Los Angeles: N.p., 1935. Archive of material regarding a pair of prospective African American child actors, including four black and white photographs of the children, four autograph letters signed from a "Madame Fay," variously addressed to Mr. and Mrs. Martin Smith and an unnamed "Mr. Agent," and one typescript letter, unsigned (but seemingly from one of the Smiths), responding to.....
N.p. N.p., 1936. Original four-panel artwork by Al Capp, dated June 25, 1936, of his seminal comic strip Li'l Abner. INSCRIBED to fellow cartoonist Ed Dodd in holograph ink on bottom margin: "To Ed Dodd / with good wishes / Al Capp." Holograph notation in pencil along top margin: "4. It'll Do - Plenty!" and "6-25" in blue holograph pencil.....
N.p. N.p., 1935. Archive of 24 vernacular photographs documenting a 1935 summer road trip through the badlands of South Dakota, Idaho, and Wyoming. Each photograph with holograph ink annotations identifying location to the margins, and holograph pencil annotations to the verso noting locations and dates, along with the stamp of Rays photography studio in LaCrosse, WI. Captured in the archive.....
Washington, DC: Capitol Music, 1932. Original sheet music for the song "Take Me to the Dance Marathon," played by impressario Zeke Youngblood at the beginning of each of his marathons, and dedicated to him. Interestingly, this copy is signed by seven couples on the front wrapper, each also accompanied by a number, indicating that they were likely participants in one.....
Burbank, CA: Warner Brothers, 1967. Vintage oversize borderless double weight reference photograph of Faye Dunaway, Warren Beatty, and Michael J. Pollard from the 1967 film. With a German address stamp to the verso. Perhaps the most significant film for the New Hollywood generation, with its mix of graphic violence, sex, and humor, and a glamourous take on disaffected youth. Its.....
Burbank, CA: Warner Brothers, 1967. Vintage borderless studio still photograph of director Arthur Penn and actors Faye Dunaway and Warren Beatty resting between takes while filming on location for the 1967 film, with cinematographer Burnett Guffey looking on to the right. With holograph pencil and ink annotations regarding cropping on the verso, along with a provenance stamp. From the archive.....
![The Story of Pretty Boy Floyd [The Daltons: Outlaws] (Original screenplay for the 1974 television...](/pictures/thumb/143737.jpg?v=1561043720)
Burbank, CA: Universal Television / American Broadcasting Company [ABC], 1973. Draft script for the 1974 television movie "The Story of Pretty Boy Floyd," seen here under the title "The Daltons: Outlaws." As the script's title indicates, a story originally intended to be about the Dalton Gang. For reasons unknown, presumably legal, the script was haphazardly rewritten in the same year.....
N.p. N.p., Circa 1962. Vintage reference photograph from the 1962 film, showing actors Laurence Harvey and Jane Fonda in the back of a truck, hitchhiking to New Orleans. With holograph ink and pencil annotations on the verso regarding layout. From the archive of film historian and author Joel Finler. Based on the 1956 novel by Nelson Algren. Hallie, a former artist.....
Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1932. Vintage reference photograph, with snipe printed on the verso identifying director Harry Beaumont on the set with actresses Anita Page and Joan Marsh in the 1932 film, based on the 1932 J.P. McEvoy novel of the same name. With an additional stamp on the verso reading "Country of origin USA." Left jobless and about.....
New York: Simon and Schuster, 1935. First Edition. INSCRIBED in the year of publication by the author to legendary film director Tod Browning: "To Tod Browning / with admiration / Horace McCoy / Hollywood, August, 1935." A wonderful association. Horace McCoy was a Hollywood screenwriter in 1935, and at the same time Tod Browning was making one of his last.....
N.p. N.p., circa 1931. Archive of 14 vintage photographs of movie theaters circa 1931. Each with a holograph pencil notation on the verso identifying the theater and city. Three photographs with the photographer's stamp bearing his name and Reading, PA address on the verso. Films by Warner Brothers, Fox, Columbia, Paramount, and RKO are represented in the archive. Seven of.....
Hollywood: Andrews-Vagemann Productions, circa 1960s. Two treatment scripts for an unproduced television series "The Brutes." Written by Jerome B. Thomas, occasional writer for shows like "The Outer Limits" and the 1965 "Branded." This listing contains two scripts, "HERE COME THE BRUTES" and "THE BRUTES: THE IDOLS I HAVE LOVED SO LONG." "HERE COME THE BRUTES" introduces the principle characters, two.....
Hollywood: Technicolor Motion Picture, 1939. Vintage, oversize, double weight publicity photograph of the Joad family from the 1940 film, with the ironic Christmas message etched onto the negative along bottom "The Joad Family wish you a Merry Christmas and hope to see you soon." "Donn G Wescott Technicolor Motion Picture Corp" stamp and "E.S. Blake Dec 15 1939" stamp with.....
Culver City, CA: TriStar, 1984. Vintage studio still photograph from the 1984 film, showing actor John Malkovich. With a printed mimeo snipe on the verso, along with several newspaper clippings showing the photograph in use, and the stamp of a newspaper archive. A recently widowed woman struggles to maintain her family farm and care for her two young children in.....
Los Angeles: United Artists, 1934. Vintage press photograph of the film's premiere at the Chicago World Fair, at the "Century of Progress" exhibition, on July 30, 1934. The premiere was reported as being attended by 15,000 people, including international celebrities, civic and industrial leaders, newspapermen, and five governors. In early October, 1934 the film had a special White House screening.....
Los Angeles: American International Pictures [AIP], 1972. Two vintage black-and-white still photographs from the 1972 film. Rubber-stamped on the verso of one still is the contact information for Jerry Ohlinger's Movie Material Store, located in New York, along with an ink notation ("BOXCAR BERTHA"). Scorsese's second credit as a feature director, based on the fictionalized autobiography of Bertha Thompson, set.....
N.p. N.p., Circa 1937. Vintage double weight reference photograph of director Mitchell Leisen demonstrating how to kiss Jean Arthur while Ray Milland looks on, from the 1937 film. Based on the 1937 short story by Vera Caspary. During the Great Depression, obscenely wealthy baker J.B. Ball (Edward Arnold), angered at his wife's (Mary Nash) spending, throws her very expensive sable coat.....
N.p. N.p., circa 1934. Vintage photograph of a San Bernardino Ritz Theatre employee holding a sign to promote the 1934 film Circus Clown. This appears to have been taken at the intersection of 5th Street and North E Street, just north of the Ritz Theatre, which was located at 423 North E Street in San Bernardino, California. With the stamp.....
![Emperor of the North [Pole] (Original photograph from the set of the 1973 film). Robert Aldrich,...](/pictures/thumb/152368.jpg?v=1619580905)
Burbank, CA: Warner Brothers, 1973. Vintage reference photograph taken on the set of the 1973 film, showing actor Lee Marvin to the far left, with a camera crew capturing the shot to the right. With the stamps of Warner Brothers and still photographer Mac Julian to the verso. Director Robert Aldrich's portrait of the hard-boiled men who made their reputations by.....
Burbank, CA: Warner Brothers - First National, 1942. Collection of ten vintage studio still photographs from the 1942 film. One with a mimeo snipe on verso, one with "National Screen Service Corp" and "227- 42" stamps on verso, and two with a "Photograph by Madison Lacy" stamp on versos. Included is a two-color press flyer for the film. Two migrant workers.....
New York: Alfred A. Knopf, 1935. First Edition. The author's only title, one of the great novels of the Depression, about a down-and-out young man, and a fine example of proletarian literature. Very Good plus lacking the scarce dust jacket. Spine lean, spine faded, extremities lightly bumped and rubbed, and a hint of soil.
Los Angeles: First National Pictures, 1933. Vintage reference photograph from the 1933 pre-Code film. Shown is Ann Hovey as she is attacked after stowing away on a train by Ward Bond, playing against type as a villainous railroad worker. The rape is not only attempted but takes place, a radical element even in a pre-Code film. A film that has.....