522
The Broadway Stage Used Poster for "Hannibal" from The Phantom of the Opera
Bids do not include VAT, buyer’s premium or delivery.
By confirming your bid, you agree that you have read and accepted the-saleroom.com and the auctioneer's terms and conditions. Confirming your bid is a legally binding obligation to purchase and pay for the lot should your bid be successful.
Choose one of the quick bid options below:
Bids do not include VAT, buyer’s premium or delivery.
By confirming your bid, you agree that you have read and accepted the-saleroom.com and the auctioneer's terms and conditions. Confirming your bid is a legally binding obligation to purchase and pay for the lot should your bid be successful.
THE PHANTOM OF THE OPERA
The Broadway stage used poster for "Hannibal" presented in the opening scene of The Phantom of the Opera. Color printed on a thick canvas and with wooden rollers, the poster is approximately 72 x 48 inches. Some edge wear from the intentional rolling and unrolling on stage.
An important stage used prop from Phantom of the Opera, the poster for "Hannibal" unfurled in the show's evocative first scene, the auction of relics of the Paris Opera. The musical opens with the serious voice of an auctioneer:
"Lot 663, then, ladies and gentlemen: a poster for this house's production of 'Hannibal' by Chalumeau. Do I have ten francs? Five then. Five I am bid. Six, seven. Against you, sir, seven. Eight. Eight once. Selling twice. Sold, to Raoul, Vicomte de Chagny."
The auction scene is pivitol in establishing the setting and drama of the musical, and the sale of the poster precedes the auction of the monkey music box, also bought by Raoul, Vicomte de Chagny, who hints at his connection to the history of the Opera by his instant nostalgia for the piece. The scene concludes with the auctioneer's haunting description of lot 666:
"A chandelier in pieces. Some of you may recall the strange affair of the Phantom of the Opera: a mystery never fully explained. We are told, ladies and gentlemen, that this is the very chandelier which figures in the famous disaster. Our workshops have restored it and fitted up parts of it with wiring for the new electric light, so that we may get a hint of what it may look like when reassembled. Perhaps we may frighten away the ghost of so many years ago with a little illumination, gentlemen?"
When Act I of the musical begins, the audience is transported back to 1881, to the rehearsals for "Hannibal" that first introduce us to Madame Giry, Christine, and the "Angel of Music" who Christine confides to Raoul has visited her secretly and tutored her in singing. In this scene, the Phantom appears in Christine's mirror, and she first visits his lair.
Technical Production Manager Jake Bell's memories of The Phantom of the Opera:
This "Hannibal" poster was used on stage in many Broadway performances of The Phantom of the Opera and retired before the show's closing in 2023. The poster comes from the collection of Jake Bell, Technical Production Manager from the year the show opened on Broadway to its closing in April 2023 as the longest running musical in Broadway history at 13,981 performances. Jake Bell had been with Phantom from the beginning, having been first hired by British Producer Cameron Mackintosh for the Broadway production in 1988 and continuing through decades of national and international tours. The show’s technical requirements were so advanced that many theaters had to undergo extensive renovations to accommodate it. An excavator was brought in to dig the basement 10 feet deeper, allowing the candles and candelabras—212 in total—to rise seamlessly from the stage floor. The expanded basement also provided space for a trap door, a retractable staircase, and the rising Paris Opera House roof dome. Further, steel support structures were installed to hold the massive proscenium and chandelier, both of which hung over the audience. Suspended above the audience, the chandelier dramatically crashed onto the stage in one of the show’s most spectacular effects. The original Broadway chandelier remained in use throughout the show’s 35-year run. It was never replaced, thanks to meticulous maintenance, including rewiring, re-welding, replacing globes, repainting, and continuous cleaning. The chandelier was named “Ruthie II” after its London counterpart, “Ruthie I.” The name was in honor of Ruth Mitchell, Hal Prince’s formidable assistant, who was known for her strong personality and unmatched dedication.
At the Majestic Theatre on 44th Street, Phantom was one of the first major productions to incorporate a fully computer-automated system. With 52 computer-operated automated effects controlling both the deck scenery and fly system, manual operation would have been impossible due to the sheer volume of simultaneous cues. Computerization became essential.
The show’s costumes were equally legendary. The beading, fabric selections, and intricate designs were breathtaking. The Masquerade Ball scene alone featured 50-60 costumes, with some discreetly placed on mannequins to enhance the grandeur. Christine’s wedding dress bustle weighed nearly 35 pounds. The U.S. National Tour required 1.5 full 48-foot tractor-trailers solely for transporting costumes. With its technical achievements, Phantom became a global phenomenon, captivating audiences across the world.
No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available. Request a condition report
THE PHANTOM OF THE OPERA
The Broadway stage used poster for "Hannibal" presented in the opening scene of The Phantom of the Opera. Color printed on a thick canvas and with wooden rollers, the poster is approximately 72 x 48 inches. Some edge wear from the intentional rolling and unrolling on stage.
An important stage used prop from Phantom of the Opera, the poster for "Hannibal" unfurled in the show's evocative first scene, the auction of relics of the Paris Opera. The musical opens with the serious voice of an auctioneer:
"Lot 663, then, ladies and gentlemen: a poster for this house's production of 'Hannibal' by Chalumeau. Do I have ten francs? Five then. Five I am bid. Six, seven. Against you, sir, seven. Eight. Eight once. Selling twice. Sold, to Raoul, Vicomte de Chagny."
The auction scene is pivitol in establishing the setting and drama of the musical, and the sale of the poster precedes the auction of the monkey music box, also bought by Raoul, Vicomte de Chagny, who hints at his connection to the history of the Opera by his instant nostalgia for the piece. The scene concludes with the auctioneer's haunting description of lot 666:
"A chandelier in pieces. Some of you may recall the strange affair of the Phantom of the Opera: a mystery never fully explained. We are told, ladies and gentlemen, that this is the very chandelier which figures in the famous disaster. Our workshops have restored it and fitted up parts of it with wiring for the new electric light, so that we may get a hint of what it may look like when reassembled. Perhaps we may frighten away the ghost of so many years ago with a little illumination, gentlemen?"
When Act I of the musical begins, the audience is transported back to 1881, to the rehearsals for "Hannibal" that first introduce us to Madame Giry, Christine, and the "Angel of Music" who Christine confides to Raoul has visited her secretly and tutored her in singing. In this scene, the Phantom appears in Christine's mirror, and she first visits his lair.
Technical Production Manager Jake Bell's memories of The Phantom of the Opera:
This "Hannibal" poster was used on stage in many Broadway performances of The Phantom of the Opera and retired before the show's closing in 2023. The poster comes from the collection of Jake Bell, Technical Production Manager from the year the show opened on Broadway to its closing in April 2023 as the longest running musical in Broadway history at 13,981 performances. Jake Bell had been with Phantom from the beginning, having been first hired by British Producer Cameron Mackintosh for the Broadway production in 1988 and continuing through decades of national and international tours. The show’s technical requirements were so advanced that many theaters had to undergo extensive renovations to accommodate it. An excavator was brought in to dig the basement 10 feet deeper, allowing the candles and candelabras—212 in total—to rise seamlessly from the stage floor. The expanded basement also provided space for a trap door, a retractable staircase, and the rising Paris Opera House roof dome. Further, steel support structures were installed to hold the massive proscenium and chandelier, both of which hung over the audience. Suspended above the audience, the chandelier dramatically crashed onto the stage in one of the show’s most spectacular effects. The original Broadway chandelier remained in use throughout the show’s 35-year run. It was never replaced, thanks to meticulous maintenance, including rewiring, re-welding, replacing globes, repainting, and continuous cleaning. The chandelier was named “Ruthie II” after its London counterpart, “Ruthie I.” The name was in honor of Ruth Mitchell, Hal Prince’s formidable assistant, who was known for her strong personality and unmatched dedication.
At the Majestic Theatre on 44th Street, Phantom was one of the first major productions to incorporate a fully computer-automated system. With 52 computer-operated automated effects controlling both the deck scenery and fly system, manual operation would have been impossible due to the sheer volume of simultaneous cues. Computerization became essential.
The show’s costumes were equally legendary. The beading, fabric selections, and intricate designs were breathtaking. The Masquerade Ball scene alone featured 50-60 costumes, with some discreetly placed on mannequins to enhance the grandeur. Christine’s wedding dress bustle weighed nearly 35 pounds. The U.S. National Tour required 1.5 full 48-foot tractor-trailers solely for transporting costumes. With its technical achievements, Phantom became a global phenomenon, captivating audiences across the world.
No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available. Request a condition report
Stage & Screen
Sale Date(s)
Venue Address
PICKUPS & SHIPPING
For information, please contact client.accounts@doyle.com
Important Information
-
Popular Stage & Screen Auction on Thursday, June 5, 2025 at 11am
-
Memorabilia, Autographs, Artwork & Photographs of the Theater, Hollywood, Music and Dance
-
Hosted in Collaboration with the Entertainment Community Fund (Formerly the Actors Fund)
-
Consignments Are Currently Being Accepted for Future Auctions
NEW YORK, NY -- Doyle will host the popular Stage & Screen auction on Thursday, June 5, 2025 at 11am. Fans and collectors around the world will be delighted by the exciting offerings celebrating the performing arts of Theater, Hollywood, Music and Dance.
Highlights include:
- Marin Hinkle’s Screen-Worn Costumes as Rose Weissman on The Marvelous Mrs. Maisel
- Alex Borstein's iconic newsboy cap worn as Susie Myerson on The Marvelous Mrs. Maisel
- The Bob Mackie beaded evening jacket worn by Carol Burnett at the 2019 Golden Globes
- Broadway Technical Production Manager Jake Bell’s memorabilia of The Phantom of the Opera, Les Misérables, Miss Saigon
- Includes the silver “Christine” mask worn in the final performance of Phantom in April 2023
- Costume “Bibles” from Broadway costumer Barbara Matera including Angels in America, Phantom, Mame and RENT
- Items from the career of actor Tony Roberts, including original Al Hirschfeld artwork and photographs of Woody Allen films
- Scripts and letters signed by Stephen Sondheim, Richard Rodgers, Gypsy Rose Lee, Tennessee Williams and others
- An erotic “Bag One” print signed by John Lennon
- The rare photographically illustrated volume commemorating Cecil B. DeMille's epic The King of Kings
- An original caricature by George Gershwin
- An autograph album and copy of Fantasia signed by Walt Disney
- Musical items signed by Igor Stravinsky and John Cage
- A very large painting after the famous photograph of Mick Jagger and Francoise Hardy
- The Azzedine Alaïa dress worn by Julianne Moore at the 2022 Venice International Film Festival
The Entertainment Community Fund – Lots 501-519
Recognizing the importance of the performing arts to the fabric of New York, Doyle is proud to collaborate on this auction with the Entertainment Community Fund (formerly The Actors Fund), a 501(c)(3) charitable organization. Lots 501 through 519 will be auctioned to directly benefit the Fund, and Doyle will donate 100% of our Buyer's Premium on these lots. Featured are stylish costumes donated by actress Marin Hinkle for her role as Rose Weissman in The Marvelous Mrs. Maisel. Also from Mrs. Maisel is Suzy Myerson’s iconic newsboy cap from actress Alex Borstein. From Carol Burnett is a Bob Mackie beaded evening jacket worn to the Golden Globes, and from Julianne Moore is an Azzedine Alaïa dress worn to the Venice International Film Festival.
Property of Technical Production Manager Jake Bell – Lots 520-537
Jake Bell has had a legendary career in the theater as Technical Production Manager for Sir Cameron Mackintosh's iconic musicals. Bell managed some of the most dazzling and technologically advanced stage elements in theater history: the famous falling chandelier in The Phantom of the Opera, the flying helicopter in Miss Saigon, the barricade of Les Misérables and so much more. Among the collection's highlights are annotated production books, scripts, props and memorabilia from Cats, Les Misérables, Miss Saigon, A Chorus Line and Phantom of the Opera, including a stage-worn Phantom mask presented to Bell at the April 2023 closing performance.
The Estate of Tony Roberts – Lots 579-589
New York native Tony Roberts (1939–2025) was a prolific stage and screen actor with a career spanning over six decades. A two-time Tony award nominee, he appeared in 23 Broadway productions, among them David Merrick’s Barefoot in the Park, Arsenic and Old Lace, and Promises, Promises, for which he won the London Critics Poll Award for the West End production. Among his numerous screen credits are six Woody Allen films, including Annie Hall, Play It Again, Sam and Star-Spangled Girl. He performed in New York City Opera's Brigadoon and South Pacific, and played Scrooge in A Christmas Carol at Madison Square Garden. Collection highlights feature original illustrations by Al Hirschfeld depicting Roberts in Arsenic and Old Lace and Doubles, his script from Star Spangled Girl, and a large group of awards and memorabilia.
“Costume Bibles” of Barbara Matera
Barbara Matera (1929-2001) was one of the foremost costume designers and creators of costumes on Broadway, working on more than 100 shows between the 1970s to the early 2000s. It was her invariable practice to create a costume bible for every show, with copies of the original designs, specimens of the fabrics used, and notes on the sources of those fabrics. This enabled repairs and new copies of costumes to be consistently assembled over the course of a show. Featured in the sale are costume bibles for Angels in America, Evita, La Cage aux Folles, Phantom of the Opera, RENT and even the Rolling Stones 1994 Voodoo Lounge Tour.
Terms & Conditions
Terms & Conditions
SHOW MORESale Notice