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    Printed Books, Maps & Documents Children’s Books & Modern First Editions 19/20 JULY 2017

    PRINTED BOOKS, MAPS & DOCUMENTS English Literature, Early Printed Books & Theology WEDNESDAY 6 SEPTEMBER 2017

    John Knox (1514-1572). The Historie of the Reformation of the Church of Scotland, 1644. John Evelyn’s copy, bound in contemporary gilt-decorated mottled full calf with Eveyln’s gilt armorial and initials to each cover, folio. Estimate £1500-2000

    For further information or to consign please contact: Colin Meays, colin@dominicwinter.co.uk Nathan Winter, nathan@dominicwinter.co.uk Chris Albury, chris@dominicwinter.co.uk Tel: 01285 860006

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    Printed Books, Maps & Documents Children’s Books & Modern First Editions 19/20 July 2017 COMMENCING VIEWING

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    SALE INFORMATION All lots are offered subject to the Conditions of Sale and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyer’s premium is 19.5%. Artist’s Resale Rights Law (Droit de Suite). Lots marked with AR next to the lot number may be subject to Droit de Suite. For further details see Information for Buyers at rear of catalogue. BIDDING Bidding in Person: Customers are asked to pa

    Talk:John Wayne/Archive 1

    This is an archive of past discussions about John Wayne. Do not edit the contents of this page. If you wish to start a new discussion or revive an old one, please do so on the current talk page.

    Lung Cancer

    Some trace his cancer back to his work in The Conqueror, filmed about 100 miles downwind of Nevada nuclear-weapons test sites. Several people who worked on this movie died of cancer. It has been suggested that the crew brought sand back from the site to use in the studio for other scenes and that this sand was radioactive.

    However Wayne was reported to have been a chain smoker - four to five packs (75-to-100 cigarettes) a day for forty years.

    There has NEVER been any evidence at all in any memoirs about Duke by those that knew him, that ever even hinted that there was a suspicion of him being gay. Not even from people that had an axe to grind with him. It is laughable that anyone can cast innuendo and unsubstantiated gossip about a man that spent his life as an American icon of male sexuality. Incredible! Just as someone else on this thread so eloquently put forth.........if you have no facts I guess you can allege that every man in the world is a homosexual. It's childish and without merit. Rockshake16:09, 7 February 2006 (UTC)

    On 13 June - Powerpleb added:

    "+ It has been alleged that John Wayne was homosexual although this is rejected by many of his fans."

    I have trouble with the statement of him being gay as he fathered seven children. Rhymeless 07:51, 13 Jun 2004 (UTC)

    Lets just stick to the FACTS please, if you have evidence, present it, if not. Everyone in the WORLD is an alleged homosexual, like Hugh Hefner, Ronald Regan, etc. Besides, he would be BISEXUAL, not homosexual, just ask Michael, Patrick, and the other Waynes.

    Ask Michael? He died in 2003.

    I have read many books about Wayne (and those associated with him like John Ford) and talked to people who worked with him, and there is no e

    After the filming of Breezyhad finished, Warner Brothers announced that Eastwood had agreed to reprise his role as Detective Harry Callahan in a sequel to Dirty Harry, running under the title, Vigilance. Writer John Milius came up with a storyline in which a group of rogue young officers in the San Francisco Police Force systematically exterminate the city's worst criminals, portraying the idea that there are worse cops than Dirty Harry. David Soul, Tim Matheson, Robert Urich and Kip Niven were cast as the young vigilante cops. Milius was a gun aficionado and political conservative and the film would extensively feature gun shooting in practice, competition and on the job. Given this strong theme in the film, the title was soon changed to Magnum Forcein deference to the .44 Magnum  that Harry liked to use. Milius thought it was important to remind the audiences of the original film by incorporating the line "Do ya feel lucky?" repeated in the opening credits and with Dirty Harry once again eating a hot dog but this time foiling an airplane hijacking at the airport. With Milius committed to filming Dillinger, Michael Cimino was later hired to revise the script, overlooked by Ted Post, who was to direct. Frank Stanley was hired as cinematographer and Lalo Schifrin once again conducted the score and filming commenced in late April 1973. During filming Eastwood encountered numerous disputes with Post over who was calling the shots in directing the film, and Eastwood failed to authorize two important scenes directed by Post in the film because of time and expenses, one of them was at the climax to the film with a long shot of Eastwood on his motorcycle and he confronts the rogue cops. Eastwood was intent, like with many of his films on shooting it as smoothly as possible, often refusing to do retakes over certain scenes insisted on by Post who later remarked, "A lot of the things he said were based on pure, selfish ignorance, and showed that he was the m

    This post is for The Dynamic Duos in Classic Film Blogathon Hosted by Classic Movie Hub and Once upon a screen…

    Robert Aldrich is one of my favorite directors with numerous memorable films that transcend a restrictive genre tag. He always brings us a cynical and gritty story with very flawed characters who are at the core ambiguous as either the protagonist or the antagonist. Aldrich took economics in college, then dropped out and landed a very low-paying job at first as a clerk with RKO Radio Pictures Studio in 1941.

    He studied with great directors like Jean Renoir. It was his training in the trenches that made him the auteur he is, delving inside the human psyche and questioning what is morality.

    Aldrich has a flare for the dramatic. He likes to break molds and cross over boundaries. He also has a streak of anti-authoritarianism running through the veins of his films. There aren't just traces of his ambivalence toward the Hollywood machine in his film philosophy, he also conflates the ugly truths beneath the so-called American Dream and the "real" people who inhabit that world.

    He died in 1983, and while he remained inside the Hollywood circle, he maintained an outsider persona. He memorialized the misfits and outcasts by making them the anti-heroes in his work, all of which ultimately were destined to fall because they refused to play the conformity game.

    Aldrich partnered with Joseph E Levin to purchase the rights to the British writer John Farell's Hollywood horror book in 1961 but at first no one seemed interested. Aldrich got Seven Arts Pictures curious about the film and so Warner Bros agreed to distribute the film but didn't allow it to be made on the Warner lot.

    Aldrich relates in an interview that "Eliot Hyman at Seven Arts read the script, studied the budget, and told him candidly: "I think it will make a fabulous movie, but I'm going to make very tough terms because i