED FOR THE FIRST TIME WEARING THIS ENSEMBLE

Photo credit: Justin Miller & Marcelles Murdock for Comisar Collection

SCREEN MATCH!

The Riddler

DETAIL: The Riddler (Frank Gorshin) ensemble with hand- drawn question-marks throughout (seen bottom right in a screen capture from episode 1 of Batman ) and our archived jacket (top left & bottom right)) appear to be a perfect screen match. The Riddler (Frank Gorshin) costume—with each question mark drawn by hand—worn as the American viewing public meets him for the first time in the Batman pilot episode “Hey Diddle Riddle” (top left & bottom right) and elsewhere.

DETAIL

The Riddler

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TV’S CLASSIC “BATMAN"

Photo credit: Justin Miller & Marcelles Murdock for Comisar Collection

61”

Batman & Robin hero folding bat-shaped acrylic Bat-shield (top left) with “BAT SHIELD” largely applied across center in hand-cut navy-blue letters and silver metal hinges that allow for the signature weapon to be folded into quarters (when it is revealed emerging from or returning to Batman’s utility belt at the pit of his back); and Robin Bat-o-rang forged metal hero hand weapon and grappling hook (bottom right) boldly signed on the verso by actor Bert Ward from Batman . The Bat-shield was acquired from Christie’s New York.

Batman & Robin

SCREEN MATCH!

Robin , The Boy Wonder

VERSO

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SCREEN MATCH!

DETAIL

Batman

DETAIL: The Batman (Adam West) hand-painted eyebrows & nose bridge on the cowl cover (seen above in a screen capture from the Batman season 2 episode “Pa Parker”) appears to be a perfect screen match with our archived cowl (top right).

Batman (Adam West) crime-fighting uniform (bottom left) comprised of a burgundy-purple identity-concealing cowl, matching satin full-length cape, gray leotard tunic with bat emblem applied at center chest, yellow wide utility belt with 4 pockets & 3 dowels, burgundy-purple gauntlet gloves, matching satin briefs, grey leotard leggings, and blue tall boots (replaced); and Robin, The Boy Wonder (Burt Ward) crime-fighting uniform (bottom center) comprised of a black fabric mask, yellow satin waist cape, red velour vest with shoelace closure & circular “R” logo at proper left chest, pale green tee-shirt, black thin strap belt with 6 dowels, green soft leather gloves, green knitted briefs, nude leotard leggings, and grey suede boots (some pieces replaced); from Batman . The Batman cowl in particular (top right) is screen matched to the season 2 episodes with the villainous “Pa Parker” (Shelly Winters) and likely other episodes. Noteworthy, Batman’s uniform features markings throughout (details below) confirming it was specifically made for Mr. West (and not a stunt player). Condition note: Dark colors such as royal blue (the original color of the Batman cowl, cape, gauntlet gloves & briefs) degrade in color, especially with prolonged exposure to dry cleaning fluid. While the cape retains its deep original color, the cowl, gloves & briefs have faded to a light burgundy-purple color that is uniform and not visually distracting.

DETAIL: “A2” for Adam belt #2 and “Adam West” are hand-inscribed on the verso of his utility belt (below)

DETAIL: “A” for Adam (West) is hand-inscribed in the waistband of his tights (above)

DETAIL: “A” for Adam (West) is present in cape collar (above)

Batman

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