Sensual studio publicity shot featuring the sultry redhead temptress Tina Louise (Carmel). Here, she's sitting on a wooden fence by a running stream, wearing a button down, long sleeve shirt with one leg propped up against a wooden post. Tina began her career on stage in the mid-1950s before landing her breakthrough role in 1958 drama film God's Little Acre for which she received the Golden Globe Award for New Star of the Year.
The Good Guys and the Bad Guys is a 1969 American comedy Western film directed by Burt Kennedy. It stars Robert Mitchum and George Kennedy. The movie was filmed on location in Chama, New Mexico, and other locations in New Mexico, Thousand Oaks, California, Silverton, Colorado, and the Warner Bros. Burbank Studios, California. Many critics failed to comprehend the comedic nature of the film. Howard Thompson of The New York Times said, "Whatever possessed these three actors Mitchum, Kennedy and Balsam to amble through such a dinky prairie oyster stumps us. And so does the uncertain tone of the picture, methodically directed by Burt Kennedy, which only toward the end asserts itself, clearly and lamely, as a good-natured spoof."
Variety wrote that the film "provides what in today's market is acceptable family fare, laughs overshadowing the serious moments." Roger Ebert gave the film 2.5 stars out of 4, calling it "a fairly good Western but not good enough." Gene Siskel of the Chicago Tribune also gave it 2.5 stars out of 4, calling it "a pleasant enough oater that is low on violence and drama. It won't offend a soul, and is merely made for that catch-all evaluation, 'decent entertainment.'"
Charles Champlin of the Los Angeles Times called the film "slow, gross, heavy-handed, neither funny nor sweetly sad." Gary Arnold of The Washington Post wrote, "Burt Kennedy's direction of this hokum is lively and like-able, but I'd prefer an older sort of hokum: Western melodrama with comic interludes or undercurrents, like 'Ride the High Country' and 'True Grit' at its infrequent best and William Wyler's 'The Westerner,' rather than deliberate, gratuitous spoofing."
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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.
