8,065 results
1980ref. 154434N.p.: N.p. 1980. Two Final Draft scripts one First Draft script and one Revised Draft script for four episodes of the popular sitcom television series "Soap" including scripts for episodes 55 71 72 and 75. Scripts belonging to actor Jimmy Balo with his name in manuscript ink annotation to the top right corner of the front wrapper and his manuscript ink annotations marking dialogue to the screenplay for Episode 72. Episode 71 missing ten pages likely as used or issued. Created by Susan Harris "Soap" was a parody of melodramatic daytime soap operas. The series aired 85 episodes over the course of four seasons from September 13 1977 to April 20 1981 and broadcast on ABC either late at night-or not at all-by many affiliates. "Soap" courted controversy in the early years of its broadcast for its graphic sexual content and satirical depictions of infidelity homosexuality and religion. ABC also found itself in a glass house with regard to its censorship concerns as memos about the show's controversial themes and language were leaked to the press on several occasions. Notable as an early role for actor and comedian Billy Crystal and a milestone for subversive comedy and satire rivaling other marginal programs at the time that are today held in high regard such as "SCTV" "Fernwood Tonight" and its 1977 soap opera parody antecedent "Mary Hartman Mary Hartman." Set in the fictional town of Dunn's River Connecticut. Episode 55: Blue titled wrappers noted as FINAL DRAFT on the front wrapper dated September 19 1979 with credits for screenwriters Susan Harris and Stu Silver. Title page present. 49 leaves with last page of text numbered 44. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. Episode 71: Red titled wrappers noted as REVISED DRAFT on the front wrapper dated July 10 1980 with credits for screenwriters Susan Harris Stu Silver Dick Clair and Jenna McMahon. Title page present dated July 10 1980 with credits for screenwriters Susan Harris Stu Silver Dick Clair and Jenna McMahon. 57 leaves with last page of text numbered 53. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound with two gold brads. Episode 72: Cream titled wrappers noted as FIRST DRAFT on the front wrapper dated July 21 1980 with credits for screenwriters Susan Harris Stu Silver Dick Clair and Jenna McMahon. Title page present dated July 21 1980 with credits for screenwriters Susan Harris Stu Silver Dick Clair and Jenna McMahon. 36 leaves with last page of text numbered 42. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. Episode 75: Pink titled wrappers noted as FINAL DRAFT on the front wrapper dated October 29 1980 with credits for screenwriters Susan Harris Stu Silver Dick Clair and Jenna McMahon. Title page present dated October 29 1980 with credits for screenwriters Susan Harris Stu Silver Dick Clair and Jenna McMahon. 52 leaves with last page of text numbered 61. Xerographic duplication rectos only. Pages and wrapper Near Fine bound with two gold brads. N.p. unknown books
1987ref. 148509N.p.: N.p. 1987. Vintage script for the 1988 Broadway play which premiered on May 3 1988 at the Royal Theatre and ran for 279 performances. David Mamet's incendiary take on the world of Hollywood movie-making a black comedy that stands alongside Nathanael West's "The Day of the Locust" in the subtlety and accuracy of its indictments. Nominated for three Tony Awards including Best Play and Best Direction of a Play for Gregory Mosher and winning one for Best Actor in a Play for Ron Silver. Revived on Broadway in 2008. Pink titled wrappers with credits for playwright David Mamet on the front wrapper dated June 1987. Title page present with a credit for Mamet dated June 1987. 146 leaves with last page of text numbered 141. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus lightly foxed to the fore edge and bottom edge of the front wrapper bound with two gold brads. N.p. unknown books
1967ref. 141961London: British Broadcasting Corporation BBC 1967. Final Draft script for the 1967 BBC television special "Chicago in the Roaring Twenties" seen here under the working title "The Bootleggers." Based on British broadcaster and naturalist Kenneth Allsop's 1961 book "The Bootleggers." A BBC special in which the infamous gangster Al Capone's Chicago mafia reign is illustrated in song and dance directed by composer/producer Buddy Bregman and written by noted screenwriter Jesse Lasky Jr. One of a handful of musicals to be written about the unlikely subject. Dark green wrappers with a die-cut window on the front wrapper revealing the title on the title page in the British style. Title page present dated September 1967 noted as Final Draft. 171 leaves with last page of text numbered II-15-66. Mechanical duplication on yellow stock. Pages Near Fine wrapper Very Good with rear hinge starting bound internally with two silver brads. British Broadcasting Corporation [BBC] unknown books
1983ref. 139677Burbank CA: American Broadcasting Company ABC 1983. Vintage black-and-white photograph from the 1983 television episode. An ex-football star and his wife adopt the son of his former teammate after he is killed in a car accident. "Webster" ran for four years and is comparable to "Diff'rent Strokes" in which a young African American boy is also adopted by a wealthy white family. Set in Chicago shot on location in Arizona and California. 9 x 7 inches. Near Fine with a small stain to the top margin. American Broadcasting Company [ABC] unknown books
2002ref. 43209New York: Bruce Silverstein Gallery 2002. First Edition. Fine. Catalogue for an exhibition at Bruce Silverstein collecting black-and-white photographs by Larry Silver. Wraps. Oblong 8vo. Perfect-bound photographic wraps. Fine condition. Sharp and clean. 59pp. Bruce Silverstein Gallery paperback books
1940ref. 42021New York: D. Silver Hardware Co 1940. First Edition. Near fine. Catalog from the D. Silver Hardware Company in New York City containing primarily wholesale keys locks and related items for locksmiths. A large portion of the catalog related to automobiles including door handles hub cap and gas cap locks etc. with information regarding compatibility with specific makes and models. Almost all items illustrated from detailed line drawings. Wraps. 8.5" x 11" catalog saddle-stapled in wraps. Mild toning throughout with light edge-wear. Near fine. 40pp. D. Silver Hardware Co paperback books
1949ref. 09988FAINT CLEWS & INDIRECTIONS Duke University Press 1949 first edition fine in a vg dust-wrapper with some light wear and tear and some tanning to the dust-wrapper spine. Manuscripts of Walt Whitman and his family. From the library of the former premier Walt Whitman collector bibliophile and philanthropist Charles Feinberg. Duke University Press unknown books
1923ref. NF2581GLASS PAINTS VARNISHES AND BRUSHES Pittsburgh Plate Glass Company / Lakeside Press / R. R. Donnelly & Sons 1923 first edition a scratch to the cloth at the center of the rear cover else a tight bright near fine copy in the publishers original decorative binding. Replete with either photos drawings and many full color plates on almost every page showing the multi-varied uses of the company's products throughout American industry. Pittsburgh Plate Glass Company / Lakeside Press / R. R. Donnelly & Sons hardcover books
2005ref. 253202Philadelphia: the author 2005. 10p. staplebound photocopied packet very good with text of Silver's speech and a brief biographical note written by Walter Lear after Silver's death in 2005. The talk discusses the author's experiences as a left-wing activist in health care as well as the larger contours of the movement. the author unknown books
1991ref. 218880New York: Avon 1991. Softcover. Very Good. First edition. Very good in wrappers. Paperback bottom corner of front cover dog-eared and slightly peeling apart light browning of page edges. Avon unknown books
1990ref. 219645Washington DC: National Academy Press 1990. Softcover. Fine. First edition. Fine in wrappers. Paperback is a nice clean copy like new. National Academy Press unknown books
1977ref. 230404New York: Dial 1977. Softcover. Very Good. Uncorrected. Paperback Very good in wrappers. Very light staining on spine. Dial unknown books
1991ref. 199259India: East West Press 1991. Very Good. First thus. Very good minus. Cover rubbed worn. East West Press unknown books
1972ref. 217891New York: Viking Press 1972. Hardcover. Very Good. First edition. Very good: Book shows slight rubbing of spine and panels. Viking Press hardcover books
1999ref. 247794New York: Simon & Schuster 1999. Hardcover. Fine/Fine. First edition. Fine in fine dust jacket. Hardcover and dust jacket. Clean text. Nice clean copy. Simon & Schuster hardcover books
ref. 4426Paris 18th century. Silver filigree binding 82 x 60 mm. including spine. The covers of filigree volutes and curling tendrils with inset painted enamel oval centerpiece and heart-shaped corner-pieces showing putti in pastoral settings below love-related mottos in French central plaque on front cover slightly damaged both covers decorated with ten glass “amethysts”; hollow tubular filigree spine pair of fore-edge clasps and catches the silver binding mounted over later yellow silk-covered thin pasteboards the yellow silk liners with pockets front and back; preserved in a modern morocco case. Containing a 20th-century illustrated manuscript on parchment pasted in partly loose. This silver binding with painted enamel plaques belongs to a group of similarly decorated late 17th- or 18th-century miniature bindings. Several are on late 17th-century printed books or 18th-century manuscripts which have an Italian connection and although their style may have been imitated in various centers of book production it seems likely that most of the bindings were produced in Italy. I know of 15 such bindings including this one. Most are found on various late 17th-century editions of the Office of the Virgin printed in Paris from the 1670s to the early 1690s but including editions in Italian; these little Offices seem to have been produced at least in part for the Italian market. Two of the bindings were used for Hebrew manuscript prayerbooks produced in Italy. A census is available on request: it expands on that drawn up and kindly shared by Dr. Jan Storm van Leeuwen who published an earlier version in the catalogue of Patricia Pistner’s miniature book collection A Matter of Size no. 123. All but one of the bindings are miniature measuring approximately 82 x 55/58 mm. and are adorned with 12 to 20 cut-glass “jewels.” The silverwork is of two types: ten are filigree with spiraling volutes as in this binding and five are in a floral ajouré or openwork design with stems leaves and blossoms as in the Pistner example. The enamel plaques are also of two types not correlated with the two different silverwork types. The majority eleven show Christian religious figures with no inscriptions; these are in at least two different styles and were probably produced in different workshops. They are all found on editions of the Office of the Virgin printed between 1672 and 1693 all but one in Paris. Four bindings including this one have secular plaques painted in a rough folk-art style with putti and archaically spelled mottos relating to love. The other three bindings with secular motifs are the Pistner binding which is empty and two other filigree examples both bound over Jewish or Hebrew manuscripts: one is in a private Swiss collection and the other in which the plaque inscriptions are in Italian is held by Penn State University acquired from us. All four of these “secular” bindings have oddly shaped spines some slightly deformed. This seems to be the result of reworking the spines to accommodate thinner text blocks than those for which they were originally intended. The design of the catches and joints of the present binding and its filigree silverwork are similar to the other filigree secular bindings. The plaques especially resemble those of the example in the Swiss collection; one of the central plaques shares the same inscription here Rien m’arrest; in the other binding Rien m’arreste. However the fine condition and perfectly rounded spine of this binding may also point to some 19th-century restoration. Bookbindings of silver and previous metal were kept and reused through generations and thus often appear on much later books or manuscripts. This binding presently houses a 20th-century mildly erotic manuscript in French on 10 vellum leaves the title Cantique de Salomon in a crowned frame the 9 following leaves containing amateurish pencil and watercolor drawings with one- or two-line captions on rectos only. Originally glued in most of the leaves are now loose. The manuscript is disposed in the style of a Hebrew codex with the page order from left to right and the Hebrew transcription of the name of God YHWH appears at the top of the title. For examples of the analogous bindings see A Matter of Size: Miniature bindings and texts from the collection of Patricia J. Pistner 2019 no. 123 referring to 7 such bindings; F. Malaguzzi Collezioni del Museo civico d'arte antica di Torino: legature Turin 2011 no. 92; Luigi Mallé Smalti - Avori del Museo d’Arte Antico Turin 1969 pp. 113-114; G. Fletcher Judging a Book by its Cover: Bookbindings in the Collections of the Grolier Club NY 2023 no. 3.13; Musinsky Rare Books Catalogue 28 item 7; Patrick Olson NY Book Fair List 2024. unknown books
1750ref. 4310The binding probably Augsburg 1750. Agenda-format binding size 155 x 78 x 24 mm. Contents: 143 small engravings all but the first 48-50 x 35-37 mm. the first mounted sideways measuring 50 x 97 mm. consisting of 11 engravings for each saint trimmed to borders and mounted on 78 leaves of wove paper. 18th-century German silver-gilt embossed binding regilt in the 19th century both covers with a large oval cartouche containing a scene of the Crucifixion on the upper cover and the Resurrection on lower cover both covers with cherubs within ornamental foliage at the four corners the pair at top holding a cartouche with a scene of the Entombment on upper cover and the Ascension on lower cover the pair at the foot holding laurel wreaths and flanking a winged angel’s head; spine with embossed flowers ribbons and foliate ornaments above and below a central scene of Moses with the brazen serpent at top a monogram of the letters CJ; two chased metal fore-edge clasps attaching on upper cover; lined in later 19th-century green watered silk edges gilt and gauffered. Housed in a folding cloth felt-lined folding case upper cover with morocco gilt label with Abbey’s named coat of arms; his paper shelf-mark label JA 2680 on lower cover. Provenance: unidentified monogram on binding; Major John Roland Abbey 1894-1969 bookplate on case; see Hayward Silver Bindings no. 17; Bernard Breslauer anonymous sale Sotheby’s 10 May 1985 “Silver and Enamel Bindings” lot 26 unsold. A stunning embossed silver-gilt binding almost certainly produced in Augsburg from the collection of Major Abbey. The binding dates from the “last phase of baroque and the fully developed rococo” Hayward the final culminating period of Augsburg craftsmanship in embossed silver. Describing this binding and two others from the collection Hayward wrote: “the most finely worked book-covers in the Abbey Collection date from the second quarter of the Eighteenth Century. The subjects are the familiar scenes from the life of Christ but treated even in the small compass of a book-cover with extraordinary dramatic force. The designs were probably derived from a contemporary illustrated Bible but their effectiveness is greatly enhanced by the relief in which they are rendered and by the strong contrasts of light and shade” p. 3. To accentuate the pathos the silversmith or designer chose to highlight minor characters: in the dramatic Crucifixion scene the most deeply embossed figures occupying the foreground are two soldiers throwing dice at the foot of the cross; similarly the centurion is the largest and most solid figure in the Resurrection scene on the lower cover. The binding encloses an album of 143 fine small unsigned 17th-century probably Flemish engravings of Franciscan saints neatly mounted on wove paper. The Antwerp engraver and print publisher Philips Galle had initiated the vogue for “Franciscan” prints with his series of engravings of the Life of St. Francis first produced before 1580 cf. Sellink pp. 129-131. The present suite contains 13 series each with 11 small engravings depicting a saint or group of saints as follows: St. Francis The 5 Martyred Saints the 7 Martyred Saints Anthony of Padua Bonaventura Ludovicus Episcopius Bernardino of Siena John of Capestrano Didacus Diego of Alcalá Clare of Assisi Elizabeth of Hungary S. Elizabeth vidua Louis of France and Elzear. With one exception John of Capestrano instead of St. Ivo of Brittany these were the saints chosen by Hendrik Sedulius guardian of the Antwerp Franciscans for his Imagines Sanctorum Francisci printed and illustrated by Philips Galle in 1602 but that quarto-format work only includes one large engraving per saint each accompanied by a page of text. The exact source of this more extensive small format suite remains to be identified. Each engraving has a caption citing a chapter number. Major John Roland Abbey assembled the largest English book collection of his generation. His first love was bindings and among these he brought together an exceptional group of silver bindings some of which were described and illustrated by John F. Hayward in an article published in The Connoisseur in 1952. The present binding is number 17; Hayward noted its earlier regilding as well as the “fine quality” of the embossing. Bernard Breslauer later bought the collection en bloc from Abbey’s widow “and in 1985 Bernard consigned the collection with some additions from his own stock to Sotheby’s London. Despite Sotheby’s well-illustrated and informative catalogue the sale was calamitous: of the fifty-eight silver and enamel bindings only fourteen met the reserve” Laird p. 67. This binding was not one of them. Cf. M. S. Sellink Philips Galle 1537-1612: engraver and print publisher in Haarlem and Antwerp PhD ThesisVrije Universiteit Amsterdam 1997 online. J. F. Hayward Silver Bindings from the J. R. Abbey Collection offprint from The Connoisseur October 1952. Cf. M. Laird “Bernd Bernard Hartmut Breslauer 1918-2004: A Personal Memoir” Gazette of the Grolier Club 72 2023 59-92. Thanks to Mr. Laird for sharing the sale results from B. Breslauer’s own catalogue in his possession. unknown books
1866ref. 46114Boston 1866. First edition. Self wrappers. A very good copy one corner creased minor wear and soiling to margins. 7 pp. Sm. 4to. Includes comparison with the Gould & Curry and the Ophir mines. Eberstadt 138: 509. unknown books
1989ref. 36922London: Middlesex Polytechnic 1989. First edition. Paper wrappers with dust jacket paperback. A fine copy in a very good soiled jacket. 72 pp. 16 color plates & 21 b/w illus. Sm. 4to. Covers 240 wall papers. Includes handlist to accompany the Exhibition Catalogue. Catalogue of an exhibition organized by the Silver Studio Collection Middlesex Polytechnicheld at the Orleans House Gallery Riverside Twickenham 2 December 1989 - 11 February 1990. Bibliography. Middlesex Polytechnic paperback books
1985ref. 23477Bloomington: Lilly Library / Indiana Univ. 1985. First edition. Illustrated paper wrappers. A fine copy. 63 pp. Illus. with 20 b/w plates. 4to. 87 items described. Lilly Library / Indiana Univ. unknown books
2025ref. 212091New York / Raleigh NC / New Haven CT: Jewish Museum / North Carolina Museum of Art / Yale University Press 2025. Hardcover. VG. A few light touches of exterior wear otherwise clean and unmarked. Quarto. Hardcover. Bound in pink and green cloth with color plate mounted to the center front board. No jacket as issued. 157 pages : color illustrations ; 29 cm. "An exploration of how the biblical heroine Queen Esther a symbol of resilience and a figure of immense popularity was portrayed in seventeenth-century Dutch art. In the age of Rembrandt van Rijn the biblical Book of Esther was a popular source of inspiration for diverse communities in the Netherlands both Jewish and Christian. Traditionally the Esther story is read annually on the Jewish holiday of Purim. For immigrant Jewish communities living with new freedom in more tolerant Amsterdam celebrating Purim--notably through finely produced Esther scrolls and theater productions-became a meaningful expression of Jewish culture. For the Dutch Queen Esther's heroism came to represent their emerging nation's identity. Rembrandt and his contemporaries depicted essential scenes of Esther's story in paintings prints drawings and decorative arts. Examining how Esther was represented in art and popular culture in Rembrandt's time this beautifully illustrated volume includes essays that discuss the visual culture and ceremonial art of Purim and examine the queen's status as a heroine in seventeenth-century Netherlands. A postscript reveals Esther's continued appeal through a close look at work by contemporary American artist Fred Wilson who reimagines the biblical heroine as the abolitionist Harriet Tubman. Published in association with the Jewish Museum New York and the North Carolina Museum of Art Raleigh"-- Provided by publisher. Jewish Museum / North Carolina Museum of Art / Yale University Press hardcover books
1965ref. 203748Charlottesville VA: Universiy Pressof Virginia 1965. Hardcover. VG. Boards have some wear around the edges the worst being the bottom corners where threre is some fabic loss. Octavo. Hardcover. Quarter bound in red cloth with the boards in navy blue cloth. Missing jacket. 139 pages 8 plates 2 unnumbered leaves of plates : illustrations facsimiles ; 23 cm. Witty and cryptic inscription by the author on the front free end page in beautiful handwriting. Universiy Pressof Virginia hardcover books
2022ref. 203929Veurne Belguim: Hannibal 2022. Hardcover. Dutch Language. As new. Quarto. Hardcover. Quarter bound with orange cloth in pictorial boards. no jacket likely as issued. 255 pages : illustrations chiefly color facsimiles portraits ; 30 cm. "According to the medieval theologians belief is a matter of bitter seriousness. Humor and virtue must be incompatible because laughter is uncontrollable and escapes the control of reason. Smiling modestly so much so. But laughing grinning and grimacing: that must be the case. are the devil's playground - as pernicious as other uncontrollable urges such as physical love or the gambler's addiction. That is the domain of the farmer or the fool. In the late In the Middle Ages every true city dweller knows that the difference between peasants and fools is small. Peasants are silly primitive fond of parties carousing drinking and sex. should not laugh too loudly. Only during silly children's parties or Shrove Tuesday celebrations are urban revelers allowed to show their undersides. the farmer also escapes the fool from the existing order. He holds up a mirror to the self-proclaimed wise man because 'while laughing the fool tells the truth' even though he is hidden between piss and shit sex and snot. That is precisely why Erasmus does not speak in his Praise of Folly but leaves the honor to Folly a broad back behind which the wise man can hide when he denounces social problems. This is how laughter changes the world. In this context fool and irony become important motifs in medieval art especially in the Netherlands. This original art book is illustrated with dozens of masterpieces by Flemish masters from worldwide collections."--. Hannibal hardcover books
2013ref. 195189New York: The Frick Collection 2013. Paperback. VG- Wraps are lightly edgeworn/scuffed/smudged; textblock edges are worn/scuffed/smudged; interior is clean; binding is solid. Color-illlus. wraps with white lettering. 149 pp. full of color images. Revered in his own time as a "monarch" of painting Piero della Francesca 1411/13–1492 is acknowledged today as a founding figure of the Italian Renaissance. From February 12 to May 19 2013 The Frick Collection presented the first monographic exhibition in the United States dedicated to the artist bringing together seven works by Piero della Francesca including six panels from the Sant’ Agostino altarpiece—the largest number from this masterwork ever reassembled. Essays by Nathaniel Silver James R. Banker and Machtelt Israels. Appendix by Giacomo Guazzini and Elena Squillantini. A sumptuous catalogue! The Frick Collection paperback books
2019ref. 172928Boston: Isabella Stewart Gardner Museum 2019. Hardcover. VG/VG. Green boards with bronze spine lettering. Color-illustrated dust jacket with bronze and burgundy lettering. 128 pp. Color illustrations. First published to accompany the exhibition of the same name at the Isabella Stewart Gardner Museum Boston February 14 through May 19th 2019. Isabella Stewart Gardner Museum hardcover books
