11 046 résultats
1933réf. 131892Munich / Paris: UFA / L'Alliance Cinematographique Europeenne 1933. Two vintage black-and-white still photographs from the original French release of the 1933 film. With the UFA logo at the lower left corner of each. Each still mounted on UFA / ACE boards as issued with credit for both studios and text in French. A late attempt by UFA to reach a broader European market this joint production was filmed in French shot in Spain and Germany and released to the French market. Featuring an early supporting appearance by Simone Simon shown in a still here with Jean Gabin with whom she would go on to co-star in Jean Renoir's classic "La Bete Humaine." Both photographs 10.5 x 8.5 inches Near Fine with some faint scratching. Boards 15.75 x 13.25 inches Very Good condition with multiple pinholes a few brief dampstains and minor chipping. UFA / L'Alliance Cinematographique Europeenne unknown
2009réf. 1258592009 Editions Versant Sud - Collection "Au fil de la BD" dirigée par Jean Auquier - 2009 - In-4, cartonnage illustrée - 159 pages - Nombreuses illustrations en couleurs dans le texte
1962réf. 150683N.p.: N.p. 1962. Two vintage borderless reference photographs from the 1962 film one of Michelangelo Antonioni with Alain Delon and Monica Vitti and one of Antonioni and crew shooting a scene in Rome from scaffolding built in the water. One with French "L'Eclipse" stamp and provenance stamp of film historian "Maurice Bessy" on verso one with "P.I.P." and "Copyright" stamps on verso. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Antonioni's modernity trilogy all starring Vitti preceded by "L'avventura" 1960 and "La notte" 1961. Awarded the Jury Special Prize and nominated for the Palme d'Or at the 1961 Cannes Film Festival. Shot on location in Rome and Verona Italy. 6.75 x 9.25 inches and 9.5 x 7 inches. Very Good plus with light creasing and edgewear. Criterion Collection 278. Rosenbaum 1000. Scorsese My Voyage to Italy. Vogel Film as a Subversive Art. N.p. unknown books
1962réf. 153200Rome: Cineriz 1962. Vintage borderless reference photograph from the 1962 film showing actor Alain Delon leaning against a fence. With a mimeo snipe on the verso along with the stamps of Keystone Photo and Publifoto. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Michelangelo Antonioni's modernity trilogy preceded by "L'avventura" 1960 and "La notte" 1961. Shot on location in Rome and Verona Italy. 7.25 x 9.5 inches. Very Good plus with light creasing to the bottom left corner reinforced with white paper tape on the verso. Criterion Collection 278. Rosenbaum 1000. Scorsese My Voyage to Italy. Vogel Film as a Subversive Art. Cineriz unknown books
1962réf. 150414Rome: Cineriz 1962. Vintage borderless reference photograph of director Michelangelo Antonioni and actors Monica Vitti and Alain Delon during a cafe scene on the set of the 1962 film. With a mimeo snipe on the verso along with the stamps of Keystone Photo and Publifoto and a stamp noting No. 8710. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Antonioni's modernity trilogy all starring Vitti preceded by "L'avventura" 1960 and "La notte" 1961. Awarded the Jury Special Prize and nominated for the Palme d'Or at the 1961 Cannes Film Festival. Shot on location in Rome and Verona Italy. 10.5 x 8.5 inches. Near Fine. Criterion Collection 278. Rosenbaum 1000. Scorsese My Voyage to Italy. Vogel Film as a Subversive Art. Cineriz unknown books
1962réf. 150414Rome: Cineriz 1962. Vintage borderless reference photograph of director Michelangelo Antonioni and actors Monica Vitti and Alain Delon during a cafe scene on the set of the 1962 film. With a mimeo snipe on the verso along with the stamps of Keystone Photo and Publifoto and a stamp noting No. 8710. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Antonioni's modernity trilogy all starring Vitti preceded by "L'avventura" 1960 and "La notte" 1961. Awarded the Jury Special Prize and nominated for the Palme d'Or at the 1961 Cannes Film Festival. Shot on location in Rome and Verona Italy. 10.5 x 8.5 inches. Near Fine. Criterion Collection 278. Rosenbaum 1000. Scorsese My Voyage to Italy. Vogel Film as a Subversive Art. Cineriz unknown
1962réf. 150683N.p.: N.p. 1962. Two vintage borderless reference photographs from the 1962 film one of Michelangelo Antonioni with Alain Delon and Monica Vitti and one of Antonioni and crew shooting a scene in Rome from scaffolding built in the water. One with French "L'Eclipse" stamp and provenance stamp of film historian "Maurice Bessy" on verso one with "P.I.P." and "Copyright" stamps on verso. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Antonioni's modernity trilogy all starring Vitti preceded by "L'avventura" 1960 and "La notte" 1961. Awarded the Jury Special Prize and nominated for the Palme d'Or at the 1961 Cannes Film Festival. Shot on location in Rome and Verona Italy. 6.75 x 9.25 inches and 9.5 x 7 inches. Very Good plus with light creasing and edgewear. Criterion Collection 278. Rosenbaum 1000. Scorsese My Voyage to Italy. Vogel Film as a Subversive Art. N.p. unknown
1962réf. 153200Rome: Cineriz 1962. Vintage borderless reference photograph from the 1962 film showing actor Alain Delon leaning against a fence. With a mimeo snipe on the verso along with the stamps of Keystone Photo and Publifoto. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Michelangelo Antonioni's modernity trilogy preceded by "L'avventura" 1960 and "La notte" 1961. Shot on location in Rome and Verona Italy. 7.25 x 9.5 inches. Very Good plus with light creasing to the bottom left corner reinforced with white paper tape on the verso. Criterion Collection 278. Rosenbaum 1000. Scorsese My Voyage to Italy. Vogel Film as a Subversive Art. Cineriz unknown
1967réf. 146428Rome: Arco 1967. Draft script for the 1967 Italian film. Text in English printed in Rome. Based on the 1923 novel wherein a former pirate falls in love with a mentally ill young woman who falls in love instead with a French naval officer. Set in France shot on location in Italy. Blue wrappers with the film's English title printed on a red label and affixed to the front wrapper. Title page present with the film's English and Italian titles given. 207 leaves with last page of text numbered 206. Mimeograph duplication rectos only. Pages Very Good plus wrapper Very Good with a strip of adhesive residue likely from tape running vertically across the rear wrapper binding bound with two gold brads. Arco unknown books
1960réf. 150432N.p.: N.p. 1960. Vintage borderless reference photograph of director Michelangelo Antonioni on the set of the 1960 film. With the stamp of Promopress agency on the verso along with manuscript pencil annotations. A young woman disappears during a cruise in the Mediterranean leading her lover and best friend to search for her. The first film in Antonioni's famed trilogy followed by "La Notte" 1961 and "L'eclisse" 1962. Shot on location throughout Italy including in Rome the Aeolian Islands and Sicily. 7 x 9.5 inches. Very Good plus overall. Criterion Collection 98. Ebert I. Godard Histoires du cinema. Rosenbaum 1000. Scorsese My Voyage to Italy. Vogel Film as a Subversive Art. N.p. unknown books
1960réf. 167082Paris: Pari Films 1960. Vintage oversize borderless reference photograph from the 1960 film showing actress Monica Vitti. With the stamp of Pari Films on the verso along with manuscript pencil annotations. A young woman disappears during a cruise in the Mediterranean leading her lover and best friend to search for her. The first film in Antonioni's famed trilogy followed by "La Notte" 1961 and "L'eclisse" 1962. Shot on location throughout Italy including in Rome the Aeolian Islands and Sicily. 12 x 9 inches. Near Fine. Criterion Collection 98. Ebert I. Godard Histoires du cinema. Rosenbaum 1000. Scorsese My Voyage to Italy. Vogel Film as a Subversive Art. Pari Films unknown books
1967réf. 146428Rome: Arco 1967. Draft script for the 1967 Italian film. Text in English printed in Rome. Based on the 1923 novel wherein a former pirate falls in love with a mentally ill young woman who falls in love instead with a French naval officer. Set in France shot on location in Italy. Blue wrappers with the film's English title printed on a red label and affixed to the front wrapper. Title page present with the film's English and Italian titles given. 207 leaves with last page of text numbered 206. Mimeograph duplication rectos only. Pages Very Good plus wrapper Very Good with a strip of adhesive residue likely from tape running vertically across the rear wrapper binding bound with two gold brads. Arco unknown
1960réf. 150432N.p.: N.p. 1960. Vintage borderless reference photograph of director Michelangelo Antonioni on the set of the 1960 film. With the stamp of Promopress agency on the verso along with manuscript pencil annotations. A young woman disappears during a cruise in the Mediterranean leading her lover and best friend to search for her. The first film in Antonioni's famed trilogy followed by "La Notte" 1961 and "L'eclisse" 1962. Shot on location throughout Italy including in Rome the Aeolian Islands and Sicily. 7 x 9.5 inches. Very Good plus overall. Criterion Collection 98. Ebert I. Godard Histoires du cinema. Rosenbaum 1000. Scorsese My Voyage to Italy. Vogel Film as a Subversive Art. N.p. unknown
1960réf. 167082Paris: Pari Films 1960. Vintage oversize borderless reference photograph from the 1960 film showing actress Monica Vitti. With the stamp of Pari Films on the verso along with manuscript pencil annotations. A young woman disappears during a cruise in the Mediterranean leading her lover and best friend to search for her. The first film in Antonioni's famed trilogy followed by "La Notte" 1961 and "L'eclisse" 1962. Shot on location throughout Italy including in Rome the Aeolian Islands and Sicily. 12 x 9 inches. Near Fine. Criterion Collection 98. Ebert I. Godard Histoires du cinema. Rosenbaum 1000. Scorsese My Voyage to Italy. Vogel Film as a Subversive Art. Pari Films unknown
1970réf. 150426N.p.: N.p. 1970. Vintage borderless double weight reference photograph from the 1970 French film showing actress Simone Signoret and an unknown crew member. With manuscript pencil and ink annotations on the verso regarding cropping and the stamp of Pariscope. Based on the 1968 book by Artur London which detailed London's own experiences as a defendant during the Slansky trial a 1952 show trial held by the Czechoslovak Republic against 14 members of the Communist Party of Czechoslovakia which resulted in the deaths of 11 defendants. Set in Czechoslovakia and shot on location in France. 9 x 6 inches. Very Good plus with brief wear to the left edge. Criterion Collection 759. N.p. unknown books
1970réf. 150426N.p.: N.p. 1970. Vintage borderless double weight reference photograph from the 1970 French film showing actress Simone Signoret and an unknown crew member. With manuscript pencil and ink annotations on the verso regarding cropping and the stamp of Pariscope. Based on the 1968 book by Artur London which detailed London's own experiences as a defendant during the Slansky trial a 1952 show trial held by the Czechoslovak Republic against 14 members of the Communist Party of Czechoslovakia which resulted in the deaths of 11 defendants. Set in Czechoslovakia and shot on location in France. 9 x 6 inches. Very Good plus with brief wear to the left edge. Criterion Collection 759. N.p. unknown
1960réf. 153973London: Contemporary Films 1960. Eight vintage double weight studio still photographs from the 1960s UK re-release of the 1934 French film. Manuscript ink annotations identifying scenes on the versos. From the archive of film historian and author Joel Finler. A classic of French cinema Jean Vigo's only theatrical feature a film that in the minds of many including Francois Truffaut predicted and even helped define the French New Wave that would come 20 years later. Shot on location in Paris Yvelines and Seine-Maritime France. 10 x 8 inches. Four Near Fine four Very Good plus with faint dampstains to the bottom edges. Ebert I. Rosenbaum 1000. Contemporary Films unknown books
1960réf. 153973London: Contemporary Films 1960. Eight vintage double weight studio still photographs from the 1960s UK re-release of the 1934 French film. Manuscript ink annotations identifying scenes on the versos. From the archive of film historian and author Joel Finler. A classic of French cinema Jean Vigo's only theatrical feature a film that in the minds of many including Francois Truffaut predicted and even helped define the French New Wave that would come 20 years later. Shot on location in Paris Yvelines and Seine-Maritime France. 10 x 8 inches. Four Near Fine four Very Good plus with faint dampstains to the bottom edges. Ebert I. Rosenbaum 1000. Contemporary Films unknown
1990réf. 11891990 N° 45 - Mars 1971 (Réédition de 1990) - Librairie Duponchelle - 1990 - In-8, broché, couverture illustrée - 76 pages - Photographies de Franco Pinna et illustrations de Frederico Fellino en N&B hors-texte
2013réf. ALEP00160Nouveau Monde éditions. Collection "Cinéma". In-8 (14,2 x 22,7 cm), dos carré collé, 462 pages.
1969réf. 148270Paris: Cocinor 1969. Vintage French lobby card from the 1969 film. As a theater group prepares for a production of Racine's "Andromanque" we follow the collapse of the marriage between Claire Bulle Ogier the actress and Sebastien Jean-Pierre Kalfon the director of the production. 11.75 x 9.5 inches. Very Good plus eleven with pinholes at corners. Rosenbaum 1000. Cocinor unknown books
1969réf. 148268Paris: Cocinor 1969. Collection of 17 vintage black-and-white French lobby cards from the 1969 film. As a theater group prepares for a production of Racine's "Andromanque" we follow the collapse of the marriage between Claire Bulle Ogier the actress and Sebastien Jean-Pierre Kalfon the director of the production. 11.75 x 9.5 inches. Very Good plus eleven with pinholes at corners. Rosenbaum 1000. Cocinor unknown books
1969réf. 148270Paris: Cocinor 1969. Vintage French lobby card from the 1969 film. As a theater group prepares for a production of Racine's "Andromanque" we follow the collapse of the marriage between Claire Bulle Ogier the actress and Sebastien Jean-Pierre Kalfon the director of the production. 11.75 x 9.5 inches. Very Good plus eleven with pinholes at corners. Rosenbaum 1000. Cocinor unknown
1969réf. 148268Paris: Cocinor 1969. Collection of 17 vintage black-and-white French lobby cards from the 1969 film. As a theater group prepares for a production of Racine's "Andromanque" we follow the collapse of the marriage between Claire Bulle Ogier the actress and Sebastien Jean-Pierre Kalfon the director of the production. 11.75 x 9.5 inches. Very Good plus eleven with pinholes at corners. Rosenbaum 1000. Cocinor unknown
1932réf. 169144N.p.: N.p. 1932. A small archive of five vintage French pamphlets flyers and broadsides announcing 1931 and 1932 screenings of the banned 1930 surrealist film. All items are housed loose in a custom bound volume with a "L'Affaire de L'Age d'Or" label on the spine with each item laid in on separate leaves overlaid with heavy protective tissue housed in a custom slipcase. Rare. The archive includes: "L'Affaire de 'L'Age d'Or'" bi-fold pamphlet printed on rectos and versos with a satin-finish photo illustrated insert also printed on the recto and verso published by Nancy Cunard on the occasion of her January 1931 private screening of the film in London. The bi-fold includes the essay "Exposé des Faits" "Statement of Facts" describing the film's initial riotous reception "Extraits du Programme" "Excerpts from the Program" a "Questionnaire" regarding political and legal actions taken in response to the film and an extensive "Extraits de la Presse" "Excerpts from the Press" followed the names of signatories Maxime Alexandre Aragon André Breton René Char René Crevel Salvador Dali Paul Eluard Georges Malkine Benjamin Péret Man Ray Georges Sadoul Yves Tanguy André Thirion Tristan Tzara Pierre Unik and Albert Valentin. Two satin-finish variants of a flyer printed on rectos only for a screening of the film on April 27 1932 by Les Spectateurs de l'Avant-Garde at La Bellevilloise a workers' cooperative theatre with each flyer featuring a different image from the film. A second screening was later added on April 30 not noted on the flyers. The screenings were decidedly low-key private events with Buñuel insisting "No protests." French director Jean Vigo was reportedly among the participants of the screenings. And two items relating to a screening presented by Le Club de L'Ecran at Cine-Casino in Belgium on May 10 1932: A 4 x 5.5 inch announcement for the screening printed on the recto only noting the film as being presented by P.G. van Hecke Paul-Gustave Van Hecke followed by seating and ticket prices purchase locations and Club de L'Ecran membership prices. A large newsprint broadside printed on the recto and the verso for Le Club de L'Ecran announcing the May 10th screening with articles on the recto regarding the film club's activities and an excerpt from the Surrealist manifesto published upon the film's premiere with the verso dedicated entirely to numerous texts and articles on "L'Age d'Or" featuring two images from the film and a portrait of Buñuel. A key and archetypal work of Surrealist cinema alongside "Un Chien Andalou" 1929 also written by Buñuel and Dali and directed by Buñuel featuring a series of absurdist vignettes scathingly and sardonically rebuking the sexual hypocrisy of bourgeois society the Catholic Church and 20th century European society in general. The violence the uproar "L'Age d'Or" created remains as shocking as the film itself: days into the first screenings at Studio 28 on December 3 1930 the theatre was stormed by fascist youths enraged at the film's perceived anti-patriotic and anti-Christian message. Demonstrators threw ink at the screen shouted anti-Semitic death threats smashed the theatre windows and completely destroyed an exhibition of surrealist books and art in the foyer. In response the Board of Censors re-reviewed the film and on December 10 the film was banned from further public showings in France. The film's producers subsequently withdrew "L'Age d'or" from commercial distribution and public exhibition for more than 40 years although three years later in 1933 the film was privately exhibited at the Museum of Modern Art in New York. "L'Affaire de 'L'Age d'Or':" Bi-fold 7.5 x 10.5 inches. About Near Fine with a Very Good plus 7.5 x 10 inch insert with both items previously folded horizontally. Two Les Spectateurs April 27 Flyers: 8.25 x 10.5 inches. One Near Fine. One Very Good plus with light creasing faint toning and a .25 inch closed tear to the top edge. Le Club de L'Ecran Announcement: 4 x 5.5 inches. Near Fine. Le Club de L'Ecran Broadside: 14.25 x 21.75 inches folded as issued. About Near Fine with an additional lightly toned horizontal fold. Housed in a 9.25 x 12 inch custom bound Near Fine volume with a 9.5 x 12.25 inch Near Fine slipcase. BFI. Rosenbaum 1000. Vogel Film as a Subversive Art. N.p. unknown books
