Ex of my autobiography charles chaplin 1964 cast

Extensive archive relating to the publication of Charlie Chaplin's autobiography, My Autobiography, published in , assembled by Max Reinhardt of The Bodley Head, comprising:

i) Two first stage typescript proofs of section one, titled 'Charles Chaplin's'/ Autobiography', typed up by Mrs Jolly of Charing Cross Road on rectos only, the first script labelled 'Few corrections made in CC's writing', with pencilled additions, amendments, additional text and deletions in Chaplin's hand and that of an editor on over pages, with typed sheet of amendments and two loose leaves of text at rear; the second labelled 'marked for the printer', missing title page, with substantial textual revisions, amendments and deletions in pencil, additional typed text affixed with old tape, marked up for the printer in pink pen, each numbered pages (misnumbered from p, omitting p but without break in text), original blue paper wrappers with typed title, stapled with tape spine, the first creased, the second worn and disbound, pages loose, worn with marks, 4to ( x mm.), [n.d.]; with uncorrected proof copy of section one, minor editorial amendments in ink throughout, pages, publisher's yellow paper wrappers printed in black, marked as read by editor in biro on front cover, scuffed and marked, 8vo, [n.d.] (3)

ii) Three sets of uncorrected galley proofs of the full text, Proof Number 2 and Proof Number 5 both marked "Chaplin's Copy", beginning with the Prelude, the first marked with minor corrections and additions in Chaplin's hand with further additions on typed slips held by tape, note by Chaplin on upper cover; the second marked with extensive corrections, deletions and additions by Chaplin in pencil and pen, revised material typed and written on 29 additional sheets, some stapled and affixed by tape, various notes by editors on upper cover in pen and pencil; bundle of publisher's galley proofs incorporating Chaplin's corrections, deletions etc., in several editorial hands in blue, red and green biro and pencil, with c.5 additional pages of typed text inserted, each c numbered leaves, dust-staining, creases and marks, remains of old tape, the first two mentioned in publisher's grey wrappers printed in black with orange horizontal stripes, dust-staining and marks, Number 5 disbound, creased, x mm., galley proofs unbound, pages frayed and marked, x mm., [n.d.] (3)

iii) Two uncorrected proof copies of the full text, Proof Number 17 marked "Master Proof", with autograph note signed ("Charlie"), to Max [Reinhardt], affixed to "three small pages of corrections", and secretarial envelope, dated 15 January [], incorporating further editors' corrections in pencil and green biro, marked up for printer in blue biro, additional typed Acknowledgments page, typed amendments and insertions affixed with tape, Chaplin's autograph revisions in pencil on verso of p, one-page typed list of Chaplin's films for incorporation stapled to covers; Proof Number 6 lightly corrected by editor, with label on upper cover bearing initials and date ("D.D.

19/11/63"), each c pages, dust-staining, marks and creases, publisher's orange wrappers printed in black, dust-staining and worn, Master Proof disbound, x mm., [] (2)

iv) Two corrected proof copies of the full text, both with amendments and extensive deletions to section one only, edited for The Sunday Times serialisation, with note in blue biro on upper cover ("Mr Chaplin's cut version/ for The Sunday Times/ revised up to p/ + new/ extract from/ p to/p"); the other marked "Leonard Russell/ cuts" [editor at The Sunday Times] on upper cover and a note within confirming it to be "Charles Chaplin's/ revised version", each pages including blanks, plus additional 48 pages of photographs, dust-staining, marks and creasing, one or two loose pages mended with tape in first proof, publisher's yellow wrappers printed in black, discolouration, dust-staining, scuffs, x mm., [n.d.] (2)

v) Group of correspondence and other papers, dating from the initial approach to Chaplin by Graham Greene, including:

Two telegrams, the first from Graham Greene to Chaplin, asking permission to bid for the autobiography ('would be delighted if allowed make competitive offer for your autobiography'), 4 September ; the second to Chaplin from Max Reinhardt offering an 'attractive proposition', 3 December ;

Typed letter signed ("Charles Chaplin") to Max Reinhardt, confirming their verbal agreement "whereby you will have the world publishing rights of my autobiography on the conditions we have discussed", on Chaplin's headed notepaper, one page, creased at fold, 8vo ( x mm.), mounted and framed, overall x mm., 25 November ;

Typed draft publishing agreement between Chaplin and The Bodley Head, with typed note attached signed ("Charles Chaplin") agreeing to proceed with the agreement and discussing terms, one page, 8vo, Corsier Sur Vevey, 22 March ; two typed draft agreements between PAC Holding and Bodley Head;

Fourteen letters from Chaplin to Reinhardt, two autograph, the remainder typed and signed, and one postcard from Kenya, the first apologising for the delaying in starting work ("many interruptions such as putting music to some of my films"), discussing progress on the book and sending corrections ("delete sentence about capital punishment as it is my private opinion and not for publication"), touching on rights ("I want you to handle the serial rights"), photographs ("the enlarged photos are awful laughing with cascades of chins surely Snowden has better ones"), the American edition ("As to the Simon and Schuster matter its inexcusable and there can be no compromise"), etc., two envelopes in Oona's hand, 16 pages, some creasing and tears, two with upper left corner snipped off, filing holes, 8vo, Corsier Sur Vevey, Var, Savoy Hotel, 3 April to 24 September ; and much else, including photographs and other papers.

Series of 23 letters and correspondence cards from Oona Chaplin to Reinhardt and his wife Joan, autograph and typed, including effusive thanks for the launch party for My Autobiography ("your beautiful party We rehashed it all with next day at lunch with Paul-Louis, Diana Cooper and Noel Coward Priestley's advances to Diana gave her a new lease on life"), including typed guest list and two photographs, others mentioning family news ("finally met Richard Attenborough – he was terribly sweet at the Coward service & ushered Charlie to his seat"), Chaplin's health ("I was ready to cancel the trip, Queen or no Queen"), and much thanks for gifts of stilton and holidays ("Charlie is back at work with renewed vitality"), one letter dated 11 April [], commenting on the kidnap of Chaplin's coffin on 2 March and their ordeal ("three nerve racking weeks of phone calls asking for ransom, photographs of the re-dug-up coffin, threats to kidnap Christopher, advice from the police to keep Annie & Chris out of school Geraldine dedicated to a 24 hour watch by the telephone brilliantly dealt with the 'kidnappers'.

One of them practically fell in love with her an unbelievable story the police are convinced we are dealing with amateurs"), 39 pages, 4to and smaller, various places, 24 June to 14 August [c undated];

Other miscellaneous papers including typed letter signed ("Jawaharlal Nehru") to Chaplin, arranging to meet and enclosing a letter from Lady Mountbatten [present], one page, 8vo, Palace Hotel, Burgenstock, 17 June ; with press photograph of Chaplin in costume with Dickie Mountbatten; telegram from Dickie and Edwina Mountbatten to Chaplin thanking him for visit, 22 October ; eight Chaplin family Christmas cards to the Reinhardts, onwards, folder of press cuttings, etc.;

vi) Album containing c photographs from the launch party at the Savoy, 30 September , interspersed with newspaper cuttings, and c further photographs relating to Bodley Head events, with two printed menu cards and corrected proof of the menu, and c loose black and white photographs, including three of Chaplin seated at a desk signing the contract with Oona, Joan and Max Reinhardt looking on, another of Chaplin and Oona with Reinhardt at Cap Ferrat, June , the rest depicting The Bodley Head's book fair stand and window display at W.H.

Smith & Sons, loosely inserted, gelatin silver prints, x mm. and smaller, the modern album x mm., [c];

vii) Portrait photograph of Charles Chaplin taken by Oona, head and shoulders, inscribed "To Max from Charlie/ 19th March. 62" on lower margin in blue biro, gelatin silver print, x mm., mounted and framed, overall x mm., [c]; with a FIRST EDITION copy of the autobiography bearing the bookplate of Max Reinhardt and INSCRIBED by Chaplin ("with best wishes/ Charlie Chaplin"); and a FIRST EDITION of the American publication, Simon & Schuster, bearing the bookplate of Max Reinhardt (quantity)

Footnotes

'IT'S A PLEASURE THAT SUCH A DIFFICULT RELATIONSHIP AS PUBLISHER & AUTHOR HAS ENDED IN REAL FRIENDSHIP': THE ARCHIVE OF CHARLIE CHAPLIN'S PUBLISHER, INCLUDING RARE AUTOGRAPH MATERIAL BY THE AUTHOR.

The autobiography of the legendary Charlie Chaplin was a publishing sensation, and a major coup for Max Reinhardt and Graham Greene at The Bodley Head.

Reinhardt had taken over The Bodley Head in and under his thirty-year tenure he was to publish authors such as Greene, George Bernard Shaw, William Trevor, Maurice Sendak, Muriel Spark and Alexander Solzhenitsyn, as well developing an outstanding children's list. At the time, however, taking on Chaplin's book was a huge financial gamble for the company, under the pressure of competition from publishers worldwide and a 'gentleman's agreement' taken on trust with an author refusing to sign a contact.

Ex of my autobiography charles chaplin 1964 full

Submit your item online for a free auction estimate. Reinhardt had taken over The Bodley Head in and under his thirty-year tenure he was to publish authors such as Greene, George Bernard Shaw, William Trevor, Maurice Sendak, Muriel Spark and Alexander Solzhenitsyn, as well developing an outstanding children's list. At the time, however, taking on Chaplin's book was a huge financial gamble for the company, under the pressure of competition from publishers worldwide and a 'gentleman's agreement' taken on trust with an author refusing to sign a contact. This archive demonstrates not only the behind-the-scenes negotiations that brought My Autobiography to fruition and the relationship between author and publisher, but offers an extraordinary insight into the creative process of one of the world's most famous celebrities. When writer Graham Greene, the newly appointed director of The Bodley Head, learnt that his friend Charlie Chaplin, was writing an autobiography, Max Reinhardt immediately telephoned Chaplin and followed it up with a letter asking for the chance to publish it.

This archive demonstrates not only the behind-the-scenes negotiations that brought My Autobiography to fruition and the relationship between author and publisher, but offers an extraordinary insight into the creative process of one of the world's most famous celebrities.

When writer Graham Greene, the newly appointed director of The Bodley Head, learnt that his friend Charlie Chaplin, was writing an autobiography, Max Reinhardt immediately telephoned Chaplin and followed it up with a letter asking for the chance to publish it.

Greene and Chaplin had met in Hollywood and became friends after Greene had defended him from MacCarthy's accusations in an open letter to The New Statesman in After receiving no response, Greene sent the brief telegram included in this collection: 'would be delighted if allowed make competitive offer for your autobiography' and a telegram from Reinhardt followed on, also included here, offering an 'attractive proposition'.

The following year, at his house in Vevey, Chaplin gave an emotional reading of extracts from the manuscript to Greene and Reinhardt and agreed that very night to give them the rights to the book. As letters from Chaplin here show, he was antagonistic to contracts and would not sign anything until the book was complete. However, when the board of The Bodley Head agreed to offer Chaplin half a million US dollars (some $5 million today) for the book and it was clear that no bank would underwrite the loan without a proper contract, Chaplin caved in, and Reinhardt eventually received a letter from Chaplin confirming their verbal contract (but still with certain caveats) in November This hard-won trophy, included here, was duly framed and proudly displayed.

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Ex of my autobiography charles chaplin 1964 book

Ex of my autobiography charles chaplin 1964 cast

For a detailed discussion about the various negotiations, see Judith Adamson's biography Max Reinhardt: A Life in Publishing, pp, which also quotes from a number of letters in the archive.

Chaplin was self-taught and the many amendments in the several stages of proofs show that he was keen to retain his own voice amidst the many stages of revision in a cycle of dictation, typing, correction and retyping.

For him, reading and writing were a laborious process (he describes himself aged twelve and a half as "almost unable to read", and famously hated and avoided writing letters), so such complete manuscript examples of his work and correspondence are scarce. Forever the perfectionist, he wanted control over every word and his biographer, David Robinson, describes how he adopted the same technique as for his later scripts, which he began by writing out in longhand: 'successive secretaries were astonished at how he would labour over a word, trying different positions or variations he was as tireless in writing as in making films' (Chaplin: His Life & Art, London, , p).

Graham Greene edited the first stage typescripts, now missing, but his changes were incorporated into these later galleys and proofs. The correspondence from Chaplin also gives a clear impression of a large flow of corrections and additions sent in letters to Reinhardt in addition to those he added to the proof copies.

The final book was years in the making.

My Autobiography - Charlie Chaplin - Google Books

Charlie Chaplin : My Autobiography: New U.S. Edition

My autobiography charles chaplin ex library book 1964 | eBay

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Chaplin had started work after finishing A King in New York, his satire of the McCarthy era, and told Ian Fleming in that he had finished five hundred pages. As Lillian Ross recalled, he took great delight in reading passages out to visitors: 'I sat with him on his terrace as he read the tortoiseshell-rimmed glasses a bit down his nose, his reading dramatic to the point of melodrama, his devotion to his subject unselfconscious and complete' (Robinson, p).

Not everyone was as impressed. Truman Capote bluntly told him that he hated the title, My Autobiography: 'Charlie took umbrage, snapping back "What's so good about Breakfast at Tiffany's? That's the silliest title I ever heard!"' (Jane Scovell, Oona, Living in the Shadows, New York, , p).

Max Reinhardt was endlessly encouraging &#; and patient.

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As early as he was in contact with Leonard Russell of The Sunday Times about serial rights. The uncorrected draft of the first third of the book was not ready until (two copies of which are included here), which Russell declared 'magnificent' (Robinson, p). The book was finally published in in a first printing of 80, copies to great acclaim.

The first eleven chapters were greatly admired by critics for the energetic and colourful writing, but the later material was largely deemed to be rather disappointing, an account of his celebrity-filled social life rather than a revealing expose of the creative process. Chaplin was, indeed, famously reticent about discussing his work, believing 'if people know how it's done, all the magic goes' (Robinson, p).

Throughout the process, Max and Joan Reinhardt became longstanding family friends of the Chaplins, and Chaplin became godfather to Reinhardt's daughter Veronica, from whom this archive derives. In one of the many letters to Reinhardt present here, Oona Chaplin wrote "I am convinced that no one else living could have managed to deal with Charlie through these past years as you have it's a pleasure that such a difficult relationship as publisher & author has ended in real friendship" (10 October ), and their friendship with Oona continued after Charlie's death.

Provenance: Max Reinhardt (); his daughter and god-daughter of Charles Chaplin, Veronica Reinhardt (b), the present owner.

Proceeds from the sale will benefit MaxLiteracy (), a charity and educational initiative set up in memory of Max Reinhardt and his authors to stimulate literacy through the visual arts in partnership with museums, galleries, schools and writers.