56 401 résultats
1925réf. 239961925. U.S. Navy Pacific fleet cruise photo album documenting naval service and Indigenous encounters during Admiral Robert E. Coontz's 1925 deployment to Australia and New Zealand. The inscription "Property of J. J. Prieskop. U.S.S. Seattle band" identifies its owner as a musician associated with the fleet flagship. Following major exercises in Hawaiian waters the fleet crossed the Pacific for a voyage combining naval training with public receptions and a demonstration of American maritime reach. www.history.navy.mil At Rotorua Te Arawa hosts welcomed the visiting officers at Ohinemutu where speeches and exchanges of gifts connected MÄori hospitality with hopes for closer British-American friendship. Photo album containing approximately 260 silver gelatin photographs ranging from 2.5 x 3 to 8.5 x 5.5 inches United States and Pacific locations chiefly circa 1925 mostly mounted with corner holders on black paper leaves with numerous contemporary handwritten captions. Coontz wears a feather cloak while exchanging a hongi the MÄori greeting involving the pressing together of noses beneath "Admiral Coontz and staff receives Maori greeting Rotorua - N.Z." Samoan performers carry weapons beneath "Samoan warriors in war dance" while other scenes record sailors visiting vendors and a canoe approaching the ship. Hawaiian women perform with musicians before a commercial backdrop beneath "Hula dancers in Lahaina - 6/25." A portrait printed "'Maori' South Sea Island Belle" presents a woman holding a patu its promotional wording distinguishing commercial souvenir portraiture from the formal Rotorua reception. Sailors handle coal beneath "Coaling ship" and "In coal barge"; additional naval scenes include USS Tennessee's 14-inch gun turrets and costumed equator-crossing festivities. A band portrait dated June 1925 at Lahaina Roads Maui bears handwritten identifications of individual musicians including Prieskop while supporting scenes include horses and a rodeo captioned Oak Grove Portland Oregon. Additional photographs document encounters with Samoan communities including ceremonial performers groups of local residents and American sailors interacting with vendors. One image bears the contemporary caption "Samoan Warriors in War dance" reflecting both the cultural performance depicted and the terminology employed by American observers. Another photograph captioned "Hula dancers in Lahaina - 6/25" records Hawaiian women performing with musicians before a commercial backdrop documenting the presentation of Indigenous culture to visiting naval personnel. The album is particularly valuable for its combination of naval history and Indigenous Pacific encounters. It records the broader cultural and diplomatic dimensions of American naval expansion including the ways MÄori Samoan and Hawaiian communities received interacted with and were represented by visiting American servicemen. Visible wear includes chipped album leaves vacant mounts scattered fading and staining and tears or edge losses to some photographs. Overall good condition. A substantial and historically engaging photographic record of the U.S. Navy's 1925 Pacific deployment distinguished by its identified images of Admiral Coontz and the USS Tennessee a MÄori diplomatic greeting at Rotorua Samoan ceremonial performances Hawaiian hula dancers and named naval musicians-documenting both American maritime power and its encounters with Indigenous Pacific cultures during the interwar era. unknown books
1790réf. 18237London. ca.1790s. A bill furthering the bureaucratic process to make His Majesty's Navy run smoother. Sets forth new rules for depositing exact copies of muster rolls at ports of departure with a folding blank muster roll form. 22pp. plus integral blank leaf. Folding blank printed form. Folio. Gathered signatures stitched as issued. First leaf has 4 small spots some moderate edge wear final leaf a bit dusty. Docketed in print on verso of final leaf and each enactment numbered in a contemporary manuscript hand. Very good. unknown books
1963réf. 168128Los Angeles: Embassy Pictures 1963. Vintage studio still photograph from the 1963 film. An American spy in Nazi-occupied Italy hides out in the house of a woman dating a Nazi officer. An early career effort by Irvin Kershner best known for directing "Eyes of Laura Mars" 1978 and "The Empire Strikes Back" 1980. 10 x 8 inches. Lightly creased at the bottom right corner else Near Fine. Embassy Pictures unknown books
1951réf. 164730Universal City: Universal-International 1951. Vintage publicity photograph from the 1951 film showing actress Marina Berti. A wartime comedy about two American GIs in Italy. Loosely based on "Willie and Joe" two humorous characters created by cartoonist Bill Mauldin. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1 1901 Jones worked for Paramount Pictures in the early 1930s and went on to be the head of the still photography department at Universal Pictures in 1935 where he worked well into the 1950s. 8 x 10 inches. Very Good plus. Universal-International unknown books
1967réf. 148302N.p.: Anouchka Films 1967. Collection of 17 vintage French color lobby cards from the 1967 film 15 with "CFDC - LYON" stamp on the versos. One of three feature films Godard released in 1967 and like both "Weekend" and "La chinoise" one that showcases Godard's increasing focus on filmic deconstruction as well as vocalization of leftist political ideas. Godard has stated that his overall desire with the film was "to include everything: sports politics even groceries" to make "an attempt at description of a phenomenon known. as a complex." 8 x 10 inches. Very Good plus with pinholes to corners light to moderate wear and a couple of small dampstains. Criterion Collection 482. Rosenbaum 1000. Vogel Film as a Subversive Art. Anouchka Films unknown books
2008réf. 85444Paris: Onestar Press 2008. First Limited Edition. Quarto. 30cm. Publisher's original pink paper wraps titled in black to spine and front cover. 197pp. Some sunning and fading to the pale pink paper of the covers with some very minor shelfwear and soiling clean and bright; internally clean and fresh signed by Abramović to the title page. A very good attractive copy. Abramović's record in both Serbian and English of the correspondence she received across a 14 year period recorded here in the form of the first line of every single letter. Published in a limitation of 1000 copies only signed or inscribed examples are very scarce. "Since I was very young until my early thirties I had serious problems in opening and reading any letters I received. Letters would stay on my table for weeks before I found the courage to open them and during this time my sense of guilt would grow and grow. Most of the time when I finally opened the letters it was too late to answer them and my sense of guilt was worse than ever. I kept every single letter from the first notes received from my mother in 1965 up to the time I left Belgrade for ever in 1979. I decided to chronologically write down the first sentence from all of these letters without noting the name of the senders. When finished I was astonished to see how it was possible to trace all my life just by reading the text created by all these first lines. Later I heard that Marcel Duchamp on receiving a letter opened answered and immediately burnt the letter he'd received. Jean Tinguely never opened or answered any letter and every Christmas he made a ritual of burning unopened envelopes which sometimes included important information and even checks. M.A." Around a dozen examples recorded in US institutions. Onestar Press unknown books
1979réf. 162221N.p.: N.p. 1979. Six vintage oversize borderless color reference photographs from the 1979 film all showing actress Marina Pierro. An anthology film divided into three segments set in three different time periods Rome in 1520 France at the turn of the century and modern Paris and following three women who are driven to commit crimes of passion. Approximately 11.75 x 7.25 inches. About Fine. N.p. unknown books
1919réf. 81517N.p.: P.G. Yedinak Printer 1919. No statement of printing or edition. 12mo 19cm. Staplebound printed yellow wrappers; 426pp; illus. Mild edgewear and soil; internally fresh and unmarked. A Very Good copy. Frontispiece portrait of Commanding Officer Capt. Edward S. Kellogg; other text illustrations reproducing photographs and line drawings. Scarce little keepsake possibly printed shipboard for circulation among officers and crew of the U.S.S. Huntington a first class armored cruiser that saw duty primarily as a convoy escort in WW1. She was named for the city of Huntington West Virginia. From OCLC cataloguing data it appears that an expanded version was printed later in 1919; of this preliminary version OCLC notes two physical locations only. P.G. Yedinak, Printer unknown books
2000réf. 161774N.p.: N.p. 2000. Draft script for Episode 7 Season 4 of the long-running 1997-2007 television series. Originally aired on August 11 2000 on Showtime. Loosely based on the 1994 science fiction film about the discovery of an ancient alien device that holds unusual powers of space travel and communication. In this episode the Stargate crew help Russian scientists with their own Stargate portal. Self wrappers. Title page present dated April 4 2000 noted as WRITERS DRAFT and production No. 6712 with credit for screenwriter Robert C. Cooper. 46 leaves with last page of text numbered 45. Xerographic duplication rectos only. Pages Near Fine bound with two gold brads. N.p. unknown books
1967réf. 162351N.p.: N.p. 1967. Vintage reference photograph from the 1967 French film showing actor and producer Raoul Lévy with actress Marina Vlady. French title stamp on the verso. A day in the life of a seemingly normal suburban housewife who intersperses her daily routine of housework cleaning and shopping with appointments as a call girl. One of director Godard's most highly regarded and stylistically innovative films released the same year as "Weekend" and "La chinoise." Set and shot on location in Paris. 9.5 x 7.25 inches. About Fine. Criterion Collection 482. Rosenbaum 1000. Vogel Film as a Subversive Art. N.p. unknown books
1981réf. 160661N.p.: N.p. 1981. Collection of ten vintage borderless color reference photographs from the 1981 film including six in black-and-white and four in color. Black-and-white photographs with mimeo snipes on the verso. Loosely based on the classic 1866 novella. In nineteenth-century London a party guest turns up dead at a respectable couple's engagement gathering leading the remaining guests into a whirlpool of sex and debauchery in pursuit of the culprit. 9.5 x 7 inches. About Fine. N.p. unknown books
1979réf. 159618N.p.: N.p. 1979. Seven vintage reference photographs from the 1979 film. Annotations in manuscript ink on the verso noting the film title in French. An anthology film divided into three segments set in three different time periods Rome in 1520 France at the turn of the century and modern Paris and following three women who are driven to commit crimes of passion. Six photographs 9.5 x 7 inches with wide top and bottom margins and one photograph 9.5 x 6 inches trimmed irregularly. About Fine. N.p. unknown books
1965réf. 160276N.p.: Documento Film / Royal Films International 1965. Vintage borderless reference photograph from the 1965 film. An anthology that follows a group of Italian tourists and immigrants during their time on a trip to Sweden. Set in Sweden shot on location in Italy. 7.5 x 6.75 inches trimmed. Near Fine with a crease at the top right corner. Documento Film / Royal Films International unknown books
1961réf. 160374Paris: Cinedis 1961. Vintage invitation from Cinedis for a private screening of the 1961 film. The event was held Sunday March 26 at 9:45 AM at the Marivaux theater in Paris. The invitation is indicated as only being good for two people. The Princess of Cleves develops feelings for a young Duke even though she is married. She tells her husband who becomes dangerously jealous. Shot on location at Chateau de Chambord and Montlouis-sur-Loire. 5.5 x 4.25 inches. Near Fine. Cinedis unknown books
1975réf. 158520Paris: Sygma 1975. Vintage oversize borderless reference photograph from the 1975 French film showing actors Jane Birkin and Gérard Depardieu. Mimeo snipe and stamp of Sygma on the verso. A surgeon at a public hospital in a small French town faces harassment from a rival surgeon and his incompetent sons who hate competition. 12 x 8 inches with a wide right margin Very Good plus with moderate edgewear and a short closed tear on the right edge. Sygma unknown books
1979réf. 158125N.p.: N.p. 1979. Vintage reference photograph from the 1979 film. Annotations in manuscript ink on the verso noting director Walerian Borowczyk's name and the film title in French. An anthology film divided into three segments set in three different time periods Rome in 1520 France at the turn of the century and modern Paris and following three women who are driven to commit crimes of passion. 9.25 x 7 inches. Near Fine. N.p. unknown books
1822réf. 55730London: Printed for the author and sold by F. C. and J. Rivington 1822. First Edition. Octavo in fours 20cm. Rebound in black cloth titled on spine in gilt; plain endpapers; ii 97 1pp; with folding advertisement for a Quarterly Muster Pay and Victualing Book sold by Burgess Hunt and Carter Ramsgate. Errata slip laid down on final page. Annotated throughout in pencil. A sturdy copy rebound with minor soiling to intial and final leaves tear in folding table neatly mended: Good or better. Naval impressment was standard pratice in Britain from the mid-seventeenth century until the end of the Napoleonic Wars after which the Navy developed other recruitment methods until the return of conscription in 1916. Printed for the author, and sold by F. C. and J. Rivington unknown books
1967réf. 155298N.p.: N.p. 1967. Vintage reference photograph from the 1967 French film directed by Jean-Luc Godard showing actors Raoul Lévy and Anny Duperey. From the archive of film historian and author Joel Finler. A day in the life of a seemingly normal suburban housewife who intersperses her daily routine of housework cleaning and shopping with appointments as a call girl. One of director Godard's most highly regarded and stylistically innovative films released the same year as "Weekend" and "La chinoise." Set and shot on location in Paris. 10 x 8 inches. Near Fine. Criterion Collection 482. Rosenbaum 1000. Vogel Film as a Subversive Art. N.p. unknown books
1983réf. 149305Rome: 2T Produzione Film 1983. Vintage grande French poster for the 1983 erotic film. Inspired by Ovid's 2 AD collection of poems "Ars Amatoria" "The Art of Love". Set in ancient Rome the poet Ovid teaches courses in the art of love. One of his students sets out to test his newfound skill on a woman whose husband has gone to war. 47 x 63 inches. One panel. Folded as issued. Near Fine. Bier 96. 2T Produzione Film unknown books
1961réf. 143272Paris: Cinedis 1961. Three original color transparencies from the 1961 film. Starring actors including Marais and Vlady are seen in lavish period costumes designed for the film by Marie-Claude Fouquet and Jacqueline Guyot. Housed in a light blue mailing envelope with annotations on the recto in manuscript ink noting contact information for Fouquet and Guyot. Based de La Fayette's 1678 anonymously published novel France's first historical novel widely regarded as an early psychological novel. The Princess Vlady marries a much older prince Marais but yearns for a handsome duke Poron. Her fidelity eventually coming into question. Marais also starred in Delannoy's and Cocteau's other collaboration "Love Eternal" 1943. Two transparencies 3.25 x 4.5 inches one slightly larger. Near Fine overall in original transparent sleeves. Cinedis unknown books
1961réf. 144012Paris: Cinedis 1961. Archive of 14 original single weight black-and-white photographs and various ephemera from the 1961 film here under the original French title. The photographs numbered on the versos in manuscript pencil detail costumes for starring actors Marina Vlady and Jean Marais an exhibit of film stills and costume designs at a bookshop called "Lavocat" costumes displayed at tge shop "Delvaux" and the ephemera consists of a press packet detailing film credits and biographies an invitation for two to the premiere on March 26 at the Marivaux cinema a small slip with annotations in manuscript ink and a carbon typescript from Maryse Martres to "Madame Armon" at Delvaux regarding the costumes. Housed in a large manila folder. Based de La Fayette's 1678 anonymously published novel France's first historical novel widely regarded as an early psychological novel. The Princess marries a much older prince Marais but yearns for a handsome duke Poron. Her fidelity eventually coming into question. Marais also starred in Delannoy's and Cocteau's other collaboration "Love Eternal" 1943. Delannoy directed over 50 films at first well-regarded dissipating at the end of his career with several B-grade films. Costuming for the film was produced by Pierre Cardin and Marcel Escoffier both also worked together on "Beauty and the Beast" 1946 and "Fernandel the Dressmaker" 1956. Martres Martin was a prolific French actress since 1948 notably "Girl on the Third Floor" 1955 and "The Happy Road" 1957 and she was later involved in press relations at Cinedis a notable film agency in operation since the Silent Film era. Kishi was born in 1932 and became a Japanese actress and writer. She married director Ciampi in 1957. Since 1996 she has been a Goodwill Ambassador for the United Nations Population Fund UNFPA. The Delvaux shop has been producing leather goods mostly handbags since the 19th century with central locations in Belgium. Photos range from 6.75 x 9 inches to 7.25 x 10.5 inches. Ephemera ranges from 3.5 x 4.75 inches to 8 x 10.5 inches. Very Good plus overall with scattered creases and toning. Cinedis unknown books
1970réf. 143871Rome: Fair Film 1970. Draft script for the 1970 film. An English language script for consideration by US filmmakers though the film was shot in Italian. Based on Alberto Bevilacqua's 1964 novel of the same name. The widow of a worker killed by police joins the militant strike against the factory owners one of which falls in love with her and is forced to face his glaring conflicts of interest. Shot on location in Parma Italy. Grey titled wrappers. Title page present with credits for screenwriter and director Alberto Bevilacqua. 82 leaves with last page of text numbered 82. Mechanical duplication. Pages Fine wrapper Near Fine bound internally with three gold brads. Fair Film unknown books
1919réf. 34793Washington DC: Navy Department Commission on Training Camp Activities 1919. First Edition. Oblong 12mo 10x13.5cm.; publisher's dark blue staple-bound card wrappers; 298pp.; chiefly musical scores two full-page photographic illus. linocuts by John Held throughout. A hint of toning to wrapper extremities else Very Good to Near Fine. Collection of patriotic songs with illustrations by a young John Held signed in image either "JH" or "J. Held" but otherwise unattributed to him. The noted Jazz Age cartoonist had already had work published in Vanity Fair though after the United States entered World War I he worked for Naval Intelligence in Central America as an illustrator and cartographer. Navy Department Commission on Training Camp Activities unknown books
1907réf. 31197N.p. Japan ca 1907. Pair of large trapunto banners both removed from original frames. First 82cm x 60cm ca 32" x 24"; embroidered in silk with trapunto elements on a black silk ground; photographic portrait on cabinet card inserted in embroidered pocket at center inscribed "Mellie McKeever" on verso. Silk ground fragile with a few thin tears but no significant losses; light soil; embroidered portions generally well-preserved and colors bright. Very Good. Second banner 65cm x 50cm ca 25" x 20"; photo-transfer on silk with embroidered ornaments. Slight fading to embroidered portions but generally well-preserved and sound; Very Good. Both banners with firm provenance purchased from the descendants of Mellie McKeever of Richwood West Virginia. Two exceptional and well-preserved examples of the ornamental trapunto banners that were popular souvenirs among U.S. sailors and marines during the late 19th and early 20th century. Yokohama was the principal point of production for these naval souvenirs but we have also seen examples from the Philippines and mainland China; Japanese examples such as these are generally distinguished by a higher quality of embroidery and more sophisticated composition. The banners became popular among British and American sailors beginning as early as the Boxer Rebellion and the Spanish-American War but seem to have reached their peak of popularity with the arrival in the Far East of Teddy Roosevelt's Great White Fleet in 1908. Some 14000 sailors and marines made land at various Japanese ports-of-call in that year and given the regularity with which these textiles still appear one imagines that every sailor must have brought at least one of these souvenirs home with him. The first example though of an unusually impressive size is of a type frequently seen displaying typical naval iconography right down to the hand-painted battleship portrait of a two-stack battleship of the Kearsarge class its hull painted white reflecting its peace-time mission at bottom center. The embroidered frame to hold a cabinet portrait of the sailor or perhaps a loved one is a typical feature found on more elaborate examples. The American Eagle in full battle stance is a nearly universal element of these banners. The second banner is of a style we have not previously seen and for which we can find no analogues in the extensive literature of naval souvenirs. It is clearly a family portrait probably a composite made from cartes-des-visites carried by McKeever; the portraits are printed by silkscreen using a photo-transfer process with applied trapunto decorations. The likenesses are clearly enlarged -- it is highly unlikely that a common sailor would have had room aboard a battleship to carry full-size portraits -- and it strikes us that this must have seemed an almost magical process at the time of creation especially to a young man from a tiny lumber-and-coal town in central West Virginia. Aside from their obvious virtues as objects of art and handicraft we regard these banners as compelling pieces of material culture from a period of tremendous social transformation in the United States. According to the Naval Historical Center U.S. naval rolls expanded by nearly 400% between the beginning of the Spanish-American War and the launching of the Great White Fleet. To meet this demand for the first time in its history the Navy began recruiting from the American heartland rather than solely from the Eastern Seaboard states. The generation of inland farmers and mechanics to follow was thus the first in American history to experience first-hand cultures as diverse and divergent from their own as those of Europe Asia and the Pacific Islands; they represented not only the beginning of the American imperialist enterprise but also the first stirrings of America's global consciousness. That so many of these banners have survived in good condition is evidence of the degree to which they were treasured by their owners for whom they represented an experience that must have been transformative and definitive. unknown books
1967réf. 138581Paris: Concordia Compagnia Cinematografica 1967. Four vintage borderless reference photographs from the set of the 1967 film. Studio rubber stamp on the verso. One of the photos features Marina Vlady sharing a cigarette with Roger Montsoret. Based on a 1966 article on casual prostitution in France by Catherine Viminet. One of three feature films Godard released in 1967 and like both "Week End" and "La chinoise" one that showcases Godard's increasing focus on deconstructing filmic narrative and structure and vocalization of leftist political ideas. Godard has stated that his overall desire with the film was "to include everything: sports politics even groceries" to make "an attempt at description of a phenomenon known. as a complex." 5 x 7 inches. Fine condition. Criterion Collection 482. Rosenbaum 1000. Vogel Film as a Subversive Art. Concordia Compagnia Cinematografica unknown books