11,046 results
1964ref. 167791Universal City: Universal Pictures 1964. Vintage reference photograph from the 1964 film showing actor Sean Connery talking with director Alfred Hitchcock between takes during filming on location in San Francisco with the Bay Bridge in the background. Printed mimeo snipe affixed to the verso. Based on Winston Graham's 1961 novel which follows a wealthy businessman's unwanted often cruel attempts to help a troubled young woman come to terms with her past. The production faced several setbacks in its development most relating to Hitchcock's insistence on including a rape scene present in the novel and the subsequent troubles in casting the lead role given the emotional complexity demanded for the character. Set and shot on location in California Pennsylvania New Jersey Virginia and Maryland. 10 x 8 inches. Faint discoloration on the top edge of the verso else about Near Fine. Godard Histoires du cinema. Grant US. Spicer US. Universal Pictures unknown
1964ref. 150493Universal City: Universal Pictures 1964. Vintage studio still photograph from the set of the 1964 film showing director Alfred Hitchcock and a camera crew capturing a shot of actress Tippi Hedren at a desk in the publishing company office. With a printed mimeo snipe affixed to the verso along with the stamp of Culver Pictures and a stamp noting No. 75147. Based on Winston Graham's 1961 novel which follows a wealthy businessman's unwanted often cruel attempts to help a troubled young woman come to terms with her dark past. The production faced several setbacks in its development most relating to Hitchcock's insistence on including a rape scene present in the novel and the subsequent troubles in casting the lead role given the emotional complexity demanded for the character. Set and shot on location in California Pennsylvania New Jersey Virginia and Maryland. 10 x 8 inches. Near Fine. Godard Histoires du cinema. Grant US. Spicer US. Universal Pictures unknown
1959ref. 161065Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1959. Vintage studio still photograph of director Alfred Hitchcock talking with actor Cary Grant on the set of the 1959 film. An innocent man is pursued across the US by a group of foreign spies who have mistaken him for a government agent. Widely considered one of Hitchcock's best films the last of four the director made with Grant with a score by Bernard Hermann and a famous title sequence by Saul Bass. 8 x 10 inches. Near Fine. National Film Registry. Godard Histoires du cinema. Grant US. Penzler 101. Rosenbaum 1000. Metro-Goldwyn-Mayer [MGM] unknown
1959ref. 151251N.p.: N.p. 1959. Vintage reference photograph from the 1959 film showing actors Cary Grant and Eva Marie Saint. From the archive of film historian and author Joel Finler. An innocent man is pursued across the US by a group of foreign spies who have mistaken him for a government agent. Widely considered one of director Alfred Hitchcock's best films the last of four the director made with Cary Grant with a score by Bernard Hermann and a famous title sequence by Saul Bass. 10 x 8 inches. Near Fine. National Film Registry. Godard Histoires du cinema. Grant US. Penzler 101. Rosenbaum 1000. N.p. unknown
1960ref. 135571Hollywood: Paramount Pictures 1960. Vintage black and white photograph of Anthony Perkins on the set of the 1960 film silhouetted against the Bates Motel. The most sought after image from the known stills produced. Far and away the highest grossing film of Hitchcock's career nominated for 4 Academy awards including Hitichcock's fifth and final Best Director nomination and a key film in expanding allowable depictions of both violence and sexuality under the eroding Production Code. Selected by the National Film Registry in 1992. 8 x 10 inches. Very Good plus with a few pinholes at the corners. National Film Registry. Spicer US. Paramount Pictures unknown
1948ref. 137965Burbank CA: Warner Brothers 1948. Vintage reference photograph of a boardwalk poster advertising the 1948 Alfred Hitchcock film. 10 x 8 inches. Near Fine. Grant US. Selby US. Spicer US. Warner Brothers unknown
1945ref. 147298Los Angeles: Vanguard Films 1945. Souvenir Shooting script for the 1945 film issued by Selznick Studios to promote the film just prior to its release. Title page and credits covered over two separate pages with a credit for Salvador Dali who penned the surreal dream sequence in the film. Based on the 1927 novel "The House of Dr. Edwardes" by Hilary Saint George Saunders and John Palmer. Nominated for six Academy Awards including Best Picture Best Director and Best Supporting Actor for Michael Chekhov winning one. Producer David O. Selznick wanted to make a "psychiatric" story for the screen and Alfred Hitchcock persuaded Selznick to buy the rights to the novel which Hitchcock and his wife were adapting. Mustard yellow titled wrappers noted as Final Shooting Script on the front wrapper dated June 25 1945 with a credit for screenwriter Hecht. Title page present with primary screen credits over two pages. 131 leaves with last page of text numbered 129. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound with three gold brads. In a custom gray cloth clamshell box with a brown leather spine label and titles in gilt. Grant US. Selby Canon. Silver Classic Noir. Spicer US. Vanguard Films unknown
1949ref. 151703Beverly Hills CA: United Artists 1949. Post-production Cutting Continuity script for the 1945 film issued for the Selznick Studio files in 1949. Light blue titled wrappers noted as Cutting Continuity on the front wrapper dated Rerun June 10 1949. 49 leaves with last page of text numbered REEL SIX-B Page 5. Mimeograph duplication rectos only. Pages Near Fine wrapper Very Good plus bound along top with two gold brads. Selby Canon US. Silver Classic Noir. Spicer US. United Artists unknown
1951ref. 151248Burbank CA: Warner-Pathe 1951. Vintage photograph showing two shots from the 1951 film struck onto the single print. With a printed mimeo snipe affixed to the verso along with a Warner-Pathe stamp. From the archive of film historian and author Joel Finler. Based on Patricia Highsmith's 1950 novel. A Hitchcock classic wherein two passengers on a train form a partnership to permanently rid themselves of incessant problems. The plan seems infallible until one person shirks his end of the responsibilities. Shot on location in New York Los Angeles District of Columbia and Connecticut. Nominated for an Academy Award. 10 x 8 inches. Very Good plus lightly and evenly toned overall. Grant US. Hardy BFI Crime Companion. Selby US Masterwork. Silver and Ward Classic Noir. Spicer US. Warner-Pathe unknown
1963ref. 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
1963ref. 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
1944ref. 129341Los Angeles: Vanguard Films 1944. Draft script for the 1944 short documentary film. A rare script for an obscure short directed by Hitchcock. Salmon titled wrappers dated February 1 1944. 12 leaves mimeograph duplication with revision pages throughout dated 2-10-44. Pages Fine wrapper Near Fine bound with three small gray brads. Vanguard Films unknown
1955ref. 150634Los Angeles: Paramount Pictures 1955. Complete set of ten vintage color studio still photographs from the 1955 film. Stamped production No. 63-71 on the versos and bottom right corner of the rectos. Based on Jack Trevor Story's 1950 novel. The dead body of a local man is discovered in the woods near a small New England town leading the townspeople to speculate on what should be done with the corpse and more importantly the identity of the culprit. One of director Alfred Hitchcock's few true comedies. Set and shot in Craftsbury Vermont. 10 x 8 inches. Near Fine. Rosenbaum 1000. Paramount Pictures unknown
1956ref. 143359Burbank CA: Warner Brothers 1956. Vintage borderless photograph of a contemplative Alfred Hitchcock on the set of the 1956 film. With the stamp of Warner Brothers Netherlands on the verso. Based on the real life story of Manny Balestrero accused of a series of robberies he didn't commit as detailed in the nonfiction book "The True Story of Christopher Emmanuel Balestrero" by Maxwell Anderson who co-wrote the screenplay and the "Life" magazine article "A Case of Identity" by Herbert Brean. Hitchcock's final film for Warner Brothers and an influence on both Jean-Luc Godard and Martin Scorsese. 7.25 x 9.25. About Near Fine. Grant US. Rosenbaum 1000. Selby US Masterwork. Silver and Ward Classic Noir. Spicer US. Warner Brothers unknown
1969ref. 171039N.p.: N.p. 1969. Vintage borderless reference photograph from the 1969 film showing Alfred Hitchcock sitting in his director's chair on the tarmac at the Paris airport Orly Val-de-Marne France. Layout annotations in manuscript pencil on the verso. Based on the 1967 novel by Leon Uris about a French agent who helps the United States uncover the presence of Russian missiles in Cuba. 9.5 x 7.25 inches. Near Fine. N.p. unknown
1972ref. 148288Universal City: Universal Pictures 1972. Collection of 12 vintage French color lobby cards from the 1972 film. Based on the 1966 novel "Goodbye Piccadilly Farewell Leicester Square" by Arthur La Bern. London is terrorized by a serial rapist who then strangles his victims with a necktie. Police suspect Richard Blaney Jon Finch whose wife was brutally killed. Alfred Hitchcock's penultimate film. Set in and shot on location in London. 11.25 x 9 inches. Near Fine. Vogel Film as a Subversive Art. Clover Men Women and Chainsaws. Grant US. Universal Pictures unknown books
1972ref. 148289Universal City: Universal Pictures 1972. Vintage French color lobby card from the 1972 film. Based on the 1966 novel "Goodbye Piccadilly Farewell Leicester Square" by Arthur La Bern. London is terrorized by a serial rapist who then strangles his victims with a necktie. Police suspect Richard Blaney Jon Finch whose wife was brutally killed. Alfred Hitchcock's penultimate film. Set in and shot on location in London. 11.25 x 9 inches. Pinholes at corners else Near Fine. Grant UK. Vogel Film as a Subversive Art. Clover Men Women and Chainsaws. Universal Pictures unknown books
1972ref. 148290Universal City: Universal Pictures 1972. Vintage borderless studio still photograph from the 1972 film with provenance stamp of film historian "Maurice Bessy" on verso. Based on the 1966 novel "Goodbye Piccadilly Farewell Leicester Square" by Arthur La Bern. London is terrorized by a serial rapist who then strangles his victims with a necktie. Police suspect Richard Blaney Jon Finch whose wife was brutally killed. Alfred Hitchcock's penultimate film. Set in and shot on location in London. 9.5 x 7.25 inches. Near Fine. Vogel Film as a Subversive Art. Clover Men Women and Chainsaws. Grant US. Universal Pictures unknown books
1949ref. 151703Beverly Hills CA: United Artists 1949. Post-production Cutting Continuity script for the 1945 film issued for the Selznick Studio files in 1949. Light blue titled wrappers noted as Cutting Continuity on the front wrapper dated Rerun June 10 1949. 49 leaves with last page of text numbered REEL SIX-B Page 5. Mimeograph duplication rectos only. Pages Near Fine wrapper Very Good plus bound along top with two gold brads. Selby Canon US. Silver Classic Noir. Spicer US. United Artists unknown books
1945ref. 147298Los Angeles: Vanguard Films 1945. Souvenir Shooting script for the 1945 film issued by Selznick Studios to promote the film just prior to its release. Title page and credits covered over two separate pages with a credit for Salvador Dali who penned the surreal dream sequence in the film. Based on the 1927 novel "The House of Dr. Edwardes" by Hilary Saint George Saunders and John Palmer. Nominated for six Academy Awards including Best Picture Best Director and Best Supporting Actor for Michael Chekhov winning one. Producer David O. Selznick wanted to make a "psychiatric" story for the screen and Alfred Hitchcock persuaded Selznick to buy the rights to the novel which Hitchcock and his wife were adapting. Mustard yellow titled wrappers noted as Final Shooting Script on the front wrapper dated June 25 1945 with a credit for screenwriter Hecht. Title page present with primary screen credits over two pages. 131 leaves with last page of text numbered 129. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound with three gold brads. In a custom gray cloth clamshell box with a brown leather spine label and titles in gilt. Grant US. Selby Canon. Silver Classic Noir. Spicer US. Vanguard Films unknown books
1959ref. 161065Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1959. Vintage studio still photograph of director Alfred Hitchcock talking with actor Cary Grant on the set of the 1959 film. An innocent man is pursued across the US by a group of foreign spies who have mistaken him for a government agent. Widely considered one of Hitchcock's best films the last of four the director made with Grant with a score by Bernard Hermann and a famous title sequence by Saul Bass. 8 x 10 inches. Near Fine. National Film Registry. Godard Histoires du cinema. Grant US. Penzler 101. Rosenbaum 1000. Metro-Goldwyn-Mayer [MGM] unknown books
1959ref. 151251N.p.: N.p. 1959. Vintage reference photograph from the 1959 film showing actors Cary Grant and Eva Marie Saint. From the archive of film historian and author Joel Finler. An innocent man is pursued across the US by a group of foreign spies who have mistaken him for a government agent. Widely considered one of director Alfred Hitchcock's best films the last of four the director made with Cary Grant with a score by Bernard Hermann and a famous title sequence by Saul Bass. 10 x 8 inches. Near Fine. National Film Registry. Godard Histoires du cinema. Grant US. Penzler 101. Rosenbaum 1000. N.p. unknown books
1963ref. 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
1948ref. 137965Burbank CA: Warner Brothers 1948. Vintage reference photograph of a boardwalk poster advertising the 1948 Alfred Hitchcock film. 10 x 8 inches. Near Fine. Grant US. Selby US. Spicer US. Warner Brothers unknown books
1955ref. 150634Los Angeles: Paramount Pictures 1955. Complete set of ten vintage color studio still photographs from the 1955 film. Stamped production No. 63-71 on the versos and bottom right corner of the rectos. Based on Jack Trevor Story's 1950 novel. The dead body of a local man is discovered in the woods near a small New England town leading the townspeople to speculate on what should be done with the corpse and more importantly the identity of the culprit. One of director Alfred Hitchcock's few true comedies. Set and shot in Craftsbury Vermont. 10 x 8 inches. Near Fine. Rosenbaum 1000. Paramount Pictures unknown books
