Unknown

Picture of a set with Harry Langdon - 1930 circa

1926

Downpour in Rome 1989 Vintage photograph is in black and white on paper realized by Ansa Agency of Rome in the 1989. Good condition, with some folding and foxing. With the copyrigh...

View of Monuments Of Rome is a Vintage Photograph in black and white on paper realized in the late 19th Century by Ludovico Tuminello. Written Tumin...

Monica Vitti (Associated Press Photo) is a vintage b/w photo of the Italian actress on a boat at sea realized in the 1960s. Monica Vitti is born in Rome on November 3, 1931. Admitted in 1950 to the Academy of Dramatic Art (where she will return in 1986 as a teacher), and graduated in 1953, she immediately tackles the scenes in L'avaro di Molière (1954), The island of the parrots of S. Tofano (1954), They founded a city of C. Meano (1954), Mother Courage and her children of B. Brecht (1954). Between 1956 and 1959 she also participated in television broadcasts and acted in numerous adaptations of famous theatrical texts. She made her film debut playing secondary parts in Laugh, Laugh, Laugh! by E. Anton, 1955; A mink coat by G. Pellegrini, 1956; Le dritte di M. Amendola, 1958. Dubbing actress of Il scido di M. Antonioni (1957), she meets the director who, after having directed her to the theater in I am a camera by J. Van Druten (1957) and in Secret Scandals by Antonioni and E. Bartolini (1957), he calls her as the protagonist in L'avventura (1960), a film with which V. is a leading actress. Always led by Antonioni, from now on she will play suffering characters who embody a profound crisis of feelings. Apart from a brief television parenthesis (a transposition of the short story The White Nights by F. Dostoevskij, directed by V. Cottafavi), La notte (1961), L'eclisse (1962) and Deserto rosso (1963) belong to a happy partnership with Antonioni (who will be revived episodically for the production of The Mystery of Oberwald [1980], a courageous experiment of intertwining cinema and electronic techniques, propitiated by the exhumation of a play by J. Cocteau, L'aigle à deux têtes). In the second half of the Sixties, however, the producers showed that they preferred her as an actress endowed with caricatural flair, fine humor, vitalistic exuberance, communicative immediacy; and audiences pay her a growing success, not always corresponding to the quality of her filmography or the variety of her interpretations, among which are the very convincing ones in Modesty Blaise...

Monica Vitti and Michelangelo Antonioni is a vintage black and white photo of the italian actress and the italian movie director Michelangelo Antonioni from the 1960s. Agenzia Nazionale Stampa Associata (ANSA). Monica Vitti is born in Rome on November 3, 1931. Admitted in 1950 to the Academy of Dramatic Art (where she will return in 1986 as a teacher), and graduated in 1953, she immediately tackles the scenes in L'avaro di Molière (1954), The island of the parrots of S. Tofano (1954), They founded a city of C. Meano (1954), Mother Courage and her children of B. Brecht (1954). Between 1956 and 1959 she also participated in television broadcasts and acted in numerous adaptations of famous theatrical texts. She made her film debut playing secondary parts in Laugh, Laugh, Laugh! by E. Anton, 1955; A mink coat by G. Pellegrini, 1956; Le dritte di M. Amendola, 1958. Dubbing actress of Il scido di M. Antonioni (1957), she meets the director who, after having directed her to the theater in I am a camera by J. Van Druten (1957) and in Secret Scandals by Antonioni and E. Bartolini (1957), he calls her as the protagonist in L'avventura (1960), a film with which V. is a leading actress. Always led by Antonioni, from now on she will play suffering characters who embody a profound crisis of feelings. Apart from a brief television parenthesis (a transposition of the short story The White Nights by F. Dostoevskij, directed by V. Cottafavi), La notte (1961), L'eclisse (1962) and Deserto rosso (1963) belong to a happy partnership with Antonioni (who will be revived episodically for the production of The Mystery of Oberwald [1980], a courageous experiment of intertwining cinema and electronic techniques, propitiated by the exhumation of a play by J. Cocteau, L'aigle à deux têtes). In the second half of the Sixties, however, the producers showed that they preferred her as an actress endowed with caricatural flair, fine humor, vitalistic exuberance, communicative immediacy; and audiences pay her a growing success, not always corresponding to the quality of her filmography or the variety of her interpretations, among which are the very convincing ones in Modesty Blaise...

Gelatin Silver Print

Pharrell Williams #3 by Hunter & Gatti Black and White Photography with broken glass on top of the image. Image size: 45.2 in. H x 32.5 in. W Frame s...

Series: Soldier Silhouette Chromogenic Print on Kodak Endura Luster Paper All available sizes and editions: 15" x 20" 23" x 30" 45" x 60" 54" x 72" 63" x 84" Editions of 3 + 2 Artist...

Chris McCaw builds his own large-format cameras and outfits them with powerful lenses for his "Sunburned" series. Instead of film, McCaw inserts expired vintage, fiber-based gelatin ...