Hollywood Auction 44

(Universal, 1931) Black and white 8 in. x 10 in. camera negative on nitrate film of Bela Lugosi as “Count Dracula” from Dracula by Roman Freulich; wit

(Universal, 1931) Black and white 8 in. x 10 in. camera negative on nitrate film of Bela Lugosi as “Count Dracula” from Dracula by Roman Freulich; wit

(Universal, 1931) Black and white 8 in. x 10 in. camera negative on nitrate film of Bela Lugosi as “Count Dracula” from Dracula by Roman Freulich; wit

(Universal, 1931) Black and white 8 in. x 10 in. camera negative on nitrate film of Boris Karloff as “The Monster” with Little Maria from Frankenstein

(Universal, 1931) Black and white 8 in. x 10 in. camera negative on nitrate film of Boris Karloff as “The Monster” after throwing Little Maria in the

(Universal, 1931) Black and white 8 in. x 10 in. camera negative on nitrate film of Boris Karloff as “The Monster” trapped beneath a beam from Franken

(Universal, 1931) Black and white 8 in. x 10 in. camera negative on nitrate film of Boris Karloff as “The Monster” with Colin Clive and Dwight Frye fr

(Universal, 1931) Black and white 8 in. x 10 in. camera negative on nitrate film of Boris Karloff as “The Monster” from Frankenstein by Jack Freulich;

(RKO, 1933) Black and white 8 in. x 10 in. camera negative on nitrate film from The Son of Kong by Gaston Longet; with SK-Adv-32 in india ink. Fine;

(Universal, 1935) Black and white 8 in. x 10 in. camera negative on nitrate film of Boris Karloff as “The Monster” from Frankenstein by Jack Freulich;

(Universal, 1935) Black and white 8 in. x 10 in. camera negative on nitrate film of Boris Karloff as “The Monster” from Frankenstein by Jack Freulich;

(Universal, 1935) Black and white 8 in. x 10 in. camera negative on nitrate film of Elsa Lanchester as “The Monster’s Bride” from Frankenstein by Jack

(Universal, 1935) Black and white 8 in. x 10 in. camera negative on nitrate film of Elsa Lanchester as “The Monster’s Bride” from Frankenstein by Jack

(Universal, 1939) Black and white 8 in. x 10 in. camera negative on safety film of Boris Karloff from Son of Frankenstein; with 931-42-AD. in india in

(Universal, 1939) Black and white 8 in. x 10 in. camera negative on safety film of Bela Lugosi as “Ygor” from Son of Frankenstein; with 931-22-AD. in

(MGM, 1939) Four (4) black and white 8 in. x 10 in. camera negative on nitrate film of Judy Garland, Ray Bolger, Bert Lahr and Jack Haley from The Wiz

(Universal, 1941) Black and white 8 in. x 10 in. camera negative on safety film of Lon Chaney, Jr. from The Wolf Man; with 1195-23AD in india ink and

(Universal, 1941) Black and white 8 in. x 10 in. camera negative on safety film of Lon Chaney, Jr. and Evelyn Ankers from The Wolf Man; with 1195-26AD

(Universal, 1942) Black and white 8 in. x 10 in. camera negative on safety film of Lon Chaney, Jr. from Ghost of Frankenstein; with 1212-44AD in india

(Universal, 1942) Black and white 8 in. x 10 in. camera negative on safety film of Lon Chaney, Jr. from Ghost of Frankenstein; with 1212-45AD in india

(Universal, 1943) Black and white 8 in. x 10 in. camera negative on safety film of Bela Lugosi as “Frankenstein Monster” and Lon Chaney, Jr. as “The W

(Universal, 1943) Black and white 8 in. x 10 in. camera negative on safety film of Lon Chaney, Jr. as “The Wolf Man” from Frankenstein Meets the Wolf

(Universal, 1943) Black and white 8 in. x 10 in. camera negative on safety film of Lon Chaney, Jr. as “The Wolf Man” from Frankenstein Meets the Wolf

(Universal, 1943) Black and white 8 in. x 10 in. camera negative on safety film of Lon Chaney, Jr. as “The Wolf Man” from Frankenstein Meets the Wolf

(Universal, 1943) Black and white 8 in. x 10 in. camera negative on safety film of Bela Lugosi as “Frankenstein Monster” from Frankenstein Meets the W

(Universal, 1943) Black and white 8 in. x 10 in. camera negative on safety film of Bela Lugosi as “Frankenstein Monster” from Frankenstein Meets the W

(RKO, 1945) Black and white 8 in. x 10 in. camera negative on nitrate film from Isle of the Dead; with ITO-Adv-19 in india ink. Very fine; with mount

(Universal, 1945) Black and white 8 in. x 10 in. camera negative on safety film of Lon Chaney, Jr. as “The Wolf Man” from House of Dracula; with 1473-

(UI, 1954) Black and white 8 in. x 10 in. camera negative on safety film of the Gill-Man from Creature from the Black Lagoon; with 1750-13AD in india

(UI, 1954) Black and white 8 in. x 10 in. camera negative on safety film of the Gill-Man from Creature from the Black Lagoon; with 1750-12AD in india

(UI, 1954) Black and white 8 in. x 10 in. camera negative on safety film of the Gill-Man with Julia Adams from Creature from the Black Lagoon; with 17

(UI, 1955) Black and white 8 in. x 10 in. camera negative on safety film of the Gill-Man from Revenge of the Creature by Scotty Welbourne; with 1774-1

(UI, 1955) Black and white 8 in. x 10 in. camera negative on safety film of the Gill-Man from Revenge of the Creature by Scotty Welbourne; with 1774-3

(RKO, 1933) Gelatin silver matte borderless double-weight 15 in. x 20 in. (image size 10 ¼ in. x 13 ¼ in.) exhibition print (custom mounte...

(RKO, 1933) Gelatin silver matte borderless double-weight 15 in. x 20 in. (image size 10 ¼ in. x 13 ¼ in.) exhibition print (custom mounte...

(American International, 1958-63) Collection of (45) original black and white (26 4 in. x 5 in. and 19 2 ¼ in.) camera negatives of press publi...

Volume I, #1 (1958) issue of “Famous Monsters of Filmland” which the world’s #1 fan of monster movies, Forrest J Ackerman founded in order to spread h

1967, pen and india ink with white tempera detailing on 8 in. x 10 in. 4-ply illustration board, with Roth’s copyright snipe pasted on, depicting a t-

Circa 1967, pen and india ink with white tempera detailing on an 8 in. x 10 in. leaf of illustration paper, depicting an order blank design for Rat Fi

(Universal, 1977) Original poster and ad campaign concept art of google-eyed Marty Feldman for the film he wrote, directed, and starred in, The Last

(Warner Bros., 1949) In the same manner that wardrobe tests were photographed for planning and continuity during production, makeup had to be planned

(MGM, 1929) One of the final silent films from MGM, which although being the largest studio, seemed to take the longest to convert to fully-talking p

(RKO, 1932) A thinly-veiled expose of Hollywood behind-the-scenes machinations involved in creating a film like Howard Hughes’ Hell’s Angels, in whic

(Columbia Pictures, 1933) Original release 22” x 28” half-sheet poster for one of the earliest films to depict commercial air travel, and people who

(Paramount, 1945) U.S. 27” x 41” one-sheet poster, folded and unrestored. Brilliant, multiple-Oscar winning (best picture, actor, director, and screen

(Clover Productions, 1956) One of the best-loved and most purely entertaining 1950’s films about flying saucers and invading space aliens, and of spe

Though his imitators continue on to this very day attempting to replicate this master’s unique expression of the female form and all its many glories,

(Galatea Film, 1960) Italian 55” x 78” 4-folio poster (in two sheets before backing) for the classic Italian horror film by Mario Bava, Black Sunday.

Litho-print on 18.75” x 22.5” archival paper by Lorne Winters, limited to 100 artist-signed and numbered examples (plus 35 artist/publisher proofs) of

Watercolor, airbrush, gouache in black, white and graytones on 20 in. x 26 ½ in. 4-ply illustration board, being the camera logo art shot durin...