JEAN SEBERG 1960s YOUNG BEAUTIFUL 2 1/4 CAMERA TRANSPARENCY PETER BASCH

Description

PETER BASCH PHOTOGRAPHY
PROVENANCE:
T
he image offered in this listing comes directly from the personal archived library of
PETER BASCH
who was a celebrity and artistic nude Playboy photographer during the 1940s through the 1970s. Mr. Basch was a master in glamour and nude fine art photography having authored many books on the subject. In addition to photographer signed and/or stamped photographic images, we are only offering 100% guaranteed original camera images (B&W negatives and color transparencies) which have been stored away since he produced his first work. Many of the original camera film images (negatives and transparencies) have never been seen before and are one of a kind. Others have been published in the world's top celebrity and men's magazines. The rediscovery of the mastery of Peter Basch will reveal his respect and passion for photographing the world's top celebrities and most beautiful women such as
BETTIE PAGE
,
JAYNE MANSFIELD
,
GRACE KELLY
,
SOPHIA LOREN
,
MARLON BRANDO
,
JANE FONDA
,
BRIGITTE BARDOT
,
ANITA EKBERG
,
FEDERICO FELLINI
,
URSULA ANDRESS
, and many more. Please see a bio and additional notes on Peter Basch below
.
DESCRIPTION:
A vintage 1960s original 2 1/4" color camera transparency of actress
JEAN SEBERG
taken by photographer
PETER BASCH
and from his personal archive.
The transparency has been trimmed down along the right, upper, and lower edges. Measures 2 1/8" x 2".
This is the original
transparency
(color film) that was in the camera at the time of the photo shoot and is therefore the only one of its kind in existence
.
RIGHTS:
The
PETER BASCH FAMILY TRUST
is the sole and exclusive copyright owner of the listed image(s). No rights are included in this offering.
- SIZE:
2 1/
4" (trimmed down, see above)
- TONE:
color
- CONDITION:
Fine, with light spotting.
_______________________________________________________________
CONDITION GRADING
Excellent:
Very nearly pristine, with no more than trivial flaws.
Very Fine:
One or two minor defects and only the slightest handling wear.
Fine:
Minor flaws, with slight handling or surface flaws.
Very Good:
Slight scuffing, rippling, minor surface impressions.
Good:
Visibly used with small areas of wear, which may include surface impressions and spotting.
Fair:
Visibly damaged with extensive wear.
SHIPPING TERMS
- I ship all items using, what I call, triple protection packing. The photos are inserted into a display bag with a white board, then packed in between thick packaging boards and lastly wrapped with plastic film for weather protection before being placed into the shipping envelope.
- The shipping cost for U.S. shipments includes USPS "Delivery Confirmation" tracking.
- I am happy to combine multiple wins at no additional cost.
Please wait for me to issue the invoice before making payment.
PAYMENT TERMS
- Please pay within three (3) days of purchase.
- I reserve the right to re-list the item(s) if payment is not received within seven (7) days.
-
All sales taxes applicable to the City of Los Angeles, State of California and the 2019 Marketplace Sales Tax Law in other states shall be applied.
CUSTOMER SERVICE
- I will respond to all inquiries within 24 hours.
________________________________________________________________
PETER BASCH
(1921-2004) was a German/American glamour photographer who captured thousands of images of the most prominent stars of the 50s and 60s. Peter Basch was born in Berlin, Germany, the only child of Felix Basch and Grete Basch-Freund, both prominent theater and film personalities of the German-speaking world. In 1933 the family came to New York due to fears of rising anti-Jewish sentiment and laws in Germany. The family had US citizenship because Felix's father, Arthur Basch, was a wine trader who lived in San Francisco. After moving back to Germany, Arthur Basch kept his American citizenship, and passed it to his children and, thence, to his grandchildren. When the Basch family arrived in New York in 1933, they opened a restaurant on Central Park South in the Navarro Hotel. The restaurant, Gretel's Viennese, became a hangout for the Austrian expatriate community. Peter Basch had his first job there as a waiter. While in New York, Basch attended the De Witt Clinton High School. The family moved to Los Angeles to assist in Basch's father's career, during which time Basch went to school in England. Upon returning to the United States, Basch joined the Army. He was mobilized in the US Army Air Forces' First Motion Picture Unit, where he worked as a script boy. After the war, he started attending UCLA and started taking photographs of young starlets working with other photographers and film studios. His mother asked him to join her back in New York after she and his father decided that Basch should be a photographer and they obtained a photography studio for their son. For over twenty years, Peter Basch had a successful career as a magazine photographer. He was known for his images of celebrities, artists, dancers, actors, starlets, and glamour-girls in America and Europe. His photos appeared in many major magazines such as Life, Look and Playboy.The Peter Basch Collection includes iconic images of all the major midcentury stars, from Europe and America. These masterful images are a window onto a time we cannot forget, when movie stars stepped out of the studio’s control, and we began to see these larger-than-life performers as full, three-dimensional personalities. Basch’s images capture the heart and spirit of these glamorous performers. Taking pictures in natural light, out in the world, we see these stars as full human beings, not the carefully made-up, studio-approved icons of oldfashioned Hollywood. Basch was able to capture the moments of a human being’s spirit, their mercurial reactions, all the facets that made these magnetic individuals the stars they were. Basch authored and co-authored a number of books containing his photographs including: Candid Photography (1958 with Peter Gowland Basch and Don Ornitz Basch) Peter Basch's Glamour Photography (A Fawcett How-To Book) (1958) Peter Basch photographs beauties of the world (1958) Camera in Rome (1963 with Nathan and Simon Basch) Peter Basch Photographs 100 Famous Beauties (1965) The nude as form & figure (1966) Put a Girl in Your Pocket: The Artful Camera of Peter Basch (1969) Peter Basch's Guide to Figure Photography (1975 with Jack Rey)
Thoughts on Peter Basch by his daughter
: "My Father, Peter Basch, saw. He looked and he saw. He taught me to see. He taught me to listen and hear. We used to play a game when I was little. He’d say, Michele, look at the street then look at me, what did you see? I would list the cars, red, black, navy; people, fat, tall, thin; children, parents; trees and plants. He would add the detail. A blue car with New York plates, a black car with New Jersey plates. The people were not just tall or small, thin or fat, they wore coats or sweaters, they laughed or were sad. The trees had leaves, were close together, the green was dark, vivid, the sun playing with the shadow.
My Father saw. He captured in his mind and on film the unexpected moment in time, the interaction between two people, the look, the thought, the breath that punctuated the decision.
My Father was one of the great romantics. He had a true love and appreciation of beauty in its purest form. We would talk about BEAUTY and her differences: natural, Hollywood, young, old and the beauty of communication, interaction, the Beauty of the moment. He recorded the breath in time on film: two ladies in Paris reading the paper, a Dachshund looking around the corner, a chair in front of the Eiffel Tower. My Father saw the thought and seized it for posterity.
My Father understood the language light speaks to shadow. He showed me how the sun plays with dark. His favorite moment was at Sunrise when the shadows were long and soft. He saw every hue from white to black and everything in between. He understood the language, taught and published books on Light and Shadow, Form and Figure.
I traveled through Europe with my Father. I was his assistant! And proud of it! I was the camera person! Changed the film, made sure the lens was clean, stood in during special poses, helped in the dark room, retouched to refine and perfect. I loved watching him talk and listen. He listened to Jane Fonda, Ursula Andress, Brigit Bardot, Fellini, Mastroiani and so many more. He listened and recorded the answer, the thought, that moment of indecision, realization and Seduction."
Film Assignments
:
8½ - Fellini
Jules et Jim - Truffaut
Bijoutiers du Clair de Lune - Vadim
The Vice and the Virtue - Vadim
Fearless Vampire Killers - Polanski
Yesterday, Today and Tomorrow - De Sica
Une Femme Est Une Femme Goddard
Fear - Rosselini
Cartouche - De Broca
Giant - Stevens
Anne Frank - Stevens
Guys and Dolls - Mankiewicz
Horse Soldiers - Ford
Majority of One - Leroy
Walk on the Wild Side - Dmytryk
Wild in the Streets - Spear
Leonidas - Matte
The Day the Fish Came Out - Cocayannis
The Pawnbroker - Lumet
La Verite - Clouzot
La Loi Sacree - Pabst
Baby Doll - Kazan
Summertime - Lean
The 13 Most Beautiful Girls - Warhol
The Three Sisters - Bogart
Francis of Assissi - Curtiz
The Swimmer Perry
Cape Fear
The Man Who Had Power Over Women
The Spy With The Cold Nose
Winnetou
Mata Hari
Exhibitions:
2002 Jewish Museum - Vienna Austria “Vom Grossvater vertrieben”
2002 LEICA Gallery, NYC Portrait of Al Hirschfeld
2001 National Portrait Gallery -- London Dame Elizabeth (Taylor)
2001 Fahey-Klein Gallery, LA Group Show/Great Directors
2001 Museum/City of New York, Al Hirschfeld Exhibit
2000 Museum of Modern Art, NY, Brigitte Bardot
1999 Vienna, Austria – “übersee”
1999 Stadt Museum, Munich, Germany “TWEN” exhibit
1997 Museum of the Moving Image – Grace Kelly
1996 Staley Wise Gallery, NY “Shooting Stars” – one man show
1980s Museum of Modern Art, NY, Sophia Loren LA County Museum "Masters of Starlight" (subsequently traveled to Tokyo & Kyoto, Japan) Stadt Museum, Munich, Germany “AKT” (nudes)
__________________________________________________________________
JEAN SEBERG BIO
Jean Dorothy Seberg
(November 13, 1938 – August 30, 1979) was an American actress. She starred in 37 films in Hollywood and in France, including
Breathless
(1960), the musical
Paint Your Wagon
(1969) and the disaster film
Airport
(1970).
Jean Seberg is also one of the most well known victims of FBI COINTELPRO project. Her victimization was rendered as a well-documented retaliation for her support of civil rights and activist groups in the 1960s.
Jean Seberg was born in Marshalltown, Iowa, the daughter of Dorothy Arline (née Benson), a substitute teacher, and Edward Waldemar Seberg, a druggist. Her family was Lutheran and of Swedish, English, and German ancestry. Seberg studied at the University of Iowa.
Seberg made her film debut in 1957 in the title role of
Saint Joan
, from the Shaw play, after being chosen from 18,000 hopefuls by director Otto Preminger in a 0,000 talent search. Her name was entered by a neighbor. By the time she was cast, on October 21, 1956, her only acting experience had been a single season of summer stock performances. The film was paired with a great deal of publicity about which Seberg commented that she was "embarrassed by all the attention". Despite a big build-up, called in the press a "
Pygmalion
experiment", both the film and Seberg received poor notices. On the failure, she later told the press:
"
I have two memories of
Saint Joan
. The first was being burned at the stake in the picture. The second was being burned at the stake by the critics. The latter hurt more. I was scared like a rabbit and it showed on the screen. It was not a good experience at all. I started where most actresses end up."
Preminger, though, had promised her a second chance, and he cast Seberg in his next film
Bonjour Tristesse
the following year, which was filmed in France. Regarding his decision, Preminger told the press: "It's quite true that, if I had chosen Audrey Hepburn instead of Jean Seberg, it would have been less of a risk, but I prefer to take the risk. [..] I have faith in her. Sure, she still has things to learn about acting, but so did Kim Novak when she started." Seberg again received atrocious reviews and the film nearly ended her career. Her next role was in the 1959 comedy,
The Mouse That Roared
, starring Peter Sellers.
Deciding she had no luck in English-language films, Seberg moved to France, where she scored success as the free-love heroine of French New Wave films. Most notably, she appeared as Patricia in Jean-Luc Godard's
Breathless
(original French title:
à bout de souffle
), in which she co-starred with Jean-Paul Belmondo. The film became an international success and critics praised Seberg's performance, François Truffaut even hailing her "the best actress in Europe." Despite her achievements in this genre, Seberg did not identify with her characters or the film plots, saying that she was "making films in France about people [she's] not really interested in." The critics did not agree with Seberg's absence of enthusiasm, and raved about her performances, inspiring Hollywood and Broadway to make her important offers.
In 1961, Seberg took on the lead role in her then husband François Moreuil's debut film,
La recréation
. By that time, Seberg had been estranged from Moreuil, and she recollected that production was "pure hell" and that he "would scream at [her]." After moving back to the United States, she starred opposite Warren Beatty in
Lilith
(1964), which prompted the critics to acknowledge Seberg as a serious actress.
In 1969, she appeared in her first and only musical film,
Paint Your Wagon
, based on Lerner and Loewe's stage musical, and co-starring Lee Marvin and Clint Eastwood, but her singing voice was dubbed by Anita Gordon. Seberg also starred in the disaster film
Airport
(1970) opposite Burt Lancaster and Dean Martin.
At the peak of her career, Seberg suddenly stopped acting in Hollywood films. Reportedly, she was not pleased with the roles she had been offered, some of which, she noted, bordered on pornography. Conversely, she was not offered any great Hollywood roles, regardless of their size. Some have said she was blacklisted due to an infamous FBI smear campaign revolving around issues in her personal life. Others have dismissed that any blacklist occurred. Seberg was willing to work in a Paramount production whose screenplay she had been sent but the film was never made.
Seberg was François Truffaut's first choice for the central role of Julie in
Day for Night
but, after several fruitless attempts to contact her, Truffaut gave up and cast British actress Jacqueline Bisset instead. Her last US film appearance was in the TV movie
Mousey
(1974). Seberg remained busy during the 1970s, but only in European films.
Seberg later appeared in
Bianchi cavalli d'Agosto
(White Horses of Summer) (1975),
Le Grand Délire (Die Große Ekstase)
(1975, with husband Dennis Berry) and
Die Wildente
(1976, based on Ibsen's
The Wild Duck
).
"There is no indication that Richard Wallace ever considered [the Seberg scam] to be anything other than an extremely successful COINTELPRO operation"
During the late 1960s, Seberg provided financial support to various group supporting civil rights, such as the NAACP and Native American school groups such as the Mesquaki Bucks at the Tama settlement near her home town of Marshalltown, for whom she purchased 0 worth of basketball uniforms. FBI management was very upset about several gifts to the Black Panther Party, totalling ,500 (estimated) in contributions; these were noted among a list of other celebrities in FBI internal documents later released under FOIA. This financial support, and her alleged interracial love affairs or friendships were evident triggers to a large-scale FBI program deployment in her direction.
The FBI operation against Seberg used COINTELPRO program techniques harass, intimidate, defame and discredit the well-known actress. The FBI's stated goal was an unspecified "neutralization" of Ms. Seberg; all intended to be done while hiding FBI involvement. One stated FBI subsidiary objective was to "cause her embarrassment and serve to cheapen her image with the public", while taking the "usual precautions to avoid identification of the Bureau". FBI strategy and modalities can be found in FBI inter-office memos, since declassified and released to the public under FOIA.
In 1970, the FBI created the false story from a San Francisco-based informant, that the child she was carrying was not fathered by her husband Romain Gary, but by a member of the Black Panther Party, Raymond Hewitt. The story was reported by gossip columnist Joyce Haber of the
Los Angeles Times
,. It was also printed by
Newsweek
magazine. She gave birth to a girl named Nina on August 23, 1970 in Geneva, but the infant died two days later. She held an open casket funeral in her hometown to allow the curious to see the infant's white skin, to disprove the rumors. FBI organization of the defamation is detailed in a series of FBI memos, released to the public under FOIA.
It should be noted that 'investigation' of Ms. Seberg went far beyond the publishing of defamatory articles. According to her friends, interviewed after her death, Ms. Seberg experienced years of aggressive in-person surveillance (constant stalking), as well as break-ins and other intimidation oriented activity. FBI files show that not only was she wiretapped, but aggressive U.S. official surveillance was deployed while travelling in Switzerland, and Italy, and while she resided in France. i.e. FBI files show that the FBI cross-contacted the "FBI Legat" (legal attachés) in U.S. Embassies in Paris and Rome, to monitor the actress while abroad; the FBI also provided files on Seberg to the CIA, U.S. Secret Service and U.S. Military intelligence to assist in monitoring Ms. Seberg while travelling abroad.
Newspaper reports after her death make clear Seberg was aware of the surveillance; in 1980, the Los Angeles Times published FBI logs of her Swiss wiretapped phone calls:
"It doesn't matter you know, I've got little friends who follow"
FBI records released show that J. Edgar Hoover himself kept U.S. President Richard Nixon informed of FBI activities related to the Jean Seberg case via President Nixon's domestic affairs chief John Ehrlichman; John Mitchell, then Attorney General, and Deputy Attorney General Richard Kleindienst were also kept informed of FBI activities related to Jean Seberg.
FBI files are full of judgmental and derogatory statements about Seberg's intimate personal life. For example, she was referred to as
"the alleged promiscuous and sex-perverted white actress".
It should be noted that not all the information about her case was released to the public; principally, only the files related to the newspaper libel affair were released.
Did a rumor planted by Hoover's aides lead to her death?
Six days after the discovery of her body in a car in Paris, dead from an apparent suicide by overdose, the FBI released documents under FOIA admitting the well-planned defamation of Ms. Seberg, while making statements attempting to distance themselves from practices of the Hoover era. FBI COINTELPRO scholars were unimpressed with this rhetoric. FBI abuse of Ms. Seberg was further explored at this time by Time Magazine in a front page article, "the FBI vs. Jean Seberg". Media attention surrounding the abuse she suffered at FBI hands led to examination of the case by the United States Senate Select Committee to Study Governmental Operations with Respect to Intelligence Activities, a.k.a. "the Church Committee", which noted that notwithstanding FBI claims of reform, that, "COINTELPRO activities may continue today under the rubric of investigation".
Los Angeles Times Editor Jim Bellows, in his autobiography, described events leading up to the Seberg articles, in which he expressed regret that he had not vetted the Seberg articles sufficiently. He echoed this sentiment in subsequent interviews.
"This is not about gossip," Halberstam said recently. "This is really about political reporting of a very dubious kind.
The Times did not set out to destroy her. One powerful institution manipulated another. The result was the destruction of a fragile human being."
Jean Seberg's family blames the FBI smear campaign for her death.
The Seberg case remains a hallmark case, examined to this day, vis-à-vis U.S. intelligence abuses directed towards U.S. citizens.
Seberg married François Moreuil, a French movie director who directed her in
La récréation
, in 1958; they divorced in 1960. According to Seberg, the marriage was a "violent" one, and she complained that she "got married for all the wrong reasons." On living in France for a period of time, Seberg said in an interview:
"I'm enjoying it to the fullest extent. I've been tremendously lucky to have gone through this experience at an age where I can still learn. That doesn't mean that I will stay here. I'm in Paris because my work has been here. I'm not an expatriate. I will go where the work is. The French life has its drawbacks. One of them is the formality. The system seems to be based on saving the maximum of yourself for those nearest you. Perhaps that is better than the other extreme in Hollywood, where people give so much of themselves in public life that they have nothing left over for their families. Still, it is hard for an American to get used to. Often I will get excited over a luncheon table only to have the hostess say discreetly that coffee will be served in the other room. [..] I miss that casualness and friendliness of Americans, the kind that makes people smile. I also miss blue jeans, milk shakes, thick steaks and supermarkets."
In 1962, she married French novelist and diplomat Romain Gary, who was 24 years her senior. Their only child together, a son, was named Diego. During her marriage to Gary, Seberg lived in Paris, Greece, Southern France and Majorca.
In 1972, she married film director Dennis Berry.
In 1979, Jean had "a form of marriage" to Ahmed Hasni while separated from her legally wed husband. Hasni persuaded her to sell her second apartment on the Rue du Bac, and he kept the proceeds (reportedly 11 million francs in cash), announcing that he would use the money to open a Barcelona restaurant. The couple departed for Spain but she was soon back in Paris alone, and went into hiding from Hasni, who she said had grievously abused her.
In August 1979, she went missing and was found dead eleven days later in the back seat of her car, which was parked close to her Paris apartment in the 16th arrondissement. The police report stated that she had taken a massive overdose of barbiturates and alcohol (8g per liter). A suicide note ("Forgive me. I can no longer live with my nerves.") was found in her hand, and "probable suicide" was ultimately ruled the official cause of death by the French coroner. However, it is often questioned how she could have operated a car with that amount of alcohol in her body, and without the corrective lenses she needed for driving. One year later, her former husband Romain Gary committed suicide.
Seberg was interred in the Cimetière du Montparnasse, Paris, France.
In 1995, a documentary of her life was made by Mark Rappaport, titled
From the Journals of Jean Seberg
. Mary Beth Hurt played Seberg in a voice-over. Appropriately, Hurt was also born in Marshalltown, Iowa, in 1948, attended the same high school as Seberg, and Seberg had been her babysitter. A musical,
Jean Seberg
, by librettist Julian Barry, composer Marvin Hamlisch, and lyricist Christopher Adler, based on Seberg's life, was presented in 1983 at the National Theatre in London.
Mexican author and diplomat Carlos Fuentes mirrored their short-termed alleged love story in his 1994 novel
Diana o La Cazadora Solitaria
(
Diana, or The Solitary Hunter
).
The short 2000 film
Je t'aime John Wayne
is a tribute parody of
Breathless
, with Camilla Rutherford playing Seberg's role.
In 2004, the French author Alain Absire published
Jean S.
, a fictionalised biography. Seberg's son, Alexandre Diego Gary, brought a lawsuit unsuccessfully attempting to stop publication.
In 1991, Jodie Foster, a fan of her performance in
Breathless
, purchased the film rights to the David Richards' biography about Seberg,
Played Out: The Jean Seberg Story
. She was going to produce and star in the film. The project was cancelled two years later.
In 2011, filming began in New York City on a biopic tentatively titled, 'Jean', starring artist and heiress Daphne Guinness as Jean Seberg.
Since 2011, her hometown of Marshalltown, Iowa began to hold an annual Jean Seberg International Film Festival (JSIFF).
Courtesy of Wikipedia
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