williamson nicol (14 resultados)

Condición: Collectible; Very Good. 1st Edition. 1st edition 1st issue Very good condition but slight fading to pages. Sent next working day from the u/k 0.0.

Soft cover. Condición: VG+. A VGF or better 4-page screening program. Screening programs were distributed to attendees of special, often pre-release screenings and contain film credits as well as assorted other information. They can often be harder to find than other paper from the same film. Book.

Soft cover. Condición: Near Fine. First Edition. Near fine in original wrappers.

DVD in Standard Case. Condición: Very Good. DVD of the 1969 film starring Nicol Williamson and Marianne Faithfull and directed by Tony Richardson. Lightly rubbed case. Very clean DVD disc. PAL Region 2.

DVD-Hülle. Condición: Gut. Auflage: UK Import. 1 DVD Versand im Luftpolsterumschlag! DVD-Hülle etwas berieben, DVD ist in einem guten Zustand; Case shows some wear, DVD in good condition H220730dvdB26 Altersfreigabe FSK ab 18 Jahre Sprache: Englisch Gewicht in Gramm: 93.

Paperback. Condición: Very Good. Oscar Zarate Ilustrador. 130 p. Includes illustrations. Includes 130 page comic book and 2 C90 audio cassettes in a box 0.0.

Paperback. Condición: Good. Menken/Seltzer; Kaufman; Oldden Ilustrador. First Edition. 40 pages. Features: What is Man?; Nostalgic one-page color-photo ad for Kellogg's Corn Flake Crumbs - illustrated with fried chicken; Sensational one-page color (yellow) photo ad for the 1970 Cadillac Coupe deVille; Nicol Williamson - interview with this serious film star who travels light; Super one-page color-photo ad for a dark green Pontiac Catalina; Your Annual Physical; Our Railroads are No Longer Safe; Can Anyone Predict the Future? - a scorecard on past preductions indicates too many misses; Nice one-page photo ad for LaSalle Extension University features lovely lady using Stenotype shorthand machine; The Hunt for Venus' Arms - Whatever became of the arms of the Venus de Milo statue housed in Paris' Louvre Museum?; Nice one-page color-photo ad for Special K cereal features 7-cent coupon; Recipes for travellers; Great color ads for Gracious Living feature funky retro products such as colored phones and two-position TV-stands; My Shadow Child - it took eight years to suspect Andrew's excessive activity was more than just being a boy; Nice one-page photo ad entitled "Oh, That Charlie" features vinyl record "The Best of Charlie Rice"; Great Moments in Indoor Sports - of all indoor sports, none requires the brain-power and ruthlessness as does "Monopoly"; Great one-page photo ad for Telepander muscle training features before and after photos of a (now) hunky guy; Champagne Living on a Beer Budget - money-saving tips for such things as conference calls, classified ads, brand X products, and many more; How to Keep Your Appliances Going; Should 18-year-olds Vote? - letters from readers. Average wear. Unmarked. A quality vintage copy.

Single Issue Magazine. Condición: Good. Cowan, John (cover); Cowley, Jack; Berenson, Berry; Kane, Art; Penati; Barbieri, Gianpaolo; Stern, Bert; Waldeck, Alexis; Penn, Irving; Bressane, Rogerio; Catalono; Encombe; Fried; Lichfield, Patrick; Lorieux; Robinson, Jack; Rudling, Ewa Ilustrador. First Edition. 168 pages. Features: Many Israel-themed ads; Great fold-out ad for American Standard's "Ultra Bath"; Fisher Body ad features stylist Sue Vanderbilt in a psychedelically colored auto interior; Fall Fashion Forecast; Hamlet as Nicol Williamson; Isador Duncan in 1925-1927 - "Goddess of a Mad Freedom"; Israel Onrush - Its Surprises, Drive and Pleasures - article with photos of Golda Mer, Teddy Kollek, Samuel Yosef Agnon, Yigael Yadin, Amos De Shalit, Sylvie Keshet, Gershom Schocken, Dr. Jack Gross, Daniel Recanati, Mrs. Meir Peli, Uri Zohar, Hannah Zemer, Ephraim Kishon, Hanna Marron, Daniel Barenboim, Topol; Daliah Lavi - New Fashion Manna From Israel - color photos; The Decorated Leg - embroidered, Jewelled, Ornamented, Laced - color photos in Israel; The Pretty Girl is Back; The Great Sauna Plot; The Beautiful People in Shirts and Ties; Yves Saint Laurent in Marrakech; Unmarked. Average wear. Few small chips and openings. A sound copy of this special vintage issue.

Draft script for the 1979 film. Working copy belonging to camera operator Bob Smith, with his name in manuscript ink on the front wrapper, and his annotations throughout, along with his vertical folds to script pages, marking completed scenes. Director Otto Preminger's final film, based on the 1978 novel by Graham Greene and written by noted playwright Tom Stoppard, about a low-level bureaucrat in the British Secret Service who finds himself unknowingly used by the Soviets as he struggles between his love for his family and the ambiguity of his ethical responsibilities. Set and shot on location in the United Kingdom and Kenya. White illustrated titled wrappers. Title page present, stamped copy No. 183, copyright year noted as 1978, with credits for Stoppard and Greene. 147 leaves, with last page of text numbered 146. Xerographic duplication, rectos only. Pages Very Good plus, wrapper Very Good, bound internally with a silver prong.

Draft script for the 1979 film. Illustrated front wrapper based on Saul Bass' poster design for the film. Copy belonging to uncredited crew member David Hitchcock, with his name in manuscript ink on the front wrapper. Manuscript annotations throughout primarily indicating deleted scenes. Also included is a carbon typed letter signed by Otto Preminger, dated 19th October 1979, to dubbing editor Peter Pennell terminating his employment at the conclusion of production. The final film directed by director Otto Preminger, based on the 1978 novel by Graham Greene, with screenplay written by Tom Stoppard, about a low-level bureaucrat in the British Secret Service M16 who finds himself unknowingly used by the Soviets as he struggles with his love for his family and the ambiguity of his ethical responsibilities. Set and shot on location in UK and Kenya. White illustrated titled wrappers. Title page present, dated 1978, with credits for screenwriter Tom Stoppard and novelist Graham Greene, rubber stamped copy No. 146. 146 leaves, with last page of text numbered 146. Xerographic duplication, rectos only. Pages Fine, wrapper Very Good plus, bound internally with a silver prong binding.

Three Draft scripts for the 1969 film by three different screenwriters. From the estate of film producer Elliott Kastner, whose best known credits include "The Long Goodbye" (Robert Altman, 1973), "The Missouri Breaks" (Arthur Penn, 1976), and "Heat" (Michael Mann, 1996). The first script is an undated draft script by screenwriter George Bluestone, who previously adapted Winston Graham's 1967 novel "The Walking Stick," for the 1968 Eric Till film, with copied annotations throughout, striking, adding, and adjusting dialogue. The second is a Second draft script, dated 1st April, 1968, by novelist, playwright and screenwriter Derek Marlow, with copied annotations striking scenes or pages on nearly every page. Marlow said in an interview that he was asked by director Tony Richardson which book he'd like to adapt for a screenplay, and Marlow suggested Nabakov's "Laughter in the Dark." Two or three months afterward Marlow received a call from Richardson asking him to write the adaptation. At the time Richard Burton was to star alongside Marianne Faithfull. Marlow then went to the US to promote his 1968 novel "Memoirs of a Venus Lackey," and upon his return to the UK, found out a new screenplay by Edward Bond had been written, and Burton and Faithfull had been replaced. The third is a draft script, dated 24th June 1968, by Edward Bond. IMDB shows the filming date as starting June 1968, thus likely a draft used early in the production. The first half of the script (to page 66) is on pink paper with the remainder on green paper, with no revision date change. Based on the 1932 novel by Vladimir Nabokov, updating the original 1930s Berlin setting to 1960s swinging London, about a wealthy art dealer who is seduced and swindled out of his fortune by a young woman and her lover. Set in London and the Riviera, shot on location in Spain, France, and the United Kingdom. George Bluestone script: Wrapper integral with title page, with credits for screenwriter George Bluestone and author Vladimir Nabokov. 114 leaves, with last page of text numbered 109. Xerographic duplication, rectos only. Pages Near Fine, bound with two gold brads. Derek Marlowe script: Black wrappers with die-cut title window in the British style. Title page present, dated 1st April, 1968 (obscured, but visible through Winkast sticker), noted as Second Draft, with credits for screenwriter Derek Marlowe and author Vladimir Nabokov. 137 leaves, with last page of text numbered 136. Xerographic duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound internally with two flat metal brads Edward Bond script: Black wrappers with die-cut title window in the British style. Title page present, dated 24th June 1968, with credits for screenwriter Edward Bond and author Vladimir Nabokov. 110 leaves, with last page of text numbered 108. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound internally with two flat metal brads.

Paper. Original Playbill. AN OPENING NIGHT PLAYBILL THAT HAS BEEN SIGNED BY MOST OF THE CAST INCLUDING, NICOL WILLIAMSON, CONSTANCE CUMMINGS, GORDON JACKSON, ROGER LIVESEY, FRANCESCA ANNIS AND OTHERS. Directed by Tony Ricardson who did not sign. Also in the cast as courtiers, soldiers, players was a young Anjelica Huston who also did not sign. Vg. Book.

Unbound. Condición: Very Good. Original promotional film poster. Measuring approximately 27" x 40". Folded (presumably as issued), wear along the creases, title penned in the bottom margin, rubbing, and minor edgewear, very good. Adapted from Malory's *Le Morte Darthur* by Rospo Pallenberg, directed by John Boorman and starring Helen Mirren, Nigel Terry, Nicholas Clay, Cherie Lunghi, Paul Geoffrey, and Nicol Williamson.

4pp, 12mo. On four loose leaves. In fair condition, lightly aged and worn, with minor traces of grey paper mount along edges on blank reverses. The poem is titled 'The Dream of Fine Editors | (after the dinner to J. N. Dunn. April 23rd. 1897)'. (At the time of the dinner the Scottish journalist James Nicol Dunn (1856-1919) was on the verge of being appointed editor of the Morning Post, a position he would hold from May 1897 to January 1905.) There is no record of the poem having been published, and it is likely to have been written for after-dinner recitation only. It is 72 lines long, arranged in 18 quatrains. It begins: 'I dreamed I walked the Street of Bouverie | Where are pale lamps that mock the sable night, | "The Halfpenny John", Bradbury et cie | And also "Black & White"' | Walking, I heard a voice behind me say: | "Not vainly are my Hours and minutes spent. | I have a scheme a cert. - can't fail to pay | Three hundred pounds per cent."' The voice is that of the first of the five editors to appear to Pain in the poem, Charles Norris Williamson (1859-1920), editor of 'Black and White': 'fair, frock-coated, tall, | Sanguine, erratic, with enquiring eye | [] | 'Twas he the earliest figure of our past | Who sowed the seed whereof we reap the flow'r'. Williamson departs ('With pince-nez gleaming like an angel's smile | Went C. N. Williamson'), to be replaced by the editor of 'Chapman's Magazine of Fiction': 'O Oswald Crawfurd [(1834-1909)], courtly, consular, | With Fleet Street's maidens circling raind abait'. The third editor is an unnamed 'snappy man [] | And short and sharp barked out his little day; | In all the converse of the C. M. G. | Save that he didn't stay.' The fourth editor 'who stammered, stared with a lack-lustre eye' is also unnamed. He is a disreputable editor: 'Took his own stories, took his sister's too, | Likewise his cousin's, and his aunt's as well. | Sometimes we print them still we're forced to do - | But "Hell!" we murmur, "Hell!"' The final editor is Dunn himself: 'The one that bragged the least and did the most, | Yet left a weekly illustrated place | To take a morning post. | And as I spoke with him, the dream went by, | Through garden windows came the dawning sun | And I was Barry Pain, and knew that I | Had dined with J. N. Dunn'. The poem ends with Pain asking pardon for drinking from 'a strictly "private" bottle': 'Contrition's tear-drop on my eye-lid starts - | Partially drunk, but like the curate's egg, | "Quite excellent in parts"'. See Pain's entry in the Oxford DNB.