11,064 results
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
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. 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
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. 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
1965ref. 161741New York: Sam Lake Enterprises 1965. Two vintage studio still photographs from the 1965 film. Provenance stamps and one label on the versos. The Way Out Electronics Company is marketing a new color television that includes a "fourth dimension" capable of transmitting physical objects through the screen. Shot on location in Toronto. 8 x 10 inches. Very Good plus with light creasing at the extremities. Sam Lake Enterprises unknown books
1965ref. 161741New York: Sam Lake Enterprises 1965. Two vintage studio still photographs from the 1965 film. Provenance stamps and one label on the versos. The Way Out Electronics Company is marketing a new color television that includes a "fourth dimension" capable of transmitting physical objects through the screen. Shot on location in Toronto. 8 x 10 inches. Very Good plus with light creasing at the extremities. Sam Lake Enterprises unknown
1955ref. 161316N.p.: N.p. 1955. Three vintage reference photographs of director Jean Renoir on the set of the 1955 film two showing Renoir with actress Françoise Arnoul and one showing Renoir examining the ground while surrounded by cast members. All three photographs with Amsterdam distributor stamps on the versos. A dramatization of the opening of the famed Moulin Rouge nightclub about a theatre producer who decides to revive the cancan dance after seeing a beautiful young woman dancing at an old-fashioned Montmartre dance hall. 7 x 5 inches. Very Good plus lightly worn one with faint ink residue on the top portion of the recto. N.p. unknown books
1956ref. 143992Paris: Franco London Film S.A. 1956. Original program for the 1956 English language release of the 1955 French-Italian film. Deluxe program in English text illustrated throughout in black-and-white stills from the film detailing the film synopsis. Also includes 8 full-color borderless film stills akin to lobby cards a brief filmography of director Renoir and transcript of an interview between Renoir and Georges Van Parys from January 1 1955 and sheet music for the theme song "Complainte de la butte." Housed in a Franco London Film folder with tipped-in plate reproducing Pierre-Auguste Renoir's "Le Moulin de la Galette" and film title in red on the front wrapper. Based on an idea by Andre-Paul Antoine his second to last film credit before "La dulce enemiga" 1957. Set in 1890s Paris Henri Danglard Gabin is the owner of a cafe where his mistress Lola Felix performs as a belly dancer. With the cafe nearly bankrupt Henri inspired by an old-fashioned cancan in Montmartre decides to add a new dancer to revive his business. Cue a laundress named Nini Arnoul who soon finds fame at the Moulin Rouge. François Truffaut's review in "Arts" magazine May 1955 was highly supportive even though other critics like Bernard Chardere criticised the music the sets even the final cancan scene. Regardless the film was awarded the Grand Prix de l'Academie du Cinéma 1956. Program 9 x 12.5 inches saddle-stapled and string-bound 4 leaves in slightly larger folder. 8 film stills 9 x 12 inches. Interview slightly smaller than stills single leaf printed on both sides and sheet music slightly larger dated 1954 single leaf folded twice 3 sides printed. Very Good plus overall with a few small scattered creases and brief dampstains to the folder. Criterion Collection. Roger Ebert Great Movies IV. Franco London Film S.A. unknown books
1955ref. 161316N.p.: N.p. 1955. Three vintage reference photographs of director Jean Renoir on the set of the 1955 film two showing Renoir with actress Françoise Arnoul and one showing Renoir examining the ground while surrounded by cast members. All three photographs with Amsterdam distributor stamps on the versos. A dramatization of the opening of the famed Moulin Rouge nightclub about a theatre producer who decides to revive the cancan dance after seeing a beautiful young woman dancing at an old-fashioned Montmartre dance hall. 7 x 5 inches. Very Good plus lightly worn one with faint ink residue on the top portion of the recto. N.p. unknown
1956ref. 143992Paris: Franco London Film S.A. 1956. Original program for the 1956 English language release of the 1955 French-Italian film. Deluxe program in English text illustrated throughout in black-and-white stills from the film detailing the film synopsis. Also includes 8 full-color borderless film stills akin to lobby cards a brief filmography of director Renoir and transcript of an interview between Renoir and Georges Van Parys from January 1 1955 and sheet music for the theme song "Complainte de la butte." Housed in a Franco London Film folder with tipped-in plate reproducing Pierre-Auguste Renoir's "Le Moulin de la Galette" and film title in red on the front wrapper. Based on an idea by Andre-Paul Antoine his second to last film credit before "La dulce enemiga" 1957. Set in 1890s Paris Henri Danglard Gabin is the owner of a cafe where his mistress Lola Felix performs as a belly dancer. With the cafe nearly bankrupt Henri inspired by an old-fashioned cancan in Montmartre decides to add a new dancer to revive his business. Cue a laundress named Nini Arnoul who soon finds fame at the Moulin Rouge. François Truffaut's review in "Arts" magazine May 1955 was highly supportive even though other critics like Bernard Chardere criticised the music the sets even the final cancan scene. Regardless the film was awarded the Grand Prix de l'Academie du Cinéma 1956. Program 9 x 12.5 inches saddle-stapled and string-bound 4 leaves in slightly larger folder. 8 film stills 9 x 12 inches. Interview slightly smaller than stills single leaf printed on both sides and sheet music slightly larger dated 1954 single leaf folded twice 3 sides printed. Very Good plus overall with a few small scattered creases and brief dampstains to the folder. Criterion Collection. Roger Ebert Great Movies IV. Franco London Film S.A. unknown
1976ref. 141005Los Angeles: Braun Entertainment Group 1976. Sixth Draft script for the 1976 film. Laid in is a letter to John Huston from Leland Nolan. Based on Howard Fast's 1944 novel based in turn on the true story of an ex-slave and Union solider who returns home where he is elected to the state legislature and eventually to the US Senate despite opposition from white landowners law enforcement and the KKK. Set in South Carolina. Blue titled wrappers. Title page present dated May 24 1976 noted as Sixth Draft with credits for screenwriter and author Howard Fast. 148 leaves with last page of text numbered 145. Xerographic duplication. Pages Near Fine wrapper Near Fine bound internally with a silver prong binding. Braun Entertainment Group unknown books
1976ref. 141005Los Angeles: Braun Entertainment Group 1976. Sixth Draft script for the 1976 film. Laid in is a letter to John Huston from Leland Nolan. Based on Howard Fast's 1944 novel based in turn on the true story of an ex-slave and Union solider who returns home where he is elected to the state legislature and eventually to the US Senate despite opposition from white landowners law enforcement and the KKK. Set in South Carolina. Blue titled wrappers. Title page present dated May 24 1976 noted as Sixth Draft with credits for screenwriter and author Howard Fast. 148 leaves with last page of text numbered 145. Xerographic duplication. Pages Near Fine wrapper Near Fine bound internally with a silver prong binding. Braun Entertainment Group unknown
1934ref. 146328Elstree: British International Pictures 1934. Draft script for the 1934 film. With manuscript pencil and ink annotations on the front wrapper and first leaf. A wimpy foppish clerk is fired from his job and as a last resort enlists in the Navy. Tall orange titled wrappers noted as copy No. 1 dated 25th January 1934. Title page present dated 25th January 1934. 139 leaves with last page of text numbered 137. Mimeograph duplication rectos only. Pages Very Good wrapper Very Good with soiling and dampstaining to both and rusting near the page binding with silver prong binding. British International Pictures unknown books
1934ref. 146328Elstree: British International Pictures 1934. Draft script for the 1934 film. With manuscript pencil and ink annotations on the front wrapper and first leaf. A wimpy foppish clerk is fired from his job and as a last resort enlists in the Navy. Tall orange titled wrappers noted as copy No. 1 dated 25th January 1934. Title page present dated 25th January 1934. 139 leaves with last page of text numbered 137. Mimeograph duplication rectos only. Pages Very Good wrapper Very Good with soiling and dampstaining to both and rusting near the page binding with silver prong binding. British International Pictures unknown
1972ref. 168139Burbank CA: Warner Brothers 1972. Two vintage studio still photographs taken on the set of the 1974 film one showing director Richard Rush and actor James Caan the other showing Caan with motorcycle stunt instructor Mike Bast. A blueprint for the buddy cop movie about two inept police officers portrayed with wonderful chemistry by Alan Arkin and James Caan who wreak utter mayhem and destruction while trying to bring down a local mob boss. Director Richard Rush's ludicrous politically incorrect black comedy satirizing the popular revenge and police action films of the period. Set and shot on location in San Francisco California. 7.5 x 10 inches. Warner Brothers unknown books
1972ref. 168139Burbank CA: Warner Brothers 1972. Two vintage studio still photographs taken on the set of the 1974 film one showing director Richard Rush and actor James Caan the other showing Caan with motorcycle stunt instructor Mike Bast. A blueprint for the buddy cop movie about two inept police officers portrayed with wonderful chemistry by Alan Arkin and James Caan who wreak utter mayhem and destruction while trying to bring down a local mob boss. Director Richard Rush's ludicrous politically incorrect black comedy satirizing the popular revenge and police action films of the period. Set and shot on location in San Francisco California. 7.5 x 10 inches. Warner Brothers unknown
1967ref. 161739N.p.: Boxoffice International 1967. Two vintage studio still photographs from the 1967 film. Provenance stamps on the verso of each. A bored suburban housewife and her French friend answer a classified ad leading to sex blackmail and whippings. Set in and shot on location in Los Angeles. 8 x 10 inches. Near Fine. Boxoffice International unknown books
1967ref. 161739N.p.: Boxoffice International 1967. Two vintage studio still photographs from the 1967 film. Provenance stamps on the verso of each. A bored suburban housewife and her French friend answer a classified ad leading to sex blackmail and whippings. Set in and shot on location in Los Angeles. 8 x 10 inches. Near Fine. Boxoffice International unknown
ref. 172342Burbank CA: Walt Disney Productions 1975. Shooting script for the 1976 film. Not to be confused with the 2003 remake starring Jamie Lee Curtis and Lindsay Lohan. Based on the 1972 novel by Mary Rodgers who also wrote the screenplay about a feuding mother and daughter who magically switch bodies for a day allowing each to gain sympathy for the other. A star vehicle for Jodie Foster and one of the last films before Foster began transitioning to more adult roles. Yellow titled wrappers dated July 15 1975 noted as Shooting Script and production No. 0151 on the front wrapper with credit for Rodgers. Title page integral with the first page of text noted as production No. 0151 and dated 7/15/75. 129 leaves with last page of text numbered 129. Xerographic duplication rectos only. Pages Near Fine wrappers Very Good plus moderately faded to the edges bound internally with three gold brads. Walt Disney Productions unknown books
ref. 172342Burbank CA: Walt Disney Productions 1975. Shooting script for the 1976 film. Not to be confused with the 2003 remake starring Jamie Lee Curtis and Lindsay Lohan. Based on the 1972 novel by Mary Rodgers who also wrote the screenplay about a feuding mother and daughter who magically switch bodies for a day allowing each to gain sympathy for the other. A star vehicle for Jodie Foster and one of the last films before Foster began transitioning to more adult roles. Yellow titled wrappers dated July 15 1975 noted as Shooting Script and production No. 0151 on the front wrapper with credit for Rodgers. Title page integral with the first page of text noted as production No. 0151 and dated 7/15/75. 129 leaves with last page of text numbered 129. Xerographic duplication rectos only. Pages Near Fine wrappers Very Good plus moderately faded to the edges bound internally with three gold brads. Walt Disney Productions unknown
1986ref. 141902N.p.: N.p. 1986. Treatment script for an unproduced film. The true story of Benjamin Franklin traveling to France after the American Revolution where he acts as a diplomat from the newly-established United States of America and he makes sure to throw around the new weight of this budding country. Set in Paris. Clear untitled wrappers. Title page present dated 1986 with credits for screenwriter Dennis Whelan. 53 leaves with last leaf of text numbered 50. Xerographic duplication. Pages Near Fine wrapper Near Fine bound with two staples. N.p. unknown books
1986ref. 141902N.p.: N.p. 1986. Treatment script for an unproduced film. The true story of Benjamin Franklin traveling to France after the American Revolution where he acts as a diplomat from the newly-established United States of America and he makes sure to throw around the new weight of this budding country. Set in Paris. Clear untitled wrappers. Title page present dated 1986 with credits for screenwriter Dennis Whelan. 53 leaves with last leaf of text numbered 50. Xerographic duplication. Pages Near Fine wrapper Near Fine bound with two staples. N.p. unknown
1943ref. 165456Universal City: Universal Pictures 1943. Two vintage photographs of Bela Lugosi as Frankenstein's Monster for the 1943 film. One photograph with a provenance label on the verso. 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. The first of Universal's "monster rally films" which incorporated seemingly disparate Universal monsters into a single narrative and the only film to feature Lugosi as the monster originally made famous by Boris Karloff in the 1931 film "Frankenstein." Accidentally revived by grave robbers"wolf man" Lawrence Talbot seeks out Dr. Frankenstein in the hopes of finding a cure only to discover the doctor has died but finds his creature still very much alive. 8 x 10 inches. Near Fine. Universal Pictures unknown books
1943ref. 165456Universal City: Universal Pictures 1943. Two vintage photographs of Bela Lugosi as Frankenstein's Monster for the 1943 film. One photograph with a provenance label on the verso. 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. The first of Universal's "monster rally films" which incorporated seemingly disparate Universal monsters into a single narrative and the only film to feature Lugosi as the monster originally made famous by Boris Karloff in the 1931 film "Frankenstein." Accidentally revived by grave robbers"wolf man" Lawrence Talbot seeks out Dr. Frankenstein in the hopes of finding a cure only to discover the doctor has died but finds his creature still very much alive. 8 x 10 inches. Near Fine. Universal Pictures unknown
