10 264 résultats
1970réf. 150721N.p.: UMC 1970. Two vintage studio still photographs from the US release of the 1970 Italian film. With a stamp noting production No. 71-621 on the verso. A US expatriate witnesses the murder of an art gallery owner in Rome and decides to find the culprit himself. Set and shot on location in Rome. 10 x 8 inches. Very Good with pinholes and wear to the corners. UMC unknown
1970réf. 158269N.p.: N.p. 1970. Vintage reference photograph from the US release of the 1970 Italian film showing actress Suzy Kendall. An American expatriate witnesses the murder of an art gallery owner in Rome and decides to find the culprit without the help of the police. Set and shot on location in Rome. 10 x 8 inches. Near Fine. N.p. unknown books
1970réf. 150721N.p.: UMC 1970. Two vintage studio still photographs from the US release of the 1970 Italian film. With a stamp noting production No. 71-621 on the verso. A US expatriate witnesses the murder of an art gallery owner in Rome and decides to find the culprit himself. Set and shot on location in Rome. 10 x 8 inches. Very Good with pinholes and wear to the corners. UMC unknown books
réf. 132794Universal City CA: Universal Pictures 1986. Archive of three title card maquettes hand lettered by Harold Adler for the 1963 film. Also included are two fascinating autograph letters both elaborately designed and executed in a calligraphic style from Adler to author illustrator and editor Fridolf Johnson relating to Adler's work with Hitchcock. Harold Adler was a calligrapher who created hand lettered titles on over 100 films worked frequently with Alfred Hitchcock and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "The Birds" 1963 his credits include "Comanche!" 1956 "The Man with the Golden Arm" 1955 "The Seven Year Itch" 1955 "Carmen Jones" 1954 "Psycho" 1960 "In the Heat of the Night" 1967 and "Justine" 1969. In 2012 an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation Kansas City. In the first letter dated May 16 1986 Adler describes after touching on other topics meeting Hitchcock and then presenting him with layout ideas for the titles. He then goes into detail regarding his answer to a question about the techniques of artist Eric Gill stating that Hitchcock "was amazed" by this answer and after that would "request 'to be sure to bring that nice young man along" meaning Adler whenever he had a job for Adler's firm. The second letter dated June 10th 1986 focuses almost exclusively on Adler's work on "The Birds" going into some detail regarding both the creative and technical processes of producing hand lettered titles for films. He also describes Hitchcock as "an unusual person to work with. He was a master at what he did knew what he wanted and smoked the finest cigars." He then concludes the letter with some brief remarks on how his approach to title lettering evolved over the course of his career. The letters themselves are works of art executed in a variety of inks in Adler's detailed penmanship with Johnson's name on each in particular receiving full calligraphic treatment. Also included are draft title cards for the film stylistically similar to each other but much different from the titles used in the finished film. Two of the cards are marked as "camera ready" in manuscript colored pencil with titles executed in white paint on black board. The third card photo stat on black paper which accompanied the June 10th letter has been annotated by Adler on both the recto and verso explaining the in more detail the technical process of putting the lettering on film. Overall a significant collection of material illuminating a little explored aspect of film design with a direct and significant connection to a seminal work by a director known for personally overseeing all aspects of production. Each letter 19 x 24 inches single leaf rectos only. May 16th letter folded twice for mailing June 10th letter folded. Two long diagonal creases to the May 16th letter else both are Fine. Original mailing envelope for the May 16th letter included. "Camera ready" title cards 22 x 14 inches. Lightly rubbed and about Near Fine. Third card 18 x 4 inches. Near Fine. National Film Registry. Clover Men Women and Chainsaws. Godard Histoires du cinema. Universal Pictures unknown books
1963réf. 151612Universal City: Universal Pictures 1963. Vintage studio still photograph from the 1963 film showing director Alfred Hitchcock's cameo in the film passing Tippi Hedren in a doorway while walking two small dogs. Hitchcock's last great film a grim psychological study made all the more terrifying by the lack of motivation assigned to its violence. Shot in various locations throughout California including Bodega Bay Bloomfield Valley Ford the Venice Canals and Union Square in San Francisco. 8 x 10 inches. Near Fine. National Film Registry. Clover Men Women and Chainsaws. Godard Histoires du cinema. Universal Pictures unknown books
1963réf. 160535Universal City: Universal Pictures 1963. Vintage borderless reference photograph from the 1963 film showing director Alfred Hitchcock talking with electronic musician Oskar Sala who composed the film's iconic soundtrack. Printed mimeo snipe in French affixed to the verso. Hitchcock's last great film a grim psychological study made all the more terrifying by the lack of motivation assigned to its violence. Shot in various locations throughout California including Bodega Bay Bloomfield Valley Ford the Venice Canals and Union Square in San Francisco. 7.5 x 9.5 inches. Very Good plus. National Film Registry. Clover Men Women and Chainsaws. Godard Histoires du cinema. Universal Pictures unknown books
1960réf. 147350N.p.: N.p. 1960. Draft script for an unproduced three-act play. With a few editorial manuscript ink annotations throughout. Based on Marcel Pagnol's 1934 script "Le premier amour" about the first true love between a man and woman leading the pair to defy the practices of polygamy common to their tribes and set out to make a new life together. Intended for production many times over two decades in 1946 1947 and 1969 but ultimately never realized. Set in the Stone Age. White titled wrappers with credits for screenwriter MARCEL PAGNOL and playwright ROBERT WYLER on the front wrapper. Title page present with credits for screenwriter MARCEL PAGNOL and playwright ROBERT WYLER. 117 leaves with last page of text numbered 3-4-12. Carbon typescript on onionskin stock rectos only. Pages Very Good plus wrapper Very Good plus bound with three gold brads. N.p. unknown
1975réf. 141114N.p.: N.p. 1975. Treatment script for an unproduced film. Translated from the French a Stone Age tribe which values men above women and fears fire conducts the yearly ritual of having young girls run to the hills and the men to chase after and catch them to impregnate them. A man with no hair known as the Pale Man raises an axe against his brother The Hawk in order to save a woman named Fair Girl and for his crime is banished from the tribe. Set in the Stone Age. Yellow titled wrappers. Title page present dated September 22 1975 with credits for screenwriter Marcel Pagnol translator Robert Wyler and commentator Paul Davids. Eight leaves with last leaf of text numbered eight. Xerographic duplication. Pages Near Fine wrapper Near Fine bound internally with two gold brads. N.p. unknown
1960réf. 147350N.p.: N.p. 1960. Draft script for an unproduced three-act play. With a few editorial manuscript ink annotations throughout. Based on Marcel Pagnol's 1934 script "Le premier amour" about the first true love between a man and woman leading the pair to defy the practices of polygamy common to their tribes and set out to make a new life together. Intended for production many times over two decades in 1946 1947 and 1969 but ultimately never realized. Set in the Stone Age. White titled wrappers with credits for screenwriter MARCEL PAGNOL and playwright ROBERT WYLER on the front wrapper. Title page present with credits for screenwriter MARCEL PAGNOL and playwright ROBERT WYLER. 117 leaves with last page of text numbered 3-4-12. Carbon typescript on onionskin stock rectos only. Pages Very Good plus wrapper Very Good plus bound with three gold brads. N.p. unknown books
1975réf. 141114N.p.: N.p. 1975. Treatment script for an unproduced film. Translated from the French a Stone Age tribe which values men above women and fears fire conducts the yearly ritual of having young girls run to the hills and the men to chase after and catch them to impregnate them. A man with no hair known as the Pale Man raises an axe against his brother The Hawk in order to save a woman named Fair Girl and for his crime is banished from the tribe. Set in the Stone Age. Yellow titled wrappers. Title page present dated September 22 1975 with credits for screenwriter Marcel Pagnol translator Robert Wyler and commentator Paul Davids. Eight leaves with last leaf of text numbered eight. Xerographic duplication. Pages Near Fine wrapper Near Fine bound internally with two gold brads. N.p. unknown books
1986réf. 150006N.p.: Whitehorse 1986. Second Draft script for the 1986 comedy short here under the working title "Is Anybody Listening" originally aired on August 2 on Cinemax. With a manuscript pencil annotation to the title page reading "Second Draft" and copied manuscript annotations throughout the script. A cynical beleaguered salesman for a sporting-goods store decides to take a road trip on his birthday to reconnect with his college gym coach. Self wrappers. Title page integral with front wrapper dated Monday February 10 1986 noted as Second Draft with credits for screenwriters James Belushi Fred Kaz and Marjorie Bransfield. 34 leaves with last page of text numbered 33. Xerographic duplication rectos only. Pages Very Good plus bound with two gold brads. Full provenance available. Whitehorse unknown
1986réf. 150006N.p.: Whitehorse 1986. Second Draft script for the 1986 comedy short here under the working title "Is Anybody Listening" originally aired on August 2 on Cinemax. With a manuscript pencil annotation to the title page reading "Second Draft" and copied manuscript annotations throughout the script. A cynical beleaguered salesman for a sporting-goods store decides to take a road trip on his birthday to reconnect with his college gym coach. Self wrappers. Title page integral with front wrapper dated Monday February 10 1986 noted as Second Draft with credits for screenwriters James Belushi Fred Kaz and Marjorie Bransfield. 34 leaves with last page of text numbered 33. Xerographic duplication rectos only. Pages Very Good plus bound with two gold brads. Full provenance available. Whitehorse unknown books
1977réf. 151304N.p.: N.p. 1977. Two vintage borderless reference photographs from the 1977 Italian film. With the stamps of Israeli Film Archive on the verso. Based on Piero Chiara's 1976 novel. A wealthy war hero befriends a loner with a sailboat taking him home to meet his estranged wife and sister-in-law. Shot on location in Piedmont Italy. 9.5 x 7 inches. One Near Fine one Very Good plus with pinholes to the bottom edge. N.p. unknown
1977réf. 151304N.p.: N.p. 1977. Two vintage borderless reference photographs from the 1977 Italian film. With the stamps of Israeli Film Archive on the verso. Based on Piero Chiara's 1976 novel. A wealthy war hero befriends a loner with a sailboat taking him home to meet his estranged wife and sister-in-law. Shot on location in Piedmont Italy. 9.5 x 7 inches. One Near Fine one Very Good plus with pinholes to the bottom edge. N.p. unknown books
réf. 146871N.p.: N.p. Unknown. Draft script for an unproduced Western film. A former sheriff turned bounty hunter takes on the formidable task of capturing and collecting the bounty on an old friend an outlaw who has killed six men. Set in Mexico. Black titled wrappers with the title on the rear wrapper. Title page present with credits for screenwriters James Byrnes and Joseph De Reda. 113 leaves with last page of text numbered 112. Xerographic duplication rectos only. Pages Very Good plus with first leaf separated from the binding wrapper Very Good plus slightly rusted at the binding bound with a silver prong. N.p. unknown
1972réf. 164302N.p.: N.p. 1972. Four vintage reference photographs from the 1972 German film. Three with printed mimeo snipes affixed to the versos. An exploration of 1950s Hollywood melodramas through the lens of 1970s Germany about the destructive skewed power dynamics between a twice-divorced fashion designer her live-in maid and her new lover. Set in Bremen shot on location in Worpswede Germany. Three photographs 5 x 7.5 inches one photograph 4.5 x 7 inches. Very Good plus. Arrow 12. Criterion Collection 740. N.p. unknown
réf. 146871N.p.: N.p. Unknown. Draft script for an unproduced Western film. A former sheriff turned bounty hunter takes on the formidable task of capturing and collecting the bounty on an old friend an outlaw who has killed six men. Set in Mexico. Black titled wrappers with the title on the rear wrapper. Title page present with credits for screenwriters James Byrnes and Joseph De Reda. 113 leaves with last page of text numbered 112. Xerographic duplication rectos only. Pages Very Good plus with first leaf separated from the binding wrapper Very Good plus slightly rusted at the binding bound with a silver prong. N.p. unknown books
1972réf. 164302N.p.: N.p. 1972. Four vintage reference photographs from the 1972 German film. Three with printed mimeo snipes affixed to the versos. An exploration of 1950s Hollywood melodramas through the lens of 1970s Germany about the destructive skewed power dynamics between a twice-divorced fashion designer her live-in maid and her new lover. Set in Bremen shot on location in Worpswede Germany. Three photographs 5 x 7.5 inches one photograph 4.5 x 7 inches. Very Good plus. Arrow 12. Criterion Collection 740. N.p. unknown books
1968réf. 161541N.p.: Sam Lake 1968. Three vintage studio still photographs from the 1968 film two with provenance stamps on the versos. A dominatrix picks up a young male hitchhiker and takes him to a farmhouse where she and two other dominatrixes take turns abusing and humiliating him and each other. 8 x 10 inches. Near Fine. Sam Lake unknown
1968réf. 161541N.p.: Sam Lake 1968. Three vintage studio still photographs from the 1968 film two with provenance stamps on the versos. A dominatrix picks up a young male hitchhiker and takes him to a farmhouse where she and two other dominatrixes take turns abusing and humiliating him and each other. 8 x 10 inches. Near Fine. Sam Lake unknown books
1926réf. 171412N.p.: N.p. 1926. Vintage double weight reference photograph from the 1926 film showing actress Billie Dove. Distribution stamp on the verso. After the death of his father at the hands of a bloody pirate gang a nobleman infiltrates the gang and becomes a buccaneer himself quietly seeking revenge. The third feature to be filmed in early two-tone Technicolor first introduced in "The Toll of the Sea" 1922. 8 x 10 inches. About Near Fine lightly toned with faint soil at the bottom right corner of the margin. National Film Registry. N.p. unknown
1952réf. 164772Universal City: Universal-International 1952. Vintage linen-backed publicity photograph from the 1952 film showing actor Boris Karloff. Printed mimeo snipe affixed to the verso. A British gentleman arrives at a gothic castle hellbent on uncovering his friends' mysterious disappearances. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1 1901 Jones worked for Paramount Pictures in the early 1930s and went on to be the head of the still photography department at Universal Pictures in 1935 where he worked well into the 1950s. 8 x 10 inches. Near Fine. Universal-International unknown
1937réf. 130886Universal City CA: Universal Pictures 1937. Continuity and Dialogue script for the 1938 film. Based on the 1936 novel by William Edward Haynes. The second installment of the Universal Crime Club mysteries. A man finds a black doll after murdering his business partner and is then later murdered himself. A detective tries to solves the mystery with multiple suspects. White self-wrappers with credits for director Otis Garrett. 106 leaves with last page of text numbered 15. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound with two gold brads along the top edge. Universal Pictures unknown
1972réf. 150718Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1972. Complete set of eight vintage color studio still photographs from the US release of the 1971 Italian film. A police detective investigates a string of murders where the victims are paralyzed and disemboweled. Set and shot on location in Rome. 10 x 8 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown
1949réf. 144415Los Angeles: Twentieth Century-Fox 1949. Final Draft script for the 1950 film. With a "New York Legal Department" rubber stamp on the front wrapper and extensive manuscript pencil annotations throughout likely by a professional reader regarding differences between the source novel by Thomas B. Costain and the script. Based on Costain's 1945 novel and partially conceived as a sequel to the 1949 film "Prince of Foxes" in order to reunite Tyrone Power and Orson Welles. "The Black Rose" features Power as a Saxon youth who runs away from England during the Crusades. Somehow he and his North African warlord friend Orson Welles make it to China where they get involved with the court of Kubla Kahn. Nominated for an Academy Award. Set in England and the Far East shot on location in England and Morocco. Blue titled wrappers noted as FINAL on the front wrapper rubber-stamped copy No. 19 and production No. 125 dated May 4 1949. Distribution page present with receipt removed. Title page present dated May 4 1949. PAGES leaves with last page of text numbered 161. Mimeograph duplication rectos only with blue revision pages throughout dated 5/17/49 and 7/5/49. Pages Fine wrapper Very Good bound internally with three gold brads. Twentieth Century-Fox unknown
