4 025 résultats
1957133206Culver City CA: Columbia Pictures 1957. Vintage oversize double weight photograph of Jean Seberg Otto Preminger David Niven and the stand-ins for Seberg and Niven on the set of "Bonjour Tristesse" in the late summer of of 1957 in Cote d'Azur France. Shot struck and mounted by the film's still photographer Bob Willoughby. Willoughby's annotations regarding same present on the verso along with Willoughby's stamps and a stamp for the Sygma Agency in Paris. Full provenance available. <br/><br/>In a subtle homage to early cinema Preminger took the uncommon approach of interspersing black-and-white sequences in what was primarily a color film and pitted the seasoned stalwart David Niven against young and unconventional Jean Seberg the latter fresh from her internationally acclaimed performance in Godard's "Breathless."<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/>11 x 13.75 inches. Near Fine. Columbia Pictures unknown books
1969133199N.p.: N.p. 1969. Vintage oversize double weight candid photograph of Alan Arkin Art Garfunkel and Martin Sheen on the set of Mike Nichols' "Catch-22" in 1969. Shot and struck by the film's still photographer Bob Willoughby. The photographer has written at the top of the verso in holograph pencil: "Candid during rehearsal / The boys break up in briefing room scene / Art Garfunkel Alan Arkin Martin Sheen." Also with Willoughby's 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. 13.5 x 10 inches. Near Fine. <br/><br/>National Film Registry. N.p. unknown books
1971139538Burbank CA: American Broadcasting Company ABC 1971. Vintage oversize double weight borderless still photograph of Walter Matthau and a fetching Deborah Winters from the 1971 film based on the 1965 novel by Katharine Topkins. Nominated four Academy Awards including a Best Actor nod for Matthau starring in his friend Jack Lemmon's first and only directorial effort. Although not indicated shot struck and mounted by the film's still photographer Bob Willoughby. 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/>9.25 x 13.5. Fine. American Broadcasting Company [ABC] unknown books
1961133200N.p.: N.p. 1961. Vintage oversize double weight candid photograph of Gregory Peck and producer Sy Bartlett conferring on the set of "Cape Fear" in 1961 during the final scene in which Peck's character Sam Bowden fights in swamp water with Max Cady Robert Mitchum. Shot struck and mounted by the film's still photographer Bob Willoughby. The photographer has written at the top of the verso in holograph ink: "Greg on set listens to producer Sy Bartlett." With Willoughby's ASMP rubber stamp with his Pacific Palisades address and a separate stamp with the address of the Lee Gross Agency in New York. 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. 13.5 x 9 inches. Near Fine. <br/><br/>Hardy The BFI Companion to Crime. Silver Classic Noir. Selby US. Spicer US. N.p. unknown books
1961139506Universal City CA: Universal Pictures 1961. Vintage oversize double weight borderless still photograph from the 1961 musical film based on both the 1958 Rodgers and Hammerstein musical and the 1957 novel by C.Y. Lee. Nominated for five Academy Awards. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp 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 9.5 inches. Near Fine with a shallow diagonal crease to one corner. <br/><br/>Hirschhorn p. 373. Universal Pictures unknown books
1956141567Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1956. Vintage film still photograph from the 1956 film nominated for four Academy Awards and based on the 1948 novel by Ross Lockridge Jr. Paper snipe affixed to the verso. <br/><br/>A graduating poetry teacher played with aplomb by Clift falls in love with a Southern woman Taylor but the woman's past and the Civil War begin to cause problems. <br/><br/>8 x 10 inches. Near Fine with black holograph ink annotations to the verso and hole punches to the margin. Metro-Goldwyn-Mayer [MGM] unknown books
1956141247Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1956. Vintage film still photograph from the 1956 film nominated for four Academy Awards and based on the 1948 novel by Ross Lockridge Jr. Paper snipe affixed to the verso. <br/><br/>A graduating poetry teacher played with aplomb by Clift falls in love with a Southern woman Taylor but the woman's past and the Civil War begin to cause problems. <br/><br/>8 x 10 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown books
1970139510Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1970. Vintage oversize double weight borderless still photograph from the 1970 film showing director David Lean as he imparts some advice to star Christopher Jones during a smoke break. Winner of two Academy Awards for cinematographer Freddie Young and supporting actor John Mills. Nominated for two more as well as ten BAFTA awards. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp 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/>9.25 x 13.25 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown books
1967139540Culver City CA: Columbia Pictures 1967. Vintage oversize double weight color still photograph from the 1967 film based on the 1964 play by Murray Schisgal. Although not indicated shot and struck by the film's still photographer Bob Willoughby with an agency stamp 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 x 19.25 inches mounted on board. About Near Fine with some soiling near the top edge and light edgewear overall. Columbia Pictures unknown books
1981139508Universal City CA: Universal Pictures 1981. Vintage oversize double weight borderless still photograph from the 1981 film. Shot struck and mounted by the film's still photographer Bob Willoughby with his ASMP rubber stamp 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/>13.25 x 9.25 inches. Near Fine. Universal Pictures unknown books
1974139505Los Angeles: Embassy Pictures 1974. Vintage oversize double weight borderless still photograph from the 1974 film based on the 1971 novel by Evelyn Anthony. Shot struck and mounted by the film's still photographer Bob Willoughby with holograph notation on the verso in his hand. 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/>11 x 14 inchescm. Near Fine. Embassy Pictures unknown books
1973139507Boca Raton FL: Penthouse 1973. Vintage oversize double weight borderless still photograph from the 1973 film based on the 1947 novel by Andrew Lytle. Shot struck and mounted by the film's still photographer Bob Willoughby with a holograph notation in his hand on the verso. Full provenance available. <br/><br/>Culp and Eggar romp in a bed that is the middle of the woods for some reason while the haunted house that will exert a corrupting influence on the couple looms in the background. An image that does not appear in the so-bad-its-nearly-avant garde film but one that nevertheless captures its aura of surreal eroticism quite well. <br/><br/>Set in the countryside of Southern California shot on location in British Columbia Indian Arm and Vancouver. <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/>13.25 x 9 inches. Fine. <br/><br/>Thrower Nightmare USA. Penthouse unknown books
1962147773Los Angeles: Twentieth Century-Fox 1962. Collection of nine vintage studio still photographs two borderless from the 1962 film. <br/><br/>Jane Lindstom's Glynis Johns car breaks down and she seeks assistance at the home of a man named Caligari Dan O'Herlihy where she soon finds herself prisoner and none of the other residents seem willing to help. Not a remake of the classic 1920 Robert Wiene film "The Cabinet of Dr. Caligari" despite the similarity of the title though it does contain a similar plot twist. <br/><br/>7 - 8 x 10 inches 2 - 9.25 x 7 . Near Fine some faint creasing in margins and light edgewear. <br/><br/>Complete collation details available on request. Twentieth Century-Fox unknown books
1970137241London: Amicus Productions 1970. Draft script for the 1971 film. SIGNED by screenwriter Robert Bloch on the title page in 1982. Brief annotations throughout in holograph ink and pencil. <br/><br/>An anthology horror film featuring four different stories including vampires witchcraft wax ladies and eerie stranglers. In one story a writer is haunted by the psychopathic central character of his latest novel; in another two friends are haunted by a wax figure that eerily resembles a woman they once knew; in the third story a widower is neglectful and abusive to his daughter; and in the final story an actor starring in a vampire film buys a cloak from a mysterious shopkeeper and finds that the cloak gives him vampiric powers. Ingrid Pitt has a supporting role as do Joss Ackland Jonathan Lynn and Joanna Lumley. <br/><br/>Bloch wrote for several Amicus Productions film including "The Skull" 1965 "The Psychopath" 1966 "The Deadly Bees" 1966 and "Asylum" 1972. <br/><br/>Shot on location in England. <br/><br/>Blue titled wrappers. Title page present undated with a credit for screenwriter Bloch. 128 leaves with last page of text numbered 127. Mimeograph duplication. Pages and wrapper Near Fine bound internally with a silver prong brad. <br/><br/>Muir 1970s. Amicus Productions unknown books
1978152232Los Angeles: T.A.T Communications Company 1978. Three original scripts for two episodes from the short-lived gothic horror sitcom which aired on NBC in 1979. First Draft and a Second Draft scripts for the pilot episode "The Blacke Death" which aired on April 12 1979 and a First Draft script for the third episode "The Evil from Within" here under its working title "Death Walks" which aired on April 26 1979. Annotations in holograph ink on several pages of both First Draft scripts.<br/><br/>A widow inherits her husband's castle which is also a "think tank" filled with crazy scientists and eccentric characters determined to get rid of her. Featuring voice-over narration by Peter Lawford.<br/><br/>"The Blacke Death" First Draft:<br/>Green titled self-wrappers integral with title page noted as First Draft on the front wrapper dated July 28 1977 with credits for screenwriters Brad Buckner and Eugenie Ross-Leming. 31 leaves with last page of text numbered 29. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads.<br/><br/>"The Blacke Death" Second Draft:<br/>Pink titled self-wrappers integral with title page noted as Second Draft on the front wrapper dated August 3 1978 with credits for screenwriters Eugenie Ross-Leming and Brad Buckner. 50 leaves with last page of text numbered 49. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads.<br/><br/>"Death Walks" First Draft:<br/>Green titled self-wrappers integral with title page noted as First Draft on the front wrapper dated August 4 1977 with credits for screenwriters Eugenie Ross-Leming. 33 leaves with last page of text numbered 31. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. T.A.T Communications Company unknown books
1938140177Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1938. Temporary Complete script for the 1939 short film one of several classic shorts featuring the great Algonquin Round Table humorist Robert Benchley. <br/><br/>A stereotypically clueless husband is left in charge to show his apartment to a prospective subletting couple while his wife is at church and manages to botch the job in all the expectedly silly ways. "How to Sub-let" is the second-to-last of beloved Algonquin Round Table humorist Robert Benchley's "How to" shorts which included the 1935 Academy Award winning "How to Sleep" with his signature and untrue affinity for being lazy throughout the script. Set in an apartment in an unknown city. <br/><br/>Blue titled wrappers noted as TEMPORARY COMPLETE on the front wrapper rubber-stamped copy No. 946 and production No. 89665 dated 11/1/38 with credits for comedian Robert Benchley. Title page integral with the second page of the text with credits for comedian Robert Benchley as issued. 13 leaves with last page of text numbered 12. Mimeograph duplication. Pages Fine wrapper Very Good plus bound with two gold brads. Metro-Goldwyn-Mayer [MGM] unknown books
1989129406Burbank CA: Warner Brothers / American Broadcasting Company ABC 1989. First Draft script for the season one episode eight of the 1989 television show originally broadcast March 25 1989 on ABC here under the working title "White Poison." Virgil Vogel credited here as Director but Harry Falk would receive final credit as Director of the episode. <br/><br/>"Hawk" was based on a character from the crime drama series "Spencer: For Hire" 1985-1988. Avery Brooks an African American actor reprising his role from the former series starred as the sharp-dressed streetwise sunglasses-wearing elongated Colt revolver-toting vigilante with a deep sense of being. <br/><br/>In this episode Hawk is tracking the source of heroin laced with strychnine but his task is constantly interrupted by a nosy reporter. <br/><br/>Orange titled wrappers noted as FIRST DRAFT on the front wrapper dated January 27 1989. Title page present dated January 27 1989 noted as FIRST DRAFT with credits for screenwriters Parker and director Vogel as well as credits for executive producers producers associate producer and unit production manager. 62 leaves with last page of text numbered 58. Mechanical duplication. Pages and wrapper Near Fine bound with two gold brads. Warner Brothers / American Broadcasting Company [ABC] unknown books
1980143986Burbank CA: Martin Ransohoff Productions 1980. Draft script for an unproduced film. <br/><br/>Western featuring Lazarus a fugitive cowboy who cant keep out of trouble. <br/><br/>Red titled wrappers. Title page present with credits for screenwriter Robert Avard Miller composer George Leonard and producer A. Ronald Lubin. 111 leaves with last page of text numbered 109. Xerographically reproduced. Pages Fine wrapper Near Fine bound internally with three gold brads. Martin Ransohoff Productions unknown books
1960132597London: National Film Archives / Rank Organisation 1960. Vintage black-and-white still photograph from the 1960 UK film. Cropping annotations on both sides of the still <br/><br/>When a grocery boy has his heart broken he decides to join the Navy where he is to man the first British rocket. Both Michael Caine and Oliver Reed make brief cameos. <br/><br/>6.25 x 8 inches. Very Good plus with light a shallow crease. National Film Archives / Rank Organisation unknown books
1970143169Los Angeles: Twentieth Century-Fox 1970. Collection of five vintage borderless oversize photographs from the 1970 film. With a small French distribution label from Twentieth Century-Fox on the recto of each photograph. <br/><br/>Based on the 1968 novel by Richard Hooker and in turn the basis of acclaimed television show which ran for 11 seasons on CBS. Winner of the Palme d'Or at Cannes and nominated for five Academy Awards including Best Picture Best Director and Best Supporting Actress winning for Best Adapted Screenplay. <br/><br/>12 x 9.5 inches. Pinholes to the corners of a single photograph Near Fine overall. <br/><br/>National Film Registry. Twentieth Century-Fox unknown books
1985149641Paris: Gamma 1985. Vintage borderless reference photograph of director Robert Altman and actor Carol Burnett on the set of the 1985 television film which originally aired on HBO on April 1. With a printed mimeo snipe on the verso along with the stamps of Gamma Film.<br/><br/>Two women meet at a laundromat and reveal secrets about their lives. The third and final film collaboration between Altman and Burnett following "A Wedding" 1978 and "HealtH" 1980. <br/><br/>Shot on location in Paris.<br/><br/>10.25 x 7 inches. Fine. Gamma unknown books
1974135912Hollywood: Paramount Pictures 1974. Vintage press kit for the 1974 film. Includes 29 vintage black-and-white studio still photographs each with the Paramount two-color folding snipe a facsimile cover of Newsweek drawn from the film's content a dense program that includes essays on the making of the film and several stapled information sheets. <br/><br/>Folder 9 x 11.5 inches. Contents 8 x 10 inches. Contents Fine housed in a Very Good studio folder. Paramount Pictures unknown books
1969135464Chicago: Olive Films 1969. Collection of 4 vintage black-and-white still photographs from the 1969 film. Based on the novel by Peter Miles. <br/><br/>8 x 10 inches. Near Fine condition. <br/><br/>Complete collation details available on request. Olive Films unknown books
1969139768Los Angeles: Commonwealth United Entertainment 1969. Vintage color studio still photograph from the 1969 film. Based on the novel by Peter Miles. <br/><br/>The feature film that brought Robert Altman to the attention of the film world giving him the break he needed to make "MASH" in the year that followed. A gothic psychological thriller that explores a spinster's depth of loneliness and sexual longing. She happens upon a young mute man in the park who she invites to live in her house. The film was not a box office success and has received a relatively negative reception mostly due to its unclarified theme. <br/><br/>Shot on location in Vancouver Canada. <br/><br/>10 x 8 inches. Near Fine condition. <br/><br/> <br/><br/>Olive 540. Commonwealth United Entertainment unknown books
1994150134N.p.: N.p. 1994. Vintage borderless double weight color reference photograph of director Robert Altman with Julia Roberts and Lyle Lovett on location at Roissy Airport Charles de Gaulle Airport for the 1994 film. French and English printed "Sipa Press" snipe and "Pica Pressfoto" label on verso. <br/><br/>Altman's lightly sardonic take on Paris Fashion Week featuring an enormous and star-studded ensemble cast of international actors models and designers.<br/><br/>Set in and shot on location in Paris France . <br/><br/>8 x 10 inches. Near Fine. N.p. unknown books
