Affichage de 34657 résultats

Mainly statements of royalties issued to Walsh by Lippincott in respect of amounts accruing to him for the year 1944 from The Spanish Lady and other works. Information includes tax deducted.

Letter to Walsh from Edward R. Cross (chairman and managing director), Cross-Courtney Limited (advertising, printing, publishing), 1 Brazenose Street, Manchester. States his admiration of Walsh’s works and asks if he would consider involvement in the production of a film on the Lake District of England. The proposal arises following his appointment as a ‘consultant to the Cumberland Area for the Cumberland Development Council’. He has been in contact with Mark Ostrer, head of the Gaumont British Film Company, and has mentioned Walsh as the ‘one man in the world who could do the scenario justice’. He could either adapt one of his stories or else write a completely new one. Cross can arrange a meeting between Walsh and Ostrer and Walsh and Mr. St. Clare Grondona, the government’s Cumberland Commissioner who is also aware of the plan.

Letter to Walsh from John Corfield (director), British National Films Limited, 15 Hanover Square, London, informing him that they have purchased the film rights of The Key Above the Door from Chambers and wish to discuss the adaptation of the story with him.

Letter to Walsh from Corfield thanking him ‘for the spirit of promised co-operation’ in him reply. He would like to arrange the meeting in Dublin before July.

Letter to Walsh from Richard Hayward, 7 Bedford Street, Belfast, asking what price Walsh would charge him for the film rights of The Road to Nowhere. He would pay cash in advance but could not facilitate ‘the Stewart Hill scenario’.

Letter to Walsh from Emmet Dalton (director), Medal Films, 1 Bank Chambers, 25 Jermyn Street, London, regarding to the adaptation of Blackcock’s Feather as a film. States that he has ‘great enthusiasm’ for the project, but it would be difficult and only viable if contemplated for ‘a world-wide market’. Since obtaining ‘a twelve months option’ on it, Dalton has enlisted the services of ‘a first-class screen writer’ named Cecil Maiden who is to deliver to him at the end of the month ‘a first treatment of a suggested adaptation’. Encloses copy of a letter from Maiden (12 December 1954) who had just finished reading the story which has impressed him very much. Walsh’s ability to write ‘inside a historical period’ is ‘enviable’. The adaptation would be difficult and would depend on capturing the atmosphere. There are similarities with Lorna Doone. Its natural division into three acts is convenient for scripting. Maiden offers himself as a scriptwriter for the task, but alternatively, he suggests Franklin Coen.

Letter to Walsh from Dalton enclosing a copy of Maiden’s first treatment of Blackcock’s Feather. States that it will require alteration. Maiden may have to return home before his intended visit to Dublin. Dalton states that ‘there is a deep depression of the Studios regarding the production of Historical and Swashbuckling pictures’, but vows to continue ‘for all I am worth’ in promoting the project. Encloses a sheet with eight points about the adaptation. The draft itself is paginated and runs to 82 pages.

Certificate issued by H. B. Wright (registrar of births, marriages and deaths), Stillorgan Dispensary, county Dublin, stating that Maurice Walsh died on 18 February 1964 of carcinoma.

Oval-shaped portrait (115 x 85 mm) of Maurice and Caroline Walsh with their baby son, Maurice, held between them. Taken at Keogh Brothers’ Studio, 75 Lower Dorset Street, Dublin. Mounted.

Photograph (70 x 110 mm) of Walsh, two unidentified men and a woman (possibly his wife Caroline) standing outdoors, probably taken on the same occasion as P7/1/6/6.