706 résultats
1960136893Los Angeles: Twentieth Century-Fox 1960. Archive of scripts and revision pages for 56 episodes of the hip private-eye detective television series "Peter Gunn." Copies belonging to screenwriter Lewis Reed with his holograph name to the front wrapper of each episode. <br/><br/>Included are screenplays for nearly half of the 114-episode run of the noir influenced television series starring the sophisticated sharp-dressed modern iazz-loving private eye Peter Gunn played by Craig Stevens. Probably the only television show that ever rivaled the best film noir of the big screen with minimalist dialogue and bleak open-ended conclusions that challenge even the best of television today. Creator Blake Edwards who later spawned both "Breakfast at Tiffany's" and the "Pink Panther" comedy film series starring Peter Sellers would use the success of "Peter Gunn" to jump start his film career. <br/><br/>Nominated for eight Primetime Emmy Awards and a Grammy Award. <br/><br/>Composer Henry Mancini also won an Emmy and two Grammy Awards for the show's well-loved theme song including the first Grammy ever awarded for Album of the Year. <br/><br/>Scripts in Very Good to Near Fine condition. Mimeograph on eye-rest green or white stock. Many episodes also contain pink blue white and yellow revision pages laid in at the rear. Twentieth Century-Fox unknown books
1982109358London: Jonathan Cape 1982. First edition of this Dahl classic which has sold over 20 million copies. Octavo original cloth illustrated by Quentin Blake. Boldly inscribed by the author on the front pastedown "Nicola Love Roald Dahl." Additionally inscribed by the illustrator Quentin Blake opposite Dahl's inscription. Fine in a near fine dust jacket. Uncommon signed by both Dahl and Blake. Roald Dahl is now considered one of the most beloved storytellers of the twentieth century. Dahl's ability to twist words into a clever and creative new language is fascinating to children and is evident in BFG. The gruesome descriptions of the horrid giants and the subtle allusions to other stories will entertain children young and old. An animated adaptation was released in theatres in 1987 with David Jason providing the voice of the BFG and Amanda Root as the voice of Sophie. It was also the basis for the 2016 film directed and co-produced by Steven Spielberg written by Melissa Mathison and starring Mark Rylance Ruby Barnhill Penelope Wilton Jemaine Clement Rebecca Hall Rafe Spall and Bill Hader. Jonathan Cape hardcover books
1983101467London: Jonathan Cape 1983. First edition of Dahl's Whitbread Award-winning children's novel illustrated by Quentin Blake. Octavo original cloth. Boldly signed by Roald Dahl on the half-title page. Near fine in a near fine dust jacket. Dahl's The Witches centers on the experiences of a young British boy and his Norwegian grandmother in a world where child-hating societies of witches secretly exist in every country. "Don't be fooled by those witches with their black hats black cloaks and broomsticks though those are not REAL WITCHES. Real witches are exceedingly difficult to spot in the wild and dress in ordinary clothes looking very much like ordinary people." Dahl's vital indicators for spotting a real witch include facts like they always wear gloves they have no toes are bald as boiled eggs and they have blue spit. "Dahl seems to have made an art form of the rediscovery that children tend to warm to the sorts of horror that make lesser mortals adults squirm with displeasure. He is undeniably special" Connolly 104. Jonathan Cape hardcover books
19771105008vo. London: BM Publications Ltd. 1977. 8vo introductory pamphlet and 17 woodcuts on special paper each in an individual folder all contained in a brown cloth folding box with black leather gilt-lettered labels on upper cover and backstrip. As issued in the original BM-issued numbered cardboard box; a few prints and mounts are slightly foxed a little musty from storage a couple of spots on the cloth box. § Limited to 150 sets this superb reprinting of Blake’s only woodcuts from the original blocks was executed by Iain Bain the Bewick authority and sold out immediately. Very few sets have since come to market as most were purchased by institutions. The accompanying commentary volume includes an introduction by Lord Clark a technical account of the printing of the blocks by Bain and David Chambers an essay on the engravings by Andrew Wilton and the text of Ambrose Phillip's "Imitation of Virgil's First Eclogue" which the illustrations were made to accompany. Bentley BBS p.262. BM Publications Ltd hardcover books
19871106893 huge black slipcases. Paris: Trianon Press for the Blake Trust 1987. 3 huge black slipcases with contents in various formats see below. In perfect condition as issued. § Edition limited to 365 copies in three different formats and a super de luxe edition limited to 22 sets of which this is #D. The super de luxe issue includes David Bindman ed. William Blake’s Illustrations of the Book of Job: The Engravings and Related Material with Essays Catalogue of States and Printings Commentary on the Plates and Documentary Record by David Bindman Barbara Bryant Robert Essick Geoffrey Keynes and Bo Lindberg. London: The William Blake Trust 1987. The work is housed in four cloth slipcases trimmed in morocco as follows:1. Text volume with the title page and colophon. Contents:Stephen Keynes “Acknowledgments.â€Charles Ryskamp “Foreword.â€David Bindman and John Commander “Preface.â€Geoffrey Keynes “The Development of the Job Designs.â€David Bindman “The Book of Job Designs from Butts Series to Final Engravings.â€Robert Essick “Blake’s Engravings to the Book of Job: An Essay on Their Graphic Form and Catalogue of States and Printings.â€Barbara Bryant “The Job Designs; a Documentary and Bibliographical Record.â€Quarter morocco and cover label. In the same slipcase: William Blake’s Illustrations of the Book of Job: The Plates with related designs and with an Introduction and Plate-by-Plate Commentary by Bo Lindberg. Loose in fascicles in a quarter morocco folder quarter morocco clamshell box with cover label.2. Colour Versions of William Blake’s Book of Job Designs from the Circle of John Linnell. With an essay by Bo Lindberg. Text volume quarter morocco with cover label. Quarter-morocco clamshell box with cover label with the following quarter-morocco folders with cover labels as quoted below contents loose:a. “The New Zealand setâ€b. “The Collins setâ€c. “The Fitzwilliam platesâ€3. “Additional Material 1.†Quarter-morocco clamshell box with cover label with the following quarter-morocco folders with cover labels as quoted below contents loose:a. “Pages from the ‘Riches’ sketchbook with colour washes not publishedâ€b. “William Blake Illustrations of the Book of Job Alternative printing of the engravings without plate markâ€c. “Facsimiles of subjects from the Butts version watercolours printed collotype by Emery Walker for the Pierpont Morgan Library edition 1935â€. Two mounted color reproductions.d. “Proofs guides and stencils for colour plates from Colour versions of Blake’s Book of Job designs Trianon Press Paris c. 1974â€4. “Additional Material 2.†Quarter-morocco clamshell box with cover label with the following quarter-morocco folders with cover labels as quoted below contents loose:a. “Label printed for original publication March 1826â€b. “Colour versions of William Blake’s Book of Job designs from the circle of John Linnell Collins & New Zealand sets & Fitzwilliam plates.†Housed in three paper folders. The same reproductions as those in box 2 above.Bentley BBS pages 198-99. Trianon Press for the Blake Trust hardcover books
194135790London 1941. Engraving printed on Rives wove paper watermarked "France". A rich impression in excellent condition. Fifth state of five. Image size: 11 3/4 x 37 inches. Final state of the largest Blake engraving.<br/> <br/>"Every age is a Canterbury Pilgrimage" wrote William Blake 1757-1827 poet and probably the most imaginative and original artist in the history of British art. "We all pass on each sustaining one or other of these characters nor can a child be born who is not one or other of these characters of Chaucer." Working in an archaic style intended to evoke the engravings of Chaucer's time Blake presents us with the cast of Chaucer's Tales as they begin their pilgrimage. Since Blake understood his subject so well and wrote with such elegance we can do no better than to use as a guide his own description of the engraving: "The time chosen is the early morning before sunrise when the jolly company are leaving the Tabarde Inn. The Knight and Squire with the Squire's Yeoman lead the Procession; next follow the youthful Abbess her nun and three priests; her greyhounds attend her. Next follow the Friar and Monk and then the Tapiser the Pardoner and the Sompnour and Manciple. After this 'Our Host' who occupies the centre of the cavalcade and directs them to the Knight as the person who would be likely to commence their task of each telling a tale in their order. After the Host follows the Shipman the Haberdasher the Dyer the Franklin the Physician the Ploughman the Lawyer the Poor Parson the Merchant the Wife of Bath the Miller the Cook the Oxford Scholar Chaucer himself; and the Reev comes as Chaucer has described:- And ever he rode hindermost of the rout." The view is eastward from the Tabard in Southwark across the Bridge from London as Blake conceived it to have been in Chaucer's day. He based his costumes on ancient monuments and other records. "As a literary piece" it has been noted Blake's engraving "has hardly an equal in the whole field of art." The engraving was begun late in 1809 and issued by the artist in October the following year. In his Prospectus for the issue Blake declared that the English nation would 'flourish or decay' according to the recognition they gave him for his year's labor. The printing plate survived and passed after Blake's death through the estate of Blake's wife finding its way to the collection of John Giles. Sold at auction with Giles collection in 1881 the printing plate was purchased by Colnaghi who issued restrikes on laid India paper. By 1940 the plate was in the possession of a New York art dealer who sold it to the wife of noted collector A. Edward Newton for her to present to her husband as a fiftieth anniversary present. After Newton's death the plate was sold with his famed library at auction on 16 April 1941 for the princely sum of $2300 to Charles J. Rosenbloom via his agent at the Parke Bernet sale Philadelphia bookseller Charles Sessler. Before delivering the printing plate to Rosenbloom Sessler had a small number of prints pulled on French hand-made paper. Although Rosenbloom only authorized 35 prints Essick and Young identified at least ninety-one impressions. "Whereas most of the identifiable Colnaghi restrikes were flatly printed the Sessler prints were heavily inked and printed. The plate shows minimal wear and the Sessler prints are generally preferable to Colnaghi's earlier printings -- probably because of better cleaning of the copper and superior presswork" Essick and Young. Rosenbloom donated the plate to Yale University in 1973.<br/> <br/>Robert Essick and Michael Young "Blake's Canterbury Print: The Posthumous Pilgrimage of the Copperplate" in Blake: An Illustrated Quarterly Vol. 15 No. 2 Fall 1981 pp. 78-82; Essick Separate Plates of William Blake XVI. unknown books
