PETER CUSHING & NEIL BINNEY – FRANKENSTEIN MUST BE DESTROYED (1969) Sickle Scene Behind-the-Scenes Photo
Limited Edition Photograph (learn more)
In stock
PETER CUSHING as Baron Victor Frankenstein faces camera operator NEIL BINNEY in this remarkable black-and-white behind-the-scenes photograph from the opening sickle sequence of FRANKENSTEIN MUST BE DESTROYED (1969). Standing in the doorway of Dr. Heidecke’s surgery in top hat and dark cape, Cushing extends the curved sickle directly toward Binney’s motion-picture camera, while another crew member remains visible at the edge of the set. The photograph exposes the filmmaking apparatus behind one of Hammer’s most violent opening sequences, giving collectors both Cushing in character and the production process within a single frame.
Directed by TERENCE FISHER for Hammer, the film opens with Frankenstein lying in wait for Dr. Heidecke before killing and decapitating him with the sickle; the doorway and surrounding town street were part of a set constructed at EMI-MGM Elstree Studios in Borehamwood. Contemporary archival captioning specifically identifies the cameraman visible here as NEIL BINNEY, who is independently credited as the film’s camera operator, working under director of photography Arthur Grant. Filming ran from 13 January to 26 February 1969, making this an unusually well-documented production image from Cushing’s fifth Hammer appearance as Baron Frankenstein.
Carefully restored from archival photographic materials and professionally lab-developed, this museum-quality photograph is presented uncropped, preserving the complete image area contained in the original archival source. The combination of PETER CUSHING, identified camera operator NEIL BINNEY, the Dr. Heidecke opening sequence, sickle prop and visible Elstree filmmaking setup gives this photograph exceptional documentary interest for collectors of Hammer Films, Cushing’s Frankenstein series and British horror production photography.
Product Enquiry
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.
Related products
-
SEAN CONNERY – THUNDERBALL (1965) Scuba Equipment on Bahamas Beach Behind-the-Scenes James Bond 007 Photo
$38.00 -
CLINT EASTWOOD & DON SIEGEL – DIRTY HARRY (1971) Relaxed On-Set Conversation Behind-the-Scenes Photo
$38.00 -
PETER CUSHING, SUSAN DENBERG, ANTHONY NELSON KEYS & TERENCE FISHER – FRANKENSTEIN CREATED WOMAN (1967) Frensham Ponds Guillotine Location Photo
$30.00 -
CLINT EASTWOOD – DIRTY HARRY (1971) Panavision Camera Behind-the-Scenes Photo
$38.00
