KABUKI ACTORSBiblio.com
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réf. 369266Japan Undated c.late 19th century. Fine Condition. An engaging and well preserved original colour woodblock print attributed to Toyohara Kunichika 1835-1900 measuring 24 x 37 cm. Provenance: The Japanese Gallery London. Kunichika is widely regarded as one of the final great masters of ukiyo-e actor portraiture celebrated for his dynamic engagement with the kabuki stage. Apprenticed at thirteen to Utagawa Kunisada he developed a distinctive command of theatrical expression—gesture costume and the heightened drama of performance. His work particularly in the field of yakusha-e is marked by bold compositions saturated colour and a keen sensitivity to character. Although this print is catalogued as attributed to Kunichika” it displays many hallmarks associated with his mature style: strong outlines rich tonal contrasts and a vivid sense of movement. The subject a sword fighting scene reflects the theatrical intensity and choreographed dynamism that were central to kabuki performance and frequently explored in Kunichika's oeuvre. Size: 24 x 37 cms. Text is in Japanese. Category: PRINTS : Antiquarian Interest; Japanese Language; Japanese Interest. This item may require more postage than the rates shown for delivery outside the UK. If extra postage is required we will contact you before processing your order and you will be given the details and option to decline the extra cost. unknown
réf. 369269Japan Undated c.late 19th century. Unframed Print. Fine Condition. A vivid and well-preserved original colour woodblock print by Toyohara Kunichika 1835-1900 measuring 24 x 37 cm. Provenance: The Japanese Gallery London. Kunichika stands among the last great masters of ukiyoe celebrated for his dynamic portrayals of kabuki actors and the theatrical world they inhabited. Trained from the age of thirteen under Utagawa Kunisada he quickly distinguished himself through his instinctive grasp of stage gesture costume and dramatic expression. His lifelong fascination with kabuki led him to specialise in yakusha-e-actor portraits that captured both the physical presence and emotional intensity of performance. Working during the turbulent transition from the Edo to the Meiji period Kunichika remained a steadfast advocate for traditional woodblock printing even as new artistic technologies emerged. His prints are admired for their bold compositions saturated colours particularly his signature purples and deep reds and their ability to convey the heightened atmosphere of the theatre. Beyond actors his oeuvre spans folklore subjects sumo portraits travel scenes and landscapes all rendered with a distinctive dramatic flair. This example depicting the celebrated actor Ichikawa Danjuro in the role of a male spirit is characteristic of Kunichika’s late work: striking theatrical and richly coloured with a palpable sense of presence. His legacy endures as one of the final guardians of the ukiyo-e tradition bridging two defining eras of Japanese cultural and political change. Size: 24 x 37 cms. Text is in Japanese. Category: PRINTS : Antiquarian Interest; Japanese Interest; Japanese Language; This item may require more postage than the rates shown for delivery outside the UK. If extra postage is required we will contact you before processing your order and you will be given the details and option to decline the extra cost. unknown
réf. 51-3231Bruxelles: Columbia Pictures 1955. Original poster for the French language version. Mounted on cardboard. 53 x 35 cm. Parfois maladroite notamment dans sa présentation des personnages cette œuvre vaut surtout pour sa dernière heure proprement bouleversante sans être mélodramatique et pour son interprétation haut de gamme. Le fade Van Johnson y trouve ici son meilleur rôle lui qui fut toujours voué aux compositions de gentils garçons insouciants tandis que Peter Cushing se révèle terriblement touchant en cocu magnifique fonctionnaire ennuyeux et conscient de l’être. Mal reçu aux Etats-Unis où les ligues puritaines ont crié au scandale Vivre un grand amour a été bien accueilli en Europe et est encore considéré comme une excellente adaptation du roman de Graham Greene à l’instar de la nouvelle version de Neil Jordan La fin d’une liaison en 1999 avec Julianne Moore et Ralph Fiennes.From the collection of Herbert C.V. Feinstein Ph.D. San Francisco State University Professor of English; B.A. 1948 Columbia University; J.D. 1951 Harvard University; M.A. 1959 Ph.D. 1968 University of California Berkeley advanced study Indiana University. Professor since 1959. Emeritus since 2002. Died 2018. Bruxelles: Columbia Pictures, 1955. unknown
2008réf. 858092008 Harry N. Abrams, New York, 1988 (édition originale), 303 p., cartonnage éditeur, une date et une signature manuscrites sur la page de titre, bon état.
1885réf. 3810Paris Librairie des bibliophiles 1885 in-16 demi-reliure à coins Paris, Librairie des bibliophiles, Jouaust [puis] E. Flammarion, 1885-1892. 8 volumes in-16, XIII - 169, XIV - 119, XIV - 129, XXVI - 154, VIII - 173, XIV - 136, XI - 170, X - 174 pp., 8 frontispices, reliures de l'époque de demi-chagrin brun à coins, dos à 5 nerfs ornés, têtes dorées.
1933réf. 016008Paris Art & Action 1933 En feuilles
1993réf. C96328London 1993. Very Good. Archive scrapbook: Autographs and theatre flyers. Dated 1993. Dimensions 305mm x 220mm. Comprising 77 pages of tipped-in theatre flyers with signatures from the stars and cast. Theatre productions from classic to farce and comedy with signatures from some of Britain's finest actors. Theatres include: The Donmar Cottesloe Ambassadors Royal Court. Signatures include: David Essex Barbara Windsor Diana Rigg Elaine Paige Danny La Rue Susanna York Brian Blessed Toyah Willcox David Suchet Alison Steadman Anthony Newley Susan Hampshire Donald Sinden Anthony Newley George Hamilton IV Sinitta Jack Parnell Anna Massey Ken Campbell Britt Ekland Griff Rhys Jones Michael Praed Bernard Cribbins Little & Large Jane Horrocks Alan Cumming Ian Holm Edward De Souza Craig Revel Horwood Rula Lenska Millicent Martin Tim Pigott-Smith Anton Rogers Terrence Booth Penelope Wilton Eileen Atkins Dennis Waterman Peter Heppelthwaite Alison Steadman Tim Woodward Miriam Margolyes Margaret Courtney Julian Glover Scott Hardy. Very good. unknown
réf. 25354Copy of Macqueen-Pope’s letter: 15 May 1953. Circular: 27 November 1957; on letterhead of the Royal General Theatrical Fund Association 11 Garrick Street London WC2. See Wendy Trewin ‘The Royal General Theatrical Fund: a history 1838-1988’ 1989 and Macqueen-Pope’s entry in the Oxford DNB. ONE: Carbon copy of letter from Macqueen-Pope to Allen 15 May 1953 with three drafts of advertisement. 4pp 4to. On four leaves. The letter on the first page is somewhat grubby with rust spotting from paper clip the other three leaves each of which carries a proposed version of the advertisment in good condition lightly aged. The letter begins: ‘Dear Jack Allen / Herewith three rough samples for the proposed advertisement concerning the Fund. We should of course add the name of Leslie Henson as President wherever you think best. I will try and knock out a few more. They are intended as basic ideas only and can be altered by the Board or discarded altogether.’ He is ‘down with a sharp attack of bronchitis’ and is ‘Not by any means out of the wood yet’. He believes the ‘lack of new recruits’ is because ‘they do not think the Pensino good enough. People today think in very different terms of money to those we knew. And that I fear is our great problem.’ One draft begins: ‘You Belong to the / Most Precarious Profession in the World / You Cannot Do Anything about that / BUT / You Can Provide for Yourself and / Face the Future. last word deleted and replaced in MP’s autograph with ‘Years to Come’ / That is the reason for / The Royal General Theatrical Fund / It is the Profession’s Own Way of / Safeguarding the Future / Get into touch with the Secretary at / 11 Garrick Street. London W.C.2 / Phone / The Younger You Join the Less You Pay / And there is a Secured Income for you at Sixty / Not only that - you never lose what you have paid in. / Youth’s A Thing Will Not Endure - so Shakespeare said / but / The Royal General Theatrical Fund will take care of / Your Old Age.’ Another version begins ‘You Are Young Now. Old Age Seems a Long Way off. / But is it / You will be surprised how quietly and relentlessly it approaches. / Old Age is a serious thing to those who belong to / The Theatrical Profession.’ It ends ‘Privacy. Proficiency. Providence.’ TWO: Corrected draft of circular 27 November 1957. 1p 4to. Typewritten letter with list of ‘BUSINESS.’ Reads ‘Dear Sir or Madam / The usual monthly meeting of the Directors will be held here on Wednesday 4th December 1957 at 12 noon. / Trusting you will be able to be present / I am / Yours faithfully / J. MAYHEW ALLEN / Secretary.’ The ‘BUSINESS’ which include ‘ “My Fair Lady” benefit performance’ and ‘Elsie Coram’ have been deleted in pencil and replaced in MP’s autograph with ‘Wolfit / Robert Ormsby / Peter Ustinov / Richardson / Michael Redgrave’. Above this is written ‘Mrs Long’. After the body of the letter MP has written in ink ‘W. Macqueen-Pope Esq’. See Image. Copy of Macqueen-Pope’s letter: 15 May 1953. Circular: 27 November 1957; on letterhead of the Royal General Theatrical Fund As unknown
1880réf. C99188London 1880. Very Good. VIctorian Writers Thinkers and Actors: Collection of correspondence mostly addressed to the well-connected journalist and play licenser Edward Smyth Pigott. Dated 1854-1880. Includes political thinkers such as Daniele Manin Louis Blanc Jules Simon and Caroline Norton politician Sylvain Van de Weyer actors Dion Boucicault and Robert Cecil writers Edmond About and Edmund Yates and the historian Goldwin Smith. Together 21 letters with some in French. Mostly very good condition with folds some light foxing and staining v.s. v.d. c.1850s-80s / Edward Frederick Smyth Pigott 1824-1895 was a fellow student with Wilkie Collins at LincolnÕs Inn then a journalist with The Daily News and The Leader. In 1874 he was appointed Deputy Licensership of Plays in the Lord ChamberlainÕs Office a position held until his death in 1895. Correspondence was maintained not only with renowned actors and writers of Victorian London but also in French with a wealth of European political thinkers and activists. /Jean-Sylvain Van de Weyer was a Belgian politician who served as the Belgian Minister at the Court of St. James's Mostly very good. Some minor wear. unknown
1916409p. illus. No. 28 of edition limited to 160 copies signed by the author. This copy has A.L.S. from author & playbill tipped in Hardcover Very good hinges rubbed 3/4 red calf
1957réf. 3115006NP: Columbia Pictures. Very Good with no dust jacket. 1957. Poster. Original half-sheet film poster for this 1957 b-movie production. 19 1/4" X 13 3/4" Close to near fine on card-stock with fold at center. Traces of faint wear at margins. Blurb reads - "This Is a picture about DOPE!"; 8vo 8" - 9" tall . Columbia Pictures unknown
1859réf. RO40231965Amyot, Paris. 1859. In-4. Relié demi-cuir. Etat d'usage, Couv. convenable, Dos frotté, Quelques rousseurs. 528 pages. Gravure en noir et blanc en frontispice (portrait). Non illustré. Auteur, titre et filets dorés sur le dos. Epidermures sur le dos.. . . . Classification Dewey : 791.431-Acteurs
Amyot, Paris. 1859. In-4 Carré. Relié demi-cuir. Etat d'usage. Couv. convenable. Dos frotté. Quelques rousseurs. 528 pages. Gravure en noir et blanc en frontispice (portrait). Non illustré. Auteur, titre et filets dorés sur le dos. Epidermures sur le dos. Mademoiselle Rachel (Rachel FÉLIX) dans ses principaux rôles.
1729réf. PHO-2653Paris, La Haye, Prault, Merville, 1729-1732. In-8 (18,5x11,5cm), basane époque, dos à nerfs orné avec titre (effacé), tranches rouges, frottements et épidermures, coins usés, , coiffe arasée, débuts de fentes, petit travail de ver au plat. Complet de son frontispice par Lancret et gravé par Cars.
réf. 10134Paris : administration, rue de Lancry, (1854,) 2 vol.reliés en un fort volume in-4: Les Théâtres de Paris: Cinquante notices et portraits ht en lithographie en noir à fond teinté,sous serpente,avec notice imprimée par volume,soit 100 illustrations en lithographie à fond teinté ,ht .Les Folies-nouvelles. 1 vol. ; La Porte-Saint-Martin. 1 vol.100 signed sketches, each with separate pagination and portrait. Description: 2 volumes : color portraits ; 27 cm
réf. 51-7274Tokyo: Shinsei Katsusha June 1946. Original pictorial wraps. 18.2 x 25.8cm. 60pp.The Motion Picture Library was a pioneering bilingual film publication launched in Tokyo in post-WWII Japan 1946-1948. Aimed at bridging American pop culture and Japanese audiences it printed full English scripts actor profiles and bilingual synopses of imports like Casablanca. The emergence of these bilingual or heavily translated film resources during the mid-1940s marked a dramatic cultural shift. Following wartime censorship and the total ban of foreign films the sudden influx of Hollywood movies under the Supreme Commander for the Allied Powers SCAP created a boom in cine-literacy. .“MÅshon pikuchÄ raiburarÄ«” wa dainijisekaitaisengo no Nihon 1946-nen 〜 1948-nen ni oite TÅkyÅ de sÅkan sa reta senku-tekina bairingaru eiga shuppan-monodeatta. Amerika no poppukaruchÄ to Nihon no kankyaku to no kakehashi to naru koto o mezashi dÅshi wa “Kasaburanka” nado no yunyū eiga ni tsuite kanzen'na eigo kyakuhon haiyū no purofīru soshite nichiei taiyaku no arasuji o keisai shite ita. 1940-Nendai nakaba ni okeru kÅshita bairingaru aruiwa Åhabana hon'yaku o hodokoshita eiga kanren shiryÅ no tÅjÅ wa gekitekina bunka-teki tenkan o shÅchÅ suru monodeatta. Senji-chū no ken'etsu ya gaikoku eiga no zenmen kinshi o hete rengÅ-koku saikÅ shirei-kan sÅ shirei-bu SCAP no tÅchi-ka de Hariuddo eiga ga totsujotoshite tairyÅ ni ryūnyū shita koto wa eiga riterashī eiga o yomitoku chikara e no kanshin o ikkini takameru būmu o makiokoshita nodearu.『モーション・ピクãƒãƒ£ãƒ¼ãƒ»ãƒ©ã‚¤ãƒ–ラリーã€ã¯ã€ç¬¬äºŒæ¬¡ä¸–界大戦後ã®æ—¥æœ¬ï¼ˆ1946年〜1948年）ã«ãŠã„ã¦ã€æ±äº¬ã§å‰µåˆŠã•ã‚ŒãŸå…ˆé§†çš„ãªãƒã‚¤ãƒªãƒ³ã‚¬ãƒ«æ˜ 画出版物ã§ã‚ã£ãŸã€‚アメリカã®ãƒãƒƒãƒ—カルãƒãƒ£ãƒ¼ã¨æ—¥æœ¬ã®è¦³å®¢ã¨ã®æž¶ã‘æ©‹ã¨ãªã‚‹ã“ã¨ã‚’目指ã—ã€åŒèªŒã¯ã€Žã‚«ã‚µãƒ–ランカã€ãªã©ã®è¼¸å…¥æ˜ ç”»ã«ã¤ã„ã¦ã€å®Œå…¨ãªè‹±èªžè„šæœ¬ã€ä¿³å„ªã®ãƒ—ãƒãƒ•ã‚£ãƒ¼ãƒ«ã€ãã—ã¦æ—¥è‹±å¯¾è¨³ã®ã‚らã™ã˜ã‚’掲載ã—ã¦ã„ãŸã€‚1940年代åŠã°ã«ãŠã‘ã‚‹ã€ã“ã†ã—ãŸãƒã‚¤ãƒªãƒ³ã‚¬ãƒ«ã‚ã‚‹ã„ã¯å¤§å¹…ãªç¿»è¨³ã‚’æ–½ã—ãŸæ˜ 画関連資料ã®ç™»å ´ã¯ã€åŠ‡çš„ãªæ–‡åŒ–的転æ›ã‚’象徴ã™ã‚‹ã‚‚ã®ã§ã‚ã£ãŸã€‚戦時ä¸ã®æ¤œé–²ã‚„å¤–å›½æ˜ ç”»ã®å…¨é¢ç¦æ¢ã‚’経ã¦ã€é€£åˆå›½æœ€é«˜å¸ä»¤å®˜ç·å¸ä»¤éƒ¨ï¼ˆSCAP）ã®çµ±æ²»ä¸‹ã§ãƒãƒªã‚¦ãƒƒãƒ‰æ˜ ç”»ãŒçªå¦‚ã¨ã—ã¦å¤§é‡ã«æµå…¥ã—ãŸã“ã¨ã¯ã€æ˜ ç”»ãƒªãƒ†ãƒ©ã‚·ãƒ¼ï¼ˆæ˜ ç”»ã‚’èªã¿è§£ã力）ã¸ã®é–¢å¿ƒã‚’一気ã«é«˜ã‚るブームを巻ãèµ·ã“ã—ãŸã®ã§ã‚る。. Tokyo: Shinsei Katsusha , June, 1946 paperback
1877réf. 0011261877 Lyon, N. Scheuring, 1877. In-8 (150 X 217 mm) demi-maroquin rouge à coins, dos cinq nerfs filetés, titre doré, caissons richement ornés, date en queue, tête dorée, double filet doré sur les plats (reliure de l'époque) ; VIII-384 pages.
réf. AQ22324Newcastle: W. Fordyce Printer s.d. c. 1820s Single leaf broadside edges uncut. A trifle creased and browned. An apparently unrecorded late Georgian playbill advertising three evenings of entertainment provided by a travelling troupe of actors in or around Newcastle including a performance of Church of Scotland minister John Home's 1722-1808 drama in blank verse Douglas. The play first performed in Edinburgh on 14th December 1756 found overwhelming approval with the general public despite having been rejected in London by actor and theatre manager David Garrick over concerns of taste. Not all found fault however Scottish philosopher David Hume said of Home; 'you possess the true theatric genius of Shakespeare and Otway refined from the unhappy barbarism of the one and the licentiousness of the other'. . Dimensions 150 x 230 mm. W. Fordyce, Printer, [s.d., c. 1820s] unknown
réf. 21935Oblong 8 x 10 photograph GREAT CONDITION SIGNATURES GUARANTEED AUTHENTIC. Signed by Author. Unbound.
1940réf. 225431940. Archive of African American entertainer photographs circa 1940s to 1970s documents the publicity performance and social spaces through which Black artists gained national visibility across film soul music jazz theater nightclub entertainment and stand-up comedy. Identified subjects include Isaac Hayes Harry Belafonte Sidney Poitier Dick Gregory Moses Gunn and John Marriott performers whose careers collectively illuminate the expanding but still restricted opportunities available to African Americans in twentieth-century entertainment. The group moves between controlled studio portraits motion-picture stills live-performance images and candid street photography showing how Black public identity was constructed both through commercial publicity and within community institutions. The survival of agency stamps press captions credits and editorial crop marks further documents how such photographs circulated through newspapers magazines studios and publicity departments; comparable institutional collections preserve these markings as evidence of publication and public-relations use. Twelve original silver gelatin photographs and halftone publicity prints circa 1940s to 1970s in various sizes the majority approximately 8 by 10 inches. Several bear photographer or agency stamps typed press captions printed credits or editorial markings on the versos or margins. Principal images include a tightly cropped portrait of Isaac Hayes with a caption identifying him as "composer singer actor black Moses of soul"; a film still of Harry Belafonte in a tense scene from the 1959 noir Odds Against Tomorrow; and Sidney Poitier embracing Barbara McNair in They Call Me Mister Tibbs! released in 1970. AFI records Belafonte's film as a November 1959 drama and Poitier's sequel as a July 1970 release filmed in San Francisco and Los Angeles. Additional portraits show comedian and civil-rights activist Dick Gregory; stage and screen actor Moses Gunn associated with the Negro Ensemble Company and Shaft; and veteran actor John Marriott. The unidentified material broadens the archive beyond established celebrity: a tuxedoed singer poses in a nightclub or theatrical setting; a well-dressed man stands before a facade displaying posters for entertainers identified as Kit Kara and Rio; two men shake hands beneath the marquee of Harlem's Savoy Ballroom; and smaller prints show a saxophonist performing and an image of a lobby card advertising comedian "Hot Ashes." The Savoy image is especially significant as a street-level record of a Harlem venue closely associated with Black social dance and jazz performance. Together the photographs trace several routes through which African American performers entered public view: Hayes through the assertive visual language of 1970s soul; Belafonte and Poitier through films that placed Black actors within politically charged dramatic narratives; Gregory through the union of comedy and civil-rights activism; and Gunn and Marriott through sustained stage and character work. The unidentified singer saxophonist theater facade and Savoy Ballroom scene preserve the broader entertainment culture surrounding nationally recognized artists preventing the archive from reducing Black performance history to celebrity alone. Light handling wear scattered corner creases and press crop marks; captions stamps credits and principal images remain legible and well preserved. Very good. A varied visual record connecting African American celebrity publicity with the theaters clubs films and performance networks that sustained Black entertainment across four decades. unknown
1940réf. 225431940. Archive of African American entertainer photographs circa 1940s to 1970s documents the publicity performance and social spaces through which Black artists gained national visibility across film soul music jazz theater nightclub entertainment and stand-up comedy. Identified subjects include Isaac Hayes Harry Belafonte Sidney Poitier Dick Gregory Moses Gunn and John Marriott performers whose careers collectively illuminate the expanding but still restricted opportunities available to African Americans in twentieth-century entertainment. The group moves between controlled studio portraits motion-picture stills live-performance images and candid street photography showing how Black public identity was constructed both through commercial publicity and within community institutions. The survival of agency stamps press captions credits and editorial crop marks further documents how such photographs circulated through newspapers magazines studios and publicity departments; comparable institutional collections preserve these markings as evidence of publication and public-relations use. Twelve original silver gelatin photographs and halftone publicity prints circa 1940s to 1970s in various sizes the majority approximately 8 by 10 inches. Several bear photographer or agency stamps typed press captions printed credits or editorial markings on the versos or margins. Principal images include a tightly cropped portrait of Isaac Hayes with a caption identifying him as "composer singer actor black Moses of soul"; a film still of Harry Belafonte in a tense scene from the 1959 noir Odds Against Tomorrow; and Sidney Poitier embracing Barbara McNair in They Call Me Mister Tibbs! released in 1970. AFI records Belafonte's film as a November 1959 drama and Poitier's sequel as a July 1970 release filmed in San Francisco and Los Angeles. Additional portraits show comedian and civil-rights activist Dick Gregory; stage and screen actor Moses Gunn associated with the Negro Ensemble Company and Shaft; and veteran actor John Marriott. The unidentified material broadens the archive beyond established celebrity: a tuxedoed singer poses in a nightclub or theatrical setting; a well-dressed man stands before a facade displaying posters for entertainers identified as Kit Kara and Rio; two men shake hands beneath the marquee of Harlem's Savoy Ballroom; and smaller prints show a saxophonist performing and an image of a lobby card advertising comedian "Hot Ashes." The Savoy image is especially significant as a street-level record of a Harlem venue closely associated with Black social dance and jazz performance. Together the photographs trace several routes through which African American performers entered public view: Hayes through the assertive visual language of 1970s soul; Belafonte and Poitier through films that placed Black actors within politically charged dramatic narratives; Gregory through the union of comedy and civil-rights activism; and Gunn and Marriott through sustained stage and character work. The unidentified singer saxophonist theater facade and Savoy Ballroom scene preserve the broader entertainment culture surrounding nationally recognized artists preventing the archive from reducing Black performance history to celebrity alone. Light handling wear scattered corner creases and press crop marks; captions stamps credits and principal images remain legible and well preserved. Very good. A varied visual record connecting African American celebrity publicity with the theaters clubs films and performance networks that sustained Black entertainment across four decades. unknown books
1960réf. 224801960. African America Film and Entertainment Photo Archive of Black Entertainers Musicians Actors & Comedy Figures 1950s-1970s including Otis Redding Dinah Washington and Brock Peters. An archive of 9 original gelatin silver and glossy studio prints black and white measuring 10" x 8". Produced for press and promotional use in the United States during the mid 20th century. This archive comprises promotional portraits of major and lesser known Black entertainers. Multiple framed headshots feature blues and soul music legends Otis Redding and Dinah Washington as well as veteran character actors Brock Peters Moses Gunn John Marriott Thomas Anderson and gospel composer Howard A. Roberts. Additional images include a staged comedy scene produced by Laff Records featuring two older Black men in comedic poses surrounding a man in drag and a candid interview style photo of an unidentified Black entertainer at a desk with rotary telephone. Otis Redding and Dinah Washington headshots capture their poised midcentury publicity style: Washington smiles hair pinned with flower and pearls exuding jazz elegance; Redding presents a three quarter confident gaze in a dark suit. Otis Redding and Dinah Washington were among the most influential African American vocalists of the mid-20th century each achieving extraordinary success in a tragically abbreviated career. Redding hailed as the "King of Soul" became a defining figure of Southern soul with hits like "These Arms of Mine" and "Sittin' On The Dock of the Bay" the latter recorded just days before his death in a 1967 plane crash at the age of 26. His electrifying performance at the Monterey Pop Festival expanded his appeal beyond Black audiences and cemented his place in American music history. Washington known as the "Queen of the Blues" and "Queen of the Jukeboxes" crossed genres from gospel to jazz to pop with chart-topping hits in the 1950s earning a Grammy Award and influencing generations of vocalists with her dramatic phrasing and interpretive command. She died of an accidental overdose in 1963 at just 39 years old. Though their styles differed-Redding's raw emotive soul contrasting with Washington's polished versatility-their shared legacies lie in the groundbreaking commercial and artistic success they achieved in a racially segregated industry and in the profound cultural loss their premature deaths represented. The archive also includes studio portraits of lesser-known but notable Black figures: Brock Peters who achieved both stage and screen fame including pivotal roles addressing race in American culture; Moses Gunn a prominent character actor and Shakespearean performer; John Marriott and Thomas Anderson performers whose careers bridged regional theatre and early television. These studio shots display Peters with contemplative expression; Gunn looking directly toward the camera with intensity; Roberts identified by "Howard Roberts" printed beneath his image alongside performing arts agency credit; Thomas Anderson and John Marriott similarly styled in classic studio poses. The Laff Records comedic photograph shows two older men flanking a man in drag. Laff Records was an LA-based imprint which produced raunchy comedy records by Black comic icons such as Richard Pryor and Redd Foxx and was a vital platform which elevated subversive Black expression in a time of segregation and censorship. The final print shows a Black man at a desk holding a telephone receiver-a press snapshot suggestive of an interview or managerial context. Minor toning to margins on two prints; small creases at corners of three; image clarity remains strong; agency or studio credits legible. Overall very good condition. unknown
1960réf. 224801960. African America Film and Entertainment Photo Archive of Black Entertainers Musicians Actors & Comedy Figures 1950s-1970s including Otis Redding Dinah Washington and Brock Peters. An archive of 9 original gelatin silver and glossy studio prints black and white measuring 10" x 8". Produced for press and promotional use in the United States during the mid 20th century. This archive comprises promotional portraits of major and lesser known Black entertainers. Multiple framed headshots feature blues and soul music legends Otis Redding and Dinah Washington as well as veteran character actors Brock Peters Moses Gunn John Marriott Thomas Anderson and gospel composer Howard A. Roberts. Additional images include a staged comedy scene produced by Laff Records featuring two older Black men in comedic poses surrounding a man in drag and a candid interview style photo of an unidentified Black entertainer at a desk with rotary telephone. Otis Redding and Dinah Washington headshots capture their poised midcentury publicity style: Washington smiles hair pinned with flower and pearls exuding jazz elegance; Redding presents a three quarter confident gaze in a dark suit. Otis Redding and Dinah Washington were among the most influential African American vocalists of the mid-20th century each achieving extraordinary success in a tragically abbreviated career. Redding hailed as the "King of Soul" became a defining figure of Southern soul with hits like "These Arms of Mine" and "Sittin' On The Dock of the Bay" the latter recorded just days before his death in a 1967 plane crash at the age of 26. His electrifying performance at the Monterey Pop Festival expanded his appeal beyond Black audiences and cemented his place in American music history. Washington known as the "Queen of the Blues" and "Queen of the Jukeboxes" crossed genres from gospel to jazz to pop with chart-topping hits in the 1950s earning a Grammy Award and influencing generations of vocalists with her dramatic phrasing and interpretive command. She died of an accidental overdose in 1963 at just 39 years old. Though their styles differed-Redding's raw emotive soul contrasting with Washington's polished versatility-their shared legacies lie in the groundbreaking commercial and artistic success they achieved in a racially segregated industry and in the profound cultural loss their premature deaths represented. The archive also includes studio portraits of lesser-known but notable Black figures: Brock Peters who achieved both stage and screen fame including pivotal roles addressing race in American culture; Moses Gunn a prominent character actor and Shakespearean performer; John Marriott and Thomas Anderson performers whose careers bridged regional theatre and early television. These studio shots display Peters with contemplative expression; Gunn looking directly toward the camera with intensity; Roberts identified by "Howard Roberts" printed beneath his image alongside performing arts agency credit; Thomas Anderson and John Marriott similarly styled in classic studio poses. The Laff Records comedic photograph shows two older men flanking a man in drag. Laff Records was an LA-based imprint which produced raunchy comedy records by Black comic icons such as Richard Pryor and Redd Foxx and was a vital platform which elevated subversive Black expression in a time of segregation and censorship. The final print shows a Black man at a desk holding a telephone receiver-a press snapshot suggestive of an interview or managerial context. Minor toning to margins on two prints; small creases at corners of three; image clarity remains strong; agency or studio credits legible. Overall very good condition. unknown books
18352 vols., 8vo., First Edition, with engraved portrait frontispiece (mildly age-soiled), some very light and inoffensive age-staining to text, neat pencilled nineteenth-century inscription of half-title of second volume; attractively bound in contemporary half calf, coarse-grain cloth sides ruled in gilt, backs with five raised bands, second and third compartments lettered and ruled in gilt, all other compartments framed and tooled in gilt, gilt edges, marbled endpapers, a very good, bright, crisp copy in wholly unrestored period binding. The UK edition is much scarcer than its US counterpart published in the same year, particularly as two volumes as originally issued. Kean died in 1833.
2005réf. C92639London 2005. Very Good. Dimensions 155mm x 220mm. Daler à Rowney sketchbook: black boards with plain pages. Signatures clearly written in medium gauge felt pen one per page. Detailed notes on each artist where and when the signature was collected written in pencil verso. From the collection of the great collector of autographs signed books and signed photos Clive Bullimore.London based ex stockbroker who spent his retirement assiduously collecting autographs. Signatures dated 2005; pencil notes indicate 2017. Signatures: Simon Napier à Bell Judy Carmichael Curtis Fuller Cedric Kyles Sandy Shaw Sandra Bullock Barb Jungr Stephen Fretwell Bjork Josh Rouse Captain Sensible Howard Marks dick Taylor Pretty Things Andy Bey Moby with cartoon drawing Leo Sayer Nik Kershaw Graham Gouldman 10cc Jacki Graham Natalie Imbruglia Elle Macpherson Elizabeth Hurley David mcAlmont Christopher Eccleston Philip Pullman Merrill Osmond Osmonds Anne Kirkbride Karen England and Rebecca Knight Opera Babes G4 Male voice Group Keedie Russell Watson Aled Jones Emma Johnson China Forbes Pink Martini Charlie Dore Ozzy Osbourne Anthony Head Claire Bloom Kim Wilde Mary Gauthier The Bees Olivia Newton John Ken Foree David Carradine Julian Clary Corinne Drury Swing Out Sister Madeline Peyroux Bonnie Bramlett Tony Joe White Brenda Blethyn Sidney Pollack Nichole Kidman Cowboy Jack Clement Richard Briers Play Emiliana Torrini Procol Harum Albert Hammond Squeeze Chris Difford Doves Teenage Fanclub Estelle Idle Wild Scottish rock band. The album could profitably be split up but it is an atractive collectable item as it is. Each autograph on one side only of a separate page 8 by 6 inches. Very good indeed. Very slight lean. hardcover
