I think there is always a possibility that a print might be found in
a foreign archive... we can only hope.
It would be great to see, even though reviews from the time described
it as a bit dull and slow. maybe all this time later, were a print to
be found, audiences might look past the plodding story line, just for
the fact of seeing Lon Chaney, in motion, as that vampire character.
I know I'd be glued to the screen.
Jeff
On Jun 29, 2017, at 7:59 PM, S Yafet wrote:
Does anyone think that London After Midnight is lost for all time
or that miraculously sometime a print will turn up?
Nathalie
On Thu, Jun 29, 2017 at 7:17 PM, Paul W. Hazen <00000134c196813f-
dmarc-requ...@listserv.american.edu> wrote:
I didn't see any of the paper materials outside of the few framed
ones they had on the walls but I was told almost all of the stills
in the Browning collection were in excellent condition with the
majority of them printed exclusively for Browning's review on
gelatin silver double weight with some on single matte and gloss.
I'm guessing a lot of these stills were singular and never seen
before as a result. I think you can order a catalog from Profiles
(or maybe find the digital version online). Some really unique images.
On Jun 29, 2017, at 3:59 PM, Jeff Potokar <jpotok...@ca.rr.com> wrote:
Congrats on the win, Paul.
And with the cheapest still selling for $4000.00, that truly says
something about what the Browning Collection was all about. Were
all the stills of the same type (double weight) and wonderful
condition?
On Jun 29, 2017, at 1:14 PM, Paul W. Hazen wrote:
I'm a Kubrick collector mostly so I won the "Lolita" stills lot.
Really only needed 2 of the 10 stills but I figure I can turn
around the others pretty easily.
They had about 250-300 stills and other items from the Browning
collection which I think was 157 lots. Probably about 35-40 lots
on Freaks alone and I think the cheapest I saw sell for $4000. It
was majority stills. They had a satchel that held all of the
stills which also went for 10k+.
A lot of the Hurrell stills sold fairly high as well.
Paul
On Jun 28, 2017, at 10:41 PM, Jeff Potokar <jpotok...@ca.rr.com>
wrote:
Congrats on winning the lot you wanted, Paul.
I'm also in So CA and need to make the effort to get to one of
Profiles' auctions. I would also really enjoy seeing some of
this material in person.
Can I ask which lot (item) you won?
And how many pieces, in total, were offered as part of the
Browning Collection? Was everything from his estate comprised of
stills?
Jeff
On Jun 28, 2017, at 8:32 PM, Paul W. Hazen wrote:
This was my first time in person, I've usually been on the
phone as well. There was about 20-25 people in the back room
where the auction was. They had about 10 or so phone banks set
up for the phone bidders and a couple people running the online
bidding. Was all very professional and had my own paddle and
everything. They had a good dinner spread as well.
They had a lot of the consignments in display cases including
all the big ones and the people that worked there were really
friendly and answered all of my questions. I didn't see too
much of the paper materials displayed, mostly just the props,
but it was pretty cool seeing some of them close up.
It's definitely an interesting experience and I wouldn't
hesitate to sit it in on another one.
The auction did go a lot longer than I anticipated (I was only
there for one lot in particular - which I won) but it was no
fault of their own, they just had a ton of bids. There were
some guys that were there for almost 12 hours when I left after
4 hours.
Paul
On Jun 28, 2017, at 7:51 PM, S Yafet <sya...@gmail.com> wrote:
I guess the provenance was almost impossible to pass up. Did
manage to get a Browning Dracula still so I don't feel too bad
about London After Midnight.
What's it like at their auctions? I've always done the phone.
Nathalie
On Wed, Jun 28, 2017 at 10:37 PM, Paul W. Hazen
<phazenme...@aol.com> wrote:
I was in the room during the Profiles Browning bidding session
and was truly amazed at some of the prices the Browning stills
were getting especially the Freaks stills which seem to be
have been bought primarily by the same two phone bidders.
Profiles did a great job on that acquisition and auction and
I'm looking forward to the Debbie Reynolds auction in September.
Paul
On Jun 28, 2017, at 7:26 PM, S Yafet <sya...@gmail.com> wrote:
Wow! Naively, I thought it would be great to have something
of Tod Browning's from London After Midnight. Then, I
realized that the four stills I liked the best were climbing
higher and higher. Wound up at 18K. My phone bidder helper
guy told me I could keep one and sell the other three.
Well, no guarantees on something like that but I can't say I
wasn't seriously tempted. (I thought maybe I'd worry about
the money later.
Nathalie
On Wed, Jun 28, 2017 at 3:18 PM, Scott Burns
<sbu...@columbus.rr.com> wrote:
Wish I had cash like this laying around…(guess I’ll just stay
with collecting paper).
A complete R2D2 just sold for $2.3 million at the Profiles in
History movie memorabilia auction. Not being a prop
collector, I wonder is this price record setting?
From the catalog:
1298. Complete “R2-D2” unit assembled from original
components spanning the original Star Wars trilogy and
Episodes I & II. (TCF, 1977 - 2002) A complete film used R2
unit is not known to be in the public domain – this R2-D2
offering represents the pinnacle of the Star Wars collecting
universe. For the productions following Star Wars: A New
Hope, to save time in meeting production deadlines, R2
components were reused from the previous Star Wars films. As
filming progressed, R2 units were upgraded and refurbished,
with outdated components being retired. This process has been
confirmed by numerous crewmembers who worked on the Star Wars
film franchise. This R2-D2, constructed of aluminum, steel
and fiberglass elements, measuring 43 in. tall x 29.5 in.
wide x 20 in. deep (in current pose), was put together over
many years by sourcing original components and assembling
them as a complete R2-D2. The dome was one of the few hero
aluminum domes made for R2 actor Kenny Baker in the first
film (A New Hope, 1977) and is the only one known in the
public domain. It was used throughout the original trilogy as
well as Episode I and can be screen matched by the fiber
optic array to scenes in Return of the Jedi and Episode I. It
features a handle to articulate the front eye from inside the
unit by Kenny Baker. The metal “greeblies” (fine details
added to make the device appear more complex) inserted into
the front and rear of the body, and those on the feet, were
made for A New Hope and used on R2 units throughout the
original trilogy. The left and right legs were made for
Empire Strikes Back and were acquired as complete items. One
leg retains the Empire paint scheme and the other from Jedi.
The middle and left foot were used on an original trilogy R2
and were used as the master pattern for the feet created for
Episode I. The right foot is production made for Episode I
but not used. The small opening hatch on the back of the body
was used in Episode II. The barrel of the body was made for
Episode I and it was subsequently painted and detailed for
this R2 unit. Given the ad hoc nature of production
practices, any “complete” existing R2-D2 units from the first
trilogy (in studio hands) would be a compilation very similar
to this R2-D2 unit offered here. No internal mechanics or
workings are present. Not merely a prop, costume piece or
filming miniature, R2-D2 is a major, beloved character in the
Star Wars universe. Without question, this is the finest
piece ever offered from this incredible franchise.
One of the most instantly recognizable pieces of pop culture
in existence.
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