DOCSLIB.ORG

FINE WATCHES and WRISTWATCHES Wednesday 11 June 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FINE WATCHES and WRISTWATCHES Wednesday 11 June 2014 FINE WATCHES and WRISTWATCHES Wednesday 11 June 2014 FINE WATCHES ANd WRISTWATCHES | 1 FINE WATCHES ANd WRISTWATCHES Wednesday 11 June at 14.00 101 New Bond Street, London Viewing ENquiries Customer services Important infoRmatioN Sunday 8 June Kate Lacey Monday to Friday 08.30 to 18.00 The United States Government 11.00 to 15.00 +44 (0) 20 7468 8301 +44 (0) 20 7447 7448 has banned the import of ivory Monday 9 June [email protected] into the USA. Lots containing 9.00 to 16.30 As a courtesy to intending ivory are indicated by the Tuesday 10 June Cara Ringwood bidders, Bonhams will provide a symbol Ф printed beside the 9.00 to 16.30 +44 (0) 20 7447 7413 written Indication of the physical lot number in this catalogue. Wednesday 11 June +44 (0) 20 7468 8370 fax condition of lots in this sale if a 9.00 to 12.00 [email protected] request is received up to 24 hours before the auction starts. Bonhams cannot arrange for SAlE Number [email protected] This written Indication is issued the delivery of Corum, Franck 21920 subject to Clause 3 of the Notice Muller, Piaget and Rolex loNdoN to Bidders. watches into The United States. CataloguE International Department Director The buyer or designated agent Please see back of catalogue may collect the property in the £18.00 Paul Maudsley +44 (0) 20 7447 7412 for important notice to bidders country of sale. [email protected] BidS Illustrations Please also note that in some +44 (0) 20 7447 7448 NEW YoRK Front cover: lot 166 circumstances we are unable +44 (0) 20 7447 7401 fax Jonathan Snellenburg Back cover: lot 33 to ship the watch with its strap To bid via the internet please +1 (212) 461 6530 due to certain import restrictions. visit bonhams.com [email protected] Please note that bids should be R These lots are subject submitted no later than 4pm on HoNg KoNg to import restrictions when the day prior to the sale. Nicholas Biebuyck shipped to the United New bidders must also provide +852 3607 0013 States. Please see notice proof of identity when submitting [email protected] on previous page. bids. Failure to do this may result in your bids not being processed. Shipping For information and estimates Live online bidding is on domestic and international available for this sale shipping please contact the Please email [email protected] department on: with “Live bidding” in the subject +44 (0) 20 7447 7413 line 48 hours before the auction [email protected] to register for this service. Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Andrew McKenzie, Simon Mitchell, Jeff Muse, Registered Office: Montpelier Galleries Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Mike Neill, Charlie O’Brien, Giles Peppiatt, Montpelier Street, London SW7 1HH Malcolm Barber Group Managing Director, Harvey Cammell, Simon Cottle, Andrew Currie, Peter Rees, Julian Roup, Iain Rushbrook, Matthew Girling CEO UK and Europe, David Dallas, Paul Davidson, Jean Ghika, John Sandon, Tim Schofield, Veronique Scorer, +44 (0) 20 7393 3900 Geoffrey Davies, Jonathan Horwich, Charles Graham-Campbell, Miranda Grant, James Stratton, Roger Tappin, Ralph Taylor +44 (0) 20 7393 3905 fax James Knight, Patrick Meade, Robin Hereford, Asaph Hyman, Charles Lanning, Shahin Virani, David Williams, Caroline Oliphant, Hugh Watchorn. Sophie Law, Camilla Lombardi, Fergus Lyons, Michael Wynell-Mayow, Suzannah Yip. Paul Maudsley, Gordon McFarlan, Central SAlE Middlesex Hospital InfoRmatioN Park Royal Coronation Road W Bonhams, e d s P t Park Royal a e a rn r o A k R v e R e s A4 o 0 a y Park a h l C Royal Western Ave A40 R o 0 Station a 0 d Acton 0 4 Cemetery North A Acton d Station a o R a i r o t c i V Bids Payment in advance Important Notice VAT refunds on exports from +44 (0) 20 7447 7448 Tel: +44 (0) 20 7393 3912/3913 West AActon surcharge of 2% is applicable the EUHorn Lane +44 (0) 20 7447 7401 fax to ascertain amount due by: Stationwhen using Mastercard, Visa To submit a claim for refund [email protected] cash, cheque with banker’s and overseas debit cards. of VAT HMRC require lots to www.bonhams.com card, credit card, bank draft be exported from the EU within or traveller’s cheque. The following symbol is used strict deadlines. Payments to denote that VAT is due Buyers Payment at time of collection on the hammer price and For lots on which Import VAT +44 (0) 20 7447 7447 By credit card / debit card buyer’s premium has been charged; marked in +44 (0) 20 7447 7401 fax the catalogue with a * or Ω, lots CITES REGULATIONS † VAT 20% on hammer price must be exported within 30 Sellers Please be aware that all and buyer’s premium days of Bonhams’ receipt of Payment of sale proceeds Lots marked with the symbol payment and within 3 months of +44 (0) 20 7447 7447 Y are subject to CITES * VAT on imported items the sale date. For all other lots +44 (0) 20 7447 7401 fax requlations when exporting at a preferential rate of 5% on export must take place within these items outside the EU. hammer price and the prevailing 3 months of the sale date. Valuations, taxation The regulations may be found rate on buyer’s premium and heritage at www.ukcites.gov.uk or may For further VAT information +44 (0) 20 7468 8340 be requested from: R These lots are subject please contact: +44 (0) 20 7468 5860 fax to import restrictions when [email protected] [email protected] UK CITES Management shipped to the United Authority States. Please see notice Catalogue subscriptions Zone 117 on previous page. To obtain any Bonhams Temple Quay House catalogue or to take out 2 The Square Y These lots are subject an annual subscription: Temple Quay to CITES regulations, please Subscriptions Department BRISTOL BS1 6EB read the information in the back +44 (0) 1666 502200 of the catalogue. +44 (0) 1666 505107 fax [email protected] Ruby and Jadeite: Please note that as a result Shipping of recent legislation ruby and For information and estimates jadeite gemstones of Burmese on domestic and international (Myanmar) origin may not shipping as well as export be imported into the US. Rubies licenses please contact and jadeite of non-Burmese the department origin require certification before import into the US. Collection and Storage Items affected are marked with after sale a symbol ≈ All sold lots will remain in Bonhams New Bond Street Collections department free of charge until Monday 2 July 2014. Lots not collected by then may be subject to storage charges Please refer to the department. 1 2 1 2 Henry ARCHER, loNdoN. A RARE EARlY 17TH CENTury A late 16TH CENTury gIlT bRASS CloCK watch, oval gIlT metal pRE-bAlANCE SpRINg SINglE HANd oRIgINAllY WITH AlARm (AF) poCKET watch moVEmENT IN AN ASSociated CASE Circa 1595 Movement Circa 1620, case and dial later Octagonal engraved full plate (incomplete) movement with steel Gilt brass full plate movement signed Henry Archer Fecit, fusee and c-shaped stackfreed escapement acting as a break on a snail shaped gut line, pierced and foliate engraved balance cock, wheel and click cam, fly-ball guv’nor and iron pointed finger, possibly for hour striking set-up, turned pillars, engraved oval dial (associated) with I to XII radial control, engraved barrel, round pillars, the dial with silver Roman Roman chapters, associated double hinged case with stepped and chapter, single steel hand, brass centre engraved with a cityscape, patterned case bands, together with pewter link chain, glazed cover pierced fire gilded bronze case with hinged back and plain back 38mm x 41mm. Movement 36mm x 49mm. £2,500 - 3,000 £2,000 - 3,000 €3,000 - 3,600 €2,400 - 3,600 US$4,200 - 5,000 US$3,400 - 5,000 Henry Archer was making in London in the early part of the 17th century and is listed as one of the first Wardens of the Company of Clockmakers. The Company was founded by Royal Charter, granted in 1631 by King Charles I, as a result of a petition presented by Francis Foreman and Richard Morgan. The charter named David Ramsey to be the first and present Master, and Henry Archer, John Wellowe and Sampson Shelton to be the first and present Wardens. It is interesting to note that even though David Ramsey was listed as the first Master, it was actually Henry Archer who frequently took his place, as Ramsey is noted as having a very poor attendance to meetings. A small table clock by Henry Archer can be seen at the Clockmakers Company Library at the Guildhall. FINE WATCHES ANd WRISTWATCHES | 3 3 4 VINCENT mENIl, AmSTERdAm. AN EARlY 18TH CENTury p.V.d. bERgH, RoTTERdAm. A FINE mId 18TH CENTury SIlVER ANd SHAgREEN pAIR CASE quarter REpeating SIlVER pAIR CASE CAlENdAR poCKET watch WITH moCK poCKET watch pENdulum Circa 1710 No.263, Circa 1760 Fusee verge movement with round pillars, pierced and engraved Gilt brass full plate movement with pierced silver fronted round pillars, balance cock, silver regulation, polished steel hammers striking on verge escapement, silver balance bridge with glazed aperture for mock a bell held in the back, silver dial with arcaded Roman chapter and pendulum and signed Bewys Konst, silver dial with arcaded Roman outer five minute Arabic numerals, gilt brass centre with pierced silver chapter and Arabic five minute outer, arcaded centre with putti to the signature overlay, later hands, plunge repeat via the bow, shagreen centre holding a signed banner, silver round case with PF casemakers covered outer with silver pin work, dial and movement signed mark and coronet, silver Cochin signed cast outer possibly with the 52mm.
Load more

Recommended publications
  • Moneylab Reader: an Intervention in Digital Economy
    READER A N INTERVENTION IN DIGITAL ECONOMY FOREWORD BY SASKIA SASSEN EDITED BY GEERT LOVINK NATHANIEL TKACZ PATRICIA DE VRIES INC READER #10 MoneyLab Reader: An Intervention in Digital Economy Editors: Geert Lovink, Nathaniel Tkacz and Patricia de Vries Copy editing: Annie Goodner, Jess van Zyl, Matt Beros, Miriam Rasch and Morgan Currie Cover design: Content Context Design: Katja van Stiphout EPUB development: André Castro Printer: Drukkerij Tuijtel, Hardinxveld-Giessendam Publisher: Institute of Network Cultures, Amsterdam, 2015 ISBN: 978-90-822345-5-8 Contact Institute of Network Cultures phone: +31205951865 email: [email protected] web: www.networkcultures.org Order a copy or download this publication freely at: www.networkcultures.org/publications Join the MoneyLab mailing list at: http://listcultures.org/mailman/listinfo/moneylab_listcultures.org Supported by: Amsterdam University of Applied Sciences (Hogeschool van Amster- dam), Amsterdam Creative Industries Publishing and the University of Warwick Thanks to everyone at INC, to all of the authors for their contributions, Annie Goodner and Morgan Currie for their copy editing, and to Amsterdam Creative Industries Publishing for their financial support. This publication is licensed under Creative Commons Attribution NonCommercial ShareAlike 4.0 Unported (CC BY-NC-SA 4.0). To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/4.0/. EDITED BY GEERT LOVINK, NATHANIEL TKACZ AND PATRICIA DE VRIES INC READER #10 Previously published INC Readers The INC Reader series is derived from conference contributions and produced by the Institute of Network Cultures. They are available in print, EPUB, and PDF form. The MoneyLab Reader is the tenth publication in the series.
    [Show full text]
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • Annex III Final Management Report - Appendix 1 OVERVIEW of PILOT PROJECTS (For Experience of Collaborative International Work)
    IEA DSM Annex III "Co-operative Procurement" Annex III Final Management Report - Appendix 1 OVERVIEW OF PILOT PROJECTS (for experience of collaborative international work) PROJECT AREA Lighting: Wet Appliances: Copiers: Consumer Electronics: Vending machines Industrial Motors and LED Traffic Lights Replacement Incandescent Drier Promotion Copier of the Future Energy Efficient TV sets, Components: Lamp – Future Bulb Competition decoders etc. IEA Hi-Motors Competition 1. Main goals 30% more efficient 50% energy reduction on Low-power standby mode Reduction of electricity Energy-reduction Decrease losses 20-40% Reduced energy by 35-90%, 3,000 burning hours household electric tumble >90% energy reduction, consumption by opportunities for future compared to average longer life, LCC goals. LCC goal driers, maximum price. total direct energy reduction procurement or other more actions: Cold-drink motors. Reduced costs for service Dimmable, appearance as >60%. Short recovery time. informative actions machines 60%; Hot-drink Price & performance level and maintenance. Goal: pay- GLS lamp supporting other ongoing machines 30%. guaranteeing long-lasting back time 1-5 years. projects. significant market share. 2. Project Manager Project Manager Paul René Kemna, The Netherlands. Rachel Schmeltz, Olof Molinder, Sweden Eva Lembke/Preben Munter, Heikki Härkönen, Finland. Nils Borg, Sweden, on Davidson, UK. Project Co- Alternate: H-P Siderius, The Alison ten Cate, USA. (during introductory phase) Denmark (temporary, 1st behalf of Swedish cities and ordinator Nils Borg, Netherlands. Bernard Aebischer, Switzer- phase) in collaboration with The Sweden. land (during 1st part of Netherlands project) 3. Interested countries United Kingdom, Finland, The Netherlands, Sweden, Finland, The Netherlands, Sweden, United Kingdom; Denmark, The Netherlands, Finland as main actor; The The Netherlands, Finland, The Netherlands, Sweden United Kingdom, Spain, Sweden, Switzerland, Netherlands, United States USA (support.).
    [Show full text]
  • UFA Film Nights 2021
    Ernst Lubitsch’s CARMEN Contents Introduction 2 Greetings 4 The Movie Overview 6 Short bios 8 Contemporary Press Coverage 16 The Revival The Restoration 20 The Music 30 The Background Typification, Yes – Typism, No 36 Historical Background 38 The Publishers 42 Publishing Credits, Legal Notice, Picture Credits 46 On November 11, World War I abolished at the end of the war. The 1918 was an ended and with it the German Em- film was permitted to go wild. And it eventful year. pire. This meant not only the tempo- did. (...) Pola set the decorations aflut- rary end to strict Prussian morals, but ter with her frenzied dances. But she also – and likewise only temporarily – also got fame to Germany. For her- to film censorship, and paved the way self, for Ernst Lubitsch, for Ufa.“ (Der for the experiment of democracy and Spiegel 38/1950) the “Roaring Twenties,” which were And so it was: the exception- not exactly lacking in debauchery. al Berlin director Ernst Lubitsch, The first screening of the film who strove to “de-opera-tize” the version of CARMEN, based on the op- movie, and the enchanting Pola Ne- era by Georges Bizet, took place three gri, femme fatale of the first hour, days before the end of the war, on No- formed a dream team of the early vember 8, 1918, in the screening room days of film. CARMEN celebrated of Ufa’s studio in Tempelhof. Inside, great success overseas from 1921 the champagne flowed; outside, the under the title GYPSY BLOOD and previous world order was collapsing.
    [Show full text]
  • Sex, Politics, and Comedy
    SEX, POLITICS, AND COMEDY GERMAN JEWISH CULTURES Editorial Board: Matthew Handelman, Michigan State University Iris Idelson-Shein, Goethe Universitat Frankfurt am Main Samuel Spinner, Johns Hopkins University Joshua Teplitsky, Stony Brook University Kerry Wallach, Gettysburg College Sponsored by the Leo Baeck Institute London SEX, POLITICS, AND COMEDY The Transnational Cinema of Ernst Lubitsch Rick McCormick Indiana University Press This book is a publication of Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA iupress.indiana.edu Supported by the Axel Springer Stiftung This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the University of Minnesota. Learn more at the TOME website, which can be found at the following web address: openmonographs.org. © 2020 by Richard W. McCormick All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
    [Show full text]
  • Keynes, Uncertainty and the Global Economy the POST KEYNESIAN ECONOMICS STUDY GROUP
    Keynes, Uncertainty and the Global Economy THE POST KEYNESIAN ECONOMICS STUDY GROUP Post Keynesian Econometrics, Microeconomics and the Theory of the Firm and Keynes, Uncertainty and the Global Economy are the outcome of a conference held at the University of Leeds in 1996 under the auspices of the Post Keynesian Economics Study Group. They are the fourth and fifth in the series published by Edward Elgar for the Study Group. The essays in these volumes bear witness to the vitality and importance of Post Keynesian Economics in understanding the workings of the economy, both at the macroeconomic and the microeconomic level. Not only do these chapters demon- strate important shortcomings in the orthodox approach, but they also set out some challenging alternative approaches that promise to lead to a greater understanding of the operation of the market mechanism. The papers make important contribu- tions to issues ranging from the philosophical and methodological foundations of economics to policy and performance. The Post Keynesian Study Group was established in 1988 with a grant from the Economic and Social Research Council and has flourished ever since. At present (2002), there are four meetings a year hosted by a number of ‘old’ and ‘new’ uni- versities throughout Great Britain. These are afternoon sessions at which three or four papers are presented and provide a welcome opportunity for those working in the field to meet and discuss ideas, some of which are more or less complete, others of which are at a more early stage of preparation. Larger conferences, such as the one from which these two volumes are derived, are also held from time to time, including a conference specifically for postgraduates.
    [Show full text]
  • Cg 2011 by JESSICA ELIZABETH KAMM. All Rights Reserved
    c 2011 by JESSICA ELIZABETH KAMM. All rights reserved. GERMAN FILM, WORLD TRAVEL: BERLIN, HOLLYWOOD, BOMBAY BY JESSICA ELIZABETH KAMM DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History in the Graduate College of the University of Illinois at Urbana-Champaign, 2011 Urbana, Illinois Doctoral Committee: Professor Harry Liebersohn, Chair Professor Peter Fritzsche Professor Mark Micale Professor David O'Brien Abstract This dissertation considers the work of German filmmakers who traveled to the United States and India between 1919 and 1936. This subject covers a wide range of documentary and feature films made throughout the interwar period, which are significant for two main reasons. First, through these films, Germans at home could experience the world from which they had been secluded as a result of the war. At a time when travel opportunities were limited and Germany’s international prestige was severely damaged, these films provided a conduit through which Germans could participate in international exchanges. Second, German filmmakers who traveled were able to create a network of industrial connections around the world that aided in further productions, allowing them to become an integral part an increasingly transnational industry. These international networks were imbued—sometimes explicitly—with an informal diplomatic authority; well respected German films and filmmakers contributed to restoring Germany’s international reputation, even as films allowed Germans to see and interpret a rapidly changing world. Using German archival sources, a wide range of German, American and Indian periodicals, German travelogues, and testimonies given to the Indian Cinematograph Committee, this study addresses the ways in which Germans attempted to extend their imaginative reach beyond the confines of Germany during the interwar period.
    [Show full text]
  • Herr Lubitsch Goes to Hollywood: German and American Film After World War I 2005
    Repositorium für die Medienwissenschaft Kristin Thompson Herr Lubitsch Goes to Hollywood: German and American Film after World War I 2005 https://doi.org/10.25969/mediarep/4115 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Thompson, Kristin: Herr Lubitsch Goes to Hollywood: German and American Film after World War I. Amsterdam: Amsterdam University Press 2005 (Film Culture in Transition). DOI: https://doi.org/10.25969/mediarep/4115. Erstmalig hier erschienen / Initial publication here: http://library.oapen.org/handle/20.500.12657/35134 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0/ Lizenz zur Verfügung Attribution - Non Commercial 3.0/ License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0/ https://creativecommons.org/licenses/by-nc/3.0/ Ernst Lubitsch, the German film director who left Berlin for Hollywood in 1923, is best remembered for the famous “Lubitsch touch” in such masterpieces as KRISTIN THOMPSON GOES TO HOLLYWOOD HERR LUBITSCH Trouble in Paradise and Ninotchka, featuring Greta FILM FILM Garbo. Kristin Thompson’s study focuses on Lubitsch’s FILM FILM silent films from the years between 1918 and 1927, CULTURE CULTURE tracing the impact this director had on consolidating IN TRANSITION IN TRANSITION classical Hollywood filmmaking. She gives a new assessment of the stylistic two-way traffic between the American and the German film industries, after World War I each other’s strongest rival in Europe. By 1919, Lubitsch had emerged as the finest pro- ponent of the German studio style: sophisticated, urbane and thorough- ly professionalized.
    [Show full text]
  • Ernst Lubitsch & the Transnational Twenties: the Student Prince in Old Heidelberg (USA 1927)
    UC Berkeley TRANSIT Title Ernst Lubitsch & the Transnational Twenties: The Student Prince in Old Heidelberg (USA 1927) Permalink https://escholarship.org/uc/item/6t02590p Journal TRANSIT, 10(2) Author McCormick, Rick Publication Date 2016 DOI 10.5070/T7102031166 Peer reviewed eScholarship.org Powered by the California Digital Library University of California McCormick: Ernst Lubitsch & the Transnational Twenties: The Student Prince in Old… Ernst Lubitsch & the Transnational Twenties: The Student Prince in Old Heidelberg (USA 1927) TRANSIT vol. 10, no. 2 Rick McCormick The silent cinema was already transnational to a degree that would be difficult to maintain once film industries began to convert to sound cinema, and Ernst Lubitsch epitomized the transnationalism of the 1920s. His last two films in Germany were financed with American money; arriving in Hollywood at the end of 1922, he brought other German artists and technicians with him and sent for more over the course of the decade. Lubitsch used European—mostly Central European—plays and operettas as the basis of his American films, and he followed the German cinema closely in the 1920s, imitating technical innovations and popular genres, meanwhile publishing articles in the trade journals in Germany. In 1927 he made his first silent operetta film, which was also his first American film set in Germany: The Student Prince in Old Heidelberg, a film meant to compete with similar films being made in Germany. In discussing this film, I will demonstrate that it is not only transnational in terms of the movements mentioned above of artists, technicians, ideas, styles, and genres back and forth across the Atlantic, but also because of the ethnic, gender, and sexual politics of the film and its production itself.
    [Show full text]
  • UFA Film Nights Live on Berlin's Museum Island Again
    PRESS RELEASE Bertelsmann and UFA Present: UFA Film Nights Live on Berlin’s Museum Island Again • From August 25 to 27, 2021: legendary silent films with exclusive musical accompaniment. • Program features three masterpieces of cinema history: CARMEN, THE LIGHT OF ASIA, and NOSFERATU • World premiere: Bertelsmann main sponsor of the digital restoration of the opening film, CARMEN • New concept: All three films can also be viewed on demand on the Internet. • Music by ensemble KONTRASTE, Silent Light Orchestra, and international organ virtuoso Cameron Carpenter • Tickets now on sale Berlin, July 15, 2021 – Back in the open air and with a live audience: After last year’s digital edition, the UFA Film Nights will once again be held on Berlin’s Museum Island this year. On the three evenings of August 25 to 27, 2021, Bertelsmann and UFA will present masterpieces of Weimar filmmaking, all of which have made international cinema history, in the open air, against a spectacular backdrop, and accompanied by live music. The silent film festival will also take place online at the same time, with live streams, a relaunched website and digital program information. This year’s UFA Film Nights kick off with Ernst Lubitsch’s CARMEN, loosely adapted from Georges Bizet’s opera of the same name, and Lubitsch’s first major production. Because of its opulence and Pola Negri’s brilliance as an actress, the film caused a worldwide sensation at the time under the alternative title GYPSY BLOOD. CARMEN has been extensively digitally restored by the Friedrich Wilhelm Murnau Foundation with financial support from Bertelsmann.
    [Show full text]
  • Herr Lubitsch Goes to Hollywo
    Ernst Lubitsch, the German film director who left Berlin for Hollywood in 1923, is best remembered for the famous “Lubitsch touch” in such masterpieces as KRISTIN THOMPSON GOES TO HOLLYWOOD HERR LUBITSCH Trouble in Paradise and Ninotchka, featuring Greta FILM FILM Garbo. Kristin Thompson’s study focuses on Lubitsch’s FILM FILM silent films from the years between 1918 and 1927, CULTURE CULTURE tracing the impact this director had on consolidating IN TRANSITION IN TRANSITION classical Hollywood filmmaking. She gives a new assessment of the stylistic two-way traffic between the American and the German film industries, after World War I each other’s strongest rival in Europe. By 1919, Lubitsch had emerged as the finest pro- ponent of the German studio style: sophisticated, urbane and thorough- ly professionalized. He was quick to absorb ‘American’ innovations and stylistic traits, becoming the unique master of both systems and contrib- uting to the golden ages of the Ame- rican as well as the German cinema. Utilizing Lubitsch’s silent films as a Herr Lubitsch key to two great national cinemas, Herr Lubitsch Thompson's extensively illustrated and meticulously researched book goes beyond an authorial study and GGooeess ttoo breaks new ground in cinema history. Kristin Thompson is an honorary HHoollllyywwoooodd fellow at the Department of Commu- nications Arts at the University of Wisconsin, Madison. She is the author of Storytelling in Film and Television. GermanGerman andand AmericanAmerican FilmFilm afterafter ISBN 90-5356-708-9 WorldWorld
    [Show full text]
  • Historical Dictionary of German Cinema
    07_677 (01) FM.qxd 1/15/08 6:20 PM Page i HISTORICAL DICTIONARIES OF LITERATURE AND THE ARTS Jon Woronoff, Series Editor 1. Science Fiction Literature, by Brian Stableford, 2004. 2. Hong Kong Cinema, by Lisa Odham Stokes, 2007. 3. American Radio Soap Operas, by Jim Cox, 2005. 4. Japanese Traditional Theatre, by Samuel L. Leiter, 2006. 5. Fantasy Literature, by Brian Stableford, 2005. 6. Australian and New Zealand Cinema, by Albert Moran and Er- rol Vieth, 2006. 7. African-American Television, by Kathleen Fearn-Banks, 2006. 8. Lesbian Literature, by Meredith Miller, 2006. 9. Scandinavian Literature and Theater, by Jan Sjåvik, 2006. 10. British Radio, by Seán Street, 2006. 11. German Theater, by William Grange, 2006. 12. African American Cinema, by S. Torriano Berry and Venise Berry, 2006. 13. Sacred Music, by Joseph P. Swain, 2006. 14. Russian Theater, by Laurence Senelick, 2007. 15. French Cinema, by Dayna Oscherwitz and MaryEllen Higgins, 2007. 16. Postmodernist Literature and Theater, by Fran Mason, 2007. 17. Irish Cinema, by Roderick Flynn and Pat Brereton, 2007. 18. Australian Radio and Television, by Albert Moran and Chris Keating, 2007. 19. Polish Cinema, by Marek Haltof, 2007. 20. Old-Time Radio, by Robert C. Reinehr and Jon D. Swartz, 2008. 21. Renaissance Art, by Lilian H. Zirpolo, 2008. 22. Broadway Musical, by William A. Everett and Paul R. Laird, 2008. 23. American Theater: Modernism, by James Fisher and Felicia Hardison Londré, 2008. 24. German Cinema, by Robert C. Reimer and Carol J. Reimer, 2008. 07_677 (01) FM.qxd 1/15/08 6:20 PM Page ii 07_677 (01) FM.qxd 1/15/08 6:20 PM Page iii Historical Dictionary of German Cinema Robert C.
    [Show full text]