Leni Riefenstahl (1902-2003) LENI RIEFENSTAHL - PORTFOLIO, 1930-1993. Portfolio comprising offset lithographs (12) on wove paper, images sizes from 31 x 47.5cm to 38 x 47.5cm, sheet sizes each approx. 49.5 x 62cm, each signed and editioned by the photographer in pencil lower margin, each with printed caption information lower margin. Edited by DACO-Verlag, Stuttgart, published 2002, the present portfolio number 34 from the deluxe edition (limited to the first 100 copies out of the full edition of /250). Housed in the original slipcase portfolio, grey cloth covered boards with letterpress title and graphics. Plates include: Storm over Mont Blanc - Rifts in the glacier Leni Riefenstahl - Publicity still as Junta in 'Das blaue Licht' Leni Riefenstahl - During the filming of 'Tiefland' Wolf - From the film 'Tiefland' Olympia, 1936 - Gold medal winner of the men's high divers Olympia, 1936 - The lightning of the Olympic flame Olympia, 1936 - Eight meter boats crowding at the turning point Olympia, 1936 - Dive from the 10-metres-tower Two lyre players in the Nuby village Tadoro Njertun, the love dance of the people of Kau Feather Star, Malduve Island Tentacles of the giant sea anemone Stoichactis, British West Indies
Portfolio mit 6 Offset-Lithografien auf Bütten. Herausgegeben vom Daco-Verlag, Stuttgart 2002. Grafik bis ca. 47,5 x 34,5 cm (Blattgröße bis ca. 62 x 49,5 cm, 3 Quer- und 3 Hochformate). Eines von 250 nummerierten Exemplaren. Jeweils von der Künstlerin signiert unten rechts. Enthalten sind: Stürme über dem Montblanc - aufgebrochene Gletscherspalten; Olympia, 1936: Goldmedaillengewinner im Turmspringen der Männer; Olympia, 1936: Die Entzündung der olympischen Flamme; Leni Riefenstahl: Starfoto als Junta im Film „Das blaue Licht“; Wolf im Film „Tiefland“; Leni Riefenstahl: bei Dreharbeiten zu Ihrem Film „Tiefland“. Teilweise leicht wellig. Sonst in gutem Zustand. Taxation: differenzbesteuert (VAT: Margin Scheme)
Riefenstahl, Leni. Olympia. Fest der Schönheit. Standphoto Morgenlauf im Olympischen Dorf. Original-Photographie. Vintage. Silbergelatine. 1936. Blattmaße: 22,9 x 29 cm. Berühmte Szene aus dem zweiten Teil von Riefenstahls Olympia-Film. - Im Rand etwas ausgesilbert, feine Kratzspuren, rechts unten Spuren eines Nummernauftrages, rückseitig Montagereste und spätere Bezeichnung in Bleistift.
Riefenstahl, Leni. 8 Standphotos aus dem Propagandafilm "Triumph des Willens". Original-Photographien. Vintages. Silbergelatine. Um 1934. Bildmaße: 21 x 27,5 cm. Blattmaße: 23 x 29,5 cm. 2 Photos mit einbelichtetem Filmtitel, "Ufaleih" und "Foto: Reichsparteitagfilm", alle mit einbelichteten Nummern. Eine Aufnahme zeigt die Regisseurin selbst. - Kleine Eckknicke, sonst gut erhalten.
Leni RIEFENSTAHL (1902-2003) 'Africa' Taschen, (2002) Numbered 1903/2500. The book is signed. Dutch Description: Leni RIEFENSTAHL (1902-2003) 'Africa' Taschen, (2002) Genummerd 1903/2500. Getekend op de eerste pagina. Dimensions: (L:11 x W:40 x H:55 cm)
Helene Bertha Amalie "Leni" Riefenstahl (1902 – 2003) was a German film director, photographer and actress known for producing Nazi propaganda. Known as “ Hitler’s Videographer”, she produced Triumph of Will and Olympia. Signed 4.5” x 7.5” sepia vintage photograph. LOA from Todd Mueller Autographs along with our COA included.
"Wolf in the Film Tiefland" by Leni Riefenstahl, 2002 Unsigned Offset Lithograph. Paper size is 19.5 x 27.25 inches, with an image size of 14.5 x 18.75 inches. The Offset Lithograph is from an edition size of 250 and is not framed. The condition was rated A: Mint. Additional details: This is an original, limited edition exhibition poster by Leni Riefenstahl, hand-numbered out of 250 in pencil. The poster is a rare collectible due to its limited print run and historical significance. Leni Riefenstahl is a controversial figure in the history of film and photography. Known for her pioneering techniques in cinematography and her work during a complex historical period, her pieces remain subjects of significant interest and debate.
"Tentacles of Giant Anemone Stoichactis" by Leni Riefenstahl, 2002 Unsigned Offset Lithograph. Paper size is 19.5 x 27.5 inches, with an image size of 12.25 x 18.75 inches. The Offset Lithograph is from an edition size of 250 and is not framed. The condition was rated A: Mint. Additional details: This is an original, limited edition exhibition poster by Leni Riefenstahl, hand-numbered out of 250 in pencil. The poster is a rare collectible due to its limited print run and historical significance. Leni Riefenstahl is a controversial figure in the history of film and photography. Known for her pioneering techniques in cinematography and her work during a complex historical period, her pieces remain subjects of significant interest and debate.
Africa, the oversized photography book with 564 pages and full size images, the title page signed with black pen ‘Leni Riefenstahl’ and stamped with edition number 1935, 55x40x10 cm Published in 2002 by Taschen in a limited edition of 2500 copies,
Vintage gelatin silver print, applied on original cardboard cm 28,8 x 22,4 (cm 43 x 33 cardboard) | 11.3 x 8.8 in. (16.9 x 13 in. cardboard) Title printed on the cardboard recto Framed
Riefenstahl, Leni. Schönheit im Olympischen Kampf. 280 S., 2 Bl. Mit zahlr. ganzs. photogr. Abb. 31,5 x 23,5 cm. OLeinen (Einbandentwurf von F. H. Ehmcke) mit goldgeprägtem Rücken- und Deckeltitel. Berlin, Deutscher Verlag, 1937. -- Heidtmann 8863. – Erste Ausgabe. Nicht alle der Aufnahmen stammen von der Herausgeberin, denn es handelt sich größtenteils um Photos aus dem Olympia-Film, an dem u.a. auch W. Zielke und A. Grimm mitarbeiteten. – Schönes Exemplar.
2pc Leni Riefenstahl (1902-2003 German) ''Nuba African Portraits'' Silver Gelatin Prints 7''x3.5'' and 5''x4'' Images. One is ink signed under image. Gallery framed 16.5''x13''. Excellent condition. Not examined outside of framing.
Leni Riefenstahl (1902-2003) German innovative film director, photographer, actress, and close friend of Adolf Hitler. Best known for the WWII propaganda films 'Triumph of the Will' and 'Olympia.' Signed color photograph of Leni Riefenstahl in her red diving suit, autographed in black ink, 1981, 4.25 x 5.75 inches, fine condition.
"Wolf in the Film Tiefland" by Leni Riefenstahl, 2002 Unsigned Offset Lithograph. Paper size is 19.5 x 27.25 inches, with an image size of 14.5 x 18.75 inches. The Offset Lithograph is from an edition size of 250 and is not framed. The condition was rated A: Mint. Additional details: This is an original, limited edition exhibition poster by Leni Riefenstahl, hand-numbered out of 250 in pencil. The poster is a rare collectible due to its limited print run and historical significance. Leni Riefenstahl is a controversial figure in the history of film and photography. Known for her pioneering techniques in cinematography and her work during a complex historical period, her pieces remain subjects of significant interest and debate.
"Tentacles of Giant Anemone Stoichactis" by Leni Riefenstahl, 2002 Unsigned Offset Lithograph. Paper size is 19.5 x 27.5 inches, with an image size of 12.25 x 18.75 inches. The Offset Lithograph is from an edition size of 250 and is not framed. The condition was rated A: Mint. Additional details: This is an original, limited edition exhibition poster by Leni Riefenstahl, hand-numbered out of 250 in pencil. The poster is a rare collectible due to its limited print run and historical significance. Leni Riefenstahl is a controversial figure in the history of film and photography. Known for her pioneering techniques in cinematography and her work during a complex historical period, her pieces remain subjects of significant interest and debate.
(1902 - 2003) German film director, an intimate friend of Hitler who filmed the propaganda classic, 'Triumph of the Will'. S.P., 3.5 x 5.5 in. b/w, a post-war photo postcard of Riefenstahl, showing the actress in character in a war-date German film. She adds her initials 'L.R.' on the verso in blue ink, above the date '1939' and an untranslated inscription in German. Fine.
LENI RIEFENSTAHL (1902 - 2003) German film director, an intimate friend of Hitler who filmed the propaganda classic, 'Triumph of the Will.' S.P., 4 x 5.75 in. color, an image of Riefenstahl later in life wearing a wetsuit, signed along the bottom margin in black ink. Fine.
LENI RIEFENSTAHL (1902-2003) German film director, an intimate friend of Hitler who filmed the propaganda classic, 'Triumph of the Will'. S.P., 5 x 7 in. b/w, a copy portrait photo of Riefenstahl in her prime, signed at middle in black marker.
LENI RIEFENSTAHL (1902–2003) | Marjorie Gestring, Olympic winner in artistic diving, Berlin 1936 Image Size: 28,5 x 22,7 cm English: Vintage silver print on double-weight glossy paper 30 x 24,3 cm, in very good condition. Numbered "353" in the lower negative. LITERATURE Leni Riefenstahl, Schönheit im Olympischen Kampf, Deutscher Verlag Berlin 1937, p. 220 (titled "Thirteen years old Gestring, USA, winner of the spring-board diving"); Leni Riefenstahl, Olympia, Cologne 2002, cover. Although the photograph shows signs of wear at the edges, the printed image has an exceptionally good quality with high-contrast detail. * Fully Taxed Deutsch: Silbergelatineabzug, geprintet 1982 auf kartonstarkem glänzendem Papier 30 x 24,3 cm, in sehr gutem Zustand. Nummer "353" im Bild unten einbelichtet. LITERATUR Leni Riefenstahl, Schönheit im Olympischen Kampf, Deutscher Verlag Berlin 1937, S. 220 (betitelt "Die 13-jährige Gestring, USA, Siegerin im Kunstspringen"); Leni Riefenstahl, Olympia, Cologne 2002, Cover. Obwohl der Abzug Gebrauchsspuren an den Rändern aufweist, zeigt das geprintete Bild eine außergewöhnlich gute Printqualität mit kontrastreicher Durchzeichnung. * Vollbesteuert
LENI RIEFENSTAHL (1902–2003) | American gymnasts at the Olympic games, Berlin 1936 Image Size: 21,8 x 28,2 cm English: Vintage silver print on double-weight glossy paper 24,7 x 30,4 cm, in good condition. Image no. "3110/276" in the lower negative. LITERATURE Leni Riefenstahl, Schönheit im Olympischen Kampf, Deutscher Verlag Berlin 1937, p. 182 (titled "American girl gymnasts show their free exercises"); Leni Riefenstahl, Five Lives, Cologne 2000, pl. 110. "Filmed from below, so that the dancers stand out well against the sky and form a clear composition" (caption by Leni Riefenstahl). While the edges of this print show signs of wear, the printed image is in exceptionally good condition. * Fully Taxed Deutsch: Vintage-Silbergelatineabzug auf kartonstarkem glänzendem Papier 24,7 x 30,4 cm, in gutem Zustand. Am unteren Bildrand einbelichtete Bildnummer "3110/276". LITERATUR Leni Riefenstahl, Schönheit im Olympischen Kampf, Deutscher Verlag Berlin 1937, S. 182 (betitelt "Freiübungen der amerikanischen Turnerinnen"); Leni Riefenstahl, Fünf Leben, Köln 2000, Abb. 110. "Von unten gefilmt, so dass sich die Tänzerinnen gut vom Himmel abheben und eine klare Bildkomposition ergeben" (Bildunterschrift von Leni Riefenstahl). Obwohl dieser Abzug Gebrauchsspuren an den Kanten aufweist, zeigt das geprintete Bild einen außergewöhnlich guten Erhaltungszustand. * Vollbesteuert
564 pages with images after photographs by Leni Riefenstahl. Signed in felt-tip pen and typewritten numeration on cover sheet. Original edition box with embossed title. Copy 2155 from an edition of 2500 (+ 200 A.P.).
Mounted to cardboard, signed and titled in pencil below the image on the mount. Photographer's copyright stamp, therein editioned in pencil, on the reverse of the mount. Galerie Camera Work edition, Berlin. Artist proof aside from an edition of 25.
Mounted to cardboard, signed and titled in pencil below the image on the mount. Photographer's copyright stamp, therein editioned in pencil on the reverse of the mount. Galerie Camera Work edition, Berlin. Artist proof aside from an edition of 25.
Mounted to cardboard, signed and titled in pencil below the image on the mount. Photographer's copyright stamp, therein editioned in pencil, on the reverse of the mount. Galerie Camera Work edition, Berlin. Artist proof aside from an edition of 25.
Leni Riefenstahl German, 1902-2003 Frey, Germany Sheet-Fed Gravure Certificate of authenticity, 1937 Germany. Provenance: Property from a Private New York Gentleman
Riefenstahl, Leni. Stürme über dem Montblanc. Aushangphoto. Original-Photographie. Vintage. Silbergelatine. Links unten mit einkopiertem Tobis-Logo, rechts unten mit einkopiertem Aafa-Logo. Verso handschriftlich bezeichnet. Um 1930. Motivmaße: 21,1 x 28,1 cm. Blattmaße: 23,1 x 30,1 cm. Der Film 'Stürme über dem Mont Blanc' aus dem Jahr 1930 ist der erste Tonfilm des Regisseurs Arnold Fanck mit Leni Riefenstahl in der weiblichen Hauptrolle. Der Film war eine Produktion der Aafa-Film GmbH Berlin, welche von dem jüdischen Filmkaufmann Gabriel Levy geführt wurde. - Das Photo zeigt Leni Riefenstahl in der Sternwarte Babelsberg. - Ecken etwas bestoßen, etwas kratzspurig, leicht fleckig.
Riefenstahl, Leni. Olympia Fest der Völker. Aushangphoto. Original-Photographie. Vintage. Silbergelatine. Verso gestempelt. 1936. Motivmaße: 22,4 x 28,5 cm. Blattmaße: 23,8 x 29,9 cm. Das Photo zeigt die Siegerehrung im Modernen Fünfkampf (Reiten, Fechten, Schießen, Schwimmen und Crosslauf), mit dem deutschen Sieger Gotthard Handrick, dem Zweitplatzierten Charles Leonard (USA) und Silvano Abbà (Italien). - Riefenstahl. Schönheit im olympischen Kampf. Berlin, 1937. S. 179. - Verso mit schwachem Stempel von Tobis. - Ecken etwas bestoßen, etwas kratzspurig, leicht fleckig.
Riefenstahl, Leni. Olympia Fest der Völker. Aushangphoto. Original-Photographie. Vintage. Silbergelatine. Verso gestempelt. 1936. Motivmaße: 22,4 x 28,5 cm. Blattmaße: 24,1 x 30,4 cm. Das Photo zeigt das Finale im 110-Meter-Hürdenlauf mit Forrest Grady "Spec" Towns (USA), dem späteren Sieger, der hier einen neuen Weltrekord aufstellte, Don Finlay (UK, zweitplatziert) und dem schwarzen US-Amerikaner Fritz Pollard, Jr. (drittplatziert). - Verso mit Stempel von Tobis. - Ecken etwas bestoßen, etwas kratzspurig, leicht fleckig.
Leni Riefenstahl (1902-2003) German innovative film director, photographer, actress, and close friend of Adolf Hitler. Best known for the WWII propaganda films 'Triumph of the Will' and 'Olympia.' Signed color photograph of Leni Riefenstahl in her red diving suit, autographed in black ink, 1981, 4.25 x 5.75 inches, fine condition.
Olympische Spiele 1936 Riefenstahl, Leni Olympia. Original 8 mm Filmrolle mit Ausschnitten des Propagandafilms zu den 1936 in Berlin ausgetragenen Olympischen Spielen. Degeto-Schmalfilm-Schrank. Laufzeit ca. 10 Minuten. Durchmesser der Spule: 13 cm. Eingelegt in Metallkassette d. Zt., diese beschriftet. Beginnend mit dem Prolog des ersten Teils (Fest der Völker), zeigen die Sequenzen die Akropolis in Athen mit Ein- und Überblendungen antiker Athleten, Skulpturen und Gottheiten. Dynamisch werden Aufnahmen rythmischer Bewegungen von Gymnastinnen eingespielt, gehen schließlich in das olypmische Feuer über und werden schlussendlich von diesem überblendet. - Eine zweite Sequenz zeigt das Olympische Turmspringen (vermutl. das Finale). Riefenstahl arbeitete hier in der Kameraführung mit angeschnittenen Motiven und Nahaufnahmen sowie einzelnen Passagen in Zeitlupe und aufwändigen Unterwasseraufnahmen. - Eine dritte Sequenz zeigt die Frauengymnastik mit Sportlerinnen am Barren und Schwebebalken. - Funktionalität geprüft. Olympic Games 1936 - Olympia. Original 8 mm film reel with excerpts from the propaganda film for the 1936 Olympic Games held in Berlin. Running time approx. 10 minutes. Spool diameter: 13 cm. Inserted in cont. metal case (inscribed). - Starting with the Prologue of the first part (Festival of the Nations), the sequences show the Acropolis in Athens with fades of ancient athletes, sculptures and deities. Recordings of rhythmic movements by gymnasts are filmed dynamically, then merge into the Olympic flame and are ultimately faded over by it. - A second sequence shows the Olympic diving (presumably the final). Here, Riefenstahl worked with cropped motifs and close-ups as well as individual passages in slow motion. - A third sequence shows women's gymnastics with athletes on the parallel bars and balance beam. - Functionality checked. 500
Leni Riefenstahl, 1902-2003 Olympiade, Berlin 1936 Vintage print Tilly Fleischer (1911-2005), olympische Goldmedaille im Speerwurf, 45,18 Meter (aktuell 67,90 m, 2018) Verso Stempel: Olympia, Fest der Völker, 1936 / Tobis-Olympia Reprod. in: L. Riefenstahl, Schönheit im olympischen Kampf, Bln. 1937, S. 96 24:30,7 cm
Leni Riefenstahl, 1902-2003 Marathonläufer verlassen das Stadion, Olympiade Berlin 1936 Vintage print Verso Stempel L. R. Studio sowie »Reproduktion verboten« Reprod. in: L. Riefenstahl, Schönheit im olympischen Kampf, Bln. 1937, S. 132. K. Brownlow, Leni Riefenstahl, Olympia, New York (1994), S. 132 18,3:26,4 cm
Leni Riefenstahl, 1902-2003 Olympia, Einzug der italienischen Mannschaft, Berlin 1936 Verso Stempel: Olympia, Fest der Völker, Erster Film von den Olympischen Spielen Berlin 1936, Gestaltung Leni Riefenstahl Reprod. in: Leni Riefenstahl, Schönheit im olympischen Kampf, Bln. 1937, S. 57 24,5:30,3 cm
RIEFENSTAHL LENI: (1902-2003) RIEFENSTAHL LENI: (1902-2003) German film director. A significant and interesting correspondence collection comprising two A.Ls.S. and nine T.Ls.S. (several with holograph additions), Leni Riefenstahl, sixteen pages (total), 4to, various places (Munich etc.), January 1952 - December 1958, the majority to Christian Bourcier de Carbon (and, indirectly, Henri Langlois), in German. Riefenstahl writes on a variety of subjects, including her work and the efforts she made to recover her films reels, which had been confiscated by the French government at the end of World War II and retained at the Cinematheque Française, thanking De Carbon for supporting her in the return of her films, explaining that she intends to go to Paris personally 'as soon as possible to bring about the handover there and I would be happy if I could ask for your help. In order to obtain my French entry permit, it is necessary for me to receive an official invitation .from you as soon as possible (by express) so that I can receive my entry visa from the French consulate in Munich in a few days' (26th January 1952), further stating, in part, 'Many weeks have now passed since my stay in Paris and unfortunately the return of my material to the Austrian Embassy has still not become a fact ..If all these efforts are unsuccessful, then the last resort I see is either a civil suit against Monsieur Petitjean, a French film officer who at the time brought the material to France without permission and without a mandate from the French military government, or that I have to file a complaint with the International Court of Justice in The Hague' (19th March 1952), 'On 4th April I finally have my world premiere of 'Blauen Licht' in Munich .I wanted to go to Kitzbuhel over Easter and from there to Breuil to test the ski area there for my film 'Die roten Teufel'' (1st April 1952), 'Unfortunately I haven't received any sign of life from you since we were last together in Munich and wonder whether you are in Paris and whether you are aware of the outrageous article about me in the magazine 'Samedi Soir' of 10th May 1952. This article took over the pictures of the Munich 'Revue', made the same claims and published more fictional and forged Streicher letters. As a result, the already officially confirmed transfer of my films to the Austrian Embassy was thwarted at the very last hour ..I ask you to treat the contents of this letter as confidential. It is only intended to show you the base means by which my enemies in France are trying to prevent the return of my property. This new setback has made my current situation even more difficult, but I hope to be able to resolve the matter through a lawsuit. For this process I now need an absolutely flawless translation of the article from 'Samedi Soir' and I would be particularly grateful if you would have the same made, as I have no money to pay for the translation ..I will give you back your expenses after the case has been won ..My lawyer will ask the newspaper 'Samedi Soir' to bring a correction. If the newspaper does not do this, I will be forced to sue 'Samedi Soir' and again I would like your advice on which French lawyer I should hire?' (1st June 1952), 'Above all, I would like to tell you that your faith and the trust you have placed in me have given me a lot of strength. On the day of your visit in Munich I was really completely devastated by the mean slanders of the 'Revue'. Your encouragement helped me a lot. The next day I flew to Berlin and had the strength to face a big public hearing in Berlin to refute all allegations against me, although the chairman of the court was a Jew, he possessed the necessary objectivity to conduct the proceedings fairly, I was acquitted on all counts and fully rehabilitated. This was a great victory and will also help me to fend off further attacks. For your information I am enclosing a newspaper report from which you can see the means by which an attempt was made to destroy me. I am also enclosing the copy of the Berlin verdict, which is of particular value because the most severe verdicts are pronounced in Berlin. As a result of this Berlin verdict, I am now in a position to sue the illustrated magazine 'Revue' for defamation and professional damage. So I will once again have to endure a lawsuit, but I am convinced that I will win it and then the way for my future work will be free .I wrote to Mr. Borst today to find out how far my 'Tiefland' affair has progressed ..I cannot understand why the handover has still not taken place. If you are still in Paris, I would be indebted to you if you would ask Mr. Borst, or even better, Mr. Langlois directly, when the handover will take place, It can't be that my life's work is destroyed by the French' (5th June 1952), 'It has been a long time since we last spoke. In the meantime my 'Tiefland' film has begun in Germany and Austria with a very strong response from the press and so far I am very satisfied with the artistic success. If you don't have the opportunity to see it in a cinema somewhere, it will be my great pleasure to show you the film on your next visit to Munich. Only now can I fully immerse myself in the realisation of my ski film 'Die roten Teufel' ..I would now be interested, dear Mr. de Carbon, whether you are still interested in any way in co-financing the film ..I think it's going to be big business and it's worth investing capital in, It would also make the work easier because, if francs are available to me, I could finance French skiers and workers and possibly also some outdoor shots in French territory' (9th June 1954), the later letter of 1958 regarding a proposed ballet based on Das blaue Licht (1932, 'The Blue Light') in which Riefenstahl had appeared as an actress in the role of Junta, with Rosella Hightower suggested for the same role, Riefenstahl asking 'Is this prima ballerina a household name?'. Together with a few associated carbon copies of letters, two original envelopes, a small series of handwritten notes by Riefenstahl, and several French newspaper articles relating to the director. Some light overall age wear and a few letters with small tears and creasing to the edges, G to generally VG, Sml. Qty. Christian Bourcier de Carbon (1912-?) French civil and industrial engineer who invented the de Carbon hydraulic shock absorber in 1953, also establishing the De Carbon Company in the same year. Henri Langlois (1914-1977) French film archivist and cinephile, a pioneer of film preservation and co-founder of the Cinematheque Française. Towards the end of World War II the French government confiscated all of Riefenstahl's editing equipment, along with the production reels of Tiefland. After years of legal wrangling, these were returned to her, but the French government had reportedly damaged some of the film stock whilst trying to develop and edit it, with a few key scenes missing. Riefenstahl edited and dubbed the remaining material and Tiefland premiered in Stuttgart in 1954, however it was denied entry into the Cannes Film Festival. In the 1950s and 1960s the director attempted to make many other films, but was continually met with resistance, public protests and sharp criticism. Although both film professionals and investors were willing to support her work, most of the projects she attempted were stopped owing to ever-renewed and highly negative publicity about her past work in Germany, and Tiefland would subsequently remain as her last feature film.
Four (4) silver gelatin prints from Leni Riefenstahl's films "Blue Light" and "SOS Iceberg" 1932-33, by an anonymous photographer, each with credits in pencil on the verso. Provenance: Phyllis Lucas Gallery, NYC. [Each: 8" H x 10" W].
Leni Riefenstahl, 1902-2003 Athlet Walter Steffens, Olympiade 1936 Verso Stempel: Olympia, Fest der Völker, Berlin 1936 (Tobis-Verleih nach dem Olympiadefilm) Reprod. in: L. Riefenstahl, Schönheit im olympischen Kampf, Bln. 1937, S. 200 (»Steffens-Deutschland beim Wanderflanken am Pferd«) Walter Steffens (1908-2006) wurde olympischer Sieger im Mehrkampf Vgl. Kat.-Nr. 470 24:30 cm
LENI RIEFENSTAHL (1902-2003) AFRICA, 2002 Livre broché avec couverture en cuir qui regroupe des photographies de Nubiens, mais aussi de Dinka, de Shilluk et de Masaï et constitue un point de repère dans la carrière de cette pionnière artistique. Signé et numéroté 253/2500 Dit paperbackboek met leren omslag bevat foto's van Nubiërs, maar ook van Dinka, Shilluk en Masai, en is een mijlpaal in de carrière van deze artistieke pionier. Getekend en genummerd 253/2500 This paperback book with leather cover features photographs of Nubians, as well as Dinka, Shilluk and Masai, and is a landmark in the career of this artistic pioneer. Signed and numbered 253/2500 55,5 x 39,5 x 10,5 cm
[*] Self-portrait. Circa 1930. Vintage gelatin silver print (photo postcard). 11 x 8 cm (14 x 9,2 cm). Signed by the photographer in the negative in lower margin. - - This self-portrait captures Riefenstahl in a somber and dramatic style that mirrors the intense lighting seen in her later cinematic works. While her artistic talents were evident, her association with the Nazi regime and her role in propaganda filmmaking remain subjects of significant debate and criticism. – Corners slightly bumped, minimal mirroring along edges of print, otherwise in very good condition. - - Sollten Sie detailliertere Zustandsberichte wünschen, kontaktieren Sie uns bitte. / Should you need more detailed condition reports, please contact us.
"Liebestanz" (Two Kau Nuba girls dancing the Njertun, Kordofan, Sudan). 1975/printed later. Cibachrome print. 66 x 49 cm. Leni Riefenstahl Produktion stamp on the verso. - - In the later stages of her career, Leni Riefenstahl shifted her attention to photography, embarking on captivating journeys to Africa, notably Sudan and Ethiopia during the 1970s and 1980s. Her African photographs beautifully captured a rich tapestry of indigenous tribes, stunning landscapes, and vibrant cultural rituals, providing a vivid portrayal of the region's people and traditions. Nonetheless, it's worth noting that her photography was met with some criticism, primarily due to concerns about potential cultural insensitivity, given her previous association with the Nazi regime. – Slight buckling, a few light handling dents, otherwise in near excellent condition. - - Provenance: Directly from the photographer to the current owner - - Lit.: Leni Riefenstahl, Die Nuba, Frechen 1999, ill. p. (cropped variant). - - Sollten Sie detailliertere Zustandsberichte wünschen, kontaktieren Sie uns bitte. / Should you need more detailed condition reports, please contact us.
"Wolf in the Film Tiefland" by Leni Riefenstahl, 2002 Unsigned Offset Lithograph. Paper size is 19.5 x 27.25 inches, with an image size of 14.5 x 18.75 inches. The Offset Lithograph is from an edition size of 250 and is not framed. The condition was rated A: Mint. Additional details: Hand numbered out of 250 in pencil. Not signed.
"Tentacles of Giant Anemone Stoichactis" by Leni Riefenstahl, 2002 Unsigned Offset Lithograph. Paper size is 19.5 x 27.5 inches, with an image size of 12.25 x 18.75 inches. The Offset Lithograph is from an edition size of 250 and is not framed. The condition was rated A: Mint. Additional details: Hand numbered out of 250 in pencil. Not signed.