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( Cinema ) Lasky, jr JesseBiblio.com

THE THIEF OF VENICE

[Silent cinema]Biblio.com

Original photograph from the lost film "The Scarlet Streak" circa 1926 of a car jumping a train crossing. With a lengthy annotation on the verso regarding guerilla filming techniques in 1920s Hollywood

1920157265N.p.: N.p. 1920. Vintage reference photograph from the 1926 film. Photograph shot at high film speed showing a roadster jumping a train crossing with the train approaching seconds before possible impact. The astute viewer will note that the guard rail has not yet been broken. With a lengthy annotation in manuscript pencil on the verso regarding guerilla production techniques taken by Poverty Row studios during the 1920s. An stunning photograph capturing a split-second moment from a common trope of early action cinema - motorists escaping capture by deftly crossing train tracks narrowly avoiding collision with an oncoming train. The production number in the bottom left of the photograph "4296" matches known photographs from the lost 1925 action serial film "The Scarlet Streak" directed by Henry MacRae and starring Jack Dougherty and Lola Todd. Just as fascinating is the extensive annotation on the verso: "Poverty Row crews were accustomed to film stories in the 1920s streets. The city of Los Angeles becoming inured to the novelty a license costing $400 was required for shooting on public thoroughfares. Camera crews were trained to set up fast complete the street scenes quickly and vanish before the police arrived to check for a license. So grab shots were common. "The favorite action sequence was the transfer of an actor from an automobile to a moving train or crossing the road in front of the train and breaking the guard rails at the last moment. "The best place to film this was in Pasadena where the Santa Fe Railroad passed along the blocks of paved streets. A director or camera man boarded the train there carrying their heavy luggage to the observation car. As soon as the train moved out of the station they hauled a camera and tripod out of the bags. The motorcycle or automobile appeared at the designated spot where another cameraman was set up. As the actor made the daring transfer or split second crossing the camera cranked out the action. The conductor generally came along to toss the film makers off the train at the next stop but it was a marvel of economy for the novelty of early film making." 10.25 x 8 inches. Very Good plus with a small chip to the top left margin chipping to the bottom right margin with a minutae of image loss to the bottom right corner and edgewear and creasing to the right margin. N.p. unknown

Royal Books · États-Unis450,00 $US≈ 380,75 €

Francois Truffaut; French New Wave CinemaBiblio.com

French New Wave Cinema François Truffaut Film Pressbooks for Fahrenheit 451 and Antoine Doinel Series 1966 to 1969

1966166291966. Truffaut François. Collection of film pressbooks 1966-1969 documents mid-twentieth-century film promotion and distribution practices within the French New Wave cinema movement. The material captures how films associated with François Truffaut were presented to journalists and exhibitors situating his work within the international circulation of European art cinema. The grouping supports research into cinematic publicity systems revealing how narrative authorship and visual identity were communicated to the press during the global expansion of French New Wave films. Truffaut François. Pressbook collection for Fahrenheit 451 1966 The Bride Wore Black La Mariée était en noir 1968 Stolen Kisses Baisers volés 1968 and Mississippi Mermaid La Sirène du Mississippi 1969. Four original pressbooks in illustrated wrappers each between 4 and 6 pages. These materials include film stills cast and crew credits narrative summaries excerpts of dialogue and promotional imagery including layouts for poster designs. The pressbooks were distributed to media outlets at the time of each film's release providing standardized information and visual content intended for reproduction in reviews advertisements and exhibition materials. The layout and content emphasize both the films' narrative elements and Truffaut's role as director reinforcing auteur-driven marketing. The material documents the system of film publicity and critical mediation through printed pressbooks showing how distributors and production entities shaped the reception of French New Wave cinema by supplying press-ready narratives imagery and interpretive framing and providing primary-source evidence for the study of international film marketing and auteur theory in practice. During the 1960s French New Wave directors including Truffaut gained international recognition and structured press dissemination played a key role in establishing their reputations outside France. Light handling wear to wrappers; contents clean and intact; overall very good to near fine condition. A cohesive group illustrating the mechanisms by which European art cinema was introduced and contextualized for global audiences. unknown

Max Rambod Inc. · États-Unis480,00 $US≈ 406,13 €

New Line CinemaBiblio.com

LUMINOUS PROCURESS 1971 Set of 2 photos

1971WALTER-FILM006450New Line Cinema. No binding. Fine. New York: New Line Cinema 1971. Pair of vintage original 8 x 10" 20 x 25 cm. black-and-white print still photos fine. Very scarce photos from the only feature film of experimental film director Steven Arnold. He curated the Nocturnal Dreamshows at the Palace Theater in San Francisco where The Cockettes got their start. "In 1969 Arnold began filming Luminous Procuress which went on to win him the 1972 New Director's Award at the San Francisco International Film Festival an extended exhibition at the Whitney Museum of American Art and a second invite to Cannes' Directors' Fortnight. Salvador Dali was so impressed with the film that he arranged a private screening at the St. Regis Hotel to which he invited New York's elite including Andy Warhol who also praised the film's genius. Arnold became a favorite of Dali's and in 1974 went to study with the master in Spain helping Dali to embellish and inaugurate his Museo-Teatro Dali.After returning to California and failing to make any progress on other film projects Arnold was driven to find new modes of expression. By establishing his Los Angeles photography studio and west-coast salon Zanzibar Arnold did just that."From 1982-89 Steven Arnold found his niche designing and shooting tableau-vivants for four books leaving thousands of living tableau photographs and negatives unpublished. He also left behind a social legacy in Los Angeles which according to many who saw Zanzibar at its height has never been equaled. Arnold adored the vast cross-section of society represented at his nightly Salons but also culled inspiration from his dreams world religions sexuality fine art masterpieces Jungian archetypes social attitudes excess and artifice working all night and waking each afternoon to sketch dreams and visions into his growing collection of sketchbooks. In addition to his photography Arnold also translated these drawings into a large body of paintings and assemblage sculpture between 1990 and his early death in 1994." wikipedia.comLuminous Procuress is a surreal fantasy film in which two young men enter an alternate reality of what the photo describes as "AUTOMATONS TRANSVESTITES SUFI HOLYMEN MALE NUNS MIMES MONKEYS VEGETABLES PEOPLE WHORES MUSCLEMEN QUPIE DOLLS FAIRY GODMOTHERS AND ART MODELES." This is one of a tiny number of 1970s films in which The Cockettes appeared. New Line Cinema

Walterfilm, Inc. · États-Unis500,00 $US≈ 423,05 €

Black Cinema Photo ArchiveBiblio.com

Black Film and Television Performance Across Hollywood Genres 1950s-1990s

1969214751969. Unknown photographers group of film and television press photographs circa 1950s-1990s documenting African American actors and performers across multiple decades of American cinema and broadcast media. The material operates in Cultural/Representational Mode illustrating the evolution of Black screen representation through commercial film television and experimental media with relevance to African American film history performance studies and media representation. The archive includes images of prominent figures such as James Earl Jones Whoopi Goldberg Yaphet Kotto Sammy Davis Jr. Paul Winfield Marlon Riggs and John Witherspoon alongside performers associated with Amos & Andy one of the earliest nationally syndicated television programs featuring a Black cast. The photographs collectively provide visual evidence of shifting roles genres and narrative frameworks in which Black actors appeared from the mid-twentieth century through the end of the twentieth century. Archive comprises 28 black-and-white silver gelatin press photographs each approximately 8 x 10 inches. Images include film stills promotional portraits and behind-the-scenes moments. Identifiable scenes include Sammy Davis Jr. in Anna Lucasta 1958 a production featuring an all-Black cast; a still from Take a Giant Step 1959 with Johnny Nash addressing race and adolescence; and Carl Anderson in Jesus Christ Superstar 1973 portraying Judas Iscariot. Additional photographs include Whoopi Goldberg in Fatal Beauty 1987 John Witherspoon in Ratboy 1986 and a still from Brubaker 1980 addressing prison conditions. One image shows Marlon Riggs with collaborators associated with Tongues Untied an experimental work engaging Black queer identity during the AIDS crisis. Other photographs include Evaristo Márquez with Marlon Brando in Burn! 1969 a film centered on colonial revolt as well as an image of dancers Mikhail Baryshnikov and Gregory Hines documenting interracial collaboration in performance. The archive also contains images of Alvin Childress Spencer Williams and Tim Moore from Amos & Andy situating the collection within earlier television history. These photographs document the expanding presence of Black performers across genres including drama musical experimental film and television reflecting both constraints and opportunities within the entertainment industry over several decades. The inclusion of works addressing racial identity colonialism incarceration and sexuality demonstrates the increasing complexity of narratives involving Black actors while earlier material highlights the limited but significant visibility achieved in mid-century productions. The presence of experimental work such as Tongues Untied further situates the archive within late twentieth-century cultural and political discourse surrounding race and sexuality. Light wear with minor surface marks and edge wear; overall very good condition. A broad visual record of African American performance and representation across four decades of American media. unknown

Max Rambod Inc. · États-Unis550,00 $US≈ 465,35 €

[CINEMA -- ORIGINAL LOBBY POSTER]. [GRAEPER, William Adolph(Theater owner)].Biblio.com

Marion Davies with Ralph Forbes C. Aubrey Smith in The Bachelor Father: from Hogan’s Alley to British Society . . what a leap and what a comedy. Large Art Deco in-house original artwork lobby poster with studio photo stills mounted from verso through cut-outs.

193161600Hollywood CA & Portland OR: Metro-Goldwyn-Mayer Studios; Egyptian Theater 1931. Double atlas folio. 28 x 44 in. One hand-painted & lettered lobby poster vivid Art Deco lettering in red white green & blue three windows cut for mounting 3 separate 8 x 10 in. original studio silver gelatin photographs from verso bordered in yellow minor edgewear scuffing faint tidemark to very upper left fore-edge tear not affecting lettering or design to right fore-edge margin still a VG- exemplar. An exceptional hand-painted Jazz Age Art Deco lobby poster for the pre-code 1931 MGM comedy film â€œThe Bachelor Fatherâ€ directed by Robert Z. Leonard and screenplay by Edward Childs Carpenter & Laurence E. Johnson based on the 1928 Broadway play. Set against the backdrop of a plot featuring an aging Sir Basil Algernon Winterton played by C. Aubrey Smith in both Broadway Play and film who is urged to reacquaint himself with his three illegitimate children from three different liaisons in his youth. Marion Davies stars as Antoinette â€œTonyâ€ Flagg initially believes she is one of the lost daughters but discovers the original daughter had died and chooses to leave England only to crash in her friends plane and survive to reunite and marry Sir Basilâ€™s assistant John Ashley. Many of the plot lines and dialogue could not have been produced after the imposition of the 1934 Motion Picture Production Code including several casual references to Sir Basilâ€™s affairs casual approach to his bastard children and even keeping a ledger of all his loverâ€™s names and dates of the affairs. Graeper 1875-1970 had taken over the management and ownership of the Union Ave. Theater at 539 Union Ave. in Portland before 1914 expanded its seating capacity in 1916-17 just prior to the US entrance into World War I. The Egyptian Theater was opened in 1924 adorned with exotic decorations such as Egyptian revival pillars pyramids and ornamental urns with lotus flower motifs. The architect was Edward A. Miller and featured 866 seats on the main floor and 344 in the balcony closing after 1963 to become a warehouse. The musical accompaniment for the silent films and Vaudeville acts in the Egyptican were from a Wurlitzer Style F opus #855 pipe organ shipped by the Wurlitzer factory in July 1924 later moved to the Scottish Rite Temple in 1936. Metro-Goldwyn-Mayer Studios; Egyptian Theater, unknown

Zephyr Used & Rare Books · États-Unis575,00 $US≈ 486,51 €

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