16 721 résultats
1939146072Los Angeles: Twentieth Century-Fox 1939. Final script for the 1939 film. With a single holograph pencil notation to the front wrapper.<br/><br/>A commercial pilot grounded for reckless flying decides to start his own flying school which becomes the profitable hub of a new government-funded civilian pilots' training program. <br/><br/>Blue titled wrappers noted as FINAL on the front wrapper rubber-stamped copy No. 13 and production No. 1856 dated August 22 1939. Distribution page present with receipt intact. Title page present with credits for screenwriters Lou Breslow and Owen Francis. 158 leaves with last page of text numbered 152. Mimeographed rectos only with blue revision pages throughout dated variously between 8/28/39 and 9/19/39. Pages Near Fine wrapper Very Good plus with some minor tears and yapping to the right edge bound internally with three gold brads. Twentieth Century-Fox unknown books
1998162639Culver City CA: Appleton Productions 1998. Record Draft script for Season 1 Episode 2 of the 1999-2000 primetime animated television series. <br /> <br /> Based on the successful 1989-2023 comic strip by Scott Adams about the titular pessimistic white-collar engineer and his daily interactions with his idiotic boss and frustrated coworkers. In this episode Dilbert and his coworkers must ensure that a rival engineer does not steal their idea for a new product. The episode originally aired on February 1 1999 on UPN.<br /> <br /> Self wrappers dated May 5 1998 on the front wrapper noted as Record Draft and episode No. 102 with credit for screenwriter Jeff Kahn. Title page integral with the front wrapper as issued. 57 leaves with last page of text numbered 55. Xerographic duplication rectos only. Pages Fine wrapper Near Fine bound with two gold brads. Appleton Productions unknown
1954160547London: Pictorial Press 1954. Vintage reference photograph of director Alfred Hitchcock drawing between takes on the set of the 1954 film. Printed mimeo snipe and stamps of Pictorial Press on the verso along with annotations in manuscript pencil relating to cropping. <br /> <br /> Based on the 1952 play by Frederick Knott who also wrote the screenplay about a tennis player who arranges to have his wife framed for murder after discovering her infidelity. The only Hitchcock film to be shot in 3D although the format would ultimately be discarded for theatrical release and the first of three Hitchcock films to feature actress Grace Kelly followed by "Rear Window" 1954 and "To Catch a Thief" 1955. <br /> <br /> 10 x 8 inches. Very Good plus lightly worn at the corners. <br /> <br /> Grant US. Selby US. Spicer US. Pictorial Press unknown
1954153634N.p.: N.p. 1954. Archive of five vintage borderless oversize photographs of director Alfred Hitchcock with various cast and crew members on the set of the 1954 film noir. Manuscript ink and pencil annotations to the verso including layout annotations "FILE" stamps and the stamp of photographer Sanford H. Roth. Four photographs with printed mimeo snipes affixed to the verso and four photographs with manuscript annotations noting their appearance in the May 24 1954 issue of Life magazine. <br /> <br /> Brooklyn-born photojournalist Sanford Roth was best known for his portrait photography capturing intimate and now iconic images of artists and actors throughout his decades-long career including Marc Chagall Joan Crawford Albert Einstein Henri Matisse and Elizabeth Taylor among many others. <br /> <br /> Based on the 1952 play by Frederick Knott who also wrote the screenplay about a tennis player who arranges to have his wife framed for murder after discovering her infidelity. The only Hitchcock film to be shot in 3D although the format would ultimately be discarded for theatrical release and the first of three Hitchcock films to feature actress Grace Kelly followed by "Rear Window" 1954 and "To Catch a Thief" 1955. <br /> <br /> One photograph features Hitchcock leaning over a giant rotary dial a prop made as a result of Warner Brothers' proprietary 3D camera rig. Hitchcock wanted the first shot of the film to feature a finger pressing the letter M on a rotary dial telephone but the specialized 3D camera was unable to focus the close-up correctly leading the director to order a giant finger made from wood and a proportionally large dial in order to achieve the effect. <br /> <br /> Four photographs 10 x 13.5 inches one photograph 9.5 x 13.5 inches. Lightly edgeworn else generally Near Fine. <br /> <br /> Grant US. Selby US. Spicer US. N.p. unknown
1972148288Universal City: Universal Pictures 1972. Collection of 12 vintage French color lobby cards from the 1972 film. <br /> <br /> Based on the 1966 novel "Goodbye Piccadilly Farewell Leicester Square" by Arthur La Bern. <br /> <br /> 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.<br /> <br /> Alfred Hitchcock's penultimate film.<br /> <br /> Set in and shot on location in London. <br /> <br /> 11.25 x 9 inches. Near Fine. <br /> <br /> Vogel Film as a Subversive Art. Clover Men Women and Chainsaws. Grant US. Universal Pictures unknown
1972148289Universal City: Universal Pictures 1972. Vintage French color lobby card from the 1972 film. <br /> <br /> Based on the 1966 novel "Goodbye Piccadilly Farewell Leicester Square" by Arthur La Bern. <br /> <br /> 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.<br /> <br /> Alfred Hitchcock's penultimate film.<br /> <br /> Set in and shot on location in London. <br /> <br /> 11.25 x 9 inches. Pinholes at corners else Near Fine. <br /> <br /> Grant UK. Vogel Film as a Subversive Art. Clover Men Women and Chainsaws. Universal Pictures unknown
1944154237N.p.: N.p. 1944. Vintage reference photograph from the set of the 1944 film showing actress Tallulah Bankhead sitting and reading a newspaper that makes reference to World War II. <br /> <br /> A group of survivors are stranded on a lifeboat following a Nazi attack on their merchant ship. Tensions are high as the group negotiates food rations and tries to plot a course to land or rescue. The first film in Alfred Hitchcock's "limited setting" series followed by "Rope" 1948 "Dial M for Murder" 1954 and "Rear Window" 1954. <br /> <br /> Shot on location in Florida and California. <br /> <br /> 5 x 4.25 inches. Near Fine. <br /> <br /> Eureka Masters of Cinema 30. N.p. unknown
1964170777N.p.: N.p. 1964. Four vintage color transparencies from the 1964 film all four showing Tippi Hedren.<br /> <br /> 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. <br /> <br /> Set and shot on location in California Pennsylvania New Jersey Virginia and Maryland. <br /> <br /> 5 x 4 inches. Near Fine.<br /> <br /> Godard Histoires du cinema. Grant US. Spicer US. N.p. unknown
1964167791Universal 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.<br /> <br /> 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. <br /> <br /> Set and shot on location in California Pennsylvania New Jersey Virginia and Maryland. <br /> <br /> 10 x 8 inches. Faint discoloration on the top edge of the verso else about Near Fine.<br /> <br /> Godard Histoires du cinema. Grant US. Spicer US. Universal Pictures unknown
1964150493Universal 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.<br /> <br /> 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. <br /> <br /> Set and shot on location in California Pennsylvania New Jersey Virginia and Maryland. <br /> <br /> 10 x 8 inches. Near Fine.<br /> <br /> Godard Histoires du cinema. Grant US. Spicer US. Universal Pictures unknown
1964134415Universal City CA: Universal Pictures 1964. Vintage black-and-white still photograph from the 1964 film. In the photo Hitchcock leans over Tippi Hedren who sits at a typewriter portraying her character in the office where she works as a secretary. With a mimeograph snipe on the verso. <br /> <br /> 8 x 10 inches. Near Fine. Universal Pictures unknown
1959161065Beverly 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. <br /> <br /> 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. <br /> <br /> 8 x 10 inches. Near Fine.<br /> <br /> National Film Registry. Godard Histoires du cinema. Grant US. Penzler 101. Rosenbaum 1000. Metro-Goldwyn-Mayer [MGM] unknown
1959151251N.p.: N.p. 1959. Vintage reference photograph from the 1959 film showing actors Cary Grant and Eva Marie Saint. <br /> <br /> From the archive of film historian and author Joel Finler.<br /> <br /> 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. <br /> <br /> 10 x 8 inches. Near Fine.<br /> <br /> National Film Registry. Godard Histoires du cinema. Grant US. Penzler 101. Rosenbaum 1000. N.p. unknown
1960135571Hollywood: 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. <br /> <br /> 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. <br /> <br /> 8 x 10 inches. Very Good plus with a few pinholes at the corners. <br /> <br /> National Film Registry. Spicer US. Paramount Pictures unknown
1948157875N.p.: N.p. 1948. Vintage publicity photograph of the Mystery Writers of America's MWA endorsement of Hitchcock's 1948 film showing right to left MWA President Lawrence Blockman author Veronica Parker Johns Alfred Hitchcock author Audrey Roos author Edward Radin and author Clayton Rawson with layout annotations and the annotations of names in the margins of the recto.<br /> <br /> Based on Patrick Hamilton's 1929 play which was in turn based on a murder committed by Nathan Leopold and Richard Loeb in 1924. Two young men living together in a New York apartment decide to kill their former classmate to prove their intellectual and aesthetic superiority. As they grow increasingly daring and proud of their "perfect murder" their close friends and associates begin to suspect something is awry. Hitchcock's first Technicolor feature one of the director's most experimental films now rightfully considered an undisputed classic.<br /> <br /> Set in New York. <br /> <br /> 10 x 8 inches. Very Good with light creasing overall several pinholes near the extremities and cello tape repairs to the verso and the right margin of the recto. <br /> <br /> Grant US. Rosenbaum 1000. Selby US. Spicer US. N.p. unknown
1948150400N.p.: N.p. 1948. Vintage reference photograph from the set of the 1948 film showing director Alfred Hitchcock mapping out a scene with actors Farley Granger Joan Chandler and John Dall. With a printed mimeo snipe affixed to the verso along with several archival stamps and an address label. <br /> <br /> Based on Patrick Hamilton's 1929 play which was in turn based on a murder committed by Nathan Leopold and Richard Loeb in 1924. Two young men living together in a New York apartment decide to kill their former classmate to prove their intellectual and aesthetic superiority. As they grow increasingly daring and proud of their "perfect murder" their close friends and associates begin to suspect something is awry. Hitchcock's first Technicolor feature one of the director's most experimental films now rightfully considered an undisputed classic.<br /> <br /> Set in New York. <br /> <br /> 8 x 10 inches. Near Fine. <br /> <br /> Grant US. Rosenbaum 1000. Selby US. Spicer US. N.p. unknown
1948137965Burbank CA: Warner Brothers 1948. Vintage reference photograph of a boardwalk poster advertising the 1948 Alfred Hitchcock film. <br /> <br /> 10 x 8 inches. Near Fine. <br /> <br /> Grant US. Selby US. Spicer US. Warner Brothers unknown
1942165445Universal City: Universal Pictures 1942. Vintage portrait photograph of Norman Lloyd from the classic 1942 Hitchcock film with a provenance stamp on the verso.<br /> <br /> 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.<br /> <br /> A high spot among Alfred Hitchcock's early thrillers and the director's only collaboration with author Dorothy Parker who contributed to the screenplay. The film included much more location footage than most of the director's pictures including Boulder Dam locations in New York City including Radio City Music Hall and Rockefeller Center and of course Liberty Island for the famed closing scene on the Statue of Liberty. <br /> <br /> 8 x 10 inches. Near Fine.<br /> <br /> Grant US. Selby US. Spicer US. Universal Pictures unknown
1942152265Universal City: Universal Pictures 1942. Vintage reference photograph taken on the set of the 1942 film showing an elaborate ballroom scene with director Alfred Hitchcock cameraman Joseph Valentine and actors Priscilla Lane and Robert Cummings in conversation in the foreground. With a printed mimeo snipe affixed to the verso.<br /> <br /> A high spot among Alfred Hitchcock's early thrillers and the director's only collaboration with author Dorothy Parker who contributed to the screenplay. The film included much more location footage than most of the director's pictures including Boulder Dam locations in New York City including Radio City Music Hall and Rockefeller Center and of course Liberty Island for the famed closing scene on the Statue of Liberty. <br /> <br /> 10 x 8 inches. Near Fine. Universal Pictures unknown
1936150165N.p.: Gaumont British Picture Corporation 1936. Vintage portrait photograph of actor Peter Lorre from the 1936 film. With a printed mimeo snipe affixed to the verso along with manuscript pencil annotations several agency stamps and a date stamp reading 6 JAN 1936.<br /> <br /> Based on Campbell Dixon's 1936 play which was based in turn on two stories in the 1927 collection "Ashenden: Or the British Agent" by W. Somerset Maugham. Three British agents are tasked with assassinating a German spy during World War I but find themselves unable to fulfill their mission when their discover the spy's true identity. <br /> <br /> Set and shot on location in Switzerland and England. <br /> <br /> 7.25 x 9 inches. Very Good plus with one tiny chip to the right edge. <br /> <br /> Grant US. Gaumont British Picture Corporation unknown
1949151703Beverly Hills CA: United Artists 1949. Post-production Cutting Continuity script for the 1945 film issued for the Selznick Studio files in 1949. <br /> <br /> 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.<br /> <br /> Selby Canon US. Silver Classic Noir. Spicer US. United Artists unknown
1944147297Los Angeles: Vanguard Films 1944. Temporary Shooting script for the 1945 film here under the working title "The House of Dr. Edwardes." <br /> <br /> Based on the 1927 novel "The House of Dr. Edwardes" by Hilary Saint George Saunders and John Palmer. After director Alfred Hitchcock learned that producer David O. Selznick wanted to make a "psychiatric" story for the screen he persuaded Selznick to buy the rights to the novel he and his wife were in the process of adapting. Nominated for six Academy Awards including Best Picture Best Director and Best Supporting Actor for Michael Chekhov winning one.<br /> <br /> Blue titled wrappers noted as TEMPORARY SHOOTING SCRIPT on the front wrapper dated June 14 1944 with a credit for screenwriter Hecht. Distribution page present rubber-stamped copy No. 1620 with receipt removed. 176 leaves with last page of text numbered 176. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound with three gold brads. <br /> <br /> In a custom royal blue cloth covered clamshell box with black leather spine label and titles and decoration in gilt.<br /> <br /> Grant US. Selby Canon. Silver Classic Noir. Spicer US. Vanguard Films unknown
1951151248Burbank 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. <br /> <br /> From the archive of film historian and author Joel Finler.<br /> <br /> 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. <br /> <br /> Shot on location in New York Los Angeles District of Columbia and Connecticut. Nominated for an Academy Award. <br /> <br /> 10 x 8 inches. Very Good plus lightly and evenly toned overall. <br /> <br /> Grant US. Hardy BFI Crime Companion. Selby US Masterwork. Silver and Ward Classic Noir. Spicer US. Warner-Pathe unknown
1950156756Burbank CA: Warner Brothers 1950. Final Draft script for the 1951 film dated October 18 1950. Although the front wrapper and the first distribution page identify the script as Part I the script presented here is the complete Final Draft divided into four parts Parts I-IV each with its own distribution page. Laid in are twelve call sheets dating from October 31 1950 through December 23 1950 with all but one heavily annotated in manuscript pencil.<br /> <br /> Based on Patricia Highsmith's 1950 novel. A Hitchcock classic following a psychotic socialite and tennis pro who meet on a train and promptly form a partnership to "exchange murders." The plan seems infallible until one person shirks his end of the deal. <br /> <br /> Shot on location in New York Los Angeles Washington DC and Connecticut.<br /> <br /> Blue titled wrappers noted as FINAL on the front wrapper rubber-stamped copy No. 115 dated OCT. 18 1950. Four distribution pages present one for each Part with the first receipt removed all others intact. 158 leaves with last page of text numbered 153. Mimeograph duplication rectos only with blue revision pages throughout dated variously between 10/30/50 and 11/20/50. Pages Near Fine wrapper Very Good plus with edgewear and a closed tear to the center left front wrapper bound with two gold brads.<br /> <br /> Call sheets: 8.5 x 11 inches. Near Fine overall.<br /> <br /> Grant US. Selby Masterwork. Silver Classic Noir. Spicer US. Warner Brothers unknown
1941159846N.p.: N.p. 1941. Two vintage borderless reference photographs from the 1941 film noir one showing Cary Grant presenting Joan Fontaine with a glass of poisoned milk and the other showing Fontaine giving Grant a suspicious glance. One with a number stamp and mimeo snipe on the verso the other with a printed mimeo snipe. <br /> <br /> Based on the 1932 novel "Before the Fact" by Francis Iles about a woman who marries a handsome irresponsible playboy in order to avoid life as an old maid but soon suspects he wants to kill her for her life insurance payout. Nominated for three Academy Awards winning one for Best Actress for Joan Fontaine. <br /> <br /> 7.25 x 9 inches. Very Good plus lightly toned with a small crease at the bottom left corner. <br /> <br /> Godard Histoires du cinema. Grant US. Penzler 101. Selby US. Selby US Canon. Silver and Ward Classic Noir. N.p. unknown
