10.190 Ergebnisse
1995Best.-Nr. 149323Universal City: Universal Pictures 1995. Two truly striking vintage reference photographs taken on the set of the 1995 film each demonstrating the film's true aspect ratio. With manuscript pencil and ink annotations regarding layout and the printed label of the film's still photographer Phillip V. Caruso to the verso. Shown in the two photographs are Scorsese working with actors and crew on the expansive casino floor set. Also shown are Robert De Niro Don Rickles Billy Crystal and others. Based on screenwriter Nicholas Pileggi's 1995 nonfiction book "Casino: Love and Honor in Las Vegas." Martin Scorsese's fifteenth film one of his finest a fast-paced bloody tale following a low-level mobster and gambling expert who climbs to power at the Mafia-run Tangiers Casino in the 1970s. Set and shot on location in Las Vegas with casino scenes shot at the Riviera. 10 x 8 inches. Fine. Spicer US Neo-Noir. Universal Pictures unknown books
1984Best.-Nr. 163349Burbank CA: Warner Brothers 1984. Revised Estimating Draft script for the 1986 film seen here under both the release title and the working title "Jocks." Another early working title was "First and Goal." A divorced high school track coach lands a position as a college football coach in spite of her lack of experience and is tasked with working the team's players into shape. Goldenrod titled wrappers. Title page present dated December 21 1984 noted as REV. ESTIMATED DRAFT with credits for screenwriters Ezra Sacks and Michael Leeson. 141 leaves with last page of text numbered 118. Xerographic duplication rectos only with yellow pink and blue revision pages throughout dated variously between 2/11/85 and 3/7/85. Pages Near Fine wrapper Near Fine bound with two gold brads. Warner Brothers unknown
1984Best.-Nr. 163349Burbank CA: Warner Brothers 1984. Revised Estimating Draft script for the 1986 film seen here under both the release title and the working title "Jocks." Another early working title was "First and Goal." A divorced high school track coach lands a position as a college football coach in spite of her lack of experience and is tasked with working the team's players into shape. Goldenrod titled wrappers. Title page present dated December 21 1984 noted as REV. ESTIMATED DRAFT with credits for screenwriters Ezra Sacks and Michael Leeson. 141 leaves with last page of text numbered 118. Xerographic duplication rectos only with yellow pink and blue revision pages throughout dated variously between 2/11/85 and 3/7/85. Pages Near Fine wrapper Near Fine bound with two gold brads. Warner Brothers unknown books
1957Best.-Nr. 144104Paris: Cinedis 1957. Collection of 150 vintage black-and-white keybook contact sheet photographs and 8 loose photographs for the 1957 French-Italian film. The film is represented in test shots set design shots and many candid moments from the set including dramatic high-contrast images of starring actors Bardot amply represented in the collection and seen in nearly every image off-camera with the cast and crew spinning records on a portable player and traveling by plane and train. Most keybook photos with 12 images per sheet and a few have been trimmed to only a few images per sheet amounting to over 1700 images captured. Nearly all images with series number bordering the image but unlike similar examples from France all sheets lack credits for the photo laboratory film studio film title and often the photographer. A few with layout annotations in manuscript pencil on the image a few with brief annotations on the verso in manuscript ink and two loose photographs with ditto-style mimeo snipes on the verso crediting original title Boyer Vidal Bardot and Boisrond. Housed in a blue paper 2-ring binder with French title mounted on the front with cello tape. Boisrond's fourth directorial credit is a comedy starring Bardot as the flirtatious daughter of the prime minister of France who marries a member of the cabinet Vidal who happens to be a womanizer. Taking control of the situation she has an weekend affair with a prince Boyer and ultimately reunites with her husband after somewhat passive apologies. Most keybook contact sheets and 3 loose photos 7 x 9.25 inches binder slightly larger and 5 loose photos 5 x 7 inches. A few contact sheets are cropped slightly smaller and all are 2-hole punched. Very Good Plus overall keybook photos rubbed. Cinedis unknown
1957Best.-Nr. 143131Paris: Cinedis 1957. Collection of 130 vintage black-and-white still photographs and 3 medium-format negatives for the 1957 French-Italian film. The collection consists of two unique but complimentary pieces one being a set housed in the original paper box with "Crumiere / Paris" paper label and annotations on the box top in manuscript ink noting French film title and "B. Bardot" the other being nearly 100 smaller photographs elegantly presented mounted on thick stock in a "Lavis aquarelle" brand spiral bound notebook with maroon faux leather front wrapper and an affixed paper title label featuring the film's poster art of Bardot. Several photographs with series number on the verso in manuscript pencil a few with rubber-stamps crediting film title and starring actors and photos in notebook numbered at the edges prior to being printed. Bardot is seen in nearly every image highlighting an array of hairstyles and costumes scenes in the pilot's cockpit snacking between takes dancing being curious at galas. Contact sheets glamour portraits of Madeleine Lebeau action sequences of bar fights and on-the-set images are equally prominent. Negatives show costume design illustrations for men in military uniforms. Boisrond's fourth directorial credit is a comedy starring Bardot as the flirtatious daughter of the prime minister of France who marries a member of the cabinet Vidal who happens to be a womanizer. Taking control of the situation she has an weekend affair with a prince Boyer and ultimately reunites with her husband after somewhat passive apologies. Photographs in large quarto notebook 4 x 5 inches to 8 x 10.5 inches mounted on thick stock. Boxed photographs 4.75 x 7 inches to 9.25 x 11.75 inches with 3 medium-format negatives 3.5 x 4.5 inches. Photographs Near Fine overall light curling a handful with short creases negatives Very Good notebook Very Good plus box Very Good. Cinedis unknown
1957Best.-Nr. 143131Paris: Cinedis 1957. Collection of 130 vintage black-and-white still photographs and 3 medium-format negatives for the 1957 French-Italian film. The collection consists of two unique but complimentary pieces one being a set housed in the original paper box with "Crumiere / Paris" paper label and annotations on the box top in manuscript ink noting French film title and "B. Bardot" the other being nearly 100 smaller photographs elegantly presented mounted on thick stock in a "Lavis aquarelle" brand spiral bound notebook with maroon faux leather front wrapper and an affixed paper title label featuring the film's poster art of Bardot. Several photographs with series number on the verso in manuscript pencil a few with rubber-stamps crediting film title and starring actors and photos in notebook numbered at the edges prior to being printed. Bardot is seen in nearly every image highlighting an array of hairstyles and costumes scenes in the pilot's cockpit snacking between takes dancing being curious at galas. Contact sheets glamour portraits of Madeleine Lebeau action sequences of bar fights and on-the-set images are equally prominent. Negatives show costume design illustrations for men in military uniforms. Boisrond's fourth directorial credit is a comedy starring Bardot as the flirtatious daughter of the prime minister of France who marries a member of the cabinet Vidal who happens to be a womanizer. Taking control of the situation she has an weekend affair with a prince Boyer and ultimately reunites with her husband after somewhat passive apologies. Photographs in large quarto notebook 4 x 5 inches to 8 x 10.5 inches mounted on thick stock. Boxed photographs 4.75 x 7 inches to 9.25 x 11.75 inches with 3 medium-format negatives 3.5 x 4.5 inches. Photographs Near Fine overall light curling a handful with short creases negatives Very Good notebook Very Good plus box Very Good. Cinedis unknown books
1957Best.-Nr. 144104Paris: Cinedis 1957. Collection of 150 vintage black-and-white keybook contact sheet photographs and 8 loose photographs for the 1957 French-Italian film. The film is represented in test shots set design shots and many candid moments from the set including dramatic high-contrast images of starring actors Bardot amply represented in the collection and seen in nearly every image off-camera with the cast and crew spinning records on a portable player and traveling by plane and train. Most keybook photos with 12 images per sheet and a few have been trimmed to only a few images per sheet amounting to over 1700 images captured. Nearly all images with series number bordering the image but unlike similar examples from France all sheets lack credits for the photo laboratory film studio film title and often the photographer. A few with layout annotations in manuscript pencil on the image a few with brief annotations on the verso in manuscript ink and two loose photographs with ditto-style mimeo snipes on the verso crediting original title Boyer Vidal Bardot and Boisrond. Housed in a blue paper 2-ring binder with French title mounted on the front with cello tape. Boisrond's fourth directorial credit is a comedy starring Bardot as the flirtatious daughter of the prime minister of France who marries a member of the cabinet Vidal who happens to be a womanizer. Taking control of the situation she has an weekend affair with a prince Boyer and ultimately reunites with her husband after somewhat passive apologies. Most keybook contact sheets and 3 loose photos 7 x 9.25 inches binder slightly larger and 5 loose photos 5 x 7 inches. A few contact sheets are cropped slightly smaller and all are 2-hole punched. Very Good Plus overall keybook photos rubbed. Cinedis unknown books
1956Best.-Nr. 143200Tokyo: Toho Company 1956. Draft script for the 1956 film. Copy belonging to an unknown cast or crew member with their annotations in manuscript pencil throughout. Text and titles in Japanese. A neglected wife begins an affair with a bank teller who offers to loan money for her husband to open a cafe. Actress Hideko Takamine would appear in many of director Mikio Naruse's films usually embodying the plight of contemporary women in Japan longing for emancipation. Set in Japan. White titled perfect-bound wrappers. 67 pages with last page of text numbered e-26. Mimeograph duplication printed on rectos and versos. Pages Near Fine wrapper Very Good lightly foxed. Toho Company unknown
1956Best.-Nr. 143200Tokyo: Toho Company 1956. Draft script for the 1956 film. Copy belonging to an unknown cast or crew member with their annotations in manuscript pencil throughout. Text and titles in Japanese. A neglected wife begins an affair with a bank teller who offers to loan money for her husband to open a cafe. Actress Hideko Takamine would appear in many of director Mikio Naruse's films usually embodying the plight of contemporary women in Japan longing for emancipation. Set in Japan. White titled perfect-bound wrappers. 67 pages with last page of text numbered e-26. Mimeograph duplication printed on rectos and versos. Pages Near Fine wrapper Very Good lightly foxed. Toho Company unknown books
1967Best.-Nr. 167722Budapest: Hungarofilm 1967. Collection of 23 vintage borderless reference photographs from the 1967 film including one showing director Miklós Jancsó on the set. Annotations in manuscript ink and pencil along with provenance labels on the versos. A Russian-Hungarian co-production the film was originally commissioned to celebrate the 50th anniversary of the 1917 October Revolution led by Lenin's Bolsheviks. However Jancsó chose to set the action two years later in 1919 focusing on the Hungarian soldiers supporting the Red Army in fighting the Whites. Instead of an idealized depiction of the revolution the resultant release was bleak and profoundly antiheroic and is today considered one of the masterpieces of Hungarian cinema. Generally 7 x 5 inches some with wide bottom margins. Very Good plus to Near Fine. Rosebaum 1000. Vogel Film as a Subversive Art. Hungarofilm unknown
1967Best.-Nr. 167722Budapest: Hungarofilm 1967. Collection of 23 vintage borderless reference photographs from the 1967 film including one showing director Miklós Jancsó on the set. Annotations in manuscript ink and pencil along with provenance labels on the versos. A Russian-Hungarian co-production the film was originally commissioned to celebrate the 50th anniversary of the 1917 October Revolution led by Lenin's Bolsheviks. However Jancsó chose to set the action two years later in 1919 focusing on the Hungarian soldiers supporting the Red Army in fighting the Whites. Instead of an idealized depiction of the revolution the resultant release was bleak and profoundly antiheroic and is today considered one of the masterpieces of Hungarian cinema. Generally 7 x 5 inches some with wide bottom margins. Very Good plus to Near Fine. Rosebaum 1000. Vogel Film as a Subversive Art. Hungarofilm unknown books
1967Best.-Nr. 149503Beverly Hills CA: United Artists 1967. Three vintage borderless black-and-white photographs taken on the set of the 1967 film: 1 director Norman Jewison sitting alone 2 Jewison directing Rod Stieger and 3 Jewison directing a key early scene featuring actors Arthur Malet Sidney Poitier and Rod Steiger. With manuscript ink annotations regarding layout on the verso. From the collection of film historian and author Joel Finler. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement and included a controversial scene in which a white actor Larry Gates slaps Poitier in the face at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience or whispers for a predominantly white one. Winner of five Academy Awards including Best Picture and nominated for two others. Though set in the fictional town of Sparta Mississippi Poitier refused to travel below the Mason-Dixon Line so the film was shot largely in Illinois. One photograph 7.5 x 10 inches one photograph 10 x 8 inches. Near Fine. National Film Registry. Penzler 101. United Artists unknown
1967Best.-Nr. 149503Beverly Hills CA: United Artists 1967. Three vintage borderless black-and-white photographs taken on the set of the 1967 film: 1 director Norman Jewison sitting alone 2 Jewison directing Rod Stieger and 3 Jewison directing a key early scene featuring actors Arthur Malet Sidney Poitier and Rod Steiger. With manuscript ink annotations regarding layout on the verso. From the collection of film historian and author Joel Finler. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement and included a controversial scene in which a white actor Larry Gates slaps Poitier in the face at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience or whispers for a predominantly white one. Winner of five Academy Awards including Best Picture and nominated for two others. Though set in the fictional town of Sparta Mississippi Poitier refused to travel below the Mason-Dixon Line so the film was shot largely in Illinois. One photograph 7.5 x 10 inches one photograph 10 x 8 inches. Near Fine. National Film Registry. Penzler 101. United Artists unknown books
1974Best.-Nr. 160151Burbank CA: Warner Brothers / First Artists / Coleytown / Turman-Foster 1974. Revised Final Shooting script for the 1974 film. Based on the 1950 Lew Archer novel by Ross Macdonald. Private investigator Harper returns in this sequel to the eponymous 1966 film investigating a blackmail plot in a Louisiana bayou where he finds himself in between an ex-lover an oil tycoon and the local police. In this early draft of the script Paul Newman's character is named Lew Ryan perhaps evidence that the production did not begin as a direct sequel to "Harper" but simply as an adaptation of the source material. Set in Louisiana and shot there on location. Blue studio wrappers. Title page present dated September 16 1974 noted as FINAL SHOOTING SCRIPT with credits for screenwriter Keenan Wynn and novelist Ross Macdonald. 128 leaves with last page of text numbered 130. Xerographic duplication rectos only with pink yellow goldenrod and green revision pages throughout dated variously between 9/30/74 and 10/6/74. Pages and wrapper Near Fine bound with two gold brads. Grant US. Silver and Ward Neo-Noir. Spicer US Neo-Noir. Warner Brothers / First Artists / Coleytown / Turman-Foster unknown books
1923Best.-Nr. 166685Hollywood: Paramount Pictures 1923. Vintage publicity photograph of Pola Negri in profile taken to promote her appearance in the 1923 film. Paramount stamps and annotations in manuscript pencil on the verso. Based on Paramount's 1915 film of the same name which was based in turn on Hichens' 1909 novel about the titular seductress and the men who fall into her love trap. Early noir antecedent. 10 x 8 inches. Very Good plus moderately age toned. Paramount Pictures unknown
1923Best.-Nr. 164284Hollywood: Paramount Pictures 1923. Vintage reference photograph taken on the set of the 1923 silent film showing director actress Pola Negri and George Fitzmaurice between takes together consulting a copy of Robert Hichens' source novel. Mimeo snipe provenance stamp and Famous Players-Lasky stamp on the verso. Based on Paramount's 1915 film of the same name which was based in turn on Hichens' 1909 novel about the titular seductress and the men who fall into her love trap. Early noir antecedent. 10 x 8 inches. Very Good plus with a two-inch flaw in the finish affecting the bottom left corner. Paramount Pictures unknown
1923Best.-Nr. 164284Hollywood: Paramount Pictures 1923. Vintage reference photograph taken on the set of the 1923 silent film showing director actress Pola Negri and George Fitzmaurice between takes together consulting a copy of Robert Hichens' source novel. Mimeo snipe provenance stamp and Famous Players-Lasky stamp on the verso. Based on Paramount's 1915 film of the same name which was based in turn on Hichens' 1909 novel about the titular seductress and the men who fall into her love trap. Early noir antecedent. 10 x 8 inches. Very Good plus with a two-inch flaw in the finish affecting the bottom left corner. Paramount Pictures unknown books
1923Best.-Nr. 166685Hollywood: Paramount Pictures 1923. Vintage publicity photograph of Pola Negri in profile taken to promote her appearance in the 1923 film. Paramount stamps and annotations in manuscript pencil on the verso. Based on Paramount's 1915 film of the same name which was based in turn on Hichens' 1909 novel about the titular seductress and the men who fall into her love trap. Early noir antecedent. 10 x 8 inches. Very Good plus moderately age toned. Paramount Pictures unknown books
1944Best.-Nr. 172390Los Angeles CA: Paramount Pictures 1944. Collection of 14 vintage double weight studio still photographs from the 1944 film. With provenance stamps on the verso. Based on the 1942 novel of the same name by Rachel Field. A poor doctor is hired to cure a wealthy woman's deafness whose fiancé is having an affair with her sister. 8 x 10 inches. Generally Near Fine. Paramount Pictures unknown
1944Best.-Nr. 172390Los Angeles CA: Paramount Pictures 1944. Collection of 14 vintage double weight studio still photographs from the 1944 film. With provenance stamps on the verso. Based on the 1942 novel of the same name by Rachel Field. A poor doctor is hired to cure a wealthy woman's deafness whose fiancé is having an affair with her sister. 8 x 10 inches. Generally Near Fine. Paramount Pictures unknown books
1921Best.-Nr. 143526US: Metro Pictures Corporation 1921. Vintage photograph from the 1921 film. With a mimeo snipe on the verso. Based on the 1916 anti-war novel by Vincent Basco Ibanez about a French and German family on both sides of World War I. Along with "The Sheik" later the same year the film the catapulted Rudolph Valentino to stardom and helped create his "Great Lover" image. The film also launched the career of director Rex Ingram made screenwriter June Mathis one of the most powerful woman in Hollywood inspired a tango craze and was the first to gross over $1000000 at the box office. 10 x 8 inches. Very Good plus with a partial and faint studio stamp on the recto light soil and edgewear. National Film Registry. Metro Pictures Corporation unknown
1921Best.-Nr. 143526US: Metro Pictures Corporation 1921. Vintage photograph from the 1921 film. With a mimeo snipe on the verso. Based on the 1916 anti-war novel by Vincent Basco Ibanez about a French and German family on both sides of World War I. Along with "The Sheik" later the same year the film the catapulted Rudolph Valentino to stardom and helped create his "Great Lover" image. The film also launched the career of director Rex Ingram made screenwriter June Mathis one of the most powerful woman in Hollywood inspired a tango craze and was the first to gross over $1000000 at the box office. 10 x 8 inches. Very Good plus with a partial and faint studio stamp on the recto light soil and edgewear. National Film Registry. Metro Pictures Corporation unknown books
1969Best.-Nr. 133199N.p.: N.p. 1969. Vintage oversize double weight candid photograph of Alan Arkin Art Garfunkel and Martin Sheen on the set of Mike Nichols' "Catch-22" in 1969. Shot and struck by the film's still photographer Bob Willoughby. The photographer has written at the top of the verso in manuscript pencil: "Candid during rehearsal / The boys break up in briefing room scene / Art Garfunkel Alan Arkin Martin Sheen." Also with Willoughby's ASMP rubber stamp for both his New York and Ireland addresses. 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. In a custom museum-quality frame archivally mounted with UV glass. 13.5 x 10 inches. Near Fine. National Film Registry. N.p. unknown
1969Best.-Nr. 133199N.p.: N.p. 1969. Vintage oversize double weight candid photograph of Alan Arkin Art Garfunkel and Martin Sheen on the set of Mike Nichols' "Catch-22" in 1969. Shot and struck by the film's still photographer Bob Willoughby. The photographer has written at the top of the verso in manuscript pencil: "Candid during rehearsal / The boys break up in briefing room scene / Art Garfunkel Alan Arkin Martin Sheen." Also with Willoughby's ASMP rubber stamp for both his New York and Ireland addresses. 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. In a custom museum-quality frame archivally mounted with UV glass. 13.5 x 10 inches. Near Fine. National Film Registry. N.p. unknown books
1994Best.-Nr. 168325N.p.: N.p. 1994. Draft script for the 1994 film here called a "Schedule Draft". Annotations in manuscript ink on the title page noting copy No. 33 and the name of supervising accountant Danielle Sotet. Robert Altman's sardonic take on Paris Fashion Week featuring an enormous star-studded ensemble cast of international actors models and designers. Set and shot on location in Paris France. Mylar front wrapper white card rear wrapper. Title page present dated January 14 1994 noted as Schedule Draft with credit for Altman and screenwriter Barbara Shulgasser. 82 leaves with last page of text numbered 81. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good moderately soiled bound with two silver clasps. N.p. unknown
