Beschreibung:

Orson Welles A collection of material associated with the career of Orson Welles including: a series of approximately 55 typescript letters signed, 10 autograph letters signed, 11 autograph greetings and postcards signed, and six self-portrait caricatures and doodles, variously addressed to Maurice Bessy ( Dearest Maurice, Dearest Mordecai, Dearest M ), from various hotels in French Morocco, Capri, Monte-Carlo, Seville, Paris, Beverly Hills also from Orson Welles Productions, Madrid and several residential addresses in London and Italy, February, 1949 - February, 1979, many n.d., altogether approximately 16 pages in autograph, and 70 pages typed, a few with additional autograph illustrations, self-portrait caricatures and doodles The affection Welles had for Bessy is summed up by his inscription on a black and white portrait photograph by Sam Levin For my favorite herald...from his devoted friend Orson* -- 13½x13¾in. (34.3x34.8cm.) framed; their friendship is evident throughout the correspondence and is well established by 1950 when Welles signs off tenderly ..I have long ago given up trying to thank you for all the warm friendship and generosity you keep showing me... and Perhaps I should mention I am willing to die for you... and ... I miss you and I love you... . Similarly his light-hearted abuse of his friend in 1958 shows the depth of his feelings for him ..you, Maurice, are a vile sluggard. I send you a curse or two; also - rather grudgingly - my love.. Welles' frequent requests for Bessy's help illustrates the scope of their friendship. He calls on Bessy's services as a translator and editor of his articles, books and scripts, as a provider of studio space and equipment, a researcher and even as a procurer of a more intimate nature: Please, please if humanly possible stir me up from the muddy depths of your city some sort of girl...I have been working sixteen hours a day, living like a saint and I deserve it.. Welles' eloquence and humour is evident throughout the correspondence and is clearly depicted by a series of letters and file drafts from March 1951 which describe an unfortunate incident he had with a poodle in Italy. The publication of an account of this which he gave to Cinemonde, caused a furore in the Italian press due to errors in the editing of his original, and spurred Welles on to produce a highly amusing refute of Epoca magazine's accusations of his rudeness Productions Welles eludes to throughout serve to illustrate the considerable diversity of his talent; this extensive correspondence with a close friend and colleague in the industry provides an invaluable insight into the character of this multi-faceted genius (a lot)