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Used advertising lithographs, photographs, and other collectible cinema gems.

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DELIVERANCE (1972) 41 x 27" (104 x 69 cm.) one sheet poster, USA. Burt Reynolds, Jon Voight, dir: John Boorman; Warner Brothers. This poster, though printed in the US, was only used for international releases of this classic drama. It is a far more striking poster than the normal one used for domestic theatrical distribution, and it is hard to get -- but especially so in a copy as extraordinary as this, with no pinholes, stains, tears, and only two folds (and no vertical folds at all).

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ANNA KARENINA (1935) 14 x 17" (35 x 43 cm.) sepia-tinted oversize lobby photo no. 5, USA. Greta Garbo, Fredric March, Freddie Bartholomew, Maureen O'Sullivan, May Robson, Basil Rathbone, Reginald Owen, dir: Clarence Brown: MGM. Very unusual and beautiful oversize lobby display piece for this classic Garbo film based on Tolstoy's novel. Garbo as Anna Karenina and Fredric March as Vronsky on an afternoon outing. This was at one time part of a numbered set of eight oversized photos.

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LETTER FROM AN UNKOWN WOMAN (1947) 41 x 81" (105 x 202 cm.) three sheet poster, USA Joan Fontaine, Louis Jordan, Mady Christians, Marcel Journet, dir: Max Ophüls; Universal. One of the most beautiful and romantic films to come out of Hollywood's Golden Age. A really stunning poster with beautiful colors; no other copy of this poster has ever turned up at auction. From the Ira Resnick collection, on linen.

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ÄVENTYR (ADVENTURE) (1925) 23 x 35" (58 x 88 cm.) poster, Sweden. Tom Moore, Pauline Starke, dir: Victor Fleming; Paramount / Film A.B. Liberty. Wild extravagant design for silent adventure film set in the Solomon Islands and adapted from the Jack London novel.

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99 RIVER STREET (1953) 22 x 28" (55 x 71 cm.) half sheet poster style A, USA. John Payne, Evelyn Keyes, Brad Dexter, Frank Faylen, Peggie Castle, dir: Phil Karlson; United Artists. Effective film noir crime melodrama about a former boxing champ who loses his title and ends up driving a taxi for a living, then is blamed for the murder of his henpecking wife. The film was very effectively directed by Phil Karlson, who got unflinching portrayals from the cast -- particularly John Payne -- and with his depiction of the big city as both Heaven and Hell.

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THEDA BARA / CLEOPATRA (1917) 10 x 8" (25 x 20 cm.) sepia-toned double weight matte finish print still, USA. Theda Bara, Fritz Leiber, Thurston Hall, dir: J. Gordon Edwards; Fox Studios. Though she is now iconic as "The Vamp," Theda Bara played a variety of great roles in early American silent film. In fact, she played many of the greatest roles and, when not playing the vamps of history with Cleopatra, Madame Du Barry, Salomé, Camille and various others, she actually played the sweet girl and virgin in such titles as Romeo and Juliet, Kathleen Mavourneen, East Lynne and Under Two Flags. She is remembered for her first hit A Fool There Was, an early epic version of Cleopatra. It was the team of Fox artists who worked on many of her films who created that epic atmosphere. This portrait of Bara wearing an elaborate crown and jewel-encrusted gown is a testament to the film making of the period.

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STEVE MCQUEEN / THE THOMAS CROWN AFFAIR (1968) 9 x 13 ¾" (22 x 33 cm.) double weight glossy print still photo, USA. Steve McQueen, Faye Dunaway, Paul Burke, dir: Norman Jewison; United Artists. Steve McQueen was a trendsetter for classic men's fashion, styles which work to this day. This was never more evident than for his role of adventurous bank executive Thomas Crown. His look with the sunglasses is iconic. Still is ink stamped on the verso "one reproduction only credit Ron Thal, Globe Photo 67 West 45."

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STEVE MCQUEEN, FAYE DUNAWAY / THE THOMAS CROWN AFFAIR (1968) 8 ¼ x 10" (21 x 25 cm.) double weight glossy gelatin silver portrait, USA. Steve McQueen, Faye Dunaway, Paul Burke, Jack Weston, dir: Norman Jewison; United Artists. The quintessential Swinging '60s caper about an adventurous banker (McQueen) who believes he has committed the perfect bank heist, but comes up against a feisty insurance investigator who will stop at nothing to get her man.

It is the sense of fashion which impresses to this day -- with McQueen's wardrobe provided by Alan Levine and Ron Postal, and Dunaway's trendsetting costumes by Theadora Van Runkle. Richard Avedon was assigned to a unique fashion shoot, and this rarely -- if ever -- seen portrait (apparently unpublished) captured the elegant mood of the late-1960s. Image is stamped on verso "Credit Must Accompany Photo: Photo by Richard Avedon."

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MAE WEST / BY PAUL HESSE (1934) 9 x 12 ¼" (23 x 31 cm.) color promotional piece on glossy paper, USA. This rare Paramount Studios promotional piece represents what is likely the very first in the experimental commercial use of the Kodachrome color reversal film process which Kodak would present to the public a year later in 1935. A series of portraits were shot by famed photographer Paul Hesse in mid- to late-1934 of various Paramount actors portraying their latest roles, using the very first stock of Kodachrome color film. Hesse would go on to become the preeminent color portrait photographer to the stars, his portraits gracing the covers of hundreds of magazines. The process produced what is to this day the most distinct and saturated images in color photography. Hesse caught Mae West wearing her Travis Banton ensemble on the Hans Dreier/Bernard Herzbrun set of her film Belle of the Nineties. Duke Ellington and his orchestra accompanied Mae as she introduced the now-legendary standard "My Old Flame", which she performed on set in this extravagant costume.

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FRANKENSTEIN (1931) 6 ¾ x 8 ¾" (17 x 22 cm.) herald/promotional flyer, 4 pp., Uruguay. Boris Karloff, Colin Clive, Mae Clarke, John Boles, Edward Van Sloan, Dwight Frye, dir: James Whale; Universal. The ultimate classic horror film! Bela Lugosi and John Carradine were offered the title role before Karloff was cast. Bette Davis and Leslie Howard were early casting choices for the Clive and Clarke roles. So popular was this title that Universal sent it out for foreign distribution almost immediately after its American debut. This herald is for an August 13, 1932, screening at the Cine Colonial in Uruguay.

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6 DAY BIKE RIDER (1934) 8 x 14" (20 x 35 cm.) mini/midget window card, USA. Joe E. Brown, Maxine Doyle, Frank McHugh, dir: Lloyd Bacon, First National. A delightful caricature (reminiscent of some of Al Hirschfeld's work at this time) of the charming big-mouthed comedian surrounded by racing bikes is featured on this little poster to advertise the star vehicle. When his girl falls for a biker, small-town bumpkin Wilfred (Brown) enters a 6-day bike race, with much mishap along the way. Superb color.

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MARLENE DIETRICH / THE SCARLET EMPRESS (1934) 9 ¼ x 12 ¼" (23 x 31 cm.) color promotional piece on glossy paper, USA. This rare Paramount Studios promotional piece was issued in 1934 along with a group of other color images which included the first use of Kodachrome photography. To promote Marlene Dietrich's colorful role of Catherine the Great, Paramount hired illustrator and artist Hans Flato to render her interpretation. Of German birth like Dietrich, Flato -- whose art ran the gamut of lush realism to cartoonish fun -- illustrated the promotional art for a number of her films, including Blonde Venus, The Devil is a Woman and Angel. Flato's somewhat cartoonish illustration perhaps comments on the bizarre absurdity of Josef von Sternberg's visually fascinating film.

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FRED ASTAIRE (1938) 8 x 10" (20 x 25 cm.) double weight matte finish sepia-toned print still photo, USA. From the collection of Dorothy Credille. Unfortunately she was not able to have Astaire sign this superb portrait which would publicize his 1938 RKO outing with Ginger Rogers, Carefree. The musical, with songs by Irving Berlin, was one of the few films to explore the topic of psychological hypnosis. The original ink stamp of "RKO Studios, 1938" is featured on verso.

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GINGER ROGERS (1939) 8 x 10" (20 x 25 cm.) double weight matte finish sepia-toned autographed photo, USA. Rogers -- known for her early roles as a musical gold digger and then as Fred Astaire's earthy-but-elegant dance partner -- began her breakout into non-musical dramatic films in 1939. So successful was she that she would win the Academy Award as Best Actress a year later for Kitty Foyle. In her bold pen, Ginger has written, "To Dorothy Credille- Most Sincerely Ginger Rogers." Original RKO studio 1939 ink stamp on verso.

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PAUL MUNI (1939) 8 x 10" (20 x 25 cm.) glossy sepia-toned gelatin silver autographed photo, USA. Muni, one of film's strongest actors of the 1930s and 40s (with a prolific television career well into the 60s), was known for his complete transformation into the characters he played. This portrait is simply signed "Paul Muni." From the collection of Dorothy Credille. The back features two ink stamps, that of "Paul Muni, Warner Bros. Pictures," and "Photograph by Elmer Fryer, Warner Bros, Studios."

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NORMA SHEARER (1938) 10 x 13" (25 x 33 cm.) double weight matte finish print still, USA. The elegant Shearer has been photographed by Willinger to promote her 1938-39 film efforts Marie Antoinette and Idiot’s Delight. The portrait bears his ink stamp of "Please credit MGM PHOTO by WILLINGER 9115" as well as the "NORMA SHEARER Metro-Goldwyn-Mayer" ink stamp on the verso.

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TEST PILOT (1938) 14 x 22" (35 x 56 cm.) window card poster, USA. Clark Gable, Myrna Loy, Spencer Tracy, Lionel Barrymore, Samuel S. Hinds, Marjorie Main, dir: Victor Fleming; MGM. The three stars are pictured along with the airplane in this poster for the popular adventure romance. It was the fine script and the chemistry between the stars which made this film work, and it is a delight in acting and characterization. Card features the printed snipes at top for the Crescent Theater in Pontiac, Illinois.