Resultados de búsqueda: Best Copy in the World from Royal Books, Inc.

Tokyo: Imamura Productions, 1979. Draft script for the 1979 film. Text in Japanese. With a single notation in manuscript ink. Based on Ryuzo Saki's novel, about real-life con man, thief, and multiple murderer Akira Nishiguchi (changed to Iwao Enokizu in the film), told in multiple flashbacks as he awaits execution for his crimes. Black titled perfect-bound wrappers. Title page present. 169 leaves, with last page of text numbered 154. Mechanical duplication. Pages Near Fine, wrapper Near Fine. Criterion Collection 384. Ebert III. Grant Japan.

Beverly Hills, CA: United Artists, 1955. Vintage contact sheet containing 12 test images of a sultry Kim Novak in a somewhat otherworldly parlor room setting, shot by noted photographer Peter Basch for the 1955 film. With Basch's name and studio address along two margins of the recto, and two different stamps, crediting both Basch and his studio, on the verso. 8 x 10 inches. About Near Fine. Selby US.

Culver City, CA: RKO Radio Pictures, 1941. Draft script for the classic 1942 film noir. An American ballistics expert in Turkey finds himself targeted by Nazi agents. Safe passage home by ship is arranged for him, but he soon discovers that his pursuers are also on board. Set in Turkey. Yellow titled wrappers, rubber-stamped and production No. 1223, dated July 30, 1941. 159 leaves, with last page of text numbered 165. Carbon typescript, with revision pages dated July 29, 1941. Pages Very Good plus, wrapper Very Good plus bound with three gold brads. Godard, Histoire(s) du cinema. Grant US. Selby US. Silver and Ward. Spicer US.

Munich: Dreilander Verlag, 1920. Collection of 38 issues of the landmark Weimar-era periodical highlighting fantasy, horror, and early science fiction stories. Text in German. One of the world's first fantasy periodicals, (alongside the Swedish "Hugin") "Der Orchideengarten" featured a mix of new German stories alongside translations of foreign literature (largely French), including works by Victor Hugo, Guy de Maupassant, Voltaire, Charles Dickens, Edgar Allan Poe, Joseph Capek, H.G. Wells, and many others. The magazine also made forays into the proto-science fiction genre, as seen in Vol. 2 No. 4, entitled "Phantastik der Technik." A true product of the Weimar era's cultural blossoming, the magazine also features stunning illustrations both with its two- and three-color cover art and its woodcut reproductions throughout: sinister yet elegant visions of anthropomorphic flowers, religious idols, Grim Reapers, and gory deaths. "Der Orchideengarten" featured the work of Gustave Dore, Otto… Leer más

Budapest: Hunnia Filmstudio, 1929. Presentation copy of an Early Draft script for the Hungarian film, released in Hungry in 1932 as "Tavaszi zapor," in Frace in 1933 as "Marie, Legende Hongroise," and in the United States in 1935 as "Spring Shower." Housed in a (likely hand-sewn) floral cloth-covered portfolio, the script is INSCRIBED by the Hungarian-American feminist and radical socialist screenwriter Ilona Fulop on the title page: "To Mac: / Because You still trust me! / Ilona / Christmas, 1929 / Hollywood, Cal." A unique and attractive item, and probably the only surviving copy of the script. The story of a poor girl driven out of her village when she becomes pregnant by her employer's wealthy fiance, finding refuge working as a maid in a brothel. After her daughter is taken from her, however, she falls into alcoholism and dies. A maid in Heaven as she was on earth, she saves her daughter from befalling a similar fate by "emptying her mop bucket" on her daughter's head via a rain shower at a… Leer más

N.p.: N.p., 1969. Original ribbon copy typescript for Tay Garnett's screenplay adaptation of Mickey Spillane's 1967 novel. Profusely annotated by Garnett in blue and red ink on every page, and with a annotations by him at the top right corner of the first leaf: "First Draft (Work Copy)," "Screenplay by Tay Garnett," and "From Mickey Spillane's novel." Raoul Walsh eventually worked with Garnett on the script, but this draft precedes his involvement. The film was released on May 15, 1970, and starred Yvette Mimieux, Christopher George, and Yvonne De Carlo. 182 leaves, rectos only. Leaves supple, Very Good plus overall.

N.p.: N.p., 1959. Original illustrated humorous essay by Terry Southern and William Pene Dubois, satirizing (or perhaps elucidating) the dress habits of their distinguished friend, American screenwriter William Rose. Southern and Dubois met in the late 1950s, both under the tutelage of William Styron, while both of them were associated with The Paris Review. During this time William Rose wrote his most famous screenplay, "The Ladykillers" (1955) as well as the British classic, "The Maggie" (1954). He would go on to win an Academy Award for his original screenplay "Guess Who's Coming to Dinner" (1967). 3 leaves, 8 x 10 inches. Ink and colored pencil.

Paris: Editions 213 / Steidl, 2015. Deluxe Limited Edition portfolio. One of five copies (this being copy No. 1) of photographer Sophie Bramly's portfolio of 47 matte finish photographic prints in both black and white and color, depicting the emerging hip hop scene of 1980s New York. Signed and numbered by the photographer on the limitation page, and again on the verso of each photograph. Housed in a gold and red multi-tiered custom box. Also included is a copy of the limited edition softcover, published by Galerie 213, one of 500 copies (this being no. 058) containing a signed and numbered print by Bramly. With an introduction by Fab 5 Freddie. Arguably the most important photography portfolio documenting American hip hop that has ever been published, "Walk This Way" intimately showcases the burgeoning genre's emergence in 1980s New York, as captured via scenes backstage, in the homes of the artists, at art galleries, and of course while performing. Photographer Sophie Bramly left her native… Leer más

Wengen, Switzerland: Alpine Films, 1965. Vintage oversize double weight photograph of Orson Welles and John Gielgud on location in Spain for the shooting of "Chimes at Midnight" in 1965. Shot and struck by noted photographer Nicolas Tikhomoroff, with his rubber stamp and the stamp of his Parisian agency, V.I.P., on the verso. "Chimes at Midnight," Welles' third of three legendary Shakespearean adaptations and last masterpiece, is based on his early play "Five Kings," which condensed Shakespeare's War of the Roses cycle into one story. Welles produced the play in New York in 1939 but the opening night, during which Part 1 was performed, was a disaster, and Part 2 was never staged. He revamped the show and revisited it in 1960, again without success. The later production became the basis for this film, in which Welles plays Falstaff. "Chimes at Midnight," as with nearly all of Welles' efforts as a director, was plagued by financial and logistical problems, shot with nearly no budget, and received… Leer más

Paris: Gallimard, 1967. First French Edition, preceded by the Greek edition published by Editions Themelion in 1966. Association copy, inscribed by Vassilikos to author William Styron and his wife: "For Rose and Bill / With all my happiness for the success of the book / Love and nostalgia / from Mimi and Vassilis." The prolific author's best known work, basis for the 1969 film, an Oscar-winning political thriller directed by Costa-Gavras, adapted by him and Jorge Semprun, and starring Jean-Louis Trintignant and Yves Montand. An acting high point for Montand, and one of the most complex and insightful films ever made about the delicate inter-relationships among conspiracy, revolution, and truth. Fine in perfect bound white printed wrappers with French flaps.

N.p.: N.p., 1969. Vintage oversize double weight candid photograph of Alan Arkin, Art Garfunkel, and Martin Sheen on the set of Mike Nichols' "Catch-22" in 1969. Shot and struck by the film's still photographer, Bob Willoughby. The photographer has written at the top of the verso, in manuscript pencil: "Candid during rehearsal / The boys break up in briefing room scene / Art Garfunkel, Alan Arkin, Martin Sheen." Also with Willoughby's ASMP rubber stamp for both his New York and Ireland addresses. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles, photographer Robert Willoughby began working for magazines such as "Life," "Look," and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine, with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums, including The National Portrait Galleries in… Leer más

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1952. Vintage oversize double weight photograph of James Mason on location in Bronson Canyon, California, for the shooting of "Julius Caesar" in 1952. Shot and struck by the film's still photographer, Bob Willoughby. SIGNED by Willoughby at the bottom right margin in black ink, with his rubber stamp on the verso (noting his Los Angeles address). Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles, photographer Robert Willoughby began working for magazines such as "Life," "Look," and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine, with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums, including The National Portrait Galleries in Washington, DC and London, the Bibliotheque Nationale de France, The Museum of Modern Art, and The Tate Modern. In… Leer más

N.p.: N.p., 1961. Vintage oversize double weight candid photograph of Gregory Peck and producer Sy Bartlett conferring on the set of "Cape Fear" in 1961, during the final scene in which Peck's character Sam Bowden fights in swamp water with Max Cady (Robert Mitchum). Shot, struck, and mounted by the film's still photographer, Bob Willoughby. The photographer has written at the top of the verso, in manuscript ink: "Greg on set listens to producer Sy Bartlett." With Willoughby's ASMP rubber stamp with his Pacific Palisades address, and a separate stamp with the address of the Lee Gross Agency in New York. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles, photographer Robert Willoughby began working for magazines such as "Life," "Look," and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine, with his images seen in print literally every week of his career. Willoughby's… Leer más

Beverly Hills, CA: United Artists, 1955. Vintage oversize double weight photograph of Frank Sinatra and Kim Novak in conference with director Otto Preminger on the set of "The Man with the Golden Arm" in the fall of 1955. Shot and struck by the film's still photographer, Bob Willoughby. SIGNED by Willoughby on the verso, along his ASMP rubber stamp for both his New York and Ireland addresses. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles, photographer Robert Willoughby began working for magazines such as "Life," "Look," and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine, with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums, including The National Portrait Galleries in Washington, DC and London, the Bibliotheque Nationale de France, The Museum of Modern Art, and The Tate Modern.… Leer más

Beverly Hills, CA: United Artists, 1955. Vintage oversize double weight photograph of Frank Sinatra on the set of "The Man with the Golden Arm" in the fall of 1955. Shot and struck by the film's still photographer, Bob Willoughby. SIGNED by Willoughby on the verso, along his ASMP rubber stamp for both his New York and Ireland addresses. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles, photographer Robert Willoughby began working for magazines such as "Life," "Look," and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine, with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums, including The National Portrait Galleries in Washington, DC and London, the Bibliotheque Nationale de France, The Museum of Modern Art, and The Tate Modern. In a custom museum-quality frame, archivally mounted, with… Leer más

Paris: Bernard Grasset, 1926. First French Edition, preceding all others. Copy No. 1 of seven copies on Japon, numbered 1-5, and two hors commerce copies numbered HCI and HCII. Warmly inscribed by the author on the half-title page: "a Monsieur Brun / qui a si cordialement accueilli mon debut. / Avec la reconnaisance de René Clair," translating roughly to "To Mr. Brun / Who so cordially welcomed my debut. / With appreciation, René Clair." Published about a year after Clair's film debut, "The Phantom of Moulin-Rouge" ("Le fantome du Moulin-Rouge") and translated ten years later in English as "Star Turn" by Chatto and Windus, in a hardcover edition. The great French film director's first book, a novel about a film star who becomes lost in his own character, and devises a scheme to make a film with God as a means of escape. Clair's evocative, fantastical style echoed the work of his American counterpart, Frank Borzage, and was a monstrous influence on the French New Wave. Some very slight wear to… Leer más

Universal City, CA: Universal Pictures, 1945. Original treatment and complete set of continuities for the 1945 13-episode film serial, including a continuity for the trailer, constituting a virtually complete record. Any original paper relating to serials is extremely uncommon; a complete set such as this rare. Based on the 1934-1996 comic strip written by Dashiell Hammett and illustrated by Alex Raymond. Government agents for both the allied and axis powers attempt to access a secret element that can be used to make aviation fuel. Set on a remote island in the Pacific Ocean. Each document in white studio self-wrappers, with the treatment side-stapled and dated January 4, 1945, the trailer and episode continuities top-stapled and dated between June 6, 1945 and August 16, 1945. Treatment is 16 pages. Each of the fourteen continuities represent two reels each and run 16-18 pages each. Trailer continuity is 5 pages. All mimeograph duplication, Very Good plus condition, each with two blank leaves… Leer más

N.p.: N.p., 1944. Archive of research material for James Hilton's novel, "The Story of Dr. Wassell," along with a ribbon copy typescript, carbon typescript, and mimeograph typescript (with infrequent manuscript corrections) of the novel itself. A substantial archive of material relevant to Hilton's research on the subject that would culminate in his novel, published in the US in 1943, in the UK in 1944, and resulting in the 1944 film directed by Cecil B. DeMille and starring Gary Cooper and Ronald Colman. The archive includes a clean carbon typescript, 133 leaves, dated "7/31/42," of a near final form of the text (accompanied by several leaves relating to name changes, one with substantive manuscript annotations by Hilton). The remainder of the material includes typed, carbon, and mimeograph transcripts of interviews Hilton (and others) conducted with those who knew Wassell, or soldiers who met him in the Pacific, newswire transcripts of articles about Wassell, and related topics. Finally, and… Leer más

New York: St. Martin's Press, 1986. Final corrected manuscript for Stuart Kaminsky's novel, "The Man Who Shot Lewis Vance," ultimately published in book form by St. Martin's Press in 1986. Included is a typed letter signed by Pam Hoenig, assistant editor at St. Martin's Press, on the publisher's stationery, dated January 27, 1986, addressed to Kaminsky and confirming that the manuscript is enclosed for addition to what she describes as his "vast archive." Mechanical duplication typescript, with profuse manuscript corrections by the author in blue ink throughout, and proofreader's corrections in red pencil. Other kinds of corrections, such as whited-out text with ribbon copy typeovers, are present as well. 251 pages. Very Good overall, with some curl and light wear at the corners.

New York: New American Library [NAL], 1966. First Edition. First Edition. INSCRIBED by the author on the front endpaper to fellow mystery writer John D. MacDonald: "To John D. / With admiration / Charlie." A brief but eloquent inscription, linking two of the best hard-boiled mystery writers of a generation. Williams also wrote the screenplay for the 1968 film adaptation, "Don't Just Stand There!" starring Robert Wagner and Mary Tyler Moore. Williams is best known for his books "Dead Calm," "Aground," and "The Sailcloth Shroud." Like other hard-boiled authors, much of his output came in the form of paperback originals, and his books are seldom found inscribed, this being only the second such copy we have seen. On top of that, a stellar association. Near Fine in a Near Fine dust jacket. A lovely copy.