ParamountBiblio.com
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1942Best.-Nr. WALTER-FILM006653Paramount. No binding. About Fine. Los Angeles: Paramount Pictures 1942. Vintage original 8 x 10" 20 x 25 cm. black-and-white glossy silver gelatin photo. Tape repair at top right corner about fine. Veronica Lake displays her iconic appearance in this unusual portrait in which she sports a designer bracelet in promotion for her work in This Gun for Hire. The original attached paper blurb on verso calls it a "He and She" bracelet designed by Hobe. A picture of "he" and "she" can be inserted in the hearts. A vintage King Features Syndicate Inc. ink stamp on verso. Paramount
1942Best.-Nr. WALTER-FILM006653Paramount. No binding. About Fine. Los Angeles: Paramount Pictures 1942. Vintage original 8 x 10" 20 x 25 cm. black-and-white glossy silver gelatin photo. Tape repair at top right corner about fine. Veronica Lake displays her iconic appearance in this unusual portrait in which she sports a designer bracelet in promotion for her work in This Gun for Hire. The original attached paper blurb on verso calls it a "He and She" bracelet designed by Hobe. A picture of "he" and "she" can be inserted in the hearts. A vintage King Features Syndicate Inc. ink stamp on verso. Paramount books
1935Best.-Nr. 20945EHollywood CA: Paramount Studios 1935. Original 1935 Studio Pass to Twentieth Century-Fox Studios for Hollywood columnist Jimmy Starr. Blue cardstock 3 1/2” x 2 1/4” with 1935 in red. Studio passes were given to press and industry representatives allowing the bearer access to the studio’s lot and sets. It reads in full: “Non-Employee Identification Card Paramount Productions 5451 Marathon Street Hollywood California Name Jimmy Starr Herald-Express typed Expiration Date 4-30-35 typed Mar 26 1935 stamped Authorized by Studio Manager signed April stamped.” On the verso is a printed set of basic terms regarding the holder of the pass. About fine with the most minute trace of use. Jimmy Starr 1902 - 1990 is best known as a Hollywood columnist though he was also a writer and actor known for The Corpse Came C.O.D. 1947 A Night for Crime 1943 and Pink Pajamas 1929. Some of the March and April 1935 Paramount Studios films Mr. Starr may have enjoyed include such popular productions as Ruggles of Red Gap starring Charles Laughton Mary Boland Charlie Ruggles and Zasu Pitts winner of the Oscar for Best Picture Love in Bloom starring George Burns and Gracie Allen Mississippi starring Bing Crosby W.C. Fields and Joan Bennett Four Hours to Kill! starring Richard Barthelmess and Private Worlds with Claudette Colbert Charles Boyer and Joel McCrea. Paramount Studios unknown
1922Best.-Nr. 12673St. Louis 1922. Broadside 11.25 x 14.25 inches. Tanned short closed diagonal tear on right edge left edge a bit frayed tiny hip to top right corner otherwise minor edge wear. Fragile but in good condition. An unrecorded promotional broadside recruiting membership in the short-lived Paramount Progressive Order of Moose PPOM an African-American fraternal organization founded in the early-1920s by H.A. Stewart of St. Louis. The organization was created to serve the needs of the African-American community after the Loyal Order of Moose refused to admit Black members. The PPOM was gone by the 1930s following lawsuits from the Loyal Order of Moose who claimed infringement due to the PPOM's use of similar imagery. Still the PPOM offered members a number of benefits during its operations. According to the present broadside which asks "WHY NOT JOIN THE MOOSE" and touts itself as "One of the Most Progressive Orders" above the moose-centric logo at upper center the PPOM was "Now Open to Men and Women Between the Ages of 18 and 50 Years." Members could enjoy "Free Medical Aid" as well as sick and death benefits. Membership was $6 for men and half that for women with women receiving $3 sick benefits as opposed to $5 for men and $150 death benefit men received $200. Potential members are asked to contact the Grad Supervisor but the name city and state for said person is not filled in. A wonderful and evocative promotional broadside for an important though short-lived St. Louis-based African-American mutual aid society with no copies reported in OCLC. unknown
1922Best.-Nr. 12673St. Louis 1922. Broadside 11.25 x 14.25 inches. Tanned short closed diagonal tear on right edge left edge a bit frayed tiny hip to top right corner otherwise minor edge wear. Fragile but in good condition. An unrecorded promotional broadside recruiting membership in the short-lived Paramount Progressive Order of Moose PPOM an African-American fraternal organization founded in the early-1920s by H.A. Stewart of St. Louis. The organization was created to serve the needs of the African-American community after the Loyal Order of Moose refused to admit Black members. The PPOM was gone by the 1930s following lawsuits from the Loyal Order of Moose who claimed infringement due to the PPOM's use of similar imagery. Still the PPOM offered members a number of benefits during its operations. According to the present broadside which asks "WHY NOT JOIN THE MOOSE" and touts itself as "One of the Most Progressive Orders" above the moose-centric logo at upper center the PPOM was "Now Open to Men and Women Between the Ages of 18 and 50 Years." Members could enjoy "Free Medical Aid" as well as sick and death benefits. Membership was $6 for men and half that for women with women receiving $3 sick benefits as opposed to $5 for men and $150 death benefit men received $200. Potential members are asked to contact the Grad Supervisor but the name city and state for said person is not filled in. A wonderful and evocative promotional broadside for an important though short-lived St. Louis-based African-American mutual aid society with no copies reported in OCLC. unknown books
1927Best.-Nr. WALTER-FILM005709Paramount. No binding. Near Fine. Los Angeles: Paramount Pictures 1927. Vintage original 8 x 10" 20 x 25 cm. black-and-white print still photo light crease and rippling from descriptive paper snipe on back near fine. A portrait of Evelyn Brent George Bancroft and Clive Brook from Josef von Sternberg's gangster film often cited as a proto-film noir. Grant p. 675: "Important precursor of the 1930s US gangster movie and as such significant to noir's ancestry." Silver and Ward p. 301: "Enhanced immeasurably by the exotic visual preoccupations of . Sternberg which encompass a range of original symbols and imagery. The script as written by ex-newspaperman Ben Hecht realistically details the personalities populating the sordid speakeasies and dingy dwellings of the gangsters." Paramount
1927Best.-Nr. WALTER-FILM005709Paramount. No binding. Near Fine. Los Angeles: Paramount Pictures 1927. Vintage original 8 x 10" 20 x 25 cm. black-and-white print still photo light crease and rippling from descriptive paper snipe on back near fine. A portrait of Evelyn Brent George Bancroft and Clive Brook from Josef von Sternberg's gangster film often cited as a proto-film noir. Grant p. 675: "Important precursor of the 1930s US gangster movie and as such significant to noir's ancestry." Silver and Ward p. 301: "Enhanced immeasurably by the exotic visual preoccupations of . Sternberg which encompass a range of original symbols and imagery. The script as written by ex-newspaperman Ben Hecht realistically details the personalities populating the sordid speakeasies and dingy dwellings of the gangsters." Paramount books
Best.-Nr. WALTER-FILM007618Paramount. No binding. Near Fine. Los Angeles: Paramount Pictures 1935. Vintage original 14 x 17" 36 x 44 cm jumbo lobby card. Small diagonal crease at extreme upper top reinforced with archival paper on verso overall near fine. Marlene Dietrich Lionel Atwill and Alison Skipworth in a scene from Josef von Sternberg's final collaboration with Dietrich. Paramount unknown
Best.-Nr. WALTER-FILM007618Paramount. No binding. Near Fine. Los Angeles: Paramount Pictures 1935. Vintage original 14 x 17" 36 x 44 cm jumbo lobby card. Small diagonal crease at extreme upper top reinforced with archival paper on verso overall near fine. Marlene Dietrich Lionel Atwill and Alison Skipworth in a scene from Josef von Sternberg's final collaboration with Dietrich. Paramount unknown books
Best.-Nr. WALTER-FILM007621Paramount. No binding. Near Fine. Los Angeles: Paramount Pictures 1929. Vintage original 14 x 17" 36 x 44 cm jumbo lobby card. Small tear mended on verso with archival paper and minor diagonal crease both in extreme upper left corner near fine. A portrait of the legendary actress and singer Helen Morgan in her first starring role in a talking film a pre-Code backstage musical which remains a classic of early American sound movies. Paramount unknown
Best.-Nr. WALTER-FILM007621Paramount. No binding. Near Fine. Los Angeles: Paramount Pictures 1929. Vintage original 14 x 17" 36 x 44 cm jumbo lobby card. Small tear mended on verso with archival paper and minor diagonal crease both in extreme upper left corner near fine. A portrait of the legendary actress and singer Helen Morgan in her first starring role in a talking film a pre-Code backstage musical which remains a classic of early American sound movies. Paramount unknown books
1980Best.-Nr. DADAX0671791095Star Trek 1980-02-29. First Edition. paperback. New. 0.00x0.00x0.00. Buy with confidence. Excellent Customer Service & Return policy. Star Trek paperback
Best.-Nr. WALTER-FILM007776Paramount. No binding. Just About Fine. Los Angeles: Paramount Pictures 1929. Set of 12 vintage original 8 x 10" 20 x 25 cm black-and-white photos one with mimeographed text on verso three with the film's title stamped on verso overall just about fine. Josef von Sternberg's first talking film. Some historians credit his importance in the evolution of gangster films with his UNDERWORLD 1927. This was by any standard the first significant talking gangster film. It tells the story of a criminal facing execution who wants to kill the man in the next cell for being in love with his former girlfriend. Sternberg experimented with asynchronous sound effects which served to augment or supplement the visual effects or as he framed the process "To be correctly and effectively used the sound had to bring to the image a quality other than what the lens included a quality out of the range of the image. Sound had to counterpoint or compensate for the image add to it – not subtract from it." Rather than the external and complementary musical accompaniment of silent films Sternberg's scores arise organically with the mise-en-scène and form a key component of the film. The music off-screen does not recede in deference to the on-screen dialogue but competes with it. Off-screen voices comment on the visual action but are not identified visually until later in the film sequence contributing to an "unrealistic cadence" that characterizes the film's dialogue. Film historian Andrew Sarris describes it as "a startling experiment. his use of sound and music for mood effects and the very unreality of his style seems to justify the unusual density of his sound track." Sternberg also uses sound expressionistically such as the erratic start-stop of a sewing machine or the "sinister" squeaking of a dog's ball toy squeezed by the condemned criminal in the hours before his death. Wikipedia Paramount unknown
Best.-Nr. WALTER-FILM007776Paramount. No binding. Just About Fine. Los Angeles: Paramount Pictures 1929. Set of 12 vintage original 8 x 10" 20 x 25 cm black-and-white photos one with mimeographed text on verso three with the film's title stamped on verso overall just about fine. Josef von Sternberg's first talking film. Some historians credit his importance in the evolution of gangster films with his UNDERWORLD 1927. This was by any standard the first significant talking gangster film. It tells the story of a criminal facing execution who wants to kill the man in the next cell for being in love with his former girlfriend. Sternberg experimented with asynchronous sound effects which served to augment or supplement the visual effects or as he framed the process "To be correctly and effectively used the sound had to bring to the image a quality other than what the lens included a quality out of the range of the image. Sound had to counterpoint or compensate for the image add to it – not subtract from it." Rather than the external and complementary musical accompaniment of silent films Sternberg's scores arise organically with the mise-en-scène and form a key component of the film. The music off-screen does not recede in deference to the on-screen dialogue but competes with it. Off-screen voices comment on the visual action but are not identified visually until later in the film sequence contributing to an "unrealistic cadence" that characterizes the film's dialogue. Film historian Andrew Sarris describes it as "a startling experiment. his use of sound and music for mood effects and the very unreality of his style seems to justify the unusual density of his sound track." Sternberg also uses sound expressionistically such as the erratic start-stop of a sewing machine or the "sinister" squeaking of a dog's ball toy squeezed by the condemned criminal in the hours before his death. Wikipedia Paramount unknown books
Best.-Nr. WALTER-FILM006265Paramount. No binding. Just About Fine. Hollywood: Otto Preminger 1964. Two 2 vintage original 7 7/8 x 9 3/4" 20 x 24.5 cm. borderless double weight black-and-white photos just about fine. Director Otto Preminger works with John Wayne behind-the-scenes on the 1964 WWII masterpiece In Harm's Way. Paramount unknown
Best.-Nr. WALTER-FILM006265Paramount. No binding. Just About Fine. Hollywood: Otto Preminger 1964. Two 2 vintage original 7 7/8 x 9 3/4" 20 x 24.5 cm. borderless double weight black-and-white photos just about fine. Director Otto Preminger works with John Wayne behind-the-scenes on the 1964 WWII masterpiece In Harm's Way. Paramount unknown books
1933Best.-Nr. WALTER-FILM006815Paramount. No binding. About Fine. Los Angeles: Paramount Pictures 1933. Set of five 5 vintage original 8 x 10" 20 x 25 cm. black-and-white double weight matte finish photos. Very minor corner wear and some with tiny pinholes at corners about fine. When Buster Crabbe lost out to fellow Olympic swimmer Johnny Weissmuller in playing Tarzan at MGM Paramount came up with this competitive story. It was Buster's first feature film and the studio photographers wasted little time in presenting photography of his physique which bared nearly all and would not be tolerated once the Production Code was enforced. This series of images introduced moviegoers to Crabbe. They are amongst the finest photos in male beefcake. Photos coded P-1495-2 3 4 6 27. Paramount
1933Best.-Nr. WALTER-FILM006815Paramount. No binding. About Fine. Los Angeles: Paramount Pictures 1933. Set of five 5 vintage original 8 x 10" 20 x 25 cm. black-and-white double weight matte finish photos. Very minor corner wear and some with tiny pinholes at corners about fine. When Buster Crabbe lost out to fellow Olympic swimmer Johnny Weissmuller in playing Tarzan at MGM Paramount came up with this competitive story. It was Buster's first feature film and the studio photographers wasted little time in presenting photography of his physique which bared nearly all and would not be tolerated once the Production Code was enforced. This series of images introduced moviegoers to Crabbe. They are amongst the finest photos in male beefcake. Photos coded P-1495-2 3 4 6 27. Paramount books
1943Best.-Nr. 52843N.p.:: Paramount Pictures Inc. 1943. First edition. Original wrappers illustrated in color. Some slight creasing and dust-soiling to the rear blank wrapper; otherwise fine. Folio. Illustrated in color by Dan Sayre Groesbeck and from photographs. This booklet is sold in theatres showing "For Whom the Bell Tolls. Paramount Pictures Inc., unknown
1954Ex-library book with the usual stamps, stickers, etc. Binding is solid and text/interior is clean and free of marking of any kind -- grease free. Huge oblong book, unpaginated but must be 600 pages in Frankensteinian binding with metal hinges and boards 3/8ths of an inch thick (10 mm). Covers Lucas parts & equipment repair & service guidelines in the first section for Batteries, Control Box, Dynamos, Horns, Ignition Equip., Lamps, Starters, Test Procedure, ( tools and instruments), Trafficators, Windscreen wipers, Misc. The remaining 3/4's of the book contains wiring diagrams, spec sheets and test data for the following models, each having their own page with full size wiring diagram, spec sheet, bulb table and key to cable colours: Allard, (1946, 47 & 48) Allard Sports 1951, A.C. 1947 , 48, 50, (16 h.p.) 51, 52, 53, Alvis 1946 -- '51, Armstong-Siddeley, 16 h.p. 1945 & '46, 1948, Whitley Saloon, 2.3 litre, 1950, 18 h.p. Limousine 1951, Austin 8 h.p. 1945 & '46, '47, 10 h.p. '45 -- '47, 12 h.p. '47, 16 h.p. '46 - '47, A40 '47 -- '50, A40 Devon & Dorset '51, '52, A70 '49, A40 Somerset '52 & '53, A70 Hereford '51 & '52, A90 '49, A125 Sheerline '49, 120 princess 1948 -'49, A135 princess '49, Aston Martin 2 L Sports & Tourer '50, 2.5 L Sports Saloon, DBII '51 & '52. That takes care of the "A's" Same detail and layout for the following manufacturers for the following years: Bristol '49 -- '53, Daimler '46 -- '52, Ford '45 -- '49, Healey '46 -- '52, Hillman '45 -- '52, Humber '45 -- '50, H.R.G. '46 -- '49, Jaguar'45 -- '52) Jowett '47 -- '52, Lanchester '45 & '46, Lea Francis '49 -- '52, LLoyd '48, M.G. '45 -- '50, Morgan '49 -- '52, Morris '45 -- '51, Nuffield '49 -- '51, Paramount 1951, Riley '46 -- '52, Rover '46 -- '53, Standard '46 -- '50, Singer '45 -- 52, Standard '51 & '52, Sunbeam - Talbot '48 -- '50, Triumph '46 -- '52, Vauxhall '48 -- '50, Wolseley '45 -- ' 52. First page is hanging by a thread, some pages are chipped at edges, some have small tears at edges, nothing to obscure the text and nearly all are in very good condition. Book lays open with zero stress on hinge. This large, heavy book will require extra charges for international transportation.
1938Best.-Nr. WALTER-FILM006816Paramount. No binding. Very Good. Los Angeles: Paramount Pictures 1938. Set of four 4 Vintage original 8 x 10" 20 x 25 cm. black-and-white glossy silver gelatin photos. Minor corner creases and wear to all. One has chip at top right corner another has chip at bottom left corner. Overall very good. Four photos in a series called "How To Swim in Nine Easy Lessons". The series includes nine photos as indicated; present are numbers 1 6 8 and 9. Each has a blurb printed on the verso explaining the swim technique which Buster is demonstrating. They were used to publicize his appearance in the Paramount film Tip Off Girls. The Olympic swim champ was popular and utilized in film for his physique more so than his acting talents but he did make for an iconic Flash Gordon. From the Kenneth Anger collection but not stamped. Anger may have been planning a beefcake storyline for one of his books or just liked collecting beefcake photos of the stars. Photos coded P1498-240 241 243 248. Paramount
1938Best.-Nr. WALTER-FILM006816Paramount. No binding. Very Good. Los Angeles: Paramount Pictures 1938. Set of four 4 Vintage original 8 x 10" 20 x 25 cm. black-and-white glossy silver gelatin photos. Minor corner creases and wear to all. One has chip at top right corner another has chip at bottom left corner. Overall very good. Four photos in a series called "How To Swim in Nine Easy Lessons". The series includes nine photos as indicated; present are numbers 1 6 8 and 9. Each has a blurb printed on the verso explaining the swim technique which Buster is demonstrating. They were used to publicize his appearance in the Paramount film Tip Off Girls. The Olympic swim champ was popular and utilized in film for his physique more so than his acting talents but he did make for an iconic Flash Gordon. From the Kenneth Anger collection but not stamped. Anger may have been planning a beefcake storyline for one of his books or just liked collecting beefcake photos of the stars. Photos coded P1498-240 241 243 248. Paramount books
Best.-Nr. WALTER-FILM007820Paramount. No binding. Near Fine. Los Angeles: Paramount 1930. Vintage original 8 x 10" 20 x 25 cm black-and-white glossy silver gelatin photo. Minor wear small edge crease at lower right corner 1930 holograph note on verso. Near fine. Star Gary Cooper poses at center with director Roland V. Lee at left surrounded by crew on location for the pre-Code war romance film A Man from Wyoming. The handwritten notes on verso indicate "10 days ranch pontoon bridge" and dated April May 1930. This came from the collection of one of the crew members likely present in the photo. This story took place during the United States entry into World War I. By 1930 Americans were ready to take in stories about the horrific war Paramount unknown
Best.-Nr. WALTER-FILM007820Paramount. No binding. Near Fine. Los Angeles: Paramount 1930. Vintage original 8 x 10" 20 x 25 cm black-and-white glossy silver gelatin photo. Minor wear small edge crease at lower right corner 1930 holograph note on verso. Near fine. Star Gary Cooper poses at center with director Roland V. Lee at left surrounded by crew on location for the pre-Code war romance film A Man from Wyoming. The handwritten notes on verso indicate "10 days ranch pontoon bridge" and dated April May 1930. This came from the collection of one of the crew members likely present in the photo. This story took place during the United States entry into World War I. By 1930 Americans were ready to take in stories about the horrific war Paramount unknown books
1928Best.-Nr. WALTER-FILM007745Paramount. No binding. Very Good. Los Angeles: Paramount Pictures 1928. Set of 9 vintage original 8 x 10" 20 x 25 cm black-and-white photos one trimmed for publication one the portrait of Evelyn Brent with chipping and a long tape repair on verso one with mimeographed text on verso and five linen-backed keybook photos. Overall very good or better. The Drag Net is a lost gangster film from Josef von Sternberg. These photos provide a tantalising glimpse into what once existed. Film historian John Baxter provides a synopsis: "Captain Timothy 'Two Gun' Nolan George Bancroft is appointed head of the New York detective force and as his first act rounds up every criminal in town – the 'drag net' of the title. Gang boss 'Dapper' Frank Trent William Powell stands bail for all of them including 'The Magpie' Evelyn Brent as independent minor gang-leader with complex alliances. Nolan is particularly impressed by the girl who affects caps of black-and-white feathers and is attended by her own bodyguard of gunmen. She and the detective have a number of sexually charged encounters before her release. Setting out to get Trent Nolan moves in on his hideout assisted by his friend 'Shakespeare' Leslie Fenton. Trent armed with a machine gun kills Shakespeare but makes Nolan believe it is his shot that has done so. Nolan for motives as obscure as those which motivated the futile round-up of the gangs resigns his commission and becomes a drunk. Found unconscious by Trent he is offered as the pièce de résistance at a gangland banquet which 'The Magpie' attends. Pitying the humiliated man she discovers that he did not kill his friend reveals the fact to him and is reformed and wounded in the downfall of Trent killed by Nolan in his steel-shuttered apartment." Paramount
