zasu pitts (17 Ergebnisse)

Hardcover. Zustand: Good. No Jacket. Dust jacket missing. Shelf and handling wear to cover and binding, with general signs of previous use. Binding and pages are intact. All pages are free from any notations. Light scuffing and bumping visible to boards. Secure packaging for safe delivery.

Hardcover. Zustand: Good. No Jacket. Dust jacket missing. Second printing. Shelf and handling wear to cover and binding, with general signs of previous use. Secure packaging for safe delivery.

Hardcover. Zustand: Good. Zustand des Schutzumschlags: Good. Dust jacket in good condition. Shelf and handling wear to cover and binding, with general signs of previous use. Dust jacket has minor edgewear and tearing. Binding is sound. Text is clean and unmarked. Secure packaging for safe delivery.

Hardcover. Zustand: Good. Zustand des Schutzumschlags: Good. Wear commensurate with age and use. Clean unmarked copy. Light bumping visible to corners of boards and ends of spine strip. Light scuffing and smudging to boards and spine strip. This could have light cosmetic flaws, but remains in good condition. Dust jacket condition is Good. Secure packaging for safe delivery.

Hardcover. Zustand: Good. No Jacket. Second printing. Shelf and handling wear to cover and binding, with general signs of previous use. Good clean unmarked copy. Dust jacket now in new archival sleeve. Secure packaging for safe delivery.

Hardcover. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Vintage black-and-white still photograph from a later re-release (1950s) of the 1930 film. Brief annotations in manuscript ink on the verso and recto. Based on Remarque's 1929 novel, one of the greatest books written about World War I from the German perspective, about German soldiers' extreme physical and mental stress, and the detachment from civilian life felt by many of them upon their return home from the war. Winner of two Academy Awards (Best Picture and Best Director). Set in Germany, shot on location in California. 8 x 10 inches. A few faint creases, else Near Fine. National Film Registry.

Vintage press photograph of Mitchell Leisen, Myrna Loy, and John Howard from the preview party at Leisen's house for the 1936 film. Mimeo snipe on verso. What should be a routine transcontinental flight from New York to San Francisco is complicated by its shady passengers, which include three jewel thieves, a strange nobleman, and a beautiful socialite. Shot on location in Alhambra, California and Beaver Dam, Wisconsin. 10 x 8 inches. Near Fine.

Three vintage photographs of actress ZaSu Pitts at different periods of her career, silent era Universal photograph, circa 1925, early talkie period, circa 1935 and a later photograph circa 1950. ZaSu Pitts, born Eliza Susan Pitts, began working in Hollywood in the late teens and starred in her first feature length film, King Vidor's "Better Times," in 1919. By the mid 1920s Pitts was a well established comic actor. In a surprising casting choice Erich von Stroheim chose Pitts for the tragic role of Trina Sieppe in his 1924 epic "Greed," after which von Stroheim called Pitts "the greatest dramatic actress." Through the 1930s Pitts starred in many comedy shorts, teamed with Thelma Todd, starred in many B pictures and supporting roles in feature productions. After the advent of sound Pitts was largely relegated to comedy roles. In the 1940s Pitts was a popular radio star working with the likes of Bing Crosby, Al Jolson, W.C. Fields and others. In 1944 Pitts appeared on Broadway in the popular mystery production "Ramshackle Inn" which was written expressly for her and which was later taken on the road. By the 1950s she focused her work largely on television playing comic support to Gale Storm in CBs' 1956 "The Gale Storm Show" and made appearances on other popular shows such as ABC's "Guestward, Ho!" (1961) and CBs' "Perry Mason" (1962). Pitts' final performance was as Gertie, the switchboard operator in Stanley Kramer's 1963 "It's a Mad, Mad, Mad, Mad World." 8 x 10 inches. Very Good, overall. Earliest photograph has margin trim on right and some residue on lower half. Mid career photograph has a small closed tear and light bruise. Later career photograph light creasing and light dampstain in top margin.

Reference photograph from the 1928 silent film, struck circa 1950s, showing director and actor Erich von Stroheim in a tender moment with Fay Wray. Manuscript ink and pencil annotations to the verso noting the film's title and the names of the photograph subjects. From the archive of film historian and author Joel Finler. Stroheim's runaway production was halted after nine months of shooting by producer Pat Powers, having gone nearly $1 million over budget, with an edited running time of over four hours. After a disastrous preview, Paramount decided to release two films from the footage, as was Stroheim's original intent, with the second part, entitled "The Honeymoon," now lost. The film follows Prince Nicki, an impoverished aristocrat, who is in love with a beautiful but poor innkeeper's daughter, but is forced to marry the daughter of a wealthy factory owner. 5 x 7 inches. Near Fine. National Film Registy. Scorsese, A Personal Journey through American Movies.

Vintage keybook photograph taken during filming on location for the 1934 film, showing actor W.C. Fields leaning against a wall while in conversation with director Norman Taurog and actor Kent Taylor. Mimeo snipe to the verso, along with the approval stamp of the Advertising Advisory Council, date-stamped JUL 19 1934. Based on the 1909 play by Anne Crawford Flexner, in turn based on the 1901 novel by Alice Hegan Rice, about a single mother's attempts to save her family from eviction. 8 x 11 inches, with wide margins (image measuring 3.5 x 4.5 inches). About Fine.

Vintage reference photograph from the set of the 1930 film, with actors Constance Bennett and Kenneth MacKenna standing together on the right, along with director Paul Stein, on location at a racetrack. With an agency stamp on the verso. A plain secretary works for a womanizing divorce lawyer who only dates married women. To avoid having to deal with the matrimonial pursuits of any of his potential romances, he offers her financial support if she marries him in name only. Set in Paris. 10 x 8 inches. Very Good plus with some faint soil at the margins.

Vintage reference photograph from the 1928 film, struck circa 1950 from the original negative, showing actors Erich von Stroheim and Fay Wray. With a stamp specific to the film's French release on the verso, along with a few manuscript ink annotations. From the archive of film historian and author Joel Finler. Stroheim's runaway production was halted after nine months of shooting by producer Pat Powers, having gone nearly $1 million over budget, with an edited running time of over four hours. After a disastrous preview, Paramount decided to release two films from the footage, as was Stroheim's original intent, with the second part, entitled "The Honeymoon," now lost. The film follows Prince Nicki, an impoverished aristocrat, who is in love with the beautiful innkeeper's daughter Mitzi (Fay Wray), but is forced to marry Cecilia, the daughter of a wealthy factory owner (Zasu Pitts). 5 x 7 inches. Near Fine. National Film Registy. Scorsese, A Personal Journey through American Movies.

Vintage reference photograph from the 1924 film, showing actor Gibson Gowland in character as McTeague. Printed mimeo snipe affixed to the verso. From the archive of film historian and author Joel Finler. Based on the 1899 novel "McTeague" by Frank Norris. An impoverished miner-turned-dentist wins the lottery, but the ensuing fortune threatens to ruin the lives of everyone it touches. Director Erich von Stroheim's masterpiece, one of the first films to be shot entirely on location, in San Francisco and Death Valley, using (what were then considered) sophisticated and relatively new filming techniques, such as montage editing and deep focus. Stroheim's first cut of the film was a mammoth, 9.5 hour presentation, edited down to two and a half hours against his wishes. All that survives today is a restored, slightly choppy but coherent 240-minute version, supplanted with still photographs, that conveys to the viewer the unimaginable grandeur of the original. 7.5 x 9.75 inches. Very Good plus, with brief wear along the bottom edge and a small toned spot near the bottom left corner. National Film Registry. Ebert I. Godard, Histoire(s) du cinema. Rosenbaum 1000.

Five vintage reference photographs from the 1930 German film. Four with printed mimeo snipes affixed to the verso. Sequel to Erich von Stroheim's classic 1928 film "The Wedding March," about an impoverished aristocrat who falls in love with an innkeeper's daughter. Currently considered lost. 4.5 x 3.5 inches. Near Fine.

Vintage portrait photograph of Erich von Stroheim from 1926, released as a publicity still for the 1928 film. Newspaper clipping of photograph with two "DEC 19 1934" stamps affixed to verso, and an "Erich von Stroheim" stamp, and "Erich von Stroheim, Goldwyn director" printed on verso. Stroheim's runaway production was halted after nine months of shooting by producer Pat Powers, having gone nearly $1 million over budget, with an edited running time of over four hours. After a disastrous preview, Paramount decided to release two films from the footage, as was Stroheim's original intent, with the second part, entitled "The Honeymoon," now lost. Prince Nicki, an impoverished aristocrat, is in love with the beautiful innkeeper's daughter Mitzi, but is forced to marry Cecilia, the daughter of a wealthy factory owner. 8 x 10 inches. Very Good plus with two small chips, one on top left corner and one on center right margin. National Film Registy. Scorsese, A Personal Journey through American Movies.

Vintage reference photograph of the cast, crew, and onlookers from the set of the 1925 film. Mimeo snipe and annotations in manuscript ink on verso. Based on the 1899 novel "McTeague" by Frank Norris. An impoverished miner-turned-dentist wins the lottery, but the ensuing fortune threatens to ruin the lives of everyone it touches. Director Erich von Stroheim's masterpiece, one of the first films to be shot entirely on location, in San Francisco and Death Valley, using (what were then considered) sophisticated and relatively new filming techniques, such as montage editing and deep focus. Stroheim's first cut of the film was a mammoth, 9.5 hour presentation, edited down to two and a half hours against his wishes. All that survives today is a restored, slightly choppy but coherent 240-minute version, supplanted with still photographs, that conveys to the viewer the unimaginable grandeur of the original. 8 x 10 inches. Very Good plus, with a small closed tear in bottom margin and faint creasing. National Film Registry. Ebert I. Godard, Histoire(s) du cinema. Rosenbaum 1000.