Edward lesaint director (2 risultati)
Altre immaginiThe Heir of the Ages (Original photograph from the 1917 film)
House Peters, Eugene Pallette, Nina Byron (starring); Edward LeSaint (director); William Addison Lathrop (screenwriter)
Editore: N.p., N.p., 1917
- Foto
Da: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.Royal Books, Inc., ABAA
Contatta il venditoreVenditore con 5 stelleCondizione: Usato
EUR 66,52
EUR 8,61 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Aggiungi al carrelloVintage reference photograph from the 1917 silent film. Annotations in manuscript ink on the verso. A hardworking mine owner is secretly in love with a young woman, who unfortunately decides to marry the man's frivolous brother. 10 x 8 inches. Very Good, moderately edgeworn and lightly toned.
Altre immaginiDa: Douglas Stewart Fine Books, Armadale, VIC, AustraliaDouglas Stewart Fine Books
Contatta il venditoreVenditore con 4 stelleCondizione: Usato
EUR 153,40
EUR 31,86 spedizioneSpedito da Australia a U.S.A.Quantità: 1 disponibili
Aggiungi al carrelloLos Angeles, California : Edward LeSaint, [c.1918]. Two gelatin silver print photographs on lightweight card stock, in identical 160 x 210 mm format; the negatives inscribed 'LeSaint 2439' and 'LeSaint 2739' and the versos with old pencil annotations: 'Louise Lovely' and 'The Straw Cellar', respectively; both prints are in fine…condition (unframed). Two stills from the Hollywood silent film Painted Lips (1918), directed by Edward LeSaint and starring Australian actress Louise Lovely. Note that The Straw Cellar was the working title of this film. From the ADB: 'Louise Nellie Lovely (1895-1980), actress, was born on 28 February 1895 at Paddington, Sydney, daughter of Ferruccio Carlo Alberti, Italian musician, and Elise Louise Jeanne de Gruningen Lehmann, a Swiss. Louise spoke French better than English in her early years; this helped her to win her first stage role at the age of 9 as Little Eva inUncle Tom's Cabinas the producers wanted a young actress whose speech they could mould. After several juvenile parts, some in amateur productions, she joinedNellie Stewart's company for a New Zealand tour. Small roles there were her apprenticeship for the lead with the George Marlow Company, which she joined in her early teens. Her first films were made for Gaston Mervale and his Australian Life Biograph Company. In 1911 she starred inA Tale of the Australian Bush,One Hundred Years Ago,A Ticket in Tatts, andColleen Bawn, and, in 1912,Hands Across the Sea,A Daughter of Australia,Conn, the Shaughraun, andThe Ticket of Leave Man. When the company collapsed in May 1912 and its assets were taken over by Universal Films (an Australian company) Louise madeThe Wreck of the Dunbar. On 20 February 1912 in Sydney she married writer and actor William Harrie (Wilton) Welch, and in 1914 they left for the United States of America. Their goal was Hollywood where Louise was noticed by Carl Laemmle, and after a successful screen test was engaged for Universal Pictures, under the 'Blue Bird' label. Louise had been known as Louise Carbasse, but Laemmle provided the stage name 'Louise Lovely'. She had a very French, demure, petite appearance and a halo of soft, bleached blonde hair. Her 'Blue Bird' pictures were very successful but she refused to renew her contract when Universal neither raised her salary nor allowed her to accept an invitation from Pathé Frères to work in France. For a year she was blacklisted by the studio but made a few films for independent producers. The ban was broken when Fox Film Corporation Ltd invited her to co-star with William Farnum. She worked for Fox in 1918-22, making with Farnum films such asThe Last of the DuanesandThe Wings of the Morning, and occasional films with other leading men. In 1922 Louise returned to vaudeville with her 'studio act' in which she showed her own last film and followed it with a live performance involving the audience. In 1924 she returned to Australia, and toured several States with her 'studio act'. In HobartMarie Bjelke-Petersenapproached her with a request to produce a film of her book,Jewelled Nights. Louise read it and set about raising the finance. Wilton Welch wrote the script and produced the film while Louise directed and starred as a Melbourne society girl who ran away from an arranged marriage and became a miner on the Tasmanian osmium fields. Outdoor scenes were shot on location in the Savage River area in Tasmania, and interiors in studios set up inside the Glaciarium andWirth's Circus building in Melbourne. The film opened at Hoyts De Luxe, Melbourne, on 24 October 1925, and was well received by the public, though not by the critics. By the time of the 1927 royal commission into the moving picture industry Louise could see that the film would not recoup its cost of £8000. Her evidence to the commission stressed the need for a fully equipped Australian studio to enable Australian productions to compete in quality with imported films. Nothing came of her idea, or of the commission, and she retired from films disillusioned. She divorced her husband in November 1928 and on 26 November married theatre manager Andrew Bertie Cowen in Melbourne. In 1949 they set up home permanently in Hobart where Cowen became manager of the Prince of Wales Theatre. Louise Cowen died on 17 March 1980 at Taroona and was cremated. She was one of the most successful of a long line of Australian actors and actresses who entered the competitive world of Hollywood, and one of the many unable to achieve their film ambitions within Australia.' (Ina Bertrand).
