Very seductive iconic theatrical publicity shot featuring the voluptuous English actress and pin up model Valerie Leon (Margaret Fuchs/Queen Tera). Here, this busty Hammer Glamour temptress is sitting on the end of an antique "ball and claw foot" Chippendale bench in her sexy and revealing black nightgown, proudly showing off those great legs.
Blood from the Mummy's Tomb is a 1971 British horror film starring Andrew Keir, Valerie Leon, and James Villiers. It was director Seth Holt's final film, and was loosely adapted from Bram Stoker's 1903 novel The Jewel of Seven Stars. The film was released as the support feature to Dr. Jekyll and Sister Hyde. Besides providing a rare leading role for Valerie Leon, the film is notable for its troubled production. Writer Chris Wicking said the film was one of the last projects that James Carreras brought to Hammer.
Wicking wanted to use the title of the book but Carreras did not. They brainstormed titles and came up with Blood from the Mummy's Tomb which Wicking thought they would never use but they did. The job of directing went to Seth Holt, whose films were admired by producer Howard Brandy. Holt had a strong critical reputation for making such films as The Nanny but had not made a movie in two years. As Holt said in 1971: "I haven't been directing because I haven't been offered anything to direct".
Brandy later claimed Wicking's script was "unshootable" and that Holt constantly rewrote it. He also says he and Holt wanted to cast Amy Grant in the lead but Sir James Carreras insisted on Valerie Leon. Peter Cushing was cast in the film and completed one day's filming before leaving the production after his wife was diagnosed with emphysema. Mr. Cushing was replaced by Andrew Keir. Director Seth Holt died of a heart attack five weeks into the six-week shoot, collapsing into cast member Aubrey Morris's arms and dying on set.
Michael Carreras asked Don Sharp to take over but the director was unable to as he had signed to direct a film in Israel for the producer of Puppet on a Chain (this film was ultimately not made). AllMovie's review of the film was favorable, commending its "glamorous style" and "creepy atmosphere". Empire magazine gave it 3 out of 5. The New York Times called it "tremendous fun, skillful and wonderfully energetic". Variety called it "polished and well-acted but rather tame".
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Kodak Professional Endura Paper
Kodak Endura papers provide an incredible amount of detail and smooth transition of tones. Designed for the professional photographer in mind, looking for a more traditional photo print style, Kodak Endura provides an extended print life and color gamut almost at the level of a high end fine art paper print.
Archival Matte Paper
Archival Matte Paper, also known as Moab Lasal Photo Matte, is our house stock fine art paper and is an economical favorite for fine art reproductions and photo prints. It features a smooth surface, heavy weight (230 g, 9.5-mil), neutral white, matte paper engineered for accurate color reproduction that provides high contrast and high-resolution output. This paper is acid-free, making it the perfect choice for both photography & fine art reproductions.
Giclee William Turner Paper by Hahnemühle
The William Turner by Hahnemühle is one of the most popular papers used in the Giclee printing industry. This is a 310g natural white mould made natural line paper with 100% rag content making it highly archival. It has a slight coarse texture which gives photos and artwork an elegant look. These fine art paper prints (also known as Giclee) are ordered by galleries, individual artists and photographers. The papers and inks are not only archival but use some of the most accurate print technology for full color prints.
- Giclee prints use very expensive archival pigmented inks.
- Highest level of color gamut available in printing (12 color printing).
- Exceptional black & white printing.
- Fade resistant, pigmented inks which provide a superior color range compared to other types of inks. Widely preferred in fine art and photography circles.
- We ONLY use professional grade fine art and photo paper that resist yellowing and aging.
Framing
We offer wood and metal frames, custom cut & joined to order. Each framed print includes hanging hardware and foamcore backer.
Matting
We use conservation grade 100% virgin alpha-cellulose 2 ply mats with white core. Acid-free and lignin-free, these are both face resistant and meet all conservation quality standards set by the Fine Art Trade Guild. Mats are digitally cut for ultimate precision. The window will be 1/8″ smaller than the print dimensions.
Glazing (Acrylic Glass)
We offer custom cut panes of shatter-proof, acrylic glass, to protect your valuable artwork and prints.
Premium Clear
Framing grade clear acrylic is shatter resistant and lightweight.
Reflection Control
With its matte finish, Tru Vue Reflection Control® Acrylic scatters light to diminish unwanted glare.
Conservation Clear
Tru Vue Conservation Clear® Acrylic is a framing industry staple, blocking up to 99% of UV rays for ultimate protection.
Conservation Reflection Control
Tru Vue Conservation Reflection Control® Acrylic scatters and diffuses light to reduce unwanted glare. Blocks up to 99% of UV rays.
