Pictorial and written archive formed by Alessandro Tasca relating to his work with Orson Welles on the films Chimes at Midnight and Don Quixote, comprising a series of 23 wash and watercolour drawings by Welles for Chimes at Midnight, some annotated by him (each c.250 x 500mm.); a series of some twenty stills from Don Quixote with the drawings and watercolours commissioned by Welles from the stills, by Ivano Staccioli, and other artists; papers including some fifty sheets of production and location notes and memos by Wilde, with the odd sketch, relating to Chimes at Midnight, Don Quixote and The Dreamers; photographs of Welles on the set of Chimes at Midnight, together with negatives; other stills (one of Welles and Tasca on the set of Cagliostro, another of them setting up a TV short in 1961); a substantial series of approximately 80 letters and notes or memos by Orson Welles to Alessandro Tasca, the majority signed, about ten being autograph, the remainder typed, the majority dating between 1964 and 1984; retained copies of letters by Tasca to Welles; some 25 telegrams from Welles to Tasca; correspondence relating to Welles's death (Tasca being the last person to have seen him alive); budgets for King Lear, The Big Brass Ring, and The Dreamers; a contract signed by Orson Welles with Central Casting; scripts for the Orson Welles films or projects (some in duplicate), including Chimes at Midnight, The Cradle will Rock, King Lear, The Other Side of the Wind, The Big Brass Ring, The Dreamers, Magic Show, and Mercedes; Orson Welles's library ticket for the Los Angeles Public Library 1985; and much else
- The fifty sheets of production and location notes and memos are by Welles and not, as stated, Wilde. Lampedusa was Alessandro Tasca's first cousin rather than uncle.
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