11 031 résultats
1979réf. 168998Paris: Sygma 1979. Vintage oversize borderless photograph of Richard Gere and Paul Schrader from the set of the 1980 film with Sygma stamps and printed French and English mimeo snipes on the verso. A slick Los Angeles prostitute enjoys a lavish lifestyle funded by a stable of rich older female clients. When one of his clients is found murdered his world begins to crumble. Paul Schrader's third film as director and screenwriter and one of four films Schrader refers to as his "double bookends" "Taxi Driver" 1976 bookended by "Light Sleeper" 1992 and "American Gigolo" bookended by "The Walker" 2007. Set in Los Angeles shot on location throughout California. 8 x 11.75 inches. Near Fine. Spicer US Neo-Noir. Sygma unknown
1979réf. 168998Paris: Sygma 1979. Vintage oversize borderless photograph of Richard Gere and Paul Schrader from the set of the 1980 film with Sygma stamps and printed French and English mimeo snipes on the verso. A slick Los Angeles prostitute enjoys a lavish lifestyle funded by a stable of rich older female clients. When one of his clients is found murdered his world begins to crumble. Paul Schrader's third film as director and screenwriter and one of four films Schrader refers to as his "double bookends" "Taxi Driver" 1976 bookended by "Light Sleeper" 1992 and "American Gigolo" bookended by "The Walker" 2007. Set in Los Angeles shot on location throughout California. 8 x 11.75 inches. Near Fine. Spicer US Neo-Noir. Sygma unknown books
1973réf. 127868N.p.: N.p. 1973. Vintage Cuban poster for the Cuban release of the 1968 film designed by Eduardo Muñoz Bachs. Based on the 1966 novel "Me and the Arch Kook Petulia" by John Haase about a newlywed socialite who relentlessly pursues a physician for an affair. Shot on location during the Summer of Love in San Francisco with appearances by Janis Joplin and The Grateful Dead that are not so much cameos as they are part of movie's atmosphere. Entered into competition at Cannes in 1968 before that year's festival was canceled. Eduardo Muñoz Bachs was a revered Cuban artist best known for his over 2000 movie poster designs. His work also encompassed comics children's book illustration and animation. Bachs is also noted for having designed the first poster for the Instituto Cubano de Arte e Industria Cinematograficos ICAIC founded shortly after the Cuban Revolution to produce and promote Cuban films. 20 x 30 inches. Very Good plus with faint rubbing and a spot of scratching to the upper mid center. Rosenbaum 1000. N.p. unknown
1959réf. 149880London: British Lion 1959. Three vintage reference photographs from the 1959 short film. With printed mimeo snipes affixed to the verso. A surreal slapstick sketch comedy film filmed over 2 days on a shoestring budget of approximately 70 British pounds. Considered influential on mid-century British comedy particularly Monty Python's Flying Circus and a purported favorite of The Beatles. Two photographs approximately 10 x 8 inches one photograph 8.25 x 6.5 inches. Very Good plus lightly creased. British Lion unknown
1973réf. 127868N.p.: N.p. 1973. Vintage Cuban poster for the Cuban release of the 1968 film designed by Eduardo Muñoz Bachs. Based on the 1966 novel "Me and the Arch Kook Petulia" by John Haase about a newlywed socialite who relentlessly pursues a physician for an affair. Shot on location during the Summer of Love in San Francisco with appearances by Janis Joplin and The Grateful Dead that are not so much cameos as they are part of movie's atmosphere. Entered into competition at Cannes in 1968 before that year's festival was canceled. Eduardo Muñoz Bachs was a revered Cuban artist best known for his over 2000 movie poster designs. His work also encompassed comics children's book illustration and animation. Bachs is also noted for having designed the first poster for the Instituto Cubano de Arte e Industria Cinematograficos ICAIC founded shortly after the Cuban Revolution to produce and promote Cuban films. 20 x 30 inches. Very Good plus with faint rubbing and a spot of scratching to the upper mid center. Rosenbaum 1000. N.p. unknown books
1959réf. 149880London: British Lion 1959. Three vintage reference photographs from the 1959 short film. With printed mimeo snipes affixed to the verso. A surreal slapstick sketch comedy film filmed over 2 days on a shoestring budget of approximately 70 British pounds. Considered influential on mid-century British comedy particularly Monty Python's Flying Circus and a purported favorite of The Beatles. Two photographs approximately 10 x 8 inches one photograph 8.25 x 6.5 inches. Very Good plus lightly creased. British Lion unknown books
1998réf. 141593Santa Monica: Artisan Entertainment 1998. Draft script for the 1999 film. With a single notation in manuscript ink on the front wrapper. Based on the 1958 novel by Richard Matheson. A man is hypnotized by his sister-in-law leading to haunted visions and the complete breakdown of his family life. Set in Chicago shot on location there. Yellow titled self wrappers dated August 14 1998 with credits for screenwriter David Koepp and author Richard Matheson. Title page integral with front wrapper. 116 leaves with last page of text numbered 113. Xerographic duplication with yellow and pink revision pages throughout dated variously between September 9 1998 and September 18 1998. Pages Near Fine wrapper Near Fine bound with two gold brads. Artisan Entertainment unknown
1998réf. 141593Santa Monica: Artisan Entertainment 1998. Draft script for the 1999 film. With a single notation in manuscript ink on the front wrapper. Based on the 1958 novel by Richard Matheson. A man is hypnotized by his sister-in-law leading to haunted visions and the complete breakdown of his family life. Set in Chicago shot on location there. Yellow titled self wrappers dated August 14 1998 with credits for screenwriter David Koepp and author Richard Matheson. Title page integral with front wrapper. 116 leaves with last page of text numbered 113. Xerographic duplication with yellow and pink revision pages throughout dated variously between September 9 1998 and September 18 1998. Pages Near Fine wrapper Near Fine bound with two gold brads. Artisan Entertainment unknown books
1958réf. 139533Culver City CA: Columbia Pictures 1958. Vintage oversize double weight borderless still photograph from the 1958 film of a stone faced David Niven and smiling Deborah Kerr water skiiing on a break from filming on the French Riviera. Based on the 1954 novel by Francoise Sagan. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp and a lengthily manuscript description of the scene on the verso. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 14 x 9.5. Near Fine with light edgewear. Columbia Pictures unknown
1961réf. 139506Universal City CA: Universal Pictures 1961. Vintage oversize double weight borderless still photograph from the 1961 musical film based on both the 1958 Rodgers and Hammerstein musical and the 1957 novel by C.Y. Lee. Nominated for five Academy Awards. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp on the verso. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 13.5 x 9.5 inches. Near Fine with a shallow diagonal crease to one corner. Hirschhorn p. 373. Universal Pictures unknown
1981réf. 139508Universal City CA: Universal Pictures 1981. Vintage oversize double weight borderless still photograph from the 1981 film. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp on the verso. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 13.25 x 9.25 inches. Near Fine. Universal Pictures unknown
1970réf. 139510Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1970. Vintage oversize double weight borderless still photograph from the 1970 film showing director David Lean as he imparts some advice to star Christopher Jones during a smoke break. Winner of two Academy Awards for cinematographer Freddie Young and supporting actor John Mills. Nominated for two more as well as ten BAFTA awards. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp on the verso. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 9.25 x 13.25 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown
1981réf. 139508Universal City CA: Universal Pictures 1981. Vintage oversize double weight borderless still photograph from the 1981 film. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp on the verso. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 13.25 x 9.25 inches. Near Fine. Universal Pictures unknown books
1970réf. 139510Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1970. Vintage oversize double weight borderless still photograph from the 1970 film showing director David Lean as he imparts some advice to star Christopher Jones during a smoke break. Winner of two Academy Awards for cinematographer Freddie Young and supporting actor John Mills. Nominated for two more as well as ten BAFTA awards. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp on the verso. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 9.25 x 13.25 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown books
1961réf. 139506Universal City CA: Universal Pictures 1961. Vintage oversize double weight borderless still photograph from the 1961 musical film based on both the 1958 Rodgers and Hammerstein musical and the 1957 novel by C.Y. Lee. Nominated for five Academy Awards. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp on the verso. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 13.5 x 9.5 inches. Near Fine with a shallow diagonal crease to one corner. Hirschhorn p. 373. Universal Pictures unknown books
1958réf. 139533Culver City CA: Columbia Pictures 1958. Vintage oversize double weight borderless still photograph from the 1958 film of a stone faced David Niven and smiling Deborah Kerr water skiiing on a break from filming on the French Riviera. Based on the 1954 novel by Francoise Sagan. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp and a lengthily manuscript description of the scene on the verso. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. 14 x 9.5. Near Fine with light edgewear. Columbia Pictures unknown books
1978réf. 150021N.p.: N.p. 1978. Two vintage borderless reference photographs shot on the set of the 1978 film one showing Robert Altman behind the camera and one showing Altman and Carol Burnett in conversation. In a style that Altman invented and had by this time more than mastered a mishmash of overlapping stories all centering around a middle-class wedding in the American South told over the course of a single day. 8 x 10 inches. Near Fine. N.p. unknown
1978réf. 150021N.p.: N.p. 1978. Two vintage borderless reference photographs shot on the set of the 1978 film one showing Robert Altman behind the camera and one showing Altman and Carol Burnett in conversation. In a style that Altman invented and had by this time more than mastered a mishmash of overlapping stories all centering around a middle-class wedding in the American South told over the course of a single day. 8 x 10 inches. Near Fine. N.p. unknown books
1974réf. 150864N.p.: N.p. 1974. Vintage borderless reference photograph of Robert Bresson and crew on the set of the 1974 film with two provenance stamps of film scholar and author "J. P. Berthome" on verso. Bresson's bloody take on the King Arthur legend was an expansion of the aesthetic he had already developed where the violence that was once implied became a reality-though certainly still quite surreal. Shot on location in Noirmoutier-en-L'Ile France. 9.5 x 7 inches. Near Fine. Rosenbaum 1000. N.p. unknown
1959réf. 140945France: Compagnie Cinematographie de France 1959. Vintage borderless press photograph from the 1959 film showing director Robert Bresson on a Paris metro set going over a script while actor Martin LaSalle and crew look on. With the stamp of French photo agency Dalmas and manuscript pencil annotations regarding layout and identifying the image on the verso. Bresson's first wholly original screenplay as opposed to one adapted from existing material perhaps the finest of his many fine films and according to one of its greatest champions Paul Schrader "as close to perfect as a film can be." 5 x 7.25 inches. Near Fine. Criterion Collection 314. Ebert I. Godard Histoires du cinema. Rosebaum 1000. Schrader 4. Compagnie Cinematographie de France unknown
1974réf. 150864N.p.: N.p. 1974. Vintage borderless reference photograph of Robert Bresson and crew on the set of the 1974 film with two provenance stamps of film scholar and author "J. P. Berthome" on verso. Bresson's bloody take on the King Arthur legend was an expansion of the aesthetic he had already developed where the violence that was once implied became a reality-though certainly still quite surreal. Shot on location in Noirmoutier-en-L'Ile France. 9.5 x 7 inches. Near Fine. Rosenbaum 1000. N.p. unknown books
1959réf. 140945France: Compagnie Cinematographie de France 1959. Vintage borderless press photograph from the 1959 film showing director Robert Bresson on a Paris metro set going over a script while actor Martin LaSalle and crew look on. With the stamp of French photo agency Dalmas and manuscript pencil annotations regarding layout and identifying the image on the verso. Bresson's first wholly original screenplay as opposed to one adapted from existing material perhaps the finest of his many fine films and according to one of its greatest champions Paul Schrader "as close to perfect as a film can be." 5 x 7.25 inches. Near Fine. Criterion Collection 314. Ebert I. Godard Histoires du cinema. Rosebaum 1000. Schrader 4. Compagnie Cinematographie de France unknown books
1969réf. 147017London: Columbia British Productions 1969. Draft script for the 1970 British film. Cinematographer Douglas Slocombe's name written and underlined in manuscript ink on the title page as well as an encircled "71" in red manuscript marker. Based on Janice Elliott's 1967 novel about cousins born on the same day to twin sisters. Inseparable and maybe in love they agree to find suitable romantic partners for each other. Nominated for the Palme d'Or. Set in and shot on location in England Spain and Sweden. ornamental embossed titled wrapper. Title page present dated 1969 with credits for screenwriter Peter Draper and novelist Janice Elliott. PAGES leaves with last page of text numbered 111. Mimeograph duplication rectos only. Pages Near Fine wrapper Very Good plus bound internally with three flat metal brads. Columbia British Productions unknown
1969réf. 147017London: Columbia British Productions 1969. Draft script for the 1970 British film. Cinematographer Douglas Slocombe's name written and underlined in manuscript ink on the title page as well as an encircled "71" in red manuscript marker. Based on Janice Elliott's 1967 novel about cousins born on the same day to twin sisters. Inseparable and maybe in love they agree to find suitable romantic partners for each other. Nominated for the Palme d'Or. Set in and shot on location in England Spain and Sweden. ornamental embossed titled wrapper. Title page present dated 1969 with credits for screenwriter Peter Draper and novelist Janice Elliott. PAGES leaves with last page of text numbered 111. Mimeograph duplication rectos only. Pages Near Fine wrapper Very Good plus bound internally with three flat metal brads. Columbia British Productions unknown books
1975réf. 171761N.p.: N.p. 1975. Three vintage studio still photographs from the 1975 film. One with layout annotations in manuscript pencil on the verso. An experimental portrait of American citizens of various stripes-indigenous people immigrants hippies activists and more-as they reflect on changing life in the 1970s. Directors John Douglas and Robert Kramer were previously associated with Newsreel a revolutionary filmmaking collective founded in New York in 1967. 8 x 10 inches. Near Fine with light soil and toning to the margins. N.p. unknown
