Minor White discusses aspects of photography in two typed letters to his former student, Stuart Oring. Typed Letter Signed, on "aperture" magazine stationery, New York City, 4to ( 8 x 11 inches) Nov. 19, 1967. White was one of the founders of the photography magazine, "aperture," in 1952. White says, "there is no written material for the Evaluating Photography course" and that his book "now called Conscious Photography, is in a first draft stage. It seems that you should come here and spend a few days with the MMS." He later writes, "I will give you all the help I can. A couple of days in personal talk will be most fitting." White doesn't agree with Oring's premise that photography can be used as a controlled visual communication process. White writes, "This seems redundant. photography communicates like mad every minute of the day, and while it works as other media do is purely academic nonsense." He signs, "Cheerio, Minor." The second typed letter on plain stationery, Dec. 2, 1967, is a response to a subsequent letter Oring sent. White refers to fellow photographers, Ansel Adams and Edward Weston. "Your latest letter clarifies the aim of your thesis quiet [sic] well. Ansel's 'theory of previsualization' has nothing to do with how communication occurs. It is concerned only with a mild degree of clarvoyance [sic] that is expected to be available in viewers at the time of seeing the images. Ed Westo[n] had no theories of communication that reached publication." White explains his own current work. "I am working with people and their responses-reactions on a factual basis in relation to specific pictures and.persons.no theory involved." White's comments serve to explain why he won't be Oring's Masters thesis advisor. He closes the letter kindly and signs, "Minor." The third letter is a Museum of Modern Art Christmas Card, showing White's photograph, "Steely the Barb of Infinity," 1966. The recipient is not identified, but we presume it was addressed to Oring. The date is uncertain. White writes that "aperture is going again, the Sommer photos go in display Feb. at Carl Siembab Gallery in Boston." He writes on the page facing the greeting. Above and below the printed, "Merry Christmas," he expands the holiday greeting and signs, "Minor." White exhibited at the Siembab Gallery in 1974. Minor White taught Stuart Oring at Rochester Institute of Technology in the late 1950s. They stayed in touch over the years as Oring pursued his study of photography. In 1970, Oring received an M.A. degree in communication from American University. His Masters thesis was titled, "A Comparative Investigation of Similarities and Differences in the Aesthetic Theories of Alfred Stieglitz, Edward Weston, Ansel Adams, and Minor White. " Oring also wrote additional articles about White. Additional images on request.
Fernand Leger, Autograph Letter Signed, on the topic of film. A small Drawing is part of his signature. Leger references his Surrealist film, "Ballet Mecanique." "Received letter dated 22nd. Heard: Leger en Amerique, 16 mm 20 to 25 minutes, talky, noisy. If you want Ballet Mechanique, in 35 or in 16. I believe I have both, length 20 to 25 min. So Tuesday, May 5 - I think we will be Me - Nadia - Wanda, so 3. We should plan on 3 rooms or at least 3 beds.We'll.come by the farm probably Sunday." He ends, "A Tois de mois 3, " and signs, "F. Leger," drawing a line around his signature starting from the "r" and ending in what could be the French Flag outlined. Leger refers to his film, "Ballet Mecanique," produced 1923 - 24. He wrote and co-directed this Surrealist movie with help form Man Ray and co-director, American filmmaker, Dudley Murphy (1897-1968). The American composer George Antheil (1900- 59) composed the score. The letter is written In French, 2 pages on one folded sheet, 8vo, April, 25, 1952. In addition to other works in 1952, a pair of Léger murals was installed in the General Assembly Hall of the United Nations headquarters in New York City.
Isabel Bishop , Autograph Letter Signed, with original drawing. The working class woman in mid-century Manhattan was often the subject of Bishop's art . Here, Bishop generously responds to an autograph request by including a sketch of a young woman on a subway train. She writes, "Thank you for your note, telling me of your being an autograph collector. You honor me by including me in your list." To the left of her closing and signature, with pen and ink she draws a pensive, or perhaps napping, young woman on a subway, eyes closed, face resting on her hand. She sketched a question mark above her hair and noted the address for Times Square on the car's back wall, "42 St." She signs in full, "Isabel Bishop." The 8vo letter written from New York City is dated April 7, 1942. Bishop studied in New York at the Arts Students League and made New York her home. Her painting and illustration focused on the city's people and landscape particularly after she moved to Union Square in 1926. Before arriving in New York City, Bishop painted nudes in a realistic style.
BUELL, MARJORIE HENDERSON. "LITTLE LULU"
Little Lulu Original Art Signed Marge for Marjorie Buell. Buell, the creator of Little Lulu, drew a brightly colored water color sketch of her popular and long lasting character. The cartoonist's charming sketch shows to the right of her greeting, "Best Wishes from Little LuLu and Marge." The sketch measures about 2 x 2 inches on a 5 1/2 x 3 inch government postcard, postmarked Upper Darby, Oct. 11, 1938, two years after Little Lulu was first published in the "Saturday Evening Post." Buell, who used the pen name Marge, created the popular comic strip series for "The Saturday Evening Post." Little LuLu made her first appearance in the Post in 1935 and continued to be drawn by Buell until 1947. Based on the success of the comic strip and aimed at a young audience, in 1944 Paramount brought Little LuLu to the movie screen in animated shorts. The LuLu animated movie cartoon ended in the 1960s but continued on television.
NATWICK, MYRON "GRIM" [BETTY BOOP]
MYRON "GRIM" NATWICK draws Betty Boop kicking up her heels to celebrate a birthday and the end of the year holidays. The sketch catches the readers' eye about midway along the first page left margin of this three page letter. In a large hand, Natwick first sends birthday wishes and continues noting the passage of time as the holiday season begins starting with Thanksgiving. "How fast everything moves at this time of year." He draws an open exclamation mark filled in with yellow water color on the right margin and opposite his drawing. Betty Boop's hair is shaded with the same color. "After Thanksgiving, time moves on 12 cylinders." He continues with news of mutual friends and signs, "Grim." The drawing measures approximately 3 1/2 inches tall from foot to hand and similarly across from hair to outstretched foot on an 8 1/2 by 11 inch page. Overall fine condition with some show through water color on verso and sunning on lower portion of the first page. The second and third pages must have been laid on top of the first page since those sheets show water color from the cartoon. A charming chatty letter with a sketch of his enduring cartoon character. The letter consists of three pages two separate sheets, dated Dec. 6, 1980. Boop started out as the girl friend dog character to her canine boyfriend Bimbo in cartoon series, "Talkartoons" produced by Max and Dave Fleischer for Paramount. Natwick transformed Betty into a girlish vamp whose figure was modeled after actress Mae West and voice on the singer Helen Kane (who sued Fleischer and lost). Betty Boop was a hugely successful cartoon during its tenure on the screen during the 1930's. She was retired in 1939. A revival of interest took shape in the 1970's and continues. Natwick's drawing of his most famous cartoon reflects the renewed interest. In addition to creating Betty Boop, when Natwick moved to Disney Studios, he became a lead animator on films including, "Snow White and the Seven Dwarfs" and worked on Mickey Mouse for the film, "Fantasia, "
Composers Photograph Album
PHOTOGRAPH ALBUM. Seven Carte-de-Visite Albumen Photographs of 19th Century European Composers - and Cosima Wagner - presented n a Folded Leather Carte-de-Visite Album.Images and Photographers: Giuseppe Verdi (1813-1901). Italian composer known for his operas; Photographer, Reutlinger, Paris. Richard Wagner (1813-83) German composer and conductor; Photographer not indicated. Joseph Joachim (1831-1907) Hungarian born violinist, composer and conductor; Photographer, Eliot & Fry, London. Charles Gounod (1818-93) French composer; Photographer, Nadar, Paris. Gioachino Rossini (1792-1868) Italian composer known for his operas; Photographer, Carjat & Cie. / Legé & Bergeron, Paris. Legé & Bergeron took over Carjat's studio in 1865) Cosima Wagner (1837-1930) Hungarian born director of Bayreuth Festivals after her husband, Richard Wagner, die; Photographer, Eliot & Fry, London. Johann Strauss II (1825-99) Austrian composer known for his waltzes; Photographer Gurney & Son, New York. Felicien David (1810-76) French composer; Photographer, Mulnier, Paris. The brown textured leather album holds 8 CDV photographs. The closure is a flap with a top pull that tucks into a pocket. The folding album is lined with a deep turquoise silk like cloth in fair condition with tears along two folds. Each CDV window is edged in gold tone. The photograph album is in overall good condition and appropriately shows its age.
BILL JUSTICE. Two Original Sketches Signed. Chip 'n' Dale Sketch Signed, on a 3 x 5 inch card. Justice sketched two of his popular and favorite characters, the chipmunks Chip and Dale. He inscribed and signed the drawing rendered in black marker, "Best wishes to Bill, Bill Justice." Undated. The second sketch is of a smiling Pinocchio on the LOVE Stamp First Day Cover, accomplished in pencil , inscribed and signed, postmarked Aug. 8, 1988. Justice sketched Pinocchio near the red "LOVE" above four red roses identified as Aristocral Cachets and above the printed explanation of the rose's association with love. Between Pinocchio's face and the very popular and colorful rose adorned Love stamp, Justice wrote, "Best Wishes to Kati," and signed, "Bill Justice," below the postmark. Perhaps best known as the animator of the chipmunk duo, Chip and Dale, Justice was a contributing animator for "Pinocchio," Disney's 1940 animation film. Justice's long career for Disney Studios involved many aspects of animation film making and also included engineering projects related to Disney theme parks. [can be purchased separately for $295.00] Two Original Sketches SIGNED. Chip 'n' Dale Sketch Signed, on a 3 x 5 inch card, undated. Pinocchio Sketch Signed on the LOVE Stamp First Day Cover, postmarked Aug. 8, 1988. (A note to Baby Boomers: Justice directed the animated Mickey Mouse March opening for The Mickey Mouse Club.).
LINDSAY, LIONEL. Signed Etching " Doorway of Las Duenas." This lovely etching, signed in pencil, is presented in a heavy paper cover open to show the artwork. The etching is attached above the printed explanation, "Doorway of Las Duenas. An Original Etching by Sir Lionel LIndsay Published in an Edition of Two Hundred Copies Exclusively for Members of the Miniature Print Society, c/o the Torch Press, Cedar Rapids, Iowa, 1942. " A full printed description of "Doorway of Las Duenas" accompanies the art and begins: "From our valiant ally in the Pacific comes an etching of inspired grace and charm for members.that eminent artist, Sir Lionel LIndsay, whose love for old Spain prompted him to make the "Doorway of Las Duenas"." Lindsay's quoted text makes up the remaining five paragraphs of the printed description. The artist does not include details of his process or materials. The etching measures 3 1/2 x 4/1/2 on 5 1/2 x 7 1/2 paper. Australian artist Lindsay was recognized for his paintings and prints.
Jasper Johns penned Two Autograph Letters referring to his art. He mentions his painting "Construction with a Toy Piano" and a painting of fellow artist Robert Rauschenberg (1925-2008). Autograph Letter Signed, two separate 4to pages, Sept. 29,1989. The second is an Autograph Letter Unsigned, in pencil, a two page 4to fragment, undated referring to art work hanging on Johns' studio walls. Both letters are written to Fred Mitchell (1923-2013), one of the five cofounders of the artist run Tanager Gallery in New York City. Mitchell was himself a New York School Abstract Expressionist artist. The third letter in the group was written by Fred Mitchell to Johns, August 21, 1992, referring to John Cage's composition, "Europera," soon after Cage died in August 1992. After offering news of family and friends, Johns writes in the September 29 letter, "If you can ever track down that photo of my âConstruction with a Toy Piano' and Bob Rauschenberg âPaint Cans' painting on the walls of the Tanager Gallery I'll be grateful. (the photo) was in the that Tanager âMemorial exhibition that you sent me to in Soho some years ago." He ends with his upcoming travel schedule and signs, "Jasper." In the two page unsigned incomplete letter to Fred, Johns asks for "2 favors." "On the wall of my studio where I used to have those pictures is a small sculpture of a toothbrush with teeth. There is also hanging near that a cellophane bag with 2 or 3 pieces of blue dental wax in it. Will you send me those." The incomplete letter ends with Johns asking for airmail to be forwarded. Johns presumably refers to his small sculpture of a tooth brush with several teeth attached titled, "The Critic Smiles, " 1969. Docketed "1965?" in the upper right corner. The set of letters contains notable references to the artist he has been closely associated with, Robert Rauschenberg and "Pop Art." The letters also importantly refer to the Tanager Gallery,located at 90 E. 10 Street in New York City, where both Johns and Rauschenberg exhibited. The Gallery was open from 1952-1962. Additional images on request.
Chagall Original Pen and Ink Drawing SIGNED and Inscribed in French to Horace Richter, art gallery owner, Tel Aviv, 1951. Chagall has drawn a fanciful artist's palette, 7 x 9 inches. On the palette with lines suggesting brushes he writes, "Vence 1951." Chagall SIGNED in full to the left of the palette, "Marc Chagall" and inscribed above to his friend Horace Richter. Horace Richter (1918-2006) was an art gallery owner in Tel Aviv as well as an art collector. 1951, the date of Chagall's dedication to Richter, suggests both attended the Venice Biennial because of past participation in the art event. Chagall was at the Venice Biennial of 1948. He exhibited there and won the graphics prize for his color lithographs. Chagall was in Israel in 1951, his second visit, a long time after his first visit in 1931. In the Spring of 1951 he visited, at the invitation of President Salman Shazar, and attended openings of his solo exhibitions in Jerusalem, Haifa and Tel Aviv. In June of 1951 Chagall went to Tel Aviv to arrange an extensive exhibition of his work, showing 60 oils, over 100 gouaches and watercolors, sketches for the theater and opera and more. Additional information on Richter's gallery is available via its web site Richter Gallery. Chagall's sketch is fine in art association.
Enrico Caruso Autograph Letter Signed to his son, Rudolfo, with self portrait. Based on Caruso's reference in this letter, Fofo, as Rudolfo was known, was studying in an academy in Florence at the time. Caruso begins by criticizing his son for not writing in his, "own hand writing, whether it is good or bad. I hope I will soon receive such a letter, so I will be happier." Caruso infers that his son likes boarding school then offers advice for success. "Be serious and make everyone love you, especially.the superiors (higher grades)." Caruso does not know when he will see his son but offers to send stamps and hopes "to hug" him in "May or October." He ends with an expression of love, then signs, "Papa." Caruso sketches his face in profile under, "Papa." The four page letter was penned on a folded card measuring 3 1/2 x 3 inches closed, with decorative center fold perforation. The card comes in a card folder with a greeting in English on the cover. Perhaps Caruso wrote to his son from England or America.
MIKE NICHOLS. Four Signed Theater Documents related to the early production of the Broadway musical, "The Apple Tree," directed by Nichols. The play won the 1967 Tony Award for best musical and NIchols won the Tony for best directing of a musical. Our four documents use the play's original working title, "Come Back! Go Away! I Love You!". The documents each dated May 24, 1966, establish working arrangements between Nichols, Icarus Productions and the Stuart Company, a producer. The first document, "Re: Bock-Harnick Musical," is an agreement between the two producers to engage Nichols' services "as director" and as "an author" of the musical play. Jerry Boch and Michael Harnick wrote the music and lyrics to the musical and both won Tony's for best original score. NIchols signature, "Mike NIchols" appears as the second signature at the lower left of the page. The second document is signed by Nichols alone and states, "I have read the foregoing agreement [sic].and that I agree to be personally bound by.said agreement." Signed above his typed name. The third document in the form of a typed letter to Nichols from Stuart Ostrow, head of the Stuart Company, refers to an amendment regarding payment to Nichols as author of the play in the event of a disagreement with the Dramatists Guild. This document is signed by Nichols in the lower left corner above his typed name. The fourth document is a "right of refusal" offered by Icarus Productions to Nichols and Stuart Company should there be an offer to sell or transfer rights to the play. Nichols signature above his typed name is the second signature on the right. The name of the play shown on our documents changed to " The Apple Tree" and was a trilogy of one act musicals about love and temptation. The play ran for 463 performances and was revived for Broadway for a three month run between December 2006 and March 2007.
Ansel Adams Archive. Three Typed Letters Signed, 1957 and 1968. Adams refers to photographers Alfred Stieglitz and Edward Stiechen and his Family of Man exhibit at MOMA in the second letter and Stieglitz. Edward Weston, Minor White and himself in the third letter. He gives advice on a film developing process in the first and second letters. Each letter is on different personalized printed address stationery and all are addressed to Steurat Oring who was photography student at Rochester Institute of Technology (RIT) at the time. April 11, 1957, San Francisco, 1 page, 4to. "Now, about your Pyrocatechin Project.I do not have any Zone-system data on this developer which could be of use. especially with the modern films. It is a 'tanning' developer and you might have serious trouble with it used on the new thin-emulsion films." He offers five suggestions, asks to know how his suggestions turn out and signs in full with black crayon, "Ansel Adams." In is own hand he adds,"and 'normal' developing time," at the end of his third suggestion. Pyrocatechin is used in developing film. This letter is 8 1/2 x 11 inches. Condition: Narrow bend at the bottom creasing the bottom of the "A" in Ansel and across part of the paraph under the signature but page and signature are intact. April 23, 1957. San Francisco, 2 pages, 4to. Adams apologizes for a short letter because he is, "in a real jam of work." He continues his comments on Pyrocatechin. "I am glad you have been getting results with Pyrocatechin. It is a tricky developer.The Kodak Rapid Selenium toner works fine---is MUCH safer than trying to mix your own - selenium is a DEADLY poison.use rubber gloves when toning.I always have a hard time understanding the meaning of GAMMA IN CREATIVE WORK.what concerns us most are the density (or opacity) ranges of our negatives." After a more technical discussion he writes about fellow photographer Alfred Stieglitz (1864-1946). Stieglitz significantly expanded the domain of photography into the art world. "Stieglitz was a great man.The spirit of craftsmanship is being violated on every hand. Such exhibits as the Family of Man are a disgrace to the art and craft of photography! There were some beautiful images in that collection but the lack of feeling and sensitivity were painful indeed. Stieglitz would have turned over in this Grave." Adams adds an ending comment and signs in red ink, "Ansel Adams." Adams refers to photographer Edward Steichen's "Family of Man" photography exhibit at MOMA, in 1955, two years prior to this letter. Adams was not alone in his criticism of Steichen, who served as Director of the Department of Photography at The Museum of Modern Art since 1947. February 18, 1968. Carmel, CA, 8vo. Adams compares photographers including himself. "the only relationship that can be firmly established between Stieglitz, E[dward] Weston, Minor White and myself relates to a common effort to work in the domain of straight photography, with expressive intention.I am closer to E. Weston.in the physical sense (technique, materials, etc.) but I am closer to Stieglitz in the esthetic.(in the spiritual approach). Minor White of [sic] far more concerned with the extreme subjective approach." His final comment looks to the future of photography. ".the next stage of photography will relate to an awareness of man's condition and the future of his environment." He signs this third letter in blue ink, "Ansel Adams." Three punch holes on the left margin and a small fold at the lower right edge. A fine trio of substantive letters.
George Grosz Autograph Letter Signed with original art. The artist turns a friendly letter into a colorful sketch of a watercolor pencil crossed with a paintbrush. Mixing German and English and red, blue, green, and purple, he tells his friend, "you are one of the few people who do not bore me. Everybody just talks stupidly 'intellectual' picked up from their TV commentations.you in any case old boy (hands on the trouser seam) [standing at attention] you old boy, THANKS, also in Eva's name for the lovely (sadly ever scarcer) evening. War OKAY.Not too long. Time is running out." He signs, "George." Eva refers to Grosz's wife. Below his signature, Grosz draws the brush with purple bristles crossing the watercolor pencil facing the opposite direction. The crossed brush and pencil may be a reference to crossed swords suggesting that the pen and brush are also deadly weapons. Near his signature, Grosz added a small collage element, initialed in purple with an arrow following "G.G." The initialed element references his Dada works of the 1920s. On Grosz's printed personalized stationery, in German and English, folio (11 3/4 x 8 1/4 inches) Huntington (NY), March 1, 1956. After serving in the German army in W.W.I, Grosz became known for his satirical caricatures depicting corruption in postwar Germany. He publicly denounced Hitler and the Nazi regime and moved to the United States in 1932, becoming a citizen in 1938. He was active in the Dada movement in post war Germany and contributed to the development of photomontage. Grosz returned to Berlin in 1958 and died their the following year.
Karsh created his own Christmas Cards with his gelatin silver prints mounted onto an interior page of a holiday card. He signed in his tight hand on the card onto which the image is affixed, "Yousuf Karsh." Descriptions of the images are printed on the facing page. The holiday greeting is penned by Karsh's wife, Solange (1902 1961) who signed for both. The Christmas card for 1953 includes a gelatin silver print, matte finish, titled, "The Veiled Virgin by Giovanni Strazzo, Presentation Convent, St. John's Newfoundland." The photograph measures 3 1/2 x 5 1/4 inches and is affixed to the interior page. On that page to the left of the photograph Karsh signed in pencil, "Yousuf Karsh." Solange send "Warmest Good Wishes for Christmas and The New Year.Christmas 1953." Slight crease through Karsh's first name in his signature. The Christmas card for 1958 includes a gelatin silver print, matte finish, of a "statue of Saint Barbara, patroness of miners.carved from a piece of coal." The image measures 3 x 5 1/2 inches. On the card onto which the photograph is affixed Karsh signed in pen, "Yousuf Karsh." The description of the photograph is printed below the holiday greeting. Solange signed for the couple. Docketed in pencil, "1958" on the outside front cover in another hand. Purchased individually, each card is $475.
PAULING, LINUS. Emile Zuckerhandl
Linus Pauling sketched his superconductivity invention. SIGNED by Emile Zuckerhandl, biologist. Pauling is generally associated with chemistry, Vitamin C, and peace. He also had a keen interest in superconductors. In our sketch, drawn in 1989, Pauling illustrates his new technique on superconductivity for biologist Emile Zuckerhandl. Zuckerhandl (1922-2013), a founder of molecular evolution, worked with Pauling to develop the molecular clock hypothesis. Writing in pencil, Zuckerhandl described the sketch on the lower right corner of the page. "2/4/89 LP [Linus Pauling] explains to me a new technique he wants to use in his research on superconductivity, to prepare extremely thin metal fibers (lead in gold)." Pauling wrote "Rolling Mill" under his sketch. On his professional stationery, Zuckerhandl wrote an explanation of the drawing for David Schulson who purchased it in 1994. "About Linus Pauling's little sketch, I wrote on it the following words." The words are the same as the description already quoted. The 4to size drawing is signed and dated by Zuckerhandl "2/24/89." Pauling worked with several scientists in addition to Emile Zuckerhandl, to develop a superconductivity product starting in 1988. Pauling and his team created a, "composite structure in which superconducting materials assumed the form of fine strands embedded in a wave-guiding matrix. The matrix restricted the superconducting current to a linear motion; however, the strands did not need to be straight, but could also be bent or interconnected into a network. This matrix would be built of a non-conducting material." [ Pauling's Superconductivity Patent, Dec. 12, 2012 on Paulingblog ] Pauling sought patents for his invention and with Zuckerhandl and businessman Richard Hicks set up a company to manage the business side of his superconductivity invention. Ultimately, the product found no buyers, the company suffered financial difficulties, Zuckerhandl established his own Institute of Molecular Medical Sciences, and Pauling died in 1994.
Hand written letters of Flynn with movie content are rare. Here Flynn is likely writing to his business manager, Al Blum, was "outraged" that Blum and M.C.A., "did not insist on Warners paying me where I designated - N.Y. - and.letting Marshall grab the whole $25,000, and am calling Warners today, I want the rest of my dough paid into the Guarantee Trust, N.Y. Try to get some adjustment of the amount they've got due. especially the sum due on Ballantrae." He refers to his final swashbuckler film for Warner Brothers Studio, "The Master of Ballantrae," released in 1953 and loosely based on Robert Louis Stevenson's 1889 novel. Marshall is likely William Marshall, actor, director, producer and singer with whom Flynn collaborated on the never released film, "Hello God" (1951). In 1949, Flynn agreed to accept a promissory note of $25,000 for half the interest in the film. This is likely the $25,000 Flynn initially mentioned and refers to again. He continues, "how come you never advised me when the first lot of money was grabbed? I never knew a word of it - I could have phoned Jack W. [Warner].Will you please examine every avenue to see how & if I can get this 25g's released." Signed, "Errol." Flynn and Marshall sued each other over their little known film. The letter came to us with an expense list on "Errol Flynn Productions" printed stationery, undated, but likely after the break with Warners. We think the letter was written in the early 1950's before Blum's death in 1953. Early in the letter Flynn mentions heading for Jamaica after finishing the picture. He had first gone to Jamaica in 1946 and bought property, including Navy Island off of Port Antonio. Hand written letters of Flynn with movie content are rare.Errol Flynn, likely writing to his business manager, Al Blum, was "outraged" that Blum and M.C.A., "did not insist on Warners paying me where I designated - N.Y. - and.letting Marshall grab the whole $25,000, and am calling Warners today, I want the rest of my dough paid into the Guarantee Trust, N.Y. Try to get some adjustment of the amount they've got due. especially the sum due on Ballantrae." He refers to his final swashbuckler film for Warner Brothers Studio, "The Master of Ballantrae," released in 1953 and loosely based on Robert Louis Stevenson's 1889 novel. Marshall is likely William Marshall, actor, director, producer and singer with whom Flynn collaborated on the never released film, "Hello God" (1951). In 1949, Flynn agreed to accept a promissory note of $25,000 for half the interest in the film. This is likely the $25,000 Flynn initially mentioned and refers to again. He continues, "how come you never advised me when the first lot of money was grabbed? I never knew a word of it - I could have phoned Jack W. [Warner].Will you please examine every avenue to see how & if I can get this 25g's released." Signed, "Errol." Flynn and Marshall sued each other over their little known film. The letter came to us with an expense list on "Errol Flynn Productions" printed stationery, undated, but likely after the break with Warners. We think the letter was written in the early 1950's before Blum's death in 1953. Early in the letter Flynn mentions heading for Jamaica after finishing the picture. He had first gone to Jamaica in 1946 and bought property, including Navy Island off of Port Antonio. Hand written letters of Flynn with movie content are rare.
John Tenniel, AUTOGRAPH LETTER SIGNED. enniel writes to the publisher of "Punch", Frederick Evans. "My dear Evans, This is to thank you very much indeed for the cheques and to say that if my frequent applications have been in any way troublesome and annoying to you, how much I regret it - and to assure you that they have been no less so as to myself. I quite agree with you that the present mode of settlement is more agreeable to me, sincerely so. We don't have this till. so you shall have the zinc drawing tomorrow afternoon. I am quite curious to see the result of the experiment." Signed, "John Tenniel." The experiment was the use of a zinc plate for engraving rather than the conventional steel plate. Two pages on one 8vo sheet, Portsdown Road, Aug. 25, 1854.T. Tenniel was known for his illustrations of "Aesop's Fables" and for his political cartoons appearing in "Punch" before his close association with Charles L. Dodgson's, aka Lewis Carroll drawings for "Alice's Adventures in Wonderland" (1866) and "Through the Looking-Glass" (1870).
Allen Ginsberg's Acceptance Speech for 1974 National Book Award, Printed and Signed by Ginsberg. Also signed by Peter Orlovsky. Allen Ginsberg's Printed and Signed Speech is titled, "'The Fall of America' Wins a Prize." The printed speech is a folded broadside creating a booklet with each of four pages measuring 5 1/2 x 9 inches, copyright by Ginsberg, dated 1974 and produced with the Gotham Book Mart and Gallery in New York City. The fourth page explains the booklet. "This is the text of Allen Ginsberg's acceptance speech for the National book Award in Poetry delivered by Peter Orlovsky on April 18th, 1972, at Alice Tully Hall, Lincoln Center, New York City." Ginsberg signed under his printed name on page 3, "Allen Ginsberg," and his partner, Peter Orlovsky, signed below, "Peter Orlovsky, N.Y.C. May 29, 1976." Fine condition. Ginsberg is best known for his poems, "Howl" (1956) and "Kaddish and Other Poems, 1958-1960" (1961).