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

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

peter boyle costume from ``young frankenstein '',

Star Wars Online

STAR WARS CONCERT POSTER, JOHN ALVIN, 1978, SIGNED BY JOHN WILLIAMS

STAR WARS CONCERT POSTER, JOHN ALVIN, 1978, SIGNED BY JOHN WILLIAMS A series of concerts featuring the Star Wars musical score by John Williams began in November 1977. The management of the concerts changed hands in 1978, and it was felt that a single poster should be designed to promote all the concerts. The art director Suzy Rice commissioned John Alvin to design this charming poster, which features C-3PO and R2-D2 holding a variety of musical instruments. These posters were only used to promote the concerts and were not displayed at the events themselves or sold, and are therefore exceptionally rare and highly sought-after. This particular poster has the added appeal of being signed by John Williams. John Alvin was one of the most successful and celebrated poster designers. He worked on over 135 film campaigns and created memorable artworks, starting with Mel Brooks' as Blazing Saddles, and including Blade Runner, ET, Young Frankenstein and The Lion King. Signed by John Williams. 37 x 24 in. (94 x 61 cm) (unframed) 43⅛x 30⅛in. (109.5 x 76.5 cm) (framed) Please see shipping calculator link: click here

star wars concert poster, john alvin, 1978, signed by john williams

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

Age of Wonder

Royds, Charles W. Rawson A group of manuscript diaries, detailing Captain Robert Falcon Scott's Discovery Expedition, with dates ranging from March 1902 to January 1904 6 notebooks (various sizes, from 160 x 100 mm to 180 x 110 mm). Manuscript diaries accomplished primarily in pencil and occasionally ink, on ruled and graph paper, occasional sketches and diagrams; some pages with hole punch, some relatively minor soiling. Some rubbing to extremities, as expected. A remarkable account of the British National Antarctic Expedition — the first official British exploration of that region. By 1902, polar exploration had already long captured the public imagination. Mary Shelley’s Frankenstein (1818), for example, is framed by Captain Robert Walton—a failed author setting out to explore the North Pole—writing a letter or account to his sister. During Walton's expedition, his crew spies a sledge driven by an enormous figure, and a few hours later, they rescue Victor Frankenstein, who’d been chasing his creature. Wilkie Collins—guided by Charles Dickens—penned The Frozen Deep (1856), a play inspired by the disastrous Franklin expedition, which had set out with the intention of venturing through the last unnavigated sections of the Northwest Passage. The possibility of traversing these uncharted regions, and the sense of wonderment this inspired, did not wane over the course of the century. The Discovery expedition, formally known as the British National Antarctic Expedition, was the first official British exploration of the Antarctic regions since the voyage of James Clark Ross in 1839. Clements Markham was the driving force behind the National Antarctic Expedition, and is the man responsible for launching the polar career of Robert Falcon Scott. Markham himself was a Royal Naval cadet and midshipman, and voyaged to the Arctic with HMS Assistance in one of the many searches for the lost Franklin expedition. As his career progressed, Markham made a habit of taking note of promising young naval officers who might be suited to polar exploration. He had first observed Midshipman Robert Falcon Scott in 1887 while serving with the HMS Rover in St Kitts. With Markham's backing, by June of 1900, Scott was made commander of the expedition. In some ways, Scott was an unconventional choice. Though he was a respected veteran of the Royal Navy, he had no experience of exploration, never mind polar travel. John Walter Gregory, Professor of Geology at the University of Melbourne—and former assistant geologist at the British Museum—was then appointed the expedition's scientific director. Charles Royds was next to join the party as First Lieutenant in charge of meteorology, and he also supervised the internal economy of the ship. Royds was followed by Michael Barnes, Reginald Skelton, Albert Armitage, Ernest Shackleton, and others who would are now remembered as the titans of polar exploration. The purpose-built RRS Discovery set sail from the Isle of Wight on 6 August 1901, and reached Antarctica five months later. In the third week of January 1902, after being briefly delayed in the pack ice, the Discovery entered McMurdo Sound. Anchor was weighed near the southern end of Ross Island, and the crew made the most of its first few months in “summer” conditions, charting the coastline and making scientific observations. As the season turned, Scott’s focus shifted to the main objectives of the expedition: two years of scientific study, and to make the first attempt to the South Pole. To this end, on 2 November 1902, Scott, physician Edward Wilson, and Ernest Shackleton—along with their dogs—set off. From the very start, their journey was riddled with complications, and the trio was forced to turn back on 3 December 1902. Still, they had reached a latitude of 82°17’S, approximately 300 miles further south than anyone before them. The amount of scientific information gathered through the expedition was also extensive, spanning biology, geology, magnetism, meteorology, and zoology. Discoveries included the existence of the only snow-free Antarctic valleys, the longest river in Antarctica, the Cape Crozier emperor penguin colony, and the Polar Plateau, upon which the South Pole is located. The present journals provide and immediate and extraordinary account of this legendary expedition. In the first notebook, with entries spanning March-September 1902, Royds chronicles with illuminating specificity the various empirical facets of the expedition: "In Small Bag... Fur coat, trousers, cap, boots...jaegar [sic] helmet, burberry [sic] helmet... In Knapsack... Long stockings...snow goggles, boot laces, roll of films, handkerchief...crampons." Understandably, Royds keeps a detailed account of the weather, but also of the more general activities of the crew. "Tuesday 4 March," he begins. "Left ship accompanied by 8 others of the ships Company to assist to drag. After very heavy hauling the sledges were carried & dragged to the other side of the hill above the sea, where at 2.0 we erected 3 tents, boiled some water for the men & had lunch. On the way up the dogs pulled independently..." Royds, given his responsibility for the ship's general economy, also keeps meticulous notes related to its supplies. In a list dated 17 September 1902, he writes: Sugar Plenty Milk None Cheese Plenty Chocolate None The earliest of the notebooks also boast panoramic sketch's of the landscape, diagrams of sledges and pulling patterns, and a copy of Royds's letter to Scott, written from "Camp at the foot of hill between Mts Erebus & Terror." Dated 8 March 1902, Royds informs Scott that "owing to the heavy and very laborious traveling caused by exceedingly soft snow into which everyone's feet sink 18 inches to two feet at every step," he has decided to send half his party (specifically those who had not brought skis) back to base. Royds came within sight of the beach at Cape Crozier, but was forced to turn back because of the uneven surface of the ice. The subsequent notebooks continue in the same detailed and compelling fashion, with engaging descriptions and sketches. In an entry dated 14 November 1903 (notebook 3), Royds makes note of the "Glorious weather all the morning," and of the surface that is "good, but more often a hard drag." He goes on to describe the topography, and accompanies with with a small sketch of a crevasse. In another entry, dated 9 December of that same year (notebook 3), Royds observes: "Turned out at 5.40, another lovely morning. B. had a toothache, & was rather snappish all the morning, much to Scott's amusement. Got under weigh at 7.15, & found the surface much the same as =last evening. Very soft." From descriptions of ice formations to the diet of the crew, these pages offer an extraordinary glimpse into one of history's most ambitious expeditions. The RRS Discovery was to remain in Antarctica for another year, not returning to the UK until 10 September 1904. Upon Scott’s return to London, he was promoted to the rank of Captain. Royds later became a Director of Physical Training and Sports in the Royal Navy. Royds is commemorated with Cape Royds (77º 33’ S, 166º 09’ E).

View 1 of Lot 1041: Royds, Charles W. Rawson | The race to the end of the earth

royds, charles w. rawson | the race to the end of the earth

Bibliothèque de Pierre Bergé : le dernier chapitre

Shelley, Percy Bysshe Alastor; or, the Spirit of Solitude: and other Poems. London, Baldwin, Cradock and Joy ; Carpenter and Son, 1816. Petit in-8 (159 x 98 mm). Veau glacé fauve, dos à nerfs orné, filet sur les coupes (Reliure de la fin du XIXe siècle). Édition originale : "first authentic and unmistakable poem... the tragedy of the idealist who seeks in reality the counterpart of his ideal" (Cambridge History of English Literature). "As first published, it is accompanied by ten minor poems (Stanzas, Sonnets, etc.) and the first part of The Daemon of The World... In an article on Young Poets in The Examiner for December 1, constituting perhaps the 'first public recognition of Shelley's poetical gifts,' Leigh Hunt characterized the author of Alastor (then a stranger to him) as 'a very striking and original thinker.' It is generally conceded that in Alastor Shelley showed himself a greater master of blank verse than any other poet of the time" (Granniss, Shelley 32). Dans son roman Frankenstein (1818), Mary Shelley cite l’un des courts poèmes qui suit Alastor.

View 1 of Lot 121: Alastor; or, the Spirit of Solitude. Londres, 1816. Édition originale de cet important poème.

alastor; or, the spirit of solitude. londres, 1816. édition originale de cet important poème.

English Literature, History, Children's Books &amp; Illustrations

a lively, intimate series of family letters, covering a wide range of subjects from his imminent wedding to financial affairs ("...I pulled in £462 last year...", "...I am succeeding old chap! I've made very nearly an thousand pounds this twelvemonth...") to his prediction of the atomic bomb ("...I explained the [   ] of the atomic bomb half a century ago &; it is rather infuriating to have all these journalistic half-wits explaining that here's something Mr. Wells did not foresee. It's a strange frightful phase this poor little planet is passing through...": 27 October 1945, two and a half months after the dropping of the atomic bombs on Hiroshima and Nagasaki)

a lively, intimate series of family letters, covering a wide range of subjects from his imminent wedding to financial affairs ("...I pulled in £462 last year...", "...I am succeeding old chap! I've made very nearly an thousand pounds this twelvemonth...") to his prediction of the atomic bomb ("...I explained the [   ] of the atomic bomb half a century ago &; it is rather infuriating to have all these journalistic half-wits explaining that here's something Mr. Wells did not foresee. It's a strange frightful phase this poor little planet is passing through...": 27 October 1945, two and a half months after the dropping of the atomic bombs on Hiroshima and Nagasaki) early letters to Fred including one written during his enforced convalescence (allegedly for tuberculosis) at Uppark with his mother in 1887, in which he lists the kind offers of friends to support him following his resignation from teaching, and begins to discuss "The great Problem under discussion at up Park, between myself & mother just now...that curious phenomenon known as Daddy...", another early letter (21 July 1887) disagreeing with his brother's stated recipe that patience and steady perseverance are all that is required for success ("...you seem to forget that without intelligent direction there are no things upon earth more easily wasted than the energies & years of a man..."); his letter to his mother (c. autumn 1891) announcing the date of his marriage to his cousin Isabel Mary Wells, asking her not to say anything to "Miss F except to tell her the date when it is near...", discussing a possible present ("...I would much rather have some pretty bit of your old China..."), the newly-weds' future proximty to his brother Fred ("...we shall be two hours cycling from Fred..."), incorporating several typical Wells drawings (including his and Isabel's new future home at 28 Haldon Road, Putney) and making detailed arrangements to meet his mother off the train on the wedding day ("...You must come up the day before---change at Wimbledon as I told you..."); numerous letters to Fred discussing financial affairs, one early one asking Fred for a loan for a building project, but most –particularly latterly -- chiefly discussing H.G.'s improved finances and Fred and his family's  varying fortunes after their  emigration to South Africa in 1902 ("...I don't want to see you back here & no better off than when you went out. South Africa is the place in which you will find prosperity  if you find it at all...",  "I should like to send you £2000, because I keenly sympathetic...and I believe in your family...", "...it's a great delight to me to think of you getting ahead of things and and...turning the old poverty of the family into prosperity.." ); sending Fred joyful news of  the births of his children ("...so your dear little Damsey is Grandmamma and the Busswhacker [i.e. Wells] is as proud & happy as though no one had ever succeeded in being a father before...", 17 July 1901; "Dear Fred. Got another little son. H.G....": 31 October, no year), several letters proudly discussing his work as he becomes a published author ("..."By the time this reaches you my first book will be out in all the bookstalls...", "....I've got three books in the press with three different publishers...Also I've got a serial story running through The New Review...", "My book before the last the Tales of Space & Time was hurt of course by the war, but Love & Mr Lewisham...has been an all round success...") and his happy family life ("...the boys turn out little dears & learn no end of things & the sun shines & there are endless friends..."), informing his brother of numerous deaths in the family including that of their own mother ("...Mother died very peacefully yesterday afternoon & she is lying upstairs looking very calm & peaceful, with a curious little self-satisfied expression on her dear old face as though she was a little child who has said & finished her lesson...", 13 June 1905), their father five years later (15 October 1910, a far more detached and cooler account), their brother Frank and – at a tragically young age – that of their young cousins Lillie and Gracie within  few weeks of each other ("...It is an awful thing, this consumption. There is no haste, ho pause, no pity...People shudder at the conception of Frankenstein but here is a demon raised by our sins unspeakably more dreadful..."), describing in some detail his own serious setbacks in health and ensuing recoveries ("...Tremendously well in health, cycling again & bathing in the sea every day..."), letters from the First World War including a visit to the Italian trenches and front, the later letters reflecting his dramatically increased prosperity ("...Dear little Freddy, I've sold this place [Easton Glebe, Dunmow]. I live so much in France & London now that I have no more use for it. Both the boys have homes of their own & it stands empty except for the servants half the time...": 1 July 1930, three years after the death of his wife Catherine, or "Jane"),  the letters of old age retaining strong brotherly affection with Wells' frequently inviting Freddie and his family to stay in Regent's Park, several later ones discussing the Second World War ("...The war goes well  as far as Europe is concerned but there is a big cloud of darkness over Asia. I want to live long enough to see the cloud lift but I am afraid I shall not. Life is a story that never ends, but we do, just when we want to know what there will be on the next page...": 17 May 1943), Wells reassuring his brother that the destruction caused by the doodlebugs is small compared to the 'Blitz' of 1941/2 whilst simultaneously conveying his anxieties about the location and safety of his niece Jean (he suggests she uses his home as her temporary headquarters, and also comments on her own literary qualities: "Jean soars into quite poetical prose in her description of England under snow..."), three letters to Jean herself  (one informing her that she did not get the part of the little girl in the adaptation of his book The Shape of Things to Come); one letter written from Chalet Soleil, Montana sur Sierre, Switzerland, the home of his lover Elizabeth von Arnim ("...Just a few snapshots & fraternal greetings..I am staying here with a friend..."); together with: first editions of The Passionate Friends (1913, inscribed by Wells to his cousin Ruth) and Joan and Peter (1918, also inscribed to Ruth), in original cloth, both works heavily worn; several early black and white photographs (of Wells and his and his brother's families, at Easton Glebe and elsewhere); an early experiment by Wells' mother using a typewriter (charmingly illustrated by Wells); a typed letter apparently by his housekeeper inviting his brother and family to stay in Wells' house in Regent's Park at the time of the Coronation in 1937 ("...H.G. will be going out of London...because it doesn't appeal to him much..."); the announcement of the award of Honours to Wells and other graduates (London University Correspondence College, 19 October 1892); further printed ephemera; and a further signed ink drawing of Wells on his rocking horse, sent to his niece Jean ("...H on his Gee...")

fine collection of 57 autograph letters signed and 12 autograph postcards signed (" "your loving brother the busswhacker" , "your affectionate brugger buss", "your most affectionate budder bertie", etc), chiefly to his older brother frederick joseph wells (b.1862) ("my dear little freddy" etc) (59), some to his mother sarah (2), his other brother frank (1), cousin ruth (3),  and niece jean (3), various locations in britain and abroad (uppark; putney; mornington road, london n.w.; nye wood; sandgate; worcester park; easton glebe, dunmow; chiltern court, london n.w; washington d.c., lou pidou, grasse etc), three letters incomplete,  4to and 8vo, 1887—1945, general soiling, creases at folds, a few tears

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