Evelyn ankers (29 risultati)

Hardcover. Condizione: Very Good +. Condizione sovraccoperta: very good. First edition. 9 x 11 inches. 216 pages. Condition of the book is Very Good+; Exterior is excellent, text and illustartions are very clean, binding is tight. Dust jacket is Very Good; missing a bit at top of spine, mild edge wear. STK.…

Soft cover. Condizione: VG. A VG or better 4-page folded pressbook. 1966 re-release. Size: 11" X 14". Book.

SingleIssueMagazine. Condizione: Very Good. Book 27, chapter 6. Fanzine. Includes "Ralph Edwards' Truth or Consequenes, Aren't We Devils" by Jim Cox; "The Beauty and the Beast", the movies of Evelyn Ankers and Lon Chaney, Jr.,; Rita Hayworth, and more. Stress; rubbing. Book.

SingleIssueMagazine. Condizione: Very Good. Book 27, chapter 6. Fanzine. Includes "Ralph Edwards' Truth or Consequenes, Aren't We Devils" by Jim Cox; "The Beauty and the Beast", the movies of Evelyn Ankers and Lon Chaney, Jr.,; Rita Hayworth, and more. Stress. Book.

Soft cover. Condizione: VG. 1400-45. A VG or better original release 8 x 10 still. 1954 re-release. Photographic Image.

Hardcover. Condizione: Very Good+. Condizione sovraccoperta: Very Good+. 1st Edition. Near fine in very good dust jacket with a little wear to top edge of spine. No prior owner markings, no bookplate, no remainder marks. Dust jacket has no chips and is not price-clipped. Has a few tiny edge tears. Profiles mostly obscure B movies in which the author explains their charms and attractions. Includes some film noir and horror films. Illustrated throughout with b&w photos. …

No Binding. Condizione: Very Good. A VG or better original release 11 x 14 lobby card. Poster.

No Binding. Condizione: Very Good. A VG or better original release 11 x 14 lobby card. Poster.

No Binding. Condizione: Very Good. A VG or better original release 11 x 14 lobby card. Poster.

No Binding. Condizione: VG. None. BB-22. A VG or better original release 8 x 10 still. Size: 8" x 10". Photographic Image.

No Binding. Condizione: Very Good. 105-49. A VG or better original release 8 x 10 still. Size: 8" x 10". Photographic Image.

DVD. Condizione: Used - Good. No scratches on the disc and it is not loose within the case.

No Binding. Condizione: G/VG. A lot of six VG or better original release 8 x 10 stills. 1953 re-release. Size: 8" x 10". Poster.

No Binding. Condizione: VG+. 1384-3. A VG or better original release 8 x 10 still. Photographic Image.

Hard Cover. Hard Cover. HBDJ, OVERSIZED pictorial Cloth Boards matches DJ illustration, , 1981 , , reprint, VG/VG.

DVD. Condizione: New. No Dust Jacket. NEW/Sealed; Calling Dr. Death / Weird Woman / the Frozen Ghost / Pillow of Death / Dead Man's Eyes / Strange Confession; 7.5 X 5.5 X 0.7 inches.

Vintage publicity photograph from the 1944 film, showing Diana Barrymore and Loretta Young. Printed mimeo snipe affixed to the verso. A dramatization of the activities of the Women's Auxiliary Ferrying Squadron, a group of women pilots during World War II. Based on Virginia Spencer Cowes' 1941 novel "Looking for Trouble." From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. 10 x 8 inches. Near Fine.…

Vintage studio still photograph from the 1944 film, showing actors J. Carrol Naish, Acquanetta, and Eddie Hyans. Provenance stamp on the verso. A follow-up to the 1943 film "Captive Wild Woman," featuring ape-turned-human woman Cheela, or Paula. Hot on the heels of the successful 1942 RKO Radio Pictures release "Cat People." 10 x 8 inches. Very Good plus, lightly toned.…

Vintage studio still photograph from the 1943 film, showing actors John Carradine and Acquanetta. Provenance stamp on the verso. A mad endocrinologist manages to transform a gorilla into a human woman, resulting in a sultry, exotic creature with no regard for the morals of mankind. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. 10 x 8 inches. Very Good plus, with a faint splash at the top right corner of the recto margin.…

Vintage publicity photograph from the 1943 film, showing actors John Carradine and Evelyn Ankers in an embrace. Provenance stamp on the verso. A mad endocrinologist manages to transform a gorilla into a human woman, resulting in a sultry, exotic creature with no regard for the morals of mankind. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. 7.5 x 9.5 inches. Very Good plus, with pinholes at the corners. …

Vintage borderless publicity photograph from the 1945 film, showing actors Lon Chaney Jr. and Evelyn Ankers. Printed mimeo snipe affixed to the verso. A disgraced hypnotist and a former plastic surgeon work together in an eerie wax museum. The fourth installment in Universal's "Inner Sanctum" mystery film series, based on the successful radio series. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. 8.5 x 7.75 inches, trimmed irregularly. Very Good plus. …

Vintage publicity photograph from the 1943 film, showing actress Evelyn Ankers holding a skull-topped sign naming the horror movies in which she appeared, accompanied by director James Hogan and actor David Bruce. Mimeo snipe and annotations in manuscript ink and pencil on the verso. A mad doctor becomes obsessed with his assistant's girlfriend, and decides to use nerve gas to transform the assistant into a zombie. Released as a double feature with "Son of Dracula." From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. 10 x 8 inches. Near Fine.…

Archive of three scripts and one post-production script for the 1942 film. May 4 script missing one page, likely as used or issued. First, an early Draft script, under the working title "Sherlock Holmes vs. Lord Haw-Haw," by screenwriter John Bright, noted as "Contract File Copy" on front wrapper. Carbon typescript, preceded by a four page ribbon copy typescript outline, dated 3/10/42. Annotation of inquiry into necessary story elements and plotline on title page, in manuscript pencil. Several annotations throughout, of Bright's name, page numbers, strikes, question mark, and dates (ranging from 3/10/42 to 3/27/42), in manuscript pencil and ink. Second is a Draft script, under the working title "Sherlock Holmes #1," by screenwriter Lynn Riggs, dated April 2, 1942. Annotations in red and graphite manuscript pencil on front wrapper, some illegible, citing Arthur Conan Doyle and the story upon which script is based, and "Copy from which we mimeod yellow script 4/27/42." Carbon typescript on onionskin stock, with annotations in manuscript pencil and ink throughout, primarily amending page numbers, scene numbers, and character names, as well as striking the "#1" on title page title and adding "Saves London," amending title to "Sherlock Holmes Saves London," another early working title. Third is a Draft script, under the working title "Sherlock Holmes' Series #1 'Sherlock Holmes Saves London'," credited as "A Free Adaptation" by Robert Andrews, and credits for screenwriters Lynn Riggs and John Bright, dated May 4, 1942. One annotation in manuscript pencil of the name "M. Nicht" on top right of page 107, likely a stenographer. Lastly, the post-production Dialogue and Contitnuity script, here under the working title "Sherlock Holmes and the Voice of Fear," dated July 28, 1942. Annotation on front wrapper, in manuscript pencil, striking "Fear" in title, adding "Terror," amending title to it's release title. Based on the 1917 short story "His Last Bow. The War Service of Sherlock Holmes," by Sir Arthur Conan Doyle, and loosely, on the real-life exploits of Lord Haw-Haw, (several broadcasters, but most notably) William Joyce, a US born Briton who broadcast Nazi Propaganda from Germany to the UK during WWII. Joyce would be convicted of high treason in 1945 and hanged in 1946, the last person executed for treason in the UK. The third Sherlock Holmes movie starring Basil Rathbone and Nigel Bruce, and the first produced at Universal Studios. Preceded by "The Adventures of Sherlock Holmes" (1939), directed by Alfred L. Werker, and followed by "Sherlock Holmes and the Secret Weapon" (1942), directed by Roy William Neill. Watson and Holmes, transplanted from their usual Victorian setting, and from the WWI setting of the original story, are now in England at the start of WWII investigating the mysterious broadcasts by "The Voice of Terror," apparently from Nazi Germany, warning of acts of terror moments before their occurrence. 3/10/42 script, "Sherlock Holmes vs. Lord Haw-Haw": Gray titled wrappers, with credits for screenwriter John Bright. Title page present, with credits for screenwriter John Bright. 126 leaves, with last page of text numbered 121. Carbon typescript, rectos only. Pages Near Fine, wrapper Very Good plus with some chipping, creasing, and closed tears at extremities, primarily to front wrapper, bound with three gold brads. April 2, 1942 script, "Sherlock Holmes #1": Gray titled wrappers, dated April 2, 1942, with credits for screenwriter Lynn Riggs. Title page integral with first page, with credits for screenwriter Lynn Riggs. 127 leaves, with last page of text numbered 122a. Carbon typescript on onionskin stock. Pages Near Fine, wrapper Very Good plus, with some creasing and small closed tears to extremities on front wrapper, bound with three gold brads. May 4, 1942 script, "Sherlock Holmes' Series #1 'Sherlock Holmes Saves London'": Gray titled wrappers, dated May 4, 1942, with credits for adaptation by Robert Andrews, author Sir Arthur Conan Doyle, and screenwriters Lynn Riggs and John Bright. Title page integral with first page. 115 leaves, with last page of text numbered 113. Mimeograph duplication, rectos only, with blue revision pages throughout, dated variously between 5/8/42 and 5/14/42. Pages Near Fine, wrapper Very Good, with some chipping, creasing and closed tears to extremities, bound with three gold brads. July 28, 1942 Dialogue and Contiuity post-production script: Title self wrappers, noted as DIALOGUE CONTINUITY on the front wrapper, dated July 28, 1942. 117 leaves. Mimeograph duplication, rectos only. Pages Near Fine, bound at top with two gold brads. …

Four studio still photographs from the 1941 film, struck from the original negative circa mid-1970s. Includes one photo showing Lon Chaney Jr. menacing Evelyn Ankers, one showing Chaney Jr. behind a tree, one showing Chaney Jr. behind some leafless branches, and the last showing Chaney Jr. being groomed by makeup artist Jack P. Pierce. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures from 1935-1958. A man visiting his ancestral home in Wales is bitten by a strange, wolf-like creature, leading to his occasional, moonlit transformation into a bloodthirsty werewolf. Universal Pictures' second werewolf film, preceded by the less successful "Werewolf of London" (1935), and followed by several "Wolf Man" monster mash-up sequels, including "Frankenstein Meets the Wolf Man" (1943) and "House of Frankenstein" (1944). Set in Llanwelly, Wales. 8 x 10 inches. Fine. Weaver and Brunas, Universal Horror.…

Vintage publicity photograph of Universal players Kathryn Adams, Evelyn Ankers, and Anne Nagel seated atop a cannon in 1941. Printed mimeo snipe affixed to the verso. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. 10 x 8 inches. Near Fine.…

Vintage publicity photograph of Lon Chaney Jr. and Anne Gwynne from the 1944 film, with a mimeo snipe affixed to the verso. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. The second of six installments in "The Inner Sanctum Mysteries," preceded by "Calling Dr. Death: An Inner Sanctum Mystery" (1943), and followed by "Dead Man's Eyes: An Inner Sanctum Mystery" (1944). Lon Chaney Jr. travels to the South Seas where he falls in love with Anne Gwynne, a mysterious and exotic native woman who the locals believe to be some kind of supernatural being. 8 x 10 inches. Near Fine. Weaver and Brunas, Universal Horrors 1931-1946.…

Three vintage publicity photographs of British-American actress Evelyn Ankers, dated variously between 1941 and 1943. Universal Pictures stamps and annotations in manuscript pencil relating to cropping on the versos, and one with a printed mimeo snipe affixed to same. Ankers frequently appeared as the leading lady in horror films, most notably opposite Lon Chaney Jr. in "The Wolf Man" (1941). From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. 8 x 10 inches. Very Good plus to Near Fine.…

Vintage pressbook for the 1943 film. INSCRIBED by actress Acquanetta on the title page: "To Don / Happiness / Acquanetta." A mad endocrinologist manages to transform a gorilla into a human woman, resulting in a sultry, exotic creature with no regard for the morals of mankind. Acquanetta starred in several Universal B-movies through the 1940s. Although the actress claimed Venezuelan origins, and was accordingly nicknamed "The Venezuelan Volcano" during her brief film career, her actual origins remain unclear, with many contemporary sources speculating that she was in fact a light-skinned African-American woman. 11.5 x 14 inches. Eight pages, unbound. Very Good plus, moderately dampstained on the first page, with distributor stamps noting certain images as unavailable on multiple leaves (see images). Signed.…

Five vintage reference photographs from the 1942 film. One with a mimeo snipe on the verso, and three with annotations in manuscript ink on the same. The fourth film in Universal Pictures' Frankenstein series, preceded by "Frankenstein" (1931), "Bride of Frankenstein" (1935), and "Son of Frankenstein" (1939), and the first to star Lon Chaney as the monster. Set in the fictional village of Frankenstein. 8 x 10 inches. Generally Very Good plus to Near Fine, one photograph with tape near the margins of the recto, one with pinholes at the corners, and one with paper residue at the bottom left corner. Weaver and Brunas, Universal Horror.…