Search Results: True Crime from Royal Books, Inc.

San Francisco: San Francisco Examiner, 1947. Archive consisting of five vintage oversize photographs of Frank Avilez, the San Francisco "Black Gloved Rapist," 1947. All five with dated San Francisco Examiner Library Stamps on the verso, one "July 13 1947," three "July 14, 1947," and one "Aug 8 1947," four with "Frank Avilez" stamps on the verso, one with the stamp of photographer "Joe Farrell" on the verso, and two with San Francisco newspaper clippings of the same photographs affixed to the verso. In the first seven months of 1947, serial rapist Frank Avilez terrorized the San Francisco community, breaking into his victims' homes at midnight, wearing black gloves and carrying a pencil flashlight (seen in the July 13 booking photograph), earning him the moniker of the "Black-Gloved Rapist" in the San Francisco press. On July 12, he was apprehended, and after several hours of questioning from police inspectors and assistant district attorneys, confessed to fourteen rapes and attempted rapes. When… Read More

N.p.: N.p., 1973. Archive of vintage production memorabilia belonging to director and producer Philip D'Antoni, relating to the filming of "The French Connection" (1971) and "The Seven-Ups" (1973). Archive also includes a substantial amount of memorabilia relating to New York City police, gifted to D'Antoni by police officers during the filming of both movies. The archive comprises both imagined and real ephemera relating to policing in the 1970s, including police badges, laminated police cards and certificates, full-size police department signage on metal and board, and business cards. Archive includes: Two NYC police badges A detective badge with badge No. 351 A "City of New York Police Detective DEA [Detectives Endowment Association]" badge in a leather case Three laminated police cards A1973 PBA (Patrolmen's Benevolent Association of the City of New York, Inc.) "Police Conference of New York, Inc." card issued to D'Antoni on the verso A 1972 Detectives Endowment Association Inc. card,… Read More

Burbank, CA: Warner Brothers, 1973. Vintage studio still photograph from the 1973 film, showing actor Martin Sheen. Provenance labels on the verso. Director Terrence Malick's transcendent and ferocious debut, loosely based on the 1958 murder spree of Charles Starkweather and Caril Ann Fugate, starring Martin Sheen and Sissy Spacek in early outstanding performances. Kit, a handsome but disaffected young garbage collector and Korean War veteran, succeeds in charming Holly, a shy teenage girl, despite the objections of her brutish father. The two run away together after Kit murders her father, initiating a killing streak that follows in their wake. Set in South Dakota, shot on location in Colorado. 8 x 10 inches. Very Good plus, lightly scratched and worn. National Film Registry. Criterion Collection 651. Rosenbaum 1000. Ebert IV. Spicer US Neo-Noir. Silver and Ward Neo-Noir. Grant US.

New York: Bobbs-Merrill, 1940. First Edition. First Edition. Boldly SIGNED by the author on the front flyleaf. Copy belonging to Tony Bill, producer of the 1973 film "The Sting," with letter of provenance included. Bill won the Oscar for Best Picture for the film, which also won Best Director, Best Screenplay, and four others, and was nominated for three more, including Best Actor for Robert Redford. The definitive non-fiction book on various cons of the day, renowned as the source for the cons in the 1973 George Roy Hill film, The Sting, starring Paul Newman and Robert Redford, the story for which was based on an original screenplay. Near Fine in an about Near Fine dust jacket. Jacket is the best we have encountered, with none of the usual color fading, only a single short closed tear and a bit of rubbing to the rear panel. In a custom quarter-leather clamshell box.

Various American Cities: New Line Cinema / Spanky Pictures, 2001. For Your Consideration script for the 2001 film. Loosely based on Bruce Porter's 1993 book "Blow: How a Small Town Boy Made $100 Million with the Medellin Cocaine Cartel and Lost It All," and on the true stories of US drug trafficker George Jung. Set and shot on location in California and Illinois in the US, and in Guerrero, Mexico. Metallic orange untitled United Talent Agency wrappers. Title page present, dated August 27, 1999, noted as Third Draft, with credits for screenwriters David McKenna and Nick Cassavetes. 63 leaves, with last page of text numbered 125. Xerographic duplication, rectos and versos. Pages Near Fine, wrapper Near Fine, bound internally with two gold brads.

New South Wales: Embassy Pictures, 1963. Collection of 16 vintage studio still photographs from the 1963 film. Based on French serial killer Henri Desire Landru. During World War I, Henri Landru (Charles Denner) supplements his income by luring middle-class women through newspaper ads, to a villa outside Paris where he seduces and kills them, burns their bodies, then helps himself to their bank accounts, keeping himself, his wife, his mistress, and his four children in the lifestyle to which they are accustomed. Shot on location in Paris and Gambais, France. 8 x 10 inches. Very Good plus. Light creasing in margins, three with pinholes to corners, one with notable creasing in left margin. Grant France.

Paris: Paris Match, 1968. Vintage borderless press photograph, with bottom margin, of Warren Beatty and Faye Dunaway in a Paris cafe, having arrived in Paris for the January 24, 1968 Moulin Rouge Premiere of the 1967 film. Six "Paris Match" stamps and an "International Magazine Service" stamp, dated "28 Jan 1968" on verso. Perhaps the most significant film for the New Hollywood generation, with its mix of graphic violence, sex and humor, and a glamourous take on disaffected youth. Its portrayal of violence and ambiguity in regard to moral values, and 'shock' ending, divided critics. One critic, Pauline Kael, came to its rescue, stating that "in a sense, it is the absence of sadism... it is the violence without sadism... that throws the audience off balance at Bonnie and Clyde. The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers." Winner of two Academy Awards for Best Cinematography and Best Supporting Actress, nominated for eight… Read More

Burbank, CA: Warner Brothers, 1967. Vintage studio still photograph of director Arthur Penn and actors Faye Dunaway and Warren Beatty resting between takes while filming on location for the 1967 film, with cinematographer Burnett Guffey looking on to the right. With manuscript pencil and ink annotations regarding cropping on the verso, along with a provenance stamp. From the archive of film historian and author Joel Finler. Perhaps the most significant film for the New Hollywood generation, with its mix of graphic violence, sex, and humor, and a glamourous take on disaffected youth. Its moral ambiguity and bloody ending divided audiences, leading critic Pauline Kael to come to its rescue: "in a sense, it is the absence of sadism... it is the violence without sadism... that throws the audience off balance at Bonnie and Clyde. The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers." Nominated for eight Academy Awards, winning two,… Read More

Burbank, CA: Warner Brothers, 1967. Vintage oversize borderless double weight reference photograph of Faye Dunaway, Warren Beatty, and Michael J. Pollard from the 1967 film. With a German address stamp to the verso. Perhaps the most significant film for the New Hollywood generation, with its mix of graphic violence, sex, and humor, and a glamourous take on disaffected youth. Its moral ambiguity and bloody ending divided audiences, leading critic Pauline Kael to come to its rescue: "in a sense, it is the absence of sadism... it is the violence without sadism... that throws the audience off balance at Bonnie and Clyde. The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers." Nominated for eight Academy Awards, winning two for Best Cinematography and Best Supporting Actress for Estelle Parsons. Shot on location in Texas and California. 11.75 x 9.25 inches. Very Good plus, with lightly bumped corners and faint soil to the verso.… Read More

Sydney: Angus and Robertson, 1972. First Australian Edition (and correct first). Basis for the 1978 film directed by Fred Schepisi, starring Tommy Lewis, Ray Barrett, and Freddy Reynolds. Near Fine in a bright, Near Fine dust jacket.

New York: The Disinformation Company, 2007. First Edition. First Edition. INSCRIBED by Randy Jurgensen to film producer Philip D'Antoni on the front endpaper: "To my friend / What else can I say except I love you / your friend / Randy." With Jurgensen's business card laid in. D'Antoni was a major figure in 1970s New Hollywood Cinema, as the producer of "Bullitt" (1968), "The French Connection" (1972), and "The Seven-Ups" (1973). A nonfiction book that addresses the pursuit and capture of New York's most notorious cop killer, surrounding the killing of a white police officer at the Harlem Mosque in New York City in 1972. Author Jurgensen was a New York City police officer deeply involved in the case. A fictionalized version of the story, "Murder at the Harlem Mosque," was published in 1977. Near Fine in an about Fine dust jacket.

Los Angeles: Chris/Rose Productions, 1978. Vintage studio still photograph from the 1978 television movie. A true-crime television movie following the trial of a teenage boy who murdered his mother in their small Connecticut town. Aired on March 1, 1978. Shot on location in California. 8 x 10 inches. Stamp to the verso, else Near Fine.

Los Angeles: American International Pictures [AIP], 1973. Vintage oversize borderless color reference photograph from the 1973 film, showing actor Warren Oates and director John Milius between takes. Stamp of Rossel Films on the verso. A dramatization of the crimes of folk hero, midwestern bank robber, and notorious mobster John Dillinger, best known for killing five FBI agents during a shootout in Kansas City. Hot on the heels of Arthur Penn's "Bonnie and Clyde" (1967), a film that reignited the US public's interest in 1930s gangster films. Set and shot on location throughout Arizona and Oklahoma. 12 x 9.5 inches. Pinholes at the top corners, else about Near Fine.

Los Angeles: American International Pictures [AIP], 1973. Vintage reference photograph from the 1973 film, showing actors Warren Oates and Michelle Phillips. A dramatization of the crimes of folk hero, midwestern bank robber, and notorious mobster John Dillinger, best known for killing five FBI agents during a shootout in Kansas City. Hot on the heels of Arthur Penn's "Bonnie and Clyde" (1967), a movie that reignited the US public's interest in 1930s gangster films. Set and shot on location throughout Arizona and Oklahoma. 8 x 10 inches. Near Fine.

Hollywood: Lawrence Schiller Productions, 1981. Feature Draft script (television equivalent of a Shooting script) for the 1982 television film, which originally aired November 28, 1982 on NBC. Based on the 1979 Pulitzer Prize winning novel by Norman Mailer, who adapted his own book for the screen, about the final years in the life of convicted murderer Gary Gilmore, following his release from prison in Illinois and through to his re-incarceration in a Provo, Utah prison and eventual execution for having committed multiple murders in Utah. Nominated for five Emmy Awards, winning two, including Outstanding Lead Actor for Tommy Lee Jones. A turning point in television movies, wherein Jones and Arquette play wholly unsympathetic characters without reservation. One of the finest films of the 1980s, on television or the silver screen. Set in Utah and Oregon, shot on location in Utah. Green titled wrapper, noted as FEATURE DRAFT on the front wrapper, dated AUGUST 1, 1981. Title page present, dated… Read More

Los Angeles: Lawrence Schiller Productions, 1982. Original borderless photograph of director Lawrence Schiller consulting with novelist Norman Mailer regarding the script for the 1982 film. With a printed mimeo snipe affixed to the verso. Based on the 1979 Pulitzer Prize winning novel by Mailer, who adapted his own book for the screen, about the final years in the life of convicted murderer Gary Gilmore, following his release from prison in Illinois and through to his re-incarceration in a Provo, Utah prison and eventual execution for having committed multiple murders in Utah. Nominated for five Emmy Awards, winning two, including Outstanding Lead Actor for Tommy Lee Jones. A turning point in television movies, wherein Jones and Arquette play wholly unsympathetic characters without reservation. One of the finest films of the 1980s, on television or the silver screen. Set in Utah and Oregon, shot on location in Utah. 10 x 8 inches. Near Fine. Reyes, 155.

N.p.: Visual Drama, 1955. Vintage studio still photograph of Joyce Jameson and Myron Healey from the 1955 film, here under the alternative title Gangbusters. NBC aired the True Crime television series Gang Busters from March 20, 1952 to October 23, 1952 and reedited the three episode storyline The Pinson Gang into the 1955 feature film Gang Busters. Lifelong criminal Pinson (Healy) keeps escaping from prison. Loosely based on Omar August Pinson, American robber and murderer. 8 x 10 inches. Very Good plus, with faint creasing to corners, some edgewear, and two small closed tears in left margin. Selby US. Spicer US. Lyons US.

Universal City: Universal Pictures, 1979. Vintage press kit for the 1979 Mexican-American exploitation film. Full-color illustrated pocketed folder, containing nine black and white photographs, and four gatherings of promotional reading material. The increasingly paranoid, fanatical leader of a large, independent church in San Francisco moves his congregation to a plot of land in Guyana in the hopes of creating a utopia. A controversial fictionalization of the Jonestown Massacre. Folder, photographs, and promotional material Near Fine.

Culver City, CA: Columbia Pictures, 1967. Vintage borderless photograph of Robert Blake and Scott Wilson from the 1967 film. Crop annotations in manuscript pencil and the stamp of photographer Michel Ciment stamp on the verso. Richard Brooks' unflinching and unsentimental documentary style made for a visualization that matched the power of Capote's most famous book, and remains one of the great meditations on violence in America. Nominated for four Academy Awards. 10 x 8 inches. Very Good plus, some light creasing and edgewear. National Film Registry. Ebert II. Criterion Collection 781. Penzler 101. Spicer US.

N.p.: Bernie Abramson, 1967. Vintage silver gelatin reference photograph from the brutal 1967 film, based on Truman Capote's nonfiction book. Stamped twice on the verso, once in red (Columbia Pictures) and once in black (ORIGINAL PRINT / Pictorial Press, Ltd., with contact information). This image shows Dick (Scott Wilson) taking a rifle from the back seat of his car, just prior to entering the house and committing the vile crime that is the subject of the film. Richard Brooks' unflinching and unsentimental documentary style made for a visualization that matched the power of Capote's most famous book, and remains one of the great meditations on violence in America. 8 x 10 inches. Near Fine.