No apparent updates so far (assuming you reached out). One minor note on the
Rainbow Over Texas: Is the sleeve design altered? What's visible from the back in the second listing image seems at least generally consistent with that fence photo at a quick glance.
You are very good at spotting these discrepancies, especially in older titles. It's amazing how much gets listed where the piece itself may be fine, but the specific attribution appears to be either blind assumption, treating an uncorroborated label or memory as gospel, or mixing up versions of the same title – even in the face of evidence supporting a different (usually less popular) attribution. Granted, things can get reused, but evidence for that is handy.
If you'll permit the brief aside... one clear example that really bugged me was
a studio-created replica chariot that Propstore listed in 2021. It was identified as a replica, so that wasn't the issue, but they advertised it as "based on those seen in" 1956's
The Ten Commandments, despite the design having no resemblance whatsoever to those seen in the film. Instead, the design can be spotted quite prominently in Demille’s earlier
Cleopatra (1934) and
Samson and Delilah (1949), along with an obscure (and unfortunately shockingly-racist) 1936 comedy
College Holiday.
My guess is the fabricators' reference had become mislabeled over the decades, either mixing it up with Demille’s earlier 1923
Ten Commandments (from which chariots at least possibly could have been converted), or probably more likely, simply lumping it in by accident with the studio's most famous chariot film. After all, it seems as though practically every chariot prop documented in a museum or studio tour has become attributed either to that or to MGM's 1959
Ben-Hur. I even found a different style with multiple attributions to the 1956
Ten Commandments - complete with official display signs - that I identified in
Samson and Delilah as well as Demille's earlier
The Sign of the Cross (the man had a thing for chariots), but once again, nothing in
Ten Commandments. I alerted Propstore three weeks ahead, yet they assured me of confidence, and when it came up, the auctioneer introduced it as an "iconic" piece in association with the film. Admittedly, not the biggest deal only being a replica, but I fail to fathom how they justified the specific attribution beyond some piece of paper that must have had that title written on it.
At least on the flipside, occasionally it's a perfectly understandable mix-up – even a deeply hidden gem. I picked up from Propmasters a set of three 1969, 1970 and 1971 scripts for
I, Claudius initially attributed to the 1976 BBC TV series. But through a fair amount of digging in old biographies and newspapers, I discovered they actually came from an all-but-forgotten, abandoned Tony Richardson film adaptation, of which even the BFI wasn't aware. George C. Scott cast as Claudius, Jack Nicholson at least sought for Caligula after Mick Jagger had been considered, and Alec Guinness considered for Tiberius, before Richardson decided to first stage a 1972 West End play starring David Warner that closed after two months of mediocre reviews. As much as I love the '76 realization, it was nice to have a rare instance of misattribution that elicited excitement in place of disappointment and eyerolls.
