377 résultats
1933réf. 14325New York: The John Day Company 1933. First Edition First Printing. Cloth. Very good/very good. Signed by the authors W.W. Waters and William C. White the first edition of Bonus Expeditionary Force: The Whole Story of the Bonus Army. Octavo 16pp photos 288pp. Beige cloth title in blue on spine. Blue topstain. No additional printings listed. Solid text block faint foxing to edges transference to endpapers. In the publisher's scarce dust jacket $2.50 retail price on front flap short closed tears to top edge thin red stain to rear panel dampstain to verso. Signed by W.W. Waters and William C. White on the front flyleaf a scarce signed example. Walter W. Waters former WWI sergeant led a legion of 43000 remonstrators to Washington D.C. to demand early repayment of their service certificates in 1932. This group named the Bonus Expeditionary Force were cleared from their campsites by Army Chief of Staff General Douglas MacArthur with orders from President Herbert Hoover. The veterans did not receive their early payment until 1936 when Congress overrode a veto from President Roosevelt. The John Day Company unknown books
1934réf. 206451934. Waters Ethel group of six items dating from 1934 to 1959 documents the stage and screen career of Ethel Waters a central figure in twentieth century African American performance history whose work in theater music and film intersected with the integration of American entertainment industries. Rising to prominence in Harlem during the 1920s as a jazz and blues vocalist Waters became one of the highest paid Black recording artists of her era and later broke racial barriers on Broadway and in television. Her starring role in As Thousands Cheer established one of the earliest instances of integrated billing between Black and white performers on the Broadway stage while later productions and film roles expanded her presence across national audiences. Her repertoire including "Stormy Weather" and "Am I Blue" achieved lasting recognition in American music history and her public persona and personal life contributed to her reception within queer audiences including lesbian and gay communities. Archive of six items comprising two original black and white silver gelatin press photographs and four playbills spanning theater and film productions from 1934 to 1959. Materials include: 1 Playbill for As Thousands Cheer. Chicago: Shubert Grand Opera House November 5 1934. Four pages. Documents Waters' featured performance in Irving Berlin's production noted for integrated billing and for introducing the song "Heat Wave." 2 Playbill for Cabin in the Sky. Chicago: Selwyn Theatre May 4 1941. Sixteen pages with cover image of Waters alongside Todd Duncan and Dooley Wilson. Early all Black musical production with a sustained theatrical run. 3 Press photograph for Cabin in the Sky film. 1943. Approximately 7 x 9.5 inches. Image of Waters with Eddie "Rochester" Anderson as Petunia and Little Joe; verso retains original press caption. Film adaptation directed by Vincente Minnelli featuring an ensemble cast including Lena Horne Louis Armstrong and Duke Ellington. 4 Playbill for The Member of the Wedding. Ivoryton Connecticut: Ivoryton Playhouse July 13 1953. Sixteen pages. Includes feature noting Waters as "Star of the Week" documenting her role as Berenice Sadie Brown. 5 Playbill for At Home with Ethel Waters. New York: 48th Street Theatre September 22 1953. Thirty two pages. Musical revue featuring twenty six songs performed with accompanist Reginald Beane including "Am I Blue" "Suppertime" "St. Louis Blues" and "Stormy Weather." 6 Press photograph for The Sound and the Fury. April 9 1959. Approximately 7.5 x 9 inches. Depicts Waters with Joanne Woodward and Yul Brynner; verso retains press caption. Final film role of Waters. These materials trace Waters' movement from early integrated Broadway performance through mid century theatrical revivals and into late career film work providing a continuous record of African American participation in mainstream entertainment across multiple media. Productions such as Cabin in the Sky and The Member of the Wedding situate Waters within a cohort of Black performers who expanded narrative and representational possibilities on stage and screen during a period of segregation and limited roles. The inclusion of both playbills and press photography documents the promotional and institutional frameworks through which Black performers were presented to audiences while the chronological range captures shifts from Harlem Renaissance performance circuits to postwar film adaptation. Light handling wear with minor edge wear to playbills; photographs retain strong contrast and clear detail with intact press captions. Overall very good condition. unknown books
1969réf. 110611Studio City CA: Major Pictures Corporation 1969. Final Shooting script for the 1970 neo-noir film. Boldly SIGNED by lead actor Rod Taylor on the front wrapper. Based on the 1966 novel by John D. MacDonald featuring his series character Travis McGee. Notable as the only feature film adaptation of MacDonald's wildly popular Travis McGee series long unavailable on any kind of viewing format. Red titled wrappers noted as Final on the front wrapper dated 28 January 1969 with credits for screenwriter Ed Waters and novelist John D. MacDonald. 114 leaves with last page of text numbered 114. Mimeograph duplication rectos only. Pages Fine wrapper Fine bound with two gold brads. In a custom quarter-leather clamshell box. Grant US. Larson Warped and Faded. Major Pictures Corporation unknown books
1972réf. 3805Baltimore MD: Dreamland Productions 1972. First Printing. Handbill. Very Good. First Printing. Handbill. This is an original handbill for the "Gala World Premiere" of John Water's Pink Flamingos at the Baltimore Film Festival III. Far more rare particularly in presentable condition than the original movie poster a wonderful addition to a serious Waters' collection. Very minor offset to printing one corner shows minor creasing else bright and unmarred. Black and white printing on newsprint. 8.25x10.5 Dreamland Productions unknown books
1791réf. 1302Philadelphia: T Dobson 1791. First Edition. Full contemporary calf. Very good; an exceptionally bright well preserved copy in its original full calf binding; some modest abrasion to the boards. 8vo viii 1 - 570 xxix 1 - errata pp. 12 engraved plates of surgical instruments. Though numerous editions of Bell's surgical compendium were published this first compact edition for the American medical profession has the benefit of Waters' additions and the important commentary of John Jones and William Shippen. The plates are strikingly deep impressions uncharacteristic of American books of this period. The book is uncommon in our experience. Austin #171. T Dobson hardcover books
1940réf. 440884New York: Carl Van Vechten 1940. Unbound. Fine. Gelatin silver real photo postcard. Approximately 3½" x 5½". Fine. Photographer's embossed name. Captioned by Van Vechten on the verso: "Ethel Waters. 63." Bust portrait of Waters. Carl Van Vechten unknown books
1979réf. 158453Austin TX: Antone's Nightclub 1979. Vintage poster for a performance by Muddy Waters at Antone's Nightclub in Austin Texas on Friday December 7 1979. Poster design by Austin-based illustrator Danny Garrett. Early issue with pale colors and thin paper stock. Printed by the artist. Extremely scarce. In 1979 Waters had just completed work on the third of four albums made with friend and fellow blues musician Johnny Winter "Muddy 'Mississippi' Waters Live" preceded by "Hard Again" and "I'm Ready" in 1977 and 1978. All three were Grammy Award winners. Antone's was established in 1975 by Clifford Antone. It has been an iconic blues and R&B venue in downtown Austin for over 40 years. Austin illustrator and designer Danny Garrett is best known for his work for Antone's serving as the in-house illustrator for the club's posters from 1976-2005. Garrett currently lives in New Zealand and teaches art and design at the Auckland University of Technology. 11.5 x 17.5 inches. Very Good plus with light creasing and two small closed tears to the margin otherwise bright clean and unfaded. Antone's Nightclub unknown books
1856réf. 23900London: J. & C. Brown & Co 1856. First edition. Hardcover. Near fine. 12mo. 309pp. Engraved frontispiece. Previous ownership name on title page dated 1858. Contemporary half-leather spine in four compartments tooled in blind with raised bands tooled in gilt black leather lettering label gilt. Marbled paper sides. Bookseller label on the front pastedown. Light wear to the edges large ownership name on the title else a near fine copy. Thirteen popular detective short stories which were previously published in 'Chambers' Edinburgh Journal' including 'One Night in a Gaming-House' 'Guilty or Not Guilty' 'Legal Metamorphoses' 'Mary Kingsford' and more. This is their first collected edition. Important early example of detective fiction. Queen's Quorum 2. . J. & C. Brown & Co hardcover books
1951réf. 21329New York: Doubleday & Company Inc 1951. Cloth. Fine/Very Good. The inscription signed by Waters reads: "Hi. Son hope you will enjoy this - Fondly Ethel Waters". 8vo. 22 by 14 cm. 6 278 pp. An especially well written co-written theatrical autobiography by the trailblazing pioneer black entertainer who first made her mark as a singer but proved a gifted actress as well both on the stage and in film and remains a widely revered figure to this day. The book has no issues to speak of. The dust jacket has moderate wear including as few smallish chips along its edge. Doubleday & Company, Inc unknown books
réf. 0317701986-1987. A collection of letters from Waters mostly to his literary agent Joan Daves as well as related ancillary materials showing Waters at work in the after-market for his writing with opportunities for later editions and film versions. Waters wrote primarily about the American Southwest in particular the Native American experience. His father was part Cheyenne. The first typed letter signed is from Waters to his agent Joan Daves dated August 24 1986 and concerns Lesley Ann Warren's interest in optioning the film rights to The Woman at Otowi Crossing and the contract for publication of a hardcover illustrated edition of The Man Who Killed the Deer. It is stapled to a copy of the contract with numerous marginal corrections and a retained copy of Daves' reply agreeing with Waters that the intended publisher Gibbs Smith had overreached in the contract. An included exchange between Daves and Gibbs Smith posits a simpler agreement while a retained carbon shows Daves reaching out to Ohio University Press to confirm they had no claim to hardcover rights. The second typed letter signed is from Waters to Keith Sabin in Daves' absence and is dated September 29 1986 and describes the purchasing history of Flight from Fiesta and the current unwelcome "blitz" he Waters is undergoing from Ritz Productions regarding theatrical rights. Waters encloses an initialed copy of the letter he wrote to Ritz Productions redirecting their overtures to Daves upon her return from Europe. Both of these letters are stapled together with retained copies of both Sabin's and Daves' replies as well as a retained copy of an earlier letter from Sabin to Waters saying they had been approached by Ritz and the initial contact letter from Ritz with an unsigned agreement for Right of First Refusal. Also included is a letter from Fiesta publisher Clark Kimball to Daves recommending the production company. The fourth typed letter signed from Waters to Daves dated April 29 1987 again describes the publishing history of Flight from Fiesta and informs Daves that the publisher Clark Kimball has been approached by CBS-Columbia regarding film rights and he includes Kimball's letter. Attached are the retained copies of letters from Daves to both Waters and Kimball admonishing all that Kimball has no role in film rights for the title and a later letter from Kimball acquiesces. The fifth typed letter signed from Waters to Daves August 3 1987 delineates an additional inquiry regarding a film option for Flight from Fiesta and several leads on optioning The Woman at Otowi Crossing should Lesley Ann Warren's option expire. Waters takes Daves to task for not responding to offers already presented for not keeping him informed and for being about to depart for Europe leaving him without representation: "I don't like to end our agent-client relationship after so many years but if the overload of work at this crucial time is too much for you I don't see any alternative." A copy of a letter to Waters at about this point from Alton Walpole shows one of the interested parties facing obstacles bringing Otowi Crossing to the screen. Also a letter to Daves from The University of Nevada thanks Daves for sending financials on Ohio University Press's Frank Waters: A Retrospective Anthology included but bemoans how infrequent the agent's communiques have become. However the Daves-Waters agent-client relationship was ongoing in October: in the sixth typed letter signed in this archive Waters informs Daves of yet another inquiry for Flight from Fiesta and asks her advice about payment on an opportunity he has to write the text for a book of photographs to be published by Arizona Highways likely Eternal Desert published in 1990. As mentioned many of the letters are stapled; most are folded for mailing; in some instances they bear the agency's routing marks or highlighting. The lot as a whole is near fine. No Binding. Near Fine. unknown books
réf. 44708Los Angeles: New World Pictures 1987. Very good plus. Original revised second draft for the classic 1989 teen film starring Winona Ryder Christian Slater Shannen Doherty Lisanne Falk Kim Walker and Penelope Milford. One of the greatest high school movies ever made and one of the few really worthy Winona Ryder vehicles HEATHERS not only anticipated the more satirical edge of '90s teen movies to come it perhaps embodied better than even John Hughes the world-weary pose for which Gen X would become best known. From the great heights of his Edgar-winning first screenplay Waters later descended to the ignominy of HUDSON HAWK and "a little bit of friction" with Tim Burton - although as he later noted there is much to be said for a career in which one has "enough old Batman residual money I can live my own life and write original scripts." Subjected to several recent stage and screen adaptations the original HEATHERS still cuts like a knife and resists reduction to a period piece: like Shakespeare Waters wrote not for an age but for all time. Gracious to a fault the writer neither disdained nor disclaimed the musical or the ill-fated television show based on his iconic work; in fact he suggested a "Heathers On Ice" would be nice too "and I'm getting an opera vibe." Gen X canon. 11'' x 8.5''. Original brad-bound white printed production wrappers. Title page dated November 17 1987. 110 leaves printed rectos only. Light toning and touches of soil to wrappers. [New World Pictures] unknown books
réf. 3833Baltimore MD: Charm City Productions 1977. First Printing. Fine. First Printing. Posters were only distributed in the Baltimore area not the relatively common "rat on a plate" poster. One is "The Sneak World Premiere" poster with a yellow banner across the top announcing the Premiere and location and dates. A pristine set of this extremely scarce Waters' ephemera. Bright and clean. 21.75x12.5. Color pictorial images. Charm City Productions unknown books
1852réf. 5759New York: Cornish Lamport & Co 1852. First Edition/Pirate Edition. Hardcover. Good Textblock Very Good. No DJ. First Edition/Pirate Edition. Hardcover. Unusual little tome of early crime fiction and one of only 5 or 6 known copies bound in red boards typically found in brown boards. "Waters" was the pseudonym for William Russell one of the earliest crafters of detective fiction in the UK. The first "official" printing was in London under a slightly different name in 1856 and then in the US later that year. This printing was apparently a pirate edition preceding the official by an inexplicable 4 years Waters Recollections of a Detective Police-Officer. London J&C Brown 1856. Queen's Quorum 2. Hubin 1994 p. 843. Noted flaws notwithstanding a rather handsome copy of this very scarce title rare in red boards. Moderate shelf/edge wear fraying at head and tail tips through light toning at spine minor soiling to boards corners gently bumped light foxing at preliminaries minor cutting error at 181/2 edge only else tight bright and unmarred. Red cloth boards gilt lettering in blind decorative elements decorative/advert endpages blue ink decorative borders and ads for various Cornish titles. Small 8vo. 238pp. Cornish, Lamport & Co hardcover books
réf. 161161Los Angeles: New World Pictures 1987. Revised Second Draft script for the 1989 film. Copy belonging to cinematographer Francis Kenny with his name in manuscript ink on the title page and his ink and pencil annotations on several pages noting deletions and occasional additions. A dark satire of the popular John Hughes teen comedies of the early 1980s today considered a classic coming-of-age film. The debuts of both director Michael Lehmann and screenwriter Daniel Waters. Set in Sherwood Ohio and shot on location in Los Angeles California. White untitled New World Pictures production wrappers. Title page present dated November 17 1987 noted as REVISED SECOND DRAFT with credit for screenwriter Daniel Waters. 110 leaves with last page of text numbered 109. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with two gold brads. New World Pictures unknown books
1868réf. 252925New York: Moorhead Simpson & Bond 1868. First. hardcover. very good-. By an Officer of the U. S. Army. 4 plates. xv 219pp. 3pp. of publiisher's ads. 12mo modern black cloth small light dampstain to some top margins a few pages with light foxing to margins upper right corner margin chipped on last page of publisher's ads. New York: Moorhead Simpson & Bond 1868. First Edition Presentation copy from the author William E. Waters. The inscription is on the front flyleaf which was dampstained but the inscription is not smudged and is legible. William E. Waters was an assistant Army surgeon who kept a diary while traveling from St. Louis to Camp Douglas near Salt Lake City and while being stationed at Camp Douglas in 1867. This book is based on that diary and a series of letters he wrote while in the Utah territory. Pages 106 to 202 are his impressions of the Mormons their Church doctrines and polygamy. The first half of the text is a narrative ".of an Overland Expedition which crossed the plains from Leavenworth via the Black Hills and Bridger's Pass to the Salt Lake Valley." Eberstadt 106:323. Howes W-157. Moorhead, Simpson & Bond unknown books
1939réf. 140946811New York: Doubleday Doran & Company 1939. First Edition. Very Good. First edition first printing. Bound in publisher's original brown cloth lacking the dust jacket. Very Good with light lean to binding fading to spine and edges foxing to cloth heaviest along top edges and light soiling to spine. Former owner bookplate to front pastedown contents tanned endsheets offset clipped panel from dust jacket tipped in to rear free endpaper. The second novel from one of the more influential authors to come out of the later part of the Harlem Renaissance which traces the progress of migratory farmers who left the South for Chicago during the depression. Doubleday, Doran & Company unknown books
1850réf. 3448Great Britain 1850. Comprised of 88 manuscript pages of mathematical definitions tables methods and exercises in a single hand with the ownership signature of "Caroline Waters Age 16 yrs" to the front endpaper. Marbled paper vernacular binding measuring 8 x 12 inches and stitched at spine. Caroline's metric measurements and English currency reveal her to be a student somewhere in the UK. Though the commonness of her name and the absence of a specific date prevents us from locating her in genealogy records the manuscript she left behind reveals much about how and why girls of her age and class were being taught arithmetic. Caroline's elegant practiced hand suggests that she is a member of the rising middle class and the opening of the book suggests that she is a beginning to intermediate mathematician. At the top of the first page she defines Arithmetic as "the art of computing by numbers" which "has five principal sic rules for this purpose viz. Numeration Subtraction Addition Multiplication and Division." Using this definition she divides her notebook into a section for each providing a definition for that principle plus clear-cut examples of its use in both Simple and Compound formats. Numeration Subtraction and Addition are grouped together at the front; and after these sections conclude Caroline enters in Practical Questions in Compound Addition and Subtraction. These involve word problems involving the exchange of money and the calculation of wet and dry weights cloth measurements and time. She then mirrors this with Multiplication and Division before adding sections on Decimal Fractions more Practical Questions and sections on Federal Money and Simple Interest. The organization of the manuscript suggests that Caroline copied it out for continued reference where sections are easy to locate and problems clearly illustrate each of the principles. And the emphasis in sample problems on currency conversion monetary exchange and banking implies that her family in some way wanted her to be aware of these concepts. An exceptional and rich document Caroline's notebook is a rich resource for study including but not limited to the history of women's education middle class education women's domestic use of mathematics women in business paleography genealogy gender studies. unknown books
1856réf. 53813London: J. & C. Brown & Co 1856. First edition. Very good. First authorized edition in book form of these collected police detective stories the first ever of their kind to feature an investigator from Scotland Yard. Originally published in CHAMBERS'S EDINBURGH JOURNAL the thirteen stories of the First Series plus an eight additional episodes gathered three years later in the Second Series mark the first appearance in fiction of a Scotland Yard detective. Russell in the persona of "Waters" presented his narratives as first-person recollections in line with the conventions of the mid-Victorian police memoir then enjoying great popularity while offering to the reading public a new kind of hero: a policeman with intelligence curiosity and integrity. Detective fiction has always pressed up against the porous borders of that much-derided segment of popular literature now known as "true crime": just as the latter is frequently embellished and distorted for the sake of a better story crime and detective fiction in its earliest forms borrowed the shock of the real insisting as a matter of genre convention that the events depicted were only lightly fictionalized that the reader was given entrée into the "marginalized social space between 'respectable' and 'criminal'" Saunders occupied by the real-life police detective; that they were being told a true story by an insider. Verisimilitude was the point: "The genre was designed to take the private spaces operations and methodologies of the police force and publicize them for the reader and Russell himself explained that his memoir writing was designed to present an inside view into policing for readers" Saunders. Given the bedrock importance of this interplay between the real and the unreal at the dawn of detective fiction it is perhaps unsurprising that Sherlock Holmes the most famous fictional private detective of later Victorian decades would inspire a legion of devotees to insist on his factual reality perfectly well aware that this was not true and sublimely indifferent to it. A handsome copy of this scarce and vital Queen's Quorum and Haycraft-Queen title - especially uncommon complete in one volume. Two octavo volumes bound in one 6.25'' x 4''. Contemporary half calf marbled boards. Gilt-ruled spine with spine label. Lacking frontispiece as sometimes seen. 8 310 pages. In custom cloth slipcase. Sympathetically rebacked with reinforcement to hinges. Some rubbing chipping rear joint. Overall clean and sound. J. & C. Brown & Co unknown books
1861réf. 54625London: Charles H. Clarke 1861. Very good plus. First edition of this classic Victorian detective novel ostensibly written in the form of a memoir by an expat detective who fled his home country to avoid political persecution. After his RECOLLECTIONS OF A DETECTIVE POLICE-OFFICER 1856 the first novel of its kind to feature an investigator from Scotland Yard Russell followed-up with this first-person series of eight short stories featuring Detective Duhamel "who escaped his native France to avoid imprisonment for political reasons" Dever 234. Detective fiction has always pressed up against the porous borders of that much-derided segment of popular literature now known as "true crime": just as the latter is frequently embellished and distorted for the sake of a better story crime and detective fiction in its earliest forms borrowed the shock of the real insisting as a matter of genre convention that the events depicted were only lightly fictionalized that the reader was given entrée into the "marginalized social space between 'respectable' and 'criminal'" Saunders occupied by the real-life police detective; that they were being told a true story by an insider. Verisimilitude was the point: "The genre was designed to take the private spaces operations and methodologies of the police force and publicize them for the reader and Russell himself explained that his memoir writing was designed to present an inside view into policing for readers" Saunders. To this end Russell / Duhamel begin the book with an "essay" "The Difference Between English and French Detectives" writing: "It is true they are alike agents of the public force and that their common mission is to frustrate or detect offenses against the person and against property. But there the resemblance ends . Yes multifarious all-embracing are the duties of the French Secret Police." Rare; OCLC locates just eight copies. 6.25'' x 4''. Original full purple textured cloth with gilt spine titles. 2 13-317 1 publisher's ad pages complete. Spine sunned with faint perished label shadow. Minor shelfwear. Overall clean and sound. Charles H. Clarke unknown books
réf. 140947454New York: Seven Stories Press 1998. First Edition. Fine/Near Fine. First edition first printing. Signed by Gary Webb on the half-title page inscribed "1-16-99 Eugene OR For Charles Overbeck Ashley. Onward upward And keep Parascope as great as it is. Best wishes signed Gary Webb." The inscribee is an Oregon journalist and author. xxviii 5 548 pp. with eight pages of b/w photos. Fine with light shelfwear to boards and dust-soiling to upper edge of textblock. In a Near Fine dust jacket with sunned spine panel hint of toning to flaps and several very small stains along lower edge. Signed copies are rare. Journalist Gary Webb's still-controversial expose of CIA drug dealing and its relationship to the crack epidemic in the US fueled by crack dealers like "Freeway" Ricky Ross. In 2004 Webb would be found dead in his apartment shot in the head twice which police ruled a suicide. A 2014 film Kill the Messenger dramatized Webb's life his claims and the severe backlash he faced from the media. To his supporters Webb remains an inspirational journalist who persevered in the face of tremendous official corruption and coverup. Seven Stories Press unknown books
réf. 140945013New York: Seven Stories Press 1998. First edition. First edition. Signed by Gary Webb on the half title inscribed to the former owner with Webb's AOL email address. xxviii 548 pp. with eight pages of b/w photos. Fine in Fine dust jacket. An attractive copy. A very rare signature. Journalist Gary Webb's still-controversial expose of CIA drug dealing and its relationship to the crack epidemic in the US fueled by crack dealers like "Freeway" Ricky Ross. In 2004 Webb would be found dead in his apartment shot in the head twice which police ruled a suicide. A 2014 film Kill the Messenger dramatized Webb's life his claims and the severe backlash he faced from the media. To his supporters Webb remains an inspirational journalist who persevered in the face of tremendous official corruption and coverup. Seven Stories Press unknown books
1937réf. 140946812New York: Harper & Brothers 1937. First Edition. Very Good. First edition first printing. Bound in publisher's original green cloth with black titles blocked in gilt on upper board and spine. Very Good with heavy fading to the spine and top edge light scuffing and wear to cloth. Former owner bookplate to front pastedown offsetting to patterned endsheets contents tanned and clipped remnant from rear panel of dust jacket tipped in at rear free endpaper. The first novel from one of the more influential authors to come out of the later part of the Harlem Renaissance. Harper & Brothers unknown books
1939réf. 3147771939. 8 x 10 inches. Small blemish at upper right colored-in two old mounts on verso otherwise fine. 8 x 10 inches. Inscribed photograph of African-American television theater and film pioneer Ethel Waters 1896-1977 depicting her in one of her most famous roles and inscribed: "To Alice with the same devotion Hagar has for Lissa and you have for Natalie I have for you Ethel Waters." The photograph shows Waters as Hagar in the Broadway production of Mamba's Daughters 1939 a role which was adapted specifically for her by Dorothy and Dubose Hayward from their novel of the same name; it has been cited as the first dramatic starring role for an African-American actress ANB. On June 14 1939 Waters became the first African-American to host a television program when NBC broadcast "The Ethel Waters Show" a one-hour variety program which included a scene from Mamba's Daughters. The Alice of the inscription is Alice D. Laughlin 1895-1952 muralist engraver and designer who co-founded with designer Natalie Hays Hammond 1904-1985 the Stage Alliance which produced "Six Miracle Plays" directed by and starring Martha Graham at the Guild Theater in 1933. Hammond and Laughlin together with Phyillis Connard constituted a small colony of women artists in Gloucester Massachusetts at the Hammond compound designed by architect Eleanor Raymond. Ethel Waters first made a name for herself as a blues singer on the club circuit; her stage career began when Irving Berlin cast her in As Thousands Cheer 1933 after hearing her perform "Stormy Weather" at the Cotton Club. In 1949 she became the second African-American to be nominated for an Academy Award Best Supporting Actress for her role in Pinky. WITH: Autograph letter unsigned 6 pp to Natalie Hammond unknown books
1972réf. 3806Baltimore MD: Dreamland Productions 1972. First Printing. Poster. Fine. First Printing. Poster. This is an original poster for the "Gala World Premiere" of John Water's Pink Flamingos at the Baltimore Film Festival III. Genuinely rare particularly in fine condition and far more desirable than the reasonably common general release poster. A wonderful addition to a serious Waters' collection. Pink Flamingos premiered in 1972 at the third Baltimore Film Festival held on the University of Baltimore campus where it played to sold-out audiences for three shows. Gradually relying on word-of-mouth the movie gained a following and repeat viewing in the art-house circuit. Bright and unmarred. Black printing on pink cardstock. 16x20.25 Dreamland Productions unknown books
1957réf. 154176Hollywood: Roger Corman Productions 1957. Draft script for the 1957 film. Copy belonging to actor Dick Miller who had a sizable role in the film with his name to the title page and his manuscript pencil and ink annotations throughout. The finished film runs a little over an hour so the script at 127 pages was cut down substantially in the filming and editing process leaving a remarkable amount of content for study. An alienated wealthy coed at an all-girls boarding school inflicts increasing cruelties on the other students until her manipulation goes too far. An early role for Miller who appeared in 14 films directed by legendary independent filmmaker Roger Corman between 1955 and 1961 and would continue to work with Corman throughout his career. Brown titled wrappers. Title page present undated with credits for screenwriter Ed Waters. 128 leaves with last page of text numbered 127. Mimeograph duplication rectos only. Pages and wrapper Near Fine bound internally with three silver brads. Roger Corman Productions unknown books
