Captivating theatrical publicity shot with a close-up of Peter Cushing (Lancelot Canning).
Torture Garden is a 1967 British horror compendium from Amicus Productions, that has multiple segments foretold by a man in a carnival. Five people visit a fairground sideshow run by showman Dr. Diabolo (Burgess Meredith). Having shown them a handful of haunted house-style attractions, he promises them a genuinely scary experience if they will pay extra. Their curiosity gets the better of them, and the small crowd follows him behind a curtain, where they each view their fate through the shears of an effigy of the female deity Atropos (Clytie Jessop). The film was meant to star Peter Cushing and Christopher Lee; however, Columbia, which was providing the budget, wanted two American names, and this led to Palance and Meredith's casting.
In Enoch, a greedy playboy (Michael Bryant) takes advantage of his dying uncle (Maurice Denham), and falls under the spell of a man-eating cat.
In Terror Over Hollywood, a Hollywood starlet (Beverly Adams) discovers her co-stars are androids.
In Mr. Steinway, a possessed Bechstein grand piano by the name of Euterpe becomes jealous of its owner (John Standing)'s new lover (Barbara Ewing) and takes revenge.
In The Man Who Collected Poe, a Poe collector (Jack Palance) murders another collector (Peter Cushing) over a collectible he refuses to show him, only to find it is Edgar Allan Poe himself (Hedger Wallace).
In an epilogue, the fifth patron (Michael Ripper) goes berserk and uses the shears of Atropos to "kill" Dr. Diabolo in front of the others, causing them to panic and flee. It is then shown that he is working for Diabolo, and the whole thing was faked.
As they congratulate each other for their acting, it is then revealed that Palance's character had not run off like the others, and he too commends their performance, sharing a brief exchange with Diabolo and lighting a cigarette for him before leaving (using the same lighter he borrowed in his vision implying the events actually happened). Diabolo puts the shears back into the hand of Atropos, and then breaks the fourth wall by addressing three words to the audience, thereby revealing himself actually to be the devil.
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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.
