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36 Objekte
Kosmos
48 Objekte
Emil Steinberger (*1933)
15 Objekte
Alfred Kerr (1867-1948)
27 Objekte
Jean-Baptiste Poquelin alias Moliere (1622-1673)
28 Objekte
Samir (*1955)
76 Objekte
Flughafen Zürich-Kloten | Prominente
19 Objekte
Engelbert Humperdinck (1854-1921)
56 Objekte
Sarah Bernhardt (1844-1923)
literatur theater
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(RM) 609542953
SCENE FROM "DAVID GARRICK," AT THE HAYMARKET THEATRE: GARRICK...[AND] ADA INGOT..., 1864. CREATOR: UNKNOWN.
Scene from "David Garrick," at the Haymarket Theatre: Garrick (Mr. Sothern) entreating Ada Ingot (Miss Moore) to return to her father, 1864. London stage production. 'Those of our readers who are curious to know how Mr. Sothern looks now that he has removed his moustache...will be interested in the Engraving [of] the new play of "David Garrick." Mr. Sothern, as all playgoers know, assumes the trying part of the great English actor...his impersonation is throughout easy and natural. It may seem a curious compliment to pay to one actor who represents another, to say that the performance is remarkably un-stagey - except, of course, when the exigencies of the scene require a display of theatrical art in its ordinary sense...in the scene where he simulates drunkenness he proves himself fully equal to the fresh call upon his powers..."David Garrick,"...has served Mr. Buckstone's purpose by drawing crowded houses...The Sketch we have engraved represents that passage, in the last scene of the play, where Garrick, who has been feigning bad manners that he may cure Aga Ingot of her romantic passion for himself, consoles her for the mortification she has suffered, and persuades her to go home to her father; while the father stands behind to listen'. From "Illustrated London News", 1864. Scene from "David Garrick," at the Haymarket Theatre: Garrick...[and] Ada Ingot..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609541612
THE SHAKSPEARE COMMEMORATION AT STRATFORD-ON-AVON: SCENE FROM "THE COMEDY OF ERRORS"...1864. CREATOR: UNKNOWN.
The Shakspeare Commemoration at Stratford-On-Avon: scene from "The Comedy of Errors", as performed in the Festival Pavilion, 1864. Celebrating the tercentenary of William Shakespeare's birth. Play performed by the company of the Princess's Theatre. 'It is the scene in which Antipholus of Syracuse, being mistaken for his brother of Ephesus by the wife of the latter, is accosted, very much to his astonishment, with conjugal entreaties and reproaches, by Adriana, whom he never saw before in his life. She has been scolding him for his neglect, and she now insists upon taking his arm and leading him home to dinner; while Dromio, no less astonished than his master, cries out that they have got into fairyland, and are transformed, in mind and shape, by some fallacious arts of magic. This Dromio (of Syracuse) is Mr. Charles Webb, whom nobody can distinguish from his brother Henry, the Dromio of Ephesus; Mr. George Vining is the Antipholus of Syracuse, and the Adriana is Miss Caroline Carson. "The Comedy of Errors," as performed at the Princess's and at the Stratford festival, is not the entire work of Shakspeare, but an abridgment or condensation, forming but a single act'. From "Illustrated London News", 1864. The Shakspeare Commemoration at Stratford-On-Avon: scene from "The Comedy of Errors"...1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 609541477
THE SHAKSPEARE COMMEMORATION: SCENE FROM..."KING HENRY IV.", PART I, PLAYED AT DRURY LANE..., 1864. CREATOR: UNKNOWN.
The Shakspeare Commemoration: scene from Shakspeare's play of "King Henry IV.", Part I, as played at Drury Lane - Battle of Shrewsbury, in the last act, 1864. 'In our review of the performance at Drury Lane of this wonderful historical drama, we noticed not only the admirable manner in which the play is acted throughout, but the skill and effect with which, in the last act, the Battle of Shrewsbury was managed. The general melée was prepared for by stage arrangements which gave the greatest effect to it, both in regard to the suddenness of its appearance and the completeness of its accessories...[we] give the reader some notions of this remarkable scene by an Engraving...Such a representation cannot, it is true, give any great prominence to the principal actors; but it can display the confusion and the grandeur of the battle-field, which here scarcely shows as a stage-scene at all, but, in consequence of the excellent arrangements to which we have alluded, looks like the reality itself. Stage illusion has never been carried to a higher point, nor have the resources of our national stage ever been devoted to a worthier object. It is highly creditable to the management and to the public by whose patronage it has been supported'. From "Illustrated London News", 1864. The Shakspeare Commemoration: scene from..."King Henry IV.", Part I, played at Drury Lane..., 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160579
PLASTER MONUMENT OF SHAKSPEARE, MODELLED BY THE LATE J. E. THOMAS, 1862. CREATOR: ROBERT DUDLEY.
Plaster Monument of Shakspeare, modelled by the late J. E. Thomas, 1862. 'It was designed not merely as a portrait-statue, but as a national monument...the poet is elevated on a lofty and massive pedestal decorated with bas-reliefs, and there are...two lateral allegorical figures of Comedy and Tragedy...The great poet holds a pen in one hand and loose manuscript in the other...Great praise, however, is also due to the sculptor for...the felicitous composition, and the careful modelling of the principal characters, male and female, of Shakspeare's plays in the gilt bas-reliefs which decorate the front and back of what we may call the shaft of the pedestal...A melancholy interest attaches to this monument, for it is said indirectly to have hastened the sculptor's death. It is stated, on good authority, that the Royal commissioners for the International Exhibition, or their agents, had refused him space for it, after considerable discussion with him not of the most conciliatory nature, that he had been indisposed for two or three weeks previously from excessive labour and anxiety, and that he went home after his last interview with the authorities at Kensington, took to his bed, and died in a few days'. From "Illustrated London News", 1862. Plaster Monument of Shakspeare, modelled by the late J. E. Thomas, 1862. Creator: Robert Dudley. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RMc) 595252603
SCENE FROM "OTHELLO" AT THE PRINCESS' THEATRE: THE TOWN AND HARBOUR OF CYPRUS, 1861. LONDON STAGE PRODUCTION: CHARLES FECHTER 'BLACKED UP' AS OTHELLO. THE SCENE, '...CYPRUS UNDER...A GRADUALLY ABATING STORM...PLACES THE SPECTATOR, AS IT WERE, ON A PLATFOR
Scene from "Othello" at the Princess' Theatre: the town and harbour of Cyprus, 1861. Creator: Smyth. Scene from "Othello" at the Princess' Theatre: the town and harbour of Cyprus, 1861. London stage production: Charles Fechter 'blacked up' as Othello. The scene, '...Cyprus under...a gradually abating storm...places the spectator, as it were, on a platform before the town, looking upon the harbour. Never were Mr. Telbin's skill and taste more beautifully shown than in this well-disposed pictorial set. [The set design includes]...a large arcade at the back of the scene, a gate on the right, and a capstan at the left comer, surrounded with bales of merchandise. These adjuncts enable the actors to shift from place to place, from the level to the platform, and from a sitting to an erect position, according to the proprieties of the action...lago sometimes in front, sometimes on the platform, sometimes on the capstan, conversing familiarly with Desdemona and Emilia...every change produces a different picture...Such adjuncts as these make the scene a pictorial composition. Such scenes, too, have another advantage-they are moving pictures...the English public owe a debt of thankfulness to M. Fechter for the care and attention which he has displayed in the practical application of the speculative improvements in the acting of Shakspearean drama.... From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 586849425
SCENE FROM "THE MERCHANT OF VENICE", AT THE PRINCESS' THEATRE: THE ELOPEMENT OF JESSICA, 1858. LONDON STAGE PRODUCTION. 'THE SECOND ACT...FORMS THE MAIN FEATURE OF THE NEW REVIVAL AT THE ABOVE THEATRE. IT WAS AN INSTANCE OF REMARKABLE JUDGMENT IN MR. C. K
Scene from "The Merchant of Venice", at the Princess' Theatre: the Elopement of Jessica, 1858. London stage production. 'The second act...forms the main feature of the new revival at the above theatre. It was an instance of remarkable judgment in Mr. C. Kean when he resolved on reducing this same second act of that enchanting drama to one scene...The water, the bridges, the buildings, the house of Shylock at the corner of the principal bridge, the passing to and fro of the gondolas, the gradual change of the whole picture from day to evening and night, the illuminated revels and the masquing groups compose one of the most effective stage set-scenes ever projected by enterprising manager or pictorial machinist...The incident of Jessica's elopement with Lorenzo gains especially in this way by force of the dioramic arrangement...We see the lover standing on the bridge; the gondola below awaiting the issue of the adventure; the fair Jewess opening the lattice, and reaching down the casket of jewels; her descent to the door; her flight from her father's house, borne away in her Lorenzo's arms; her safe deposit, surrounded by her gallant's friends, in the gondola, and the exit of the whole party by that pleasant mode of conveyance'. From "Illustrated London News", 1858. Scene from "The Merchant of Venice", at the Princess' Theatre: the Elopement of Jessica, 1858. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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