MOVIES

The present image is not in the National Portrait Gallery, but the licencing rights are held by Getty Images, by whom it is dated to 1 May 1928. 24 x 18.5 cm bromide print, on 25 x 18.5 cm matt.In fair condition, discoloured and with light creasing at extremities. Chaplin's genuine signature is at bottom right: 'Yours Truly / Charlie Chaplin'. Wittzel's monogram (featuring 'WITZEL' and 'L A') is printed at bottom left. An excellent and unusual artistic image of a figure of world renown.

Clearly given in response to a request for an autograph. Neatly written and centred on one side of a 12 x 7.5 cm piece of pink paper. In good condition, lightly aged and worn, with vertical crease close to the left-hand edge. Reads: ‘Best wishes - / Deanna Durbin’. See Image.

Both letters are addressed to ‘Dear Bonnie and John’. Both in good condition, lightly aged. ONE: TLS from Dolores Hope. Signed ‘Dolores’ in red ink (the letterhead is also red). 1p, 12mo. Reads: ‘The black peppered ham was a big hit at our house and Bob and I can’t thank you enough. We really enjoyed this tasty ham and your thoughtfulness in remembering us at Chistmastime. / Have a healthy and happy New Year!’ TWO: TLS from Barbara Sinatra. Signed ‘Barbara’. 1p, landscape 12mo. On the lower half of an 8vo leaf, which has been converted into a bifolium by a central horizonal fold.

Edward Knobloch’s play ‘My Lady’s Dress’ (‘in which’, as one newspaper wrote at the time, ‘the heroine’s dream takes her to the foreign [and London] scenes surrounding the manufacture of a costly gown’) premiered at the Royalty Theatre in London in 1914 and was revived several times through the 1920s.

An interesting agglomeration of ephemera London cinematic information. The author is working-class or lower-middle-class. Two sturdy ruled small 4to exercise books, with black covers of ribbed watered cloth and spine of red cloth. In fair condition, lightly aged and worn. ONE: 150pp. Ownership inscription on inside of front cover: ‘Miss Renee Fish, / 112, Allerford Road / Catford, / S.E.6.’ The first page is headed: ‘31. 12. 29. Films I have seen during 1930.’ Each of the volume’ The entries are numbered from 1 to 272, with an additional numeration for each year from the second year onwards.

1p, 4to. Addressed to 'Dear Miss Cond' and signed 'G P Bachmann'. In fair condition, lightly aged and creased. Folded twice for postage. He apologises for the late reply to her ‘nice note and the book-plate’. He gives details of two films he has been ‘terribly busy making’, ‘neither of them stories I wrote’: ‘The Phoenix is to start in Berlin this winter as a very big film with three big stars.

See her entry in the Oxford DNB. After a stint as one of George Edwardes’ Gaiety Girls, she made her name in a number of revues, her performance in the lead role of the 1929 Broadway production of ‘Bitter Sweet’ prompting Coward to praise her grace and charm and assurance, which he said provoked one of the most prolonged outbursts of cheering I have ever heard in the theatre. She was less successful in Hollywood, starring in the Romberg/Hammerstein musical ‘One Heavenly Night’ (1931), a failure for Samuel Goldwyn.

See her entry in Encyclopedia Britannica. 1p, 8vo. In fair condition, lightly aged, with some grubbiness around the top-left corner. The text of the letter and the stylish and assured signature are unaffected. Reads: ‘Dear Neil Hurst, / Thank you very much for your letter. I’m delighted to know that you have enjoyed my work, and it was kind of you to write. / I have pleasure in sending you a signed photograph, with my best wishes. / Yours sincerely, / Judi Dench’. Dench terminates the signature with a diagonal dash through a widely-spaced colon.

1p, 4to. In good condition, lightly aged and creased. Ten lines in a close, controlled hand. Addressed to ‘Dear Mr. Whitworth’ and signed ‘Christopher Hampton’. He writes to confirm that he will be free on the date he suggested he ‘might be able to come down to meet you’. He also gives an alternative date. ‘At the moment I’m working on a new translation of “Uncle Vanya”, which was to be finished by the end of November.

Written during the 1984-5 Old Vic production of Arthur Schnitzler’s ‘The Lonely Road’, in which Eggar starred opposite Anthony Hopkin, with a young Colin Firth. 2pp, 12mo. Good bold signature: ‘Sincerely / Samantha Eggar’. Addressed to 'Mr Sephton'. In good condition, lightly aged, folded for postage. She thanks him for his ‘inquiry as to whether I would be able to talk to you about “Whos Who of Hollywood Britons’, and gives the only date that is convenient. ‘The show comes down at 5.15 approx, maybe a call to the theatre to check would be wise’. From the papers of Kenneth Sephton.

On one side of 15 x 10 cm grey-blue card, with facsimile of her signature at the head. Addressed to ?Dear Kenneth?, and with bold stylish signature at bottom right. The subject of the letter is the Piccadilly Theatre production of ?Gypsy?, which had opened a few days before on 29 May 1973. She thanks him for his ?kind letter?, adding ?Thank god you were right about the show and it has turned into more of a success than I could have ever hoped for.? She is sorry he couldn?t attend the first night, as ?it was a good show and I know you would have enjoyed it?.

Material relating to Lambert is in the Charles E. Young Research Library of the University of California. See his obituary by Sharon Waxman in the New York Times (‘Gavin Lambert, 80, Writer Who Chronicled Hollywood Life, Dies’), 19 July 2005, which describes him as ‘an incisive observer of life in Hollywood through his screenplays, novels and film histories’, whose writings ‘speak candidly about the realities of Hollywood stardom and about the potentially destructive effects of the industry's harsh demands on artistry’: ‘Mr.

See his entry in the Oxford DNB. On 17.5 x 11 cm leaf of pink paper, extracted from an autograph album. In fair condition, lightly aged and worn. In a large sprawling hand: ‘All good wishes / Ivor Novello’. On the reverse: ‘The “Cock-lodger” July 1943 / Don. Dobson / (Dobbie)’.

1p, 4to. In fair condition, on aged and lightly-creased paper, with two small punch holes to one margin. Pencil notes at foot of page, with more notes in ink and pencil on the reverse. He begins: ‘I too a looking forward to my visit to Cheltenham on April 4th. I shall, as you say, be bringing my records with me which include both 78 r.p.m. and 33 1/3 r.p.m. As you say it will be necessary for me to have overnight accommodation and I should be grateful if you could make the booking.’ He gives details of the train he will be travelling on from Paddington, and asks where to go.

See her entry in the Oxford DNB. 1p, small 4to. On laid light-brown paper. In good condition, with fold for postage. Reads: ‘Dear Miss Cond, / Your nice letter was mislaid in my flitting from the Whitehall to the Victoria Palace, hence the delay in acknowledging it. / Many thanks for your good wishes / Sincerely / Greer Garson.’ Eileen Cond was an enthusiastic autograph collector.

Few copies of this ephemeral item can have survived. (No copies appear to show up on Jisc or WorldCat.) 20pp, 4to. Small print. Stapled. In very good condition for such a publication: lightly browned paper, with one off-centre horizontal fold. The item can be dated from the films listed on the two pages of ‘Talkie Film Songs’ seem to all date from the 1930s (e.g. ‘The Cowboy and the Lady’ and ‘Song of the Saddle’). Title page has box containing a list of ‘Immortal Melodies by Victor Herbert’.

From the Macqueen-Pope papers. (See his entry in the Oxford DNB.) 1p, 4to. Aged and creased, on discoloured high-acidity paper. Folded twice for postage, and with closed tear at head of vertical fold. Slight damage and rust staining from removal of staple. The letterhead incorporates two photographic portraits of Lauri, with press comment from ‘Everyone’s Magazine’ and career resume beginning: ‘Ernest Lauri / (The Singing Anzac) / STARRED IN AUSTRALIAN PICTURES / Versatile Vocalist and Monologist’. Macqueen-Pope is not named, but is presumably the recipient.

From the Macqueen-Pope papers. (See MP's entry in the Oxford DNB.) Nash made around 70 films between 1912 and 1927, and was a key figure in the creation of Elstree Studios. His career as a film maker was effectively ended following the screening of his 1921 film 'How Kitchener was betrayed'. See Bernard Ince, ' “For the Love of the Art”: The Life and Work of Percy Nash, Film Producer and Director of the Silent Era’, ‘Film History’, September 2007. Both items in good condition, lightly aged, each with light rust staining at one corner from paper clip. LETTER: 1p, 4to. Signed ‘Percy Nash’.

From the Macqueen-Pope papers (see his entry in the Oxford DNB). 1p, 4to. In good condition, lightly aged and folded three times. Signed ‘Basil Ashmore’. Begins: ‘Dear Mr MacQueen Pope, / Im [sic] sorry to keep bothering you about this film on Kean. Last time I saw you, you said “see me in March”[.] This week you said “leave it until they start in April”[.] / You may remember that I am a director, who has recently worked with Michael Powell on his new film.’ Ashmore is ‘anxious to contact the producer of your Kean film in case I can assist on this.

Clearly produced for an autograph collector. On one side of a 12.5 x 8.5 cm cream card. In good condition, lightly aged. The inscription reads: ‘For Janis / Merry Xmas to you / Sincerely / Noah Beery’. Affixed in the top right-hand corner, partially covering the word ‘you’ in the inscription, is a black and white stamp, with photographic portrait captioned at foot ‘NOAH BEERY’. Dated in pencil at bottom-right ‘Dec 1936’.

An excellent bold and sprawling signature ‘Heather Thatcher’ at the end of a carbon typescript of a 1920s article from an unascertained source, with a few minor corrections in pencil. 3pp, 4to. Fifty-nine lines of text, on three leaves attached with a slightly rusty paperclip. In fair condition, lightly aged and creased. Begins: ‘ “Luckily, fashion for this autumn and winter are going to be varied; so every woman will be able to find something to suit her own particular type,” said lovely Heather Thatcher when she was showing me some of her new autumn dresses.

The present item is producer Hugh Burnett's own copy, from his papers, of the transcript of Stevenson's interview with Freeman, broadcast in the groundbreaking BBC television series 'Face to Face' on 22 July 1959. The single-spaced typed transcript was produced for inclusion in Burnett's book 'Face to Face / Edited and introduced by Hugh Burnett' (London: Jonathan Cape, 1964), and is marked up with printing instructions in pencil and red ink, with a few proof corrections in pencil and green ink. 2pp, foolscap 8vo, on two leaves.

See the entries for Warner and Macqueen-Pope in the Oxford DNB. Such was the popularity of Warner’s portrayal of George Dixon, that the Queen told him it had become part of ‘the British way of life’, and he was carried to his grave by six real officers from Paddington Green Police Station. LETTER: 1p, 4to. Folded twice. In good condition, lightly aged. Signature ‘Jack.’ and salutation to ‘My dear Popie’ in Warner’s hand; the rest typed. Letterhead with his name. He is sending ‘the long promised photos’, delayed because he ‘had to get some new prints of the “pipe” one.

1p, 12mo. In fair condition, on lightly-aged paper, with rust stain from paperclip to one margin. The letterhead consists of a stylized vertical arrangement of the letters in the name ‘JOY’ at top left. The ‘signature’ is an extremely good facsimile in black ink.

See his entry in the Oxford DNB. On 9.5 x 11.5 cm leaf of blue paper, with rounded outer corners, torn from an autograph album. In good condition, lightly aged, with spotting on reverse. Reads: ‘Best Wishes / Tom Walls.’ Good bold writing, with stylistic flourish linking the cross-stroke of the T in ‘Tom’ with the S of ‘wishes’, and two small vertical strokes at the centre of the underlining of the signature. See image

Ten items relating to Percy Nash’s unsuccessful attempt to turn Goldsmith’s ‘She Stoops to Conquer’ into a musical, casting light on English theatre production practices in the immediate postwar period. Despite interest from the theatre impressario Jack Gladwyn, the project stalls. Percy Nash (1868-1958), who made around 70 films between 1912 and 1927, was a key figure in the creation of Elstree Studios. His career as a film maker was effectively ended following the screening of his 1921 film 'How Kitchener was betrayed'.

A true great: Mancini won four Oscars, a Golden Globe and twenty Grammies. No place or date. Black and white 19 x 23.5 cm print on 20 x 25.5 cm glossy photographic paper. In fair condition, with slight creasing at one corner. In sports jacket and tie, Mancini stares over his piano with the merest of smiles. On the left-hand side of his jacket, in Mancini’s autograph, is the inscription, in black felt-tip pen: ‘to / Ray / Henry / Mancini’. See image.

See Ashton’s entry in the Oxford DNB. Both items in good condition, lightly aged, with evidence of mount to blank reverse of photograph. ONE: TLS. 17 January 1922. 1p, 12mo. Folded once. Signed ‘Clemence Dane’. Addressed to G. Railton Barnard, 6 The Crescent, York. She thanks him for his ‘interesting letter’: ‘If the same question had not already crept up once or twice, I should not have thought it possible for anyone so to misunderstand Legend, but I know people do, clear as I thought I had made it.’ Barnard is ‘absolutely right’: ‘Madala Grey is head over ears in love with her husband.

2pp, 12mo. Twenty-one lines of text. In good condition, lightly aged. Signed ‘Lilian Gish’. Begins: ‘Dear Miss Murchison, | I was so touched by your very sweet letter which was handed to me by the BBC just before we went on the air. / It is heartwarming to come back to England after these long and dreadful years and find that our film friends have not forgotten us.

See his entry in the Oxford DNB. In good condition, with light dabs of glue from mount on reverse. On 11.5 x 9 cm card with rounded edges. Clearly in response to a request for an autograph, he writes: 'For Louis Frewen / with all good wishes / from / Anthony Asquith / December 1931'.