Lakin & Marley Rare Books

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VERTIGO (Complete Set of 25 FINE Original Publicity Stills with Original Distributors Envelope)

VERTIGO (Complete Set of 25 FINE Original Publicity Stills with Original Distributors Envelope)

Hitchcock, Alfred (director); Alec Coppel, Samuel Taylor (screenwriters); James Stewart, Kim Novak, Barbara Bel Geddes (starring) Hitchcock, Alfred (director); Pierre Boileau and Thomas Narcejac (co-novelists of D'entre les morts, Vertigo's source material); Alec Coppel, Samuel Taylor (screenwriters); James Stewart, Kim Novak, Barbara Bel Geddes (starring). VERTIGO. Hollywood, CA: Paramount Studios, [1958]. Complete Set of 25 FINE 8" by 10" Original Vintage single weight glossy Publicity Stills from the famous 1958 Alfred Hitchcock film, complete with their plain brown original distributors envelope stamped "Vertigo" -- a remarkable survival. The stills look virtually as new, stored in their original envelope for the last 62 years. VERTIGO is often said to be Hitchcock's defining film, a movie which has grown in critical evaluation over the years culminating in the British Film Institute naming it in 2012 as the greatest film of all time. Vertigo was also one of the first 25 films selected by the Library of Congress for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant." Envelopes such as this one, containing the 25 selected stills that Paramount initially chose for distribution around the country for publicity purposes in tandem with the film, were never intended to survive in this fresh untouched state, making this a rare opportunity for the collector.
GEORGIA BOY (Two Versions of the Same Title Signed By Cover Artist James Avati)

GEORGIA BOY (Two Versions of the Same Title Signed By Cover Artist James Avati)

Caldwell, Erskine Caldwell, Erskine. GEORGIA BOY. Two copies, both Signet, #760 (first printing, 1950 & fifth revised printing, 1957). BOTH COPIES SIGNED BY COVER ARTIST JAMES AVATI. The 1950 paperback is in Very Good condition (lamination lift and edge-wear)) and the 1957 Version is Near Fine (just a few trifling blemishes). An unusual opportunity to see a cover artist's evolution. Avati always read the books he illustrated and from the illustrations, one can see his vision went from a kind of innocence to a far more sophisticated, if suggestive, view point only seven years later. James Avati (1912-2005) was often called "The Rembrandt" of 1940s and 1950s paperback illustration. He popularized authors such as Erskine Caldwell and William Faulkner for the average reader with alluring cover art which sported extraordinary emotional impact. His brilliance in capturing human feeling: tension or pain, suggestiveness or lust, avarice or suspicion, compassion or devotion was unrivaled during the golden age of paperback illustration. He created a visual narrative that brought characters' tragedies and yearnings to life with a tough-minded gritty realism that put Norman Rockwell to shame. We were fortunate to acquire a small cache of his famous Signet first printing covers which were signed by him at his home in Petaluma, California a half-dozen years before he passed away. To the best of our knowledge, he never signed any other books for which he provided illustrations other than the ones which were acquired on this one occasion. Please search the keywords James Avati to see if any other of his signed copies still remain in our stock. GEORGIA BOY was originally written as a hardcover in 1943 and its stories compare well to Caldwell's classics "God's Little Acre" and "Tobacco Road." However Caldwell wasn't widely read until the 1950s when Signet and James Avait led a revival of his popularity by making his books cheaply and providing compelling cover art such as that found on these copies.
A DANGEROUS WOMAN (Signed By Cover Artist James Avati)

A DANGEROUS WOMAN (Signed By Cover Artist James Avati)

Farrell, James T. (James Avati) Farrell, James T. A DANGEROUS WOMAN. NY: Signet (S1457), 1957. First Paperback Edition, first printing. SIGNED BY COVER ARTIST JAMES AVATI on the dedication page in black ink. A Very Good Plus copy, with a touch of edge-wear and one tiny nick to the top spine, but still square and solid, showing Avati's cover art uncreased with colors still sharp. James Avati (1912-2005) was often called "The Rembrandt" of 1940s and 1950s paperback illustration. Avati's brilliance in capturing human feeling: tension or fear, suggestiveness or lust, avarice or suspicion, compassion or devotion was unrivaled during the golden age of paperback illustration. He created a visual narrrative that brought characters' tragedies and yearnings to life with a tough-minded gritty realism that put Norman Rockwell to shame. We were fortunate to acquire a small cache of his famous Signet first printing covers which were signed by him at his home in Petaluma, California a half-dozen years before he passed away. To the best of our knowledge, he never signed any other books for which he provided illustrations other than the ones which were acquired on this one occasion. Please search the keywords James Avati to see if any other of his signed copies still remains in our stock. James T. Farrell was one of the most successful authors of the 1950s, the creator of "Studs" Lonigan and this particular book is boldly described on the front cover as "Life's passion, pain and irony magnificently exposed by the author of STUDS LONIGAN.
KISS TOMORROW GOOD-BYE (Signed By Cover Artist James Avati)

KISS TOMORROW GOOD-BYE (Signed By Cover Artist James Avati)

McCoy, Horace McCoy, Horace. KISS TOMORROW GOOD-BYE. NY: Signet, 1949 (November, #754). First Paperback Edition, first printing. INSCRIBED BY COVER ARTIST JAMES AVATI on the title page in black ink. A Very Good Plus copy, with a touch of edgewear and a small amount of lift to the lamination else bright and square, of this classic crime novel by the author of THEY SHOOT HORSES, DON'T THEY. McCoy, in his preface, notes that he feels this streamlined version of his novel is superior to the original hardcover novel. James Avati (1912-2005) was often called "The Rembrandt" of 1940s and 1950s paperback illustration. This particular cover is one of Avati's more famous, a brilliantly steamy hardcore noir piece of seductive cover art. Avati's brilliance in capturing human feeling: tension or fear, suggestiveness or lust, avarice or suspicion, compassion or devotion was unrivaled during the golden age of paperback illustration. He created a visual narrative that brought characters' tragedies and yearnings to life with a tough-minded gritty realism that put Norman Rockwell to shame. We were fortunate to acquire a small cache of his famous Signet first printing covers which were signed by him at his home in Petaluma, California a half-dozen years before he passed away. To the best of our knowledge, he never signed any other books for which he provided illustrations other than the ones which were acquired on this one occasion. Please search the keywords James Avati to see if any other of his signed copies still remains in our stock. As the cover says, this novel is Love As Hot As A Blowtorch, Crime As Vicious As The Jungle!
THE OUTER EDGES (Signed By Cover Artist James Avati)

THE OUTER EDGES (Signed By Cover Artist James Avati)

Jackson, Charles Jackson, Charles. THE OUTER EDGES. NY: Signet, 1950 (April, #781). First Paperback Edition, first printing. INSCRIBED BY COVER ARTIST JAMES AVATI on the title page in black ink. A NEAR FINE copy, fresh and likely unread, with only the tiniest bit of edgewear, of this minor masterpiece by the author of THE LOST WEEKEND. James Avati (1912-2005) was often called "The Rembrandt" of 1940s and 1950s paperback illustration. This particular cover is a masterpiece of Noir menace, as the fiendish moron killer eyeballs his prey with a kind of creepy realism which other noir paperback art simply could not equal. Avati's brilliance in capturing human feeling: tension or fear, suggestiveness or lust, avarice or suspicion, compassion or devotion was unrivaled during the golden age of paperback illustration. He created a visual narrative that brought characters' tragedies and yearnings to life with a tough-minded gritty realism that put Norman Rockwell to shame. We were fortunate to acquire a small cache of his famous Signet first printing covers which were signed by him at his home in Petaluma, California a half-dozen years before he passed away. To the best of our knowledge, he never signed any other books for which he provided illustrations other than the ones which were acquired on this one occasion. Please search the keywords James Avati to see if any of his signed copies still remain in our stock.
THE TIME OF INDIFFERENCE (Signed By Cover Artist James Avati)

THE TIME OF INDIFFERENCE (Signed By Cover Artist James Avati)

Moravia, Alberto (James Avati) Moravia, Alberto. THE TIME OF INDIFFERENCE. NY: Signet (S1213), 1955 . First Paperback Edition, first printing. INSCRIBED BY COVER ARTIST JAMES AVATI on the title page in black ink. A Very Good Plus copy, with a touch of edgewear, but still square and solid, showing Avati's cover art uncreased with colors still sharp. James Avati (1912-2005) was often called "The Rembrandt" of 1940s and 1950s paperback illustration. Avati's brilliance in capturing human feeling: tension or fear, suggestiveness or lust, avarice or suspicion, compassion or devotion was unrivaled during the golden age of paperback illustration. He created a visual narrrative that brought characters' tragedies and yearnings to life with a tough-minded gritty realism that put Norman Rockwell to shame. We were fortunate to acquire a small cache of his famous Signet first printing covers which were signed by him at his home in Petaluma, California a half-dozen years before he passed away. To the best of our knowledge, he never signed any other books for which he provided illustrations other than the ones which were acquired on this one occasion. Please search the keywords James Avati to see if any other of his signed copies still remains in our stock. THE TIME OF INDIFFERENCE was one of Italian author Moravia's finest novels and the cover blurb reminds us that he was "one of the best writers in the world today" (Time magazine) and that this particular novel was "a very exciting complex book" (The New Yorker).
THE HOUSE OF FEAR (Original 1944 First Draft Script for the Universal Studios film adaptation of A. Conan Doyle's 1892 Sherlock Holmes story "The Five Orange Pips")

THE HOUSE OF FEAR (Original 1944 First Draft Script for the Universal Studios film adaptation of A. Conan Doyle’s 1892 Sherlock Holmes story “The Five Orange Pips”)

Doyle, A. Conan (Roy Chanslor, screenwriter). Doyle, A. Conan (Roy Chanslor, screenwriter). THE HOUSE OF FEAR [here bearing the initial, later discarded, title "The Murder Club."] Based on the short story "The Five Orange Pips" published in THE ADVENTURES OF SHERLOCK HOMES in 1892. Los Angeles: Universal Studios, 1944. Dated April 4th, 1944, Roy Chanslor's complete first draft 111pp original typed carbon copy manuscript is accomplished on onion-skin paper, brad-bound and housed in original drab brown studio covers (production number 7234), with each leaf rubber-stamped "Contract File Copy" in red block letters save for a 4pp neatly inserted set of revisions (pages 80-83) which boast a few penciled notations. Given the fragile nature of WW2-era scripts, this example is in excellent original condition, very good indeed. If not a unique survival, this "Contract File Copy" would certainly never have existed in more than a few copies circulated in-house. [WITH:] a studio-mimeographed copy of the final continuity and dialogue script for THE HOUSE OF FEAR, complete and dated July 26th, 1944. THE HOUSE OF FEAR was released in New York on March 16th, 1945 to positive reviews. Producer and director Roy William Neill (who directed 11 of the 12 Universal Holmes movies) is often praised for the moody feel of this particular movie which many consider more Victorian in feeling and tone than the first few films in the series. Screenwriter Roy Chanslor ("Johnny Guitar") is occasionally given some credit for the general critical opinion that this is one of the better Universal Sherlock scripts. The twelve Sherlock Holmes films produced by Universal Pictures during the years 1942-1946 are legend; they are surely the best known screen-adapted adventures of English Literature's most iconic character and Basil Rathbone and Nigel Bruce are still cherished, despite our current superb 21st century film and TV adaptations, as the definitive Holmes and Watson. A very rare script. Please check out the other Sherlock Holmes original screenplays we have in stock.