Tag: Hollywood Movie Memorabilia

Hollywood Movie Memorabilia

When it comes to Hollywood Movie Memorabilia, much of WalterFilm’s vintage original stock might be considered “Hollywood” because a substantial amount of material either comes from Hollywood or references it. And when it comes to “Movie Memorabilia”, a large portion of what we offer could fit that description as well. But we do try to clearly define, describe and date each object we present as a vintage original poster, photograph, script, etc.

However, sometimes items come along that are difficult to define and ‘Hollywood Movie Memorabilia” provides an excellent catch all.

MGM Advertising Pull-Outs

The first three items are of particular note: they are vintage original 9 x 12″ (22 x 30 cm.) Metro-Goldwin-Mayer advertising pull-outs on card stock for three movies starring Judy Garland and Mickey Rooney. 

They were created for the industry publication The Lion’s Roar by the famous  caricature artist Jacques Kapralik, They each were created in three dimension using elements of yarn, fabric, paper, buttons, sequins and miniature creations to highlight the themes and elements found in the film’s story.


See above photograph.

The film’s “let’s put on a show” theme was presented at its most spectacular in this Busby Berkeley extravaganza produced by Arthur Freed.


Life Begins For Andy Hardy

The two stars are featured in a New York City setting when Betsy Booth (Garland), daughter to a Broadway actress, shows “Smalltown, USA” Andy Hardy (Rooney) the ropes of making it in the big city.


Girl Crazy

The last and likely the finest of the grand MGM Mickey and Judy musicals featured a superb score by George and Ira Gershwin and a story set at a dude ranch college.


[Los Angeles, 1972]. Vintage original artwork on illustration board, 8 1/2 x 9 5/8″ (21 x 24.5 cm.) on 13 7/8 x 15 1/2″ (35.5 x 40 cm.). 

Kenneth Anger (filmmaker, artist) Original artwork used for the opening shot of Kenneth Anger’s experimental film LUCIFER RISING, which was his attempt to depict the age of the hippies. In this film, Egyptian gods summon the angel Lucifer to usher in a new occult age.


Las Vegas: Hotel Sahara, [1953]. Vintage original 9 1/2 x 8 1/8″ (24 x 21 cm.) die-cut promotional flyer. A holograph note indicates that someone attended this show on Monday, November 16, 1953. Near fine.

“A New York Daily News article in late ’52 that brought instant notoriety to Christine Jorgensen, the first person in the US to become famous for having sex reassignment surgery. Celebrity agent Charles Yates teamed with Jorgensen to turn this notoriety into an unlikely nightclub act. The Sahara booked Jorgensen for a summer 1953 engagement with singer Marguerite Piazza and dancer Gene Nelson, but was fired when both Piazza and Nelson protested the co-billing.

Jorgensen sued the hotel.“Jorgensen was a controversial figure in the press, treated with sensationalism, praise, respectful curiosity, and indignantly. The Sahara’s firing was done with a public letter that began, ‘Dear sir’. Despite this, Jorgensen was rescheduled at the Sahara and opened in November that year. A mostly-positive column about the show in the Las Vegas Review Journal commented that Jorgensen was ‘either an opportunist of supreme magnitude or an individual of indescribable courage.’ Jorgensen returned to Las Vegas later for a show at Silver Slipper. 

ED EMSHWILLER (ca. 1980) Signed letter

[Los Angeles, ca. 1980] Original two page autograph signed letter, 11 x 8.5″ (28 x 22 cm.), folded once for mailing, near fine.

A letter from pioneering experimental filmmaker Ed Emshwiller to Doug Edwards, who was at that time the leading figure in Los Angeles for the showing of avant-garde film. In this fascinating letter, he lists each of the four films which he has selected for Edwards to screen, with a succinct paragraph describing each one: LIFE LINES (1960); THANATOPSIS (1962); RELATIVITY (1966); and SCAPE-MATES (1972).


[East] Berlin, Deutsche Akademie der Künste zu Berlin, 1968. Printed wrappers, 24 pp. Light wear to wrappers, VERY GOOD+.

A pamphlet issued to honor Paul Robeson’s seventieth birthday. Contains photos documenting Robeson’s varied visits to the USSR and then-East Germany, as well as commentary on his artistic and political careers.

SHE’S A HE – Lynn Carter (1957) Vinyl record

New York: Fiesta Records, [1957]. Vintage original 12 x 12″ (31 x 31 cm.) vinyl LP record. Very good+ in pictorial sleeve.

The front sleeve states “Introducing Mr. Lynn Carter, America’s foremost female impersonator.”

Lynn Carter was a headliner in the Jewel Box Revue, a racially inclusive traveling revue of what were then dubbed female impersonators. The show was staffed almost entirely by gay men and one lesbian. OCLC only records one known copy.

AGNÈS VARDA (ca. 1965-77) Archive

Portrait of Varda (ca.1965) 7 x 5″ (18 x 13 cm.) black-and-white print still photo;

Collection of vintage original French promotional materials, all just about fine or better.

  • LE BONHEUR [HAPPINESS] (1965)  Pressbook
  • LES CRÉATURES [THE CREATURES] (1968) Pressbook
  • LION’S LOVE (1969) US two-sided poster, 23 x 19″ (59 x 49 cm.)
  • L’UNE CHANTE, L’AUTRE PAS (1977) Promotional book

female impersonator, George and Ira Gershwin, Hollywood Movie Memorabilia, Hollywood Musicals, Judy Garland, Judy Garland and Mickey Rooney, Mickey Rooney, sex reassignment surgery


Alexa Foreman Interview

For many years, Alexa Foreman worked with Walterfilm’s Woolsey Ackerman researching and producing a multitude of documentaries and on-air programing for Turner Classic Movies. She was Robert Osborne’s left and right hand in creating his on-air hosting segments and was the primary producer of the Turner Classic Movies on-camera archival interviews that told Hollywood’s history in the words of those who were there.

Robert Osborne and Alexa Foreman on Turner Classic Movies
Robert Osborne and Alexa Foreman on Turner Classic Movies

Her latest project as researcher on the book Warner Bros: 100 Years of Storytelling by MarkA Vieira celebrates Warner Brothers Studios 100th Anniversary. Here is her thoughts on its history and significance.

Thank you so much Woolsey! Please forgive me if I leave out anyone’s favorite Warner Bros. star, director or picture.

What, in your opinion, would be the keyword that would sum up the unique history and product of Warner Bros as a motion picture studio? (direction, production, editing, scripting, music, etc.)



The Studio experimented with sound, had a radio station KFWB, used current themes “ripped from the headlines”, corned the market on Depression musicals, and was the first major American studio to confront the Nazi threat in Europe, not to mention the studio’s award winning Animation department.

A young Darryl F. Zanuck helped shape the studio and its product, and later producers Hal Wallis and Jerry Wald who were majors players.

There are so many others including cinematographers, editors and screenwriters, but I do want to mention composers Max Steiner and Erich Wolfgang Korngold.

Who were these Warner Brothers? Where did they come from and how were they uniquely apt to make movies?

There were four brothers involved with the studio: Harry, Albert, Sam and Jack. They came from a family of Polish Jews, and had tried everything from running a bowling alley to selling meat. Sam was the visionary who saw the future in moving pictures and bought a used Kinetoscope. That was the start.

Vintage original 12 x 8″ (30 x 20 cm.) midget/mini window card,

For the studio which was incorporated formally in 1923, each brother had his own function: Harry was company president, Albert was treasurer and Sam and Jack were in charge of production.

It’s fascinating to wonder about how the studio would be different if Sam had lived. Of the 4, he was the pioneer.He pushed the brothers into sound pictures and other technology. Tragically – and unbelievably – he died the day before The Jazz Singer premiered in New York City.

Today, Jack is probably the most known and he was the one with the eye for talent, but he also wasn’t fair to his two remaining brothers in his later business dealings.

What. in your opinion, are a few of the WB best movies? Best picture or not? Movies that put them on the map?

I am going to play it safe here and list some of the studio’s most important pictures:

The Jazz Singer (1927) – the first “sound” picture established WB as a studio to be reckoned, Little Caesar (1931) – the studio’s first gangster picture, 42nd Street (1933) was the first in a series of wonderful Busby Berkeley choreographed backstage musicals. (Only WB would mix in “escapism” while still reminding audiences that it was the Depression!), Confessions of a Nazi Spy (1939) – this was the first picture from a major studio to show American audiences that the Nazi threat was real, Casablanca (1942) was and is still the most requested movie on TCM, House of Wax (1953) – the first color 3D picture with stereophonic sound, Sergeant Rutledge (1960) a movie released by a major studio with a Black leading manFEARLESS.

Who are the great stars of Warner Brothers classic Hollywood contract days— what set them apart?

Rin Tin Tin was actually the first star at the fledgling studio. And, when the studio took over First National Pictures in 1929, it inherited stars such as Richard Barthelmess, and Loretta Young. Other early stars were Al Jolson, George Arliss, John Barrymore, and Mary Astor (later an Oscar winning Supporting Actress). Arliss, John Barrymore, and Mary Astor (later an Oscar winning Supporting Actress).

In the 1930s, there were Kay Francis (one of my favorites), Ruth Chatterton, Barbara Stanwyck, Joan Blondell, Paul Muni, James Cagney, Glenda Farrell, Edward G. Robinson, Humphrey Bogart and Errol Flynn. and, of course, Bette Davis was one of a kind.

Vintage original 11 x 15″ (29 x 38 cm.) double weight matte finish hand-colored promotional poster for Warner Brothers Pictures, France. Near fine
Vintage original 8 x 10″ (20 x 25 cm.) black-and-white single weight glossy silver gelatin print still photo. Some wear and two tiny tears to the right side blank white margin, near fine.

Then came Ida Lupino, Claude Rains, Eleanor Parker, and Jane Wyman. Joan Crawford arrived from MGM and won an Oscar right off the bat.

The late 1940s brought Doris Day, and during the 1950s and 60s came Burt Lancaster, Randolph Scott, James Dean, Tab Hunter, Natalie Wood, Alan Ladd, John Wayne and later Clint Eastwood. Plus, let’s not forget Bugs Bunny, Porky Pig, Sylvester and Tweety.

Three of the stars James Cagney, Olivia de Havilland and Bette Davis actively disagreed with the studio’s rule of adding on time to their seven year contracts when they went on suspension. They went on suspension usually because they were being offered sub par roles — de Havilland sued and won. It is now know as the De Havilland Law.

Vintage original 10 1/4 x 13 1/2″ (26 x 32 cm.) black-and-white double weight glossy silver gelatin print still photo. Ink stamped “Please Credit ‘MUKY’ from Warner Bros”. Fin

Who are the great character actors, what were their careers like under contract to WB?

Aline MacMahon, Allen Jenkins, Charles Coburn, Eve Arden, Jack Carson, Guy Kibbee, Wallace Ford, Ruth Donnelly, Lyle Talbot, Conrad Veidt, Lee Patrick, Frank McHugh, Robert Barrat, Ian Hunter, Alan Hale, Andrea King, Peter Lorre and Sydney Greenstreet. Legendary Hattie McDaniel worked at Warner Bros. at times despite her busy schedule with other studios.

Name a few of Warner Bros. top directors and a bit about their working techniques!?

Michael Curtiz, William Dieterle, Lloyd Bacon, Howard Hawks, Raoul Walsh, William Wellman, Edmund Goulding, John Huston, Vincent Sherman and for a short time, Alfred Hitchcock. It was a nonstop assembly line in those days and directors had to be able to handle every genre. Look at Curtiz: dramas, musicals, war movies, adventures, mysteries, comedies, westerns, horror and film noir.

Classic era studio’s involved themselves in community outreach particularly during World War II.

A Brief Story of Hollywood Canteen

Two of WB’s most dynamic stars, Bette Davis and John Garfield, started the Hollywood Canteen in 1942 for servicemen and women (black and white) to have an evening being entertained by and interacting with movie stars and personalities. It was an all volunteer staff of cooks, servers, and dishwashers made up of celebrities.

How do you go about doing your research for a book project like this and after all your years of discovering Hollywood history, what did you find to be the most surprising in you work on this project?

I use autobiographies, biographies, studio histories, the Motion Picture Academy website, the American Film Institute catalogue, and newspaper articles. When I started at TCM, there was no internet. I used books for my research. I still do mostly and I avoid Wikipedia and trivia that is on movie info websites.

I was most surprised about the history of fires on the Warners backlot. In 1934, a fire started near the set of Black Fury and destroyed part of the New York street, the studio’s crafts department, a prop warehouse and – tragically – original negatives from early Vitaphone and First National films stored in the vaults. Later, there were three fires in 1952, another in 1963, and another in 1983.


Alexa Foreman has used her skills as a researcher and producer primarily at Turner Classic Movies for over 25 years – starting with the launch of the network in 1994. While there, she was an integral part of TCM, which specialized in airing uncut and commercial free classic movies – the channel earning a Peabody Award in the process.

She is author of Women in Motion published in 1983, and co-author of In The Picture: Production Stills from the TCM Archives from 2004, as well as contributor to Leading Ladies, Leading Men and Leading Couples.

She has written, directed and produced a documentary entitled Scandal: The Trial of Mary Astor, which concerns actress Mary Astor and her 1936 fight to gain custody of her daughter. The documentary premiered at the TCM Film Festival in Los Angeles in April 2018. 

Hollywood Movie Memorabilia

WalterFilm buys Movie Scripts, Television Scripts & Movie Memorabilia

My company, Walter Reuben, Inc., actively buys movie and television scripts as well as movie memorabilia. It doesn’t matter what kind of movie or TV show it is: popular or obscure, low budget, indie film, or large studio spectacular. This includes horror movies, TV sitcoms, Oscar winning dramas or silly comedies. I can buy a few scripts or a large collection.

Los Angles is Filled with Scripts

People who work in the film and television industry, in a variety of capacities, may have valuable assets in the scripts they, their parents or a relative has worked on. I have acquired scripts directly from writers, actors, and crew members, as well as the estates of people who worked in the industry.

Movie Memorabilia

In addition to scripts, there are story boards, models, and, of course, props, as well as a variety of additional items that have been directly connected to a particular production, many of which have value.

Knowledge, Experience & Fair Play

However, not everything has value just because the item was associated with a film or television show. I have had a lifetime of experience buying such collections. Here is a descriptive list of Walter Film Collections and information on our Curatorship. In addition, I make every effort to treat people fairly.

If you believe you have material that might be of interest, please contact me at info@walterfim.com or 323-422-1564.

WalterFilm buys Movie Scripts, TV Scripts and Movie Memorabilia

Walter Reuben, Inc. ABAA, ILAB

buy film scripts, buy movie scripts, buy television scripts, Hollywood Movie Memorabilia, support writers strike, Vintage Original Film Scripts, Vintage Original Movie Scripts


Welcome to all our clients and friends.

From April 27th-30th, Walter Reuben Inc. can be found in Booth B22 at the 63rd Annual New York International Antiquarian Book Fair, located in Manhattan at the legendary Park Avenue Armory, 643 Park Avenue (between 66th and 67th Street.

Our Book Fair inventory includes: Women’s Issues, LGBTQ, Ethnicities, Black Film History and Entertainment, as well as Classic Hollywood, featuring vintage original film scripts, photographs, posters, programs, pressbooks, letters, original art and entertainment memorabilia.



1968 British poster for landmark American film about trans people. $1,500.00


Original 1974 typescript of legendary transgressive cult movie. $12,500.00


1972 British poster, with striking art of Brando.  $1,000.00


Vintage portrait, ca 1959, of the legendary artist, at the beginning of her career.  $750.00


Two vintage scripts from Season 1 (VI, VII) belonging to Aidan Gillen (“Littlefinger’) offered individually at $1,500.00.


Six vintage photos, ca 1915-1931, of the most celebrated drag performer of his time.  $1,800.00


1921 poster for African American silent film shot in Kansas City. $4,000.00

African-American Memorabilia, Black Memorabilia, Hollywood Movie Memorabilia, Movie Star Photos For Sale, Original Vintage Movie Posters, Vintage Original Film Scripts, Womens Issues


Gordon Parks was a Black American who successfully wore many hats as photographer, composer, author, poet, writer and film director. He became prominent in the U.S. in 1940s through 1970s for documentary photojournalism —particularly with issues of civil rights, poverty and the status of Black Americans—and in glamour photography for Glamour Magazine and Ebony. His fashion photography was also published in Vogue from the mid 1940s to the late 1970s. 

[Burbank, CA]: Warner Brothers-Seven Arts. 1969. Vintage original 11 x 14″ (28 x 38 cm.) black-and-white doubleweight print still photo, fine

As a photojournalist, he is best remembered for his iconic photos of poor Americans during the 1940s (taken for a federal government project). They brought him widespread acclaim and a position as the first African American staff photographer for Life magazine. He would remain at the magazine for two decades, covering subjects ranging from racism and poverty to fashion and entertainment. 

African American Filmmaker

Gordon Parks was one of the first African American filmmakers to direct films within the Hollywood system, developing films relating the experience of slaves and struggling black Americans, helping create “blaxploitation” as the director of the films ShaftShaft’s Big Score and the semiautobiographical The Learning Tree.


[Burbank, CA]: Warner Brothers, 1969. Set of four 8 x 10″ (20 x 25 cm.) vintage original photos, fine. .
Gordon Parks was the first African American to direct a feature film for a major Hollywood studio, and the result was THE LEARNING TREE, a coming-of-age story about a Black teenager in Depression-era Kansas.


Gordon Roger Alexander Buchanan Parks (November 30, 1912 – March 7, 2006) was born in Fort Scott, Kansas, the son of Andrew Jackson Parks and Sarah Ross, on November 30, 1912, the youngest of 15 children. He attended a segregated elementary school. His high school had both black and white students, because the town was too small for a segregated high school. However, black students were not allowed to play sports or attend school social activities. They were also discouraged from developing aspirations for higher education. Parks related in a documentary on his life that his teacher told him that his desire to go to college would be a waste of money.

His mother died when he was fourteen. Soon after, he was sent to St. Paul, Minnesota, to live with a sister and her husband. He and his brother-in-law frequently argued, and Parks was turned out onto the street to fend for himself at the age of 15. Struggling to survive, he worked in brothels, and as a singer, piano player, bus boy, traveling waiter, and semi-pro basketball player. In 1929, he briefly worked at the Minnesota Club, an elite gentlemen’s club. With the Wall Street Crash of 1929 bringing an end to the club, Gordon jumped a train to Chicago, where he managed to land a job in a flophouse

A Career In Film – The Learning Tree

In the 1950s, Parks worked as a consultant on various Hollywood productions. He later directed a series of documentaries on black ghetto life that were commissioned by National Educational Television. In 1969 he adapted his bestselling semiautobiographical novel, The Learning Tree, as a screenplay and directed it for Warner Bros.-Seven Arts. It was filmed in his hometown of Fort Scott, Kansas. Parks also composed the film’s musical score with assistance from his friend, the composer Henry Brant.  The National Film Registry citation mentions The Learning Tree as “the first feature film by a black director to be financed by a major Hollywood studio.”


Gordon Parks (screenwriter, director) French title: Les sentiers de la violence. Paris: Warner Brothers. Vintage original 63 x 47″ (160 x 120 cm.) grande affiche poster, France. Folded (as issued), near fine.



Gordon Parks (screenwriter, director) Italian title: Ragazzo la tua pelle scotta. Rome: Dear Film, 1969. Vintage original 78 x 55″ (140 x 200 cm.) 4-fogli poster, Italy. Printed as single section and folded (as issued), VERY GOOD. Artwork by Italian poster artist Manfredo Acerbo.


Gordon Parks (screenwriter, director) Vintage original 17.5 x 21.5″ (44 x 55 cm.) poster, Belgium. Brussels: Warner Brothers, [1969]. Kyle Johnson, Alex Clarke, dir: Gordon Parks; Warner Brothers. Folded (as issued), very good+. Poster has art by Raymond Elseviers not seen in any other promotional pieces.

Gordon Parks and Blaxploitation

Shaft, a 1971 detective film directed by Parks and starring Richard Roundtree as John Shaft, became a major hit that spawned a series of films that would be labeled as blaxploitation. The blaxploitation genre was one in which images of lower-class blacks being involved with drugs, violence and women, were exploited for commercially successful films featuring black actors, and was popular with a section of the black community. Parks’s feel for settings was confirmed by Shaft, with its portrayal of the super-cool leather-clad, black private detective hired to find the kidnapped daughter of a Harlem racketeer.

Parks also directed the 1972 sequel, Shaft’s Big Score, in which the protagonist finds himself caught in the middle of rival gangs of racketeers. Parks’s other directorial credits include The Super Cops (1974) and Leadbelly (1976), a biographical film of the blues musician Huddie Ledbetter. In the 1980s, he made several films for television and composed the music and a libretto for Martin, a ballet tribute to Martin Luther King Jr., which premiered in Washington, D.C., in during 1989. It was screened on national television on King’s birthday in 1990. 

In 2000, as an homage, he had a cameo appearance in the Shaft sequel that starred Samuel L. Jackson in the title role as the namesake and nephew of the original John Shaft. In the cameo scene, Parks was sitting playing chess when Jackson greeted him as, “Mr. P.”

Parks continued working until his death in 2006. He was recognized with more than fifty honorary doctorates, and among his numerous awards was the National Medal of Arts, which he received in 1988.


Gordon Parks was a man of many talents: photographer, painter, musician, composer, writer of novels, poetry, autobiography, and non-fiction, including both photographic instructional manuals and books about filmmaking. Parks helped found Essence magazine, and served as its editorial director during the first three years of its circulation. 

Director Spike Lee cites Parks as an inspiration, stating “You get inspiration where it comes from. It doesn’t have to be because I’m looking at his films. The odds that he got these films made when there were no black directors, is enough.” 

The Sesame Street character Gordon was named after Parks.


Gordon-Parks-Directing-The- Learning Tree-WalterFilm.com
Burbank, CA]: Warner Brothers, 1969. Set of four 8 x 10″ (20 x 25 cm.) vintage original photos, fine. One photo is double weight, the other three have printed studio text on verso.

The Gordon Parks Foundation

Located in Pleasantville, New York reports that it “permanently preserves the work of Gordon Parks, makes it available to the public through exhibitions, books, and electronic media.” The organization also says it “supports artistic and educational activities that advance what Gordon described as ‘the common search for a better life and a better world.'”

The Gordon Parks Museum/Center

Located in Fort Scott, Kansas, holds dozens of Parks’s photos and various belongings, both given to the museum by Parks, and bequeathed to the museum by him upon his death.

Library of Congress, Washington, D.C.

The Library of Congress (LOC) reports that, in 1995, it “acquired Parks’ personal collection, including papers, music, photographs, films, recordings, drawings and other products of his… career.” 

The LOC was already home to a federal archive that included Parks’s first major photojournalism projects—photographs he produced for the Farm Security Administration (1942–43), and for the Office of War Information (1943–45). 

In April 2000, the LOC awarded Parks its accolade “Living Legend”, one of only 26 writers and artists so honored by the LOC. The LOC also holds Parks’s published and unpublished scores, and several of his films and television productions.[9]

National Archives, Washington, D.C.

The National Archives hold the film My Father, Gordon Parks (1969: archive 306.8063), a film about Parks and his production of his autobiographical motion picture, The Learning Tree, along with a print (from the original) of Solomon Northup’s Odyssey, a film made by Parks for a Public Broadcasting System telecast about the ordeal of a slave. The Archives also hold various photos from Parks’s years in government service. 

Smithsonian Institution, Washington, D.C.

The Smithsonian Institution has an extensive list of holdings related to Parks, particularly photos. 


African-American Memorabilia, Black Memorabilia, Hollywood Movie Memorabilia, Original Vintage Film Posters, Original Vintage Movie Posters