9,121 results
1953ref. 139844North Hollywood: Republic Pictures 1953. Two vintage studio still photographs from the 1953 film. Based on Vingie E. Roe's novel "The Golden Tide." Distributor debossed blindstamp at the bottom right corner of one of the images with a date stamp of "JUL 6 53" on the verso. Francie and a large group of barter-brides sail for California to marry rich gold miners. The group encounters a series of mishaps and a great deal of drama surrounds Francie at all times. 10 x 8 inches. Very Good plus with pin holes to the corners and a stamp and light soiling to the verso. Complete collation details available on request. Republic Pictures unknown books
1980ref. 139632N.p.: American International Pictures AIP 1980. Vintage color studio still photograph from the US release of the 1980 film. Three desperate suburbanites hatch a scheme to get cash quick unable to cope with the high cost of living. The film faced some production hiccups regarding the age of the actresses as screenwriter Kaufman wanted younger stars. Kaufman and Henshaw subsequently hired American International Pictures and the rest of the production continued smoothly. Set in Eugene Oregon shot on location. 10 x 8 inches. Near Fine. Complete collation details available on request. American International Pictures [AIP] unknown books
1969ref. 139768Los Angeles: Commonwealth United Entertainment 1969. Vintage color studio still photograph from the 1969 film. Based on the novel by Peter Miles. The feature film that brought Robert Altman to the attention of the film world giving him the break he needed to make "MASH" in the year that followed. A gothic psychological thriller that explores a spinster's depth of loneliness and sexual longing. She happens upon a young mute man in the park who she invites to live in her house. The film was not a box office success and has received a relatively negative reception mostly due to its unclarified theme. Shot on location in Vancouver Canada. 10 x 8 inches. Near Fine condition. Olive 540. Commonwealth United Entertainment unknown books
1965ref. 139617Culver City CA: Columbia Pictures 1965. Two vintage black-and-white reference studio still photographs from the 1965 film. Sex intrigue infidelity and murder all stir up this beach-based melodrama. When an ex lover washes up on shore of Acapulco wealthy aging Kit and her beach-boy husband become prime suspects. Shot on location in Acapulco Mexico. 8 x 10 inches and 10 x 8 25.5 x 20.5. Very Good plus. Complete collation details available on request. Columbia Pictures unknown books
1964ref. 139875Paris: Les Films de Mai 1964. Vintage borderless double weight studio still photographs from the 1964 French film. Featuring an image of two men boxing in front of a couple onlookers. A woman Madeline Robinson begins a relationship with a West Indian boxer Rene Lefevre twenty years her junior who wins the admiration of her young son until neighborhood drama forces the two apart. Set in Paris and shot there on location. 8 x 11.75 inches. Near Fine. Les Films de Mai unknown books
1970ref. 139895N.p.: American International Pictures AIP 1970. Vintage studio still photograph from the 1970 film. With an American International Pictures stamp to the verso alongside a cello-taped mimeograph snipe. Featuring a "black militant" being forcibly removed from the room by actor Larry Hagman while Harlene Jones and Judy Pace look on. A lighthearted comedy in which a man Wes Stern who fails out of college attempts suicide only to be saved against his will by the university president Larry Hagman who flunked him. In grumpy retaliation Stern decides to bed the three women most important to the president: his mistress his wife and his daughter. Set against the backdrop of Civil Rights campus upheaval. Shot on location in New Mexico. 8 x 10 inches. Near Fine. Complete collation details available on request. American International Pictures [AIP] unknown books
1938ref. 139377Universal City CA: Universal Pictures 1938. Two vintage black-and-white keybook photographs from the 1938. Mimeo snipes affixed to the versos. Based on Latimer's Bill Crane and Doc Williams characters from his books "Headed for a Hearse" "The Lady in the Morgue" "Murder in the Madhouse" "The Dead Don't Care" and "Red Gardenias." The last of three Bill Crane films the first two being "The Westland Case" 1937 and "The Lady in the Morgue" 1938. Here Bill Crane Foster visits a country estate where the occupants have been receiving threatening letters from someone called "The Eye." 8 x 10 inches. Very Good plus waviness and faint tape residue on the rectos. . Complete collation details available on request. Universal Pictures unknown books
1969ref. 139328Middlesex England: Eve Productions Cinecenta 1969. Vintage black-and-white double weight British still photograph from the 1968 US film. Rubber stamp on the verso of COLTMAN DISPLAYS LTD a distributor in Middlesex England. "Vixen!" was one of Meyer's best sleaziest and most commercially successful films made at the peak of his independent productions after "Faster Pussycat! Kill! Kill!" in 1965 and before "Beyond the Valley of the Dolls" in 1970. What is less well known is that this film by way of Ms. Gavin marked a breakthrough in the onscreen portrayal of women in terms of sexual aggression using the then-new platform of late 1960s American independent cinema and the aftermath of the Summer of Love as a canvas. Gavin's titular character is a married woman whose sexual boundaries are none but instead of being a typical sex romp the film heads off into areas that can be reasonably described as unexplored by sexploitation films including communism race relations political debate and terrorist activity. But also present in the film are many of the genre's more familiar themes breast size incest nonstop sexual activity and a generous dose of humor. 8 x 10 inches. Very Good plus with edge creasing and a single short tear. Complete collation details available on request. Eve Productions Cinecenta unknown books
1986ref. 139240Madrid Spain: RM Films International 1986. Original Spanish one-sheet poster for the 1986 release of the 1975 US film. Features buxom Christy Hartburg who starred as SuperLorna. Hartburg along with Kitten Natividad and Uschi Digard has become one of the more recognizable faces of Russ Meyer filmdom even though this was her only film. Clint Pitts operates a small-town gas station where he is constantly harassed by his wife SuperAngel Eubank. On one occasion the police are called and Harry Napier arrives and is promptly seduced by SuperAngel however his impotence becomes him. Stricken by SuperAngel's taunts Harry murders her in a rather gruesome bathtub scene and pins the act on Clint. On the lam Clint meets a farmer with a heyper-sexual Austrian mail-order bride named SuperSoul Digard. In keeping with director Meyer's powerful female roles SuperSoul rapes Clint a few times notably in a barn where the farmer discovers his wife's indiscretions. Clint meets up with SuperVixen Eubank an inexplicable reincarnation of SuperAngel and the two fall in love. Harry is however still hot on the trail. Meyer's successful return to independent filmmaking after the big-budget "Beyond the Valley of the Dolls" 1970 and the unfortunate films "The Seven Minutes" 1971 and "Black Snake" 1973. Arguably the most entertaining Meyer project with all the trademarks present: strong sexual women impotent men and healthy doses of sex violence and nudity with a nod to the desert violence of Italian Euro Westerns of the 1960s. Shot on location in Arizona California and New Mexico. 27 x 41 inches folded as issued. Near Fine. Scarce. RM Films International unknown books
1970ref. 139232Romania: Eve Productions 1970. Two vintage oversize borderless black-and-white lobby cards from a 1970s Romanian release of the 1965 US film. Rubber-stamped on the versos MOTQRPSICHO sic FAVORIT indicative of the Cinema Favorit in Romania once the largest and most popular cinema in the country and one that operated even under the then-Communist regime. One lobby card also bears the imprint of the cinema on the recto. Seen in the lobby cards is Haji as a voluptuous Cajun woman named Ruby and Alex Rocco as a veterinarian named Cory whose wife was raped by a sex-hungry motorcycle gang the same Vietnam Vet-led gang that killed Ruby's husband. The last of Meyer's "noir" cycle 1964-1965 or "Gothic" period as Meyer puts it a series of sexploitation films shot in black-and-white with powerful psycho-sexual female characters male impotence and a serious dramatic plot involving less of the "nudie" filmmaking style so prominent in the director's early films. Other films in his "Gothic" period include "Lorna" 1964 "Mudhoney" 1965 and the epic and legendary "Faster Pussycat! Kill! Kill! " 1965. "Fanny Hill" 1964 snuck in right after "Lorna" although that film is generally left out of the "Gothic" period. "Motorpsycho!" was written by James Griffith who starred as the Preacher narrator in "Lorna" and the underrated Hal Hopper another Meyer regular. The film explores not only the ever present "biker" culture and its association with uncontrolled violence but the lasting effects of war or post-traumatic stress disorder particularly the Vietnam War; Meyer's statement on PTSD and Vietnam stands as one of the earliest inferences. 9.25 x 11.5 inches. One card is matte the other glossy. Very Good plus overall both with pinholes at the corners edge creases slight curling. Eve Productions unknown books
1974ref. 129834Los Angeles: Columbia Broadcasting System CBS 1974. First Draft script for the 1975 television episode. A plump ex Los Angeles detective with a taste for expensive cars and fine dining is the star of this 1970s television series. After losing his wife and child to a car accident detective Frank Cannon William Conrad decides to leave the force and become a private investigator. "Cannon" is the quintessential 70s detective show a wonderful reflection of the genera. Cream titled wrappers noted as First Draft on the front wrapper dated May 21 1974. Title page present dated May 21 1975 noted as First Draft with credit for screenwriter Wilbur. 68 leaves mechanical duplication. Pages Near Fine wrapper Near Fine bound with two gold brads. Holograph ink annotations to the front wrapper. Columbia Broadcasting System [CBS] unknown books
1959ref. 139477Paris: Les Films du Carrosse 1959. Original French Grande poster for the 1959 film. Poster design by Boris Grinsson. Truffaut's auspicious debut winner of Best Director at Cannes nominated for the Palme d'Or and also nominated for a Best Original Screenplay Oscar the following year. 47 x 62 inches27 x 41. Linen backed and rolled. Bright and Fine. Capitaine 207. Warren Vol. 1 p. 159. Les Films du Carrosse unknown books
1971ref. 137936Los Angeles: Twentieth Century-Fox 1971. Revised Draft script for the 1971 film. Produced for use on location in New York City in March and April 1971 when shooting for the film commenced there. William Friedkin made his name with this gritty adaptation of Robin Moore's 1969 nonfiction account of east coast drug trafficking and its impact on New York City undercover police officers. Perhaps the greatest of the many 1970s crime films that were shot on location in New York City with glorious period detail in nearly every frame. The screenplay was written by author Ernest Tidyman one year after the publication of his seminal Harlem-based crime novel "Shaft." Winner of five Academy Awards including Best Picture Best Director Best Screenplay and Best Actor Hackman along with three additional nominations. Tan titled wrappers noted as FRIEDKIN DRAFT and REVISED on the front wrapper in holograph pencil dated 3/23/71 and 4/26/71 in holograph pencil. Title page not present. Last leaf of text unnumbered. Xerographic duplication with photocopied punch holes and a few revision pages throughout dated variously between 4/26/71 and 3/23/71. Pages and wrapper about Near Fine bound with three gold brads. National Film Registry. Grant US. Hardy The BFI Companion to Crime. Penzler 101. Spicer US Neo-Noir. Twentieth Century-Fox unknown books
1958ref. 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 holograph 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
1970ref. 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
1981ref. 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. 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. 13.25 x 9.25 inches. Near Fine. Universal Pictures unknown books
1973ref. 139507Boca Raton FL: Penthouse 1973. Vintage oversize double weight borderless still photograph from the 1973 film based on the 1947 novel by Andrew Lytle. Shot struck and mounted by the film's still photographer Bob Willoughby with a holograph notation in his hand on the verso. Full provenance available. Culp and Eggar romp in a bed that is the middle of the woods for some reason while the haunted house that will exert a corrupting influence on the couple looms in the background. An image that does not appear in the so-bad-its-nearly-avant garde film but one that nevertheless captures its aura of surreal eroticism quite well. Set in the countryside of Southern California shot on location in British Columbia Indian Arm and Vancouver. 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 inches. Fine. Thrower Nightmare USA. Penthouse unknown books
1971ref. 139538Burbank CA: American Broadcasting Company ABC 1971. Vintage oversize double weight borderless still photograph of Walter Matthau and a fetching Deborah Winters from the 1971 film based on the 1965 novel by Katharine Topkins. Nominated four Academy Awards including a Best Actor nod for Matthau starring in his friend Jack Lemmon's first and only directorial effort. Although not indicated shot struck and mounted by the film's still photographer Bob Willoughby. 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 13.5. Fine. American Broadcasting Company [ABC] unknown books
1974ref. 139505Los Angeles: Embassy Pictures 1974. Vintage oversize double weight borderless still photograph from the 1974 film based on the 1971 novel by Evelyn Anthony. Shot struck and mounted by the film's still photographer Bob Willoughby with holograph notation on the verso in his hand. 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. 11 x 14 inchescm. Near Fine. Embassy Pictures unknown books
1961ref. 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
1971ref. 130851Burbank CA: American Broadcasting Company ABC 1971. Draft script for the 1971 television movie here under the working title "The Day They Took the Babies Away." Actor Van Heflin's working copy with his holograph annotations throughout. A film produced for ABC's now-legendary "Movie of the Week" series. A pregnant woman goes on the run in a dystopian future where having children is outlawed due to overpopulation. Goldenrod titled wrappers noted as Revised on the front wrapper dated 2-1-71. Title page present dated January 26 1971 with credit for screenwriter Fischer. 122 leaves on green stock mimeograph duplication with goldenrod light orange yellow and blue revision pages throughout dated variously between 1-29-71 and 2-12-71. Pages Near Fine wrapper Near Fine bound with two gold brads. American Broadcasting Company [ABC] unknown books
1960ref. 130773Los Angeles: Columbia Broadcasting System CBS 1960. Draft script for Season Four episode Eleven of the anthology drama show "Playhouse 90" which aired on February 24 1960. Actor Van Heflin's working copy with his holograph name on the first page and holograph annotations throughout. Also included are two rehearsal schedules for the production. "Playhouse 90" ran from 1956 to 1960 on CBS presenting 90 television movies rather than the standard 60 minute format of most dramas. The program won nine Emmy Awards during it's run including one for Best Drama in its final 1960 season. Script is as issued with pages un-punched and without wrappers. Title page present dated 2-6-60 with credits for screenwriter Rose and director Schaffner. 122 leaves mimeograph duplication with pink and white revision pages throughout dated variously between 2-9-60 and 2-10-60. Pages Fine unbound. Rehearsal Schedules: 2 leaves each one on pink stock and a Call Sheet with annotations. Fine. Columbia Broadcasting System [CBS] unknown books
1955ref. 130854Culver City CA: Columbia Pictures 1955. Draft script for the 1955 film here under the working title "The Calico Pony." Actor Van Heflin's copy with his holograph annotations throughout. Heflin plays a Civil War soldier returning to his hometown as a minister but his violent past follows him. The film debut of Joanne Woodward. Red and black titled wrappers. Title page present with credit for writer Meadow. 146 leaves mimeograph duplication with annotations throughout. Pages Near Fine wrapper Near Fine internally bound with three gold brads. Columbia Pictures unknown books
1944ref. 130765Culver City CA: Army Air Forces First Motion Picture Unit 1944. Revised Final Draft script for the 1944 military training film. Although not indicated on the script copy belonging to actor Van Heflin who appears in an uncredited role in the film. White titled wrappers noted as Revised Final on the front wrapper and production No. 88 with credit for screenwriter Sgt. Gomberg. Title page integral with the front wrapper as issued. 46 leaves mimeograph duplication. Pages Fine wrapper Near Fine bound with two silver brads. Army Air Forces First Motion Picture Unit unknown books
1967ref. 130772Burbank CA: National Broadcasting Company NBC 1967. Final Draft script for episode 19 of the 1967-1968 television anthology show. Actor Van Heflin's copy with the name of his character in holograph ink on the front wrapper and holograph annotations on nearly every page. "The Danny Thomas Hour" ran for one season on NBC as an anthology show with Thomas presenting dramas comedies and musical variety shows. In "Fear the Chain" Van Heflin plays a deserter from the German army trying to reach Switzerland. Goldenrod titled wrappers with annotations in holograph ink and pencil. Title page present dated April 20 1967 noted as Final Draft with credit for screenwriter Bercovici. 66 leaves mechanical duplication with blue and goldenrod revision pages throughout dated variously between 5-18-67 and 5-29-67. Pages Near Fine wrapper Near Fine bound with two gold brads. National Broadcasting Company [NBC] unknown books