Hollywood Auction 44

(Fox Film Corp., 1928) Louise Brooks and Robert Armstrong medium-shot scene stills (2), Brooks in sheer dress and flapper hat; custom textured, deckle

(Fox Film Corp., 1928) Louise Brooks scene stills (2), Brooks in circus costume; custom textured, deckle-edge silver bromide double-weight matte 7” x

(Fox Film Corp., 1928) Louise Brooks scene stills (2), Brooks in circus costume; custom textured, deckle-edge silver bromide double-weight matte 7” x

(Fox Film Corp., 1928) Louise Brooks scene stills (3), Brooks in sheer dress and flapper hat; custom textured, deckle-edge silver bromide double-weigh

(Fox Film Corp., 1928) Louise Brooks scene stills (2), Brooks in long-sleeve dress and scarf; custom textured, deckle-edge silver bromide double-weigh

(Fox Film Corp., 1928) Louise Brooks scene stills (2), Brooks in long-sleeve dress; custom textured, deckle-edge silver bromide double-weight matte 7”

(Fox Film Corp., 1928) Louise Brooks and Victor McLaglen scene stills (2), custom textured, deckle-edge silver bromide double-weight matte 7” x 9” pri

(Fox Film Corp., 1928) Louise Brooks and Victor McLaglen scene stills (2), custom textured, deckle-edge silver bromide double-weight matte 7” x 9” pri

(Fox Film Corp., 1928) Best remembered now for its fairly brief, yet thoroughly incandescent appearance of Louise Brooks as a circus acrobat, one of

(Fox Film Corp., 1929) One of the final Hollywood silent films, apparently due to a rights issue which caused director Howard Hawks to “have a little

(Warner Bros., 1932) Gelatin-silver vintage 8”x 10” glossy prints with keybook tab attached, (100+) images covering all key players (James Cagney, Jo

(United Artists, 1932) The gangster film which set the mark for all others to follow it, an exciting film that holds up to this very day and is one o

(First National Pictures, 1932) Original keybook (missing front cover) from Howard Hawks’ personal archive, containing (50+) vintage gelatin-silver 8

(MGM, 1933) The first of many collaborations between director Howard Hawks and novelist/ screenwriter William Faulkner, this one from Faulkner’s own

(Columbia, 1934) What we have here is the perfect confluence of the end of the racy, double-entendre driven Pre-Code era in Hollywood, blended with t

(United Artists, 1935) Howard Hawks replaced fledgling director William Wyler for this costume-drama action story, which Samuel Goldwyn ordered to be

(20th Century-Fox, 1936) This film is a remake of the critically acclaimed 1932 anti-war French classic, Wooden Crosses, hence the use of the same as

(Warner Bros., 1936) A practice run for director Howard Hawks which he perfects in his later Only Angels Have Wings. Both films concern airmail pilot

(RKO, 1938) Considered by many cineastes to be the absolute quintessential “Screwball Comedy” with its zany plot twists and eccentric characterizatio

(Columbia, 1939) Howard Hawks’ action-filled drama is a testament to early airmail pilots, and is also remembered now for an epic amount of drinking

(Columbia, 1940) Silver-bromide custom 7” x 9” double-weight matte prints (60+) from Howard Hawks’ personal archive, for one of the great classic “S

(RKO, 1941) One of the truly great and timeless romantic comedies, being a perfect synthesis of all contributing parties, including (but not limited

(Warner Bros., 1941) The only film for which Howard Hawks received a nomination for best direction from a career which many film historians consider

(Warner Bros., 1943) Considered as one of the best acted and directed wartime films, not overly spoiled by the propaganda element of the genre. Gelat

(Universal Pictures, 1943) Howard Hawks is listed in credits as producer only, but it is understood that he did much of the directing as well. Consid

(Warner Bros., 1946) Not only the most popular title of the four which Humphrey Bogart partnered with Lauren Bacall, but without question one of the

(United Artists, 1948) Without question one of the greatest Hollywood westerns of all time, a perfect confluence of all parties involved, especially

From early 1948, after its appearance in Saturday Evening Post, through 1968, Howard Hawks pursued a science-fiction love story entitled “Morning Star

(20th Century-Fox, 1952; Warner Bros., 1959; First National Pictures, 1930) Small selection of Howard Hawks’ personally archived film stills. Image f

Original vintage colored engravings (9) ranging from 12” x 16” to 14” x 19” from two different printers; Currier and Ives includes: “The Darktown Slid

(BBC-TV, Ca. 1970) One hour black and white TV special of Peter Bogdanovich interviewing Howard Hawks, who was a fundamental creative influence on Bo

Noted director Jean Negulesco (How to Marry a Millionaire, Johnny Belinda, etc.) began and ended his working career as a fine artist, and it was this

Philippe Henri Noyer (b. 1917, Lyon, France) began to establish a niche in the Paris art scene of the late 1940’s, but was catapulted to a lasting imp

(ABC, CBS, & NBC Radio, 1947-50) Vintage 8” x 10” photographic prints (30) of original caricature art which commemorate individual episodes of Grouch

(FilmCraft Productions, 1950-61) Professionally hand-crafted, custom drink tray commissioned by FilmCraft and NBC for presentation to Groucho Marx up

Eden Hartford was just 20 years old when she married 63-year old Groucho Marx, and one of the testaments of her affection for him is this hand-crafted

(Warner Bros., 1955) From Howard Hawks’ personal archive, a monumental collection of (400+) vintage gelatin-silver 8” x 10” prints documenting every

(Warner Bros., 1955) From Howard Hawks’ personal archive, a monumental collection of (150+) vintage gelatin-silver 7” x 9” and 8” x 10” prints docume

(Warner Bros., 1955) The international press chose to follow the monumental production by Howard Hawks through the entire creation of his epic histor

(Magnum Press Agency, 1955) Celebrated Magnum photographer Robert Capa was one of several noted international photo-journalists chosen to document th

(Paramount, 1962) While on location to film Hatari!, Howard Hawks had photographer Frank Stanley document African wildlife, and members of cast and c

(MGM, 1935) Seven (7) gelatin silver glossy 8 in. x 10 in. prints documenting the interior sets of the theatre for the Karl Freund-directed film, Mad

(Warner Bros., 1974) Color 10 ½ in. x 13 in. print of Lucille Ball as “Mame Dennis” and Robert Preston as “Beauregard Jackson Pickett Burnside”...

(MGM, 1927) Black and white 8 in. x 10 in. camera negative on nitrate film of Lon Chaney from Laugh, Clown, Laugh by Bert Longworth; with Feb 6 28 AD

(MGM, 1927) Black and white 8 in. x 10 in. camera negative on nitrate film of Lon Chaney from The Unknown by Ruth Harriet Louise; with Mar 2 28 stampe

(MGM, 1927) Black and white 8 in. x 10 in. camera negative on nitrate film of Lon Chaney from The Unknown by Ruth Harriet Louise; with Feb 8 27 305 st

(MGM, 1927) Black and white 8 in. x 10 in. camera negative on nitrate film of Lon Chaney as “Alonzo the Armless” and Cojo, the dwarf, from The Unknown

Black and white 8 in. x 10 in. camera negative on nitrate film of Bela Lugosi; with Bela Lugosi #8 C P Corp in india ink and retouching. Fine; with h

Black and white 8 in. x 10 in. camera negative on nitrate film of Bela Lugosi; with Bela Lugosi #1 in india ink. Fine; with handling, mounting paper

Black and white 8 in. x 10 in. camera negative on nitrate film of Bela Lugosi; with Bela Lugosi #4 in india ink. Fine; with handling and mounting hol