Though you may find copies available from re-sellers.
See also below for details if you are interested in buying the original art used in the print.
TO CELEBRATE THE 50TH ANNIVERSARY
A LIMITED EDITION, CHAPBOOK AND PRINT SET
300 COPIES ONLY
'QUINT, JAWS AND THE USS INDIANAPOLIS'
BY STEVE WHITE
EACH COPY PRESENTED WITH A SIGNED PRINT
OF STEVE'S NEW ARTWORK 'THE FIFTH DAY'
The true story behind the most famous movie monologue of them all...
A strictly limited edition of 300 hand-numbered sets for sale.
A5 format, 40pp, c10,000 words, printed on silk paper stock, including a cover printed on Tintoretto Gesso paper.
Each chapbook is presented with a print on heavy laid paper of Steve White's new artwork 'The Fifth Day', signed by the artist.
"You were on the Indianapolis?"
Hooper's question is followed by the most famous movie monologue of them all, as Quint relates, in mesmerising detail, what it was like to survive the sinking of his shipduring World War Two. Now, to coincide with the 50th anniversary of Jaws, comes this in-depth look at the historical event that inspired the speech: the secret mission of the US Navy Portland-class heavy cruiser USS Indianapolis in July 1945, its sinking by the Japanese submarine I-58, and the terrible tale of blood in the water that followed...
Writer and artist Steve White provides the backstory to both the creation of the speech, and the history of the Indianapolis's final voyage, alongside a signed print of his new artwork, 'The Fifth Day'.
MANY THANKS TO ALL THE ORDERS, FROM AROUND THE WORLD...
The week of Valentine's Day 1931: The Release of Dracula, starring Bela Lugosi
The week of Valentine's Day 2024: The pre-orders announcement of....
DRACULA'S
FORGOTTEN BRIDES
Dorothy Tree
Geraldine Dvorak
Cornelia Thaw
A LIMITED EDITION OF 250 NUMBERED COPIES
EACH WITH A SIGNED AND NUMBERED PRINT
Their combined time on screen is barely more than a minute. They remain entirely silent. Their names do not appear in the credits. And yet, for any viewer of Tod Browning’s classic 1931 filmit is impossible to deny the impact of Dorothy Tree, Geraldine Dvorak and Cornelia Thaw as the brides of Dracula.
I bid you welcome, to a celebration of those characters, and the lives and careers of the forgotten actresses who brought them to (undead) life...
A strictly limited, never-to-be-reprinted edition of 250 hand-numbered copies for sale.
Featuring a specially commissioned Frontispiece illustration by the World Fantasy Award-winning artist Les Edwards.
With rediscovered interview quotes, more than 60 rare photos and illustrations, and new research: never has so much information about these actresses been gathered in one place...
Discover Dorothy Tree's second role in Dracula, Geraldine Dvorak's entanglement with British aristocracy, and the reason why Cornelia Thaw turned her back on Hollywood...
A5 format, 40pp, printed on uncoated stock, including a cover printed on Rives Shetland paper.
Each order also includes a signed and numbered print, on heavy laid paper, based on an original linocut by Sharon Gosling.
ORDERING DETAILS AND MORE PHOTOS BELOW
Our previous limited editions have tended to sell out, so don't miss out on this one...
The Slave Race, featuring Philip K. Dick's first SF tale (not in his Collected Stories), sold out in a matter of days (details here).
Our two Lawrence of Arabia titles(see details here and here), were described by the T. E. LawrenceSociety as "a very beautiful publication" and "a valuable piece of ephemera for your collection".
The Ghost of the Private Theatricals, a newly discovered tale of terror by Mary Shelley, the creator of Frankenstein (details here), was featured in the Times Literary Supplement, and also sold out quickly, with copies going to every continent except Antarctica!
Gods of Darkness, F. Scott Fitzgerald's never-previously-reprinted tale of a Lovecraftian witch cult (yes, you read that right) was an instant sell-out (see here).
The 50th anniversary souvenir An Appointment with The Wicker Man (see here) sold out quickly, as did the limited edition of a horror story by Sharon Gosling, Slow Progress (see here).
The last three copies remain of At the Door of Darkness, a forgotten episode from Joseph Conrad's Heart of Darkness, deleted from the published version, and now reconstructed from the original manuscript. Details here.
MORE PHOTOS BELOW
ORDERING DETAILS AT THE BOTTOM OF THIS POST: KEEP SCROLLING...
(In an effort not to give away too much, I'm giving only glimpses of the interiors, and Les Edwards' fabulous Frontispiece art...)
ACKNOWLEGMENTS
As always with these chapbooks, this was a team effort. Huge thanks are due to Sharon Gosling for her linocut which became the cover image, and also the signed and numbered print; to the legendary Les Edwards for his Frontispiece, which was specially commissioned for this publication; to the equally legendary Stephen Jones, for all his help sourcing material; to Martin Stiff at Amazing15.com for his elegant design; to Ted Baehr, for sharing a bit of family history; to Vicki Sinclair for her French translation skills; and to the researchers who have come before me, including Michael G. Ankerich, Melvyn M. Sobel, and especially David J. Skal, to whom this publication is respectfully dedicated.
TO ORDER DRACULA'S FORGOTTEN BRIDES There are 250 numbered copies, first come, first served. There will be no reprint of this edition. Payment via the buy button below.
A copy with UK P&P is £11.99 A copy with the unavoidably pricey International Airmail P&P is £15.99
A LIMITED EDITON OF 50 SIGNED AND NUMBERED COPIES,
EACH WITH A HAND-PRINTED LINOCUT ILLUSTRATION BY THE AUTHOR.
"If there's pain, there's people. If there's people, there's pickings."
A short, sharp, and previously unpublished tale of post-apocalyptic horror from Sharon Gosling, illustrated by the author.
Sharon Gosling is the author of over thirty books, both fiction and non-fiction. Her horror writing includes the novel FIR, and short stories in anthologies such as The Mammoth Book of Halloween Stories, The Alchemy Press Book of Horrors 2 and Close to Midnight. Her artwork has illustrated small press publications of the work of Philip K. Dick, Mary Shelley, F. Scott Fitzgerald and Joseph Conrad, and has been published in Myth and Lore.
A strictly limited, never-to-be-reprinted edition of 50 signed and numbered copies for sale.
Each copy features a laid-in illustration, in the form of an individually hand-printed original linocut by the author.
A5 format, 16pp (including cover), printed on uncoated paper stock, and a cover printed on heavy Rives Shetland paper. Laid-in linocut hand-printed on uncoated stock.
TO ORDER There are 50 signed and numbered copies, first come, first served. There will be no reprint of this edition. Payment via the buy button below.
A copy with UK P&P is £8.99 A copy with the unavoidably pricey International Airmail P&P is £13.99
NOW SOLD OUT
With a laid-in, tissue-protected linocut.
Each copy comes with a hand-printed linocut version of the frontispiece art. Here's one with the original printing block.
Our previous limited editions have tended to sell out, so don't miss out on this one...
The Slave Race, featuring Philip K. Dick's first SF tale (not in his Collected Stories), sold out in a matter of days (details here).
Our two Lawrence of Arabia titles(see details here and here), were described by the T. E. LawrenceSociety as "a very beautiful publication" and "a valuable piece of ephemera for your collection".
The Ghost of the Private Theatricals, a newly discovered tale of terror by Mary Shelley, the creator of Frankenstein (details here), was featured in the Times Literary Supplement, and also sold out quickly, with copies going to every continent except Antarctica!
An Appointment with The Wicker Man, a 50th anniversary celebration of the cult film, sold out in just over a week: details here.
Limited copies remain of At the Door of Darkness, a forgotten episode from Joseph Conrad's Heart of Darkness, deleted from the published version, and now reconstructed from the original manuscript. Details here.
Many thanks to Martin Stiff at Amazing15.com for the wonderful design and layout of this publication.
It's part of the long-established lore of Withnail and I that the writer/director Bruce Robinson took inspiration from the time he actually did go 'on holiday by mistake' to the Lake District with a friend. It was in the winter of 1970 that Bruce and fellow struggling actor Michael Feast headed north in a 'fucked old Jaguar', and found themselves staying in a farm cottage far up a stony track, a mile from the road. Remembering the trip in the book-length interview Smoking in Bed: Conversations with Bruce Robinson, he didn't mince his words:
'The cottage depicted in the film was positively luxurious compared with what Mickey and I actually found when we arrived. It really was bucket by the bed with rain coming in and so cold you could hardly see.'
Burning furniture to keep warm, and killing a chicken to eat: both actually happened, according to Bruce. As did running outside with plastic bags on their feet to try to remedy the fuel and wood situation. Though he could remember the name of the (are you the?) farmer who owned the place — 'Parkin, which is where I got the name' — Bruce couldn't then recall the name of 'wherever it was — it wasn't called Crow Crag.'
In the film, Crow Crag was memorably played by Sleddale Hall in Wet Sleddale, near Shap. Much has been written about this wonderful place, and thousands upon thousands of photos have probably been taken of it by now, by the many Withnailers who have made the pilgrimage, not least those who attend the sold-out Picnic Cinema screenings of the film in the yard at the house every summer. (Though pilgrims should note that it is a private property, and not open to the public or available to rent... as yet.)
But where did Bruce actually stay on that fateful trip in 1970? Which house originally inspired Crow Crag?
Well, thanks to a detail tucked away in the marvellous new book Withnail and I: From Cult to Classic, we can now reveal exactly where it was that Bruce and Michael Feast ended up, and yes, it's still a holiday let, though now a very lovely one!
In the book — alongside interviews and memories from the cast, crew, and famous fans — there is all sorts of wonderful ephemera from Bruce's personal archive, including the first page of a letter he wrote to his then-girlfriend, the actress Lesley-Anne Down, about the 'holiday' he'd just had. He begins by describing the local area: 'In Pooley-Bridge, the nights are nightier — black is blacker, and cold is colder (I forgot — wet is wetter).' He goes on to describe getting to their accommodation, and there, in the letter, is this:
'Auterstone cottage sticks out like a boil on a troubled brow.'
A quick google reveals that Auterstone Cottage is part of Swarthbeck Farm, near Howtown. It overlooks Ullswater, and according to its website is, yes, up 'a long track which can be difficult in snow and ice.' But, it has 'wonderful views over the whole lake from the front.' Sounds lovely. To be fair, even Bruce conceded in his 1970 letter that 'the living room is a picture from a noddy book about cottages.' It appears that no one online has ever made the Withnail connection...
If you'd like to stay there yourself, you can find the details here.
Why Bruce didn't suggest filming Withnail at the place that inspired it is an interesting question, which I'm not sure he's ever been asked. It's not as if Sleddale Hall is any easier to get to for a film crew, if anything, it's even further from a main road! Having said that, Sleddale Hall (which was found by Unit Production Manager Matthew Binns) was perfect for the film, and it's now hard to imagine Uncle Monty's being anywhere else. But! A film has been made at Auterstone, and a somewhat Withnailian one at that...
Paul is Dead is a short film about the Beatles, and rather than trying to sum it up, it's quicker if you just go and watch it. It's superb on every level, and I'm not just saying that because it was co-written and produced, not to mention production designed, by a friend of mine, Stuart Armstrong.
Here's the trailer:
... and you can watch the whole short here. It's now in development as a feature-length version at Polyrock Films.
The spooky thing is, Stu felt that the spirit of Withnail was with them from the start...
'As self-confessed Withnail and I superfans, Paul Is Dead writer/director George and I immediately drew inspiration from the film as soon as our co-writer Ben lit the flame of a comedy short based around the infamous Beatles conspiracy theory. It seemed like a perfect fit; not, that is, because George Harrison himself financed Withnail, but rather where else would one stage the death of Paul McCartney than on a 'musical retreat' in a remote cottage clung to the side of a Cumbrian fell. There was just something about our aim to create fictional versions of the well-loved Beatles through a flawed, ironic and pathetic lens which felt inherently Withnailian. Naturally, we arranged to recce the real life Crow Crag ASAP, and were soon shown around by the welcoming current owner Tim Ellis. However, we found the logistics of getting a film crew up to Sleddale Hall were just too inviable — and this was in 2018, so Christ knows how they managed it in the 1980s! It was at this point we naturally began discussing the making of Withnail, and found ourselves wondering where exactly Robinson took his fated, inspirational holiday — and I'm sure a passing 'wouldn’t it be cool if we ended up filming there' was thrown around. Next on our location scout list was Auterstone Cottage, on the other side of the far eastern Lakeland fells.
Director George Moore adds, 'It immediately felt uncannily like we were living the full Withnail and I experience. The muddy trek up the mountainside was strikingly similar to the film’s impromptu bullring. A step out the door and you’re confronted with the huge, widescreen vista of the lake and fells below, just as Marwood is in the film.'
Stu continues, 'We ended up shooting Paul at and around Auterstone, but not without running into a few issues, not least of which was a three-day snow-in thanks to the 'Beast from the East', during which we had to march our cast and crew on a six-mile round trip to Pooley Bridge to buy the last remaining potato, black pudding and fine wine on offer in the local post office. But we survived and made it, fittingly, back to London. The film then went on to enjoy great success on the festival circuit and, humbly, something of a cult status online — a privilege which can of course be attributed to the incumbent cultural real estate of the four lads from Liverpool, but one we’re glad to think is also a testament to the continued ability of Bruce Robinson’s masterpiece to inspire filmmakers such as ourselves. And how marvellous that we now have physical proof of the Withnailian heritage we had always hoped to imbue into Paul Is Dead.’
Yes Stu, it is marvellous!
Auterstone Cottage: you now have your place assured in Withnail history... nay, British film history... nay British history.
A STRICTLY LIMITED EDITION OF 100 NUMBERED COPIES FOR SALE
EACH WITH A HAND-PRINTED LINOCUT FRONTISPIECE
A strictly limited, never-to-be-reprinted edition of 100 hand-numbered copies for sale.
Each copy features a tipped-in frontispiece illustration, in the form of an individually hand-printed original linocut by Sharon Gosling.
With contributions from Amy Rafferty and Joel Morris.
A5 format, 24pp (including cover), printed on silk paper stock, and a cover printed on heavy Rives Shetland paper. With a frontispiece hand-printed on uncoated stock, tipped in by hand.
Like all great cult movies, it’s tricky to explain exactly why The Wicker Man continues to mean so much to its dedicated followers. It’s probably best not to overthink matters, and just revel in it all, which is what a lucky group of fans got to do on May Day 2023, gathering at the original Wicker Man site at Burrow Head in Scotland, exactly fifty years after the events in the film. This limited edition publication is a souvenir celebration of those events, which included the burning of a new Wicker Man created by local artist Amanda Sunderland. Alongside photos of the burning and a brief overview of the weekend, also included is a contribution from Joel Morris, of the band Candidate, who performed songs from the soundtrack, and a poem in the Scots Lallans dialect by Amy Rafferty, who has a very special connection to the film: she appeared as a baby in the churchyard scene. Each copy also includes an individually hand-printed linocut frontispiece of the original Wicker Man. Whether you were there on May Day 2023 or not, this is a unique and very limited piece of Wicker Man history...
THIS LIMITED EDITION IS NOW SOLD OUT. MANY THANKS TO ALL THE BUYERS FROM AROUND THE WORLD!
MORE PHOTOS BELOW...
Each copy comes with an individually hand-printed linocut by Sharon Gosling. Here's a copy next to the linocut printing block. Please note that, as each linocut is printed and inked separately, exact colours and inking density may vary from the prints shown.
AN IMPORTANT ERRATUM NOTE! Due to an unfortunate error (completely my fault) the artist who created the Wicker Man for the event, Amanda Sunderland, is incorrectly named (twice!) in the booklet as Amanda Sutherland. Many apologies: and thanks to Amanda for being so nice about it when she gently pointed it out. (Apparently I'm not the first to make the mistake, and I doubt I'll be the last.)
Our previous limited editions have tended to sell out, so don't miss out on this one...
The Slave Race, featuring Philip K. Dick's first SF tale (not in his Collected Stories), sold out in a matter of days (details here).
Gods of Darkness, a never-reprinted tale of a Lovecraftian witch cult by F. Scott Fitzgerald also went out of print extremely quickly (details here).
Our two Lawrence of Arabia titles(see details here and here), were described by the T. E. LawrenceSociety as "a very beautiful publication" and "a valuable piece of ephemera for your collection".
The Ghost of the Private Theatricals, a newly discovered tale of terror by Mary Shelley, the creator of Frankenstein (details here), was featured in the Times Literary Supplement, and also sold out quickly, with copies going to every continent except Antarctica!
Limited copies remain of At the Door of Darkness, a forgotten episode from Joseph Conrad's Heart of Darkness, deleted from the published version, and now reconstructed from the original manuscript. Details here.
My thanks go to Sharon Gosling for designing and printing the linocut frontispieces, and to Martin Stiff of Amazing15.com for his sublime design. All photographs are by Sharon Gosling and Adam Newell. Just to be 100% clear, this publication is not licenced, prepared or approved by Canal+/Studio Canal or any entity associated with the film The Wicker Man. Neither is it in any way an 'official' publication of the 50th anniversary weekend that took place in Scotland, or associated fan groups. It is a personal celebration, with huge thanks to Amy Rafferty and Joel Morris for permission to include their written contributions.
Philip K. Dick's first published science fiction tale — not included in his Collected Short Stories
A limited edition of 250 hand-numbered copies
NOW SOLD OUT!
Each copy features a tipped-in frontispiece illustration, based on an original linocut by Sharon Newell
'The Slave Race' was Philip K. Dick's first published science fiction story. It appeared in his local newspaper in 1944, and has been largely forgotten since — it does not feature in any edition of his Collected Short Stories. Though brief, it is nevertheless an astonishing piece of work, an epic in miniature, dense with ideas and concepts to which Dick would return again and again...
This chapbook is A5 format, 12pp including a cover printed on heavy Rives Shetland paper, and interiors on uncoated paper. The frontispiece illustration is printed on a separate 300gsm silk stock postcard, and tipped in by hand.
More photos below
ACKNOWLEDGMENTS
Many thanks to Sharon Newell for her wonderfully evocative linocut which became the basis for the frontispiece, and to Martin Stiff for his impeccable design and layout skills. A special tip of the hat to Frank T. Hollander, for his efforts in making sure that Dick's earliest published work has not been completely forgotten. This little edition stands on your shoulders, sir.
DISCLAIMER: This publication, presenting a story which is in the public domain in, and will only be sold to, the USA and other countries which follow the Rule of the Shorter Term, has not been licenced, prepared, or approved by the estate of Philip K. Dick.
