Tom Hanks SIGNED Disney Toy Story Movie Woody Photograph Print PSA DNA Autograph

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Tom Hanks SIGNED Disney Toy Story Movie Woody Photograph Print PSA DNA Autograph
Tom Hanks SIGNED Disney Toy Story Movie Woody Photograph Print PSA DNA Autograph

Tom Hanks SIGNED Disney Toy Story Movie Woody Photograph Print PSA DNA Autograph
Tom Hanks SIGNED Picture Print PSA DNA Certified Autograph This print has been signed by Tom Hanks, and the autograph certified authentic by PSA DNA. PSA DNA has encapsulated this autograph in their tamper proof holder, and it looks amazing! This print is approximately the size of an index card, and fits perfectly in the PSA DNA holder!
Tom Hanks SIGNED Disney Toy Story Movie Woody Photograph Print PSA DNA Autograph

Autograph Founder Jewish Art Theater Jacob Ben Ami Signed Gelatin Silver Print

autograph
Autograph Founder Jewish Art Theater Jacob Ben Ami Signed Gelatin Silver Print
Autograph Founder Jewish Art Theater Jacob Ben Ami Signed Gelatin Silver Print

Autograph Founder Jewish Art Theater Jacob Ben Ami Signed Gelatin Silver Print
A VINTAGE ORIGINAL 8X10 INCH SIGNED GELATIN SILVER PRINT PHOTO BY JACOB BEN-AMI FROM’HE WHO GETS SLAPPED. Jacob Ben-Ami, a founder of the Jewish Art Theater who achieved critical acclaim on both the Yiddish and English-speaking stages, died yesterday at Lenox Hill Hospital after a short illness. He was 86 years old and lived alone at 50 West 97th Street. He Who Gets Slapped Russian:??? Is a play in four acts by Russian dramatist Leonid Andreyev; completed in August 1915 and first produced in that same year at the Moscow Art Theatre on October 27, 1915. Immensely popular with Russian audiences, the work received numerous stagings throughout the Russian speaking world in the two decades after its premiere, and then later enjoyed a resurgence of popularity in the 1970s and 1980s in Russian theaters. The work is still part of the dramatic repertory in Russian speaking countries. While well-liked by the public, critical reaction to the work was initially negative in Russia. It was later reevaluated as a masterwork of Russian drama, and is regarded as Andreyev’s finest achievement among his 25 plays. The play is representative of Andreyev’s “pansyche theatre” in which the plot focuses on developing the internal, psychological and intellectual aspects of characters over external action. Set inside a circus within a French city, the play’s main character is a mysterious 39-year-old stranger (referred to as “He”) whose name is never revealed to the audience. “He” is fleeing a failed marriage and joins the circus as a clown. “He” falls in love with the horseback rider Consuelo, the daughter of Count Mancini. The Count pushes Consuelo into marrying Baron Renyard for financial gain. “He” poisons Consuelo, Baron Renyard commits suicide in despair, and then “He” drinks the poison himself at the end. On the international stage, the play became Andreyev’s most successful in the United States, being popular with both audiences and critics when it was staged on Broadway at the Garrick Theatre in 1922 in a production mounted by the Theatre Guild. That production used an English language translation of the original Russian by the psychoanalyst Gregory Zilboorg which was first published in 1921. The play has been staged in multiple languages internationally, but is most often performed in English outside of Russia. A 1944 English translation made for The Old Vic by Judith Guthrie reduced the structure of the play to two acts instead of four. This version was used for the 1946 Broadway revival, the 1947 West End production, and several other stagings in the United States and United Kingdom during the 20th century. The success of the stage play in the US led to the development of Victor Sjöström’s critically successful 1924 silent film of the same name which was notably the first film ever made by Metro-Goldwyn-Mayer. Besides this film, the play has been adapted many times, including an earlier Russian film in 1916, a Swedish film in 1926, a novel in 1925, an opera in 1956, a 1961 television film, and a musical in 1971. Ben-Ami first appeared in an English-speaking production in 1920, when he played the leading role in “Samson and Delilah, ” a play by the Swede Sven Lange that he had originally starred in and directed in Yiddish at the Jewish Art Theater. Throughout a distinguished career he reflected that same sort of theatrical pluralism, appearing in plays by American, British, Russian and Yiddish playwrights during tours in Europe, South Africa, South America and the United States, performing with equal skill in Yiddish and in English. His reviews, in any language, were always good, although he appeared in only one real Broadway hit-Paddy Chayefsky’s “The Tenth Man, ” which opened in 1959 and in which he played the grandfather. He was last seen on the stage in 1972, in a production of “Yoshe Kalb, ” staged at the theater on 12th Street and Second Avenue-the site of the old Irving Place Theater-where Mr. Ben-Ami, then young Russian immigrant with idealistic views about the stage, first appeared in 1918 with Celia Adler, Ludwig Satz, and Maurice Schwartz. The productions of their company marked the full flowering of what Miss Adler called in her memoirs the Second Golden Era of American Yiddish Theater. The first great period of the Yiddish theater coincided with the great wave of Jewish immigration at the turn of the century. Ben-Ami was known as the literatatnik of that group, an actor who believed that the broad melodramas and comedies usually associated with the Yiddish stage should give way to more modern and realistic drama. When he was hired by Maurice Schwartz as principal player at the theater on the Lower East Side, Mr. Ben-Ami stipulated that a serious play would appear once a week, even agreeing to take a pay cut for the loss that Mr. Schwartz, a more pragmatic producer, expected. Although the first such production, “A Secluded Nook, ” was an unexpected success, the differences in philosophy and temperament between Mr. Ben-Ami ultimately led to a parting. Schwartz renamed his downtown tneater the Yiddish Art Theater, while Mr. Ben-Ami moved uptown to Madison Square and founded the Jewish Art Theater at Madison Avenue and 27th Street. It was there that he appeared in “Samson and Delilah, ” which was seen by the producer Arthur Hopkins, who later staged it at the Greenwich Village Theater, with an English-speaking cast that included Sam Jaffe and Edward G. Alexander Woolcott compared Mr. Ben-Ami to Eleanor Duse in his review of the production. Of the founding of his own theater Mr. Ben-Ami was to write decades later in The New York Times, About 20 years ago I knew the great joy of doing both what I wanted to and what I believed in doing in the theater. His theater in Madison Square successfully presented productions in Yiddish of plays or works by Sholom Aleichem, Tolstoy, and Gerhart Hauptmann. But, more important, it attempted to undercut the star system so prevalent in Yiddish Theater then and to highlight more modern productions. Starring roles were to be rotated, billing was to be alphabetical, and for the broad technique of the past, a more psychological approach was brought to bear on acting. The results led a New York Times reviewer to write of one of its plays in 1920, It is no longer the product of merely a Jewish theater. And the audiences said the same. As even theatergoers who did not speak Yiddish increasingly came to the Jewish Art Theater. Stalkerware’ Apps Are Proliferating. It’s Never Too Late to Publish a Debut Book and Score a Netflix Deal. For Al Franken, a Comeback Attempt Goes Through Comedy Clubs. Continue reading the main story. Ben-Ami was born in the Russian town of Minsk in 1890, the son of prosperous farmers; early in life he became enthralled by entertainment and acting, and in his later years always recalled his earliest ambition as the desire to be a circus clown. But that did not color his disdain of traditional Yiddish theater, which he found farcical and superficial. Ben-Ami began appearing in small repertory companies in Minsk. He was offered a recommendation to the renowned Moscow Art Theater, but working in the capital would have meant converting from Judaism, and the young actor refused. He appeared with various troupes as both an actor and a director until he decided to emigrate to New York in 1912. He worked here at the Neighborhood Playhouse and with variety of amateur groups before joining the group at Irving Place in 1918. After the success of his theater, and his appearance in the English-speaking Samson and Delilah,’ Mr. Ben-Ami was recognized as something of a dramatic find. He appeared on Broadway in 1921 in another Hopkins production, “The Idle Inn, ” followed by “Johannes Kreisler, ” “Man and the Masses” and “Welded, ” and went on in the 30’s to become mainstay of Eva LaGalliene’s Civic Repertory Theater, starring in “The Seagull, ” “The Cherry Orchard” and Camille. Ben-Ami starred in “Hamlet” and “Abe Lincoln in Illinois” in Yiddish in South America, played Willie Loman in a South African production of “Death of a Salesman, ” and appeared in an English-speaking version of “The World of Sholom Aleichem” in Chicago. He played for nine seasons in Buenos Aires, appeared at the Forum in Lincoln Center, and was in Isaac Bashevis Singer’s “In My Father’s Court” at the Folksbiene’Playhouse in 1971. From time to time Mr. Ben-Ami would attempt to revive a serious Yiddish troupe, but as he grew older he was satisfied with his many appearances in Yiddish productions mounted by others. Ben-Ami married Slava Estrin, an actress who translated plays from German, Russian and Polish into Yiddish. She died in 1966. The couple had one son, Amon, a textbook illustrator who lives in New York. Ben-Ami is also survived by a nephew, Paul Warren, and a niece, the actress Jennifer Warren. A funeral service will be held at 11 A. Tomorrow at Park West Chapel, 115 West 79th Street. [1][2] Immensely popular with Russian audiences, the work received numerous stagings throughout the Russian speaking world in the two decades after its premiere, and then later enjoyed a resurgence of popularity in the 1970s and 1980s in Russian theaters. [2] The work is still part of the dramatic repertory in Russian speaking countries. [2] While well-liked by the public, critical reaction to the work was initially negative in Russia. [1] Set inside a circus within a French city, the play’s main character is a mysterious 39-year-old stranger (referred to as “He”) whose name is never revealed to the audience. [1] “He” is fleeing a failed marriage and joins the circus as a clown. [1][3] That production used an English language translation of the original Russian by the psychoanalyst Gregory Zilboorg which was first published in 1921. [4] The play has been staged in multiple languages internationally, but is most often performed in English outside of Russia. [1] A 1944 English translation made for The Old Vic by Judith Guthrie reduced the structure of the play to two acts instead of four. [5] This version was used for the 1946 Broadway revival, the 1947 West End production, and several other stagings in the United States and United Kingdom during the 20th century. Composition and performance history in Russian. International performances in other languages. Photograph of Margalo Gillmore (Consuelo) and Louis Calvert (Baron Regnard) in the 1922 Broadway production. Roles, Original Broadway cast. Original Broadway cast, [3]. January 9, 1922 – May 20, 1922. “He”, mysterious stranger (sometimes modified to “Funny”). “Gentleman”, mysterious stranger and acquaintance of “He”. Consuelo, a horseback rider. Baron Renyard, wealthy patron. Count Mancini, Consuelo’s father. Papa Briquet, owner of the circus. Zinida, a lion tamer. Alfred Bezano, jockey and Consuelo’s lover. Richard Bennett as “He” (left) & Louis Calvert as Baron Regnart (right) in the 1922 Broadway production. The action takes place within circus in a large city in France. [1] In the opening scene a mysterious man, “He”, approaches the circus performers and requests to join the toupe as a clown. Uncertain, the circus members recognize that the man is well educated and cultured by his speech and manner, but believe he may be an alcoholic. To win their approval, “He” suggests that his part in the circus act could be receiving slaps from the other clowns, and that his circus name could be “He Who Gets Slapped”. [1] Andreyev’s script, keeps the audience guessing over the identity of “He”, and information is divulged in piecemeal over the course of the play’s four acts. [1] This construct keeps the psychological aspects of the play at the center, as the audience is constantly trying to figure out what is motivating the central character. In the first act, Papa Briquet, the owner of the circus, asks to see “He”‘s identification in order to register his employment with the government. “He” discloses his name into Papa Briquet’s ear, without revealing it to the audience. [1] The reaction of the circus owner reveals that “He” is famous and respected, but the audience gains no further knowledge of the character other than he is 39 years old. In the second act, “He” is an established clown in Briquet’s circus and his act has been a huge success, bringing financial prosperity to the circus troupe. However, the other performers warn “He” against talking too much about controversial political and religious topics during his act. At the end of this act a second mysterious man, known only as the “Gentleman”, arrives. It is revealed that the “Gentleman”, a former close friend of “He”, is the cause of “He”‘s marital problems, as the “Gentleman” had an affair with “He”‘s wife and they now have a son. [1] The Gentleman in hopes of repairing their relationship has been searching all over Europe for “He” for months, as his friend disappeared mysteriously after leaving an angry letter. In the third act, it is revealed that the “Gentleman” is now married to “He”‘s former wife, and that he wrote a highly successful book about his affair with her that has made the “Gentleman” rich and famous. The Gentleman appears regularly in the press with his wife and son. “He” vows never to return to his former life, and the Gentleman leaves. [1] “He” focuses his attention on Consuelo, and makes an unsuccessful attempt to sabotage her engagement to Baron Regnard. In the fourth act, “He” poisons Consuelo in order to prevent her from marrying Baron Regnard and she dies. Mancini commits suicide in despair. Consumed by guilt, “He” takes the poison as well and dies. Photograph of Margalo Gillmore, Frank Reicher and Richard Bennett in the 1922 Broadway production of He Who Gets Slapped. In a letter to S. Goloushev of September 10, 1915. Leonid Andreev writes: “Since August 17-18, among the pains and other things, I sat down to work, ” and names among other works completed during this time “He Who Gets Slaps” – a large 4-act play for the Drama Theater. It will be great to play and watch! [2] The initial staging of the play at the Moscow Drama Theater was very important to Andreev: in the fall of 1915 he specially came to Moscow to be present at the rehearsals, and even earlier he wrote a number of letters to some actors of this theater, in which he gave detailed explanations of the play. [2] He pays particular attention in his comments to the character of Consuelo. In a letter to the actress E. Polevitskaya September 28, 1915, he stressed that the disclosure of his one of the most important tasks of the artist and director: to show the goddess under the tinsel jockey and acrobat. The work premiered at the Moscow Art Theatre on October 27, 1915 to tepid critical reviews, but tremendous popularity with audiences who applauded continuously through fourteen curtain calls. [2][1] The production marked the professional debut of lauded Russian actress Faina Ranevskaya who portrayed one of the smaller roles. [2] The Alexandrinsky Theatre staged the work the following month (premiere November 27, 1915) in a staging by Nikolai Vasilyevich Petrov. [2] Numerous productions of the work were presented in Russia and Estonia over the next two decades, including performances in Kiev, Syzran, Voronezh, and Tallinn among others. The play received a resurgence of popularity in the Russian speaking world in the 1970s and 1980s, with productions mounted at the Russian Theatre, Tallinn, Saint Petersburg Lensoviet Theatre, and the Russian Army Theatre among others. [2] In 2002, visiting Finnish director Raija-Sinikka Rantala staged the play at the Moscow Art Theater. The title role was played by Viktor Gvozditsky, to whose 50th anniversary the premiere of the play was timed. [2] In 2020, Moscow director Natalia Lyudskova staged the play at the Pushkin State Drama Theatre Kursk. Swedish actor Gösta Ekman as “He” in 1926. In 1919 the play was given its first staging in France at the Théâtre des Arts in Paris. The production was directed by Georges Pitoëff who also wrote the French language translation of the play. His wife, Ludmilla Pitoëff, portrayed Consuelo in the production. [6] That same year the play had its United States debut in the Yiddish language with Jacob Ben-Ami as “He” at The New Yiddish Theater (in Yiddish, Dos Naye Yidisher) in New York City. [7][8] Ben-Ami would go on to perform the role in Yiddish and English in multiple production in the United States and Canada into the 1930s, including a 1929 production at the Cleveland Play House which became entangled in a highly publicized labor dispute. In March 1921 an American magazine, The Dial, published an English-language translation of the play by the psychoanalyst Gregory Zilboorg after his translation drew the attention of the magazine’s editor, the poet Marianne Moore. [10] Well received, that translation has been republished 17 times since that initial publication. [10] That translation was used for what was billed as the United States premiere (but really the English language premiere) of the play on January 9, 1922 at Broadway’s Garrick Theatre. [11] It remained there until February 13, 1922, when it transferred to the Fulton Theatre for performances through May 20, 1922. [3] The production then moved back to the Garrick Theatre, where it continued to play through September 30, 1922, closing after a total of 308 performances. [12] Starring Richard Bennett, the production earned glowing reviews in The New York Times. Following the Broadway production, producer Sam H. Harris mounted a national tour of the production which was directed by Joseph Gaites and was headlined once again by Richard Bennett. [13] Among the tour’s stops were the Hollis Street Theatre in Boston in November 1922;[13] a 10 week run at the Playhouse Theatre (now Fine Arts Building) in Chicago in December 1922 through February 1923;[13] and the Auditorium Theatre in Baltimore in October 1923. [14] Several more stagings of the play in English followed, including a productions at the Le Petit Theatre du Vieux Carre in New Orleans (1924). [10] The work was regularly staged in American regional theaters during the 1920s and 1930s when Andreev was at his height of popularity in the United States; during which time his works were banned in the Soviet Union. In 1926 the Austrian premiere was given at the Modernes Theater Wien in Vienna in 1926. [15] That same year the play was mounted for the first time in the United Kingdom at the Birmingham Repertory Theatre with Stanley Lathbury as “He”, Ralph Richardson as “Gentleman”, Muriel Hewitt as Consuella, Alan Howland as Polly, and Edward Chapman as Tilly using an English language translation by Gertrude Schurhoff and Sir Barry V. Jackson; the latter of whom directed the production. [16] In 1927 the play was mounted in London for the first time at the Everyman Theatre in Hampstead with Milton Rosmer as “He”, Frederick Lloyd as “Gentleman”, Gabrielle Casartelli as Consuelo, Dorie Sawyer as Zinida, Godfrey Baxter as Alfred Bezano, and Brember Wills as Mancini. In 1929 it was staged at the Oxford Playhouse for the first time. [17] In 1952 that theater mounted the work again in a celebrated revival directed by Oliver Marlow Wilkinson with David March as “He”, Susan Dowdall as Consuelo, John McKelvey as Briquet, Hugh Manning as Count Mancini, Mary Savidge as Zinida, and Ronnie Barker as Polly. In 1944 the played was staged at the Liverpool Playhouse by The Old Vic whose players had relocated to Liverpool from London during World War II due to The Blitz. Directed and produced by Tyrone Guthrie, it used a new English language translation divided into two Acts instead of four by Guthrie’s wife, Judith Guthrie, and was performed under the title “Uneasy Laughter”. The character of “He”, played by Old Vic’s director Peter Glenville, was renamed Funny in this version. Other cast member included Audrey Fildes as Consuelo, Eileen Herlie as Zinida, Arnold Marlé as Briquet, Noel Willman as Count Mancini, Scott Forbes as Bezano, Percy Heming as Jackson, and Henry Edwards as Baron Reynard. Both Guthries were utilized again for a Broadway revival staged by The Theatre Guild in 1946. The production starred John Abbott as Count Mancini, John Wengraf as Baron Reynard, Susan Douglas Rubes as Consuelo, Stella Adler as Zinaida, Wolfe Barzell as Papa Briquet, Reinhold Schünzel as Baron Regnard, Russell Collins as Jim Jackson, and John M. O’Connor as Polly. [21] Douglas won a Donaldson Award for her portrayal. In 1947 the play was staged for the first time in London’s West End at the Duchess Theatre under the artistic direction of Robert Helpmann and Michael Benthall; once again using Guthrie’s two act version of the play. Helpmann portrayed Funny (“He”), with Audrey Fildes as Consuelo, Margaret Diamond as Zinida, Arnold Marlé as Briquet, Ernest Milton as Count Mancini, Leonard White as Bezano, Stanley Ratcliffe as Jackson, Alfie Bass as Tilly, Peter Varley as Polly, and Basil Coleman as “Gentleman”. In 1951 the play was mounted using Guthrie’s adaptation at the Watergate Theatre, London with Brian Cobby as Bezano. [24] In 1952 literary critic Peter Bayley directed a production of the play for University College Players starring a young Maggie Smith as Consuelo. [25] In 1958 a second national tour starring Alfred Drake as “He” toured the United States. [26] In 1964 the Hampstead Theatre staged the work with Vladek Sheybal as “He”, Tristram Jellinek as Mancini, and Jo Maxwell Muller as Consuelo. [27] In 1985 the play was staged at the Riverside Studios. In 1995 the Hudson Theater won an Ovation Award for their production of the play which was directed by Dan Shor and starred Bud Cort as “He”. [29] A critically acclaimed production directed by and starring Yuri Belov with a new English translation by Belov was staged at the Ivy Substation in Culver City, California in 1997. Margalo Gillmore (centre, seated) as Consuelo, Helen Westley (Zinida), Philip Leigh and Edgar Stehli (Tilly and Polly, musical clowns) in the 1922 Broadway production. The first two productions, both Moscow and Petrograd, were, according to theater chronicles and recollections of contemporaries, a great success with the audience. [2] The actor llarion Nikolaevich Pevtsov in the leading role of “He” in both productions was praised universally by critics and audiences. [2] However, criticism was mostly negative about the play at the time of its premiere with the playwright being accused of “hodgepodge” and “derivation”. [2] Russian critic Alexander Kugel, who usually championed Andreev’s plays, gave a cold review of the play, reproaching the author’s lack of clear thought, which is replaced here by many contradictory “ideas”, and the abuse of external stage effects. Goloushev was more complimentary of the play and speaks of “He” as a role that requires a tragic actor of Chaliapin’s scale for its performance. In his article he points to the essential conflict underlying this drama-a masquerade where everyone’s mask is fused to his skin… “He” is again a Man with a capital letter, and again next to him is a gentleman, a man of little h. Again a clash of personality and crowd, of greatness of spirit and vulgarity. The personality is defeated. Everything he had lived with has been taken from him. The Russian poet Fyodor Sologub was one of the work’s champions. In his analysis the main character “He” is revealing of the clear outlines of an ancient myth under the guise of reality we are experiencing. Thoth, is an envoy of another, higher world, the Creator of ideas, who descended to the circus arena, again took on his humiliated appearance, a rabbit’s eyesight, voclauned, to again accept the sourdough. Consuella is the daughter of the people, the soul of simple-minded humanity, the charming Psyche… And the eternal story of the innocent soul, seduced by the eternal Defiler, is repeated. Current assessment of He Who Gets Slapped among Russian writers is much more positive, with scholars on Andreev contending that initial criticism misinterpreted the nature of conventionality in Andreev’s writing. [2] Contemporary playwright Victoria Nikiforova notes: Leonid Andreev’s play should appeal to lovers of indie melodramas and Emmerich Kálmán’s operettas. He Who Gets Slapped anticipated the plot of Die Zirkusprinzessin ten years earlier and the heated atmosphere of Seeta Aur Geeta by fifty. Critical assessment in the US was positive from its initial presentation in English in 1922. [1] Russian studies academic Frederick H. White writes, Andreev’s play about betrayal and revenge, seemingly, struck a chord with modern industrial America, during the unscrupulous Gilded Age of robber barons and a period of great social change due to a rapidly increasing immigrant population, a period in American history when the circus crisscrossed the country providing a vivid cultural window into this era’s complex and volatile web of historical changes. File:He Who Gets Slapped (1924). He Who Gets Slapped (full film). 1915, Russian film He Who Gets Slapped is released. 1924, American film He Who Gets Slapped is released by MGM. Carlin’s novel He Who Gets Slapped is published. 1926, Swedish film He Who Gets Slapped is released. 1956, Robert Ward and Bernard Stambler’s opera He Who Gets Slapped premieres at Lincoln Center. 1961, a television film for The Play of the Week starring Richard Basehart and Julie Harris[34]. 1971, an Off-Broadway musical adaptation entitled Nevertheless, They Laugh by composer Richard Lescsak and writer LaRue Watts is mounted at the Lamb’s Theatre in New York city with stars David Holliday and Bernadette Peters. Acob Ben-Ami was born on 23 December 1890 in Minsk, Belarus. His father was a house painter. He studied in a cheder and completed his education in a private school. After that he became an extra in a theatre. From his very early age he had a strong interest in the theatre. As a small boy he sang with various cantors and often, together with other choir boys, would be taken to sing behind the curtains in Russian theatre. When he was seventeen years old he was given walk-on roles with the Russian State Theatre (directed by Chernov and later by Belyiev). The following season he became the leader of the walk-on actors and still later he was given larger roles, some with talking parts. In the summer of 1908, he traveled with the Sam Adler-Meerson troupe as an understudy. After five months Ben-Ami was given the opportunity to play some minor roles. However, Adler had to let him go, telling him that he would never be an actor. Ben-Ami joined Mitleman’s troupe where he was given larger roles. After that, when both troupes amalgamated, Ben-Ami performed with them for a year. In Odessa, he met Peretz Hirshbein and helped him found the first Yiddish Dramatic Theatre (See Hirshbein troupe). There he both acted and directed. When this troupe disbanded, Ben-Ami directed for a short while in Vilna for the Yiddish Dramatic Amateur Circle. Later, this group became the nucleus for the Vilna Troupe. In 1912 Ben-Ami was invited to London to be the director and leading actor in the dramatic presentations of Feinman’s Artistic Temple Feinman’s Yiddish People’s Theatre – ed. After four months, however, the theatre was closed down. Ben-Ami was then invited to America to join Sarah Adler’s troupe, where Schildkraut was performing at the time. There Ben-Ami performed in “The Green Maiden, ” but this theatre too closed down in the middle of the season. Ben-Ami then became a member of the actor’s union, and in 1913 he was contracted to Thomashefsky where he acted in Dymow’s “Eternal Wanderer” under the direction of the author. In 1914 Ben-Ami toured with Keni Lipzin. In the spring of that year, he appeared at the Neighborhood Playhouse, with a group of amateurs in three one-act plays by I. In 1915, Ben-Ami signed on once more with Thomashefsky who assigned him very few roles over the next two years. He then joined Lieberman’s theatre where he played in a melodramatic repertoire directed by Weintraub. There he created the character “Note vasertreger” in Kalmanowitz’s A Mother’s Worth. In 1917 Ben-Ami signed on with Schwartz’s Irving Place Theatre, where they presented Pinski’s “Love’s Strange Ways” and Hirshbein’s “Faraway Corner, ” which became the hallmark of this theatre. The theatre had two names: In Yiddish, “The New Yiddish Theatre” (Dos naye yidisher teater), and in English, “The Jewish Art Theatre” (this name was bestowed on it by Emanuel Reicher). The repertoire of this theatre was: Hirshbein’s, “Puste kretchme” (Empty Shops), “Grine felder” (Green Fields); various one-act plays by Sholem Asch; “Mit’n shtrom” (With the Stream) by Sholem Aleichem; “Mentshn” (People), also, Pinski’s “Shtumer moshiakh” (The Silent Messiah), Dymow’s “Bronx Express, ” Hauptmann’s “Eynzame mentshn” (Lonely People), Tolstoy’s “Macht fun finsternish” (The Power of Darkness), and a reworked version of Sven Lang’s Samson and Delilah. Later he performed with the British Theatre Guild as an actor and director. Gorin: Happenings in the Yiddish Theatre, Vol. Entin: A yunge aktyor in a groyse role (a young actor in a great role), Di varhayt, October 6, 1917. Waiter’s Shtumer (The Silent Ones) in nayem yidishn teater (New Yiddish Theatre). Di naye velt, New York, April 16, 1920. Koralnik: Shildkroyt and Ben-Ami, in Der tog, November 21, 1920. Loel Slonim – Ben-Ami derzeylt vi er hot gefilt bay zany ershtn oyftrit oyf der englisher bine (Ben-Ami tells how he felt when he first appeared on the English language stage). Mukdoni – “Teater” (Theatre), New York 1927, pp. Jacob Mestel – “Zeks koyln tzaychnungen (Six charcoal drawings)”, Yiddish Theatre, Warsaw 1927. Kumner -Zichroynes vegn der hirshbayn troupe (Memories of the Hirshbein troupe), teater zichroynes (theatre memories), edited by Z. Zilbertzveig, Vilna, 1928, pp. Shames – Yaakov Ben-Ami vegn yidishn teater in amerike (About Yiddish Theatre in America), “Lit-bal”, Vol. Abba Lillian – “Samson and Delilah” “Yidishe vilne”, Philadelphia, June 5, 1924. Parker- Jacob Ben-Ami and Berta Gertman “Dos yidisher vort” (The Yiddish Word), Winnipeg, May 28, 1926. Koralnik – David Warfield–Ben-Ami, “Der tog” N. Buchwald – Ben Ami’s Triumph in Samson and Delilah, Frayhayt, October 8, 1926. Malach – Yaakov Ben-Ami un zayn yidishe kunst teater (Jacob Ben-Ami and his Yiddish Art Theatre), Di prese, Vol. Buchwald – Vos Ben-Ami and the players created in Leivik’s “Shop”, Frayhayt, Vol. Glantz – “Shop”, Der tog, Dec. Cahan – A naye piese in irving pleys teater (A New Play in the Irving Place Theatre) “Shop”, Forward, Dec. Buchwald – Leyvik’s sotziale drama in an umgeveyntlicher oyffirung (Leyvik’s social-drama in an unusual presentation), Frayhayt, Dec. Frumkin – Samson and Delilah in Irving Place Theatre, Der tog. Mukdoni – “Di shif mit tzadikim” (The Boat of the Righteous), Tog zhurnal, N. Cahan – Yevrayenov’s New Play in the Irving Place Theatre, Forward, September 21, 1926. Frumkin – “Di shif mit tzadikim” A beautiful, interesting theatrical play, Der tog, September 24, 1926. Pompadour – Drama-ayn, drama-oys (drama in and drama out) “kunst” (art), N. Mukdoni — Samson and Delilah, October 23, 1926. Volyhiner- Eyndruckn fur yidishn teater-fortshrit Impressions of the Yiddish Theatre. Cahan – Berkovitch’s new drama in the Irving Place Theatre, Forward, Nov. Shachne Epstein – A Literary Melodrama with an allusion to something more, Frayhayt, Nov. Pompadour – “Fun yener velt”, Kunst, Nov. Mukdoni – “Fun yener velt”, Yidishe teater, Nov. Kesner – “Fun yener velt”, Yidishe teater, Nov. Glantz – “Fun yener velt”, Der tog, Nov. Funeral services were held here yesterday for Jacob Ben-Ami, one of the best known actors of the Yiddish stage. He died Friday at the age of 86. Ben-Ami, who performed with equal skill in both English and Yiddish, had a long distinguished career appearing in plays by Yiddish, American, British and Russian playwrights on tours in Europe, South Africa, South America and the United States. He was last seen on the stage in 1972 in a production of “Yoshe Kalb” staged at the theater on Second Avenue and 12th Street on the East Side where he had appeared with Maurice Schwartz in 1918 in what was then the Irving Place Theater. Born in Minsk, Ben-Ami fell in love with the theater early. But he found the Yiddish theater too superficial and wanted to change it by learning from the Russian theater. He appeared in small repertory companies in Minsk but rejected a chance to join the renowned Moscow Art Theater because it would have meant converting from Judaism. Ben-Ami immigrated to the U. In 1921 and worked with some amateur groups before joining Schwartz in 1918. Ben-Ami, who wanted more modern and realistic dramas than the melodramas and comedies popular with Yiddish audiences, broke with Schwartz and founded the Jewish Art Theater where for years he presented plays by such authors as Sholom Aleichem, Tolstoy and Gerhart Hauptmann. He appeared in several Broadway productions but in only one real hit, Paddy Chayefsky’s “The Tenth Man, ” which opened in 1959 and in which he played the grandfather. Ben-Ami’s long stage career began in his native Minsk, Belorussia, before he was a teenager. After traveling with many Yiddish acting companies through Eastern Europe, Ben-Ami went to the United States in 1912 to appear with Rudolf Schildkraut and Sarah Adler in Yiddish plays. In 1918, together with Maurice Schwartz, he founded the Yiddish Art Theater in New York. Ben-Ami’s reputation as an actor and director grew, and in 1920 he made his English-language acting debut in Samson and Delilah, a drama written by a Dane, Sven Lange, that Ben-Ami had played and directed in Yiddish in New York and in Russia. The following year he made his Broadway debut in Peretz Hirshbein’s The Idle Inn, and many leading roles followed. Ben-Ami played more parts on the English-speaking stage than on the Yiddish, but he did not appear in a commercial success until almost 40 years later, when he played a grandfather in Paddy Chayefsky’s The Tenth Man (1959). In the interim, Ben-Ami toured extensively in South America, in South Africa, and in the United States where he did Yiddish plays and Yiddish translations of Russian, European, and American plays. This item is in the category “Collectibles\Autographs\Celebrities”. The seller is “memorabilia111″ and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Liechtenstein, Kuwait, Benin, Algeria, Antigua and Barbuda, Swaziland, Italy, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, China, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Tajikistan, Vietnam, Malta, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Uganda, Luxembourg, Brazil, Turkey, Germany, Egypt, Latvia, Jamaica, South Africa, Brunei Darussalam, Honduras.
  • Industry: Celebrities
  • Signed: Yes

Autograph Founder Jewish Art Theater Jacob Ben Ami Signed Gelatin Silver Print

Richard Kiel Jaws signed Print GameStop Everything or Nothing Autograph RARE

richard
Richard Kiel Jaws signed Print GameStop Everything or Nothing Autograph RARE
Richard Kiel Jaws signed Print GameStop Everything or Nothing Autograph RARE

Richard Kiel Jaws signed Print GameStop Everything or Nothing Autograph RARE
Richard Kiel as “Jaws”? Approx size: 11.0″ x 8.0″. Rare Signed Print. To My #1 FAN Hi! This was obtained while attending a 2003 GameStop Convention in Dallas, Texas. Print has never been displayed, but does have storage wear. Note: Second picture is just to show the event of that day, thus authenticating this item. “The official EA site for “Everything or Nothing” has reported that Richard Kiel, best known as “Jaws, recently made a guest appearance at both the GameStop Convention in Dallas and the Tokyo Game Show in Japan. The GameStop Convention is an opportunity for GameStop store managers to check out hot new gaming titles. Held in Dallas, Texas in September, store managers got an extra surprise when Richard Kiel, a. “Jaws” made a guest appearance to answer questions, sign autographs and pose for photographs. See pictures for details. This item is in the category “Collectibles\Autographs\Movies”. The seller is “pcengine2020″ and is located in this country: US. This item can be shipped worldwide.
  • Original/Reproduction: Original
  • Signed by: Richard Kiel
  • Signed: Yes

Richard Kiel Jaws signed Print GameStop Everything or Nothing Autograph RARE

Lana Del Rey NFR Hand Signed Print

lana
Lana Del Rey NFR Hand Signed Print
Lana Del Rey NFR Hand Signed Print

Lana Del Rey NFR Hand Signed Print
Lana Del Rey NFR Hand Signed Print. The item “Lana Del Rey NFR Hand Signed Print” is in sale since Friday, April 23, 2021. This item is in the category “Collectables\Autographs\Certified Original Autographs\Music”. The seller is “rlancett” and is located in Drybrook. This item can be shipped to United Kingdom, Antigua and barbuda, Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, Australia, United States, Bahrain, Canada, Japan, New Zealand, China, Israel, Hong Kong, Norway, Indonesia, Malaysia, Mexico, Singapore, South Korea, Switzerland, Taiwan, Thailand, Bangladesh, Belize, Bermuda, Bolivia, Barbados, Brunei darussalam, Cayman islands, Dominica, Egypt, Guernsey, Gibraltar, Guadeloupe, Grenada, French guiana, Iceland, Jersey, Jordan, Cambodia, Saint kitts and nevis, Saint lucia, Liechtenstein, Sri lanka, Macao, Monaco, Maldives, Montserrat, Martinique, Nicaragua, Oman, Pakistan, Paraguay, Reunion, Turks and caicos islands, Aruba, Saudi arabia, South africa, United arab emirates, Chile, Bahamas, Colombia, Costa rica, Dominican republic, Guatemala, Honduras, Jamaica, Kuwait, Panama, Qatar, El salvador, Trinidad and tobago, Uruguay.
  • Type: Music
  • Signed: Yes
  • Object: Signed Prints

Lana Del Rey NFR Hand Signed Print

Band Of Brothers 101st Airborne 506 PIR E Co autographed signed Photo Print

band
Band Of Brothers 101st Airborne 506 PIR E Co autographed signed Photo Print
Band Of Brothers 101st Airborne 506 PIR E Co autographed signed Photo Print
Band Of Brothers 101st Airborne 506 PIR E Co autographed signed Photo Print
Band Of Brothers 101st Airborne 506 PIR E Co autographed signed Photo Print
Band Of Brothers 101st Airborne 506 PIR E Co autographed signed Photo Print
Band Of Brothers 101st Airborne 506 PIR E Co autographed signed Photo Print

Band Of Brothers 101st Airborne 506 PIR E Co autographed signed Photo Print
Gorgeous Band of Brothers – Valor Studios “The Eagle’s Nest” autographed 23 x 32 print signed in pencil. The limited edition print is exactly as pictured in the scan and is autographed by the Artist John Shaw and the following (24) heroes of the WWII Band of Brothers; Wild Bill Guarnere, Edward Babe Heffron, Don Malarkey, Lynn Buck Compton, Darrell Shifty Powers, Ed Shames, Joe Lesniewski, Frank Perconte, Ed Joint, Paul Rogers, Dewitt Lowrey, Brad Freeman, Clancy Lyall, Ed Mauser, Ed Tipper, Rod Strohl, Ed Bernat, Phil Perugini, Herb Suerth, Hank Zimmerman, Amos Buck Taylor, William Wingett, Earl McClung and J. The expoits of this unit is immortalized in the book and HBO mini series – Band of Brothers. The series dramatizes the history of. 506th Parachute Infantry Regiment. From jump training in the US through its participation in. Major actions in Europe. Up until the war’s end. The events are based on research and recorded interviews with E Company veterans. Is an account of. Part of the 2nd. During World War II. Over ten episodes the series details the company’s exploits during the war. Starting with jump training at. Band of Brothers follows the unit through the. American airborne landings in Normandy. And on to the war’s end. It includes the taking of the. (Eagle’s Nest) at Obersalzberg in Berchtesgaden and refers to the surrender of Japan. The item “Band Of Brothers 101st Airborne 506 PIR E Co autographed signed Photo Print” is in sale since Friday, May 1, 2020. This item is in the category “Collectibles\Autographs\Military”. The seller is “shimmy9″ and is located in Mission, Kansas. This item can be shipped to United States, Philippines, Cayman islands, Ukraine.
  • Modified Item: No

Band Of Brothers 101st Airborne 506 PIR E Co autographed signed Photo Print

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14 X 18 Drew Morrison Wonka Print Autographed By Six + Bonuses

drew
14 X 18 Drew Morrison Wonka Print Autographed By Six + Bonuses
14 X 18 Drew Morrison Wonka Print Autographed By Six + Bonuses
14 X 18 Drew Morrison Wonka Print Autographed By Six + Bonuses
14 X 18 Drew Morrison Wonka Print Autographed By Six + Bonuses

14 X 18 Drew Morrison Wonka Print Autographed By Six + Bonuses
There’s no earthly way of knowing, which direction we are going.. I see a lot of Wonka-based art in my travels but this is the first piece I have gotten signed by the Wonka crew. I love the way it captures the creepy, fun vibe of the tunnel boat trip. Signed by five Wonka kids and the artist. Only available through me. Signed in Decco paint pens by. Peter Ostrum Charlie Bucket. Paris Themmen Mike Teevee. Julie Dawn Cole Veruca Salt. Denise Nickerson Violet Beauregarde. Michael Boellner Augustus Gloop. Drew Morrison – Artist. Certificate of authenticity (signed by me, with holographic label). 8 X 10 autographed photo of Mike Teevee. The item “14 X 18 DREW MORRISON WONKA PRINT AUTOGRAPHED BY SIX + BONUSES” is in sale since Tuesday, October 23, 2018. This item is in the category “Collectibles\Autographs\Movies”. The seller is “miketv59″ and is located in New York, New York. This item can be shipped to United States, Canada, United Kingdom, Denmark, Czech republic, Finland, Hungary, Australia, Greece, Portugal, Japan, Sweden, Belgium, France, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Mexico, New Zealand, Switzerland, Norway, Bermuda, Guernsey, Iceland, Jersey, Liechtenstein, Luxembourg, Monaco.
  • Modified Item: No
  • Country/Region of Manufacture: United States
  • Original/Reproduction: Original
  • Signed by: Five Wonka kids and the artist

14 X 18 Drew Morrison Wonka Print Autographed By Six + Bonuses

Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts

naval
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts

Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts
For sale is a limited edition watercolor collage by artist/Naval aviator (and former Blue Angels pilot) R. Rasmussen entitled Naval Aviation in Space. This color lithograph print (#819/1000) is signed in pencil by nine pioneering astronauts, all former Naval aviators, representing all of NASA’s space programs (Mercury, Gemini, Apollo, Skylab, and Space Shuttle System). Many of these signatures are rare and collectible (Neil Armstrong & three other moonwalkers, of which there are only twelve total). Neil Armstrong (Gemini 8; and Commander of Apollo 11, during which mission he became the first person to walk on the moon). Charles “Pete” Conrad Gemini 5; Commander of Gemini 11; Commander of Apollo 12, during which he became the third person to walk on the moon; and Commander of Skylab 2, the first crewed Skylab mission, during which he and his crewmates repaired significant damage to the Skylab space station. For this, President Jimmy Carter awarded him the Congressional Space Medal of Honor in 1978. Alan Shepard (Mercury astronaut, becoming the first American in space in 1961; and Commander of Apollo 14, during which he became the fifth person to walk on the moon). Gene Cernan (Gemini 9; Apollo 10; and Commander of Apollo 17, during which he became the last person to walk on the moon). Jack Lousma (Skylab 3; and Commander of STS-3, the third Space Shuttle mission). John Glenn (Mercury astronaut, becoming the first American to orbit the Earth). James Lovell (Gemini 7; Gemini 12; Command Module Pilot on Apollo 8, the first flight to/around the moon; and Commander of Apollo 13). Wally Schirra (the only astronaut to fly in the Mercury, Gemini, and Apollo programs). Rick Hauck (STS-7; Commander of STS-51-A; and Commander of STS-26, the first Space Shuttle flight after the Challenger tragedy). The nine astronauts were part of a symposium held at the Naval Aviation Museum in 1989. Rasmussen, curator and museum artist, published this print as a fundraiser for the museum, and the astronauts signed each one after a ceremonial dinner, all of them sitting at a table, passing each print to the next signer. The print itself measures 22″ x 29″ and is professionally matted and framed (the total size with frame is 25-1/2″ x 32″). The print, acid-free matte, lightweight metal frame, and UV protected glass are in flawless condition. This print comes with the original National Museum of Naval Aviation COA. Please feel free to contact me with Questions or Concerns. All sales are final. The item “Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts” is in sale since Tuesday, July 2, 2019. This item is in the category “Collectibles\Autographs\Space”. The seller is “gucci04″ and is located in Matteson, Illinois. This item can be shipped to United States, Philippines, Cayman islands.
  • Signed by: Neil Armstrong & 8 other Astronauts
  • Modified Item: Yes
  • Country/Region of Manufacture: United States
  • Original/Reproduction: Original
  • Modification Description: Matted & Framed

Naval Aviation in Space Ltd Ed Print Signed by Armstrong & 8 other Astronauts

Robocop 16×12 Print Signed by Peter Weller at For the Love of Sci-Fi Dec 2019

robocop
Robocop 16x12 Print Signed by Peter Weller at For the Love of Sci-Fi Dec 2019
Robocop 16x12 Print Signed by Peter Weller at For the Love of Sci-Fi Dec 2019
Robocop 16x12 Print Signed by Peter Weller at For the Love of Sci-Fi Dec 2019

Robocop 16x12 Print Signed by Peter Weller at For the Love of Sci-Fi Dec 2019
IN ASSOCIATION WITH MONOPOLY EVENTS. ROBOCOP 16X12 PRINT SIGNED BY PETER WELLER AT THE LOVE OF SCI-FI MANCHESTER DECEMBER 2019. Receive it within 2 days from order! If you have any problems we can help! Monopoly Events are the industry leaders in the UK for signed film merchandise and memorabilia. All of our merchandise is certified in house and each item receives our two peace authentication Read more below regards Monopoly’s two peace authentication service. Monopoly Events Two Piece Authentication Service. This enhances the value of your product, and is a record of the signing taking place. This is our COA mark and the stickers are uniquely numbered and impossible to forge. We are also happy for you to take pictures of the guest signing your item as long as the guest is also okay for you to do so. Having your item stickered and having proof with the programme that you attended on that day is further proof the item is real and authentic. You can also keep your event ticket as extra proof of attendance. Whilst we know that most of you intend to keep your memorabilia, if you ever decide to sell it on this will prove beyond all reasonable doubt that the item is genuine. If you use our official send in service we will include our COA sticker and an event programme when we post back your signed items for an additional charge. Proof pictures will be obtained where possible. This is inclusive within the price you pay. The majority of our items also have proof pictures available on request. CUSTOM TOYS & GAMES. The item “Robocop 16×12 Print Signed by Peter Weller at For the Love of Sci-Fi Dec 2019″ is in sale since Saturday, June 6, 2020. This item is in the category “Collectables\Autographs\Certified Original Autographs\Film”. The seller is “actionforcetoys” and is located in Manchester, Greater Manchester. This item can be shipped to United Kingdom, Austria, Belgium, Bulgaria, Croatia, Cyprus, Czech republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, Australia, United States, Bahrain, Canada, Brazil, Japan, New Zealand, China, Israel, Hong Kong, Norway, Indonesia, Malaysia, Mexico, Singapore, South Korea, Switzerland, Taiwan, Thailand, Bangladesh, Belize, Bolivia, Brunei darussalam, Dominica, Ecuador, Egypt, Guernsey, Gibraltar, Guadeloupe, Grenada, French guiana, Iceland, Jersey, Cambodia, Saint kitts and nevis, Liechtenstein, Macao, Monaco, Martinique, Nicaragua, Pakistan, Peru, Paraguay, Turks and caicos islands, Aruba, Saudi arabia, United arab emirates, Chile, Bahamas, Costa rica, Dominican republic, Guatemala, Honduras, Jamaica, Kuwait, Panama, Philippines, Qatar, El salvador, Trinidad and tobago, Uruguay, Viet nam, Antigua and barbuda, Bermuda, Barbados, Cayman islands, Jordan, Saint lucia, Sri lanka, Maldives, Oman, Reunion, South africa, Colombia.
  • Surname Initial: W
  • Certification: Certified: Private Signings
  • Type: Film
  • Sub-Type: Robocop
  • Object: Signed Prints

Robocop 16x12 Print Signed by Peter Weller at For the Love of Sci-Fi Dec 2019

NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC

norman
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC

NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC
This ONE OF A KIND Civil Rights Collection includes. Original Fine Art Print on CANVAS entitled “The Problem We All Live With”. ROSA PARKS Autograph with original Certificate Of Authenticity (COA). NORMAN ROCKWELL Autograph with original Certificate Of Authenticity (COA). RUBY BRIDGES Autographed BOOK with original Certificate of Authenticity (COA). Professionally FRAMED under UV Glass in large Museum FRAME. 2 new DVD’s of the motion pictures, “The Rosa Parks Story” & “Ruby Bridge’s Story”. An original 1964 LOOK Magazine with the painting inside with the story of “Ruby”. “The Problem We All Live With, ” a print on CANVAS by NORMAN ROCKWELL… Matted with 2 Autographs by NORMAN ROCKWELL & ROSA PARKS.. A “Great Civil Rights Movement” EXHIBIT – a RARE Collection from famous American History. A Beautiful Art Print on Canvas with matted NORMAN ROCKWELL & ROSA PARKS original SIGNATURES… It’s very RARE to find these famous Autographs! This collection also includes this beautiful hardback BOOK entitled “Through My Eyes” signed & inscribed by RUBY BRIDGES, the little girl that bravely went into that New Orleans School and the subject for the famous Rockwell painting.. This famous ART & AUTOGRAPHS are Museum matted in a beautiful modern gold Frame under UV Acrylite Glass. This beautiful Civil Rights Exhibit comes ready to hang in your Home, Office or Museum. ROSA PARKS & NORMAN ROCKWELL original signatures are in overall good condition and Guaranteed Original with an Original Certificate of Authenticity… The original Art Print on Canvas is in near mint condition… This entire COLLECTION is guaranteed genuine for life by UACC Registered Dealer #228. Double matted in a beautiful custom museum quality Gold Frame & Gold Fillets with engraved description PLAQUES. The special edition Framed Large Art Measures overall 24″ X 22″ and was professionally framed using all acid free materials.. Included in this Collection is a factory sealed Motion Picture on DVD entitled “The Rosa Parks Story, ” starring ANGELA BASSETT. (NTSC – Region One). You also receive this new 1st edition BOOK signed & inscribed by RUBY BRIDGES, the little girl who Norman Rockwell painted.. Finally, you receive this factory sealed Motion Picture on DVD entitled Disney’s RUBY BRIDGES. You also receive the original 1964 LOOK MAGAZINE with the original ART printed inside.. This is a real “ONE OF A KIND” Civil Rights COLLECTION.. Norman Rockwell began his career as an artist as an illustrator. He studied at the Art Students League and received his first freelance assignment at 17. From 1916 to 1963, he produced 317 covers for The Saturday Evening Post. Most of his works are humorous treatments of idealized small-town and family life. During World War II, posters of his Four Freedoms were distributed by the Office of War Information. Though loved by the public, Rockwell’s work was often dismissed by critics. Late in his career, he turned to more serious subjects i. A series on racism for Look magazine and began to receive more serious attention, and in the 1990’s, his critical reputation enjoyed a positive reassessment. Rockwell’s art has been reproduced more often than all of Michelangelo’s, Rembrandt’s and Picasso’s put together. In 1993, a new Rockwell museum was opened just outside of Stockbridge. Museum director Laurie Norton Moffatt cataloged his art in a two-volume book, wrote Landrum Bolling of the Saturday Evening Post, and listed over 4,000 original works. Throughout his life, Rockwell followed the motto: Don’t worry; just work. NORMAN ROCKWELL painted many scenes of Americana, from sports to famous figures to social problems in our country… He was a prolific painter and many of his scenes would grace the cover of POST MAGAZINE. A Beautiful ART print on Canvas with separate Original NORMAN ROCKWELL SIGNATURE & description PLAQUE.. Rosa Louise McCauley Parks. Rosa Parks was an African-American civil rights activist, whom the United States Congress called “the first lady of civil rights” and “the mother of the freedom movement”. Her birthday, February 4, and the day she was arrested, December 1, have both become Rosa Parks Day, commemorated in both California and Ohio. On December 1, 1955, in Montgomery, Alabama, Parks refused to obey bus driver James F. Blake’s order that she give up her seat in the colored section to a white passenger, after the white section was filled. Parks was not the first person to resist bus segregation. Parks’ act of defiance and the Montgomery Bus Boycott became important symbols of the modern Civil Rights Movement. She became an international icon of resistance to racial segregation. She organized and collaborated with civil rights leaders, including Edgar Nixon, president of the local chapter of the NAACP; and Martin Luther King, Jr. A new minister in town who gained national prominence in the civil rights movement. At the time, Parks was secretary of the Montgomery chapter of the NAACP. She had recently attended the Highlander Folk School, a Tennessee center for training activists for workers’ rights and racial equality. She acted as a private citizen “tired of giving in”. Although widely honored in later years, she also suffered for her act; she was fired from her job as a seamstress in a local department store. Eventually, she moved to Detroit, where she briefly found similar work. From 1965 to 1988 she served as secretary and receptionist to John Conyers, an African-American U. After retirement, Parks wrote her autobiography and lived a largely private life in Detroit. In her final years, she suffered from dementia. Parks received national recognition, including the NAACP’s 1979 Spingarn Medal, the Presidential Medal of Freedom, the Congressional Gold Medal, and a posthumous statue in the United States Capitol’s National Statuary Hall. Upon her death in 2005, she was the first woman and second non-U. Government official to lie in honor at the Capitol Rotunda. ROSA PARK’s Rare original SIGNATURE is framed & mounted to the Display with a Brass Engraved Description PLAQUE.. A Beautiful original NORMAN ROCKWELL print on Canvas and Original Autographs by ROSA PARKS & NORMAN ROCKWELL. “The Problem We All Live With”. Painted by NORMAN ROCKWELL. Rockwell’s painting focuses on an historic 1960 school integration episode when six year-old Ruby Bridges had to be escorted by federal marshals past jeering mobs to insure her safe enrollment at the William Frantz Elementary School in New Orleans. Ruby was the first African American child to enroll at the school, and the local white community – as elsewhere in the country at that time – was fiercely opposed to the court-ordered desegregation of public schools then occurring. Rockwell’s rendering focuses on the little girl in her immaculate white dress, carrying her ruler and copy book, as the four U. The painting also captures some of the contempt of those times with the scrawled racial epithet on the wall and the red splattering of a recently thrown tomato. Norman Rockwell at work, mid-career. Rockwell’s portrayal first appeared to wide public notice in January 1964 when it ran as a two-page centerfold illustration on the inside pages of. The painting ran as an untitled illustration in the middle of. Feature story on how Americans live, describing their homes and communities. The context of the Ruby Bridges scene rendered by Rockwell had been heavily reported in print and on television in November 1960, with the anger of the mobs that day burnished deeply in the public mind. Magazine readers viewing Rockwell’s piece in 1964 would likely recall the unhappy context of young school children being heckled and needing federal protection. In 2011, President Obama had a hand in bringing Rockwells original painting to the White House, as did others, according to the. Including Ruby Bridges herself, the Norman Rockwell Museum which owns the painting, Rep. John Lewis (D-GA), and U. Senator Mary Landrieu (D-LA). Some quiet lobbying helped bring the painting to the White House, suggesting it be displayed there at the 50th anniversary of Ruby Bridges admission to the Frantz school. The President likes pictures that tells a story and this painting fits that bill explained a statement in the White House blog. In 1963 Rockwell confronted the issue of prejudice head-on… However, at the time of the painting’s White House display, some reporting had erroneously stated the Rockwell piece had initially appeared on the cover of the January 14th, 1964. That is a forgivable mistake given the fact that so much of Norman Rockwell’s work frequently did appear on magazine covers, most notably at the. But the error raises an important question, nonetheless. Why didn’t the Rockwell painting of the famous civil rights incident run on the cover of. Magazine or some other magazine? Once it was revealed which schools in New Orleans were the ones chosen for the court-ordered integration, sidewalk protests ensued and white parents promptly removed their children from those schools. However, at Ruby Bridges school – the William Frantz school there were also two white parents who chose to keep their children in the school: a Christian minister’s five-year old daughter, Pamela Foreman, in kindergarten, and another white child, Yolanda Gabrielle, age six. In addition to the jeering of Ruby, these white kids and their parents were also jeered and harassed, even beyond the school grounds. Neighbor turned against neighbor and it got pretty ugly in those communities. Rockwell, no doubt knew about all of this and likely read news accounts of the protests. On November 15, 1960. The New York Times. One youth chanted Two, Four, Six, Eight, we don’t want to integrate. Marshals arrived with Ruby and her mother, they walked hurriedly up the steps to the schools entrance as onlookers jeered and shouted taunts. On the sidewalk that day, assembled mothers and school students were yelling at police, some carrying signs, one held by a young boy that said, All I Want For Christmas is a Clean White School. Another placard that day read: Save Segregation, Vote States Rights Pledged Electors. The white parents kept up their boycott of the schools the entire year, and the protests and jeering continued periodically. On December 2nd, 1960, for example, housewives demonstrated at the William Frantz school, one standing with a placard that read Integration is a Mortal Sin, citing a biblical scribe as source. Rockwell’s painting, of course, does not capture all of this, nor was it intended to. His focus appears to be solely on the girl, placed at center, giving no special notice to the marshals, other than they were needed, as he portrays them as anonymous and headless, from mid-torso down. The setting around the little girl is ugly and threatening, but she is innocent and perfect, as her white dress and ribbon-tied hair suggest. As far as she is concerned, she is just going to school. Travels with Charley: In Search of America. Charley was Steinbeck’s dog and traveling companion during his road trip around the United States. Was published by Viking Press in the mid-summer of 1962, reaching No. In part four of that book, Steinbeck recorded his reactions on coming to the New Orleans communities where the school integration controversy had flared, and he came away gravely saddened by what he saw. The show opened on time. Then two big black cars filled with big men in blond felt hats pulled up in front of the school. The crowd seemed to hold its breath. Four big marshals got out of each car and from somewhere in the automobiles they extracted the littlest Negro girl you ever saw, dressed in starchy white, with new white shoes on feet so little they were almost round. Her face and little legs were very black against the white. The little girl did not look back at the howling crowd but from the size the whites of her eyes showed like those of a frightened fawn. The men turned her around like a doll, and then the strange procession moved up the broad walk toward the school, and the child was even more a mite because the men were so big Steinbeck had come to New Orleans in part to see the cheerleaders, as he called those then protesting New Orleans school integration, and he describes what he found first hand, as he witnessed some of the protests. No newspaper had printed the words these women shouted. It was indicated that they were indelicate, some even said obscene. But now I heard the words, bestial and filthy and degenerate. In a long and unprotected life I have seen and heard the vomitings of demoniac humans before. Why then did these screams fill me with a shocked and sickened sorrow? Steinbeck wrote that he knew something was wrong and distorted and out of drawing in what he had seen in New Orleans. He had formerly counted himself as a friend of New Orleans; knew the city fairly well, had his favorite haunts there, and also had many treasured friends there – thoughtful, gentle people, with a tradition of kindness and courtesy. Where were they now, he wondered – the ones whose arms would ache to gather up a small, scared, black mite? Answering his own question, he wrote: I don’t know where they were. Perhaps they felt as helpless as I did, but they left New Orleans misrepresented to the world. The crowd, no doubt, rushed home to see themselves on television, and what they saw went out all over the world, unchallenged by the other things I know are there. Another influence on Rockwell at this time was likely Erik Erikson, a psychoanalyst at the Riggs Center in Stockbridge, Massachusetts where Rockwell then lived and worked. Erikson treated Rockwell occasionally for bouts of depression, was Rockwells friend, and also had a passion for civil rights. Erikson was a colleague and mentor to a younger child psychiatrist named Robert Coles, who had begun working with Ruby Bridges and other children in the early school desegregation cases in 1961. Coles had found that segregation had damaged the self-esteem of the little girls, and by 1963 he had written a series of articles beginning in March for. Magazine profiling Ruby Bridges experiences during integration of the Frantz school. The Desegregation of Southern Schools: A Psychiatric Study. Erikson may well have made Rockwell aware of these at the time he was painting. The Problem We All Live With. It appears Rockwell began working on the Ruby Bridges painting sometime in 1963, also finishing it that year. Decided to use it in their January 14th, 1964 edition. On the cover of that issue, a portion of which is shown at right. Featured photos of American homes in various urban and suburban settings, along with a few family shots, billing its cover story as: How We Live: Up in the city, Down on the farm, Out in the suburbs. In homes packed with pride, prejudice and love. There was no special mention or billing of Norman Rockwell’s painting on the cover. The illustration would be found in the middle of the magazine as a full two-page spread with no accompanying text. In the table of contents it was billed under art with the title The Problem We All Live With. ” It appeared amidst a series of articles with titles such as: “Their First Home, Down On The Farm, and Their Dream House Is On Wheels. One of the stories focused on Theodore and Beverly Mason, a black family living in a mixed community in Ludlow, Ohio. Rockwell’s former Saturday Evening Post fans, coming upon this painting in Look, may have been quite surprised. In fact, the painting did elicit reaction from Look’s readers, as the magazine received letters from those who were deeply moved by it, as well as those who were angered by it. Some analysts would later note that precisely because Rockwell was an artist dear to the hearts of many conservatives for his renderings of Americana and American values, that his new work on civil rights subjects may have made some of these same fans think twice about America’s racial problem at that time, helping them face up to racism. Rockwell himself would later say of his change in subject matter: For 47 years, I portrayed the best of all possible worlds – grandfathers, puppy dogs – things like that. That kind of stuff is dead now, and I think it’s about time. Rockwell appears to have been quite comfortable with what he offered in the Ruby Bridges painting. In fact, in a letter he later wrote to the NAACP, Rockwell offered the illustration to the civil rights group, suggesting they reproduce the illustration as a poster to publicize their progress and accomplishments. It is not known here what the NAACP made of this offer, or if the illustration was ever used as Rockwell suggested. Rockwell, in any case, had more work to come on civil rights issues; work that would also be published by Look magazine, two of which are explored below. Apart from Rockwell’s work, Look also published cover stories on civil rights issues in that period. On March 23, 1965 the magazine featured The Negro Now story by Robert Penn Warren on its cover, describing its content with a series of questions, also on the cover: How far has the Negro come? What is the South ready to concede? What happens next in the North? Can we move forward without violence? And Who speaks for the Negro now? In June 2011 at the White House, Norman Rockwell’s 1963 painting, The Problem We All Live With, depicting a famous school desegregation scene in New Orleans, began a period of prominent public display with the support of President Obama. The White House exhibition of Rockwells piece, which ran most of 2011, drew national attention to an iconic moment in Americas troubled civil rights history. Framed & Ready to Hang on the wall of your Home, Office or Museum.. A GREAT INVESTMENT PIECE…. I hope this helps you make a good investment. Hello Jack, our Gorman has already arrived and is hanging on a brand new wall. She is perfectly beautiful and the frame is perfect for my room. Let’s keep in touch. Thanks for your ideas and emails. NORMAN ROCKWELL is considered by many critics to be one of the best Artists of the 20th century. This ART and AUTOGRAPH should be a Great Investment! This beautiful art is museum framed with a rare Rosa Park & Norman Rockwell ORIGINAL Signatures…. Just ready to hang and enjoy. Check out our other auctions for great Art, Memorabilia, Movie Props & Autographs… Sell is a Registered Dealer with the U. We are proud that some of our memorabilia is on display in the SMITHSONIAN in Washington, D. ITEM BETTER THAN DESCRIBED!!! 18442 Praise: Great item!! Heimdell51 Praise: Great guy; very prompt & efficient service & exc. Packaging; got a free bonus too! Momosroswell Praise: Wonderful item! Docfsk100 “Praise: Excellent, Danke”. Austinpowheinybeer Praise: GREAT GREAT GREAT!! Toothfella Thanks for the super helmet Jack! Hope to do business again. Jimsoden Praise: Great packing, good emails, very generous with his time and effort, class act!!! Circus10 Praise: Fabulous costume, vintage RBBB. Belfast Praise: Wonderful Ebayer & with genuine COA’s too! This is a Rare, One of a Kind Original Fine Art Canvas Print entitled “The Problem We All Live With, ” ROSA PARKS & NORMAN ROCKWELL Autograph with original Certificates Of Authenticity (COA). RUBY BRIDGES Autographed BOOK with original COA. 2 new DVD’s of the motion pictures, “The Rosa Parks Story” & “Ruby Bridge’s Story” and. All signatures are guaranteed genuine for life by UACC Registered Dealer #228.. You also receive an original copy of the 1964 LOOK Magazine. The photos in this ad also make up part of this ad description. A GREAT piece of ART & AUTOGRAPH that you will rarely find in the marketplace.. A GREAT INVESTMENT for Art Collectors! Artwork, Autographs & Props are becoming one of the fastest growing assets in the world….. A real “One of a Kind” FIND and conversation piece! Check out our other auctions for more great items, including more Art, Props, Autographs, Costumes & More! If this autograph is declared not to be authentic, we may ask the purchaser to supply the full written opinion of one competent authority acceptable to us. WE ALSO OFFER A 3 MONTH LAYAWAY PLAN WHERE YOU CAN MAKE 3 EQUAL MONTHLY PAYMENTS TO US & WE DON’T CHARGE ANY INTEREST…. A Beautiful ROSA PARKS & NORMAN ROCKWELL “Civil Rights Movement” Framed Display! The item “NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC” is in sale since Thursday, February 20, 2020. This item is in the category “Art\Art Prints”. The seller is “jackmsell” and is located in New Port Richey, Florida. This item can be shipped worldwide.
  • Size: Medium (up to 36in.)
  • Artist: NORMAN ROCKWELL
  • Style: Americana
  • Listed By: Dealer or Reseller
  • Original/Reproduction: Artwork Reproduction
  • Medium: Serigraph & Silkscreen
  • Signed: Signed
  • Date of Creation: 1950-1969
  • Print Type: SerioLithograph
  • Size Type/Largest Dimension: 24″ x 22″
  • Signed?: Signed
  • Framed/Unframed: Matted & Framed
  • Year: 1963
  • Features: Framed
  • Subject: Landscape
  • Originality: Reprint

NORMAN ROCKWELL Canvas Print Autograph, Signed ROSA PARKS, Frame, DVD, COA, UACC

Calvin & Hobbes Final Strip print Bill Watterson Signed/Autograph Museum Quality

calvin
Calvin & Hobbes Final Strip print Bill Watterson Signed/Autograph Museum Quality
Calvin & Hobbes Final Strip print Bill Watterson Signed/Autograph Museum Quality
Calvin & Hobbes Final Strip print Bill Watterson Signed/Autograph Museum Quality
Calvin & Hobbes Final Strip print Bill Watterson Signed/Autograph Museum Quality

Calvin & Hobbes Final Strip print Bill Watterson Signed/Autograph Museum Quality
Please see picture for exact item which is in great condition. The signature has been authenticated by JSA. The item “Calvin & Hobbes Final Strip print Bill Watterson Signed/Autograph Museum Quality” is in sale since Saturday, May 2, 2020. This item is in the category “Collectibles\Comics\Original Comic Art\Drawings, Sketches”. The seller is “topnotchsy” and is located in Spring Valley, New York. This item can be shipped to United States.
  • Modified Item: No
  • Country/Region of Manufacture: United States
  • Year: 1996
  • Signed: No

Calvin & Hobbes Final Strip print Bill Watterson Signed/Autograph Museum Quality