Aktuális sajtó tartalmak és illusztrációs fotók

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CASTLE IN THE DESERT 1942  20th Century Fox film with  Sidney Toler as Charlie Chan and  Arleen Whelan as Brenda Hartford-stock-foto
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Qi Baishi Chrysanthemums - Chinese Ink and Color Vertical Scroll with Calligraphy-stock-foto
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Qi Baishi Chrysanthemums - Chinese Ink and Color Vertical Scroll with Calligraphy-stock-foto
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Six Chicks - Chinese Ink Painting in the Style of Qi Baishi-stock-foto
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The Rush of Green, also known as Pan or The Bowater House Group, the last sculpture completed by Jacob Epstein before his death in 1959, London, Engla-stock-foto
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The Rush of Green, also known as Pan or The Bowater House Group, the last sculpture completed by Jacob Epstein before his death in 1959, London, Engla-stock-foto
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The Rush of Green, also known as Pan or The Bowater House Group, the last sculpture completed by Jacob Epstein before his death in 1959, London, Engla-stock-foto
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The Rush of Green, also known as Pan or The Bowater House Group, the last sculpture completed by Jacob Epstein before his death in 1959, London, Engla-stock-foto
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Two Marines from the 2nd Battalion, 1st Marine Regiment during fighting at Wana Ridge during the Battle of Okinawa, May 1945.Japanese-stock-foto
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Marines celebrate Victory over Japan Day on Okinawa, August   american soldiers 1945-stock-foto
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Michael Jibson (Pinkie), Sophia Regavelas (Rose) in BRIGHTON ROCK based on the novel by Graham Greene at the Almeida Theatre, London N1  05/10/2004  music by John Barry  lyrics by Don Black  book by Giles Havergal  design: Lez Brotherston  lighting: Tim Mitchell  choreography: Karen Bruce  director: Michael Attenborough-stock-foto
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Sophia Regavelas (Rose), Michael Jibson (Pinkie) in BRIGHTON ROCK based on the novel by Graham Greene at the Almeida Theatre, London N1  05/10/2004  music by John Barry  lyrics by Don Black  book by Giles Havergal  design: Lez Brotherston  lighting: Tim Mitchell  choreography: Karen Bruce  director: Michael Attenborough-stock-foto
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Michael Jibson (Pinkie), Sophia Regavelas (Rose) in BRIGHTON ROCK based on the novel by Graham Greene at the Almeida Theatre, London N1  05/10/2004  music by John Barry  lyrics by Don Black  book by Giles Havergal  design: Lez Brotherston  lighting: Tim Mitchell  choreography: Karen Bruce  director: Michael Attenborough-stock-foto
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Michael Jibson (Pinkie) in BRIGHTON ROCK based on the novel by Graham Greene at the Almeida Theatre, London N1  05/10/2004  music by John Barry  lyrics by Don Black  book by Giles Havergal  design: Lez Brotherston  lighting: Tim Mitchell  choreography: Karen Bruce  director: Michael Attenborough-stock-foto
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l-r: Sophia Regavelas (Rose), Harriet Thorpe (Ida) in BRIGHTON ROCK based on the novel by Graham Greene at the Almeida Theatre, London N1  05/10/2004  music by John Barry  lyrics by Don Black  book by Giles Havergal  design: Lez Brotherston  lighting: Tim Mitchell  choreography: Karen Bruce  director: Michael Attenborough-stock-foto
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l-r: Sophia Regavelas (Rose), Harriet Thorpe (Ida) in BRIGHTON ROCK based on the novel by Graham Greene at the Almeida Theatre, London N1  05/10/2004  music by John Barry  lyrics by Don Black  book by Giles Havergal  design: Lez Brotherston  lighting: Tim Mitchell  choreography: Karen Bruce  director: Michael Attenborough-stock-foto
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l-r: Paul Bentall (Spicer), Michael Jibson (Pinkie), David Burt (Dallow), Neil McCaul (Cubitt) in BRIGHTON ROCK based on the novel by Graham Greene at the Almeida Theatre, London N1  05/10/2004  music by John Barry  lyrics by Don Black  book by Giles Havergal  director: Michael Attenborough-stock-foto
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left: Elizabeth MacLennan (Maggie Morrison) in MEN SHOULD WEEP by Ena Lamont Stewart at the Theatre Royal, Stratford East, London E15  02/06/1983  a 7:84 Theatre Company production  design: Geoff Rose  lighting: Gerry Jenkinson  director: Giles Havergal-stock-foto
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Elizabeth MacLennan (Maggie Morrison) in MEN SHOULD WEEP by Ena Lamont Stewart at the Theatre Royal, Stratford East, London E15  02/06/1983  a 7:84 Theatre Company production  design: Geoff Rose  lighting: Gerry Jenkinson  director: Giles Havergal-stock-foto
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David Bamber (Actor 2) in TRAVELS WITH MY AUNT by Graham Greene at the Menier Chocolate Factory, London SE1  08/05/2013  adapted for the stage by Giles Havergal  design: Colin Falconer  lighting: Oliver Fenwick  director: Christopher Luscombe-stock-foto
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l-r: Iain Mitchell (Actor 3), Jonathan Hyde (Actor 1), Gregory Gudgeon (Actor 4), David Bamber (Actor 2) in TRAVELS WITH MY AUNT by Graham Greene at the Menier Chocolate Factory, London SE1  08/05/2013  adapted for the stage by Giles Havergal  design: Colin Falconer  lighting: Oliver Fenwick  director: Christopher Luscombe-stock-foto
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l-r: Iain Mitchell (Actor 3), Jonathan Hyde (Actor 1), Gregory Gudgeon (Actor 4), David Bamber (Actor 2) in TRAVELS WITH MY AUNT by Graham Greene at the Menier Chocolate Factory, London SE1  08/05/2013  adapted for the stage by Giles Havergal  design: Colin Falconer  lighting: Oliver Fenwick  director: Christopher Luscombe-stock-foto
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l-r: David Bamber (Actor 2), Jonathan Hyde (Actor 1) in TRAVELS WITH MY AUNT by Graham Greene at the Menier Chocolate Factory, London SE1  08/05/2013  adapted for the stage by Giles Havergal  design: Colin Falconer  lighting: Oliver Fenwick  director: Christopher Luscombe-stock-foto
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Stephanie Corley (Hanna Glawari) in THE MERRY WIDOW  music: Franz Lehar  book & lyrics: Victor Leon & Leo Stein  at Opera North, Leeds, England  16/10/2010  translated & adapted by Kit Hesketh-Harvey & Giles Havergal   conductor: Wyn Davies  design: Leslie Travers  lighting: Oliver Fenwick  choreographer: Stuart Hopps  director: Giles Havergal-stock-foto
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centre: Stephanie Corley (Hanna Glawari) in THE MERRY WIDOW  music: Franz Lehar  book & lyrics: Victor Leon & Leo Stein  at Opera North, Leeds, England  16/10/2010  translated & adapted by Kit Hesketh-Harvey & Giles Havergal   conductor: Wyn Davies  design: Leslie Travers  lighting: Oliver Fenwick  choreographer: Stuart Hopps  director: Giles Havergal    Opera North / Leeds, England                        16/10/2010-stock-foto
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Allan Clayton (Camille de Rosillon), Amy Freston (Valencienne) in THE MERRY WIDOW  music: Franz Lehar  book & lyrics: Victor Leon & Leo Stein  at Opera North, Leeds, England  16/10/2010  translated & adapted by Kit Hesketh-Harvey & Giles Havergal   conductor: Wyn Davies  design: Leslie Travers  lighting: Oliver Fenwick  choreographer: Stuart Hopps  director: Giles Havergal-stock-foto
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Charon Bourke (Becky / Pamela Andrews) in PAMELA or The Reform of a Rake by Samuel Richardson a Shared Experience touring production 1985  adapted by Giles Havergal & Fidelis Morgan  design & lighting: Paul Dart  director: Giles Havergal-stock-foto
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l-r: Sian Thomas (Joyce / Mrs Belville / Lady Davers), Charon Bourke (Becky / Pamela Andrews) in PAMELA or The Reform of a Rake by Samuel Richardson a Shared Experience touring production 1985  adapted by Giles Havergal & Fidelis Morgan  design & lighting: Paul Dart  director: Giles Havergal-stock-foto
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Sian Thomas (Joyce / Mrs Belville / Lady Davers), Ian Reddington (Barry / Mr Belville) in PAMELA or The Reform of a Rake by Samuel Richardson a Shared Experience touring production 1985  adapted by Giles Havergal & Fidelis Morgan  design & lighting: Paul Dart  director: Giles Havergal-stock-foto
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Charon Bourke (Becky / Pamela Andrews), Ian Reddington (Barry / Mr Belville) in PAMELA or The Reform of a Rake by Samuel Richardson a Shared Experience touring production 1985  adapted by Giles Havergal & Fidelis Morgan  design & lighting: Paul Dart  director: Giles Havergal-stock-foto
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General Kalitine, commander of a Russian army corps, studies a campaign map with his staff during operations against the Ottoman Empire in eastern Anatolia. Taken after the capture of Erzurum in 1916, this scene illustrates Russian strategic planning before the push towards Trebizond. From the May 20, 1916 issue of L’Illustration, documenting the Caucasus front in World War I.-stock-foto
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A group of captured Turkish soldiers being escorted by Russian forces after the occupation of Erzurum, marching in the direction of Aşkale. This photograph, published in May 1916 in L’Illustration, highlights the scale of Ottoman losses during the Caucasus campaign and the shifting balance of power in eastern Anatolia during World War I.-stock-foto
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Russian soldiers assemble in formation during the Caucasus campaign after occupying Hasan-Kale en route to Erzurum. General Kalitine reviews his men as part of the Russian advance against the Ottoman Empire in early 1916. Published in L’Illustration, May 20, 1916, this scene reflects Russian organization and growing dominance on the Caucasus front of World War I.-stock-foto
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Grand Duke Nicholas of Russia passes his victorious troops in review after the capture of Erzurum and before the advance on Trebizond, May 1916. Standing in an automobile, the Grand Duke is greeted by Russian soldiers assembled on the muddy Caucasus front. This moment, published in L’Illustration, symbolizes Russian confidence during their successful 1916 campaign against the Ottoman Empire.-stock-foto
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An Ottoman officer captured by Russian forces during the Caucasus campaign of World War I, interrogated after suffering frostbite and placed on horseback. Photographed during the Russian advance following the fall of Erzurum in early 1916, the image reflects the harsh conditions endured by Ottoman troops and the momentum of Russian victories in eastern Anatolia. Published May 1916 in L’Illustration.-stock-foto
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Archival image from L’Illustration, 20 May 1916, showing Norwegian men examining the wreckage of the German Zeppelin L20 after its forced landing. The gondola and engines rest broken on the rocky shore. Once a feared weapon of aerial raids, the Zeppelin here becomes an object of curiosity and evidence of Germany’s mounting wartime losses. This photo documents the fate of a proud symbol of imperial power.-stock-foto
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Archival image from L’Illustration, 20 May 1916, depicting the wreck of a German Zeppelin standing almost upright after collapse in a Norwegian fjord. The massive dirigible, driven by violent storms and fuel shortages, was forced down and left stranded. This dramatic scene highlights the vulnerability of lighter-than-air craft in wartime, marking a significant loss for German aviation during World War I.-stock-foto
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Archival illustration from L’Illustration, May 1915, by Charles Hoffbauer, showing a French infantry captain in his dugout at Courcy. The officer reads at leisure while a bottle of water rests on the table beside him. This depiction contrasts the intensity of trench battles with quieter human moments of endurance in World War I.-stock-foto
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Archival illustration from LíIllustration, 1915, by Charles Hoffbauer, depicting French soldiers inside a covered trench near Saint-Paul, close to Soissons. Such shelters protected men from bombardment while enabling them to maintain defensive positions. The image conveys the confined, harsh realities of trench life in the First World War.-stock-foto
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Archival illustration from LíIllustration, 1915, by Charles Hoffbauer, showing a French soldier using a trench periscope at the CarriËre sector. Periscopes allowed safe observation of enemy lines without exposure to sniper fire. The image captures the improvisation and daily struggles of trench warfare during World War I.-stock-foto