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Collections LGBTQ Warhol African American Directors Literature Into Film Women Theater Exhibitor Books WalterFilm.com Walter Reuben Inc. Catalog Forty-Three | 2019 Terms & Conditions Walter Reuben Inc. Images of almost every item listed here can be found online, on Catalog Forty-Three | 2019 our website at walterfilm.com. In a number of cases, more detailed descriptions are also available online. CONTENTS Everything offered is subject to prior sale. Any item can be returned for any reason; notification of return must be made within ten days of receipt, and received back by us in the same condition as when it was COLLECTIONS ������������������������������������������������������������������������������������� 2 sent. LGBTQ �������������������������������������������������������������������������������������������������� 8 All California residents must pay a state sales tax of 9.5%. WARHOL �������������������������������������������������������������������������������������������� 26 If an item is prepaid, shipping is free within the U.S. and Canada. Overseas orders will be shipped at cost. We normally use Fed Ex ground AFRICAN AMERICAN ������������������������������������������������������������������������ 30 and USPS for our shipments. Payment can be made by credit card, PayPal, money order, or wire DIRECTORS ���������������������������������������������������������������������������������������� 40 transfer. LITERATURE INTO FILM ������������������������������������������������������������������� 58 Institutions and libraries can be billed as needed. Reciprocal courtesies are extended to fellow dealers. WOMEN ��������������������������������������������������������������������������������������������� 66 We are available to show our inventory on an appointment basis. THEATER �������������������������������������������������������������������������������������������� 74 EXHIBITOR BOOKS ��������������������������������������������������������������������������� 78 Catalog written by Walter Reuben, Woolsey Ackerman, and C. Jerry Kutner. Catalog design and layout by High Arte | Marketing, Graphic, Media & Web Design ADDENDA ����������������������������������������������������������������������������������������� 82 8149 Santa Monica Boulevard #492 West Hollywood CA 90046 For additional information about an item and to see all of the images mentioned in Email: [email protected] | Phone: 323-422-1564 its description, please visit our website, walterfilm.com, Website: https://walterfilm.com or contact us directly at (323) 422-1564 or at [email protected].

Front Cover Illustration: BELLE DE JOUR (Luis Bunuel) See Page: 53 COLLECTIONS COLLECTIONS 1. THE SAINT POSTER ARCHIVE

New York: 1982-2004. ’s The Saint The artwork runs from the explicitly sexual was one of the premiere gay dance clubs in the to the romantic. Most of these posters were world. It stayed open from 1980 to 1988, after created during the era of the AIDS crisis. which it hosted pop up events. Details on request. This is a collection of 33 posters created for various different special events, including $8,500 various White Parties.

– 2 – – 3 – COLLECTIONS COLLECTIONS

– 4 – – 5 – COLLECTIONS COLLECTIONS

2. SHAKESPEARE IN FILM A collection of 166 ephemeral pieces, Many of the classic Shakespearean films are (programs, pressbooks, posters, photos, represented here, with examples of the work etc.), 1916-2015, from 66 films (and from 15 of George Cukor, Laurence Olivier, Kenneth different countries), most of them adaptations Branagh, Trevor Nunn, Julie Taymor, Max of Shakespeare plays, with a few from Reinhardt, and various others. Shakespeare’s contemporaries and Christopher Marlowe, and a few othermovies Details on request. about Shakespearean actors. $9,500

– 6 – – 7 – LGBTQ LGBTQ 3. DOROTHY ARZNER 4. BILL TILDEN Hollywood: ca 1930-1937. Three 8 x 10” (20 x 25 Hollywood: ca 1935. Two 8 x 10” (20 x 25 cm.) cm.) photos, USA. One photo has diagonal creases photos, USA Keybook photos, double weight, near bottom and other signs of light handling, vg-; with punch holes in blank margin (as usual), both the other two are linen-backed keybook photos, stamped on verso “PHOTO BY JACK PASHKOVSKY near fine. NORTH HOLLYWOOD, CALIF.” Near fine. In the 1930’s Arzner was the only woman Bill Tilden was one of the supreme tennis directing movies in the US. “It was no secret players of the 20th Century. He was also a gay within the industry that Arzner was a lesbian.” man. He was twice arrested on morals charges, (Mann, p. 74.) As in these photos, she always in 1946 and again in 1949. “Questions remain if appeared in “mannish” attire, with a short Tilden’s prosecution was based on the haircut. Mayne, Directed by Dorothy Arzner. [about his sexuality], many published, and homophobic stereotypes.” (Wikipedia). $1,250 $750

– 8 – – 9 – LGBTQ LGBTQ 5. (NOEL COWARD, SOURCE) (BEN HECHT, 6. ROCK HUDSON SCREENWRITER) DESIGN FOR LIVING [PRESSBOOK] UNIVERSAL-INTERNATIONAL STAR 2 CUT-OUTS [PAPER Hollywood: Paramount Pictures: 1933. Folio, 34 pp., with supplement, 32 pp. Pressbook unfolded, DOLL BOOK] supplement folded once (as issued), both with Racine, Wisconsin: Whitman, 1957. Small folio, 12 some wear to spine of wrappers, overall near fine. ½ x 10 ½” (32 x 26 cm.) , pictorial wrappers, there is Although the film was still issued in the pre- a heavy crease on back cover, near fine, 6 pp. Code era, Paramount clearly anticipated By the mid-1950’s, Hudson had rapidly emerged censorship problems with Coward’s then- as a major star. His homosexuality, though an daring play about a menage a trois household, open secret in Hollywood, was unknown to and hence assigned Ben Hecht the job of the general public, and publications like this heavily sanitizing Coward’s work for the screen. bolstered his rugged, he-man image. Not in The pressbook is in itself an exceedingly scarce OCLC. book, and even more so when offered with the $750 voluminous supplement. The OCLC does not list any known copies of either the book or the supplement. $950

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7. GLEN OR GLENDA Hollywood: Screen Classics, 1953. Set of 25 8 x 10” documentary and with its forays into what we (20 x 25 cm.) silver gelatin photographs. Fine. would now describe as meta-fiction. Director Ed Wood’s directorial debut, and the Ephemera of any kind from the film is rare. I first American feature film about transsexual have only once before had a photo set from life. When rediscovered in the early-80s it was this film, and that was half of the size of this set. initially viewed as “so bad as to be good,” but an unbiased viewing of it now can be very $3,000 surprising, as, in its own way, it is a true avant- garde film, with its merging of fiction and

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8. (KENNETH ANGER, FILMMAKER) MAGICK LANTERN CYCLE A Special Presentation in celebration of The Equinox Spring 1966

New York: Film-makers Cinematheque, [1966]. excerpt from work in progress KUSTOM KAR Wraps printed in Day-Glow orange, three leaves KOMMANDO. printed on different colored papers with 4 pages of text and 7 leaves, 6 of black and white stills from Anger was a part of the small underground Anger films, 1 of an Anger portrait. Lacking plastic of American experimental filmmakers who binder, minor rubbing to wrappers, very good. emerged after WWII. His explicitly queer sensibility was on display from the beginning of The program included four Anger films his career. (ANGER AQUARIUM ARCANIUM, FIREWORKS, EAUX D’ARTIFICE, SCORPIO RISING) and an $1,250

– 14 – – 15 – LGBTQ LGBTQ 9. (GORE VIDAL, SOURCE) MYRA BRECKENRIDGE REVISED 11. THE BITCHES FINAL SEPTEMBER 22, 1969. New York, 1972. 22 x 14” (56 x 36 cm.) poster. Hollywood: Twentieth Century Fox, 1969. Unfolded, with some light creases and other signs Quarto, printed studio wrappers, brad bound, of minor marginal handling, near fine. mimeograph, [2], 125 pp. Moderate wear This play by Eduardo Cortes was an all-male re- to yapped edges of wrappers, near fine in vg imagining of Clair Booth Luce’s THE WOMEN. It wrappers. gets discussed in Michael Schiavi’s CELLULOID Adapted from Vidal’s 1968 novel, a wild satire ACTIVIST: THE LIFE AND TIMES OF VITO RUSSO, about a recently transitioned transsexual where a Russo review of it gets quoted: “I woman, formerly Myron, now Myra, who arrives am tired of hearing about how all gays are in Hollywood to wreak various forms of havoc bitchy queens. I resent being represented as something I’m not.” (p. 109) Parish 162. Benshoff and Griffin,. pp 141-4. 26, No. 1.). $500 $950

10. (TERRY GILLIAM, DIRECTOR) THE FISHER KING by Richard LaGravenese REVISED DRAFT March 16, 1990

Tri-New York: Tri-Star, 1990. Production company printed wrappers, brad bound, quarto, title hand- lettered on spine, light wear to yapped edges of AS IS wrappers, generally near fine in vg+ wrappers, 123 12. pp. New York: 1985. 22 x 14” (56 x 36 cm.) poster. Just Terry Gilliam’s sixth feature film, which contains about fine. an important gay supporting character, a AS IS was among the very first plays to deal homeless man obsessed with the musical with the unfolding catastrophe of AIDS. It GYPSY (a last-minute change from this script, opened off-Broadway on March 10, 1985, and where his passion is for CABARET). was quickly moved to the Lyceum Theatre on $600 Broadway, on May 1, 1985. The play, by William S. Hoffman, depicts a group of friends living in , all of them impacted in different ways by the disease. $650

– 16 – – 17 – LGBTQ LGBTQ 14. CHARLES PIERCE IN APPLAUSE [New York?]: 1974. 22 x 14” (56 x 36 cm.) poster, may have been the most famous American with light wear at marginal blank edges, overall transgendered performer of his generation very good+ or better. (he was famous for his Bette Davis, although it is said that, when Davis attended a Pierce Pierce here starred as Margo Channing in this act in which he did her, she claimed to be musical based on ALL ABOUT EVE. Pierce unimpressed). made a strong impression in this part, and was considered by many one of the best of the $1,000 many performers who took on the role. Pierce

13. DAME JUDITH ANDERSON AS HAMLET

Np: 1970. 20 x 14” (51 x 36 cm.) poster. Minimal Anderson’s Hamlet was an extraordinary bumping at edges, just about fine. exercise in boundary crossing—rejecting conventions of Shakespearean performance “Employing a heavily cut text and minimalist alongside those of age and gender. setting, the production relied on the power of voice to illuminate Shakespeare’s poetry. “Furthermore it refused to be aligned with Yet most viewers were unable to see past either classical theatre or avant-garde Anderson’s seventy-three-year-old female performance, existing in a state of otherness body to the spirit of her Hamlet, and her and demanding to be assessed on its own performance was widely criticized. Despite its terms.” (Gregory, “Crossing Genre,” JADT, vol. disappointing reception at the time…, 26, No. 1.) $750 – 18 – – 19 – LGBTQ LGBTQ 15. NIGHTHAWKS 17. (JOE ORTON, SUBJECT) PRICK UP YOUR EARS A screenplay drawn from the book by by Alan London: 1978. 30 x 40” (75 x 100 cm.) poster. Folded, with some small pinholes at edges, near Bennett Revised May 1985 fine. London: 1985. Studio wrappers, brad bound, Exceedingly scarce original British poster for 135 pp., there are a few ink scribblings on front one of the earliest British films to try to shine cover, just about fine in very good+ wrappers. a realistic light on contemporary gay life. Autographed on title page by screenwriter Bennett. Imdb: “Jim (Ken Robertson), a London teacher by day who spends his evenings cruising This biography of Joe Orton was ultimately bars and discos, on the lookout for men released in the U.S. on May 8, 1987, with a from different backgrounds and places and superb cast headed by Gary Oldman as Orton trying to connect with them whether for sex, and Alfred Molina as Kenneth Halliwell, and attempts at a relationship or friendship. He directed by Stephen Frears (for whom this attempts to keep his life compartmentalized, was not to be the only cinematic venture into his ‘Gay encounters’ and his ‘friendships with LGBTQ cinema. He previously directed MY school colleagues’, something that seems a BEAUTIFUL LAUNDRETTE and later helmed THE necessity working with school children, but CRYING GAME.) Benshoff and Griffin,. pp 193-4. can the status quo can’t remain forever.” $650 $750 16. (ALEJANDRO JODOROWSKY, DIRECTOR) EL TOPO 18. LONGTIME COMPANION (1988) Screenplay by Craig Lucas 8/10/88 Mexico City Producciones Panic, 1970. 12 3/8 x 16 ¼” (31 x 41 cm.) lobby card poster. There are some New York, 1988. Printed talent agency wrappers, minor internal pinholes, very good+. 113 pp., near fine. Alejandro Jodorowsky’s legendary epic saga of Porter and Prince, p. 140: “Pioneering a gunfighter traveling through a surreal world. that put a human face on the AIDS epidemic This card portrays a lesbian love scene in the The movie was not only a landmark in the film. history of cinema in that it dealt with the ‘gay $450 cancer crisis, but it was one of the very first [centered on gay life] to portray gay men as actual human beings.” Parish 141. $850

– 20 – – 21 – LGBTQ LGBTQ 20. DIRTY WORDS Np: 1976. 34 x 23” (87 x 59 cm.) poster. Unfolded, then and still now one of the major producers fine. and distributors of adult gay male motion pictures. In the 1970’s, there was a large number of movie theaters which converted from showing Grant was an enormous icon of 70’s and early Hollywood product to porno films. Only a small 80’s gay film and magazines. This extremely number showed primarily gay male porno. This rare poster well represents his chiseled look. film was the first feature made by Falcon Films, $1,500

19. (WILLIAM BURROUGHS, SOURCE) LEE AND THE BOYS IN THE BACKROOM

Lawrence, Kansas: 1987. 16 ½ x 10 ½” (42 x 27 cm.) Burroughs’ early novel QUEER and also some poster. Unfolded, just about fine. Neatly signed of his unpublished correspondence. The OCLC and dated “William S. Burroughs 12/18/87.” lists only two known copies, both in Kansas libraries. Poster for the world premiere in Lawrence, Kansas (where Burroughs then lived) of this $500 play by Paul Stephen Lim, which he based on

– 22 – – 23 – LGBTQ LGBTQ 21. (, , 22. TORCH SONG TRILOGY SCREENWRITERS) THE LAST OF SHEILA New York: 1982. 22 x 14” (56 x 36 cm.) poster. Warner Brothers, 1973. Set of thirty 8 x 10” (20 x 25 their own. The secrets vary from “YOU ARE Diagonal creases at right blank bottom, slight cm.) photos. One with a diagonal crease, overall A HIT-AND-RUN DRIVER” to “YOU ARE A sings of handling, near fine. just about fine. HOMOSEXUAL” to “YOU ARE AN ALCOHOLIC” Original poster for the Broadway production and so on. Co-written by Sondheim and Anthony Perkins, of this play, written by and starring Harvey and Sondheim’s only credit as a screenwriter. Sondheim was already a very famous author of Fierstein, which won him two , for A mystery tale about a group on a one-week groundbreaking musicals. Perkins, who was a Best Play and Best Actor in a Play. Mediterranean cruise on a yacht, in which the closeted gay man, never wrote another script. As Charles Busch wrote in the Advocate, “At the guests play a cruel game that revolves around This was their only collaboration. height of the post-Stonewall clone era, Harvey each one’s most embarrassing secrets being $750 challenged both gay and straight audiences to revealed. The object of the game is to discover champion an effeminate gay man’s longings for everyone else’s secrets while protecting love and family.” $450

23. THE TIMES OF HARVEY MILK (1984)

Np: ATC Films, 1984.41 x 27” (104 x 69 cm.) poster. Folded (as issued), with minor creasing at foldlines, near fine. Oscar-winning documentary, directed by Rob Epstein, about the charismatic Milk; film was released in the early days of the AIDS catastrophe to a society which was still very homophobic. Movie had a small release, and posters from it are not common. $300

– 24 – – 25 – WARHOL WARHOL 24. BIKE BOY (1967) New York: 1967 25 x 19”(64 x 49 cm.) poster. this film about a biker who encounters various Unfolded, poster has received paper conservation members of the Warhol entourage. As with for two vertical tears in blank upper left, one of all the early Warhol films, he was the director which barely touches the printed area, near fine. (Morrissey soon after took over this job). Paul Morrisey, who would shortly become $1,500 the director of Warhol’s films, served as cinematographer. And (who would soon shoot Warhol) had a small part, in

25. THE TELEPHONE BOOK Original Screenplay by Nelson Lyon FINAL DRAFT SCREENPLAY June 25, 1969

New York: 1969. Red titled Studio Duplicating delineates the rapidly changing sexual mores of Service leatherette wrappers, 111 pp. Slight wear this country. The film was long forgotten, but, to wrappers, overall near fine or better. starting about twenty years ago, increasingly developed the status of a solid cult movie. Writer-director Lyon was a close friend of regulars and Ultra Violet Warhol. (There are numerous references to him appeared. in the Warhol Diaries. ) This was his first and last feature film---an X-rated , one of $1,500 the very first movies to anticipate what would soon be known as “porn chic,” and one which

– 26 – – 27 – WARHOL WARHOL 27. VAIN VICTORY: THE VICISSITUDES OF THE DAMNED

New York: Ron Lieberman, 1971. 17 x 11” (43 x 28 According to biographer Craig Highberger, cm.) poster. Fine. Curtis’ personal copy of the script of Vain Victory was more than 200 pages with An off-off Broadway musical written by, copious deletions and additions, and “Jackie and starring, Warhol superstar , was almost constantly on speed during this which had a brief but successful run of 11 period according to many sources.” Even after performances at the LaMama. The cast listed trimming a third of it, it still ran to 2 1/2 hours on this poster comprises many of the most when it first opened. famous names in the Warhol entourage, besides Darling: Ondine, , Eric $1,500 Emerson, , , , and Warhol himself.

26. GLAMOR GLORY AND GOLD THE LIFE & LEGEND OF NOLA NOONAN GODDESS & STAR

New York: 1968. 17 x 11 “ (44 x 28 cm.) poster, just pioneered this combination of trashy and about fine. glamour, a style that has prompted assertions that Curtis inspired the glitter rock or glam rock Very scarce poster (the OCLC records no known movement of the 1970s. copy) for the world premiere of the first play written by (and starring) Warhol superstar “Andy Warhol said of Curtis, ‘Jackie Curtis is Jackie Curtis. not a queen. Jackie is an artist. A pioneer without a frontier.’” Wikipedia: “While performing in drag, Curtis would typically wear lipstick, glitter, bright $950 red hair, ripped dresses, and stockings. Curtis

– 28 – – 29 – AFRICAN AMERICAN African American 28. UNCLE TOM’S CABIN SOUVENIR BOOK (1927) 29. JOSEPHINE BAKER Universal Pictures: [1927]. Oblong quarto, films. Inevitably, this was an important film, Paris: 1934. 8 x 7” (20 x 18 cm.) borderless photo, [16] pp. Pictorial wrappers, detached but one of a very few Hollywood silent films, with France. Photo has a fair amount of rippling, very present. Extensively illustrated with sepia-tone showcase roles for black actors. The program good-. photographs. Narrow short splits at crown and contains a variety of images which show the toe of wrapper spine, date written in ink at top African American cast members. Ephemera Josephine Baker rose in a decade in Paris from right of front wrapper, there is a heavy vertical from this film is uncommon. doing provocative dances to lead roles in the crease, overall very good-. theater, as here, a portrait of her in a 1934 $750 revival of the Jacques Offenbach operetta LA The 1927 UNCLE TOM’S CABIN was one of the CREOLE, being done at the Theatre Marigny. three most expensive of all American silent $450

30. THE TWO ZEPHYRS Np: ca 1940. 10 ¼ x 8” (26 x 20 cm.) double weight photo. There is a 5/8” (1.4 cm.) tear on middle right margin, going slightly into blank background of image, a marginal chip at extreme left blank bottom, and some soiling and general signs of handling, very good. The Two Zephyrs were an African American comedy duo comprised of Slappy White and Clarence Schelle from the 1940s. White went onto a long successful career! He partnered with Redd Foxx in the Chitlins Circuit of stand up comedy in the 1950s. In 1969, he partnered with Steve Rossi, one of the first integrated comedy duos, but they broke up in the 1970’s.. He rebounded strongly, performing stand up in Las Vegas shows, and was a frequent guest on the Dean Martin comedy roasts. The earliest image of White we have ever seen. $500

– 30 – – 31 – African American African American 32. (RICHARD WRIGHT, SOURCE) NATIVE SON

New York: Classic Pictures, 1950. 15 ½ x &” (40 x 18 cm.) U.S. flyer. Slight creasing at extreme top left, just about fine. In this film, adapted from his novel, Wright starred in the role of Bigger Thomas (a young black man who accidentally kills the teenage daughter of the wealthy white couple for whom he is chauffeur, and who then tries to cover this up). Wright co-wrote the screenplay, adapted from his novel, with director Pierre Chenal. No American studio wanted to touch this project, and Wright had to make it in Argentina, with Buenos Aires doubling for its setting of Chicago. Very uncommon. $450

33. (RICHARD WRIGHT, SOURCE) NATIVE SON

Barcelona: 1950. 5 x 3” (13 x 8.5 cm.) Flyer, Spain. Printed on both sides, just about fine. $350

31. BRONZE BUCKAROO New York: Sack Amusement Enterprises, ca 1942. 1930’s, of which this was the second in this 41 x 28” poster, conserved on linen, with touch ups series of self-described “all-Negro westerns.” to address marginal paper loss and fold tears, vg-. Actor Spencer Williams (who would soon direct a number of Black cast films in the post-WWII Poster for this 1938 film’s second release, with era) costarred. an entirely different design. Herbert Jeffrey (also known as Herbert Jeffries) appeared in $1,000 four African American western films in the

– 32 – – 33 – African American African American

35. AT HOME WITH ETHEL WATERS

New York: 1955. 22 x 14” (56 x 36 cm.) poster. Very alternated between film, stage, and concert, 34. PINKY minor bumping at extreme edges, near fine. and between and musicals. Bogle, pp. 479 ff.: “Surely one of the great Poster for a one-woman show which Waters Hollywood: Twentieth Century Fox, 1949. Set of 15 actors, including an Oscar-nominated Ethel talents in American popular entertainment… first premiered on Broadway on Sept. 22, 1953. 8 x 10” (20 x 25 cm.) photos. One photo trimmed Waters as the protagonist’s mother. [She started singing rowdy songs and became] She subsequently toured with the show, hence for publication, one with printed text on verso, just a sex symbol for much of Black America…. this poster from a one night appearance in about fine. Waters is in seven of these photos; five feature other African American actors Ambitious, tense, driven, she struggled to make Asbury Park, New Jersey. The show featured One of a few post-WWII Hollywood films which (including two of the legendary Nina it as a musical comedy star on Broadway and primarily a series of musical numbers with attempted to come to grips with racism. It May Mae McKinney, in her first major finally succeeded in the 1933 As Thousands which Waters was closely associated, such as was compromised in various ways (including studio film in twenty years, since the 1929 Cheer….Then in 1939, she turned dramatic “Cabin in the Sky” and “Am I Blue?” with her powerhouse performance in Mamba’s the use of a white actress as Pinky, a light- HALLELUJAH.) $950 skinned African American). But it also contained Daughters.” For the rest of her long career, she distinguished performances from various Black $750

– 34 – – 35 – African American African American 36. (AMIRI BARAKA, formerly LEROI JONES, SOURCE) 37. (AMIRI BARAKA, formerly LEROI JONES, SOURCE) DUTCHMAN DUTCHMAN

London: 1967. 30 x 40” (75 x 100 cm.) Poster. Small were the only options left open to a black New York: Continental Pictures, 1967. 41 x 27” censor stamp in blank area near bottom left, some man in white America: either he can survive by poster, some tape stains in bottom left, very minor pinholes, but poster is generally very clean, joining the ranks of the black bourgeoisie…or good+. just about fine. he can lash out at the dominant culture…Jones’ highly charged theatrical dialogue and the $450 Film of the LeRoi Jones one act play of the same exciting, kinetic performances of Al Freeman, Jr. name. Bogle, p. 77: “By its conclusion, perhaps and Shirley Knight make the movie work.” better than any other piece of dramatic writing of the 1960s, articulates what many then felt $450

38. (AMIRI BARAKA, formerly LEROI JONES, SOURCE) DUTCHMAN

New York: Continental Pictures, 1967. Set of seven 8 x 10” (20 x 25 cm.) photos, just about fine. $350

– 36 – – 37 – African American African American 39. LITTLE WILLIE JOHN 41. (, ACTOR AND SCREENWRITER) Np: ca 1955. 18 x 12” (46 x 31 cm.) mobile FAMILY DREAM (WORKING TITLE FOR BUSTIN’ LOOSE) promotional poster. Mounted on die-cut board, some minor stains at top, with two holes punched, as issued, to allow the poster to be suspended, near fine. Hollywood: 1979. Two drafts: Comedy-drama starring Richard Pryor and Cicely Tyson. Pryor is an ex-con who winds up Extremely scarce hanging poster for this FIRST DRAFT June 29, 1979 by Roger L. Simon driving a van with eight kids (ethnically mixed important rhythm and blues singer, famous for Based on Original Story by Richard Pryor. 128 and with special needs) from Philadelphia his original version of “Fever” (later covered by pp. to rural Washington. The film was made at Peggy Lee), “All Around the World,” and “Talk to the height of Pryor’s film career, and it is of Me, Talk to Me.” FINAL DRAFT September 21, 1979 by Roger L. Simon and Lonnie Elder, III Based on Original particular interest because the screenplay $750 Story by Richard Pryor. 120 pp. was entirely a collaborative effort of African American writers. $750

40. MY SISTER, MY SISTER New York, 1974. 22 x 14” (56 x 36 cm.) poster. Just about fine. Ray Aranha wrote this play, which received several awards, including an Obie for lead actress Barbara Montgomery. Woll, p. 112: “Moves backward and forward through the life of Sue Belle at ages six, twelve, and sixteen. As Sue Belle waits for her lover Eddie, she recalls her drunken father, her pious mother, and her prostitute sister.” $650

– 38 – – 39 – DIRECTORS DIRECTORS GEORGE CUKOR 43. (LAWRENCE DURRELL, SOURCE) JUSTINE 2 July 1968 through 17 January 1969 In his career of a half-century, Cukor epitomized classic Hollywood. Although once derided as a “woman’s director,” this gay man created a slew of masterpieces in multiple genres. Hollywood: Twentieth Century Fox, 1969. [1],140 leaves plus lettered inserts. Brad bound in printed studio wrapper. Wrappers a bit used and sunned 42. WHAT PRICE HOLLYWOOD at extended overlap edges, small filing sticker in lower corner of upper wrapper, fine in vg Hollywood: RKO, 1932. 22 x 14” (55 x 35 cm.) Sherman discovers Constance Bennett, whose wrappers. poster. Minor waviness, near fine. film career ascends, as his collapses. Definitely the first of Cukor’s many masterpieces. A commercial failure when released, this The first iteration of the story which has since adaptation of Durrell’s ALEXANDRIA QUARTET been remade four times as A STAR IS BORN. $3,500 now seems one of Cukor’s most personal Alcoholic film director Lowell works, and, to date, the only film adapted from Durrell. $750

MIKE NICHOLS 44. WORKING GIRL 19 December 1987 through 22 February 1988

New York: 1988. [1],126,[1] pp., plus lettered inserts. of white, blue, pink and canary stocks. Brad bound in plain wrapper. With ink name of Les Lazarowitz, film’s sound mixer. Very good. Comedy serving as a paean to the go-go Reagan era of deregulation, hostile takeovers, and, investment bankers making fortunes. Here, Melanie Griffith plays a young working- class woman from Queens who makes it big on Wall Street, mostly through pluck. $750

– 40 – – 41 – DIRECTORS DIRECTORS FRANK CAPRA JOHN HUSTON 46. (DASHIELL HAMMETT, SOURCE) THE MALTESE FALCON

Hollywood: Warner Brothers, 1941. 11 x 14” (28 x performances of any noir film as Brigid 35 cm.) lobby card. Card has been cleaned with O’Shaughnessy, an ultimate femme fatale. This minor conservation addressing a few pinholes, image captures the tension built amongst the edge tears, and corner creases, about fine. characters as they fight over the mysterious bird in the film’s climatic near-end scene. The third, and the classic, adaptation of this Hammett classic---and one of the $2,000 preeminent early examples of film noir. Mary Astor presented one of the finest layered

45. IT’S A WONDERFUL LIFE

Hollywood: RKO, 1946. 11 x 14” (28 x 35 cm.) title The film received various Oscar nominations, lobby card . The card is clean and unrestored, but only won a minor one, and it took years for minor handling at corners and edges as well as it to be properly appreciated. minor soiling to blank white margins, about fine. $2,000 The perennial film classic, one of the best known and best loved films of all time. The title card plays up the romantic nature of the story.

– 42 – – 43 – DIRECTORS DIRECTORS AKIRA KUROSAWA AKIRA KUROSAWA 47. THE SEVEN SAMURAI 48. THE LOWER DEPTHS Tokyo: 1954., Program, 10 x 7” (25 x 18 cm.), 6 pp. color and, in effect, a small poster for the film. Tokyo: 1957. Program, 10 x 7” (22.5 x 18 cm.), Folded (twice, but lightly), very good-. The inner pages contain a wealth of illustrations 10 pp.. Slight creasing, just about fine. from it. One of the most classic of all Japanese samurai Kurosawa took Maxim Gorky’s play and films, This original Japanese program is $750 transposed it to the Edo period in Japan. It’s extremely scarce. Its back wrapper is in full a story of a dilapidated tenement, where its elderly owner rents out rooms to gamblers, prostitutes, petty thieves, and broken down alcoholics. $300

49. THE HIDDEN FORTRESS

Tokyo: 1958. Program, 10 x 7” (22.5 x 18 cm.), 10 pp. Just about fine. Adventure classic, which George Lucas has acknowledged as a huge influence on the first STAR WARS film as well as THE PHANTOM MENACE. Writing for The Criterion Collection in 1987, David Ehrenstein called it “one of the greatest action-adventure films ever made” and a “fast-paced, witty and visually stunning” samurai film.” $375

– 44 – – 45 – DIRECTORS DIRECTORS AKIRA KUROSAWA TIM BURTON 50. RED BEARD (1965) 52. BATMAN Screenplay by Sam Hamm Based on the Character Created by Bob Kane THIRD DRAFT February Tokyo: 1965. Program, 11 x 8 “ (28 x 20 cm.), 32 pp., darkening to inner area of printed wrappers, one smudge, overall near fine in vg+ wrappers. 29, 1988.

$300 Hollywood: Guber-Peters, 1988. Production making the story about what he called a “duel company wrappers, 112 pp., light wear to edges of of the freaks.” yapped covers, fine in vg+ wrappers. To wit, both Batman and his white-faced Though Burton had only made two previous nemesis, the Joker, are portrayed as the kind features at that point in his career, and was of freakish outsiders whom we have come to working under the control of a major studio, he recognize as archetypal Burton protagonists. still managed to turn BATMAN into a personal project through his design concepts and by $850

51. (WILLIAM SHAKESPEARE, SOURCE) RAN Tokyo: 1985. Pressbook, 16 ½ x 6” (42 x 15 cm.), opens up inside to four interior pages, creating a massive centerfold, 16 ½ x 24” (42 x 59 cm. Minor creasing at spine, just about fine. Kurosawa, late in his career, turned to Shakespeare, for the third time, on this occasion with a masterful adaptation of KING LEAR. A high point of Japanese cinema. $200

– 46 – – 47 – DIRECTORS DIRECTORS HOWARD HAWKS 53. RED LINE 7000 PRELIMINARY SCRIPT [by] George 55. THE HUDSUCKER PROXY Original Screenplay Kirgo December 23, 1964. by Ethan Coen and Joel Coen and Sam Raimi November 25, 1992 Hollywood: 1964. 132 pp., brad bound, preliminary leaf is torn at bottom and partially detached from New York: 1992. Brad bound with metal clasp at brads, generally near fine in vg wrappers. back, 140 pp. [with pages on white paper dated Near the end of Hawks’ illustrious career came 11/18/92 and pages on blue paper dated 11/25/92], this movie about race car drivers, a subject he just about fine. had previously tackled in his 1932 THE CROWD Set in the late 1950s, THE HUDSUCKER PROXY ROARS. This time, he was working on a small intentionally hearkens back to movies of the budget with unknown actors. As always past, particularly the screwball of the in his work, themes of professionalism and 1930s. The Coen Brothers cited Frank Capra homosocial bonding are explored. and Preston Sturges as influences. $450 $1,250

ORSON WELLES 56. FARGO

(Madrid?}: 1996. Spanish 35.5 x 26.25” (90 x 66.5 54. F FOR FAKE cm.) poster. Unfolded, with minor creasing, near fine. Np: 1973. 22 x 13 ½” (56 x 34.5 cm.) poster. Fine. One of the eclectic Coen Brothers’ true Free-form experimental documentary focused landmark films, a kind of existentialist black on the notorious art forger Elmyr de Hory and comedy crossed with a film noir detective film. his biographer, Clifford Irving, who also wrote a Frances McDormand plays an unflappable lady fraudulent bio on Howard Hughes. This meta- detective who eventually solves the mystery of fictional film goes on to touch upon Hughes’ a kidnapping and multiple murders. career and that of Welles himself. $375 $300

– 48 – – 49 – DIRECTORS DIRECTORS BOB FOSSE

Two photos by Alan Pappe (1934-2008), a famous photographer whose images regularly appeared on the covers of Time and Newsweek. Pappe was at the forefront, in the late 1960’s and onward, of the New Hollywood. These photos were special unique prints which Pappe made for his personal archive.

57. CABARET/LIZA MINNELLI ONSTAGE Hollywood: 1972. 11 x 14” (28 x 35 cm.) photo, Liza Minnelli in her signature Academy Award double weight paper, stamped on the verso winning role of Sally Bowles is seen performing Photography@ Alan Pappe as well as featuring his the “Mein Heir” number on the stage of the 58. CABARET/ PORTRAIT OF JOEL GREY signature and the date 1971 in pen. Fine. cabaret. Hollywood: 1972. Hand-tinted 6 ¾ x 9 ½” (17 x 22 1930.” There were many for $1,250 cm.) photo, fine. this film, including for director Bob Fosse, his crowning directorial achievement. Fine. Portrait of Joel Grey for his Academy Award winning performance as the Master of $750 Ceremonies is inscribed “Alan Pappe- Berlin – 50 – – 51 – DIRECTORS DIRECTORS LUIS BUNUEL

One of a very few women directors in Hollywood in the 1980’s. BIG was the first film by a female director to gross over $100 million. 60. BELLE DE JOUR Tokyo: 1967. 20 x 57″ (51 x 145 cm.) Japanese 59. BIG [two variant scripts]. 2 February and poster. On linen, fine. 2 July – 14 September 1987. Called Luis Buñuel’s masterpiece of erotica, it is the story of a housewife who spends her Hollywood: 1987. Two volumes. [1],135,[1] leaves stocks. Gary Ross and Spielberg’s script was afternoons as a prostitute while otherwise and [1],131,[1] leaves, generally very good+. Both nominated for Best Original Screenplay Oscar. maintaining her chaste relationship with her drafts bear the signature of Les Lazarowitz, doctor husband. The title refers to a day lily, production sound mixer for the film. An enormously popular mix of fantasy and a flower which blooms only by day. A surreal comedy and a beloved film of the 1980’s. classic from Bunuel. A “shooting script” and a “revised” shooting script of this original screenplay, the latter shot $750 $2,000 through with dated revises on variously colored

– 52 – – 53 – DIRECTORS DIRECTORS JOHN FRANKENHEIMER JOHN CARPENTER 61. BIRDMAN OF ALCATRAZ SCREENPLAY BY GUY 62. THE THING Second Draft Screenplay by Bill TROSPER / FROM THE BIOGRAPHY BY THOMAS E. GADDIS Lancaster March 4, 1981

Hollywood: 1962. [1],180 leaves. Mimeograph, were cut in the revision process. Hollywood: Universal, 1981. 121 pp. There is some food, magazines) circled or underlined when they brad-bound in printed wrappers. Title lettered damage to the last five pages of text, mostly appear. Overall, vg+. on lower edge, wrappers somewhat worn and This was the first of a series of classic films puncture marks, but also with paper loss to the marked, modest use, internally actually a very nice directed by Frankenheimer, followed in short last two pages. None of this wear has any effect Carpenter’s remake of Howard Hawks’ film is a copy, overall very good. order by THE MANCHURIAN CANDIDATE, on the text, which is entirely intact; the wrappers classic in its own right, and a bleakly pessimistic SEVEN DAYS IN MAY and SECONDS. As the have a bit of smudging and wear . This particular one. An unspecified — but certainly early — draft cinema of the 1960s evolved, American film copy was evidently owned by someone in the $600 of this adaptation to the screen of Gaddis’ created a number of classic antiheroes, and production’s prop department, with significant biography of Robert Stroud. The 3 July 1962 Robert Stroud was certainly one of the early props (snowmobile, computer, tape recorder, dog release, directed by John Frankenheimer, prototypes. starred Burt Lancaster as Stroud, and with a release running time of 147 minutes suggests $1,250 that extensive portions of this lengthy draft

– 54 – – 55 – DIRECTORS DIRECTORS 63. LA DOLCE VITA (1959) Milan: Rizzoli, 1959. Promotional book, square small folio, 13 x 12” (33 x 31 cm.).Pictorial wrappers, 20 unnumbered pages, very slight creasing of pages near spine, minute stains to front cover, but just about fine. A sumptuous English-language book, with five double-page illustrations of scenes from the film, drawn by Fabricio Clerici. The final leaf is a colophon page, indicating that it was printed in an edition of 300 numbered copies, though this copy is not numbered. The book has a very elegant layout; pages of text and lists of scenes intermingle with line drawings, also by Clerici. I have never encountered this book before, and OCLC does not list a single copy of it. $1,500

– 56 – – 57 – LITERATURE INTO FILM LITERATURE INTO FILM 64. (ROBERT LOUIS STEVENSON, SOURCE) THE BODY SNATCHER

Hollywood: RKO, 1945. 41 x 27” (103 x 68 cm.) Adapted from Stevenson story of the same poster. Conserved on linen, with minor touch name, and Robert Wise’s third film as director, ups at fold lines. White paint is present at all four all under the auspices of mythic film producer corners of the blank white margins and at the Val Lewton. The film got some very striking blank white margin folds. There is minor creasing poster art, including this dramatic poster, which under the bottom credit area to the left of the is seldom seen. Morgan Litho Co. credit. Near fine. $6,000

65. (DAVID GOODIS, SOURCE) DARK PASSAGE

Hollywood: Warner Brothers, 1947. 41 x 27” (103 x A much darker journey for Bogart and Bacall 68 cm.) poster. Conserved on linen, there has been than their early, wildly successful BIG SLEEP, in minimal fold and corner touch-up, with minor the first screen adaptation of any of Goodis’ crease at bottom left corner and a few scuffs in fiction. One of the film noir classics, as well white background addressed. Near fine. as one of the best period films set in and depicting San Francisco.

$2,500

– 58 – – 59 – LITERATURE INTO FILM LITERATURE INTO FILM 66. (LOUIS CARROLL, SOURCE) ALICE IN WONDERLAND [ALICE AU PAYS DES MERVEILLES]

New York: Souvaine, 1949. Pressbook, 8 pp., 17 Lou Bunin, a mid-Century master puppeteer, to x 11” (43.5 x 28 cm.). One light horizontal fold (as which was added British live action footage of issued), near fine. such characters as Queen Victoria and Carroll himself. A very scarce booklet issued for the U.S. release of this French film featuring an elaborate use of $450 stop-motion puppetry organized by producer

67. (, SOURCE) CAT ON A HOT TIN ROOF

London: MGM, 1958. British 30 x 40” (75 x 100 cm.) role. If there were any question of it, Elizabeth poster. On linen with only minor touch-up to the Taylor was now grown up and a fine actress in folds and smoothing of a few inter creases. Near her mature roles. It is difficult to think of anyone fine. else as Maggie the Cat. In the UK the film received what was then an “X” certificate — for This filming of Tennessee Williams’ work adults only. was paramount in the loosening of the strict censorship code in film making. It was an $1,400 actor’s film, with each star perfectly cast to their

– 60 – – 61 – LITERATURE INTO FILM LITERATURE INTO FILM 69. NEIL SIMON THE PRISONER OF SECOND AVENUE – FINAL DRAFT Written by Neil Simon August 30, 1973

New York: 1973. Brad bound, printed wrappers, mimeograph, small marginal tear on front cover and title page, overall near fine. Adapted by Simon from his play of the same name, a black comedy about a couple on Manhattan’s Upper East Side, whose lives are going through all kinds of stress at a time of intense summer heat and a prolonged garbage strike. $300

70. NEIL SIMON SECOND DRAFT Original Screenplay by Neil Simon December, 1976

[New York?]: 1976. Printed wrappers, brad bound, mimeograph, 130 pp., light stains to title page, small tears to margins of covers, vg+ or better. An original Neil Simon screenplay, parody of classic Bogart films, in which Peter Falk plays a bumbling detective. $300 68. (HARPER LEE, SOURCE) TO KILL A MOCKINGBIRD

Hollywood: Universal, 1962. 41 x 27″ (103 x 68 cm.) The story of a Depression-era lawyer in the poster, in original folded condition. There are no South who defends a wrongfully accused tears or separations and just three tiny pinholes black man in a small Southern courtroom and near each of the top corners. Near fine. teaches his children about prejudice. The -winning novel by Harper $750 Lee became one of the best-loved films of the 1960s. – 62 – – 63 – LITERATURE INTO FILM LITERATURE INTO FILM 71. (STEPHEN KING, SOURCE) THE BODY [original title for 72. (TONI MORRISON, SOURCE) BELOVED STAND BY ME] Screenplay by Raynold Gideon and Bruce Hollywood: Buena Vista, 1998. Set of 8 11 x 14” represent a daunting task to adapt them A. Evans February 20, 1985 [revised up toMarch 4, 1985]. (28 x 36 cm.) color photo lobby cards, printed to the screen. Nonetheless, Oscar-winning on linen-textured paper stock, giving them an director Jonathan Demme threw himself into Hollywood: Embassy Pictures, 1985. Studio hated the film that Stanley Kubrick made from antiqued look. Fine. this complex project, with a top-rank cast that wrappers, 108 pp. Brad bound, front wrapper his novel THE SHINING, he loved STAND BY ME included Oprah Winfrey,, Danny Glover, and partially detached, it has a stamped label from which was, by any standard, an accomplished Nobel Prize winner Morrison’s novels are a rich Thandie Newton. “The Casting Company,” overall near fine in vg and dramatically effective adaptation of his part of contemporary literature, but wrappers. work. $350

One of the definitive nostalgic coming-of-age $1,250 films of the 1980s. While King had previously

– 64 – – 65 – WOMEN WOMEN 73. ARCHIVE A collection of 230 vintage photos chronicling Katharine Hepburn’s 62 year theatrical motion picture career. 40 of Hepburn’s 53 film credits are represented. It includes her classic Academy Award winning performances and multiple nominations as well as her popular classic films. Hepburn’s strong, fiercely independent persona preceded by decades the feminist movement. Details on request.

$4,500

– 66 – – 67 – WOMEN WOMEN KATHARINE HEPBURN KATHARINE HEPBURN CHRISTOPHER STRONG 76. (PEARL BUCK, SOURCE) DRAGON SEED From: Hollywood: RKO, 1933. Hepburn’s second film, and her first starring film, a pre-Code romance Marguerite Roberts 8-13-43 in which she portrays an aviator who falls in love with a married man (Clive), with tragic [with revisions on colored paper dated up through At this moment in her career, after a few years consequences. Dorothy Arzner directed, the only time Hepburn worked with a woman director. 11-26-43] Hollywood: MGM, 1943. Brad bound, of comedies in which her feminist characters “For contemporary feminist audiences, [the film] stands as one of the best examples of Arzner’s printed wrappers, mimeograph, 190 pp. Minor generally got their comeuppance in the final irony.” (Mayne, Directed by Dorothy Arzner, p. 18.) water stains to covers, generally near fine in vg reel, Hepburn was now returning to the strong or better wrappers. Numerous pages have the kinds of characters with which she had earlier 74. TITLE LOBBY CARD name of director James Conway written in pencil, been identified, in this case playing the odd making it almost certain that this was his copy of role of a Chinese woman in 1937 as her country 11x14” (28x36cm.) Fine the script. However, it does not contain any MS is invaded by Japan. annotations. $1,250 $850

75. LOBBY CARD

11x14” (28x36cm.) Slight bending at top right blank comer, just about fine. $650

– 68 – – 69 – WOMEN WOMEN ANNA MAY WONG 79. MARTHA GRAHAM The first Chinese-American actor to achieve international stardom, Wong was faced through New York, 1928. 8 x 10” (20 x 25 cm.) photo. With An extremely early portrait of the her entire career with racially stereotyped roles. She spent the late 20’s and early 30’s in Europe, a date stamp on back on April 29, 1928, as well as groundbreaking choreographer, then a where she briefly was given starring roles, and more interesting ones. stamp of FOLLIES, and with principal dancer in the show Village Follies, partly legible blindstamp on front of “NICOLAS then being presented on Broadway at the WIRKE(?)” Reinforced on back with paper tape, Winter Garden. CHINATOWN CHARLIE light rubbing, overall vg-. 77. $750 Hollywood: First National Pictures, 1928. 8 x 10” (20 x 25 cm.) double weight keybook photo, linen- mounted, just about fine. A very scarce image of Wong and Lorraine from this lost film. Wong has only a small part (she was eighth-billed) as “The Mandarin’s Sweetheart.” $650

78. FLAME OF LOVE London: British International Pictures, 1930. 8 x 10” (20 x 25 cm.) double weight British silver gelatin photo. A minor thumbtack hole to bottom right edge has been carefully conserved, near fine. A British-German coproduction done in the early days of talking films, with a story set in Imperial Russia. This was Wong’s first talking film. $1,000

– 70 – – 71 – WOMEN WOMEN 80. LILIANA CAVANI COLLECTION

Collection of 7 posters, 2 booklets, and 5 photos but also including films about transgressive (14 pieces). sexuality. Her work is clearly shaped by her perspective as a lesbian and a feminist. Italian director Liliana Cavani, was one of a number of women directors who came to Details on request. international prominence in the 1970’s. Her body of work is remarkably eclectic, with $1,250 films about Galileo, Nietzche, Francis of Assisi,

– 72 – – 73 – THEATER THEATER MARC BLITZSTEIN (ADAPTATION) 82. SCRIPT THE THREEPENNY OPERA New York: Tams-Witmark, [ca. 1956]. Script, brad This script makes reference on one of its With music by Kurt Weill and text and lyrics bound in gray wrappers, [3],30,28,20 pp. Some preliminary pages to the show winning two by Bertold Brecht, this musical play was one wear to edges of blank yapped wrappers, overall Tony Awards on April 1, 1956, and so we are of the cornerstone dramatic works of the just about fine in vg wrappers. Title page on a sure that this script was printed sometime after Weimar Republic---and it was subsequently blue-green paper, the rest on yellow paper. that date, but (based on the paper) probably banned by the Nazis. shortly after. It was an unfamiliar work in the U.S. until $750 the debut off-Broadway production, with a new English adaptation by Marc Blitzstein, The show, which highlighted Lotte Lenya, Kurt Weill’s widow, in the role of Jenny, which she had created in the original Berlin production, decades earlier. After an initial run of 96 performances, after a debut on March 10, 1954, the play was revived in September, 1955, and experienced a great success, with performances running at the Theater de Lys for six years.

81. POSTER

23 x 15” (59 x 38 cm. Archivally paper-backed, The absence of any reference to those awards with conservation done to address wear in blank on this poster strongly implies that it is most right-hand upper side, very good+. likely from 1955. This poster is from the revival of 1955. The $1,250 show won two Tony Awards on April 1, 1956.

– 74 – – 75 – THEATER THEATER (STEPHEN SONDHEIM AND HUGH WHEELER, AUTHORS) A LITTLE 84. SCRIPT Book by Hugh Wheeler Music and Lyrics by NIGHT MUSIC Stephen Sondheim Playing version 5 March 1973.

Wheeler’s adaptation of Ingmar Bergman’s SMILES OF A SUMMER NIGHT was directed by Harold New York: , 1973. Brad bound Title page has an annotation in ink that this Prince, with choreography by Patricia Birch and design by Boris Aronson. It won numerous in leatherette printed wrappers for Studio is copy #37 of the script, which gives every awards at the time, including three Tony Awards (Best Musical, Best Book, and Best Original Score) Duplicating Service, Inc. Quarto, mimeograph, [1], appearance of being a script for a cast or crew and three Drama Desk Awards. It has subsequently received numerous revivals. 73, [1], 49 pp., wear to yapped covers at edges and member of the show’s original production, also near bottom (where there is some damage which opened on February 25, 1973, hence to a blank area), stains to title page, the rest of it most likely incorporates revisions made the text is immaculate, hence near fine in vg+ to the script in the show’s first month of wrappers. performances. $1,000

83. POSTER 22 x 14” (56 x 36 cm.) New York: 1973. Fine This poster is for the play’s original cast, which starred Glynis Johns, , and Hermione Gingold. $450 – 76 – – 77 – EXHIBITOR BOOKS Exhibitor Books 85. FRANCO FILM 1929-1930 Paris: 1929. Red embossed boards, about 100 pp., German films; LES TISSERANDS (DIE WEBER, light rubbing to boards, near fine in vg+ binding. 1929), which had William Dieterle as actor in a Gerhard Hauptmann adaptation; C’EST LA VIE French exhibitor book for a distributor which (DOWNHILL, 1927), one of Alfred Hitchcock’s handled a number of important films at the best silent films; and LOULOU (PANDORA’S BOX, very end of the silent era, many of which 1928), the mythic Louise Brooks vehicle by G.W. receive mostly four page photomontage Pabst. layouts, including CE N’EST QUE VOTRE MAIN… MADAME (I KISS YOUR HAND, MADAME, $1,250 1929), one of Marlene Dietrich’s very last

– 78 – – 79 – Exhibitor Books Exhibitor Books 86. PARAMOUNT 1933-1934 SHOW BUSINESS IN THE HANDS OF SHOWMEN

Hollywood: Paramount Pictures, 1933. Oblong 88 cm.) for Leo McCarey’s DUCK SOUP with folio, 14 x 17” (36 x 44 cm.), printed wrappers, the Marx Brothers, Rouben Mamoulian’s spiral bound, minor wear to edges of covers, SONG OF SONGS with Marlene Dietrich, Ernst generally near fine. Lubitsch’s DESIGN FOR LIVING, and ALICE IN WONDERLAND. The OCLC only records one A massive, and opulent, promotional book copy (Yale). issued by Paramount at the height of the Depression, with some enormous double- $1,850 page spreads, each measuring 14 x 34” (36 x

– 80 – – 81 – ADDENDA Addenda 88. (, PLAYWRIGHT) AWAKE AND SING New York: 1938. 10 x 8 “ (25 x 20 cm.) double text refers to a road trip appearance by the cast weight photo. Slight wear at edges, fine. Stamped for performances in June, 1936 in Cleveland. on verso by photographer, also with a 1938 date Garfield would finally yield to Hollywood’s stamp, and a snipe of printed promotional text. entreaties, and began a Warner Brothers contract in 1938. Photos from his earlier stage Portrait of John Garfield, then still under the career are very uncommon. name of Jules, with his co-star Phoebe Brand, who created their roles in the world premiere $500 of Odets’ groundbreaking play about a working class Jewish family in . The affixed

87. (ALFRED HITCHCOCK, DIRECTOR) THE MAN WHO KNEW TOO MUCH

London: Gaumont-British, [1934]. British 12 1/2 x frustratingly elusive title. This trade ad, with its 9 1/4” (32 x 23 cm.) trade ad. Conservation paper- distinctive artwork of villain Peter Lorre (with backed, with moderate touch up at right edge to the dangling cigarette) and heroine Edna Best, address creases and other signs of use, vg+. presents an excellent piece with which to cover this famous title. Hitchcock’s classic thriller, which he remade two decades later, remains one of his signature $450 British films — and, for a collector, a

– 82 – – 83 – INDEX

Anderson, Judith ...... 18 Hitchcock, Alfred...... 82 Anger, Kenneth...... 4-15 Hudson, Rock...... 11 Arzner, Dorothy...... 8, 68 Huston, John...... 43 Baker, Josephine...... 31 Jodorowky, Alejandro...... 20 Barka, Amiri...... 36-37 King, Stephen...... 64 Blitzstein, Marc...... 74-75 Kurosawa, Akira...... 44-46 WalterFilm.com offers the finest selection of vintage movie posters, star photos, Bogart, Humphrey...... 43,59 Lee, Harper...... 62 lobby cards, movie scripts, rare books, Hollywood movie and theater memorabilia, as well as African American cultural history and LGBTQ film, stage, art and social history. Buck, Pearl...... 69 Lorre, Peter...... 82 Bunuel, Luis...... 53 Marshall, Penny...... 52 As part of our Curatorial Services, we advise libraries, museums, universities. individuals and business clients in the selection of material for their collections. Burroughs, William...... 22 Morrison, Toni...... 65 Burton, Tim...... 47 Nichols, Mike...... 41 COLLECTIONS Capra, Frank...... 42 Odets, Clifford...... 83 Carpenter, John...... 55 Orton, Joe...... 21 Carroll, Lewis...... 60 Pierce, Charles...... 19 Cavani, Liliana...... 72-23 Pryor, Richard...... 39 Coen Brothers...... 49 Shakespeare, William...... 6-7, 46 Coward, Noel...... 10 Simon, Neil...... 63 Cukor, George...... 40-41 Sondheim,.Stephen...... 24, 76-77 Curtis, Jackie...... 28-29 Stevenson, Robert Louis...... 58 Durrell, Lawrence...... 41 Tilden, Bill...... 9 Fellini, Federico...... 56-57 Vidal, Gore...... 16 Fierstein, Harvey...... 25 Warhol, Andy...... 27-29 Fosse, Bob...... 50-51 Waters, Ethel...... 34-35 For additional information about an item in this catalog, to see all of the images Frankenheimer, John...... 54 Welles, Orson...... 48 mentioned in its description or to view our entire collection, please visit our website, Garfield, John...... 83 Williams, Tennessee...... 61 walterfilm.com. Gilliam, Terry...... 16 Wong, Anna May...... 70 And, while your there, please sign up for our NEWSLETTER and visit our BLOG Goodis, David...... 59 Wood, Edward, Jr...... 12-13 – where you’ll be kept up-to-date on our new offerings as well as thoughts and information about curatorship, the business of collecting and various aspects of Graham, Martha...... 71 Wright, Richard...... 33 the market we serve. Hakws, Howard...... 48 Back Cover Ilustrarion: The Saint Poster Archive Hammett, Dashiell...... 43 See Page: 3 Hecht, Ben...... 10 Hepburn, Katharine...... 66-69

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