Search Results: Fashion from Royal Books, Inc.

N.p.: N.p., 1970. Archive of eight vintage oversize, double weight photographs of Ann Margaret, circa 1970. All but one with the stamp of photographer Alan Pappe on the verso, three additionally signed by Pappe. From his archive. Pappe worked as a film still and press photographer for 30 years, photographing a who's who of film and music stars, including iconic images of Sharon Tate, Jimi Hendrix, and Liza Minnelli, as well as album cover for the "Grease" soundtrack album, and the interior images of Jefferson Airplane's "After Bathing at Baxter's." His 1972 "Time" magazine cover photograph of Minnelli in "Cabaret" is part of the permanent collection of the Smithsonian's National Portrait Gallery. Included are four portraits of Ann Margaret, two images from what appears to be a fashion shoot, and two stills from the 1970 film "R.P.M," directed Stanely Kramer, and co-starring Anthony Quinn. Sized variously between 9.5 x 13.75 and 13.75 x 10.5 inches. Near Fine.

N.p.: N.p., 1980. Archive of seven vintage jumbo oversize photographs taken by noted fashion photographer Ara Gallant, with Gallant's copyright stamps on the versos, circa 1970s - 1980s. Archive includes three photographs of Jack Nicholson, two black and white and one color, one black-and-white photograph of Angelica Huston, one color photograph of Ingrid Boulting, one black-and-white photograph of Veruschka von Lehndorff, and one color photograph of Appolonia Van Ravenstein. Also included are two vintage contact sheets, one featuring shots of Jack Nicholson seated in a leather chair, the other Geena Davis standing in a leather teddy and leather Gallant began his career in high fashion as a hairstylist for "Vogue" in the early 1960s, becoming the first stylist to be paid solely to style hair by a magazine. He was best known for perfecting the "flying hair" technique, most memorably captured on a Richard Avedon portrait of Twiggy in 1968. During his tenure at "Vogue" he worked with a number of… Read More

N.p.: N.p., 1980. Archive of professional and vernacular photographs, flyers, newspapers, letters, and various ephemera relating to the Richmond-based African American musical group The Fantastic Waller Family, circa late 1970s-1980s. Formed in Richmond, Virginia in the mid-1970s, the show and dance band consisted of three brothers (Harry, Bruce, and Chris), two sisters (Karen and Sandra), and a five-piece horn backing band. The ensemble performed variously as The Waller Family, The Fantastic Waller Family, The Fabulous Waller Family, and The Wallers, playing a blend of R&B, soul, disco, funk, and pop. The group toured extensively throughout the east coast and southern US between the late 1970s and 1990s, but was still active as recently as the early 2000s. The archive contains over 75 unique photographs of the band performing and recording, a mix of promotional shots and professional and vernacular shots. The photographs also include two copies of a contact sheet (10 images), six strips of… Read More

N.p.: N.p., 1966. Vintage borderless double weight photograph of Michelangelo Antonioni on the set of the 1966 film, with provenance stamp of film scholar and author "J. P. Berthome" on verso. Inspired by the 1959 short story "Las Babas del Diablo" by Julio Cortazar. Michelangelo Antonioni's first English-language film, marking the beginning of the final phase of his work, co-produced by companies in Italy, the United States and the United Kingdom and featuring an international cast. The director's brash use of color, set design, non-standard editing techniques, and typical emphasis of atmosphere over plot would carry over into the two major films that followed, "Zabriskie Point" (1970) and "The Passenger" (1975). In his 2009 essay on the film, Danny Lyon notes, "It is apt that through [his established] style Antonioni made a movie that is perhaps closest to communicating the myth of the swinging Sixties scene but also the confusion of the time. ... Britain's new and very chaotic [cultural]… Read More

N.p.: N.p., 1965. Vintage press photograph of Diana Rigg as Emma Peel, the iconic female character in the classic British television series, "The Avengers." Here Rigg stands on a polar bear skin rug laid out near the shoreline of an unknown British locale. Shot by photographer Terry O'Neill to promote the hiring of John Bates (who worked for noted designer Jean Varon). A mimeo snipe on the verso of the photograph goes into some detail regarding Varon, Bates, and O'Neill. Bates became Ms. Riggs' costume designer in the second half of the show's fourth series in January 1966. He created for the character a wardrobe of black and white op-art mod clothing and mini skirts. Prior to this then-radical shift, it was believed that lines, circles and other bold patterns would not work well with the television cameras of the day. Too, this fashion change was introduced prior to the mini skirt becoming mainstream, and weighed heavily in that fashion shift in the UK. Bates licensed his designs to several… Read More

Paris: Cite Films, 1956. Collection of 22 original still photographs and portrait photographs from the 1956 French film, here under the French title "Le couturier de ces dames." Starring actors Fernandel and Françoise Fabian are present in most of the images, including four high contrast portraits of Fabian, and a tense scene featuring Fernandel, Fabian, and Delair. In nearly all photos, Fernandel is seen posing models, dancing, and generally being forthcoming, while a in smaller photo, two men are tailoring a woman's costume, one of them smoking a cigarette. Eleven photos with numerical annotations on the versos in pencil, one with "Le couturier de ces dames" in ditto mimeograph duplication. Fernand Vignard (Fernandel) is a tailor who needs to create a lasting fashion line to save his business. He does, but he also cavorts a little with the models (Fabian), and his wife (Delair) discovers his infidelity. The film spoofed the new haute couture that was thriving at the time, with notable designers… Read More

Los Angeles: Twentieth Century-Fox, 1950. Revised First Draft Continuity script for the 1951 film. Included is an index to the script breakdown, detailing various scenes and script page numbers with revisions. Copy belonging to Dane Anderson, an uncredited member of the crew, with his name on the front wrapper of the script breakdown, and annotations throughout, in manuscript pencil. File copy, rubber-stamped on the front wrapper. Based on Weidman's 1937 novel, and Vera Caspary's loose adaptation. Harriet Boyd (Hayward) is a fashion designer who partners with Teddy (Dailey), whom she loves, and Sam (Jaffe), and starts a new business dedicated to selling affordable women's dresses. A rival fashion company lead by Noble (Sanders) momentarily distracts Harriet, but at the last minute she realizes her true devotion to Teddy and Sam. Screenwriter Polonsky was blacklisted shortly after the film's release, refusing to answer questions before the House Un-American Activities Committee. White titled… Read More

Paris: Studio Piaz, 1934. Four vintage oversize photographs from the 1934 revival of Jacques Offenbach's 1875 operetta showing actress Josephine Baker in costume as Dora. All photographs with the stamp of Studio Piaz at the lower corner of the recto, and one with the address stamp of J. Manuel Richard, Baker's personal secretary, on the verso. The operatic debut of the longtime comedian, actor, and dancer. The production, which was staged at the Theatre Marigny in Paris, was the first time Jacques Offenbach's comic operetta had been staged since its 1875 debut. Two photos 11.5 x 9.25 inches, and two photos 8 x 10 inches. Very Good plus overall, one photo with brief archival reinforcement at the corners on the verso.

Culver City, CA: Columbia Pictures, 1947. Archive of seven vintage single and double weight fashion publicity photographs from the 1947 film. Mimeograph snipe on the verso of a few photos notes the Jean Louis clothing designs for the film. Photographers' rubber stamp also to the versos. Based on the 1938 novel "If I Die Before I Wake" by Sherwood King. Surreal and visually stunning, The Lady from Shanghai tells a quintessential film noir tale of moral chaos, reaching its climax with a shootout in an abandoned hall of mirrors. The collection features photographs of leading lady Rita Hayworth in various stylish outfits, and sporting the controversial short blonde hairstyle that soon-to-be ex-husband Orson Welles forced her to accept for the role. Robert Coburn, who photographed all but one of the images in this collection, was one of the most influential portrait photographers employed by movie studios from the 1930s to 1960s, with his most famous portraits immortalizing Hollywood's greatest… Read More

Culver City, CA: Columbia Pictures, 1947. Three vintage photographs of director Orson Welles from the 1947 film. Photographer's stamp on the versos, and two with mimeo snipes on the versos. Welles promised to write, produce, and direct a film for Columbia Pictures president Harry Cohn in exchange for an emergency $55,000 to help finance costuming for his 1946 Broadway musical "Around the World." The resultant film, based on Raymond Sherwood King's 1938 novel "If I Die Before I Wake," courted controversy, not least due to Welles' decision to have Hayes cut and bleach her iconic red hair for her performance. Although the film was a commercial failure in the US upon release, it is now considered a touchstone of the noir genre. Shot on location in Mexico. 8 x 10 inches. Near Fine. National Film Registry. Rosenbaum 1000. Selby US. Selby US Canon. Selby US Masterwork. Silver and Ward Classic Noir. Spicer US.

Paris: Migra, 1962. Five issues of "Le Guide de la femme" (roughly, "Woman's Guide"), a mid-century Parisian periodical published with the patronage of French author, journalist, politician, and noted feminist, Louise Weiss. The periodical, not unlike similar publications of today found on wire racks at grocery checkout lines, was produced by and for France's modern Woman, "at the forefront of feminine progress," with articles on fashion, entertainment, leisure activities, cosmetology, film/television, music, astrology, and an emphasis on hairstyles. Housed in a large mailing envelope addressed to Maryse Martres at Cinedis. Weiss (1893-1983) grew up wealthy in Alsace, her father an engineer and her Jewish mother was a member of the prolific Javal family. After training as a secondary school teacher (much to the chagrin of her parents), she received a degree from Oxford University, published the scarce "L'Europe nouvelle," subsequently committing herself to women's suffrage between the World Wars.… Read More

Hollywood: Lipstik Productions / Paramount Pictures, 1975. Revised Draft script for the 1976 film, here under the working title "Lipstik." Laid in with the script are a studio still photograph and a xerographically duplicated call sheet dated 11/3/75. A fashion model is raped by a music teacher and composer. Through a series of mud-raking tactics he is acquitted at trial, only to return to assault her sister. The film debuts of both Margaux and Mariel Hemingway. Set in California, shot on location in Los Angeles and West Hollywood. Script: Red titled wrappers, undated, with credits for producer Freddie Fields, director Lamont Johnson, and screenwriter David Rayfiel. Title page present, undated, with credits for producer Freddie Fields, director Lamont Johnson, and screenwriter David Rayfiel. X leaves, with last page of text numbered X. Xerographic duplication, rectos only, with yellow, green, and pink revision pages throughout, dated variously between 10/20/75 and 10/24/75. Pages and wrapper… Read More

Universal City: Dino De Laurentiis Company, 1976. Collection of five vintage borderless studio still photographs from the 1976 film with bottom margins with text. Archival stamp on the verso. A brutal and exploitative revenge film about a fashion model (Margaux Hemingway) who is raped by her sister's music teacher (Chris Sarandon), who, after being acquitted at trial, returns to rape her sister (Mariel Hemingway). Film debut of both Margaux and Mariel Hemingway. Anne Bancroft co-stars as the prosecuting lawyer. Set in California, shot on location in Los Angeles and West Hollywood. 8 x 10 inches. Near Fine with some light edge wear. Clover, Men, Women and Chainsaws.

Saint Louis: M. Peterson Hair Company, 1919. Vintage catalog of human hair and cosmetic products advertised by St. Louis-based beauty supplier M. Peterson Hair Company. Catalog includes one laid-in leaf noting price changes for Fall 1919, and two pages are stamped "Owing to the advance in the cost of Raw Material, prices are subject to change without notice." An eight-page catalog of hair and beauty products of the period, with a wide variety of illustrations and photographs throughout. Although primarily dedicated to human hair products, the catalog additionally advertises hair dyes, hair nets, weaving materials and wig nets, combs and brushes, haircutting scissors and clippers, hairpins, straightening and curling irons, face powder and soap, beauty creams, hair tonics, manicuring products, antiperspirants, and a variety of makeup products. The catalog also includes a small number of products for men, including a short section regarding toupees. Several sections appear to target African American… Read More

Los Angeles: Motown Productions, 1975. Two vintage studio still photographs from the 1975 film. One photograph with a mimeo snipe attached to the verso, one photograph with a folded mimeo snipe attached to the verso. A young woman from Chicago dreams of making it big in the fashion industry when she gets discovered and reinvented into fashion model, Mahogany. Even with her new found success in Rome, she still feels lost without her love she left back home in Chicago. Set in Chicago and Rome, shot on location in Chicago and Rome. One photograph 8 x 10 inches, one photograph 10 x 8 inches. Near Fine.

Los Angeles: Twentieth Century-Fox, 1966. Vintage reference photograph of Terence Stamp being bathed by nuns, from the set of the 1966 film. Based on the comic strip begun by Peter O'Donnell and Jim Holdaway in 1963. O'Donnell wrote an original screenplay for the film, although much of it was never used, and he novelized the film the same year it was released. One of the key "mod London" films of the 1960s, directed in blazing saturated color by Joseph Losey (the closest he would come to popular entertainment), starring Monica Vitti in the sexy title role (her first English-speaking role), joined by Dirk Bogarde and Terence Stamp. Nominated for the Palme d'Or. Shot on location in Italy, Netherlands, and England. 9.5 x 7.75 inches. Near Fine.

Los Angeles: Twentieth Century-Fox, 1966. Vintage black-and-white studio still photograph from the 1966 film. A split still showing Vitti in two different guises, as a brunette spy and as a seductive blonde who is actually a brunette spy. 8 x 10 inches. Near Fine.

Paris: Cinedis, 1958. Collection of 71 vintage single weight keybook contact sheets, amounting to over 800 numbered images, from the 1958 French film. Much of the film is represented in minute detail, along with test shots, set design shots, and many candid moments from the set. Dramatic high-contrast images of starring actors, Demongeot answering telephones and in heated embraces, with several sheets capturing a formal dinner with the cast and crew, presumably the film's premiere. Most with 12 images per sheet, a few with 6-frame strips of 35mm film, each image with a series number, and all sheets credit at the top the photo laboratory Tele-Photo, film studio Cinedis, film title, and photographer Apoteker. Housed in a red paper 2-ring binder with French titles printed on the front. Several with brief numerical annotations on the verso. Noirish crime thriller based on Michel Lebrun's novel "Un Silence de Mort" (1957), starring Demongeot as Sylvie, married to Jean (Ronet), an executive at a fashion… Read More

Paris: Francoise Pages, 1958. Vintage black-and-white photograph from the set of the 1958 film, "Night Heat," here under the original French title, "Cette nuit la." Featured is actress Mylene Demongeot with costar Maurice Ronet. With over 70 films to her credit, Demongeot (1935-) began acting in the early 1950s, her first film being Leonide Moguy's "Children of Love" (1953). Notable films would follow, including Raymond Rouleau's "The Crucible" (1957), Otto Preminger's "Bonjour Tristesse" (1958), Marc Allegret's "Be Beautiful But Shut Up" (1958), Andre Hunebelle's "Fantomas" (1964), and several Marc Simenon films in the 1970s and 1980s, a director she was married to for over thirty years. 3.25 x 4.25 inches, small white borders, "298H" rubberstamp on versos: 182. Very Good plus, with curling and slight discoloration overall.

Paris: Cinedis, 1958. Collection of 419 vintage black-and-white photographs, with original publicity ephemera, from the set of the 1958 film, "Night Heat," here under the original French title, "Cette nuit la." Featured are over 300 smaller photographs elegantly presented in two "Lavis aquarelle" spiral bound notebooks with maroon faux leather front wrappers and affixed paper title labels, with 3 or 4 photographs to a page. One notebook bears a label on the front wrapper verso noting film lab Tele-Photo, production company Sopro Film (Cinedis), film title, and photographer P. Apoteker. Several larger photographs credit photographer Francois Pages, with his rubber stamp on the versos, featuring images of actress Demongeot as she models in fur coat for onlookers, including costar Maurice Ronet and director Cazeneuve. Several photos feature cast and crew at a release party. Brief annotations in manuscript pencil on the versos, two with rubber-stamped series number. Several photographs with annotations… Read More