Original Film Posters

Marilyn Monroe (1950s), original studio publicity photograph, US

Marilyn Monroe (1950s), original studio publicity photograph, US Unframed: 10 x 8 in. (25 x 20 cm) Framed: 14 x 12 1/4 in. (35.5 x 31 cm)

View 1 of Lot 95: Marilyn Monroe (1950s), original studio publicity photograph, US

marilyn monroe (1950s), original studio publicity photograph, us

Marilyn Monroe (1950's), US, Original studio publicity photograph

Marilyn Monroe (1950's), US, Original studio publicity photograph Unframed: 10 x 8 in. (25 x 20 cm) Framed: 14 3/8 x 12 3/8 in. (36.5 x 31.5 cm)

marilyn monroe (1950's), us, original studio publicity photograph

Original Film Posters Online

MARILYN MONROE (1950's) ORIGINAL STUDIO PUBLICITY PHOTOGRAPH, US

MARILYN MONROE (1950's) ORIGINAL STUDIO PUBLICITY PHOTOGRAPH, US unframed: 10 x 8 in. (25 x 20cm.) framed: 15 x 13⅜in. (38 x 34cm.) To view shipping calculator, please click here

marilyn monroe (1950's) original studio publicity photograph, us

Silver Prints, including photographs of the actors and crew, as well as unit stills, of 'The Guinea Pig', 'The Conspirator', 'Edward, My Son', and 'Under Capricorn', also including signed photographs of Virginia McKenna and Gene Tierney, many prints with MGM film roll number in the negative,

mgm film studios. a group of forty-four publicity photographs, late 1940s-early 1950s

Unframed: 13 7/16 x 10 1/2 in. (34 x 26.5 cm)

Unframed: 13 7/16 x 10 1/2 in. (34 x 26.5 cm) Framed: 19 1/2 x 16 1/2 in. (49.5 x 42 cm) Mike Kaplan was a publicity executive at MGM's home office in New York, and after meeting Kubrick at the film's New York premiere, where he proposed re-positioning the film, he became 2001's marketing strategist, culminating in its re-launching as "The Ultimate Trip" in 1970. As part of his duties, he would select potential photographic images for publicity and media outlets from the contact sheets. For 2001, Kubrick had to approve what was chosen. Some appeared in various media; others were approved but never seen until now. Exceptionally rare. Very few of these ever surface. Stanley Kubrick's landmark science fiction film is still considered one of the most influential sci-fi films of all time.

View 1 of Lot 35: 2001: A Space Odyssey (1968), double-weight candid oversized studio photograph (1967), US

2001: a space odyssey (1968), double-weight candid oversized studio photograph (1967), us

Books, Manuscripts and Music from Medieval to Modern

Lewis Morley Christine Keeler [1963, printed later] A collection of 34 photographs (approx. 254 x 203 mm.), including 3 contact prints, and 31 gelatin silver prints, all but one with copyright labels, and each numbered in red ink, on the reverse, all housed in a contemporary photographic paper box, numbered labels adhered on each frame of the contact sheets, some liquid droplets and scratches, few deposits of ink and scattered creases In the summer of 1963, the Sunday Mirror and News of the World published the first of several articles featuring provocative images of Christine Keeler, the key figure in one of Britain’s most sensational political sex scandals. Lewis Morley’s portraits of Keeler, including her iconic pose sitting astride a copy of an Arne Jacobsen chair, would go on to embody the sexual permissiveness and freedom of the swinging sixties. Shortly after the exposure of what became known as the Profumo Affair, Morley was commissioned to take publicity photographs for a planned film about Keeler’s life-story. The session took place in Lewis Morley's studio over the Establishment Club in Soho’s Greek Street and resulted in three film rolls of 33 frames. In the first two rolls Keeler is seen in a dark top, whereas in the last one she appears undressed yet partially hidden by the chair’s back. While the movie was never released, Morley's photographs were leaked to the tabloids. Their daring nature scandalised society as much as the explosive revelations of the love triangle. The remarkable box of press photographs offered here was sent to Keeler by the photographer. It comprises all three known contact sheets accompanied by nearly an entire set of individual prints that Keeler would use to make images available to the press for publications. This is the largest and most complete group to ever appear at auction. It is believed that no other set survived in Keeler’s possession. THESE PHOTOGRAPHS WERE RETAINED BY CHRISTINE KEELER UNTIL HER DEATH.

View 1 of Lot 201: Lewis Morley | Christine Keeler [1963, printed later]

lewis morley | christine keeler [1963, printed later]

Silver Prints, the majority with the agency, film studio or photographer's copyright wetstamp on the reverse,

selected film stills and publicity shots, 1950s-60s

The Beatles

The Beatles A Photographic Portrait Of All Four Beatles Signed by Harrison and McCartney, 1963 the black and white studio portrait photograph showing the Beatles posing around a stepladder, George holding his Gibson guitar, Paul his Hofner bass, Ringo holding John’s Gibson and Lennon himself without an instrument standing in the centre of the group shot; the uncredited photograph taken by Philip Gotlop in 1963, signed in blue ink by George Harrison and Paul McCartney, (255 x 205mm), the ink of George Harrison’s signature smudged at the H, and both George and McCartney’s signatures show areas where their signatures are not fully inked due to the fountain pen’s reaction to the glossy surface of the paper. Photos corner rubbed. Some staining along edges also staining visible along all edges and overall of reverse. Overall fair to good ﻿This unusual group photograph of The Beatles was taken by Philip Gotlop at his studio at 22-24 Kensington Church Street, London in January 1963. It was the Beatles’ first London studio photo session - the shots, taken for publicity purposes were sent to newspapers and magazines. They were used to promote the release of 'Please Please Me' and throughout the frenetic media build-up which led to the single becoming the group’s first number one.

View 1 of Lot 6: The Beatles | A Photographic Portrait Of All Four Beatles Signed by Harrison and McCartney, 1963

the beatles | a photographic portrait of all four beatles signed by harrison and mccartney, 1963

Rock & Roll

The Beatles A Parlophone records publicity card, signed by The Beatles, [ca. 1962-1963] Promo card (144 x 188 mm) with photographic portrait of The Beatles on the recto, signed by Paul McCartney, John Lennon, George Harrison, and Ringo Starr in blue ink on the verso; some smudging to recto but signatures bright and clear, nearly imperceptible creasing and rubbing. [With:] A signed letter of authenticity from Roger Epperson Authentication Ltd. A rare, early Parlophone publicity card signed by all four Beatles. The photograph was originally taken by Dezo Hoffman at Abbey Road Studios on 4 September 1962, when The Beatles—newly complete with Ringo Starr taking the helm at the drums—were recording their debut single, "Love Me Do."

View 1 of Lot 11: The Beatles | Parlophone publicity card, signed by all four Beatles

the beatles | parlophone publicity card, signed by all four beatles

Unframed: 8 x 10 in. (20 x 25 cm) Framed: 14 1/4 x 16 in. (36.2 x 40.8 cm) Broadcast, newspapers and syndicates were Mike Kaplan's purview as a publicity executive at MGM, for which he examined all the photographic contact sheets to select images promoting the studio's films in those media. This cult classic was directed by Michelangelo Antonioni, and is about a fashion photographer, played by David Hemmings, who captures a murder on film whilst taking photos in a deserted park. The film also stars Vanessa Redgrave, Sarah Miles, John Castl and Jane Birkin. BLOW-UP was Michelangelo Antonioni's provocative mystery set in London's trendy swinging sixties. It became an international critical and commercial success. David Hemmings is the hot photographer, whose models include the very in demand real-life model, Veruschka. After shooting her in a sensual session, they meet at a party, where Hemmings says, "I thought you were in Paris." Veruschka, obviously high, then delivers what is arguably the most famous line in the film, "I am in Paris".

View 1 of Lot 130: Blow-Up (1966), original studio photograph, US

blow-up (1966), original studio photograph, us

Freddie Mercury: A World of His Own | On Stage

Freddie Mercury's personalised U.S. Tour Jacket, The Game tour, 1980

Freddie Mercury's personalised U.S. Tour Jacket, The Game tour, 1980 A black ‘wet-look’ nylon bomber jacket, the front machine-embroidered in silver lurex thread to right chest ‘Freddie’ and to left ‘Queen The Game U.S. 1980’, the jacket decorated at shoulders, waist and cuffs with strap detail and white metal D-ring buckles, two slip pockets, quilted collar, zip-fastening and quilted lining, labelled inside ‘Warwick & Karen’ (qty1) Brian May is photographed wearing his own identical personalised jacket in a Neal Preston publicity shot of the band in a studio during The Game tour, North America, 1980 LITERATURE Queen - Neal Preston Photographs, Reel Art Press, illus. p.125 SPECIAL NOTICE This lot is being sold for private use only. No right to reproduce or otherwise commercially exploit the copyright or other intellectual property in the lots is included with the sale of lot. Queen Productions Limited and Queen Music Limited and other rights holders reserve all their rights.

View 1 of Lot 210: Freddie Mercury's personalised U.S. Tour Jacket, The Game tour, 1980

freddie mercury's personalised u.s. tour jacket, the game tour, 1980

Hip Hop

JANETTE BECKMAN SLICK RICK, SILVER TEXT. 2017 Silkscreen on 290 gram Coventry Rag Paper, 21 x 35.75 inches. Signed lower right, numbered A/P. ARTIST'S PROOF OF A BEAUTIFUL SILKSCREEN PRINT FEATURING BECKMAN'S ICONIC PHOTOGRAPH OF SLICK RICK, ORIGINALLY TAKEN IN NEW YORK CITY IN 1989. Beckman's suite of New Silkscreen prints are a perfect "mash-up" of her classic photography and compelling storytelling, with each work telling a story, which appears on each print, in her own handwriting. Beckman was hired by Def Jam to do a photoshoot of Slick Rick for press and publicity for his 1988 album The Great Adventures of Slick Rick. Taking place in Beckman's Lafayette street studio, Beckman recounts: "My studio was set up with the white backdrop. Ricky stepped on to my seamless, he was wearing a suit and Kangol hat and holding the champagne bottle. He put his bag down on the floor, grabbed his crotch and I took the shot." British-born photographer Janette Beckman began her career at the dawn of punk rock working for music magazines The Face and Melody Maker. She shot bands from The Clash to Boy George as well as three Police album covers. Drawn to the underground Hip Hop scene, she moved to NYC in 1983 and photographed pioneers Run DMC, Slick Rick, Salt-N-Pepa, Grand Master Flash, LL Cool J and many more. Her work has been shown in galleries worldwide and is in the permanent collections of the Smithsonian National Museum of African American History and Culture, the Museum of the City of New York and the Musée des Civilisations de l'Europe. She has published five books, the latest ‘The MashUp’, curated by Cey Adams, is a collaboration with iconic New York graffiti artists reinterpreting her Hip Hop images. In 2018 she collaborated with fine art printer Gary Lichtenstein Editions to make exclusive silkscreen prints from her archive of iconic Hip Hop portraits. Beckman continues to chronicle sub-cultures of our generation and as well as working on shoots for clients such as Levis, Apple and Dior. She is represented by the Fahey Klein Gallery in Los Angeles. PROVENANCE: Courtesy Janette Beckman

janette beckman | slick rick, silver text. silkscreen. artist's proof. 2017.

Séparée de Man Ray mais vivant toujours à Paris, Lee Miller projette de s'installer à New York et d'y ouvrir un studio de photographe :

Séparée de Man Ray mais vivant toujours à Paris, Lee Miller projette de s'installer à New York et d'y ouvrir un studio de photographe : "I shan't go into missing you, In Paris, ... tho I might possibly try to confort any feeling you might have had of regret in leaving here, by telling how dull, how unbearable, how hot, and thoroly depressing the whole place has been for the last several months (...) I shall holiday myself come back to Paris, close up shop here, and set sail for the unknown (...) Also, if I should open up shop in New York it might be advisable to have more portraits in the show than otherwise planned. The general scheme is that I should open up a studio in New York, under my own name, with Smith as silent and financial partner, in which case I'd like to take advantage as far as possible of the show for added publicity to my new goings on." A propos de sa séparation d'avec Man Ray : "I have not what one might call "made up" with Man, tho it is now so that we can occasionally see each other without any particularly bad feelings... in fact rather aggreably tho more pleasant for me than for him (...) Your lee" ([Paris, vers 1931], 2 p. in-4).

lettre dactylographiée signée à julien levy.[paris, vers 1931].

warm-toned, the photographer's blindstamp in the image, his credit/reproduction rights stamp, a 'Pawel Barchan' studio stamp, and titled in blue crayon and annotated 'Publicite' and with numerical notations in unidentified hands in pencil on the reverse, matted, circa 1935

'la soie'

Livres & Manuscrits du XIIIe au XXIe siècle

[Typographie – Alfred Tomer] Mise en page. The Theory and Practice of Lay-Out. Paris, A. Tolmer pour Studio LTD London, 1931. In-4 (275 x 215 mm). Cartonnage bicolore, dos de toile noire titré en jaune, gardes gaufrées, étui bicolore de l’éditeur. Plats et une bordure de l’étui détachés, dos frotté, charnière partiellement fendue. "La première page d’un livre devrait donner la même sensation que le lever de rideau au théâtre. Donner envie d’entendre les acteurs avant même qu’ils ne parlent". Édition originale de cet ouvrage majeur dans l’art de la mise en page. Texte en anglais avec un résumé en français in fine. Nombreuses illustrations en noir et en couleurs, photographies, photomontages, collages ou pochoirs. C’est à la demande de la revue anglaise The Studio que l’imprimeur et publicitaire parisien Alfred Tolmer élabore cet ouvrage, avec l’aide notamment de Jean Selz pour le texte. S’inspirant de l’art et de la calligraphie de tous les temps, il livre un véritable manifeste pour une mise en page de la modernité. [On joint :] JOST, Heinrich. Bauer Beton. New York, Bauer Type Foundry ; Paris, Imre Reiner, [vers 1930]. Grand in-8. Agrafé. Dos usé. Livre spécimen sur la police de caractère bauer et ses utilisations en publicité. Sphinx. New York, Continental typefounder [vers 1932]. In-4. En feuilles, sous double couverture dont une avec découpe en forme d’étoile. Exemples de mises en page et de typographies avec la police de caractère sphinx et autres, sur divers papiers des Papeteries du Marais.

View 1 of Lot 121: Mise en page. The Theory and Practice of Lay-Out.  Paris, 1931. Édition originale. Avec deux autres ouvrages concernant la typographie des années 1930.

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