R|A|P Catalogue 2014

Autumn / Winter 2014

‘Reel Art Press is a publishing cult’ ESQUIRE MAGAZINE

CONTENTS

Autumn / Winter 2014 4 Backlist

23

Limited Editions 51 Contact Information 63

SEPARATE CINEMA: THE FIRST 100 YEARS OF BLACK POSTER ART John Duke Kisch Foreword by Henry Louis Gates, Jr. Afterword by Spike Lee

Josephine Baker 1950, USA, Directed by Joseph Mankiewicz

No country in the world was more receptive to the revolution sparked by AfricanAmerican music in the 1920s than France. Their enthusiasm for what they called

Baker was now arguably the most famous American in Europe, and newsreel cameras captured clips of her highly sexualised routines. It was inevitable that the

“Le Jazz Hot” offered a loyal audience and, in many cases, a second home

offer to appear in full-length cinema productions would follow. In 1927, she made

to black performers who were often struggling to rise above the racism they

her film debut in the silent picture La Sirene des Tropiques, a romantic comedy

endured in the United States.

For the next fifty years, American jazz performers could be assured of a warm response whenever they crossed the Atlantic and landed on French territory. But the

that was dismissed by the critics, but relished by the public. Baker played the part of Papitou, who bursts onto the screen with an extravagantly outrageous routine that is half vamp, half hyperactive child. This project required little more of her

most fevered welcome of all was reserved for a woman who was not, in fact, a jazz

than to dance, but as her fame expanded, so did her ambition. Besides her regular

musician, although she came to symbolise all the glamour and excitement of what F.

appearances in cabaret, she opened her own nightclub, inevitably called Chez

Scott Fitzgerald dubbed ‘the Jazz Age’.

Josephine Baker could hardly have had a less auspicious opening to her life: she was born in St. Louis, Missouri in 1906, not knowing her father, and under the

Josephine. By the time that ‘talkies’ had brought the silent era to a sudden end, she was prepared to add acting and singing to her repertoire.

What’s ironic, in retrospect, is that her voice revealed little of her ‘jazz age’

solitary care of her mother, who scraped a living as a washerwoman. As soon as she

heritage; her singing could sometimes be almost operatic. But her dancing was

could walk, however, it was apparent that young Josephine was a natural dancer.

altogether more modern, and her film roles required little more than the need to

She never received a professional lesson, but learned and invented enough to

appear like herself. Zou Zou (1934) cast her in a nakedly autobiographical role as

escape her hometown and find herself in New York by the time she was 16. There

a laundress who becomes a music hall star, alongside the French romantic lead

she won a place in the chorus line of Eubie Blake and Noble Sissle’s Broadway

Jean Gabin, whose first movie this was. One of the highlights of the movie was an

musical comedy, Shuffle Along (1921) – a show that also featured two other stars

inventive sequence in which she danced with her own shadow.

of the future, Adelaide Hall and Paul Robeson. She conquered Broadway again two years later in Chocolate Dandies, and also performed in a Plantation Club floor show that featured Ethel Waters.

French impresarios regularly travelled to New York in search of American talent that they could export to Europe, and at the age of 19 Josephine was offered a staggering $250 a week to star in a Paris show, La Revue Negre, at the Theatre des

SEPARATE CINEMA

THE FIRST 100 YEARS OF BLACK POSTER ART

The following year, she starred in Princess Tam Tam, a Pygmalion-style fantasy in which she played an African beauty who was passed off in Paris society as a native princess. The script was written by Pepito Abatino, her long-time manager and confidant. One of the most beautiful songs in the film was Le Chemin du Bonheur (Dream Ship), which was written by the famous jazz composer Spencer Williams (no relation to the actor of that name), who had previously helped to assemble all

Champs-Elysees. Her erotic dancing, for which she appeared all but naked, caused a sensation, and she was soon poached by the management of the prestigious but notorious cabaret, the Folies Bergeres. All of fashionable Paris flocked to see her ‘danse sauvage’ – shocking not just because of her lascivious movements, but because she was clad in little more than strategically placed feathers and a G-string made up of bananas. Ernest Hemingway described her as “the most sensational woman anyone ever saw”.

Opposite: Original Austrian poster for Heut Tanzt Die Frauen von Follies, 1927. p.8: Original Swedish poster for La revue des revues, 1927. p.9: Original Swedish poster for La sirène des tropiques, 1927

Race was an inescapable theme of Sidney Poitier’s acting career in the 1950s and 1960s, as the Polish posters seen here make clear. Both Maria Ihnatowicz’s design (left) for To Sir With Love (1967) and Marian Stachurski’s (opposite) for A Patch Of Blue (1965) employed stark contrast of black and white graphics to reinforce the almost confrontational impact of Poitier’s arrival as a bona fide Hollywood star.

Like Guess Who’s Coming To Dinner, A Patch Of Blue depended for its drama on the then-controversial concept of inter-racial love. 21-year-old Elizabeth Hartman played the role of a teenager blinded as a child by her prostitute mother, powerfully depicted

by Shelley Winters. The girl meets an office worker, played by Poitier, in a city park, and falls in love with him, unaware that he is an African American. Their blooming relationship runs into savage opposition from the girl’s mother, and the film has an open ending, leaving most audience members hoping that Poitier and Hartman’s love can endure.

To Sir With Love took its narrative force from a very different setting. This time Poitier played a teacher from British Guiana who is hired to work at a troubled (and fictional) London school, North Quay Secondary. His troublesome pupils include some of the most iconic young British actors of the era, such as Judy Geeson and Suzy Kendall, as well as singer Lulu, in her first screen role. (Lulu also contributed the title song, which was a No. 1 hit in the United States.) At stake in this script are not just racial issues, but gender, social deprivation and inter-generational differences – making To Sir With Love perhaps the ultimate Poitier ‘problem film’.

Shaft

(1971)

catapulted

Hollywood

into

the

Blaxploitation era. The film’s director, Gordon Parks Sr., cast newcomer Richard Roundtree to play John Shaft, a black superhero and renegade detective whose savvy street smarts are equalled only by, as his name suggests, his sexual prowess. Made at a cost of $1.5m, Shaft grossed more than eight times that amount, while its Isaac Hayes soundtrack, which was on the charts for well over a year, sparked a revolution of its own in the music business, inaugurating a new style of film scoring that was much emulated during the Blaxploitation era.

The appeal of Shaft to contemporary audiences resulted in two sequels, Shaft’s Big Score! (1972) and Shaft In Africa (1973), though neither film was as popular or as powerful as the original. Many years later, in 2000, there was a remake of Shaft by John Singleton, with Roundtree reprising his 1971 role, and Samuel L. Jackson starring as his nephew and namesake.

Isaac Hayes’ memorable Theme From Shaft was also retained, although David Arnold composed the remainder of the score.

Gordon Parks Sr. channelled his salary for Shaft into the financing of Super Fly (1972), which was directed by his son, and was altogether more violent and raw than his father’s work. It featured Ron O’Neal as Youngblood Priest, a black man trying desperately to escape with his life from the cocaine business. While Curtis Mayfield’s soundtrack album (arguably the finest of its era) was compassionate and hopeful, the film was much more bleak. O’Neal turned director himself for the sequel, Superfly T.N.T. (1973), while Mayfield returned for the soundtrack of The Return Of Superfly (1990), shortly before this titan of American R&B was paralysed in a horrific on-stage accident.

JOHN DUKE KISCH

FOREWORD BY HENRY LOUIS GATES, JR.

AFTERWORD BY SPIKE LEE

‘A brilliant overview of the last century of film poster art that ... every student of African-American history and culture should experience.’ - Henry Louis Gates, Jr. This magnificent volume is a celebration of the first 100 years of black film poster art. A visual feast, these images recount the diverse and historic journey of the black film industry from the earliest days of Hollywood to present day.

Accompanied by insightful accompanying text, a foreword by black history authority and renowned academic, Henry Louis Gates, Jr. and an afterword by Hollywood director, Spike Lee. Part aesthetic, part nostalgic, the posters have meaning to young and old alike, and possess the power to transcend ethnicity. From early independents to 12 Years a Slave, these posters represent a journey: they remind people of the pioneers of the past, those courageous and daring African-American filmmakers, entertainers and artists whose dreams and struggles paved the way for future generations.

The wealth of imagery on these pages is taken from The Separate Cinema Archive, maintained by archive director John Kisch. The most extensive private holdings of African-American film memorabilia in the world, it contains over 35,000 authentic movie posters and photographs from over 30 countries. This stunning coffee table book represents some of the archive’s greatest highlights.

John Kisch is one of America’s leading archivists, the quintessential word on rare and vintage poster collecting and the founder of The Separate Cinema Archive.

ISBN: 978-1-909526-06-8 320pp; Hardback; 260+ images 290 x 245 mm / 11.4 x 10 in.

Price: £45.00 / $75.00 September 2014

-6-

-7-

HOLLYWOOD AND THE IVY LOOK Graham Marsh & Tony Nourmand

Cravats Who’d have thought a humble neckband, the forerunner of the modern tailored necktie and bow tie, which originated in seventeenth century Croatia, would become such a cool symbol of sophistication in mid-twentieth century Hollywood. Worn by all discerning, off-duty leading men, the cravat, often referred to as an Ascot after the racetrack near Ascot in England, could transform the standard-issue Ivy look into a rather smooth, intellectual, more laid-back casualness, instead of the louche and caddish look affected by English character actors such as the wonderful Terry-Thomas.

Cravats are still worn today and come in a myriad of patterns most popular in paisley, spot or jacquard prints. Usually made from silk, wool, cashmere or cotton, they are tied, folded or knotted to suit the wearer’s individual style.

Left (clockwise from top left): Woody Allen, Jason Robards, Robert Wagner and James Garner and, opposite: Paul Newman.

The actors illustrate the various effective ways to wear a cravat, which is to say with the quintessentially American soft-collared shirt. A very different approach to the rather more formal English way of wearing a cravat.

HOLLYWOOD AND THE

IVY LOOK Hat Check American men of Ivy sensibilities living in Southern California, where it’s hot most of the year, generally took a practical approach to hat-wearing which is why lightweight straw hats were de rigueur. Movies also had an influence on the overall look of hats worn. Hatbands, an important style indicator, tended to be deeper than previous decades and materials more varied; they ranged from plain gross-grain ribbon to regimental stripe, from jacquards to colourful Madras depending on the style of hat.

Brooks Brothers used to sell an excellent coconut straw hat similar to the one that Paul Newman is wearing, but alas, sadly no more.

Left: Wanna get ahead? Get a hat. Paul Newman in a coconut straw pork-pie with a deep Madras hat band. Needs nothing more than a simple white T-shirt to compliment.

Opposite: Robert Mitchum in another stingy-brimmed straw hat with a distinctive striped band. Big Bad Bob never looked better.

Bill Cosby (B.1937) BORN IN PHILADELPHIA, PENNSYLVANIA Bill Cosby was the main man. He started out as a modest stand-up but by the early 1960s his comedy was whetting the appetite of seriously hip New York audiences.

He was in the right place at the right time when in the summer of 1963 he appeared on The Tonight Show, resulting in national exposure, which led to a recording contract with Warner Bros. Records. His debut album, Bill Cosby Is A Very Funny Fellow…Right! was the first of a series of very cool, very funny records. Cosby was cooking.

Sheldon Leonard, executive producer of a soon to be shown NBC television adventure series felt the heat after seeing Cosby performing stand-up and decided he was the man to co-star with Robert Culp in I Spy. Cosby went on to receive three consecutive Emmy Awards for his part in I Spy, and in the 1980s was mega successful and known worldwide for The Cosby Show.

All of his success is justly deserved but for us the main thing is that Bill Cosby was a big fan of Miles Davis, who was christened ‘The warlord of the Weejuns’ by style commentator, George Frazier, who went on, ‘If Miles wore it, it was instantly hip’ – a bit like our man Bill.

Left: The red with blue windowpane patterned button-down shirt that Bill Cosby is wearing with plain tie is a very East Coast kind of thing. Woody Allen sometimes favours this Ivy look.

Opposite: Cosby played on his school’s track and football team, which is why he understands exactly how to wear sports related clothes such as this classic white T-shirt with knitted collar and cuffs plus the ubiquitous Converse sneakers.

TONY NOURMAND AND GRAHAM MARSH

‘A sumptuous and lovingly collated visual collection that can be picked-up again and again.’ - Port This stunning book delivers a pictorial celebration of the look and attitude of ‘Ivy’. In the decade between 1955 and 1965 a coterie of discerning Hollywood hipsters appropriated the incomparable Ivy League clothing of America’s East Coast elite. These West Coast actors elevated The Ivy Look to the height of cool and defined a quintessentially American male dress code for a new generation of movie audiences. From the button-down hip of Steve McQueen, Paul Newman and Anthony Perkins to the preppy sensibilities of Woody Allen and Dustin Hoffman; the understated but carefully selected components of The Ivy Look didn’t shout ‘look at me’ but instead gave off an image of approachable correctness and laid back confidence.

Exhaustively compiled, this coffee table volume to take an in-depth look at how ‘Ivy’ established itself as the epitome of Hollywood style, gained a new democratic global following and a place in history as the look of modern America.

Graham Marsh is an art director, illustrator and writer who has released many groundbreaking visual books, including The Cover Art of Blue Note Records, The Ivy Look, Max and the Lost Note and R|A|P’s Hollywood and The Ivy Look.

EVERGREEN EDITION ISBN: 978-1-909526-20-4 £24.95 / $39.95 288 pp; Hardback; 260 colour and b/w photographs 290 x 245mm / 11.4 x 10 in.

Sept/Oct 2014

-8-

-9-

THE 2001 FILE: HARRY LANGE AND THE DESIGN OF THE LANDMARK SCIENCE FICTION FILM Christopher Frayling

THE 2001 FILE

HARRY LANGE AND THE DESIGN OF THE LANDMARK SCIENCE FICTION FILM

CHRISTOPHER FRAYLING

The holy grail.

Harry Lange’s complete, unseen archive.

This stunning tome is a previously unseen look behind-the-scenes at the making of this most legendary of science fiction classics. Art director Harry Lange’s strikingly realistic designs for Stanley Kubrick’s 2001: A Space Odyssey created an extraordinary vision of the future and they remain the epitome of filmmaking.

The book is about the process, as well as the finished product. It tells the story of the relationship between the design team and Stanley Kubrick, recognising their input in what is often considered all the director’s work. It explores the evolution of the spacecraft, both its looks and function. It shows how the team rejected the ‘silver pencil with fins’ concept of spaceships that had dominated until then. It examines how Harry Lange’s experience with NASA fed into the innovations of the film. It describes how Arthur C. Clarke’s words turned into images on the screen. It includes rejected designs, concepts and roughs, as well as the finished works. It reveals how the design team was obsessed with things that actually might work. By releasing this unpublished archive and explaining its significance, the book takes the reader/ viewer deep into the visual thinking behind 2001, for the first time ever. And 2001 is, above all else, a visual experience.

Christopher Frayling is an art historian, critic and award-winning broadcaster. He is a Professor Emeritus and a Fellow of Churchill College Cambridge and was awarded a knighthood in 2001 for ‘Services to Art and Design Education’. He has published several books, including Ken Adam: The Art of Production Design and Once Upon a Time in Italy. His television and radio series include Nightmare: The Birth of Horror, America: the movie and Britannia: the film.

ISBN: 978-0-9572610-2-0 £45/ $75 288pp; Hardback; 600+ illustrations 290 x 245 mm / 11.4 x 10 in.

September 2014

- 10 -

- 11 -

VANITY: PHOTOGRAPHS BY SCOTT CAAN Edited and designed by Howard Nourmand

Vanity 150

151

40

Edited

Designed By Howard Nourmand

79

78

A beautiful volume. Caan’s work has a keen and quiet honesty to it that reflects his innate instincts as a photojournalist.

Over the past few decade, actor Scott Caan has quietly garnered a reputation as an outstanding photographer. This exceptional volume is a celebration of his most recent work.

Shooting with a photojournalist’s eye, Caan captures moments that have a quiet honesty to them and a documentary feel. Caan’s images also have a unique insight into life as a celebrity – such as the book’s cover image; taken from the top of the red carpet at Cannes (where no photographer has ever been allowed) looking back at the hive of paparazzi below.

The title of the book is another subtle nod to his fame. Countering claims that he is simply indulging in “a vanity project”, Caan has reclaimed the word in full force with this exquisite demonstration of his talent. ‘To me, Vanity was the perfect title. Photography is the one thing I can do where I don’t have to answer to anybody. … In a sense, it is my selfish way of saying; “these are the photographs that I like.”’

Scott Caan was given a camera just before directing his first feature film. He started traveling with it and began shooting photos religiously. Emmy-nominated Creative Director Howard Nourmand has produced artwork for countless artists, musicians, and filmmakers. Howard’s capacity to mesh film and design has earned him recognition in the world of contemporary storytelling.

ISBN: 978-1-909526-16-7 £29.95 / $49.95 192pp; Hardback; 160+ B&W photographs 290 x 245 mm / 11 x 10 in.

September 2014

- 12 -

- 13 -

THE 1960s : PHOTOGRAPHED BY DAVID HURN Introduced by Michael Pritchard

Iconic 1960s photographs from one of Magnum’s most prominent photographers.

‘Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities. There is more pleasure, for me, in things as-they-are.’ – David Hurn David Hurn is one of the most important British Magnum photographers. His documentary photographs are distinguished by their quiet observation and remarkable insight. This volume is the first anthology dedicated to Hurn during one of his most iconic periods of the 1960s.

Included are photoessays from the streets of New York, anti-Vietnam protests, the London Soho scene, the French Riviera, Queen Charlotte’s Ball and the Isle of Wight Festival in 1969. Also featured are portraits of some of the coolest characters of the age – like Michael Caine, Quentin Crisp and Julie Christie – and Hurn’s work within the film industry – capturing The Beatles during filming of A Hard Day’s Night, Sean Connery in From Russia With Love and Jane Fonda in Barbarella. This is a magnificent volume, curated with insight and appreciation for a true master of his art.

Michael Pritchard is Director-General of The Royal Photographic Society and a widely respected authority on the history of photography and the camera. He has contributed to numerous publications and lectures and broadcasts internationally.

ISBN: 978-1-909526-13-6 £29.95 / $49.95 192pp; Hardback; 240 colour and b/w photographs 290 x 245 mm / 11.4 x 10 in.

October 2014

- 14 -

- 15 -

TOM KELLEY’S STUDIO

Tom Kelley, Jr. & Tony Nourmand Text by Peter Doggett

NINETEEN FORTIES

NORMA BROOKS

W

hen Norma Brooks joined Phyllis Applegate, Sally Todd and Theona Bryant as one of the ‘Carson Cuties’ on TV’s The Johnny Carson Show in 1955, there must have been a percentage of male viewers who recognised her face – and decided to keep their knowledge secret from their wives. Aside from a TV career that also led her to appear in The Bob Cummings Show, Judge Roy Bean and Sea Hunt, Norma Brooks had pursued a flourishing ‘underground’ career as a glamour model, something that Carson failed to mention to his nationwide audience. Her dramatic red hair encouraged Tom Kelley to indulge himself in equally flamboyant sets, on one occasion suggesting the fires of hell with a

backdrop that briefly threatened to divert the reader’s attention away from Ms Brooks.

Norma wasn’t alone in stepping from centrefolds into the screen. Alean ‘Bambi’ Hamilton (page 87) appeared on the cover of Modern Man magazine, and posed almost demurely in a rear-view-nude shot for Tom Kelley. Then she graduated to an unnamed part in the otherwise undistinguished 1959 movie, The Angry Red Planet (a ‘Spectacular Adventure Beyond Time and Space’, apparently).

Thereafter, she was a familiar face (and body) on television, her cameo appearances including such popular programmes as The Joey Bishop Show and Burke’s Law. She even cropped up alongside Elvis as a showgirl in his 1964 movie,

DOLORES

The Godfather of Pin-Up. Visionary and unseen nude photography.

In 1948, celebrity photographer Tom Kelley took a photograph of an out-of-work actress; a nude posed with arm outstretched against a scarlet background. That actress was Marilyn Monroe. In 1953, this photo became Playboy’s first ever centrefold in its inaugural issue. Kelley’s photograph has become one of the most viewed nudes in history and, as Norman Mailer wrote, is ‘breathtakingly beautiful’. This is but one image from a vast, previously unseen archive of Kelley’s visionary nude photography from the 1940s to 1970s, published for the first time by R|A|P. This exquisite volume is accompanied by text from Peter Doggett. Describing the evolution of Kelley’s style, he writes: ‘The 1940s portraits have an air of classicism … Next comes the era of the exotic: of leopard skins and fur, French lingerie and exquisite furniture … And then, in the late 1960s and into the 1970s, the mood is one of freedom … in keeping with the spirit of the age … And then there are the photographs that transcend the genre for which they were intended, and veer towards experimental art – the almost eerie “doll” portraits, for example, that seem to prefigure the later work of Cindy Sherman.’

Tom Kelley, Jr. is Tom Kelley’s son and owner of Tom Kelley Studios, which his father originally established in the 1940s.

Peter Doggett has been writing professionally for more than thirty years. Some of his many bestselling books include Are You Ready For The Country, There’s A Riot Going On, You Never Give Me Your Money and The Man Who Sold The World.

ISBN: 978-1-909526-03-7 £45/ $75 288pp; Hardback; 250 colour photographs 290 x 245 mm / 11.4 x 10 in.

October 2014

- 16 -

- 17 -

ART KANE

Jonathan Kane & Holly Anderson

A breathtaking tribute to one of the most visionary and creative photographers of the twentieth century.

Art Kane was one of the most profoundly influential photographers of the twentieth century. A bold visionary, his work explored a number of genres – fashion, editorial, celebrity portraiture, travel, and nudes with an unrelenting and innovative eye. Like his contemporaries, Guy Bourdin (1928-1991) and Helmut Newton (1924-2004), Kane developed a style that didn’t shy away from strong colour, eroticism and surreal humour.

In 1958, Kane assembled the greatest legends in jazz and shot what became his most famous image, Harlem 1958. In the 1960s and 1970s, he photographed, among others, the Rolling Stones, The Who, Janis Joplin, The Doors, and Bob Dylan. While the battle for civil rights and the Vietnam War raged, Kane was refining a conscientious response to the period with his editorial work that was powerfully accessible and populist in its desire to communicate to a large audience. This is the first time Kane’s work has been collected into one, breathtaking volume. Beautifully curated, it is a fitting tribute to one of photography’s most original and creative forces.

Jonathan Kane, Art Kane’s son, is a drummer and composer known for his contributions to New York’s downtown music scene. He is also a photographer and photo editor. NYC poet and lyricist Holly Anderson’s work is in library collections at MoMA, Brooklyn Museum, Victoria & Albert Museum, and many more.

ISBN: 978-1-909526-12-9 £60/ $95 320pp; Hardback w/slipcase; 200 colour & b/w photographs 304 x 245 mm / 12 x 10 in.

October 2014

- 18 -

- 19 -

BILLY NAME: THE SILVER AGE PHOTOGRAPHS FROM ANDY WARHOL’S FACTORY 1964-1968 Edited and designed by Dagon James

‘Billy’s photos were the only thing that ever came close to capturing the feel of the 1960s Silver Factory.’ - Andy Warhol This is the definitive and comprehensive collection of Billy Name’s black and white photographs from Warhol’s Factory.

Billy’s photographs from this period (1964-68) are one of the most important photographic documents of any single artist in history.

Billy lived in a tiny closet at the Factory. He was responsible for the legendary ‘silverizing’ of the space using aluminium paint and aluminium foil to complete the instillation. When Andy gave Billy a Pentax Honeywell 35mm camera, he took on the role of resident photographer and archivist.

This visual essay, produced in collaboration with Billy, offers an extensive trip through Warhol’s world. Billy photographed the day-to-day happenings at the Factory with Andy, including visits from Lou Reed and the Velvet Underground, Nico, Edie Sedgwick, Ivy Nicholson and Bob Dylan; filming Screen Tests and features like Chelsea Girls, Vinyl and My Hustler. Featuring over 400 of Billy’s black and white photographs, this volume is not to be missed.

Dagon James is a New York based archivist, editor and curator. He is the founder and publisher of Lid magazine and fine art imprint The Waverly Press; the publisher of limited edition books and prints; and he works with museums and galleries worldwide.

ISBN:978-1-909526-17-4 £60 / $95 448pp; Hardback; 400 b/w photographs 290 x 245 mm / 11.4 x 10 in.

November 2014

- 20 -

- 21 -

X -RATED ADULT MOVIE POSTERS OF THE 60s AND 70s THE COMPLETE VOLUME Tony Nourmand, Peter Doggett & Graham Marsh

X-RATED ADULT MOVIE POSTERS OF THE 60s AND 70s 1966

1966

TONY NOURMAND PETER DOGGETT

GRAHAM MARSH

1966

1966

1973 22

Magnificent, new and expanded 10th anniversary celebration of Nourmand and Marsh’s bestselling release.

The 1960s and 1970s were the Golden Age of the X-rated movie. For the first time, these movies were shown in mainstream cinemas to a fashionable, young crowd. This ‘porno chic’ movement had an air of credibility that had never existed before (or has since). Established and respected artists became involved in the campaigns for films, such as the renowned designer Steve Frankfurt working on the poster campaign for the soft-core masterpiece Emmanuelle.

Of all film genres, ‘X’ is possibly the one that lends itself best to the use of posters as a promotional medium. Screaming taglines, provocative titles and scantily-clad forms are all elements that can be used to best advantage in poster form. Today, these posters remain an inspiration for graphic designers and creatives. They are wonderful period pieces that evoke the temptations and taboos of a bygone age.

This magnificent coffee table book is the 10th anniversary, new, expanded, ‘complete volume’ of Nourmand and Marsh’s bestselling release, with accompanying text by renowned writer Peter Doggett. To quote Steve Frankfurt, ‘X was never like this.’

Tony Nourmand is the world’s leading authority on original vintage movie posters. He has produced over 20 books on the subject of movie posters and film. They have sold over a million copies worldwide and are recognized as authoritative texts.

ISBN: 978-0-9566487-9-2 £45/ $75 288pp; Hardback; 250+ colour illustrations 290 x 245 mm / 11.4 x 10 in.

November 2014

- 22 -

- 23 -

WOODSTOCK

Baron Wolman, Michael Lang & Dagon James Foreword by Carlos Santana

Hugely evocative.

Unseen photographs from the most famous music festival of all time.

Baron Wolman’s stunning black and white photographs of Woodstock are published here for the first time. The majority of images are completely unseen. With accompanying text featuring an interview with Wolman and Woodstock creator, Michael Lang, and a foreword by musician Carlos Santana.

Wolman captured the experience and atmosphere of Woodstock like no other photographer. ‘I ended up spending most of my time out in the wild with the crowd because what was happening “out there” was just too interesting not to explore.’ More interested in the crowd than the performers, his photographs are hugely evocative and offer an insight into this legendary event that is rarely seen. ‘The thing to remember about the 60s, even near the end in ‘69 was that everything was totally different, the behavior was new and unexpected. Plus, the 1960s were simply wildly photogenic in every way imaginable ... the changes that were taking place in the heads of the people were visually manifested. I mean, how could you not take pictures?’ This exceptional volume is not to be missed.

Baron Wolman began his career as one of the first photographers on the new Rolling Stone magazine in the 1960s.

He went on to capture the 1960s pop rock explosion, including: Janis Joplin, the Rolling Stones, the Who, Jimi Hendrix, Pink Floyd, and Bob Dylan amongst many more. ‘I see myself as a kind of voyeur … I’m happiest when I’m invisible and watching. I just love to watch. I’m a chameleon and can adapt myself to the situation, and that, to me, is one of the gifts that I was given naturally, and that’s how you get honest pictures.’

ISBN: 978-1-909526-11-2 £29.95 / $49.95 192pp; Hardback; 100+ b/w photographs 290 x 245 mm / 11.4 x 10 in.

June 2014

- 24 -

BACKLIST

UNSEEN McQUEEN: BARRY FEINSTEIN Dagon James & Tony Nourmand Introduced by Dave Brolan

‘We always suspected McQueen was as cool in his private life as he was on screen, and now there are photographs to prove it.’ - Wall Street Journal Every image completely unseen. Stunning photography of the King of Cool.

These stunning images of Steve McQueen taken by photography legend Barry Feinstein – at the race track, on the set of Bullitt, relaxing with friends – have all remained completely unseen until now and are reproduced for the first time in magnificent quality in this volume. Feinstein was a close personal friend of McQueen’s and his photos convey an intimacy rarely experienced in shots of the star. Stunning photography. Not to be missed.

Dagon James is a New York based archivist, editor and curator. He is the founder and publisher of Lid magazine and fine art imprint The Waverly Press; the publisher of limited edition books and prints; and he works with museums and galleries worldwide.

ISBN: 978-1-909526-04-4 £19.95 / $29.95 128pp; Hardback; 100+ b/w photographs 275 x 230 mm / 11 x 9 in.

- 28 -

DENNIS STOCK: AMERICAN COOL Tony Nourmand & Graham Marsh Introduced by Michael Pritchard

JAZZ STREET

I had a passion for jazz. I had listened and attended many jazz sessions from a child on. So I went out for three years and explored the world of musicians all across the United States and had a wonderful time. It was joyful. Just marvellous.

Jazz musicians are of a somewhat suspicious nature. They have the right to be. They know that the public doesn’t think much of them as people. I am therefore grateful for the way in which these men and women responded to the camera’s intrusion. Their reactions moved from suspicion to acknowledgement, to curiosity, and finally to friendliness.

My job was respected with the reservation that it should not interfere with their own. Often I was obliged to accept a fleeting moment in a busy musician’s day. A moment can be enough. It often happened quickly; the photographic decision, like the jazz decision, must be instantaneous.

I thoroughly enjoyed knowing the people, the artists.

DENNIS STOCK

30

OPENING OF THE GUGGENHEIM MUSEUM 1959

30

DENNIS STOCK AMERICAN COOL TONY NOURMAND AND GRAHAM MARSH INTRODUCED BY MICHAEL PRITCHARD

CALIFORNIA TRIP

30

‘The photographer who made America cool. - The Guardian ‘My emphasis has ... been on affirmative reactions to human behavior and a strong attraction to the beauty in nature.’

Dennis Stock had an extraordinary ability to capture the essence of the American experience. This magnificent volume is the first anthology dedicated to him during his celebrated period of the 1950s to 1970s. Complete access to Stock’s archive has been granted and several of the images are never-before-seen. Included are his iconic photo-essay on James Dean; celebrity portraits including Audrey Hepburn resting her head on a car window on the cusp of fame; Miles Davis playing jazz; JFK on the campaign trail; corporate America; Stock’s California road trip and the alternative lifestyle of the burgeoning hippie movement. Stock’s photographs are introduced by an essay by world-leading photography authority Dr. Michael Pritchard and a foreword from Stock’s friend and colleague at Magnum, Michael Shulman.

For a man who once said that ‘every picture should be a masterpiece’, this stunning coffee table tome is witness to Stock’s immense talent, and his ability to manage just that.

Michael Pritchard is Director-General of The Royal Photographic Society and a widely respected authority on the history of photography and the camera. He has contributed to numerous publications and lectures and broadcasts internationally.

ISBN: 978-1-909526-02-0 £45.00 / $75.00 288pp; Hardback; 260 b/w photographs 290 x 245 mm / 11.4 x 10 in.

- 30 -

MARIO CASILLI

Tony Nourmand & Peter Doggett Foreword by Joan Collins

Morgan fairChild ‘This explosion of Eighties high camp and glamour features a collection of Casilli’s finest work.’ - The Huffington Post Mario Casilli’s photographs defined the fabulous and outrageous entertainment industry in the 1980s. His largerthan-life portraits, featuring his trademark backlighting and bright colour palette, captured everyone from Joan Collins in glittering jewels, Dolly Parton in perfectly coiffed grandeur and the Bee Gees in sleeveless leather. Also full cast shots of iconic television shows like Dynasty, Dallas, Knight Rider and Miami Vice. Casilli was a magnificently talented photographer who captured this exciting, fun and over-the-top decade like no other.

This wonderful coffee table volume brings Casilli’s 1980s portraits alive for the first time. The crisp, clean design is accompanied by a foreword by Joan Collins, text by best-selling author, Peter Doggett, and an essay on 1980s style by fashion writer, June Marsh.

Peter Doggett has been writing professionally for more than 30 years. His books include such critically acclaimed titles as Are You Ready For The Country, There’s A Riot Going On, You Never Give Me Your Money, The Man Who Sold The World and the R|A|P title, Hollywood Bound.

ISBN: 978-1-909526-05-1 Price: £29.95 / $49.95 192pp; Hardback; 100+ colour photographs 304 x 240 mm / 12 x 9 in.

- 32 -

- Backlist -

- 33 -

AUDREY HEPBURN IN HATS June Marsh

Audrey was always happy to pose in Hubert de Givenchy’s new collections. He became famous for his minimalist suits, coats and dresses. set against a rustic wooden wall, this navy blue 1960s ensemble is accented by a beautiful lacquered straw hat, its wide brim fashioned into a gentle curve and trimmed with a neat bow.

Photograph by Howell Conant

42

in a ‘Lady of the manor’ style, Audrey is seen here posing against a trompe l’oeil background in another of Givenchy’s mid-1960s neat spring suits and a trilby-style lacquered straw hat.

Photograph by Howell Conant

50

Audrey is clearly enjoying herself posing for beaton in these elegant costumes that have been perfectly researched and executed for the movie. this white bell-shaped hat is trimmed with a gigantic bow heading upwards.

Photograph by Cecil Beaton

120

‘One of 2013’s must-have coffee-table books.’ - Grazia Audrey Hepburn’s legendary style and grace redefined perceived notions of Hollywood glamour and ushered in an age of sophistication and elegance. Her legacy on screen and in fashion is undisputed and her image has become as synonymous with her fame as her films. This book celebrates Audrey Hepburn wearing a selection of her most beautiful, stylish and outrageous hats – from legendary designs such as Givenchy and Dior. It features an extended section dedicated to Cecil Beaton’s outstanding costumes and hats in My Fair Lady.

This exquisite volume features stunning portraits of one of Hollywood’s most fashionable icons, taken by leading photographers including Cecil Beaton, Terry O’Neill, Howell Conant, and Bob Willoughby, and accompanying text from renowned fashion writer, June Marsh.

June Marsh has been involved in writing about fashion for more than 40 years. She is the former Fashion Editor of the Daily Mail. She co-authored Denim: From Cowboys to Catwalks and is author of A History of Fashion: New Look to Now.

ISBN: 978-1-909526-00-6 £19.95 / $29.95 128pp; Hardback; 60 colour & b/w photographs 275 x 230 mm / 11 x 9 in.

- 34 -

MICHAEL CAINE: 1960s Graham Marsh

Street-wise. Michael Caine walking the city streets he knows so well in sharp 1960s off-duty clothes. White button-down shirt, short Italian-style knit cardigan, narrow trousers and polished loafers.

36

36

Guy Hamilton, director of FUNERAL IN BERLIN, discusses a scene with Michael Caine shot on the observation platform at the Daimler-Benz AG building in Berlin.

36

36

the italian job 1969 ‘you’re only supposed to blow the bloody doors off…’ charlie croker

36

‘Proof that Caine still manages to define the Sixties.’ - Esquire Revel in the sixties cigarette cool, stylish suits and sex appeal of the original British working class hero. With his nononsense, laconic delivery, horn-rimmed glasses and sharply cut suits, Michael Caine epitomised a new class of cool that has since become intractable from the iconography of the Swinging Sixties. This is the first coffee table book dedicated to Caine in his most iconic decade. This eye-catching volume contains more than 100 images catching the mood, manner, and method of a man as at ease among movie stars as he is on the street.

Collected in this splendid book is a wealth of rare and never-before-seen photographs capturing Caine’s on-set preparations and off-screen life as well as stills taken while he worked on many of his greatest films including Zulu, The Ipcress File, Alfie, and The Italian Job. These stylish photographers are accompanied by design and text from the renowned Graham Marsh.

Graham Marsh is an art director, illustrator and writer who has released many groundbreaking visual books, including The Cover Art of Blue Note Records, The Ivy Look, Max and the Lost Note and R|A|P’s Hollywood and The Ivy Look.

ISBN: 978-0-9572610-9-9 £19.95 / $29.95 128pp; Hardback; 100+ colour & b/w photographs 275 x 230 mm / 11 x 9 in.

- 36 -

100 MOVIE POSTERS: THE ESSENTIAL COLLECTION Tony Nourmand Introduced by Christopher Frayling

100 Movie Posters

The E ssential C ollection meTropolis 1927 FRENcH

postER ,

36

by

boRis biliNksy 37

king kong 1933 amERicaN

aRt

postER ,

aRt

diREctioN by

daVid l. stRumF, aRt

by

s. baRREtt mccoRmick

aNd

bob sisk

A perfect blend of adventure, science fiction and horror, King Kong is the ultimate monster movie and the definition of a blockbuster.

It has fuelled numerous sequels, spin-offs and two notable remakes in 1976 and 2005.

Kong was the brainchild of Merian C. Cooper, whose lightbulb moment supposedly came after he dreamt that a giant gorilla was terrorising New York. Cooper was something of a real-life Indiana Jones and based the character of Carl Denham on his own madcap adventures in far-flung lands (see p.38).

In a shrewd marketing ploy, a novelisation of King Kong was published in advance of the film’s release. Based on an early screen draft, the book actually contained scenes that never made it into the final script (such as the renowned spider-pit scene that Peter Jackson would re-incorporate into his 2005 remake). The film was eagerly anticipated worldwide with colourful poster campaigns that focussed on the monster in various awe-inspiring poses. The image of Kong on top of the Empire State Building on this American poster is iconic and one of cinema’s most celebrated images. With art direction by David L. Strumf and art by S. Barrett McCormick and Bob Sisk, it is by far the best poster on the film and its impact is all the more dramatic because of the larger poster size.

I remember reading an article in the 1980s that discussed the most instantly recognisable images in Western culture. At the top of the list were the Coca-Cola logo, Mickey Mouse, the Swastika and King Kong on top of the Empire State building – quite an achievement for an entirely fictional creation.

56

57

Tony Nourmand Introduced by Christopher Frayling

mon onCle FRENcH

postER ,

1958 aRt by piERRE étaix

Pierre Étaix (b.1928) is a renowned artist, designer, filmmaker and clown. A fan of the intelligent slapstick comedy of the silent screen, Étaix has frequently been called ‘the French Buster Keaton’.

Born in the Loire region of France, Étaix moved to Paris in his mid-twenties and worked as an illustrator while also performing in cabaret and as a circus clown with the renowned Nino Fabri. In 1954, a chance meeting with Jacques Tati resulted in Étaix collaborating on Tati’s tour de force, Mon Oncle, as assistant director, gagman and designer. Étaix was also responsible for the striking French poster campaign for the film. The stripped-down graphics and bold colour scheme was very modern for the time and has since become one of the most famous French posters of the 1950s. Étaix’s work on Mon Oncle gave him a taste for filmmaking and in 1961 he made his first short film, Rupture. This was followed two years later by Heureux anniversaire, which won him an Academy Award for Best Short Film. Between 1963 and 1970, he made five feature films, including Le Soupirant (1962) and Yoyo (1964). In 1973, he formed the National Circus School in France with his wife Annie Fratellini, and the couple also toured as a clowning double-act.

152

153

‘Exquisite, astonishing, ground-breaking designs.’ - The Sunday Telegraph For the first time ever, world vintage movie poster authority, Tony Nourmand, shares his long-awaited ‘best of’ list in this beautifully curated, definitive volume. For 30 years, Nourmand has been instrumental in redefining twentieth century movie posters as an art form and a valuable collectible. He brings his wealth of knowledge to these pages – defining a great or ‘essential’ movie poster as the most effective in terms of design and impact.

It features a century of inspiring images from famous designers like Saul Bass and Bill Gold; renowned photographers like Philippe Halsman and George Hurrell; and celebrated artists like Al Hirschfeld and Alberto Vargas. It features classic posters like King Kong, Breakfast at Tiffany’s, and Metropolis, as well as more unusual works from Eastern Europe or the silent-era. The magnificent and diverse imagery from around the world is reproduced in exceptional quality, and is accompanied by Nourmand’s fascinating commentary and an insightful introduction by writer, academic, and film authority, Christopher Frayling.

Tony Nourmand is the world’s leading authority on original vintage movie posters. He co-owned the prestigious Reel Poster Gallery in London for over 20 years and was Christie’s, London, consultant for Vintage Film Posters. He has produced over 20 books on the subject of movie posters and film. They have sold over a million copies worldwide and are recognized as authoritative texts. Titles include James Bond Movie Posters, Audrey Hepburn: The Paramount Years, The Godfather in Pictures and a series of books with Graham Marsh on movie poster art by the decade and by genre.

ISBN: 978-0-9572610-8-2 £29.95 / $49.95 224pp; Hardback; 100+ colour & b/w illustrations 290 x 245 mm / 11.4 x 10 in.

- 38 -

- 39 -

50 SHADES

Lauren Goldstein Crowe

BOB DYLAN (b.1941) American musician/actor

‘The image of me was certainly not a songwriter or singer, it was more like a threat to society in some kind of way. It was like being in an Edgar Allen Poe story … You’re just not that person everybody thinks you are.’

DEBBIE HARRY (b.1945) American musician/actress

‘I was very shy and quiet, and all my ambitions were dreams. I hadn’t a clue about the music business: just this drive, this obsession, that I can’t explain.’

JACK NICHOLSON (b.1937) American actor

‘With my sunglasses on, I’m Jack Nicholson.

Without them, I’m fat and 60.’

‘If you only buy one book containing the words “50 Shades”, make it this one.’ - Shortlist This unique book immortalises 50 of the coolest icons from the worlds of film, music, politics, literature, and fashion.

They are some of the most glamorous and infamous people in public life from the most stylish decades of modern history. Photographed wearing their own shades, the images speak volumes about how celebrities see themselves and how they want us to see them. From Jackie O, who kept a large bowl of sunglasses by the front door so that she could throw on a pair whenever she left the house, to Debbie Harry, who wore mirrors so that the corporate executives from her label saw only themselves reflected in her mirrored shades, this beautiful 120-page edition looks at the ways some of the most fascinating figures in popular culture dealt with public scrutiny.

From Steve McQueen to Marilyn Monroe, Andy Warhol to Brian Jones, Elvis Presley to Yves Saint Laurent, Clint Eastwood to Catherine Deneuve, this volume features stunning photography reproduced to the highest quality, with text from leading fashion writer, Lauren Goldstein Crowe.

Lauren Goldstein Crowe has written about the fashion industry for over 20 years. She has worked for numerous publications including Time, Vogue, Harper’s Bazaar, the New York Times and The Times. Lauren is the author of Isabella Blow: A Life in Fashion and The Towering World of Jimmy Choo.

ISBN: 978-0-9572610-6-8 £19.95 / $29.95 120pp; Hardback; 100 b/w illustrations 290 x 235 mm / 11.4 x 10 in.

- 40 -

PHOTOGRAPHERS

Michael Pritchard & Tony Nourmand

Above: ernst haas (1921-1986). Bruce davidson, 1960. davidson (b.1933) was assigned by magnum photos to document the making of The Misfits, which was being filmed in the Nevada desert near reno in 1960. he holds his Nikon camera. the movie starred clark Gable, marilyn monroe and montgomery clift and was directed by John huston. haas was a fellow member of magnum photos and was asked by huston to direct the creation sequence for huston’s 1964 film, The Bible. Opposite: Fred stein (1909-1967). portrait of robert Frank, 1954. Frank (b.1924) was born in Switzerland and moved to america in 1947. his 1958 photo book, The Americans, remains one of the most influential books documenting all strands of american society. he holds a pre-war leica camera.

32

33

Opposite: dmitri kessel (1902-1995). henri cartier-Bresson, 1955. Kessel was a Life photographer who became a war correspondent in 1942. he was born in russia, settling in New york in 1925. Kessel took a series of images of cartierBresson with his leica m3 camera that had been introduced the previous year. Above: arnold newman (1918-2006). henri cartier-Bresson in the doorway of a tenement building, New york, 7 January 1947. cartier-Bresson (1908-2004) is considered the father of modern photojournalism and reportage photography. Newman developed a style of environmental portraiture capturing his subjects in their own surroundings and using it to show their personalities. he was one of only a few photographers that cartier-Bresson – who had a reputation for being camera shy – allowed to photograph him. Newman took a series of portraits of him around New york. cartier-Bresson has his cased leica m3 over his shoulder.

38

39

PHOTOGRAPHERS MICHAEL PRITCHARD AND TONY NOURMAND

marlon Brando and ron Galella at the first gala benefitting the american indian development association at the Waldorf hotel, New york, 26 November 1974. ron Galella (b.1931) has been described by Time magazine and Vanity Fair as ‘the Godfather of the u.S. paparazzi culture’. on 12 June 1974, he was punched by Brando (1924-2004), who broke his jaw and knocked out five teeth. he wore an american football helmet for protection later that year when he stalked Brando again.

208

209

‘Beautifully bound and unceasingly fascinating, this hardcover book will become a prized addition to any coffee table collection.’ - Mr Porter Featuring over a century of striking images, this beautiful volume celebrates the men and women behind the lens. It showcases known, unknown and celebrity photographers with their cameras: at work, in candid snaps, and posed selfportraits. An array of photographic styles and influences are represented, capturing some of the most celebrated names in photography, including Robert Capa, Weegee, Margaret Bourke-White, Philippe Halsman, Dennis Stock, David Bailey, Bill Cunningham, and Annie Liebovitz. This magnificent tome includes many unseen images and all are reproduced to the very finest quality yet seen in print. The book has been produced in collaboration with Getty Images: one of the world’s leading and most respected photographic archives. The photographs and details of the different cameras used are brought alive by accompanying text from one of the world’s leading photographic specialists, Michael Pritchard.

Michael Pritchard is director-general of The Royal Photographic Society and a widely respected authority on the history of photography and the camera. He has contributed to numerous publications and lectures and broadcasts internationally.

ISBN: 978-0-9566487-7-8 £45 / $75 288pp; Hardback; 260 colour & b/w photographs 290 x 245mm / 11.4 x 10 in.

- 42 -

SID AVERY: THE ART OF THE HOLLYWOOD SNAPSHOT Ron Avery & Tony Nourmand

SID AVERY

the art of the hollywood snapshot

‘Magnificent volume.’ - Harper’s Bazaar James Dean on the set of Rebel Without a Cause; Audrey Hepburn on her bike with pet dog in tow; Marlon Brando taking out the garbage; Elizabeth Taylor soaking up the sun. These are just a few of the iconic images for which Sid Avery is responsible. This sumptuous volume is a long overdue tribute to his prolific talent.

Sid worked in Hollywood from the 1940s to 1960s and became known for his candid portraits of the stars. He made history as the only photographer to shoot both the original 1960 cast of Ocean’s Eleven and the 2001 remake, recreating his iconic group shot around the pool table. Avery was also responsible for establishing mptvimages: the Motion Picture and Television Photo Archive. This complete anthology of Avery’s work includes outtakes and contact sheets, with over half of the material never-before-seen. All images are reproduced to the finest quality yet seen in print.

Ron Avery runs mptvimages, continuing his father Sid’s legacy. Under Ron’s ownership, mptvimages is today recognised as one of the greatest archives of Hollywood imagery.

ISBN: 978-0-9572610-0-6 £45 / $75 288pp; Hardback; 260+ colour & b/w illustrations 290 x 245 mm / 11.4 x 10 in.

- 44 -

HOLLYWOOD BOUND

Peter Doggett & Tony Nourmand

‘Delectable, coffee-top tome.’ - Bizarre ‘Hollywood was a city of extremes: it demanded passion, thrills, suspense, violent outbursts of emotion and movement – and so for every protagonist sweeping his way across the screen with a silvery rapier or a sensuous leer, there had to be a victim, waiting to be tossed aside with contemptuous ease or devoured whole in a paroxysm of lust. ... And so it was that innocent maidens were pinned down by rapacious seducers; monstrous villains chained to receive their just desserts; valiant heroes manacled or trussed or viciously tied, awaiting the cruellest of tortures, physical or psychological – only to free themselves in the final reel, and carry off the equally endangered heroines to safety and starry-eyed romance.’

Researched and collated with typical stylish flair by editor Tony Nourmand and featuring insightful text by author Peter Doggett, Hollywood Bound is a tremendous photographic guide to the history of movie bondage. It includes over 100 photographs reproduced to the highest quality, and starring some of the twentieth century’s greatest names, including Elizabeth Taylor, James Dean, Cary Grant, Lauren Bacall, Sean Connery and Woody Allen.

Peter Doggett has been writing professionally for more than 30 years. His books include such critically acclaimed titles as Are You Ready For The Country, There’s A Riot Going On, You Never Give Me Your Money and The Man Who Sold The World.

ISBN: 978-0-9572610-7-5 £19.95 / $29.95 128pp; Hardback; 100 & b/w photographs 290 x 235 mm / 11.4 x 10 in.

- 46 -

GIL ELVGREN’S PRIVATE STOCK Tony Nourmand

‘The art of the pin-up still has legs.’ - Playboy The illustrated pin-up was the most popular girl in mid-twentieth century America. Long, slender legs, an impossibly small waist, bursting curves and a wide-eyed innocence felled hearts across the country. This ubiquitous vision of feminine perfection was ‘The Elvgren Girl’, named for her creator, Gilette A. Elvgren (1914-1980). An immensely talented artist who enjoyed a prolific, 40-year career, Gil Elvgren was a master of the female form, combining technical proficiency as a painter with an innate ability to capture a sensuous yet naive beauty in his subjects. Known as ‘The Norman Rockwell of Cheesecake’, Elvgren’s name ranks alongside Alberto Vargas and George Petty as one of the greatest maestros of the pin-up to have ever lived.

This volume features Elvgren’s previously unseen photographic nude slide collection. It helps us build a more complete picture of his artistic process and it offers a valuable insight into the development of glamour photography.

The lasting impression is of a man who loved and appreciated the female form. Its beauty and impact lies in the knowledge that one of the greatest masters of the illustrated pin-up took his inspiration from the very real flesh of womanly curves in all of their natural glory.

Tony Nourmand is co-founder of Reel Art Press and editor of all R|A|P publications. He is also the author of a further sixteen best-selling books on entertainment-related imagery, including James Bond Movie Posters and Audrey Hepburn: The Paramount Years.

ISBN: 978-0-9572610-5-1 £29.95 / $49.95 192pp; Hardback; 160+ colour photographs 237 x 237 mm / 9 x 9 in.

- 48 -

- 49 -

HURRELL: THE KOBAL COLLECTION Phil Moad & Tony Nourmand

‘A Hurrell portrait is to the ordinary publicity still about what a Rolls-Royce is to a roller-skate.’ - Esquire, 1936.

George Hurrell was one of the greatest portrait photographers of Hollywood’s Golden Age. His strong contrast black and white images, and groundbreaking use of negative retouching revolutionized the medium of Hollywood portraiture during the 1930s and 1940s.

This lavish book captures the enduring glamour of his photography and presents the very finest reproductions of his work yet seen in print. All images have been taken from The Kobal Collection. One of the most distinguished archives of classic Hollywood imagery in the world, it has the largest collection of Hurrell material in existence. It features several unseen images of cinema’s most iconic faces. Hurrell photographed all the greats: Garbo, Cagney, Bogart, Garland, Katharine Hepburn, Harlow, Lombard, Laurence Oliver, Rita Hayworth, Joan Crawford, and he is even credited with creating Veronica Lake’s Peek a Boo hairstyle and for putting Jane Russell (bra less) on a haystack.

Phil Moad is the Research Manager for The Kobal Collection film photo archive. He is a world authority on the Hollywood studio photographers and has helped picture edit over 60 books.

ISBN: 978-0-9566487-5-4 £45 / $75 288pp; Hardback; 260 b/w photographs 290 x 245 mm / 11 x 10 in.

- 50 -

THE KENNEDYS: PHOTOGRAPHS BY MARK SHAW Tony Nourmand

THE KENNEDYS PHOTOGRAPHS BY MARK SHAW

‘Extraordinary photos ... beautifully done.’ - CBS News

For the first time, complete access has been granted to the Mark Shaw Photographic Archive in order to produce this fresh and expanded take on Shaw’s classic 1964 work, The John F. Kennedys: A Family Album. Over 50 percent of the material in this beautiful anthology has never been seen before and features the finest reproductions of Shaw’s photographs yet seen in print.

Shaw shot the Kennedys for the first time for Life magazine in 1959. He developed a close friendship with the family that gave him extraordinary and informal access to their inner circle. His stunning shots from this time capture some of their most intimate and candid moments. Photographs include Kennedy’s favourite ever shot of himself, walking alone on the dunes at Hyannis Port, plus images on the campaign trail, relaxing at home with friends, entertaining at the White House, and the sombre days immediately following the assassination.

Mark Shaw was one of the greatest fashion and editorial photographers of the 1950s and 1960s, renowned for his photographs of the Kennedys and for his fashion work. He was the first photographer to shoot backstage and in colour at the couture shows and his Vanity Fair lingerie campaign remains landmark.

ISBN: 978-0-9566487-6-1 £45 / $75 288pp; Hardback; 260 colour and b/w photographs 290 x 245 mm / 11.4 x 10 in.

- 51 -

LIMITED EDITIONS

UNSEEN MCQUEEN: BARRY FEINSTEIN Deluxe Limited Edition of 100 copies

Limited, Signed and Numbered Edition of 100 copies.

This limited editition, deluxe version of Unseen McQueen: Barry Feinstein is limited to 100 signed and numbered copies. It is a must-have luxury, collector’s item. It is presented in a bespoke clamshell box. It includes a limited edition, numbered print, stamped by Feinstein’s Estate, exclusive to this edition. The book is numbered and signed by all contributors: Dagon James, Tony Nourmand, Judy Jamison, and Dave Brolan.

For information on rest of book, please refer to regular edition on previous pages.

ISBN: 978-1-909526-10-5 £500.00 / $800.00 June 2014

- 54 -

WOODSTOCK

Deluxe Limited Edition of 100 copies

WOODSTOCK BARON WOLMAN

This limited editition, deluxe version of Woodstock is limited to 100 signed and numbered copies. It is a must-have luxury, collector’s item. It is presented in a bespoke clamshell box. It includes a limited edition, numbered silver gelatin photograph, signed by Baron Wolman, exclusive to this edition. It includes a full set of original, unused tickets for the Friday, Saturday and Sunday of the festival. The book is numbered and signed by all contributors: Baron Wolman, Dagon James, Carlos Santana and Michael Lang.

For information on rest of book, please refer to regular edition on previous pages.

ISBN: 978-1-909526-14-3 ÂŁ750 / $1200 June 2014

- 55 -

THE 1960s : PHOTOGRAPHED BY DAVID HURN Deluxe Limited Edition of 100 copies

THE 1960 s PHOTOGRAPHED BY DAVID HURN

This limited editition, deluxe version of The 1960s: Photographs by David Hurn is limited to 100 signed and numbered copies. It is a must-have luxury, collector’s item. It is presented in a bespoke clamshell box. It includes a limited edition, numbered silver gelatin photograph, signed by David Hurn, exclusive to this edition. The book is numbered and signed

by David Hurn.

For information on rest of book, please refer to regular edition on previous pages.

ISBN: 978-1-909526-15-0 £650.00 / $950.00 October 2014

- 56 -

BILLY NAME: THE SILVER AGE Deluxe Limited Edition of 100 copies

BILLY NAME THE SILVER AGE

This limited editition, deluxe version of Billy Name: The Silver Age is limited to 100 signed and numbered copies. It is a must-have luxury, collector’s item. It is presented in a bespoke clamshell box. It includes a limited edition, numbered silver gelatin photograph, signed by Billy Name, exclusive to this edition. The book is numbered and signed by Billy Name and other contributors.

For information on rest of book, please refer to regular edition on previous pages.

ISBN: 978-1-909526-18-1 ÂŁ750.00 / $1200.00 November 2014

- 57 -

A TESTIMONY OF SERPENT HANDLING Hunter Barnes

Strychnyne

Death overcome by God

58

59

Pastors

“It’s in its nature to bite, but God won’t let it.”

The Anointing

87

This work by documentary photographer Hunter Barnes provides a unique and intimate portrait of a small community of Serpent Handlers in West Virginia. This devout way of life finds its roots in the King James Bible, with followers believing that the literal interpretation of passages of Mark and Luke regarding handling poisonous serpents and drinking lethal poisons is central to their faith. With lyrical reflections accompanying his photographs, Hunter’s sensitive study brings beauty and understanding to a perhaps misunderstood practice. In recording this slowly diminishing community, this photographic collection also provides a valuable service to the cultural history of the United States.

A Testimony of Serpent Handling is a limited, numbered edition of 1000, available as a Master or Deluxe Edition. Deluxe Edition limited to 100 copies, includes super 8 film by Hunter and signed, numbered, limited edition silver gelatin photograph by Hunter.

ISBN: 978-0-9566487-4-7 Prices: Master Edition SOLD OUT; Deluxe Edition: £650 / $950 104 pp, Hardback w/ slipcase; 59 b/w photographs 280 x 230 mm / 11 x 9 in.

- 58 -

- 59 -

THE RAT PACK

Tony Nourmand & Shawn Levy

FRANK SINATRA The tough guy who played like a devil and sang like an angel.

He was born scrawny, and the doctor’s forceps mashed his ear and his cheek. He

His torrid affair with Gardner cost him his marriage – and a portion of his following

was spoiled and lonely and stood watching from his front steps as the rougher boys

at a time when he couldn’t afford it. Columbia Records, for whom he’d had so many hits, suddenly didn’t know what to do with him and let his contract run out. Ditto

played. He was embarrassed by his preening, bossy mother, yet he took after her

his movie studio and TV and radio networks. The nightclub scene still had a spot

more than he did his affable, loaf-about dad. He never fit in.

But he possessed steel and drive and charm and a talent unlike anyone’s ever,

for him, but he lost that, too, when his voice started, queerly, to fail. And Ava,

and he was fortunate in his opportunities and in his timing, and eventually the

who married him, continued to follow her lust where it led her, making a cuckold

skinny little kid with the strange last name became a giant bestriding the earth on

of him in the face of the world.

the strength of his nerve and instincts and taste and connections and, above all,

He was finished...and then he rose from his self-immolation in a form more

his magisterial voice and manner.

potent and dazzling than he, or anyone, had ever taken before. He learned to sing differently, and he sang a new kind of song – the same great American tunes he’d

For more than fifty of his eighty-two years, Frank Sinatra stood atop the Mount

always adored (Gershwin, Berlin, Porter, Kern, Rogers and Hammerstein or Hart)

Olympus of American popular entertainment, as singer, actor, entrepreneur, personality, and icon of masculinity and cool. And it was entirely unlikely that

but with saucy up-tempo beats or moody, suicidal textures (there were rumours

such a thing should happen.

circulating around those last ones, that his grief over Ava had driven him to pills or a razor...). He quit appearing in musical fluff and became a convincing

He had been born, without any special promise, to working-class Italian immigrant stock in Hoboken, New Jersey, in 1915, and by the time he gathered

dramatic actor: winning an Academy Award for From Here to Eternity (1953),

around him the claque known as the Rat Pack he was a millionaire many times

then playing with convincing power in The Man with the Golden Arm (1955),

over who conquered the musical, film and concert worlds, ran businesses including

Young at Heart (1954), Suddenly (1954), The Joker is Wild (1957) and

casinos and movie and record companies, bedded the most desirable women alive

Some Came Running (1958).

(and scores, hundreds, of others), and consorted openly with the President of the

Most of all, he came to embody a knowing, confident, modern, nonconformist,

United States and the boss of the Chicago Mafia, practically at the same time.

elegant male sexuality. All the liaisons he’d kept hidden during his marriages could now be flaunted publicly. All the boozing and gambling and pugnacity

It was a great American saga. No one had ever had such power, let alone a singer

and outrageousness that drove people away from him just after the war

of popular songs. Frank Sinatra was utterly one-of-a-kind.

He began as a boy singer on amateur nights, then a singing waiter who had to pay

seemed

for his own equipment and air time to get his voice out on the radio. The bandleader

somehow

magnetic

and

right

in

the

age

of

tailfins, rock-and-

roll, Sputnik and the Bomb.

Harry James heard him and hired him, and suddenly the kid with no friends had a

By 1959, when he was within sight of a half-century, he was on top of the world,

big band full of instant brothers. Presently, a bigger band, Tommy Dorsey’s, came

very nearly literally, and selected from among his showbiz friends a small, tight

calling, and fronting this chart-topping outfit brought Sinatra to national attention.

circle of like-minded and like-styled fellows with whom he would form a supergroup

And the audience that was drawn to him was brand new: girls – bobby-soxers they

of talent. Together they could sing and dance and joke and get serious and make

were called, for a fashion affectation round the ankles – who saw in the lanky singer

movies and stage wild shows and use their contacts in the world of power to introduce political authority to its illegitimate cousin in crime. They would knit

with the blue eyes and wavy hair and bow ties an emblem for the boys off fighting in Europe and the Pacific. They turned him into such a star that he bought himself

entertainment, government and mobsterism almost as an afterthought in their

out of his contract to Dorsey so as to make himself available to his explosive and

movie-making, music-making, and, chief of all, money-making endeavours. And they would have the clout and the moxie to do it all not in dark smoky rooms

devoted public on records and radio and in movies.

but out in the sun of Las Vegas with the press and its cameras sitting ringside.

As it happened, though, in real life they couldn’t have him: He was married to his own neighbourhood sweetie, Nancy, who bore him two daughters and a son and

Only Frank Sinatra was big enough to orchestrate it all. He was the nation’s best

abided, knowingly or not, her man’s heroic womanizing. On the road as a singer, in

and most popular singer, one of its top box office movie attractions, a tycoon of

Hollywood making films, Frank slept his way through the ranks of famous and not so

the entertainment industry, a symbol of male virility and allure, and the sort of.

famous ladies, master of his appetites and his heart – until, that is, he completely lost it to Ava Gardner, whose sexual thirst equaled, if it didn’t exceed, his own.

Opposite: Mr. Everything . Age 47.

60

SAMMY DAVIS He could do it all, but not on his own.

He was the Little Engine That Could of showbiz, the Jackie Robinson of showbiz,

He was on the verge of great things when, again, fate slapped him. Driving home

the Sputnik of showbiz – choose your metaphor. A tiny bit of a man stuffed to

to Los Angeles from Las Vegas one night, he was hit by an oncoming car and had his eye impaled on the steering wheel. His celebrity friends rallied to his side, and,

brimming-over with talent, drive and verve, Sammy Davis Jr. was going to break into the consciousness of the world and make sure it remembered him if it killed him,

a few months later, he made a comeback in front of a star-studded Hollywood crowd

which, quite often, it seemed very nearly capable of doing.

who wore eye patches in solidarity with him; Frank, naturally, orchestrated it all.

He was small and uneducated and raised in the dressing rooms of low-rent

But some things even Frank couldn’t help him with. Sammy loved the ladies,

theatres and the segregated sections of buses and trains and dingy towns,

and the feeling was mutual, and among those he loved was Kim Novak, the blonde

and subjected for most of his life to the most degrading and debasing racism.

bombshell being shaped for stardom by Columbia Pictures. Sammy and Kim were

But for all the curses he was born with – and those that came to him later, like

an item – their dalliance splashed onto the lurid pages of Confidential magazine –

his choice of religion or of women to love, or the awful car accident which cost him

and Harry Cohn, the mob-connected boss of her movie studio, didn’t like it. Cohn’s

an eye and nearly his life – he had more gifts and more energy with which to express

tough friends leaned on Sammy, and he was so spooked by their pressure that he

them than any man whom any audience had ever seen.

entered into a quickie marriage to a black showgirl just to make his willingness to

As a child and as a teen, he dazzled the Chitlin’ Circuit, as the institutions of

comply with their wishes a public matter.

popular Black American entertainment were known, as the youngest and most

That sham fooled no one, and it didn’t last long, but nobody except for the popular

gifted member of the Will Mastin Trio, a flash-dance outfit composed of Sammy,

black press seemed to mind or hold it against him. He made movies and he made

his father, Sammy Sr., and Mastin, a gentleman in a business that nurtured few.

records and he dazzled, night after night, on stages all over the country and in

Among the showfolk who admired the Mastin Trio’s act – and was catholic and

Europe. He was a quintessential entertainer, one of those for whom such sobriquets

democratic and brave enough to foster it – was Frank Sinatra, who made a point of

as ‘Mr. Entertainment’ or ‘The Hardest Working Man in Showbiz’ were coined.

befriending Sammy, who was ten years his junior, and of booking the trio on bills

His talent and the awe it commanded seemed to make him answerable to no

with him, at top wages, whenever he could. Before he could enjoy some of the fruit

one – no one, that is, but Frank, whom he adored and even emulated. And so when

of Frank’s patronage, though, Sammy had to serve time in the Army, where he was

Frank tapped him on the shoulder and summoned him to the combination of work

abused horribly by racist bullies whose beatings and jeerings only bolstered his

and play that became the Rat Pack, Sammy readily complied.

desire to push himself further in his life and his art.

But he had one more thing to do, and that was to fall in love, once again and truly,

After the War, Sammy led the Will Mastin Trio to unprecedented and unlikely

and to marry. Again he chose a beautiful blonde, the Swedish actress Mai Britt.

success. They were embraced by the old guard of showbiz, many of whom compared

Unlike Novak, who aspired to a big career of her own, Britt was a home-minded girl

Sammy, with his beseeching energy and limitless talent, to the young Al Jolson – the

who wanted a husband and a family, not fame. And Sammy, or at least part of him,

greatest compliment that any of them could muster. Like Jolson, Sammy had a

wanted those same things and with her.

Broadway hit built around him; he was a rocket to the moon.

This time, no studio boss or Mob goons would stand in the way: Mai would

But he was always respectful of the authority of his father and Mastin, whom he

rather not work than put a price on her heart. But this time Frank served the

considered an uncle, and would only allow himself to be pried out of the trio slowly,

role of bad guy: the Rat Pack were active supporters of the presidential campaign

and not too far, and only intermittently. He was, it was whispered to him, letting

of John F. Kennedy, and in the pre-Civil Rights era, no national candidate could

his heart hold him back. But he was all heart; he had no choice in the matter.

afford to alienate Southern voters by associating his name with miscegeny. Sammy

Slowly, though, he separated himself and emerged as a recording artist – Big Sam

would have to hide his love – to postpone marrying Mai – until after the

and Mastin didn’t sing, so no conflict there – and as a solo performer in nightclubs.

November, 1960 election.

He appeared in New York and Hollywood and Las Vegas, where black performers

And, chillingly, such was Sammy’s love of fame, of the spotlight, of the love

weren’t allowed to sleep or gamble or dine in the best casinos. And, slowly, and

of being loved, that he agreed.

with no little help from Frank, he nudged some of those barriers aside, a one-man

He was, in sum, a pure creature of showbiz, and his heart would take second

Civil Rights campaign marching not on the Jim Crow South but on the Vegas Strip.

place, forever, to his talent.

Previous pages: Two-martini breakfast, 1961 Opposite: Mr. Everything. Sammy at the segregated Moulin Rouge, 1956.

60

‘The Rolls-Royce of Sinatra Memorabilia.’ - LA Times Frank Sinatra’s legendary clique defined life in the fast lane throughout the late 1950s and early 1960s, dominating American culture and epitomising a life of cocktails, love affairs and Hollywood glamour. A select group of photographers, including Sid Avery and Bob Willoughby, captured the Rat Pack in their heyday. Many of the images they produced have been largely stored away, many even undeveloped. For the first time, access to these shots has been made possible to produce this stunning, limited collector’s edition. Over eighty percent of images have never been seen or published before. With in-depth text by author and leading Rat Pack aficionado Shawn Levy, this magnificent volume is the first collectable photographic book on the men whose appeal transcends generations and who remain the epitome of cool.

Master Edition: 2000 copies (of 2250 print-run). Presented in a bespoke black slipcase.

ISBN: 978-0-9566487-0-9 Price of Master Edition: £650 / $950 448 pp, Hardback w/ slipcase; 400 colour and b/w photographs 400 x 340 mm / 16 x 13 in.

- 60 -

BILL GOLD: POSTERWORKS

Christopher Frayling & Tony Nourmand Foreword by Clint Eastwood

Dracula has Risen from the Grave 1968 “I put the pink colour on the sticking plaster.

I’d just finished Bonnie and Clyde and maybe I had a lot of pink ink still lying around! It’s the same girl I used later on Casanova; the same shot maybe. The same bra even. If I remember right, I personally painted the tattoo on the girl for Casanova. I love that pink. It works so well. On the other poster, the slogan, ‘You can’t keep a good man down!’ – that was Dick Lederer again. Brilliant. It made something of a low-budget movie.”

LEFT: Final US (International) one sheet. RIGHT: Final design for the US one sheet.

125

62

125

377

A rich, visual compendium of Hollywood’s greatest poster designer, featuring a foreword by Clint Eastwood.

Bill Gold’s life’s work spans six decades and over two thousand films. He is the man behind campaigns for the greatest movies the world has ever seen. This stunning volume is a celebration of his extraordinary and prolific talent. With a foreword from long-time collaborator and friend, Clint Eastwood, Bill Gold is a unique collector’s opus detailing the artist’s creative process, his army days, early career, posters for films like Casablanca, Dial M for Murder, Bullitt, My Fair Lady, Get Carter, Dirty Harry, Unforgiven, and through to his final work in 2003 on Eastwood’s Mystic River. A notoriously cut-throat industry, Hollywood evolves with few constants yet Bill Gold’s talent endures. This is the first time that the world is invited to see the full scope of his work in one breathtaking book.

Master Edition: 1250 copies (of 1500 print-run). Includes a hand-signed letter from Bill Gold; an art folio of six, numbered, limited edition prints of unseen Bill Gold poster designs; presented in a bespoke slipcase.

ISBN: 978-0-9566487-1-6 Price of Master Edition: £650 / $950 448 pp, Hardback w/ slipcase; 400 colour illustrations 400 x 340 mm / 16 x 13 in.

- 62 -

- 63 -

GENERAL ENQUIRIES: UK, EUROPE AND WORLDWIDE Alison Elangasinghe ali@reelartpress.com | +44 (0) 7837 978 282

WORLDWIDE PRESS ENQUIRIES Lisa Baker Associates Ltd Lisa Baker lisa@lisabakerltd.com | +44 (0)7768 310038

WORLDWIDE RIGHTS Leslie Gardner Leslie@artellusltd.co.uk | +44 (0) 20 7935 6972

AVAILABLE WORLDWIDE (EXC. USA/CANADA) THROUGH Turnaround Publisher Services Orders: +44 (0)20 8829 3002 | orders@turnaround-uk.com Sales Enquiries: Andy Webb, +44 (0)20 8829 3012

ALL USA/CANADA ORDERS AND ENQUIRIES TO ACC Distribution 6 West 18th Street, 4B New York NY 10011 Orders and Sales Enquiries: +1 212 645 1111 | sales@antiquecc.com

- 64 -