Pathécolor / Pathéchrome / stencil coloring
Description
Stencil coloring required the manual cutting, frame by frame, of the area which was to be tinted onto another identical print, one for each color. Usually the number of colors applied ranged from 3 to 6.
The process was highly improved by the introduction of a cutting machine. Thus the cutter could follow the outlines of the image areas on a magnified image from a guide print projected onto a ground glass. A pantograph reduced the enlargement back to frame size. The machine performed the cutting on the stencil print with a needle. When cut-out manually, the gelatin had to be removed from the stenciled print to form a transparent strip. In the machine cutting process the stencil was cut into a blank film directly. For every color the stencil print was fed in register with the positive print into a printing machine where the acid dye was applied by a continuous velvet band.
Several hundred women performed the exacting task at the Pathé workshop in Vincennes. Similar techniques were applied by Gaumont, Oskar Meßter and the Cinemacoloris process invented by Segundo de Chomón.
Stencil colored films can be identified by the sharp outlines that define the colored areas. Color hues were most often soft pastels. The stencil colored images have a painterly quality, but often they strive for a reality efffect.
-
Casanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
Print no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
Credit: Cinémathèque française, conservatoire des techniques, Paris. -
Source: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions. -
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Amour d’esclave (France 1907). Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification -
Tinting in combination with stencil coloring. Credit: Turconi Collection by courtesy of George Eastman House Motion Picture Department Collection. Film: L’Exode (FRA 1910, Louis Feuillade) -
Credit: Turconi Collection by courtesy of George Eastman House Motion Picture Department Collection. Film: L’Exode (FRA 1910, Louis Feuillade) -
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Le Pied de Mouton (ca. 1910). Edge mark: Pathé (1909 onward), on one edge, PATHÉ FRÈRES 14 RUE FAVART PARIS and on the other, EXHIBITION INTERDITE EN FRANCE EN SUISSE ET EN BELGIQUE (partially visible). Cf.: Ill.PM.5: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: The Golden Beetle (1907). -
Credit: Geo. Willeman, Nitrate Film Vault Manager, Library of Congress. Film: Unknown film (ca. 1919). -
Credit: Cinémathèque française, conservatoire des techniques, Paris. -
Credit: Cineteca di Bologna. -
Source: Eggert, John (1932): Kurzer Überblick über den Stand der Farbenkinematographie. In: Bericht über den VIII. Internationalen Kongress für wissenschaftliche und angewandte Photographie, Dresden 1931, pp. 214-222. Leipzig: J. A. Barth. -
Credit: Turconi Collection by courtesy of George Eastman Museum, Motion Picture Department Collection. Film: Kinder-Karno in Nizza. -
Toplight and backlight, Swiss collector’s copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. -
Backlight, Swiss collector’s copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. -
Toplight and backlight, Swiss collector’s copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. -
Toplight and backlight, Swiss collector’s copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. -
Pathéorama. Toplight and backlight, Swiss collector’s copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. -
Pathéorama. Backlight, Swiss collector’s copy. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. -
Pathéorama. Credit: Clayton Scoble and Stephen Jennings, Harvard University, Fine Arts Library. Backlight. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé. -
Credit: Clayton Scoble and Stephen Jennings, Harvard University, Fine Arts Library. Backlight. Source: Didiée, L. (1926): Le Film vierge Pathé. Manuel de développement et de tirage. Paris: Pathé.
Galleries Open all Galleries ▼
Casanova (FRA 1927, Alexandre Volkoff).
Credit: Cinémathèque française.
Photographs of the stencil colored safety print by Barbara Flueckiger.
-
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff), magnification. Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff), magnification. Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff), magnification. Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff), magnification. Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff), magnification. Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff), magnification. Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff), magnification. Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger. -
ShowHide detailsCasanova (FRA 1927, Alexandre Volkoff). Credit: Cinémathèque française. Photographs of the stencil colored safety print by Barbara Flueckiger.
Various illustrations depict the color application by stencil coloring. See also the application machine on the website of the Cinémathèque française.
Sources:
Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions.
Löbel, Léopold (1922): Le coloris. In: La technique cinématographique. Projection et fabrication des films. Paris: Dunod, pp. 312–333.
Talbot, Frederick A. (1912): Animation in Natural Colours. In: Moving Pictures. How They are Made and Worked. Philadelphia: J.B. Lippincott Company, pp. 287–300.
-
ShowHide detailsSource: Coe, Brian (1981): The History of Movie Photography. Westfield, N.J.: Eastview Editions. -
ShowHide detailsPantograph. Source: Löbel, Léopold (1922): Le coloris. In: La technique cinématographique. Projection et fabrication des films. Paris: Dunod, pp. 312–333. -
ShowHide detailsThe two film strips – above the one with the cut-out stencils, underneath the print to be colored – are fed in parallel into the coloring machine. Source: Löbel, Léopold (1922): Le coloris. In: La technique cinématographique. Projection et fabrication des films. Paris: Dunod, pp. 312–333. -
ShowHide detailsColoring workshop at Pathé in Vincennes. Source: Talbot, Frederick A. (1912): Animation in Natural Colours. In: Moving Pictures. How They are Made and Worked. Philadelphia: J.B. Lippincott Company, pp. 287–300. -
ShowHide detailsColoring workshop at Pathé in Vincennes. Source: Talbot, Frederick A. (1912): Animation in Natural Colours. In: Moving Pictures. How They are Made and Worked. Philadelphia: J.B. Lippincott Company, pp. 287–300.
L’Antre infernal (FRA 1905, Gaston Velle).
Credit: Courtesy of The Museum of Modern Art Department of Film.
HDR photographs of the nitrate print by Barbara Flueckiger.
-
ShowHide detailsL’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsL’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsL’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsL’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsL’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsL’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsL’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsL’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsL’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsL’Antre infernal (FRA 1905, Gaston Velle). Credit: Courtesy of The Museum of Modern Art Department of Film. Photographs by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS 1905 (partially visible). Cf.: Ill.PM.3: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification
L‘Amour d‘esclave (FRA 1907, Albert Capellani). Comparison of two Pathécolor nitrate prints.
Credit: Library of Congress. Photographs of the nitrate film print by Barbara Flueckiger.
-
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Upper frame: Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification Lower frame: Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown 1990: on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Upper Frame: Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Lower frame: Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown 1990: on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Upper frame: Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification Lower frame: Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown 1990: on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (with gap, early 1906, partially visible). Cf.: Ill.PM.32: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Upper frame: Edge mark: PATHÉ FRÈRES PARIS (with gap, early 1906, partially visible). Cf.: Ill.PM.32: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification Lower frame: Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown 1990: on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Upper frame: Edge mark: PATHÉ FRÈRES PARIS (with gap, early 1906, partially visible). Cf.: Ill.PM.32: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification Lower frame: Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown 1990: on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (with gap, early 1906, partially visible). Cf.: Ill.PM.32: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (with gap, early 1906, partially visible). Cf.: Ill.PM.32: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (with gap, early 1906, partially visible). Cf.: Ill.PM.32: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification Trade mark in scene: Pathé cockerel (until 1909). Cf.: Ill.TM.5: Brown 1990: on p. 30. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 2 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: PATHÉ FRÈRES PARIS (without gap, 1906-1907, partially visible). Cf.: Ill.PM.33: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification -
ShowHide detailsPrint no. 1 of Amour d’esclave (FRA 1907, Albert Capellani). Credit: Library of Congress. Photograph of the nitrate film print by Barbara Flueckiger. Edge mark: Pathé (April 1907-1909), on one edge, PATHÉ FRÈRES and on the other, 14 RUE FAVART PARIS (partially visible). Cf. Ill.PM.4: Brown, Harold (1990): Physical Characteristics of Early Films as Aids to Identification. Brussels: FIAF, on p. 9. View Quote on Page: Edge Codes and Identification
Cyrano de Bergerac (ITA/FRA 1923, Augusto Genina).
Credit: EYE Film Institute Amsterdam.
Photographs by Barbara Flueckiger. Full representation of the two tinted, toned and stencil-colored reels.
Single frames from the George Eastman Museum, Moving Image Collection.
See gallery with toned frames only.
-
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger. -
ShowHide detailsCyrano de Bergerac (ITA / FRA 1923, Augusto Genina). Credit: EYE Film Museum. Photographs of the tinted, toned and stencil colored nitrate film by Barbara Flueckiger.