borg reginald (10 Ergebnisse)

Two vintage studio still photographs from the 1950 Western film, one of actor Howard Da Silva. In 1869, the government hires a former boxer as an undercover agent to infiltrate and stop the gangs that have been terrorizing the railroad mail service. Set in Wyoming. 10 x 8 inches. Near Fine. Pitts 5036.

Vintage full-color British front-of-house card from the UK release of the 1954 Mexican-American film. An archaeologist working in Mexico believes that there are remnants of an ancient civilization in a remote area. He requests a photographer, and is frustrated when he is sent a young woman to do the job. He and his guide become increasingly attracted to her, and the tension mounts. 8 x 10 inches. Near Fine.

Neues Film-Programm Nr. 1296. März-Folge. Gr.8°, 4 S., illustriert, ZUSTAND 2, senkrechter mittelbug.

Draft script for an unproduced film. With a single manuscript ink annotation on the front wrapper reading "99." A young man who learns he was born out of wedlock is driven to succeed in life to prove himself greater than his sullied heritage, eventually becoming a prizewinning bullfighter. But his success comes at the expense of his friends and family, whom he drives further and further away as he grows famous. Red titled wrappers, with credits for screenwriter PETER PACKER and story credits to REGINALD LEBORG. Title page present, with credits for screenwriter PETER PACKER and story credits to REGINALD LEBORG. 102 leaves, with last page of text numbered 101. Mimeograph duplication, rectos only. Pages Very Good plus, wrapper Very Good plus, bound with two gold brads.

Vintage studio still photograph from the 1951 film, showing actors Tom Neal and Jean Porter. A new draftee is assigned to a remote desert post, where he forges military orders that bring a platoon of women soldiers to the encampment. 10 x 8 inches. Very Good plus overall, with pinholes to the corners.

Draft script for the 1964 UK-US film, copy belong to Art Director George Provis, with manuscript pencil and ink annotations on eight pages. Laid in are two copies of a carbon typescript copy set listing, dated "19.3.1963," one with manuscript pencil annotations listing costs, and a "With Compliments" slip on Shepperton Studio letterhead. Provenance available upon request. George Provis was a British Art Director and Production Designer who began his career working on quota quickies (low budget features made to comply with Britain's Cinematograph Films Act of 1927) in the 1930s. After the Second World War, Provis was appointed by British film producer Sydney Box to head the art department at Gainsborough Pictures, and is credited on over 120 films. When a wealthy family member goes missing, the family seeks the help of a sullen teenage orphan, played by Francesca Annis, who is said to have psychic powers. Inspiration for the 1978 film "Eyes of Laura Mars," directed by Irvin Kershner, and starring Faye Dunaway and Tommy Lee Jones. Gray titled wrappers. Title page present. 111 leaves, with last page of text numbered 110. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Very Good plus, bound internally with two flat metal brads. Laid in pages, Near Fine, bound with a paper clip.

Vintage publicity photograph of Buster Keaton from the 1944 film, with a mimeo snipe affixed to the verso. 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. Louise Allbritton stars as the harried daughter of Jon Hall, an eccentric widowed high school teacher who is trying to sell his new invention, a self-inflating life raft. Featuring Buster Keaton in a cameo as a bus driver, in which he breaks out in laughter, one of the very few times the "Great Stoneface" smiled on camera. Shot on location in San Diego. 8 x 10 inches. With light even toning, else Near Fine.

Vintage publicity photograph of Lon Chaney Jr. and Anne Gwynne from the 1944 film, with a mimeo snipe affixed to the verso. 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. The second of six installments in "The Inner Sanctum Mysteries," preceded by "Calling Dr. Death: An Inner Sanctum Mystery" (1943), and followed by "Dead Man's Eyes: An Inner Sanctum Mystery" (1944). Lon Chaney Jr. travels to the South Seas where he falls in love with Anne Gwynne, a mysterious and exotic native woman who the locals believe to be some kind of supernatural being. 8 x 10 inches. Near Fine. Weaver and Brunas, Universal Horrors 1931-1946.

Two vintage photographs from the 1943 film, including one studio still photograph showing actors Lon Chaney Jr. and Ramsay Ames, and one reference photograph showing Chaney Jr. alone. One with a printed mimeo snipe affixed to the verso. The first film in Universal's "Inner Sanctum" series. Universal struck a deal with publishers Simon and Schuster in 1943, obtaining screen rights to their "Inner Sanctum" radio series, with Chaney Jr. slated to star. "Calling Dr. Death" would set the standard for the series, including the classic introductory sequence of a fortune teller who warns the audience of impending, albeit cinematic, doom, and the recurrent "stream of consciousness" voiceover. 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. 10 x 8 inches. Very Good plus, lightly faded. Weaver, Universal Horrors.

Draft script for the 1944 film, complete through page 94, scene 203. The remainder is not present, but the condition of the script would suggest that this draft is as issued. Copy belonging to an unknown crew member, with annotations in manuscript pencil and blue pencil throughout, regarding dialogue changes, direction, and camera setup. The second installment in the "Inner Sanctum" series, after "Calling Dr. Death" (1943), also directed by Le Borg, based on the 1943 story, "Conjure Wife," by Fritz Leiber, Jr. Professor Norman Reed (Chaney, Jr.) falls in love with an exotic native woman (Gwynne). What Prof. Reed doesn't know is that his exotic wife was raised by superstitious natives who taught her to trust her faith in voodoo. With Chaney, Jr., in an early role where he wasn't portraying a ghoulish monster, and more fun had by the cast off-screen than would its viewing audience, the film was essentially a silly romp. Leiber's story wouldn't get its official screen treatment until 1962 with "Burn, Witch, Burn," directed by Sidney Hayers, script by Richard Matheson, and starring Peter Wyngarde and Janet Blair. Lacking front wrapper. Title page present, dated November 15, 1943, with credits for screenwriters Darling and Weisberg, and novelist Leiber, Jr. 99 leaves, mimeograph on pink stock, with yellow revision pages throughout, dated 11-18-43. Pages Near Fine, wrapper Near Fine bound with two gold brads. Weaver, Universal Horrors.