Original Film Posters Online

YOUNG FRANKENSTEIN (1974) ORIGINAL STUDIO CONCEPT ARTWORK, US

YOUNG FRANKENSTEIN (1974) ORIGINAL STUDIO CONCEPT ARTWORK, US Mixed media on art board. Unframed: 67.3 x 49.5 cm (26½x 19½in.) Framed: 86 x 68.6 cm (33⅞x 27 in.) This comedy horror was directed by Mel Brooks and written by him and Gene Wilder. Gene Wilder also stars in the film as Dr. Frederick Frankenstein, a descendant of the infamous Dr. Victor Frankenstein; Peter Boyle as the monster; Marty Feldman as Frankenstein's man servant Igor; and Madeline Kahn as Elizabeth, who falls in love with the monster. It is a parody of the classic horror film genre, with the usual zany Brooks and Wilder humour. The studio commissioned a few different artists to come up with artwork for the film's poster campaign. This stunning artwork has a charming old-school feel, along with fantastic dripping typography, but the studio ended up preferring a more modern looking design. This is a unique artwork. Please see Shipping Calculator Link: Click here

young frankenstein (1974) original studio concept artwork, us

Old Master and British Works on Paper

Lots 306-373: Property from the Collection of A.M. ('Ton') van den Broek

Lots 306-373: Property from the Collection of A.M. ('Ton') van den Broek Johann Edler Goll van Frankenstein Frankfurt am Main 1722 - 1785 Velsen-Zuid Skaters on the Vecht by the bridge to Kasteel Loenersloot (?) Pen and ink and wash

View 1 of Lot 343: Skaters on the Vecht by the bridge to Kasteel Loenersloot (?)

skaters on the vecht by the bridge to kasteel loenersloot (?)

Original Film Posters

Unframed: 11 x 14 in. (28 x 36 cm) Framed: 15 1/2 x 18 1/2 in. (39.3 x 47 cm) Realart Pictures was a film distribution company founded in 1948, who specialised in the re-release of older films, in particular those from Universal Pictures. When the films were re-released new vibrant advertising material was created, which was different from the original studio release material. This is a very sought-after Horror piece that does not surface very often. This science fiction horror film was directed by James Whale, and adapted from the 1927 play, which was based on Mary Shelley's 1818 novel of the same name. Dr. Frankenstein (Colin Clive), an obsessed scientist, creates a human monster (Boris Karloff) out of body parts from corpses he has dug up. "A monster science created but could not destroy. The walking nightmare that frightened the world!"

View 1 of Lot 23: Frankenstein (1931), Realart re-release title card (1951), US

frankenstein (1931), realart re-release title card (1951), us

“There Are Such Things:” 20th Century Horror, Science Fiction, and Fantasy on Screen

Bela Lugosi's Screen-worn "Count Dracula" cape from the 1948 Universal International Pictures film Abbott and Costello Meet Frankenstein.

Bela Lugosi's Screen-worn "Count Dracula" cape from the 1948 Universal International Pictures film Abbott and Costello Meet Frankenstein. Black satin cape lined in rose gold satin with two hook and eye closures at neck, 66 in (167.6 cm) long and 29 in (73.7 cm) wide, with collar measuring 10.5 in (26.7 cm) and two armhole slits measuring 10.5 in (26.7 cm). Accompanied by custom-built mannequin in the likeness of Bela Lugosi, posed after his performance in the film, head comprised of silicone and fitted with prosthetic-grade glass eyes and human hair.

View 1 of Lot 14: Abbott and Costello Meet Frankenstein (1948)

abbott and costello meet frankenstein (1948)

FRANKENSTEIN MEETS THE WOLF MAN. Universal Pictures, 1943

FRANKENSTEIN MEETS THE WOLF MAN. Universal Pictures, 1943 Company Inc. Half sheet poster, color lithograph printed on cardstock, unfolded, 22 x 28 in (55.9 x 72.1 cm).

View 1 of Lot 13: Frankenstein Meets The Wolf Man (1943)

frankenstein meets the wolf man (1943)

Important Prints & Multiples

Kerry James Marshall b. 1955 Frankenstein signed in pencil and numbered 3/50 etching and aquatint on Somerset white paper plate: 15¾ by 12 in. 401 by 304 mm. sheet: 24½ by 19 in. 622 by 482 mm. Executed in 2010; this impression is number 3 from the edition of 50, with the blindstamp of the publisher, Paulson Fontaine Press.

frankenstein

YOUNG FRANKENSTEIN/MLODY FRANKENSTEIN (1974) POSTER, POLISH

YOUNG FRANKENSTEIN/MLODY FRANKENSTEIN (1974) POSTER, POLISH Artist: Jerzy Flisak (1930-2008) Unframed: 97 x 69 cm (38 x 27 in.) This comedy horror was directed by Mel Brooks and written by him and Gene Wilder. Gene Wilder also stars in the film as Dr. Frederick Frankenstein, a descendant of the infamous Dr. Victor Frankenstein; Peter Boyle as the monster; Marty Feldman as Frankenstein's man servant Igor; and Madeline Kahn as Elizabeth, who falls in love with the monster. It is a parody of the classic horror film genre, with the usual zany Brooks and Wilder humour. Jerzy Flisak has designed a quirky poster for the film's release in Poland. Please see Shipping Calculator Link: Click here

young frankenstein/mlody frankenstein (1974) poster, polish

Frankenstein / Dracula / The Mummy (1931/1931/1932) Heralds, US﻿

Frankenstein / Dracula / The Mummy (1931/1931/1932) Heralds, US﻿ Unframed: 410¼x 8¼in. (26 x 20.9 cm) / 7 x 2¾in. (17.8 x 7 cm) / 6 x 3 in. (15.3 x 7.6 cm) To view shipping calculator, please click here

frankenstein / dracula / the mummy (1931/1931/1932) heralds, us

FRANKENSTEIN. Universal Pictures, 1931 Window Card, color stone lithograph on card stock,14 x 22 in (35.6 x 55.9 cm). Printer tag “MORGAN LITHO. CO., CLEVELAND, OHIO. No 36786.” Stamped on top recto margin “FITCHBURG THEATRE / FITCHBURG / TUES.-WED., JAN. 26-27” in black ink. Verso stamped “FROM THE COLLECTION OF / Ronald V. Borst” in blue ink.

frankenstein (1931)

Kerry James Marshall b. 1955 Bride of Frankenstein signed in pencil and numbered 3/50 etching and aquatint on Somerset white paper plate: 15⅞ by 11⅞ in. 403 by 302 mm. sheet: 24⅜ by 19 in. 619 by 483 mm. Executed in 2010; this impression is number 3 from the edition of 50, with the blindstamp of the publisher, Paulson Fontaine Press.

bride of frankenstein

Books and Manuscripts, Medieval to Modern

Mary Wollstonecraft Shelley Frankenstein; or, The Modern Prometheus. London: Lackington, Hughes, Harding, Mavor, & Jones, 1818 FIRST EDITION, 3 VOLUMES BOUND IN ONE, 8vo (190 x 110mm.), half titles and titles to each volume, printed dedication to William Godwin from the author and preface in volume one, later polished calf by Riviere and Son, spine gilt with raised bands in 6 compartments, with green mottled calf label to second compartment, top edge gilt, others uncut, blue endpapers, inner dentelles gilt “…My imagination, unbidden, possessed and guided me, gifting the successive images that arose in my mind with a vividness far beyond the usual bounds of reverie. I saw – with shut eyes, but acute mental vision – I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then on the working of some powerful engine, show signs of life, and stir with an uneasy, half-vital motion. Frightful it must be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the creator of the world…” (Author’s Introduction, 1831) A FINE COPY OF THE RARE FIRST EDITION OF THE ARCHETYPAL HORROR STORY OF THE SCIENTIFIC AGE. Frankenstein is claimed as the first work of science fiction in English literature, and is surely the most influential. The novel was famously triggered by Byron’s famous ghost story contest of the wet summer of 1816, but it drew on many threads that ran through the life and thought of the young Mary Shelley, who was just eighteen when she wrote the book. Scientific speculation on galvanism and the origins of life were a subject of discussion amongst Byron and the Shelleys during their holiday at Villa Diodati. Mary Shelley was the child of two of the greatest radical thinkers in Britain, of a revolutionary generation that rejected traditional authority and imagined a world remade. There is also no question that Mary Shelley’s experiences of parenthood, and especially the loss of her first baby, had a profound shaping effect on her writing (“…Dreamt that my little baby came to life again; that it had only been cold, and that we rubbed it before the fire, and it lived. Awake and find no baby…”, Mary Shelley, Journal, 20 March 1815) It was not easy to find a publisher for this strange and anguished story by an unknown writer. Percy Bysshe Shelley sent it first to Byron’s publisher John Murray, and then to Charles Ollier, who published his own poetry, but it was rejected by both. It was published anonymously – but with a foreword by P.B. Shelley, by Lackington, Hughes, Harding, Mavor & Jones, a less prestigious publishing house with a list of gothic sensationalism; the publisher’s advertisements (not found in this copy) included such titles as The Magus; or Celestial Intelligences; a complete System of Occult Philosophy, Lives of the Alchemystical Philosophers, and Apparitions; or, the Mystery of Ghosts, Hobgoblins, and Haunted House. Frankenstein: or, the Modern Prometheus was published on 1 January 1818 in an edition of 500 copies. The power of Mary Shelley’s fable was such that it almost immediately entered the public consciousness. It was first adapted for stage in 1823 and the following year in the House of Commons a warning was sounded that freeing slaves in the Caribbean would “raise up a creature resembling the splendid fiction of a recent romance”. Over two centuries the story has been retold, refashioned, parodied and remade in almost every manner imaginable, but Mary Shelley’s original words retain a tremendous and disturbing power. LITERATURE Ashley Library 5:29; Tinker 1881; Wolff 6280

View 1 of Lot 141: Mary Wollstonecraft Shelley | Frankenstein, London, 1818, 3 volumes in one, later polished calf

mary wollstonecraft shelley | frankenstein, london, 1818, 3 volumes in one, later polished calf

Livres et Manuscrits

Shelley, Mary Frankenstein, ou le Prométhée moderne. Dédié à William Godwin, auteur de la Justice politique, de Caleb Williams, etc. Par Mme Shelly [sic], sa nièce. Traduit de l’anglais par J. S.***. Paris, chez Corréard libraire, 1821. 3 volumes in-12 (165 x 95 mm). Veau glacé fauve, filet à froid noirci en encadrement avec petits cercles dorés aux angles, armes dorées au centre des plats, dos lisse orné de roulettes, filets et fleurons dorés, titre et tomaison dorés, roulette intérieure dorée, gardes marbrées, tranches marbrées (Reliure de l’époque). Étui cigare moderne, chagrin rouge. Un des grands classiques du roman noir, aux armes de Marie-Caroline de Bourbon-Sicile, duchesse de Berry. Exceptionnel exemplaire, en très bel état, réunissant deux femmes aux destins singuliers. Édition originale de la première traduction française, due à Jules Saladin (d’après Barbier). Le chef-d'œuvre de Mary Shelley fut publié anonymement à Londres en 1818. Tiré à quelques 500 exemplaires, son succès fut immédiat et lui valut d’être maintes fois réédité. Alors qu’elle n’était encore que Mary Wollstonecraft Godwin, la jeune femme avait accompagné son amant le poète Percy Shelley en Suisse durant l’été 1816 pour y retrouver Lord Byron. Lors de ce séjour, en raison du mauvais temps, ils prirent l’habitude de lire divers contes ou romans mettant en scène des êtres surnaturels, Byron lança l’idée d’une compétition : que chacun écrive une histoire de fantômes. Lui-même ébaucha un texte, retravaillé ultérieurement par John Polidori sous le titre Le Vampire, mais c’est Mary ─ devenue Mme Percy Shelley en décembre 1816 ─ qui produisit le seul récit achevé, ainsi qu’elle l’explique dans la préface. "I busied myself to think of a story, ─ a story to rival those which had excited us to this task. One which would speak to the mysterious fears of our nature and awaken thrilling horror ─ one to make the reader dread to look round, to curdle the blood, and quicken the beatings of the heart" [Je me suis efforcée de penser à une histoire ─ une histoire qui rivaliserait avec celles qui nous avaient alors enthousiasmés ─ qui s’adresserait aux peurs mystérieuses de notre nature profonde et réveillerait un frisson d’horreur, une histoire capable d’effrayer le lecteur au point qu’il ait peur de regarder autour de lui, de lui faire tourner les sangs et d’accélérer les battements de son cœur] (Mary Shelley, préface de l’édition anglaise de 1831). Si, dans la culture populaire, le "monstre" créé par le Dr Victor Frankenstein est le plus souvent représenté comme un être sauvage et sans état d'âme ─ et bien souvent désigné à tort par le patronyme de son créateur ─, ce roman, qui mêle la philosophie et la rationalité aux aventures effrayantes que vivent les personnages, possède une portée morale et une force stylistique évidente qui en font une œuvre majeure dans le genre épopée d’anticipation. Une provenance à la fois historique et bibliophilique. La présence de cet ouvrage, parmi tous ceux de la très importante bibliothèque réunie au château de Rosny par la duchesse de Berry à partir de 1818, est éloquent : elle révèle le goût littéraire de Marie-Caroline de Bourbon-Sicile, et rapproche deux femmes d’action et de passion, de cœur et de raison. Bien qu’issues de milieux différents, la duchesse de Berry et Mary Shelley partagent bien des points communs. Nées à quelques mois de distance, toutes deux reçoivent une éducation assez libre, se marient en 1816, éprouvent la douleur de perdre des enfants en bas âge comme celle d’être orphelines de mère, la première à l’adolescence et la seconde dès sa naissance. Veuve à 22 ans pour l’une et à 25 ans pour l’autre, ayant connu – pour des raisons différentes certes – une vie d’errance parfois et de voyages, toutes deux ont démontré une véritable volonté d’indépendance, un anticonformisme et un besoin de liberté, peu habituels pour leur temps. Mary Shelley laisse derrière elle une importante et originale production littéraire, quelque peu éclipsée par Frankenstein, et Marie-Caroline de Bourbon-Sicile, outre la mémoire d’un des épisodes les plus romanesques de l’histoire du XIXe siècle, le souvenir d’une grande bibliophile et amatrice d’art.

View 1 of Lot 49: Frankenstein, ou le Prométhée moderne. Paris, 1821. 3 volumes aux armes de la duchesse de Berry. Édition originale de la première traduction française.

frankenstein, ou le prométhée moderne. paris, 1821. 3 volumes aux armes de la duchesse de berry. édition originale de la première traduction française.

The Library of an English Bibliophile, Part 1

8vo (172 x 106mm.), third edition with new introduction by the author, half-title, engraved frontispiece and additional engraved title, 3pp. publisher's advertisements at end, original plum cloth (Sadleir's "A" binding), lettering pieces on spine, additional gilt crest to spine, browning to engraved frontispiece and additional title, spine sunned and cracked with tears and some loss, upper joint splitting, spotting to endpapers

frankenstein: or, the modern prometheus. london: henry colburn and richard bentley, 1831

12mo (191 x 113mm.), 3 volumes, first edition, half-titles, publisher's advertisements (2pp. in volume 1, 8pp. in volume 2 and 4pp. in volume 3), uncut in the original boards, preserved in velvet-lined red morocco folding box by Sangorski & Sutcliffe, rebacked at an early stage with red paper-covered linen, a few small tears to some leaves, some stains and soiling to text and boards, spines slightly cracked

frankenstein; or the modern prometheus. london: lackington, hughes, harding, mavor & jones, 1818

large 12mo (200 x 125mm.), 3 volumes, first edition, half-title to volume one, two pages of publisher's advertisements at end of volume three, original boards, subscription library label on upper covers and spines ("...Public Subscription Library, No. 26, Holles Street, Cavendish Square [London]. Edward Bull, Bookseller, Publisher, and Stationer"), cloth chemises and slipcase, covers and backstrips worn, spines and some joints repaired, spotting

the fortunes of perkin warbeck, a romance. by the author of "frankenstein". london: henry colburn and richard bentley, 1830

8vo (188 x 111mm.), 2 volumes, second edition, half-titles, original boards with paper lettering pieces on spine, collector's chemise and blue morocco-backed slipcase, minor spotting and browning, extremities worn with minor loss, loss to head of spine of volume 1, some splitting to joints

frankenstein: or, the modern prometheus... a new edition. london: for g. and w.b. whittaker, 1823

Property from the Collection of Josephine & Walter Buhl Ford II 

enamel paint on beaverboard with sandinscribed along the bottom and on right side WILLIAM L. HAWKINS JULY 27, 1895  JANY 18, 1983.

English Literature, History, Children&#39;s Books & Illustrations

12mo (191 x 112mm.), 3 volumes,  first edition, half-titles, volume 1 with advertisement leaf K2, later full brown morocco by Bayntun, spines gilt in compartments, marbled endpapers, top edges gilt, some minor browning, wormhole to volume 2 (not affecting text)

12mo (191 x 112mm.), 3 volumes,  first edition, half-titles, volume 1 with advertisement leaf K2, later full brown morocco by Bayntun, spines gilt in compartments, marbled endpapers, top edges gilt, some minor browning, wormhole to volume 2 (not affecting text) A fine copy of the first edition of the best known fiction of the Romantic era and first work of science fiction in English literature. In the introduction to the 1831 edition of her masterpiece of gothic horror, Mary Shelley recounts the story, now a famous moment in literary history, of the stormy night in June 1816 at the VIlla Diodati by Lake Geneva where she (still only eighteen years old), Percy Shelley, Claire Clairmont and Lord Byron initiated a ghost-writing contest which led to the composition of Frankenstein. "From a 'waking dream' she created an instant myth that captured the public imagination. The story of the scientist and his creature rapidly permeated all levels of society, and became the material of theatrical productions, newspapers, political cartoons, parliamentary debate, translations, and countless inexpensive and/or pirated reprints..." (Betty T. Bennett, Oxford DNB). Since then the story of Frankenstein has, of course, continued to hold a central place as narrative and metaphor in the popular imagination, the most famous incarnation being, perhaps, the classic 1931 film adaptation starring Boris Karloff.

frankenstein; or the modern prometheus. lackington, hughes, harding, mavor & jones, 1818

English Literature, History, Children's Books and Illustrations 

3 volumes, 8vo, FIRST EDITION, contemporary green half calf gilt, black and red labels, vol.1 without advertisements

the last man. by the author of frankenstein. henry colburn, 1826

The Library of an English Bibliophile, Part II

12mo (203 x 119mm.), 2 volumes, first American edition, 4pp. of advertisements at the beginning of volume 1, 18pp. of advertisements at the end of volume 2, half-titles, original muslin-backed drab boards, white labels on spines, ownership signature on title page of volume 2, preserved in blue cloth chemise and quarter blue morocco slipcase, lacking front endpaper in volume 2, spotted, slight damp-staining to upper margins of volume 2, boards stained, cloth and labels somewhat torn on the spines, edges and corners worn

frankenstein; or, the modern prometheus. philadelphia: carey, lea & blanchard, 1833

Photographies

Tirage chromogénique. Monté et encadré. Signé et daté sur une étiquette de galerie au feutre noir fixée au verso du cadre. Ed. 5/10.

frankenstein, from caviar monsters, 2004

Shelley, Mary Wollstonecraft. Frankenstein: or, the Modern Prometheus. Henry Colburn and Richard Bentley, 1831

Shelley, Mary Wollstonecraft. Frankenstein: or, the Modern Prometheus. Henry Colburn and Richard Bentley, 1831 8vo, third edition with new preface by the author, engraved frontispiece and additional engraved title, nineteenth-century half calf, marbled boards and endpapers, top edge gilt, rebacked preserving most of the original spine This edition of Frankenstein, together with the first part of Schiller's The Ghost Seer, was issued as volume 9 in Bentley's 'Standard Novels' series in October 1831. References: Sadleir 3734a; Woolf 6280a

shelley, mary wollstonecraft. frankenstein: or, the modern prometheus. henry colburn and richard bentley, 1831

Bishopric of Bamberg, Sterbegroschen (6), Melchior Otto Voit von Salzburg, 1653, Philip Valentin Voit von Rieneck, 1672, Marquard Sebastian Schenk von Stauffenberg, 1693, Johann Philip Anton, Freiherr von Frankenstein, 1753, Adam Friedrich Graf von Seinsheim, 1779 and Franz Ludwig, Freiherr von Erthal, 1795, very fine to extremely fine

Bishopric of Bamberg, Sterbegroschen (6), Melchior Otto Voit von Salzburg, 1653, Philip Valentin Voit von Rieneck, 1672, Marquard Sebastian Schenk von Stauffenberg, 1693, Johann Philip Anton, Freiherr von Frankenstein, 1753, Adam Friedrich Graf von Seinsheim, 1779 and Franz Ludwig, Freiherr von Erthal, 1795, very fine to extremely fine (6)

bishopric of bamberg, sterbegroschen (6), melchior otto voit von salzburg, 1653, philip valentin voit von rieneck, 1672, marquard sebastian schenk von stauffenberg, 1693, johann philip anton, freiherr von frankenstein, 1753, adam friedrich graf von seinsheim, 1779 and franz ludwig, freiherr von erthal, 1795, very fine to extremely fine

* Bishopric of Bamberg, Johann Philip Anton, Freiherr von Frankenstein, thaler, 1750, by P.P. Werner, bust right, rev., arms, 29.04 g. (Dav. 1937; Heller 365), very fine

* bishopric of bamberg, johann philip anton, freiherr von frankenstein, thaler, 1750, by p.p. werner, bust right, rev., arms, 29.04 g. (dav. 1937; heller 365), very fine

Results for "Frankenstein"