16 724 résultats
1959142709N.p. 1959. Draft script for the 1959 play. First presented at the Martinique Theatre New York City on October 28 1959 running for 256 performances. <br/><br/>Based on Dos Passos' U.S.A. trilogy of novels written between 1930 and 1937 turned dramatic revue by Paul Shyre and John Dos Passos. Shyre's adaptation consists of three actors and three actresses portraying a total of some thirty-odd characters with minimal set and stark lighting. U.S.A. looks at America from the Spanish-American War to the beginning of the Depression portraying the everyday situations faced by characters with special attention to the social and economic forces that drive them. Dos Passos later wrote the screenplay for the 1971 television movie adaptation. <br/><br/>Set in U.S.A. <br/><br/>Red untitled wrappers. Title page present with credits for playwright Paul Shyre and John Dos Passos and based on the novel by John Dos Passos. 76 leaves with last page of text numbered 2-35. Mimeograph duplication. Pages Good plus dampstaining to last 15 pages wrapper Good with edges creased chipping and dampstaining to rear wrapper bound with three gold brads. N.p. unknown books
1980152211N.p.: N.p. 1980. Draft script for the 1982 film. SIGNED on the title page by director and screenwriter David S. Ward. <br /> <br /> Based on John Steinbeck's novels "Cannery Row" 1945 and "Sweet Thursday" 1954. David S. Ward's directorial debut. In 1940s Monterey a self employed marine biologist and former baseball star begins a relationship with a drifter working at the local bordello.<br /> <br /> Shot on location in Monterey and San Diego California <br /> <br /> Yellow untitled wrappers. Title page present with credits for screenwriter David S. Ward and author John Steinbeck. 131 leaves with last page of text numbered 131. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. N.p. unknown
1934137471Hollywood: Paramount Pictures 1934. Vintage sepia reference photograph from the set of the 1934 film. Shown are director Josef von Sternberg and Marlene Dietrich in full regalia visiting with noted Mexican toreador Pepe Ortiz and a member of the Mexican Counsul in Los Angeles. Typescript snipe on the verso indicating same along with an ink notation of the photo date 9/15/34 and a contemporary illustrated label for "Photofest."<br/><br/>8 x 10 inches. Near Fine. <br/><br/>Criterion Collection 109. Paramount Pictures unknown books
1960150624UK: Warwick Film Productions 1960. Collection of 35 vintage double weight reference photographs from the 1960 film. One photograph showing actors Yvonne Mitchell and Peter Finch relaxing on the set a second photograph with holograph annotations regarding layout on the verso. <br/><br/>A dramatization of the libel and criminal cases involving Oscar Wilde and the Marquess of Queensberry based on both the 1948 nonfiction book by Montgomery Hyde and the 1955 play "The Stringed Lute" by John Furnell. <br/><br/>10x 8 inches. Generally Near Fine. <br/><br/>Complete collation details available on request. Warwick Film Productions unknown books
1949148507Burbank CA: Warner Brothers 1949. Three vintage photographs of Patricia Neal applying makeup on the set of the 1949 film. <br/><br/>Adapted to the screen by Ayn Rand from her novel one of only three screenplays she wrote during her brief tenure in Hollywood. <br/><br/>In approaching the film adaptation of Rand's iconoclastic work King Vidor dispensed with typical Hollywood production techniques and focused on creating an expressionistic film one that literally echoed the architectural underpinnings of its characters' philosophies motives and ambitions. Unusual choices included modernist cinematography expressionistic set designs and wardrobe and having Ms. Rand herself adapt her own screenplay. <br/><br/>Two photographs 7.5 x 9.25 inches. One photograph 7.75 x 9.5 inches. Near Fine with light edgewear. <br/><br/>Complete collation details available on request. Warner Brothers unknown books
1948133625London: Carol Reed Productions 1948. Vintage candid photograph from the UK release of the 1949 film. <br/><br/>From the archive of Maurice Bessy with his stamp on the verso along with the stamp of photographer Leslie Baker and another for Carol Reed Productions and The London Films Studios in Shepperton England. A mimeo snipe also on the verso describes the photo in which the film's star Joseph Cotten looks down lovingly on two miniature Pinscher dogs who are sitting in Welles' directing chair. Noted is the fact the two dogs are from the only known family of the breed in the United Kingdom. <br/><br/>Carol Reed's classic 1949 British film noir starring Joseph Cotten and Orson Welles at the peak of their respective powers was the second of three films in which Graham Green collaborated directly with Reed and remains Greene's only originally screenplay. <br/><br/>8 x 10 inches. Fine. In a lovely museum-quality frame with archival UV glass double mounted with both sides exposed for viewing. <br/><br/>Complete collation details available on request. Carol Reed Productions unknown books
1931130961Hollywood: Paramount Pictures 1931. Revised Final Script for the 1932 pre-Code film an early starring role for Carole Lombard. Rubber stamped as a Paramount File Copy at the top right corner of the front wrapper. <br/><br/>Penelope Newbold is a wealthy divorcée looking to remarry. She falls for her physician Dr. Karl Bemis but ends up marrying Bill Hanaway. Bill then has an affair with another woman. <br/><br/>Tall peach side stapled self wrappers noted as Third Buff Script on the front wrapper dated October 6 1931 with credits for writers Hughes Heath Buchman and Leahy. 205 leaves on peach stock mimeograph duplication with annotations throughout. Paramount Pictures unknown books
1916131912Neuilly-sur-Seine France: Gaumont 1916. Vintage double weight matte finish still photograph from the legendary 1916 silent film serial. With the Gaumont logo at the lower right corner. <br/><br/>The last of Feuillade's three film serial masterpieces preceded by "Fantomas" 1913 and "Les Vampires" 1915 combining elements of both its predecessors. In Judex Latin for "judge" Feuillade furthered his vision of the dark enigmatic anti-hero he introduced with the legendary Fantomas character and utilized Musidora-who played the lead character Irma Vep in "Les Vampires"-as the villainess. Judex was a step forward from the criminal Fantomas however predicting pulp heroes to come such as The Shadow and especially Batman in the US: he was a masterful fighter an expert in disguise and kept his headquarters in the subterranean passages beneath a ruined castle lavishly outfitted with high tech gadgets. Feuillade shot "Judex" in 1914 but the outbreak of World War I delayed release in France until 1916 and wide release until 1917. <br/><br/>Pictured here is Judex cunning and silent in a stunt scene where in he attempts what we suspect will be successful entry into an unsuspecting criminal's car while the vehicle is in motion. <br/><br/>11 x 9 inches. A few pinholes at the corners else Near Fine. <br/><br/>Hardy The BFI Companion to Crime p. 187-188. Gaumont unknown books
1928136596Hollywood: Paramount Pictures / Famous Lasky Corporation 1928. Vintage reference photograph from the 1928 silent film with musical score and talking sequences. <br /> <br /> Based on Jim Tully's 1924 book "Beggars of Life: A Hobo Autobiography" about a girl who kills her treacherous stepfather disguises herself as a boy and joins up with a vagabond to escape the country into Canada. <br /> <br /> The first Paramount film to have a small amount of spoken dialogue added in post-recording to the music and effects track. Much of it was filmed on location including footage of an actual train derailment. Louise Brooks performed her own stunt in a scene where she jumps onto a moving train. <br /> <br /> 8 x 10 inches. Near Fine. Paramount Pictures / Famous Lasky Corporation unknown
1962133101Rome: Titanus 1962. Original double weight borderless photograph of Claudia Cardinale on the set of director Luchino Visconti's 1963 film "Il Gattopardo" taken in 1962 during shooting. With the blue rubber stamp of an Italian press agency Publifoto on the verso. In the photograph Ms. Cardinale studies an Italian version of the script while having her hair done for a scene. <br /> <br /> Visconti's classic spacious homage to the quiet death of the Sicilian aristocracy of the mid-nineteenth century one of the great films of the Italian cinema. Perhaps the apex of Ms. Cardinale's career and one of a handful of examples of Burt Lancaster's willingness to take on literate complex roles. Nominated for an Academy Award. <br /> <br /> In a custom museum-quality frame archivally mounted with UV glass. 9.5 x 12 inches. Tiny closed tear at the top edge else easily Near Fine. <br /> <br /> BFI 1087. Criterion Collection 235. Ebert II. Godard Histoires de cinema. Rosenbaum 1000. Schrader 22. Titanus unknown
1958143132Paris: Cinedis 1958. Collection of 419 vintage black-and-white photographs with original publicity ephemera from the set of the 1958 film "Night Heat" here under the original French title "Cette nuit la." Featured are over 300 smaller photographs elegantly presented in two "Lavis aquarelle" spiral bound notebooks with maroon faux leather front wrappers and affixed paper title labels with 3 or 4 photographs to a page. One notebook bears a label on the front wrapper verso noting film lab Tele-Photo production company Sopro Film Cinedis film title and photographer P. Apoteker. Several larger photographs credit photographer Francois Pages with his rubber stamp on the versos featuring images of actress Demongeot as she models in fur coat for onlookers including costar Maurice Ronet and director Cazeneuve. Several photos feature cast and crew at a release party. <br /> <br /> Brief annotations in manuscript pencil on the versos two with rubber-stamped series number. Several photographs with annotations on the verso in manuscript ink and pencil several with layout annotations on the recto a few with rubber-stamped series number. Loose photographs ephemera and original envelopes are housed in the original French Kodak paper box with annotations on the box top in manuscript ink and film title affixed to the side. <br /> <br /> Noir thriller based on Michel Lebrun's novel "Un Silence de Mort" 1957 starring Demongeot as Sylvie married to Jean Ronet an executive at a fashion magazine. Jean's boss André Servais obsesses over Sylvie whose demure femininity can be fatal. An early film credit for still photographer Paul Apoteker whose "Too Late for Love" 1959 is regarded as his first credited film. His dramatic execution would later be seen in Clouzot's "The Truth" 1960 Sautet's romance noir "Classe Tous Risques" 1960 and Woody Allen's "Love and Death" 1975. Demongeot and Ronet are amply represented throughout the collection including a preliminary mockup of the poster art. <br /> <br /> Photographs in large quarto notebooks 3.75 x 5 inches loose photographs range from 3.25 x 4 inches to 8 x 11.75 inches. Photographs Near Fine overall light curling a handful with short creases ephemera and notebooks Very Good plus box Very Good. Cinedis unknown
1994144358Hollywood: Icon Entertainment 1994. Draft script for the 1995 film. An early draft produced prior to the film having an association with Mel Gibson's production company Icon Entertainment International. <br/><br/>Winner of five Academy Awards including Best Picture and Best Director and nominated for another five including Best Original Screenplay. <br/><br/>Orange titled wrappers production No. 53 dated March 24 1994 with credits for screenwriter Randall Wallace. 110 leaves with last page of text numbered 110. Xerographic duplication rectos only dated 31-Mar-94. Pages Near Fine wrapper Very Good with some tears and folding at the extremities silver prong binding. Icon Entertainment unknown books
1957134336Poland: S. P. Eagle / Romulus Horizon 1957. Original Hungarian poster for the 1965 film. <br/><br/>In the final days of WWII a 17-year-old boy wanders the countryside. He is captured by Soviet troops then released then captured once more. He has donned a German uniform for warmth and is imprisoned at a remote barracks where he strikes up an unlikely friendship with a young Russian soldier. His attempts to return home form the film's landscape with Jancso's signature themes on display including the psychological presence of landscape the randomness of violence and the arbitrary nature of power. <br/><br/>22.5 x 16.5 inches. On archival linen rolled. Fine. <br/><br/>Second Run 24. S. P. Eagle / Romulus Horizon unknown books
1968140949Beverly Hills CA: United Artists 1968. Draft script for the 1969 film. Copy belonging to producer James H. Ware with his name and annotations in holograph ink and pencil throughout. Ware was a major presence in British and American cinema best known for his work on "Beat the Devil" 1953 "Room at the Top" 1959 "Our Man in Havana" 1959 "Charade" 1963 and "The Spy Who Came in from the Cold" 1965. <br/><br/>Following the success of the James Bond series of the 60s studios resurrected the Bulldog Drummond character this being the second of the revamp after 1967's "Deadlier Than the Male." Drummond uncovers a plot where a criminal mastermind aided by robots in form of beautiful women will receive eight million pounds if an experimental plan doesn't launch on time. <br/><br/>Set in Spain and London shot on location in Catalonia Spain and at Pinewood Studios in London. <br/><br/>Orange blank wrappers with die cut title window in the British style. Title page present dated May 1968 with credits for screenwriters David Osborn and Liz Charles-Williams. 129 leaves with last page of text numbered 127. Mechanical duplication with salmon revision pages throughout dated May 30 1968. Pages Very Good plus wrapper Very Good bound internally with two gold brads. United Artists unknown books
1932135598N.p.: N.p. 1932. Vintage photograph of director René Clair in the midst of an outdoor shot with his cinematographer Georges Perinal on location for the 1933 film. <br /> <br /> A wonderful image capturing Clair and Perinal as they set up the kind of shot that distinguished the director's work: viewing an intimate scene through a window from the street. This film for which Clair wrote the screenplay is a quintessential one for Clair wherein a young cab driver and his flower girl neighbor fall in love in a world where all odds are against them. <br /> <br /> Georges Perinal was one of the great cinematographers in early French and European cinema working with every major director of that time and in particular with Clair. In addition to shooting all of Clair's major films in the 1930s he also photographed Cocteau's "Blood of a Poet" 1932 William Cameron Menzies' "Things to Come" 1936 Michael Powell's "The Life and Death of Colonel Blimp" 1943 and Carol Reed's "The Fallen Idol" 1948. <br /> <br /> 9.5 x 8 inches. In an archival mat. Fine. N.p. unknown
1973154511Beverly Hills CA: Sean Inn Inc 1973. Shooting script for the 1973 film.<br /> <br /> The mafia attempts to muscle in on an African American numbers-running ring.<br /> <br /> Shot on location in Cleveland. <br /> <br /> Black wrappers with red titles. Title page present dated Revised May 12 1973 noted as SHOOTING SCRIPT with credits for screenwriter Don Williams. 128 leaves with last page of text numbered 119. Mimeograph duplication rectos only with blue and white revision pages throughout dated variously between 5/24/73 and 6/6/73. Pages Near Fine wrapper Very Good plus bound internally with three gold brads. Sean Inn, Inc unknown
1955133196Beverly Hills CA: United Artists 1955. Vintage oversize double weight photograph of Frank Sinatra on the set of "The Man with the Golden Arm" in the fall of 1955. Shot and struck by the film's still photographer Bob Willoughby. SIGNED by Willoughby on the verso along his ASMP rubber stamp for both his New York and Ireland addresses. Full provenance available. <br /> <br /> 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. <br /> <br /> In a custom museum-quality frame archivally mounted with UV glass. 8.5 x 13.5 inches. Near Fine. <br /> <br /> Selby US. United Artists unknown
1978157015N.p.: N.p. 1978. Revised Fourth Draft script for the 1979 film. Copy belonging to noted New York Times theatre critic and cultural writer Mel Gussow with his name in manuscript ink on the title page along with a notation indicating copy No. 47. <br /> <br /> Based on Avery Corman's 1977 novel about a divorced couple fighting a custody battle for their son. Nominated for nine Academy Awards winning five including Best Picture Best Screenplay Best Actor and Best Actress. <br /> <br /> Shot on location in New York. <br /> <br /> Goldenrod self wrappers lacking rear wrapper. Title page present noted as Revised Fourth Draft on the front wrapper dated September 5 1978 with credits for director Robert Benton and novelist Avery Corman. 136 leaves with last page of text numbered 132. Mimeograph duplication rectos only. Pages Near Fine bound with two gold brads. N.p. unknown
1960139535Los Angeles: Twentieth Century-Fox 1960. Vintage oversize double weight borderless film still from the 1960 musical film depicting Shirley MacLaine involved in a hand of cards with assistant director Joseph E. Rickards while Frank Sinatra and director Walter Lang look on. Based on the 1953 Broadway musical by Abe Burrows with music and lyrics by Cole Porter. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp and holograph annotations on the verso. Full provenance available. <br/><br/>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. <br/><br/>13.5 x 8.5. Near Fine. <br/><br/>Hirschhorn p. 370. Twentieth Century-Fox unknown books
1960133256N.p.: N.p. 1960. Vintage borderless photograph from the 1962 film by photographer Andre Marinie. A candid on-the-set photograph of the film's reclusive director Robert Bresson behind the camera typically pensive and with cigarette in hand. Marinie's stamp and stamp from the film's production companies Agnes Delahaie Productions and Consortium Pathe on the verso. <br /> <br /> Linda Rasmussen at AllMovie notes: "Characteristically breaking with tradition director Robert Bresson presents a realistic unique view of the life and death of Joan of Arc. Using a script based on the actual transcript notes taken during her trial Bresson focuses on the psychological and physical torture that Joan had to endure showing how these techniques were used to break her resolve and cause her to eventually recant her faith. <br /> <br /> "With impeccable historical accuracy Bresson re-creates the story of the peasant girl who after leading an unsuccessful revolt against the government was brought to trial convicted of heresy and burned as a witch. However Bresson shows Joan Florence Carrez as a woman more sophisticated and calculating and less naive than she has normally been represented. His Joan while more real is no less heroic than the traditional Joan."<br /> <br /> In a custom museum-quality frame archivally mounted with UV glass. 9.5 x 7.25 inches. Near Fine. N.p. unknown
1947161213Culver City CA: RKO Radio Pictures 1947. Vintage herald for the 1947 film noir. <br /> <br /> Based on Daniel Mainwaring's 1946 debut novel "Build My Gallows High." A former private detective lives a quiet life in a small town until his past catches up with him forcing him to return to the world of crime. An unimpeachable high spot of the genre. <br /> <br /> Set in Bridgeport California shot in the High Sierra Mountains of Nevada and Reno as well as locations throughout California. <br /> <br /> 12 x 9 inches. Bifold. Fine. <br /> <br /> Grant US. Selby Masterwork. Silver Classic Noir. Spicer US. RKO Radio Pictures unknown
1934161394Burbank CA: Warner Brothers 1934. Final script for the 1935 film. Specially bound copy belonging to screenwriter Jerry Wald with his name in gilt on the front board. With annotations in manuscript pencil throughout checking off scenes. <br /> <br /> Jerry Wald is best remembered for his long and successful association with Warner Brothers as both a screenwriter and producer of a number of notable films including "Mildred Pierce" 1945 "Humoresque" 1946 "Key Largo" 1948 and "Flamingo Road" 1949. In the 1950s he moved to Twentieth Century-Fox and was the producer there for "An Affair to Remember" 1957 "Peyton Place" 1957 and "Sons and Lovers" 1960.<br /> <br /> A college bandleader decides to keep his band together after graduation. They rise to fame and he falls in love with a beautiful dancer along the way. <br /> <br /> Bound in full maroon leather with gilt titles on the spine and front board. Distribution page present with receipt removed. Title page integral with the distribution page dated 9/11/34 noted as FINAL with a Warner Bros. stamp and a stamp noting copy No. 23. 126 leaves with last page of text numbered 124. Mimeograph duplication rectos only with 16 blue revision pages bound in at the rear dated between 10/11/34 and 10/13/34. Pages about Fine binding Very Good plus lightly scuffed and edgeworn. Warner Brothers unknown
1978144565Los Angeles: Filmways 1978. Original 16mm film reel for the 1978 animated short "Make Me Psychic" created by animator Sally Cruikshank and featuring music by the Cheap Suit Serenaders Robert Armstrong Allan Dodge and Paul Woltz. <br /> <br /> "Make Me Psychic" a followup to Cruikshank's lauded short film "Quasi at the Quackadero" and features the director's recurring duck characters Quasi and Anita in a psychedelic adventure in which Anita uses a hypnotizing machine to try and harness her psychic powers. Instead Anita ends up hallucinating while never leaving her own overflowing bathtub. <br /> <br /> An innovator in her field with a signature flowing style of motion Cruikshank created music videos for Sesame Street between 1989 and 1999 won the 1986 Maya Deren Award given by the American Film Institute and "Quasi at the Quackadero" was selected for the National Film Registry by the Library of Congress in 2009. <br /> <br /> Near Fine housed in a Near Fine plastic film canister and a Very Good plus metal-cornered shipping box with Cruikshank's Berkeley address to the box and film reel. Filmways unknown
1973170446Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1973. Collection of 18 vintage reference photographs from the 1975 film including 17 bordered photographs and one borderless double weight photograph. Eight with mimeo snipes on the verso.<br /> <br /> A very nearly experimental Western made by Sam Peckinpah at his peak sufficiently strange to have remained of interest only to the most intense fans of Western revisionism. Comparable only to "McCabe and Mrs. Miller" 1971 and "The Shooting" 1966 in terms of sheer impressionism being laid upon the genre with iconic imagery and super-stylization in every frame. <br /> <br /> Shot on location in Durango Mexico.<br /> <br /> 10 x 8 inches. Generally Very Good plus or better. Metro-Goldwyn-Mayer [MGM] unknown
1943150216Los Angeles: Paramount Pictures 1943. Collection of five vintage borderless double weight reference photograph taken on location for the 1943 film most showing director Sam Wood and actors Joseph Calleia Lilo Yarson Gary Cooper Katina Paxinou and Ingrid Bergman. With printed mimeo snipes affixed to the verso. <br/><br/>From the archive of the PIX Agency a photo house that acted as an intermediary between emigre photographers as well as those still living in Europe and the American magazine and newspaper market between 1935-1969.<br/><br/>Based on Ernest Hemingway's 1940 novel which follows the experiences of an American fighting against the fascists in the Spanish Civil War and his relationship with a young guerrilla fighter. Nominated for nine Academy Awards winning one for Best Supporting Actress for Katina Paxinou. <br/><br/>Set and shot on location in Spain.<br/><br/>9.5 x 7.5 inches. Near Fine. Paramount Pictures unknown books
