Search Results: New York Underground from Royal Books, Inc.

New York: Andy Warhol Film, 1968. Vintage poster for the 1967 film. The film originally screened at the Hudson Theater in New York in a 99-minute version. In early 1968, a 110-minute cut played at the Cinematheque 16 in Los Angeles. This poster, which mentions the Los Angeles screenings and contains a blurb from the L.A. Free Press, corresponds to the latter version. A final 95-minute cut was completed later in 1968, and is the version available today. Andy Warhol's first attempt to make a "commercial" sexploitation film, eight unconnected scenes in which actor Tom Baker attempts to convince various women to have sex with him. Originally intended to star The Doors' Jim Morrison and unsimulated sex, the finished film contains neither. 19 x 25 inches, rolled, on archival linen, with minor professional repair and restoration. Near Fine. Murphy, The Black Hole of the Camera. Warholstars.

New York: Cinevista / Z Films, 1982. Two vintage press kits for the 1982 film. Illustrated pocketed folders, one containing over 15 copied reviews of the film and several pages of promotional material, and the other containing nine copied reviews, a color flyer advertising the film, and several gatherings of promotional material. Both kits with Cinevista business cards stapled to the inner pockets. Aliens seeking opiates released during human sex land their UFO on top of a New York apartment building, where they witness the antics of bisexual, androgynous fashion model Margaret and her cocaine-addled friends. A bizarre new wave science fiction film produced on a shoestring budget, now considered a cult classic broadly responsible for popularizing the electroclash club scene of the early 2000s. Set and shot in downtown New York. Folders Very Good plus, lightly rubbed. Promotional material and copied reviews Fine.

New York: Andy Warhol Film, 1968. Vintage borderless photograph of Joe Dallesandro and Tom Hompertz from the 1968 film. Hilarious and tedious, Andy Warhol and Paul Morrissey's satirical take on Hollywood Westerns features five gay cowboys (including Dallesandro and Hompertz), ranch lady Romana D'Alvarez (Viva) and her stoned nurse (Taylor Mead), handsome drifter Julian (Tom Hompertz), and a drag queen Sheriff (Francis Francine). Set in and shot on location in Arizona. 9.5 x 7.25 inches. Near Fine, some light creasing and light edgewear.

New York: Contemporary Films, 1969. Vintage reference photograph from the 1969 film, showing Allen Ginsberg with Peter and Julius Orlovsky. Director Robert Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of… Read More

New York: Contemporary Films, 1969. Vintage reference photograph from the 1969 film, showing Robert Frank, Peter Orlovsky, and Allen Ginsberg. Printed mimeo snipe affixed to the verso, along with the stamp of Israel Film Archive. Director Robert Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as… Read More

New York: Two Faces / New Yorker Films, 1969. Vintage poster for the 1969 film, an experimental mix of documentary and fiction. Poster designed by Robert Frank. Director Robert Frank's first feature film, in which he follows poet Peter Orlvosky and his mentally ill brother Julius as they move through the late 1960s Beat scene, while Peter tries to care for his mostly catatonic brother. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin. The film examines the boundaries of reality and sanity, and features the screenwriting debut of Sam Shepard and the first feature film appearance of Christopher Walken. The film was restored and released by Steidl in 2007, along with a book publication outlining the film. From the Steidl book: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal… Read More

New York: New Yorker Films, 1969. Vintage studio still photograph taken on the set of the 1969 film, showing director Robert Frank capturing a passionate scene between two men. Stamp of photographer Tom Conroy on the verso. Frank's first feature film and Sam Shepard's screenwriting debut, following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic, mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off, he is replaced in the film by actor Joseph Chaikin, pushing the boundaries of cinematic reality. The film was restored and released by Steidl in 2007, alongside a book publication outlining the film, which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside,' the poetic libertinage of the Beats, the marginal in a central role. It celebrates the return of the poetic essay as assemblage, the… Read More

Burbank, CA: Warner Brothers, 1973. Complete-as-issued set of 15 black-and-white studio still photographs from the 1973 film. Housed in the original sack envelope as issued, rubber stamped "MEAN STREETS / 15 STILLS / B." Scorsese's breakthrough film, one of the establishing pillars of New Hollywood cinema, setting the template that would guide the best of his work to follow. Set in New York City and shot on location there. 8 x 10 inches. Near Fine. Sack Very Good Plus with minor wear.

Burbank, CA: Warner Brothers, 1973. Vintage black-and-white studio still photograph of director Martin Scorsese on the set of the 1973 film. Lighting equipment is visible in the background, as Scorsese confers with Harvey Keitel and Cesare Danova on a dinner scene. Scorsese's breakthrough film, one of the establishing pillars of New Hollywood cinema, setting the template that would guide the best of his work to follow. Set in New York City and shot on location there. 8 x 10 inches. Near Fine.

Beverly Hills, CA: United Artists, 1969. Vintage studio still photograph from the 1969 film, showing actors Jon Voight, Paul Rossilli, Viva, and Dustin Hoffman. French distributor stamp on the verso. Based on the 1965 novel by James Leo Herlihy. One of the earliest films to receive an X rating and the only X-rated release to ever win an Academy Award for Best Picture, also winning for Best Director and Best Screenplay. Nominated for four other Academy Awards, including Best Actor for both Hoffman and Voight, and Best Supporting Actress for Sylvia Miles. Set and shot on location in Big Spring, Texas, New York City, and Miami, Florida. 10 x 8 inches. Very Good plus, with pinholes at the corners. National Film Registry.

N.p.: N.p., 1975. Two vintage reference photographs from the 1975 film. Printed snipe label affixed to the bottom edge of the rectos, and both photographs with the stamp of photographer Babette Mangolte on the verso. An irreverent look at Mozart's relationships with the three Weber sisters, punctuated with arias from his operas. Noted independent director Mark Rappaport's second feature film, following "Casual Relations" in 1974. 10 x 8 inches. Near Fine.

N.p.: N.p., 1965. Two vintage reference photographs from the 1965 film. A short, mostly improvised film, shot on Fire Island by Andy Warhol and longtime collaborators Paul Morrissey and Chuck Wein over Labor Day weekend in 1965, about a young, blond hustler and his humorous and strange interactions with his older clientele. A predecessor to "Midnight Cowboy" (1969). 10 x 8 inches. Near Fine.

New York: Andy Warhol Film, 1967. Vintage poster for the 1967 film. Two versions of the film were shot - one with an all nude, all male cast that was never released publicly, and one with both male and female actors wearing G-strings, which was originally screened at the Hudson Theater in New York. A stylistic breakthrough, in that the film entirely jettisons any pretense to plot, dramatic action, or sex found in Andy Warhol's previous sexploitation experiments, instead featuring extended monologues by superstar Viva, and conversations with others that touch on a variety of controversial topics. One of Warhol's most overtly political films, also starring draft resister Andrew Duggan, and the first pairing of Viva with Taylor Mead, who would appear together in several more Warhol films. 19 x 25 inches, rolled, on archival linen, with a small amount of professional restoration and repair. Near Fine, with minor soil. Murphy, The Black Hole of the Camera. Warholstars.

N.p.: N.p., 2014. Photograph of the Velvet Underground and Nico, shot by Billy Name circa 1967 and struck by him in 2014. SIGNED by Billy Name in silver ink on the recto, and with his stamp on the verso. Name, who had gotten his start in theatre, met Andy Warhol in the early 1960s, and appeared in Warhol's 1963 films "Haircut No. 1-3." Name was also responsible for covering the Factory in silver foil, and began living there, documenting the day to day and artistic lives of Warhol, his collaborators, and superstars. "The Silver Age," an exhibition of Name's Factory photographs was held at the Milk Gallery in New York from November 12 to December 7, 2014, and at Serena Morton II in London from September 30 to October 23, 2015. A book was published by Reel Art Press in conjunction with the exhibition in 2014. The photograph on offer here appears in the book, but is not among the prints currently on offer by either gallery, with prints from the exhibitions being issued in editions of various sizes… Read More

N.p.: N.p., 1980. Original flyer for a performance by post-punk band Bush Tetras at the legendary club Hurrah on March 26, 1980. Although persistently eluded by mainstream success, the band charted two singles in 1981 and 1982 ("Too Many Creeps" and "Can't Be Funky," respectively). 11 x 8.5 inches. Xerographically duplicated, as issued. Fine.

N.p.: N.p., 1970. Vintage portrait photograph of director Paul Morrissey in 1970, sitting outdoors in upstate New York, during the week long Flaherty Seminar. Provenance label and stamp of photographer Amalie R. Rothschild on the verso, along with a printed snipe. Photographer and filmmaker Amalie R. Rothschild captured many prominent figures in the New York underground music and arts scene from 1968 to 1974. She is a co-founder of New Day Films, and in 2000 published a photography book, "Live at the Fillmore East: A Photographic Memoir." By 1970 Morrissey had directed two of three films in his trilogy with Joe Dallessandro ("Flesh" and "Trash," to be followed by "Women in Revolt"). Early portraits of him are scarce. 8 x 10 inches. Very Good plus, lightly wavy at the top edge, and slightly worn at the corners.

New York: The Living Theatre, 1960. Vintage flyer for an experimental music show, held at The Living Theatre on March 14, 1960. Flyer advertises performances by John Cage, George Brecht, Alfred Hansen, Allan Kaprow, Richard Maxfield, John Herbert McDowell, and Robert Rauschenberg. Among the pieces performed were Kaprow's "Sound Piece 1958," Brecht's "Candle Piece for Radios" and "Card Piece for Voice," Rauschenberg's "Telephone Music," Maxfield's "Cough Music" and "Symphonie Pastorale," Cage's "Imaginary Landscape No. 5" and "Suite for Toy Piano," Hansen's "Bibbe's Tao," and McDowell's "Music for a While." Founded in 1947, The Living Theatre laid the foundation for a robust underground art scene in the New York City. After more than a decade of successful original radical stage productions and adaptations of works by playwrights such as Bertold Brecht and Gertrude Stein, founders Judith Malina and Julian Beck used their space and resources for the nourishment of the arts more broadly, offering… Read More

New York: N.p., 1972. Vintage double weight portrait photograph of Roman Polanski, taken by Warhol superstar Gerard Malanga on Polanski's driveway in London. With Malanga's stamp on the verso, along with a printed label identifying Polanski. 8 x 10 inches. Fine.

New York: The Living Theatre, 1960. Vintage flyer for a performance by John Cage and David Tudor, held at The Living Theatre on January 25, 1960. The flyer advertises a performance of "Indeterminacy: New Aspect of Form in Instrumental and Electronic Music," in which Cage read 90 stories, each a minute long, while Tudor played miscellaneous selections from Cage's "Concert for Piano and Orchestra" and prerecorded music from Cage's "Fontana Mix." Founded in 1947, The Living Theatre laid the foundation for a robust underground art scene in the New York City. After more than a decade of successful original radical stage productions and adaptations of works by playwrights such as Bertold Brecht and Gertrude Stein, founders Judith Malina and Julian Beck used their space and resources for the nourishment of the arts more broadly, offering the theatre for literary benefits, film screenings, and musical performances, such as the one advertised here. 8.5 x 11 inches. Very Good plus, with light offsetting… Read More

New York: RCA Records, 1972. Vintage photograph of Lou Reed in performance, taken on the opening night of his first UK tour in support of the landmark album "Transformer." The performance venue was King's Cross Scala Cinema in London, on July 14, 1972. Cropping annotations on the verso, along with two date stamps (2/6/1975 and 5/18/1991). 8 x 10 inches. Very Good plus, with light wear and creasing.