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Verlag: Bobbs-Merrill Company, Indianapolis, 1943
Anbieter: Raptis Rare Books, Palm Beach, FL, USA
Erstausgabe Signiert
First edition, first issue with first edition stated on the copyright page of the author's first major novel, as well as her first best-seller. Octavo, original red cloth. Association copy, inscribed by the author on the front free endpaper, "To Jack L. Warner - Thank you for your courage and for a magnificent picture - with my profound gratitude - Ayn Rand. January 7, 1949." The recipient, Jack Warner, was the co-founder, president, and driving force behind the Warner Bros. Studios. His career spanned some 45 years, its duration surpassing that of any other of the seminal Hollywood studio moguls. Rand sold the film rights to Warner several years earlier with the contractual proviso that she would provide the screenplay, which would be unalterable. In fact, the director wanted changes, but Warner supported the author and honored the contract. This book's inscription, clearly referring to this, was presented about a half year prior to the film's release. Of Rand's fiction, The Fountainhead is generally conceded to be her most important and enduring work, a passionate portrait of uncompromising individualism. In the decades since its debut, the film has gained the critical acceptance, even the acclaim, that initially evaded it. Near fine in a near fine first-issue dust jacket with a touch of rubbing and no fading to the spine, which is endemic to this title. Housed in a custom full morocco clamshell box by The Harcourt Bindery. One of the finest association copies possible, linking the famed author with the legendary founder of Warner Brothers and producer of the iconic film. Although Rand was a previously published novelist and had a successful Broadway play, she faced difficulty in finding a publisher she thought right for The Fountainhead. She let Macmillian Publishing go when they rejected her demand for better publicity (Branden, 1986), and when her agent criticized the novel, she fired him and handled submissions herself (Burns, 2009). After sifting through eleven more publishers, Rand finally released The Fountainhead with Bobbs-Merrill Company in 1943. The reception was instant, and The Fountainhead became a bestseller in two years. The protagonist, Howard Roark, whose character was thought to be inspired by Frank Lloyd Wright, is a young architect fighting against convention. Cited by numerous architects as an inspiration, Ayn Rand said the theme of the book was "individualism versus collectivism, not within politics but within a man's soul." Rand chose architecture as the analogy of her heady themes because of the context of the ascent of modern architecture. It provided an appropriate mode to make relevant her beliefs that the individual is of supreme value, the "fountainhead" of creativity, and that selfishness, properly understood as ethical egoism, is a virtue. Some critics consider The Fountainhead to be Rand's best novel (Merill, 1991). Indeed, philosopher Mark Kingwell described it as "Rand's best work" (Kingwell, 2006). In 1949 it was adapted to film, produced by Henry Blanke, directed by King Vidor, starring Gary Cooper, Patricia Neal, Raymond Massey, Robert Douglas, and Kent Smith.
Verlag: O. O., 1932, 1932
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
Photographie: 238 : 188mm. Gesamtgröße: 380 : 300mm. Platinum-Abzug. Schönes Brustbild des Nobelpreisträgers, mit Unterschrift in schwarzer Tinte durch den Photographen ( Tycko LA") und mit Prägung des Ateliers des Photographen 'Study by Tycko/ The Ambassador , Berühmte Photographie von Albert Einstein, mit einer Widmung Einsteins für den Photographen. Albert Einstein mochte die Portraits von Aaron Tycko (1833-1975) und verschenkte sie bei Gelegenheit mit Unterschrift versehen and Freunde und Bewunderer. Über den Photographen Aaron Tycko ist wenig, obwohl er ein gefragter Photokünstler war. Neben Einstein lichtete er berühmte Persönlichkeiten wie Jean Paul Getty oder die Schauspielerin Mabel Normand ab. Einstein mochte die Art, wie Tycko fotografierte. Das erzählte Tycko einem der zwischenzeitlichen Besitzer des Bildes. So habe ihm Einstein am 2. März 1932 gesagt, dass er in den Photographien einen wahrhaft künstlerischen Umgang mit Lichteffekten erkennt, durch den die Photographie der Malerei nahekommt". Die Fotoaufnahmen weckten im Nachhinein die Aufmerksamkeit des FBI. Tycko hatte sein Atelier im Ambassador Hotel in Los Angeles. 1955 berichtete Tyckos ehemalige Frau den FBI-Ermittlungsbehörden von Einsteins Besuch. [ ] She said that before their separation she worked with him (Anm: Tycko) in his portrait studio at the Ambassador Hotel in Los Angeles. She recalled that during one of the subject s (Anm.: Einstein) visits to Los Angeles in the early 1930 s, he sat for her husband, and that this photograph was taken in the Athenaeum at the California Institute of Technology, Pasadena, California, where the subject was staying. She said that the subject never sat for her husband in the studio at the Ambassador Hotel, and that she does not recall and does not believe that the subject stayed at the hotel. [ ] It should be noted that, as previously reported, AARON TYCKO has stated that the subject sat for his photograph in his (TYCKO s) studio at the Ambassador Hotel [ ]" (Federal Bureau of Investigation, Subject: Albert Einstein, File Number: 61-7099; 1955) Albert Einstein war bereits ein weltberühmter Physiker, als das FBI im Dezember 1932 eine Geheimakte über ihn anlegte. Er und seine Frau Elsa waren gerade aus Deutschland in die USA ausgewandert und Einstein äußerte sich lautstark zu den sozialen Belangen seiner Zeit. Unter anderem sprach er sich öffentlich gegen Rassismus und Nationalismus aus. Zum Zeitpunkt seines Todes am 18. April 1955 würde die Akte des FBI 1427 Seiten umfassen. Der Leiter der Behörde, J. Edgar Hoover, hegte ein tiefes Misstrauen gegenüber Einsteins Aktivismus. Laut Hoover war es gut möglich, dass der Mann Kommunist sei, aber mit Sicherheit war er ein extremer Radikaler". Das Hotel Ambassador war wichtiger Treffpunkt der Avantgarde im Los Angeles der frühen 1920er bis in die späten 1960er-Jahre. Das Hotel nutzten Hollywood-Schauspieler als Winterresidenz und sein Cocoanut Grove war ein berühmtes Nachtlokal. Der Ballsaal und der Nachtklub waren Schauplatz der ersten großen Oscar-Preisverleihungen und vieler Filmszenen. Traurige Berühmtheit erhielt das Hotel, als dort der demokratische Präsidentschaftskandidat Robert F. Kennedy angeschossen und tödlich verletzt wurde.
Verlag: 1922, 1922
Anbieter: Peter Harrington. ABA/ ILAB., London, Vereinigtes Königreich
Signiert
One of the artist's illustrations for Colgate and Company's adverts for "Cashmere Bouquet Soap" and, presumably, published in American newspapers or periodicals in the early 1920s. The series helped alter the public's perception of Rackham's oeuvre. Hamilton in his biography of the artist states that "Rackham's largest single commission for the US was not for a book but for a series of soap advertisements. Colgate commissioned thirty drawings on the theme of the Early English Aristocracy to advertise Cashmere Bouquet Soap, which they billed as 'The Aristocrat of Toilet Soaps'. Spread over the years 1922-25, this commission. affected the particular tone of his reputation in America. From being the 'Goblin Master', Rackham was now being seen by the new audience of popular newspaper and magazine readers as the creator of Hollywood style, Jane Austenesque, crinolined fantasties". During the campaign Hamilton notes that "the original drawings were exhibited in art galleries throughout America, including the Metropolitan Museum of Art in New York. The price Rackham paid, however, for spending an extended length of time on the Colgate project - for all its financial and publicity benefits - was that he was diverted from book illustration". The artist's instructions on the reverse read "Note: The limit for reproduction is marked by a pencil line. Mounts should be removed first. They are only for protection". James Hamilton, Arthur Rackham: a life with illustration, 1990, pp. 126-8. Original drawing (270 x 235 mm) on artist's board (272 x 241 mm), fine ink and watercolour, signed ("Arthur Rackham") lower right, titled "1. 'The Letter'", the artist's name and address, and reproduction instructions in the artist's hand on reverse, mounted, framed, and glazed (framed size 456 x 417 mm). Some minor toning below mount; else fine and unfaded.
Verlag: np, np, 1930
Anbieter: Manhattan Rare Book Company, ABAA, ILAB, New York, NY, USA
Zustand: Very Good. THE RISE OF PHOTOJOURNALISM AND MASS-MEDIA HELP MAKE HEMINGWAY ONE OF THE TWENTIETH CENTURY'S FIRST AMERICAN INFLUENCERS. After graduating from high school in 1917, Ernest Hemingway worked as a cub reporter for the Kansas City Star. This job exposed him to the media's growing addiction to sensationalism and taught him the craft of writing clear and succinct prose. Hemingway's journalism experience, his interest in boxing and big-game hunting, and his military service during and after the First World War enabled him to explore fiction writing about everyday people and to hone his innovative writing style. His adventurous lifestyle and the success of The Sun Also Rises (1926) coincided with the public's growing interest in photojournalism and lifestyle magazines, pushing Hemingway into the limelight. By the 1930s, Americans craved international recognition of their culture as one that surpassed that of Europe. Hemingway's trajectory from literary celebrity to international icon in the 1940s and 1950s paralleled America's increasing global economic and cultural dominance. We have on offer a collection of over 100 original press photos from Wide World Photos (acquired by the Associated Press in 1941) that span three decades and chronicle Hemingway's public and private life. Selected highlights include: -Images of Hemingway's overseas travel as a war correspondent during the Second World War -Photos of time spent with Gary Cooper, Sinclair Lewis, Lauren Bacall, and Fidel Castro (featured in The Atlantic in 1965) -Shots of fishing excursions in Cuba and Peru, bullfights in Spain, and hunting trips in Africa -A photo of Hemingway, and his fourth wife Mary, that accompanied a New York Daily News story breaking the news of a 1954 plane crash in Uganda in which he and Mary were presumed dead -Pictures on the occasion of his winning the 1954 Nobel Prize in Literature -Portraits of Hemingway that were printed in The New York Times and other leading publications announcing his death in 1961 Scribner, his publishing house, promoted Hemingway's daredevil side and attempted to build him up like a Hollywood star by disseminating photos to fan magazines, newspapers and gossip columnists. In turn, the media courted him and relished in his super-masculine adventures. Though Hemingway showed some ambivalence towards celebrity, the paparazzi and the public were fascinated by this bon vivant who was a big game hunter, bullfighting enthusiast, playboy, and avid traveler. Hemingway capitalized on his persona as both a man's man and a literary superstar, taking risks in art and life and cheating death numerous times. His relationship with the press became more strained in the 1940s and 1950s as he dealt with mental health issues and failed marriages. The media focused on his loud and aggressive behavior in public, especially when drunk. His opposition to being portrayed as a caricature of himself, and his desire to be respected for his craft, led to clashes with journalists. He sought professional accolades and acceptance and feared that the public's fascination with his larger-than-life personality prevented him from being among the literati. The General Editor of the Hemingway Letters Project observed, "On the one hand, you have a writer who cares very much about his public reception. He's always asking how the sales are going. He loves good reviews. He courts celebrity to some extent. On the other hand, he does have this intense desire for privacy." (Spanier and Mandel) The photos in this collection expose a thrill-seeker with a serious side. Underneath the bravado, he was a sensitive writer plagued by self-doubt who wrote crisp, piercing sentences that told stories about soldiers, lovers, hunters, bravery, fear and death. In 1952, his publisher, Charles Scribner said, "The important element in Hemingway's writings derives from his constant concern to convey powerful psychological states: despair and hope, fear and courage, anger and resignation.the.
Verlag: James Thrall Soby: Hartford, Connecticut and Random House: NY, 1934
Anbieter: John K King Used & Rare Books, Detroit, MI, USA
Signiert
12.5 x 9.5", plain red buckram w/original wraps cover bound in, contents worn, soiled, hinges loose. "With a portrait by Picasso, texts by Andre Breton, Paul Eluard, Rrose Selavy, Tristan Tzara". "Second Edition" WITH A CLICHÉ-VERRE SILVER PRINT BOOKPLATE "1948 GREETINGS FROM JULIET AND MAN RAY", INSCRIBED "TO GEORGE HODEL" AND SIGNED BY MAN RAY, ADDING 1949. Now for the good part. George Hodel was a Hollywood, CA physician who, in a book written by his son, Steve, was accused of being the "Black Dahlia" murderer. According to Steve, the awkward pose of the body (of actress and call girl Elizabeth Short) was in imitation of the pose of the model in Man Ray's photograph "The Minotaur", though critics of the theory state that it was unlikely Dr. Hodel was familiar with the photograph. While the photo is not in this book, this is proof that Dr. Hodel was familiar with Man Ray and his work! The mystery thickens!!! A one-of-a-kind piece.
Verlag: NP, NP, 1950
Anbieter: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB), Santa Monica, CA, USA
Signiert
Hardcover. Zustand: g+ to near fine. Original photograph(s). Oblong small folio. 13x20". Black cloth boards with metal bolt binding. This collection is comprised of an album of mounted photos as well as loose photographs and other ephemera. The collection contains more that 150 original photographs, and an additional 6 original camera negatives. The photo album has the photographs mounted onto heavy black cardstock, one or two images per pages (often a pair of 8x10"s), with single-sided leaves. A group of 17 full leaves as well as 6 half-leaves have come loose or been cutout from the photo album, but are present. Images in the collection are in a number of different sizes ranging, from 3.75x4.75" to 10x13" (most are an average of 8x10"), types including sepia-toned and silver gelatin prints, and include matte, glossy and textured paper stocks. Among the figures photographs are countless Hollywood actors, movie stars, singers, and other celebrities including: William Powell, Donald Crisp, Robert Young, Olivia de Havilland, James Cagney, Walt Disney, Rita Haywoth, Judy Garland, Boris Karloff, Clark Gable, Jimmy Stewart, Dorothea Wieck, Gene Autry, John Boles, Jeanette MacDonald, Errol Flynn and Bob Hope. Numerous other currently unidentified Hollywood actors and industry figures are shown, including quite a number of film studio executives and members of the press/media. Of the photographs, 38 are signed and/or inscribed, including: Norma Shearer, Bette Davis (x2), Maurice Chevalier, Shirley Temple, Spencer Tracy, June Marlowe, Joan Crawford, Loretta Young, director Frank Borzage, Lupe Velez, Myrna Loy, Gladys George, El Brendel, House Jameson (radio actor), Douglas Fairbanks, Marguerite De La Motte, Nelson Eddy, May Robson, Freddie Bartholomew, Eleanor Powell, Margaret Sullavan, Irene Dunne and Ginger Rogers. The many of the photos in the collection show Merle Potter, or are inscribed to him, often catching him in casual or relaxed moments, socializing with the various celebrity figures, and/or actors on Hollywood film sets or Midwestern promotional events. Many photos, credited to quite a number of different photographers, display a similar style to that of the acclaimed Hollywood photographer Murray Garrett and his mater-of-fact style, with the images capturing these cultural figures in candid and unaffected moments. Some photos in the collection are however, traditional glamour portrait shots. A number of later photos in the collection show Potter with his wife Edith. A large group of photos and ephemera deal with the relationship between Potter and actress/singer Susanna Foster (aka "Suzanne" or "Suzan Larsen"), and his efforts to promote her career in Hollywood (Jan-Mar 1937). Foster is most know for her leading role as as the young soprano, Christine, in the 1943 film version of Phantom of the Opera. Potter, who like the young prospective star was from Minneapolis, seems to have acted as a mentor/guardian figure to her, and accompanied her as she made her way in Hollywood. Photographs (including an inscribed photo), show Foster accompanied by Potter, traveling, meeting Hollywood celebrities and having fun. Included are a number of portraits as well. Documents include 3 copies of invitations to a recital by "Suzanne" at the Nicollet Hotel in Minneapolis, "presented by Carl J. Johnson and Merle Potter", a letter from the Hotel management concerning her performances, copies of bills from the hotel, a handwritten note from Carl Johnson concerning the performances, and two typed letter from the law offices of Safford, Puttnam & Campbell concerning her contract with MGM. Also included is a telegram to Potter from production manager William "Bill" Koenig, also formerly a fellow resident of Minneapolis, thanking him for bringing Foster to the studio's attention (there are photos in the collection showing Potter and Koenig talking), and finally an 8-page letter to Potter from Susanna Foster thanking him for his support, discussing her new life in Hollywood, and her experience going to grooming school with Mickey Rooney and Judy Garland etc. Other included ephemera: - Two 8.5x11" b/w sketches in pen. - "The Palimpsest" (July 1931). 257-288pp. State Historical Society of Iowa. Printe wrappers. Some light pen markings in the margins throughout. - 17x20" folded advertisement, w/ a review by Merle Potter, for the film 'Three Smart Girls', Minneapolis Journal, Dec. 27th 1936. - A Brochure for the 1947 National Hobo Convention in Britt, Iowa. - "So This is Peace" by Bobe Hope. 82pp. Softcover. Missing wrappers. - Typed 2- page letter to Potter, praising his tenure as editor of "The Minnesota Daily", student newspaper of The University of Minnesota. Dated May 18th, 1916 - French postcard, dated Jan 29th 1908. Binding with light rubbing and/or bumping to the corners. Some scratches and smudges to the front and back cover. Some leaves loose or loosening from the binding. Loose leaves with some rubbing, creasing and/or closed tears along the edges and corners. Some photos in the collection have minor to light smudges and/or scratches and creasing along the edges. One photograph on a loose leaf seems to have been over-painted. Many of the loose leaves, and some of the other loose photograph are slightly bowed. Images overall are clean and bright. Binding in very good, interior in very good- condition. Loose photos in good+ to near fine condition overall. * Merle A. Potter (Cornwith, IA 1894 - Los Angeles, 1960) was an American film/theater critic, journalist, publicist, writer, theater manager, and army officer. Potter studied at the University of Minnesota, and graduated in 1916, a member of their first journalism class. He also served as editor of the school's newspaper, "The Minnesota Daily" during his senior year. Starting out as a journalist at the "Minneapolis Journal" in 1925, he soon thereafter transitioned to more of an entertainment columnist and critic, which included writing film and theater reviews and covering entertainment news. Potter started to c.
Verlag: [New York, 1937
Anbieter: James Cummins Bookseller, ABAA, New York, NY, USA
Zustand: Framed. Stamped in blind "Photograph by Carl Van Vechten", lower right of image. 13-1/2 x 10 inches. Fine, large portrait of the author, probably taken in New York in 1937, just before Fitzgerald went to Hollywood. Stamped in blind "Photograph by Carl Van Vechten", lower right of image. 13-1/2 x 10 inches.
Erscheinungsdatum: 1931
Anbieter: Rulon-Miller Books (ABAA / ILAB), St. Paul, MN, USA
Erstausgabe
William H. Crane (b. 1845-1928) a prominent American actor who worked in opera, comedy, farce, and vaudeville. Crane's first appearance was in Donizetti's The Daughter of the Regiment in 1863 in Utica, NY with the Holman Opera Company with whom he toured for eight years. Perhaps best-known for his comedic dramas and Shakespearian plays, such as The Comedy of Errors, accompanied by Stuart Robson, with whom he acted and produced for twelve years. He also starred in such plays as The Senator and David Harum. In 1904, he played Isidore Izard in Business is Business, from an adaptation of Mirbeau's Les Affaires sont les Affaires. Later in his career, he appeared in many silent drama films, most notably (the reprise of his Broadway role) in David Harum (1915), and Three Wise Fools (1923). Not only was Crane a favorite of the American stage, he was well-established in New York and Hollywood theater circles, and his colorful stories of this era are captured in his book, Footprints and Echoes. Crane married Ella Chloe Myers in 1870 who played a major role in his various theatre companies and was known by the profession as 'Aunt Ella' The collection includes: Photographs (approx. 190 in all): small envelope containing 11 small black & white photographs of Crane from 1873-1917 (press shots); envelope containing 17 black & white photos of Crane in character/costume in various roles; envelope with 9 black & white photos of Crane in character; envelope with 13 black & white photos of Crane in character; envelope with 7 portraits of Crane; envelope with 5 portraits of an older Crane; envelope with 2 portraits (one of Crane's sister and one of his mother); 13 larger black & white photos of Crane; 12 large portraits of Crane (they were used as the cover of a program for a dinner honoring Crane at the Waldorf-Astoria (1916); 2 programs from the 'dinner' previously mentioned (1916); 10 large photographs of Crane at various ages (some pictured with others); an assortment of 20 photos of actors/actresses such as Sallie Holman, Charles Warner, Edythe Chapman, James Neill, Joe Brooks, Ann O'Neil, W.H. Turner, Alice Harrison, and Lizzie Hudson Collier; folder of photographs of Ella Chloe Myers (Mrs. Crane) at various ages, and a clipping of her when she played "Ella" in the Belle of Utica; photograph of Ella's room at the Hollywood Hotel (1931); 3 portraits of Crane in character, one of which is inscribed to Mabelle Duffy (1924); 4 large photographs of Crane with other characters during a performance (n.d.); 15 large portraits (mounted on heavier stock, with some having gilt edges) of Crane in various characters/performances; 8 medium-sized portraits of Crane in character (mounted on heavier stock); 27 folio-sized photographs of Crane w/other actors taken during various performances, with an additional 17 labeled from various scenes in manuscript; large portrait of Crane inscribed to "Jim and the Boss" (1909); 2 medium-sized portraits in character of Crane & Emily Melville from "The Rivals"; envelope with 5 black & white photos (Crane with Jim Woods) Journals: (June/July 1898) manuscript on rectos of 40 pages. Crane documents a solo trip to Europe, apparently for health reasons. He arrives at The Grandhotel Pupp, Carlsbad, Czech Republic (famous spa resort in the 19th century) and meets Dr. J. Krause Sr. to begin a strict daily regimen of exercise, rest, baths, drinking the 'Felsenquelle' spring water, and diet (no sweets, dairy, raw fruits or vegetables, beer, or soup). Daily excerpts describe hiking, meeting new people, the weather and his environs. "Saw Prince Eugene of Austria at the Springs - Brother to the Queen of Spain." . By June 30th he still experiences headaches and nervousness, and his doctor prescribes Citrate of Lithia twice a day as part of his regimen. In mid-July, he arrives in Belgium and writes about how lovely the weather and the sea are, he sees many old friends, describes how a Banjo musician knew his name because he had seen him in a recent play. While still in Belgium, on July 15th he reflects on his stay in Carlsbad, ".very lonesome here, and I have an awful headache, shall take Calomel tonight - my liver doesn't act right and I can't understand it - Carlsbad is a wonderful place but doesn't seem to me now as though it has helped my liver as I thought - the regular hours, the peculiar way of eating, drinking the water in the morning-with the great amount of walking through the pine woods, up/down hills - ought to have a stronger effect on me than thought.". Crane's observations reveal a unique perspective into his personal life, as well as the time period. Magazines/playbills: 'The Players Ninth Annual Revival - Milestones" (1930); 3 programs Sheridan's The Rivals featuring Crane (1896); 11 pages (disbound) of Le Theatre (1903); monthly magazine "Dino de Laurentiis Productions (from Rome, n.d.); "The players' eighth annual revival featuring Becky Sharp by Langdon Mitchell and inscribed on upper cover to Mrs. Crane by the actor Roy Day (1929); large souvenir - "The Henrietta" a comedy by Bronson Howard, produced by the comedians Robson & Crane, Union Square Theatre, New York (100th performance) 1887 (quarto, pp. 10, illustrated, ribbon-tied). ï Announcements/programs: small envelope containing 11 newsprint play/theatre programs that Crane acted in (or attended) (1867, 1874, 1884-.) [some are dated, in fragile condition with small tears at folds]; wedding anniversary announcement, and "from Eugene Field's Famous Column - Sharps and Flats (Daily News, June 1891 - dedicated to Mrs. Wm. H. Crane", and a ribbon souvenir of Shakespeare's As You Like It performance (1887) featuring W. H. Crane. Correspondence: letter from Ella Crane to Miss Charlotte Witts (1919); 2 letters from Crane to Mrs. James Duffy (1919) speaking of a performance in L.A. and the other w/the playbill from the Community Theatre heavily annotated by Crane; receipt from the Museum of the City of New York of 93 photographs,
Verlag: Houghton Mifflin Company, Boston, 1941
Anbieter: Andrew Cahan: Bookseller, Ltd., ABAA, Akron, OH, USA
Erstausgabe Signiert
Evans, Walker (illustrator). First edition. 8vo., [2], xvi, 471 pp. and 31 full-page b&w plates from photographs. Publisher's black cloth, spine titled in silver, lightly rubbed at the spine ends; small neat bookseller's ticket on the rear free endpaper. The dust jacket has had minor restoration at the folds, bottom edge of the front panel, and spine ends; it is possibly married to this copy. This is a near fine book in a very good or better dust jacket that was professionally restored; housed in a clamshell box of brown morroco and cloth, titled in gilt on the spine. This copy is inscribed and presented by James Agee to his friend, photographer Florence Meyer Homolka on the front free endpaper, " Flo, with love - Jim, December 11, 1948." Florence Meyer Homolka was born in New York City, January 22, 1911, the eldest daughter of Eugene Meyer, financier and publisher of the Washington Post, and Elizabeth (Ernst) Meyer. She studied dance and acting in Paris and Berlin, associating with artists; she once played her violin in the studio of Constantin Brancusi. In Berlin, she met and married the noted actor, Oskar Homolka. The couple left Berlin in 1939, spent a few years in London, were part of the New York acting and literary circle, and in 1943, settled in Pacific Palisades. During her Paris years she met Man Ray, and living close to him in the Los Angeles area, became his student of photography. " Man Ray is my revered teacher, and I am proud when he tells me that I am following in his footsteps as a photographer." With her connection to Hollywood, she worked as a photographer on several film sets, and after her divorce in 1946, she return to New York. She regularly sold her portraits for publication; among her sitters were: Judy Garland, Humphrey Bogart and Lauren Bacall, Thomas Mann, Vladimir Horowitz, Arnold Schoenberg, Christopher Isherwood, Edward Steichen, Brassai, Man Ray, and for Charlie Chaplin - she made over 150 photographs on the set of Limelight. Among her friends were Walker Evans and James Agee; she made portraits of both. For Agee's posthumously published, Pulitzer Prize-winning novel, A Death in the Family, one of Homolka's portraits was used on the dust jacket. Florence Homolka died in Los Angeles, November 27, 1962. Of this first edition, only 2416 copies were printed. Copies signed or inscribed by James Agee (1909 - 1955) are rare, let alone such an association copy. Only one inscribed copy has appeared for auction from 1982 - 2022; it is described as follows: Let Us Now Praise Famous Men. Boston, 1941. Illustrated by Walker Evans. 8vo., original cloth, in worn dust jacket, binding with bump & minor soiling. Inscribed for John, and signed Jim Agee. Sotheby's New York, November 16, 2004, lot 268, $4000. (price before buyer's premium added).
Verlag: New York: Random House, 1939, 1939
Anbieter: Peter Harrington. ABA/ ILAB., London, Vereinigtes Königreich
Erstausgabe Signiert
First edition, first printing, inscribed by the author on the front free endpaper verso, "For Max Autrey, Connoisseur of Red Dogs, photographer de luxe, and, after reading this book, a rare judge of Horse Flesh. Best Wishes - Dr. Seuss". This title is one of the author's few books written for adults, and is, unusually for Seuss, written in prose. The recipient of this copy is the famed Hollywood photographer Max Munn Autrey (1891-1971). Autrey was foremost a portrait photographer, taking photographs of leading film stars from his studio in downtown Los Angeles throughout Hollywood's Golden Age. This Hollywood association is apt for Dr. Seuss, who produced films for the US Army during the Second World War and whose story Gerald McBoing-Boing was adapted into an animated film, winner of the 1950 Academy Award for Best Animated Short. This copy also includes a scarce publisher's bookmark loosely inserted. Younger & Hirsch 71. Quarto. Original pale pink cloth, spine and front board lettered and blocked in red, pictorial endpapers. Illustrations throughout by the author. A fine copy in the unclipped dust jacket, spine toned, head of spine and top corners chipped, extremities rubbed and a little nicked, a very good example, still sharp.
Verlag: [Various locations, 1928
Anbieter: William Reese Company - Americana, New Haven, CT, USA
Eighty-three black-and-white photographs mounted to fifty-seven album leaves, ranging from 1 1/2 x 2 inches to 8 x 10 inches, about half of them of the largest size. Oblong quarto photo album. Black patterned leatherette over stiff wrappers. Exterior and album leaves a bit edge worn, the whole volume slightly bowed. Photographs crisp and clean, an occasional small marginal tear (not affecting the images). Very good plus. A fantastic album of both professional and vernacular photographs documenting the final years of the career and personal life of one of America's most popular on-screen cowboys, Fred Thomson, and his wife, renowned screenwriter, Frances Marion. Thomson, a college athlete, World War I veteran, and ordained Presbyterian minister, may have seemed like an odd match for the Hollywood screenwriter, but according to Marion it was love at first sight. They were married in 1919 and remained together until Thomson's untimely death due to a tetanus infection in 1928. While there is no direct information as to who compiled this album, the mixture of professional and personal photographs, and their subject matter, strongly suggests that either Thomson or Marion herself put this album together. Fred Thomson (1890-1928) found fame and fortune as a silent film cowboy, but his early life was much more prosaic. He grew up in Pasadena, was a track and football star in high school and college, and started at Princeton Theological Seminary in 1910. He completed his seminary training and was ordained by the Presbytery of Los Angeles in 1913. During World War I, Thomson served with the 143rd Field Artillery Regiment as a chaplain. He broke his leg stateside and during recovery he was introduced to Frances Marion by Mary Pickford. According to Marion's biographer, Cari Beauchamp, "No one had written more satirically about â love at first sight' than I, Frances admitted, but [the day she met Fred] she told Mary it had happened to her. She knew that if she had penned such a scene it would have been discarded as too far-fetched, but the truth was that the experienced and sophisticated writer had fallen in love with a straitlaced, God-fearing Boy Scout." Marion and Thomson married November 2, 1919. The photographs in this album seem to concentrate on the final year or so of Thomson's life, but some appear to stretch back to the immediate post-World War I era. Opening with the star's professional headshot and a studio portrait of Marion in her World War I correspondent uniform, the first distinct section of the album focuses on professional-grade 8 x 10 photographs of Thomson building and operating his aluminum speedboat, appropriately named the "Frances Marion." It is unclear if the couple hired a professional photographer or, being experienced themselves and deeply ingrained in the movie industry, they produced these images personally. The first photo shows the boat itself loaded on a truck with a printed sign above it which reads "Transcontinental Trip California to Florida of the Frances Marion one of the Fastest 151" Speedboats in the World, built, Owned, and Driven By Fred Thomson." Following are rather dramatic portraits of Fred tinkering with the engine, examining components, and even piloting the boat and using it for hydroplane races in the Gulf of Florida, which took place in March of 1928. According to contemporary news accounts, Fred built the boat on a movie studio lot in between stunts while filming and he drove that truck from Hollywood to Miami over a two week period, the trip itself becoming national news. The next section of the album focuses on Thomson's film career and production company, and includes stills and images of film and production crews. Thomson was not interested in acting until Frances Marion's directorial debut in the 1921 film, JUST AROUND THE CORNER. According to Beauchamp, "The cast was made up of reliable and known actors, but they were hardly star caliber. Fred often came to work with [Frances] and when the actor who was scheduled to play the part of 'the real man' failed to show, Fred was talked into 'stepping into the part rather than hold up production.' Fred's stunning good looks had already given rise to the obvious suggestions that he become an actor.While he claimed he had agreed only because Frances needed him and 'couldn't have been less interested' in acting, Frances had come to another conclusion, 'If I had any qualms, they were instantly dispelled as soon as I saw the rushes. I knew then I'd married an actor.'" This second group of photographs takes us to the silent film set, with images capturing not only the action in front of the camera, but the production crew behind it (including several photographs of Thomson's almost- equally-famous horse, Silver King, whose career continued another decade beyond his owner's passing). Many of these photos are from the production of THE SUNSET LEGION, Thomson's second to last film, a western written by his wife and released less than a year before his death. Several images also depict the actor on set performing his own stunts (including swinging from a rope over a steep drop and driving a dangerously tilted wagon) and otherwise interacting with the cast and crew. The latter portion of the album consists of smaller-format vernacular photographs, including several of Thomson and Marion's private life. Some include Thomson tinkering with his plane outside his barn, posing with friends, and casual photos from what appears to be the set of KIT CARSON, his final film. Others depict the accomplished athlete doing a handstand on top of a moving train and participating in track and field events. Five 8 x 10 photographs show Thomson posing with his son. Most notably, this section includes several original vernacular photographs of Frances Marion, showing her sledding with a dog, reclining on the lawn, or strolling around the garden, and a unique double-exposure image which shows the famous screenwriter reclining with.
Verlag: Duckworth, London, 1930
Anbieter: Leakey's Bookshop Ltd., Inverness, Vereinigtes Königreich
Buch Erstausgabe
Hardcover. Zustand: Poor. 1st Edition. 4to. Pp 67. 25 photographic plates - lacking 2 plates and 1 plate damaged. Page removed between title page and table of contents. Cloth-backed patterned boards, very worn. A horrible copy of no account, but one that is rescued and elevated quite above the ordinary by the presence on the half tile and title pages of the signatures of 49 guests at Ivor Novello's party, Santa Monica, Hollywood, 15/8/31. The signatures include those of Phyllis Dare, Jill Edmond, Bramwell Fletcher, Gladys O'Hagen, Laurence Olivier, Edmund Lowe,P.G.Wodehouse, Ivor Novello, etc.etc. Also included are 2 signed portraits. Appropriate restoration required.
Verlag: ohne Ort, 1949, 1949
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
Quer-kl.-8vo. Notenpapier. Der Ausschnitt montiert auf rötliches Passepartout. Drei Takte aus seinem Ballet Orpheus. - Zusammen mit einem unsignierten Portrait (8vo.).Orpheus ist ein 30-minütiges neoklassizistisches Ballett in drei Tableaus, das Igor Strawinsky 1947 in Zusammenarbeit mit dem Choreografen George Balanchine in Hollywood, Kalifornien, komponierte. Das Werk wurde von der Ballet Society in Auftrag gegeben, die Balanchine zusammen mit Lincoln Kirstein gründete und deren Künstler Direktor er war. Sets und Kostüme wurden von Isamu Noguchi erstellt.
Verlag: New York, 1937
Anbieter: James Cummins Bookseller, ABAA, New York, NY, USA
Published in PORTRAITS: the Photographs of Carl Van Vechten (1978), edited by Saul Mauriber. Half-length, in costume. 1 vols. 25.6 x 17.9 cm (Approximately 9-7/8 x 7 inches). Welles as Faust. A rare pre-Hollywood image of the 22-year-old Welles as Faustus in his adaptation of the Marlowe play, which opened on January 8, 1937 at the Maxine Elliott Theatre and ran through 128 performances. "The legend of the man who sells his soul to the devil in exchange for knowledge and power . was uncomfortably close to the shape of Welles' own personal myth . . There are moments when Faustus seemed to be expressing some of Welles' personal agony and private terror." - John Houseman, RUN-THROUGH: A MEMOIR (1972). Embossed stamp lower right, atelier stamp on rear, docketed with the name of the subject, and number of the print ("VIII K 14") Half-length, in costume. 1 vols. 25.6 x 17.9 cm (Approximately 9-7/8 x 7 inches) Published in PORTRAITS: the Photographs of Carl Van Vechten (1978), edited by Saul Mauriber.
Verlag: Spurr, Hollywood, 1926
Anbieter: James Cummins Bookseller, ABAA, New York, NY, USA
Signiert
Bust portrait, in profile, embossed blind stamp of "Spurr / Hollywood" lower right. 13-3/4 x 8-3/4 inches. "For 'Doug' Jr". Superb, large portrait of the great John Barrymore (1882-1942) by the well-known Hollywood photographer of the the silent era, Melbourne Spurr, inscribed lower right to Douglas Fairbanks, Jr, (whose signature is on the verso), "For 'Doug' Jr with sincerest good wishes from his friend and contemporary John Barrymore 1926." A superb association between two Hollywood legends. Fairbanks' (1909 - 2000) idol, in fact, was none other than John Barrymore. Backed. Miinor wear, and a few light creases Bust portrait, in profile, embossed blind stamp of "Spurr / Hollywood" lower right. 13-3/4 x 8-3/4 inches.
Verlag: Alaska, Canada, New York, California, Hawaii, 1938
Anbieter: Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, USA
Hardcover. Zustand: Very Good. Oblong folio. Measuring 16" x 10.5". Black leather over stiff paper boards with "Walter S. Gifford" stamped in gilt on the front board. Contains 501 sepia-toned or black and white gelatin silver photographs measuring between 2.5" x 3.5" and 8" x 10", with captions. Very good album with rubbing, worn edges, and a detached spine, with near fine photographs. A photo album kept by Walter S. Gifford, the president of AT&T (1925-1948) and later U.S. Ambassador to the Great Britain (1950-1953), documenting his travels between 1936 and 1938. The album begins with a trip to Alaska showing glaciers, mountains, and beautiful landscapes, along with shots of totem poles, Alaskan relics, and portraits and candids of the travelers, including a man panning for gold. Gifford next details a July 1937 trip to Thimble Farm in British Columbia, Canada. These photos show farm animals, men canoeing and fishing, feeding wild deer, and a trip to Giant Forest. Later in the same year he is pictured in Yosemite on horseback riding through the mountains with photographs capturing the grandeur of the area. The images continued on through the Sierra Nevadas visiting Kern River Canyon, Wales Lake, and Mount Whitney. The party hiked through numerous paths, up peaks, and spent much of the trip fishing. In 1938 Gifford went to Hollywood and was invited to the set of *Boy's Town*. Photos show Gifford and his son posing with Spencer Tracy in his Father Flannigan costume on set, as well as with a young Mickey Rooney and the real-life Father Flannigan. Another photo from another movie set shows Gifford and his son surrounded by actors dressed as natives pointing spears at them. The final quarter of the album documents a trip Gifford took with his son to Hawaii, pictured with his son in leis around their bungalow, at Waikiki Beach with images of people on the beach and surfing, a trip to Kauai, and volcano lava flows. The final pages show the travelers on the way back to San Francisco on the S.S. *Lurline* with photos of a tennis match, performers, and a game of catch. An extensive collection of photographs following a prominent man's travels in the 1930s.
Verlag: Metro-Goldwyn-Mayer, [No place], 1925
Anbieter: Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, USA
Signiert
Unbound. Zustand: Near Fine. Sepia-tone gelatin silver photograph. Approximately 10" x 13". Stamp of "Ruth Harriet Louise Metro-Goldwyn-Mayer Photographer" and another stating "Cecil B. DeMille / Metro-Goldwyn-Mayer / Producer - Director," both on the verso. DeMille is posed in suit and fedora, with his hands on his hips, and staring to his right. Tiny crease in lower right corner, else about fine. Inscribed by DeMille in purple ink across the lower right portion of his dark suit, and thus a little difficult to read: "To Jane, an A1 Assistant Director. Love, Cecil." Our source for the photograph noted the recipient as Jane Runyan, although we could find no reference to an assistant director of that name. Ruth Harriet Louise was the first woman photographer active in Hollywood. The sister of film director Mark Sandrich, she ran Metro-Goldwyn-Mayer's portrait studio from 1925 to 1930, when she was succeeded by George Hurrell. A large and impressive vintage image taken by a noted female photographed and gifted to a female director. DeMille had a long and successful career in Hollywood, and his later signatures are not rare. However, an oversize image taken early in his career and with an obviously personal inscription is uncommon.
Verlag: Various studios, Various cities, 1950
Anbieter: Royal Books, Inc., ABAA, Baltimore, MD, USA
Collection of 25 vintage photographs of Swedish-American actress Greta Garbo, including seven double-weight and 19 single-weight. Collection includes 13 reference photographs dating between 1926 and 1939, eleven portrait photographs dating between the 1920s and the 1950s, and one wardrobe test photograph from "Anna Christie" (1950). Represented are reference and portrait photographs from the following films: "Torrent" (1926), "The Mysterious Lady" (1928), "The Kiss" (1929), "Anna Christie" (1930), "Romance" (1930), "Susan Lenox: Her Fall and Rise" (1931), "Mata Hari" (1931), "Queen Christina" (1933), "The Painted Veil" (1934), "Anna Karenina" (1935), and "Ninotchka" (1939). Garbo was likely MGM's most prestigious star through the end of the 1920s into the 1930s, one of the most successful examples of an actress who transitioned effortlessly from silent film to talkies. The success of "Anna Christie" in 1930 led to Garbo being booked into a number of back-to-back films, including "Grand Hotel" (1932), which won the Academy Award for Best Picture. An unusually in-depth collection of images documenting Garbo's career in Hollywood. Photographs range from 9.5 x 8 inches to 10 x 8 inches. Near Fine to Very Good plus, some with light edgewear and age toning.
Verlag: B. Grasset, Paris 2.12.1936., 1936
Anbieter: OH 7e CIEL, Lausanne, Schweiz
Broché, couverture imprimée en noir et bleu, témoin. Menus défauts, si légers qu'on hésite à les signaler. Mais les voici en photo ! Édition originale. L'un des 35 exemplaires de tête numérotés sur pur fil, seul tirage en grand papier. 29 dessins de Jean Guérin. Bon exemplaire de ce titre peu fréquent en ces conditions, ymagé de compositions croquées sur le vif, avec un étonnant portrait de Blaise sur le bateau à San Pedro avant son départ pour Hollywood. Cet essai de roman-reportage, typique de Cendrars, beau et rare qui rime avec star, nous emmène avec un petit air rétro chez les célébrité d'antan qui furent dans le vent. On y apprend par exemple qu'en 1935 la "Paramount" a posté 750'000 photos d'artistes et qu'une de leurs stars, Clara Bow, reçut 35'000 lettres d'amour en une semaine - Qui s'en souvient ?A suivre. Exemplaire ordinaire sur demande extraordinaire :-) > En cas de problème de commande, veuillez nous contacter par notre page d'accueil / If you have any problems with your order please contact us via our homepage <.
Verlag: Boni & Liveright, New York, 1925
Anbieter: Type Punch Matrix, Silver Spring, MD, USA
Erstausgabe Signiert
Zustand: Very good in very good jacket. First edition. Inscribed first issue of the famous bestseller of the Jazz Age, chronicling the high life of a Hollywood flapper's trip to Europe. One of the great comic novels of the early 20th century, this work follows in the tradition of humorists like Mark Twain with the conceit of the American innocent abroad. Wildly popular, all copies of the first edition sold out in a single day; it serves as a useful contrast to the melancholy symbolism of THE GREAT GATSBY published the same year. Its tongue-in-cheek satire is nevertheless a perceptive commentary on the roles power and money can play in expanding or limiting women's freedoms, a theme which made Edith Wharton a vocal admirer. The 1949 musical introduced the song "Diamonds Are a Girl's Best Friend, " memorably performed by Marilyn Monroe in the 1953 film. A rollicking adventure of the Roaring Twenties, scarce in the first issue and dust jacket, especially signed. 7.5'' x 4.75''. Original red cloth, gilt-lettered front board and spine. Original unclipped pictorial dust jacket printed in black and green, with illustration by Barton on front panel and dashing portrait of Loos on rear flap. Illustrated throughout by Ralph Barton. 217, [1] pages. Ownership inscription dated January 1926 on front free endpaper, above which Anita Loos has signed and dated (1974) in blue ink. Laid in: two typed letters signed by rare book dealers (David Randall, 1932; Philip Duschnes, 1933) concerning the scarcity of first state copies (as this copy). Dampstaining to verso of rear panel of jacket, also affecting bottom of rear board, else quite a clean copy with very little wear.
Verlag: Dreiser, Theodore. (August 27, 1871-December 28, 1945), 1943
Anbieter: TBCL The Book Collector's Library, Montreal, QC, Kanada
Verbandsmitglied: IOBA
Erstausgabe Signiert
Framed & Glazed. Original Photo. Original Photo. Framed & Glazed. Signed by Author. Dreiser, Theodore. (August 27, 1871-December 28, 1945). Regarded as one of the pre-eminent American novelists of the first half of the twentieth-century [Sister Carrie, An American Tragedy]. Original photo display. Hollywood, February, 1943. Framed & glazed to an overall size of 14" ½ x 16" ½. Elegant museum framing, double matte, 8" x 10" original sepia oval style photo of the author. Neatly inscribed in black fountain pen: "For Wm W. Seward, Jr. / From Theodor Dreiser / Hollywood / Feb-1943". An excellent portrait of Dreiser.
Verlag: Privately printed, 1919., Santa Fe, 1919
Anbieter: BUCKINGHAM BOOKS, ABAA, ILAB, IOBA, GREENCASTLE, PA, USA
Erstausgabe
First edition. First edition. 8vo. Presentation inscription by the author on the front free fly leaf "To my friend, Mrs. Lucretia Waring , with good wishes of the author. Chas. A. Siringo, Hollywood, Calif. Nov. 5th 1925." Pictorial cloth, [8], 291 pp. one page of advertising on the last page for Siringo's A SONG COMPANION OF A LONE STAR COWBOY illustrated, plates, portraits, Herd 2074 says, "Like many of the author's books, this one contains many repetitions from his previous volumes. Here the author recalls some incidents not related in his first book. He states in his preface, "This volume is to take the place of A Texas Cowboy." A near fine, tight copy of an elusive title, especially with the Siringo inscription and in the original rare dust jacket that was published by a California book store.
Erscheinungsdatum: 1942
Fotografie Erstausgabe Signiert
No Binding. Zustand: Very Good. No Jacket. 1st Edition. SIGNED B/W Original Wedding Portrait Photograph , 13 7/8 X 11 inches,Protected in Stiff Clear Plastic & Board,Minor Wear, SIGNATURES GUARANTEED AUTHENTIC, VG+ ( Quickly they Were Nicknamed Cash & Cary ) Signed photograph of them together is as Scarce as Hens Teeth, Cary lived 1904-1986, & Hutton lived 1912-1979. Signed by Author(s).
Verlag: E Weyhe, New York, 1935
Anbieter: Arroyo Seco Books, Pasadena, Member IOBA, Pasadena, CA, USA
Verbandsmitglied: IOBA
Buch Erstausgabe Signiert
Hardcover. Zustand: Fine. Original Lithograph By Pasquale Giovanni Napolitano; Portrait Photograph, And Possibly All Photographs Also, By Brett Weston (illustrator). 1st Edition. One Of A Stated Limitation Of 212 [Plus A Small Number Of Extra Copies]. This Example Numbered 213. Specially Bound In Black Calf With A Modernist Design, Red Leather Inserts Of 'N" On Front Cover And A Line On Rear Cover, Napolitano's Name Blind Stamped On The Front Cover, Red Endpapers. The Binding Was Probably Designed By Napolitano. The Lithograph In The Book Is Numbered #120/212 And Signed By Napolitano In Pencil. The Book Is A Monograph On The Art Of Pasquale Giovanni Napolitano, Los Angeles Muralist Etc. He Studied At Otis In The 1920-1923 Under Julia Wendt And F.Tolles Chamberlin, Studied At Chouinard 1921-1924 Under Chamberlin, Taught Sculpture In The First Such Class At Chouniard In 1924, Where He Did A Bust Of Mrs. Chouinard, Then Worked For Herman Sachs, Of Herman Sachs And J Konde, 1925-1929, On Interior Decorations And Murals For Many Prominent Los Angeles Buildings, Including Bullocks Wilshire, Los Angeles City Hall, The Pacific Gas And Electric Headquarters Building, The May Company (1929), Bel-Air Bay Club, Hollywood Park Turf Club, Etc. While Working For Sachs He Traveled To Florida For Work On Architectural Decoration. He Studied Ceramics , Then [Under Alfred Binn] At Alfred University Circa 1930 In Nyc. He Then Studied In Italy, Munich (Arts And Crafts School], And Berlin (Prussian Academy Of Fine Arts), Returning To The U. S., In 1932. He Began Independent Business In Interior Building Decorations In Ny 1932-1933, Working On Many Buildings. He Then Returned To Los Angeles Where He Resumed His Architectural Work And Opened A Home Studio Where He Produced Ceramics [Including Work For Judson Studios In The 1930'S-1950'S], Sculpture, Textiles, Etc. In 1933-1935 He Worked For The Federal And State Public Works Of Art Projects, Where He Met Merle Armitage, Who Encouraged Him And Who Wrote This Book About Him; Armitage Used His Work As A Primary Illustrator In Many Books 1934 To 1970. Napolitano Did Murals For Many Los Angeles Area Schools, Including Beverly Hills High School, Also Many Buildings Such As The Hollywood Park Turf Club, And Some Private Residences, Including The Residence Of William Andrews Clark In Santa Barbara. He Worked As A Gilder In Santa Barbara 1935-1936, Then Again For Sachs In 1936-1937. He Again Taught At Chouinard In 1938-1939 And Is Featured Prominently In Their Catalog. He Became A Member Of Several Motion Picture Unions, Worked For Mgm And Later Cbs, Did Work On George Pal's Cartoons Circa 1943 As A Primary Cartoonist, Undertook Work For Cbs, Worked On Design For The King And I, Etc., But Starting In The Later 1940'S His Primary Focus Was On Religious Sculpture And Architectural Decoration, Particularly Murals And Sculpture, In Churches In The Los Angeles Area, And Some Work In San Francisco, San Diego, El Centro, Arizona, Etc. Including A Well-Known Statue At The Franciscan Retreat In Malibu. Much Of This Work Has Been Inadvertently Destroyed In Remodels, Or Lost, But His Work Notes And Sketches, Photographs And Drawings, Textiles And Sculpture, Etc., Are Preserved In In The Napolitano Papers . Signed by Illustrator(s).
Verlag: Film-Kurier G.m.b.H., Bremen; Wien, 1937
Anbieter: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB), Santa Monica, CA, USA
Erstausgabe
Hardcover. Zustand: g to near fine. First edition. Fifteen original Issues of "Illustrierter Film-Kurier" featuring Greta Garbo, starring in German Metro-Goldwyn-Mayer Films. The pamphlets (ca. 12 x 9" and all 8 pages) are illustrated with striking photogravure reproductions of film stills and photomontages throughout printed by August Scherl. Each issue contains film credits and accompanying text, edited by Hermann Weist. 1. Das göttliche Weib, starring Greta Garbo, and Lars Hanson. Directed by Victor Sjöström. IFK# 1052. 2. Herrin der Liebe, starring John Gilbert and Greta Garbo. Directed by Clarence Brown. IFK# 1317 3. Wilde Orchideen, starring Greta Garbo, Lewis Stone, and Nils Asther. Directed by Sidney Franklin. IFK# 1324 4. Unsichtbare Fesseln, starring Greta Garbo, Nils Asther,John Back Brown. Directed by John s. Robertson. IFK# 1495 5. Anna Christie, starring Greta Garbo and Theo Shall. Directed by Jacques Feyder. IFK# 1515 6. Romanze, starring Greta Garbo and Lewis Stone. Directed by Clarence Brown. IFK# 1661 7. Yvonne, starring Greta Garbo, Robert Montgomery and Lewis Stone. Directed by Clarence Brown. IFK#1686 8. Mata Hari, Starring Greta Garbo, Ramon Novarro, Lionel Barrymore, and Lewis Stone. Directed by George Fitzmaurice. IFK# 1822 9. Helgas Fall und Aufstieg, starring Greta Garbo and Clarke Gable. Robert Z. Leonard. IFK# 1873 10. Menschen im Hotel, starring Greta Garbo, John Barrymore, Wallace Beery, Joan Crawford, Lionell Barrymore, and Lewis Stone. Directed by Edmund Golding. IFK# 1921 11. Wie Du mich Wünscht, starring Greta Garbo, Melvin Douglas, and Erich von Strohheim. IFK# 2018 12. Königin Christine, starring Greta Garbo and John Gilbert. IFK# 2224 13. Der Bunte Schleier, starring Greta Garbo and Herbert Marshall. Directed by Richard Boleslawski. IFK# 2296 14. Anna Karenina, starring Greta Garbo, Frederic March, Freddie Batholomew. Directed by Clarence Brown. IFK# 2436 15. Anna Karenina, starring Greta Garbo (Misprinted Sabo), John Gilbert, and Brandon Hurst. Directed by Edmund Goulding. No IFK#. Fourteen of Garbo's thirty-three films, including short films, produced between 1920 and 1941 are represented in this collection. Text in German. Some with light wear along edges, four with horizontal fold. All protected by modern mylar and in very good condition. [WITH] Greta Garbo: Ein Wunder in Bildern (A Miracle in Pictures). Bremen-Wien. Carl Schünemann. 1937. First edition. Quarto. 8, (2)pp. (Text), (134)pp. (Photos). Original photo-illustrated dust-jacket, black lettering, over red cloth, with gilt lettering on spine. Frontispiece portrait of Greta Garbo. Introduction by Alexander Lernet-Holenia. A collection of 129 stunning b/w photographic reproductions of the Swedish Sphinx, including many taken in some of her most luminous and unforgettable screen performances, such as "Mata Hari," "Grand Hotel," "Anna Karenina," "Queen Christina," and "Camille." Sporadic creasing and closed tears along dust-jacket edges, with head of spine slightly chipped. Nonabrasive tape at upper right corner of DJ. Text in German. Dustjacket in overall good, binding and interior in very good condition. [WITH] Greta Garbo: A Cinematic Legacy (Vieira, Mark A.). New York. Harry N. Abrams. 2005. First edition. Folio. 288pp. Original photo-illustrated boards in original dustjacket, black lettering on spine. Photo-illustrated endpapers and frontispiece portrait photograph. "With her breathtaking beauty and enigmatic persona, Greta Garbo is the ultimate Hollywood icon. Though many books have tried to unlock the mystique of the "Swedish Sphinx" by focusing primarily on her personal life, .[this] is the first book to pay serious attention to what made her an icon-her twenty-four Hollywood films, among them classics such as Flesh and the Devil, Love, Mata Hari, Grand Hotel, Queen Christina, Camille, and Ninotschka. As MGM's highest paid star, Garbo had approval of story, co-star, and cinematographer, wielding power that few others could match-yet she was often at odds with the system that made her such a phenomenon." (Publisher). Not only was Garbo the highest MGM star but, along with Marlene Dietrich, the highest paid star in the industry. Slight age-toning and wear along edges of der. Else in near fine condition. [WITH] Garbo: Portraits From Her Private Collection (Reisfield, Scott; Robert Dance). New York. Rissoli. 2008. Later edition. Folio. 255pp. Original tan over brown cloth in original, photo-illustrated dustjacket. "Famously elusive, Greta Garbo shunned publicity, guarded her privacy, and rejected the Hollywood limelight. Off screen she was known to her adoring public primarily through studio portraits. Though ambivalent about her fame, Garbo saved the publicity photographs presented to her by MOM-works by photographers Clarence Sinclair Bull, Ruth Harriet Louise, Edward Steichen, Nikolas Murray, and George Hurrell, among others." (Publisher). DJ slightly rubbed with slight traces of fluid exposure. Block with light age-toning along edges. DJ in overall good+, binding and interior in very good condition.
Verlag: Photograph by Albert Witzel of Los Angeles. Said to have been taken on 1 May, 1928
Anbieter: Richard M. Ford Ltd, London, Vereinigtes Königreich
Manuskript / Papierantiquität
The present image is not in the National Portrait Gallery, but the licencing rights are held by Getty Images, by whom it is dated to 1 May 1928. 24 x 18.5 cm bromide print, on 25 x 18.5 cm matt.In fair condition, discoloured and with light creasing at extremities. Chaplin's genuine signature is at bottom right: 'Yours Truly / Charlie Chaplin'. Wittzel's monogram (featuring 'WITZEL' and 'L A') is printed at bottom left. An excellent and unusual artistic image of a figure of world renown. Chaplin was a passionate amateur violinist, and this head and upper-body portrait is shot slightly from above, showing a smartly-dressed Chaplin in double-breasted jacket, tie, white shirt and handkerchief, looking downwards with great concentration, his violin tucked under his chin by the right hand, and the bow rising vertically from the bottom of the image to meet it (left hand not shown). See Image.
Verlag: The Pioneer Press, 1941]., [Hollywood, 1941
Anbieter: BUCKINGHAM BOOKS, ABAA, ILAB, IOBA, GREENCASTLE, PA, USA
Erstausgabe
First edition. First edition. 8vo. Inscribed by Al Jennings, "To a real man, Col. Tim McCoy, my friend. Al Jennings." Grey printed wrappers, 32 pp., frontis., foreword, introduction, illustrated, plates, portraits. A story of the prison life of O. Henry and Al Jennings. Six Guns 1171 says, "Rare." Tim McCoy, a friend of Jennings, served in World War I and later became famous as a cowboy movie star. He appeared in numerous movies and later hosted his own television show. Jennings was a convicted train and bank robber, had his sentence commuted to five years by President McKinley. He filmed THE BANK ROBBERY directed by Bill Tilghman and starred Heck Thomas, Frank Canton, and Quanah Parker a year after he received a full pardon from Theodore Roosevelt. It was through the film industry that McCoy and Jennings met. Fine copy. SIX GUNS 1171.
. Illustrateur : BEATON (Cecil). (illustrator). Photographie en noir et blanc, (1935), 22 x 16 cm. Boris KOCHNO (1904-1990) rencontre DIAGHILEV à 18 ans, et devient son secrétaire, puis son conseiller artistique. Après la mort de son mentor, il crée en 1933 une seconde troupe des Ballets Russes avec BALANCHINE, et après la guerre, lance la carrière de Roland PETIT avec les "Ballets des Champs-Elysées". Le modèle est représenté de profil, dans une attitude rappelant Le Penseur de RODIN. Au fond, un buste, des tissus imprimés, et une allégorie féminine. Sir Cecil Walter BEATON (1904-1980) est photographe, scénariste et concepteur de costumes pour le théâtre. Il réalise de nombreux portraits de célébrités et du monde du spectacle dans le Hollywood des années 30, tout en travaillant pour Vogue, Harper's Baazar et Vanity Fair. Sa conception décalée et élégante du portrait en font un dandy photographe. Deux expositions à la National Portrait Gallery de Londres lui ont été consacrées en 1984 et 2004. Un pli dans le coin supérieur droit. uvre originale.
96 pp.: ill. 40x26 cm. In original full cloth with lettering and design on the front cover and spine. Illustrated endpapers. Slightly soiled and rubbed, otherwise very good. First and only edition. Illustrated throughout with photomontages and photographs by Alexander Rodchenko and Varvara Stepanova. The album is known to have been produced in tremendous haste. After signing the contract, the designers had just eleven days to submit a mock-up of the album and less than a month to prepare the publication for the printers. More than that, the photo books published for the 1939 New York World's Fair were without crediting the creators. In this regard, Rodchenko wrote in his diary: Making books has become entirely uninteresting. The last album for the American exhibition was printed without the names of designers or photographers. What is that? What pleasure is there in working? (May 2, 1939). The title page features an image of a five-pointed star against the sky, and this is a collage of a single airplane repeated 85 times. In real life, planes formed less elaborate patterns during flypasts: they often performed the name of Stalin or the USSR in the sky. The album consists of full- and half-page photographs and montages: the first Soviet machines of the early 1920s and contemporary aircrafts, Arctic flights, military aviation, numerous portraits of pilots, constructors, parachute jumpers - and records they broke. The pictures were compared with film stills and Hollywood advertisements. This parade edition was part of a triumphal image created for the Soviet Pavilion at the 1939 New York World's Fair. The Soviet Union was hardly prepared for the upcoming war but needed to express itself. The album Soviet Aviation showcased that the USSR had a modernized air force and might counterattack. Karasik, M. The Soviet Photobook 1920-1941, p. 470-471. Worldcat shows copies located in LoC, Princeton, Columbia, Yale, California, Michigan, Stanford, Texas, Harvard, Hawaii, Illinois, Northwestern, Minnesota, New York, New Mexico, Texas A&M, Denver, Arizona, Florida, Sewanee, Carnegie Mellon, Wright, Louisville, Lewis Universities, Getty Institute, Air Force Academy, Smithsonian Institution, NYPL, Denver, RIT and St Louis Public Libraries, National Gallery of Art, Houston Museum of Fine Arts, Hagley Museum, Hamilton College.
Verlag: New York, 1929., 1929
Anbieter: Blue Mountain Books & Manuscripts, Ltd., Cadyville, NY, USA
Signiert
Zustand: Very good. New York, 1929. 1929. Very good. - sc A 9-7/9 inch high by 8 inch wide softly hued sepia photograph depicting the great classical music conductor Fritz Reiner in profile from the chest up. Neatly attired in a three piece suit and tie over white shirt, Fritz Reiner's gently, softly smiling face appears illuminated by inspiration. The photographer's stamp is embossed on the bottom left of the image. The photograph is mounted by the photographer, with glue from the verso, into a 15-3/4 inch high by 11-1/2 inch wide creamy white mat. Signed in pencil on the mat at right immediately under the image "Muray" and dated "1929" by the photographer. There are a few spots of abrasion to the emulsion along the top with a couple of spots at the top right corner of the image. A beautiful portrait housed in the photographer's light gray cardboard folder with his pictorial device above his name on the folder's front cover. The Hungarian-born conductor Frederick Martin "Fritz" Reiner (1888-1963) was highly regarded for his performances of Opera and symphonic music. Born in Budapest to a secular Jewish family he studied the piano and composition at the Franz Liszt Academy. Among his teachers was the young composer Bela Bartok. For a time, he worked closely with Richard Strauss before moving to the USA in 1922 to take over as condutor of the Cincinnati Symphony Orchestra. Taking citizenship in his new country, he taught at the Curtis Institute in Philadelphia. Both Leonard Bernstein and Lukas Foss where among his students. His appointment as music director of the Chicago Symphony Orchestra in 1953 marked the pinnacle of his career which included landmark recordings.Like Fritz Reiner, the photographer Nickolas Muray (1892-1965) was born in Hungary. He was a student of lithography, photoengraving and photography. Having fled Europe at the advent of the first World War, he settled in Brooklyn where he found work as a color printer. Opening a studio in Greenwich Village in 1920, he was soon commisioned by Harper's Bazaar to do a portrait of the Broadway actor Florence Reed. Harper's Bazaar were apparently happy with his work as they were soon publishing his photographs on a near monthly basis. As his reputation grew, New York City's elite and celebrities sought him out to have the portraits taken and in 1926, Vanity Fair sent him to Europe to photograph celebrities in London, Paris and Berlin and, in 1929 hired him to photograph Hollywood movie stars. Moving away from his earlier work, Muray turned to commercial photography becoming famous for his work in color advertising.