Livre Rare Book
7,440 results
1947ref. ABE-100747893458 PAGES FORMAT 43X56-EN UNE: PHOTO 16,5X20,5 DE MURIEL CHANEY DANS "L'AMOUR DES 3 ORANGES" AU THEATRE MONTPARNASSE-LES VALETS DE LA LIBERTE,PAR ANDRE ROUBAUD-CLIMATS D'ALSACE,COUPS DE SOLEIL ET PARAPLUIES,PAR DUSSANE-ENTRE L'OUVRIER ET LE POETE LE SCENARISTE,PAR ALEXANDRE ARNOUX-THEATRE DE L'ATHENEE,"LES BONNES","L'APOLLON DE MARSAC",CARICATURE DE JOUVET PAR GEORGES BASTIA-DANSE:LA LEGENDE DU LAC DES CYGNES-JE SUIS MAINTENANT UN VIEIL HOMME.M'A DECLARE MAURICE CHEVALIER-CHARLES FRIANT N'EST PLUS-BERNARD NAUDIN,PAR A VIALATTE,AUTOPORTRAIT-UNE LETTRE DE M.RABANI A BERNARD GAVOYT,EDITH PIAF-JEAN DELANNOY TOURNE "LES JEUX SONT FAITS" DE J.P.SARTRE-(042013)
ref. 9761Ensemble de 3 tapuscrits ou copies de tapuscrits de Paul Gsell, en 5 dossiers. Diogène le Chien. Pièce en Trois actes. Tapusctit in-4° sous chemise ocre ou beige formant couverture, titre manuscrit au 1er plat par l'auteur, broché par ruban. 2 exemplaires, un de 144pp. , l'autre non paginé. Les 2 avec nombreuses ratures et corrections autographes de l'auteur. Cette comédie a été radiodiffusée en 1937, avec une musique de Henri-Emile Sauveplane (cf. BNF). Déchirures aux couvertures, on a joint des pages volantes d'un 3ème exemplaire incomplet. /
1950ref. 168509N.p.: N.p. 1950. Vintage eleven-page ribbon copy typescript short story circa 1940s-1950s subsequently serving as the basis for the 1972 adult film. Rare. An iteration of an explicit short story penned by an anonymous author sometime before or during World War II circulated underground in retyped typescript or carbon typescript copies during the 1940s and after. "Behind the Green Door" is notable as one of of the first American hardcore pictures to receive widespread distribution in the US and one of the first heterosexual pornographic films to feature an interracial sex scene. A breakthrough role for actress Marilyn Chambers who would go on to become one of the first icons in the adult film industry and even worked briefly in mainstream cinema. Eleven leaves last page of text not numbered. Ribbon copy typescript on onionskin stock rectos only. Pages Good or better bound with two staples on the top edges. N.p. unknown
1936ref. 147033Burbank CA: Warner Brothers 1936. Collection of nine vintage oversize photographs from the 1936 film. Each with a mimeo snipe on the verso. Based on the 1930 Pulitzer Prize winning play by Marc Connelly itself based on "Ol' Man Adam an' His Chillun" a 1928 collection of pseudo African American folk tales by Roark Bradford. One of only a handful of films to feature an all-Black cast made by a major Hollywood studio during the Golden Age becoming the highest grossing such film and remaining so until surpassed by "Carmen Jones" in 1954. 14 x 11 inches. Very Good with light edgewear and light vertical creasing down the center. Warner Brothers unknown
1976ref. 164201Universal City CA: Universal Studios 1976. Final Draft script for the 1977 film here under working title "9/30/55". Based on the 1966 play "How Many Times Have You Seen East of Eden' by James Bridges. A college student who idolizes James Dean tries to cope with Dean's sudden death on September 30 1955. Set in and shot on location in Conway Arkansas. Red titled self wrappers noted as FINAL DRAFT SCREENPLAY on the front wrapper production No. 02088 dated March 12 1976. Title page present noted as Final Draft Screenplay with credits for director screenwriter and playwright James Bridges. 100 leaves with last page of text numbered 97. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound with three gold brads. Weldon 1996. Universal Studios unknown
1974ref. 140856N.p.: N.p. 1974. Draft script for an unproduced film. With a typed letter to Ms. Lahn from screenwriter John Rose laid-in. A biopic on the French sculptor Auguste Rodin and the turbulent relationships he has with everyone around him. Among his doomed romances are his mistress and in the last year of both their lives his eventual wife Rose as well as a host of other women including Camille a sculptor to whom he is a mentor. Among his friends are Edmond a long admirer of the artist who only wants what is best for him. His work is both praised and rejected by the French torturing him to the point of starvation and leading to his demise. Set in Paris. White titled self wrappers with credits for screenwriter John Rose. 108 leaves with last page of text numbered 108. Mechanical duplication. Pages Near Fine wrapper Near Fine bound with three silver brads. N.p. unknown
1986ref. 141902N.p.: N.p. 1986. Treatment script for an unproduced film. The true story of Benjamin Franklin traveling to France after the American Revolution where he acts as a diplomat from the newly-established United States of America and he makes sure to throw around the new weight of this budding country. Set in Paris. Clear untitled wrappers. Title page present dated 1986 with credits for screenwriter Dennis Whelan. 53 leaves with last leaf of text numbered 50. Xerographic duplication. Pages Near Fine wrapper Near Fine bound with two staples. N.p. unknown
1975ref. 146241Hollywood: Turman-Foster 1975. First Draft script for an unproduced film. Based on noted African American writer and academic Cecil Brown's 1969 debut novel. A cynical silver-tongued black man from the rural south makes a living through scamming and stealing which he considers informal reparation for the injustices he has faced. Fed up with the quality of life in the US he decides to leave for Sweden where he spends his days with other black expatriates and his nights with beautiful Swedish women. Set in New York and Stockholm Sweden. Blue titled wrappers. Title page present dated March 21 1975 noted as FIRST DRAFT with credits for screenwriter Roland Cutler and novelist Cecil Brown. 120 leaves with last page of text numbered 118. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound with two gold brads. Turman-Foster unknown
1984ref. 149775N.p.: N.p. 1984. Draft script for an unproduced film. With a single editorial manuscript ink annotation to the title page. Laid in with the script are a typed letter from casting agent Paul Kohner to actor Charles Bronson dated September 13 1984 proposing that Bronson read it in consideration for the part of vice presidential candidate John Stevens. Also included is a xerographic copy of a letter from screenwriter Robert Goethals to Kohner introducing Kohner to the script. A satirical war comedy following Theodore Roosevelt and his attempt to nominate a pacifist for vice president to the chagrin of the US Marines stationed in Panama and defend the Panama Canal from attacking Huns. Screenwriter Goethals was best known for his television writing including episodes of "The Hitchhiker" and "Miami Vice." Set in Panama. Green untitled wrappers. Title page present with credits for screenwriter Robert Gothals. 122 leaves with last page of text numbered 121. Xerographic duplication rectos only. Pages Very Good plus wrapper Very Good with a moderate tide mark affecting the tops of the wrappers and top page edges bound with three gold brads. N.p. unknown
1958ref. 143074Universal City CA: Universal Pictures 1958. Vintage double weight photograph on the set of the 1958 film showing Cyd Charisse getting her hair styled after a swim while Rock Hudson films with moment in the background. With a mimeo snipe on the verso. With a screenplay by Ernest K. Gann based on his 1958 novel about the captain and passengers of a rundown boat caught in a storm and struggling to survive. Filmed on location in Hawaii. 8 x 10 inches. Near Fine. Universal Pictures unknown
1976ref. 147023N.p.: Constantin-Film 1976. Vintage French-Canadian poster for the 1974 German film "Magdalena vom Teufel besessen" released in the US as "Beyond the Darkness" "Magdalena Possessed by the Devil" and "The Devil's Female." With the latter title tipped on to the poster demonstrating the ad hoc distribution process for grindhouse and exploitation films which often saw titles change at a moment's notice to better catch the public's attention and sometimes trick them into seeing a film they've already seen. German sexploitation knock-off of William Friedkin's 1973 horror classic "The Exorcist" about a student at a girl's boarding school who is possessed by a demon. 22 x 34 inches folded as issued. Very Good with some light edgewear several small closed tears to right edge pinholes to corners and light rubbing to center text but still bright and unfaded. Constantin-Film unknown
ref. 142842N.p.: N.p. 1981. Handmade vernacular conceptual journal documenting the shooting of Robert Frank's 1981 film "Energy and How to Get It" circa 1980-1981. Includes tipped in ephemera drawings business cards and 46 Polaroids of Wurlitzer Robert Frank June Leaf and "Lightning" Bob. Annotations and captions throughout by Wurlitzer. Also included are 4 reference photos all likely unique from the shooting of the film: two showing both Wurlitzer and Frank one showing Wurlitzer and one of the "Enola Gay" aircraft in the film. Mead Memo notebook spiral bound. Green wrappers. 4.25 x 6 inches Very Good overall tipped in photos Near Fine. Reference photos 8 x 10 inches Near Fine. N.p. unknown
1935ref. 124528Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1935. Dashiell Hammett's original submitted Treatment script for the first sequel to "The Thin Man" here referred to only as "Thin Man Sequel" and ultimately titled "After the Thin Man." With a single manuscript correction by Hammett and letter of provenance from Hammett's daughter Josephine Hammett Marshall regarding the discovery of the treatment in the family's estate. The first "Thin Man" film released in 1934 and based on Hammett's novel was a smash hit and is today a key film in the American screwball comedy cycle. Five sequels were made between 1936 and 1947 all starring the original acting team of William Powell and Myrna Loy and this previously unknown attempt at a sequel by Hammett was clearly commissioned by MGM but never produced making this script an entire unpublished Hammett work. The story is a completely original one never reworked for the other films very much written in Hammett's trademark style and reading a bit more like a story treatment i.e. a novel than a final screenplay which is likely as far as the story got on the road to production. The piece is dated Sept. 17 1935 at the lower right corner of the front panel along with Hammett's name and Hammett's name is noted in pencil next to the title label though not in Hammett's hand. There is only one single-word correction to the entire text at page 83 in Hammett's hand where the word "compact" is replaced with "cigarette case." Accompanying the screenplay is a typed letter signed from Hammett's daughter who edited a recently published collection of Hammett's letters on her personal stationery stating that the screenplay was discovered by Hammett's wife in 1980 and that it had been a part of the family's estate until that time. Probably one of only 2-3 copies that could have been produced and very possibly the only copy extant. To our knowledge no other copy of this story in any form has ever been recorded at auction or sold on the market. Light blue titled wrappers with the white MGM studio label present manuscript pencil notation of Hammett's name secretarial rubber-stamped COMPLETE dated September 17 1935 with a single credit for Hammett. 115 leaves mimeograph duplication. Pages and wrapper Very Good plus bound with two gold brads. In a custom clamshell box. Full pagination available upon request. Metro-Goldwyn-Mayer [MGM] unknown
1949ref. 137478Universal City CA: Universal Pictures 1949. Final shooting script for the 1950 film. Copy belonging to actor Marshall Reed who here plays the role of the villain with his name in black manuscript ink on the front wrapper. A ruthless man attempts to rekindle a settled feud between two rancher families in order to take both their lands when they kill each other off. Luckily the town has a good sheriff and a standup rancher gal to help save the day. An odd short musical western with a good crop of the genre's favorite themes bar brawls ambushes sharpshooters to help round out the plot. Red titled wrappers noted as FINAL SHOOTING SCRIPT on the front wrapper production No. A7 dated November 2 1949. Title page present with credits for screenwriter Joseph O'Donnell. 47 leaves with last page of text numbered 46. Mimeograph duplication. Pages Fair wrapper Fair bound with three gold brads. Foxing and dampstaining to much of the wrappers and extremities. Universal Pictures unknown
ref. 132794Universal City CA: Universal Pictures 1986. Archive of three title card maquettes hand lettered by Harold Adler for the 1963 film. Also included are two fascinating autograph letters both elaborately designed and executed in a calligraphic style from Adler to author illustrator and editor Fridolf Johnson relating to Adler's work with Hitchcock. Harold Adler was a calligrapher who created hand lettered titles on over 100 films worked frequently with Alfred Hitchcock and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "The Birds" 1963 his credits include "Comanche!" 1956 "The Man with the Golden Arm" 1955 "The Seven Year Itch" 1955 "Carmen Jones" 1954 "Psycho" 1960 "In the Heat of the Night" 1967 and "Justine" 1969. In 2012 an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation Kansas City. In the first letter dated May 16 1986 Adler describes after touching on other topics meeting Hitchcock and then presenting him with layout ideas for the titles. He then goes into detail regarding his answer to a question about the techniques of artist Eric Gill stating that Hitchcock "was amazed" by this answer and after that would "request 'to be sure to bring that nice young man along" meaning Adler whenever he had a job for Adler's firm. The second letter dated June 10th 1986 focuses almost exclusively on Adler's work on "The Birds" going into some detail regarding both the creative and technical processes of producing hand lettered titles for films. He also describes Hitchcock as "an unusual person to work with. He was a master at what he did knew what he wanted and smoked the finest cigars." He then concludes the letter with some brief remarks on how his approach to title lettering evolved over the course of his career. The letters themselves are works of art executed in a variety of inks in Adler's detailed penmanship with Johnson's name on each in particular receiving full calligraphic treatment. Also included are draft title cards for the film stylistically similar to each other but much different from the titles used in the finished film. Two of the cards are marked as "camera ready" in manuscript colored pencil with titles executed in white paint on black board. The third card photo stat on black paper which accompanied the June 10th letter has been annotated by Adler on both the recto and verso explaining the in more detail the technical process of putting the lettering on film. Overall a significant collection of material illuminating a little explored aspect of film design with a direct and significant connection to a seminal work by a director known for personally overseeing all aspects of production. Each letter 19 x 24 inches single leaf rectos only. May 16th letter folded twice for mailing June 10th letter folded. Two long diagonal creases to the May 16th letter else both are Fine. Original mailing envelope for the May 16th letter included. "Camera ready" title cards 22 x 14 inches. Lightly rubbed and about Near Fine. Third card 18 x 4 inches. Near Fine. National Film Registry. Clover Men Women and Chainsaws. Godard Histoires du cinema. Universal Pictures unknown
1964ref. 170747N.p.: N.p. 1964. Vintage borderless reference photograph from the 1964 film showing Frank A. Coe as Frankenstein's monster holding a nude woman. Layout annotations in manuscript pencil on the verso. An alien lands on Earth in order to kidnap the perfect human woman to use to create a race of servants for his home world. He finds the answer in the laboratory of mad scientist Dr. Breedlove. Originally titled "Dr. Breedlove or How I Learned to Stop Worrying and Love" then retitled "Kiss Me Quick" in order to exploit Billy Wilder's "Kiss Me Stupid." 8 x 10 inches. Very Good plus. N.p. unknown
1980ref. 141121Beverly Hills CA: Orion Pictures 1980. Collection of five lobby cards for the 1980 film. Based Carolyn Cassady's 1976 book about the lives of and relationships between Neal Cassady Carolyn and Jack Kerouac with some focus on Kerouac's writing his novel "On the Road." One of the earliest feature films about central Beat figures. Shot on location in San Francisco. Orion Pictures unknown
1991ref. 167974N.p.: N.p. 1991. Draft script for the 1993 American-German-Dutch film. Single numeric annotation in manuscript pencil on the title page. Text in English. A struggling jazz musician provides music lessons to make ends meet although his students are ambivalent at best while maintaining a romance with a bartender at a local Irish bar. One of two feature films directed by Sara Driver known for producing the first two films of her longtime partner director Jim Jarmusch. Shot on location in Hamburg. Mylar front wrapper black rear wrapper. Title page present dated 1991 with credits for screenwriter Ray Dobbins and story writer Sara Driver. 91 leaves with last page of text numbered 90. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus with a black Velo binding. N.p. unknown
1977ref. 146401N.p.: N.p. 1977. Draft script for an unproduced film. Included with the script is a typed letter from screenwriter John Roberts to casting agent Paul Kohner submitting the script for consideration by prospective director John Huston with a manuscript pencil annotation across the top: "Irene / Please explain John's present status / Does he want to wait" Likely from Kohner to his secretary or reader. A gritty war drama detailing the 1919 Battle of Shenkursk an important battle in the Russian Civil War. Set in Russia. White generic Paul Kohner-Michael Levy Agency wrappers. Title page present with credits for screenwriter John Roberts. 185 leaves with last page of text numbered 183. Xerographic duplication rectos only. Pages Very Good plus wrapper Very Good plus with light soil and toning to the extremities bound with two gold brads. N.p. unknown
1963ref. 132008New York: Louis de Rochemont Associates 1963. Third Draft script for an unproduced film about John Knox the Scottish clergyman and theologian considered to be the founder of the Presbyterian denomination in Scotland. Screenwriter Sloane credited as Sloan here was a screenwriter and wardrobe consultant whose film credits include "Martin Luther" 1953 "Stalag 17" 1953 "The Monster That Challenged the World" 1957 and a host of television movies and episodes. Presumed the only screen treatment on Knox the leader of the Protestant Reformation. Titled self wrappers noted as Third Draft on the front wrapper dated March 15 1963 with credits for screenwriter Sloane as Sloan and presenter Lothar Wolff. 109 leaves with last page of text numbered 108. Mechanical duplication. Near Fine bound with two gold brads. Louis de Rochemont Associates unknown
1996ref. 165023Japan: Shochiku Home Video SHV 1996. Laserdisc collection consisting of Kenji Mizoguchi's filmography with Daiei Studios 1935-1944. Complete with 9 films on 10 discs. Includes a 44-page oversize booklet. Films with Japanese audio no subtitles. Booklet text and titles in Japanese. Catalog No. PILD-7030. Discs and sleeves Fine. Housed in publisher's decorative clamshell box .Near Fine. LaserDisc Database link: https://www.lddb.com/laserdisc/41815/LSK-0003/Kenji-Mizoguchi:-Collection-vol.1---1935-44 Oversize volume shipping billed at cost. Shochiku Home Video [SHV] unknown
1968ref. 161669N.p.: Boxoffice International 1968. Three vintage studio still photographs from the 1968 sexploitation film. All three photographs with provenance stamps on the versos. A fanciful account of the Marquis de Sade and the women who are irresistibly drawn to him. 8 x 10 inches. Very Good plus. Boxoffice International unknown
ref. 014295[Monument Catulle Mendès] Romain Coolus (1868-1952), écrivain, scénariste. P.A.S., mai 1909, 1p in-8 oblong. Billet de souscription pré-imprimé pour la soirée de Gala pour l'érection du monument Catulle Mendès (1841-1909), mort le 8 février 1909. Lors de cette soirée, au théâtre Sarah-Bernhardt, la grande actrice joua le rôle de Cyrano de Bergerac et le sculpteur Emile Guillaume (1867-1954) y présenta son buste du poète (il avait aussi fait un masque mortuaire). [341]
ref. 166556N.p.: N.p. 1982. Draft script for the 1983 British comedy film. Noted as copy No. 58 in manuscript ink on the title page. Bound in with the script are ten pages of Xerographically duplicated storyboards for the short film-within-the-film "The Crimson Permanent Assurance." The final Monty Python film to star actor and writer Graham Chapman before his death in 1989 and a return to the sketch comedy format which characterized the group's earlier television series. Shot on location in Queensway Strathblane and Lancashire England. Red untitled Script Specialists wrappers with a die-cut title window in the British style. Title page present dated March 1982. 115 leaves with last page of text numbered 115. Mimeograph duplication on eye-rest green stock rectos only with five pink revision pages laid in at the rear of the script dated 26/5/82. Pages Very Good plus wrapper Very Good plus with light foxing throughout bound internally with two silver brads. N.p. unknown
1949ref. 161687Burbank CA: Warner Brothers 1949. Four vintage studio still photographs from the 1949 film. In approaching the film adaptation of Ayn Rand's 1943 work director King Vidor dispensed with typical Hollywood production techniques and focused on creating an expressionistic film one that literally echoed the architectural underpinnings of its characters' philosophies motives and ambitions. Unusual choices included modernist cinematography expressionistic set designs and wardrobe and having Rand herself write the heady screenplay. 8 x 10 inches. Near Fine. Warner Brothers unknown
