Auction Name: 2026 February 11 - 12 The Yakob Zentner Collection Hollywood/Entertainment Signature® Auction

Lot Number: 14009

Shortcut to Lot: HA.com/66164*14009

Nova Pilbeam in Little Friend, Tudor Rose, Young and Innocent (Gaumont, 1934-37), and Cheer Boys Cheer (Ealing Studios, 1939), 8" x 10" Key Set Photographs (300+). Vintage gelatin silver matte and semi-gloss double-weight 8" x 10.25", glossy 8" x 10", borderless 7.5" x 9.25", 8" x 6", and 6.5" x 4.5" key set photographs of Nova Pilbeam with Cedric Hardwicke, and John Mills in Tudor Rose (85+), with Matheson Long and Lydia Sherwood in Little Friend (68), with Derrick De Marney and Percy Marmont in Young and Innocent (50+) (dir. Alfred Hitchcock), Cheer Boys Cheer (10), The Three Weird Sisters (Pathé Pictures Ltd, 1948) (3), as Peter Pan (London Palladium, 1935) (5) by Alexander "Sasha" Stewart, fashion portraits (40+), gallery portraits by Otto Dyar (19), at home for the Daily Express (15), with credit and Gaumont-British Picture wet stamps on the verso. Fine/Very Fine, with corner crease (2), ink transfer (1), missing corner tip (1), and corner tip stress. Comes with a COA from Heritage Auctions.

Young and Innocent marked a key moment in Alfred Hitchcock's pre-Hollywood career, showcasing his evolving mastery of suspense storytelling and camera technique. Best known for its climactic crane shot revealing the killer's eye twitch in a crowded ballroom, the film blends thriller elements with mistaken-identity romance-hallmarks that would define Hitchcock's later work. Nova Pilbeam, already a breakout star from The Man Who Knew Too Much (1934), anchors the narrative with youthful resolve and emotional clarity.

Tudor Rose was among Gaumont-British's most ambitious historical productions of the 1930s, offering a stylized and emotionally resonant portrayal of Lady Jane Grey. Nova Pilbeam, one of British cinema's rising stars of the period, gave a quiet storm of a performance, solidifying her status following appearances in Hitchcock's The Man Who Knew Too Much and Young and Innocent. The film's tone-melancholy, formal, and morally complex-reflected pre-war British cinema's growing interest in national history as both drama and cautionary tale. This extensive key set forms a nearly complete visual archive of the film's promotional material and represents a rare survival from one of the decade's defining British period dramas.

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