Collection ID:

Collection context

Summary

Creator:
George Eastman Museum
Abstract:
The Lothar Wolff Collection consists of correspondence (both business and personal), photographs, publications and clippings, research materials, awards and citations, artwork, and film and video dating from 1926 to 1987. The bulk of the collection represents Wolff’s professional career, including materials related to completed and proposed film and television projects and other business dealings; very little is of a personal nature. The collection includes material documenting Wolff’s involvement with many notable figures involved in motion pictures, including Louis de Rochemont, Louise Brooks, G. W. Pabst, and Paul Fejos.
Extent:
25.4 cubic feet
Language:
English and Collection materials are primarily in English , German and French .
Preferred citation:

Preferred citation for this material is as follows:

Lothar Wolff Collection, 1926-1987, George Eastman Museum, Moving Image Department, Stills, Posters, and Papers Collection

Background

Scope and Content:

The Lothar Wolff Collection consists of correspondence (both business and personal), photographs, publications and clippings, research materials, awards and citations, artwork, and film and video dating from 1926 to 1987. The bulk of the collection represents Wolff’s professional career, including materials related to completed and proposed film and television projects and other business dealings; very little is of a personal nature. The collection includes material documenting Wolff’s involvement with many notable figures involved in motion pictures, including Louis de Rochemont, Louise Brooks, G. W. Pabst, and Paul Fejos.

Wolff maintained fairly well-organized files on most of the projects he was involved in, including many that were never produced. These materials cover his work in pre-World War II Europe, his time as editor forThe March of Timenewsreel series, and his work as an independent producer. It includes his collaborations with the Lutheran Film Associates and the National Geographic Society. Geographically, the majority of the collection was produced in the United States, but a portion of it originated in Europe. The timeline of the collection covers the majority of Wolff’s career, with no significant gaps.

The collection also includes several items that have unclear provenance, and their connection to Wolff is unknown. These items include Czech animation cells and British Film Institute (BFI)Monthly Film Bulletins.

Biographical / Historical:

Lothar Wolff was born in Bromberg, Germany (later Bydgoszcz, Poland), on May 13, 1909, one of nine children, eight boys and one girl. Wolff's father was a furniture manufacturer and dealer; his mother was named Betty. In 1919 the Wolff family relocated to Charlottenburg, a locality of Berlin, where Wolff's father owned and operated a large three-story furniture warehouse and emporium, the top floor of which served as the family's residence. Soon after his father's death from cancer one year later, Wolff, his mother and sister traveled to Davos, Switzerland, where they sought treatment for his sister's tuberculosis. After a year abroad they returned to Germany where Wolff's sister soon died of her illness.

Though by his own account an indifferent student, Wolff nevertheless finished school with plans to follow in his older brother's footsteps and become an interior designer. In 1926 these plans changed when Wolff was introduced to one of his brother's clients,Samuel Rachman. Rachman, an American film impresario and former Paramount executive, had become head of UFA's distribution network (1). Rachman was instrumental in the formation ofParufamet, a Berlin-based German-American distribution company jointly formed by Paramount, UFA and Metro-Goldwyn-Meyer in late December, 1925. On September 29, 1926, Wolff joined Parufamet's publicity department and within a year was promoted from apprentice to publicity department head. From January through March 1927 Wolff also studied typing ("machine writing") at Rackow’s Kaufmännischen Privatschule (Commercial Private School). Wolff left Parufamet on November 1, 1927, but continued to work as an independent publicist. Among Wolff's most notable clients was German directorG.W. Pabst, to whom Wolff would later introduceLouise Brooks, star of Pabst'sPandora's Box(1929).(2)

In 1928 Wolff joinedHom Film/Hom-AG für Filmfabrikationas “press and propaganda chief,” “writing press releases, taking newspaper people out to the production sites, placing photographs in papers and in general trying to make a splash where it was possible to make one."(3) While at Hom Film Wolff worked on such Pabst productions asThe White Hell of Piz PalueandDiary of a Lost Girl(both 1929), while also doing publicity for Brooks,Luis Trenker, Czech actressAnny Ondraand her then-husband, the Czech directorKarel Lamač. After Hom Film disbanded in 1930 Wolff was hired byOndra-Lamač Film, a production company formed by Ondra and Lamač. Though initially engaged as a publicist on Lamač'sDie Vom Rummelplatz/Fair People/Those of the Sideshow(1930), Wolff also served as both assistant director and assistant editor on the production. The following year Wolff continued to work as an assistant director/assistant editor, this time on Lamač'sMamsell Nitouche(1931) produced at the Braunberger-Richebé Studios in Paris. When Lamač later departed for Prague soon after initial production onDer Falsche Feldmarschall/Monsieur le Maréchal(1931) was complete, Wolff was left to edit the film on his own. Before leaving Ondra-Lamač Film in 1931, Wolff worked primarily as assistant director on three additional Lamač films:Eine Freundin So Goldig Wei Du(1930),Er und Seine Schwester/Meet the SisterandDer Zinker/The Squeeker(both 1931).

In 1931 Wolff was hired as chief film editor forSociété de Films Osso/Les Films Osso, a Paris-based production company specializing in foreign productions. After editing Osso'sLe Costaud des PTT(1931, d. Jean Bertin) andLe Parfum de la Dame en Noir(1931, d. Marcel L'Herbier), Wolff reluctantly agreed to travel to Nice to editBaroud(1932) -- released the following year in English asLove in Morocco-- for U.S. director Rex Ingram. After finishingBaroudin Paris and London, Wolff traveled to Budapest to edit several Hungarian productions for Films Osso. In addition toRouletabille Aviateur/Flying Gold(1932, d. István Székely/Steve Sekely), Wolff edited the French, German and (possibly) Romanian versions of Hungarian directorPaul Fejos'Tavaszi Zápor/Spring Rain(1932), retitledMarie, Légend Hongroisein France;Marie/Frühlingsregen Oder Marie -- Ein Ungarische Legendein Germany; andPrima Dragostein Romania.(4) While in Hungary Wolff edited a second film for Fejos,Itél a Balaton/Tempétes/Menschen im Sturm (1933).

Temporarily returning to Berlin in late 1932, Wolff agreed to edit the shorter French version ofFritz Lang'sThe Testament of Dr. Mabuse.Le Testament du Dr. Mabuse(1933) was adapted from Lang's original script byRené Stiand featured a mostly French supporting cast. Anticipating a Nazi ban on the film, Wolff, Sti and Mr. Trevor, Lang's English producer, successfully smuggled a print of the film out of Germany aboard a Paris-bound train. Wolff finished editingDr. Mabusein Paris in early 1933 but would not return to Germany until after the war. Later that same year Wolff accompanied Fejos to Vienna for the production of two films --Sonnenstrahl/Gardez le Sourire/Ray of SunshineandFrühlingsstimmen(both 1933) -- after which Wolff returned to Paris to editPoliche(1934) for directorAbel Gance. In 1934 Wolff traveled to Denmark where he worked as assistant director and editor on three more Fejos productions --Flugten Fra Millionerne/Flight from the Millions/Millions in Flight(1934),Det Gyldne Smil/The Golden Smile, andFange Nr. 1(both 1935). The following year Wolff editedFredløsfor the Danish directorGeorge Schnéevoigt. In January 1936 Wolff immigrated to the United States, possibly aboard the S.S. Scanmail.

Though he originally planned to continue on to Hollywood, Wolff instead settled in New York City where, through the actressMargaret Mullen, he was introduced to Louis de Rochemont, co-creator and producer of Time, Inc.'s monthly theatrical newsreel seriesThe March of Time(Mullen had appeared in a number of the series' dramatic recreations). A few weeks after their initial meeting De Rochemont hired Wolff as a film cutter atThe March of Timefor a two-month trial period at a salary of $25 per week. (Although occasionally used synonymously, in film-production parlance "cutter" and "editor" refer to two distinct jobs. A cutter is responsible for the mechanical cutting and splicing of film footage based on the creative decisions made by the editor. Wolff arrived at Time, Inc. with considerable experience as an editor, but needed to be taught the basics of film splicing in order to fulfill his new -- and lower -- position as a cutter. In Europe the cutting had always been done by Wolff's assistants.[5]) At the end of the trial period de Rochemont renewed Wolff's contract and doubled his salary. Soon after Wolff was promoted to Chief Editor.

In 1940, one year before the United States' entry into World War II, Wolff editedThe March of Time's first feature filmThe Ramparts We Watch(1940), a docudrama set in a small American town in the years immediately preceding U.S. intervention in World War I.The Ramparts We Watchwas produced and directed by de Rochemont and distributed theatrically by RKO. Wolff also editedThe Story of the Vatican(1941) and served as associate director onWe Are the Marines(1942), twoMarch of Timefeatures distributed by RKO and Twentieth Century Fox, respectively.

AlthoughMarch of Timestaff were exempt from service, in 1944 Wolff went on military leave from Time, Inc. after receiving a commission from the U.S. Coast Guard to serve as Officer-in-Charge (Lt. Commander) of the Film Section of Public Information. Under Wolff's direction, the film unit produced public information films, a monthly screen magazine and several documentaries about the Coast Guard's wartime activities, includingNormandy Invasion(1944). Some, likeBeachhead to Berlin(1944), were theatrically distributed by Warner Bros.

After receiving an honorable discharge in May 1946, Wolff returned toThe March of Timewhere he worked as an associate producer on three subjects: “Is Everybody Listening?”, “Storm over Britain”, and “End of an Empire?" about Indonesia's struggle for independence. The same year Wolff married Denver, Colorado, nativeViolet M. Macy(b. 1928), aka "Vee." In late 1949 de Rochemont, who had leftThe March of Timein 1943, invited Wolff to join the recently formedLouis de Rochemont Associatesproduction company in New York City. Wolff was appointed vice-president and served as an associate producer onThe Earth and Its Peoples(1947-48), a series of 36 youth-oriented "human geography" films of which "Nomads of the Jungle" (1947) was the first. In 1949 Wolff was the associate producer of the Reader's Digest-de Rochemont (RD-DR) co-productionLost Boundaries, a feature-length drama about racial prejudice.

Taking a leave of absence from Louis de Rochemont Associates later in 1949, Wolff served as Chief of the Motion Picture Section of theEconomic Cooperation Administration (ECA)Information Office under Information Division DirectorRoscoe Drummond.(6) (The ECA administered the European Recovery Program, commonly known as the Marshall Plan.) Wolff relocated to Paris where, under the auspices of the ECA, he supervised the production of an estimated 50 European documentaries. According to Wolff the purpose of these films was to "subtly publicize the contribution of the Marshall Plan to Europe's economy," and "show the still shell-shocked Europeans that the future was looking brighter and, very important, to promote inter-European unity and cooperation".(7) After 18 months in Paris Wolff returned to New York City and Louis de Rochemont Associates, where he served as associate producer on the dramatic featuresThe Whistle at Eaton Falls(1951) andWalk East on Beacon!(1952). In 1953 Wolff co-wrote and produced the biographical dramaMartin Luther, his first feature as producer. Produced byLutheran Film Associates, a religious production and distribution agency for which Wolff would later produce the feature filmsQuestion 7andThe Joy of Bach,Martin Lutherwas nominated for two Academy Awards: Best Cinematography and Best Art Direction-Set Decoration (Black-and-White).

Later in 1953 Wolff moved to Djakarta, Indonesia, where he was director of a motion-picture technical assistance team assigned to the Indonesian Government Film Studio (P.F.N.) by the A.I.D.(8) Wolff remained in Djakarta until 1955.

On October 28, 1957, Wolff appeared alongsideFrank Capraon aMuseum of Modern Art"Prospects for the Film" panel entitled "The Propaganda and the Journalistic Film." In 1958 Wolff once again worked as associate producer for Louis de Rochemont Associates on the feature-length documentaryWindjammer: The Voyage of the Christian Radich, the first and only film presented in widescreen "Cinemiracle," a would-be competitor to Cinerama. The following year Wolff served as associate producer on the de Rochemont productionMan on a String(1960). In 1960 Wolff also independently producedPlanet Earth, a series of 13 half-hour, introductory level educational films about geophysical science for theNational Academy of Sciences, a project initiated as part of theInternational Geophysical Yearof 1957-58. (Planet Earthwas broadcast on television, then distributed to schools on 16mm film by McGraw-Hill.) During this time Wolff directed three segments of the WGBH-TV French-language instruction television seriesParlons Français, produced by Heath-de Rochemont & Co. In 1961 Wolff produced the feature filmQuestion 7for RD-DR and served as associate producer alongside producer Louis de Rochemont on the Warner Bros. featureThe Roman Spring of Mrs. StonestarringVivien LeighandWarren Beatty.

After producingThe Challenge of Change: A Case for Counseling(1962), an educational film about high-school guidance counseling for Louis de Rochemont Associates, Wolff establishedLothar Wolff Productionsin New York City in 1963 (the company was dissolved in 1966). The same year, Wolff producedVigilant Switzerlandfor the Swiss Federal Department of Defense. Originally exhibited as a 70mm multi-screen cinematic experience in the Swiss Army Pavilion at the 1964 Swiss national exhibition (Expo64) in Lausanne,Vigilant Switzerlandwas later distributed by Cinerama asFortress of Peace(1965), under which title it received an Academy Award nomination for Best Short Subject (Live Action) in 1966.

In 1966 Wolff also produced the seriesThe Sun and the Earthfor the National Academy of Sciences commemorating the Year of the Quiet Sun (1964-65). The number of half-hour episodes produced is uncertain; the 1967-68 National Academy of Sciences Annual Report mentions that four of seven planned films had been produced; Wolff's CV located in Box C310 states he produced a total of five half-hour films. The films were shown on WNET television and distributed by McGraw-Hill. The following year Wolff directed the Louis de Rochemont Associates productionHer Name Was Ellie, His Name Was Lyle(1967), a public service film about venereal disease sponsored by theNew York City Department of Health.

From 1968 to 1971 Wolff served as executive producer of theTime-Life FilmsseriesLife Around Us. Originally titledThe World We Live In, the series was later renamed for 16mm non-theatrical use and, possibly, the original television broadcast of Season 2. Consisting of 26 half-hour programs (Season 1 comprised 14 episodes; Season 2 comprised 12), the series was first aired on PBS and later syndicated for broadcast both in the US and abroad.Life Around Us/The World We Live Insegments were all original productions. "Rock-a-Bye Baby" (1970), a segment about early human development, won the Emily Award for best film at the American Film Festival. In March 1971 it was screened along with nine additional series segments as a part of a weekly hour-long program at theMuseum of Modern Art.

Beginning in 1973 Wolff executive produced two additional series forTime-Life Films.Wild, Wild World of Animals(1973-74) consisted of 26 half-hour documentary programs narrated byWilliam Conradand was syndicated throughout the US.Other People, Other Places(1973-75), a series of previously produced ethnographic documentaries that had been adapted into 52 half-hour television episodes, was sponsored byMiles Laboratoriesand hosted by actorPeter Graves. Syndicated throughout the US,Other People, Other Placeswas retitledStrange Placesin the New York City area to avoid confusion with a similarly titled series airing in the same timeslot.

From October 1, 1975, through 1977 Wolff served as consultant to theEducational Film Section of the National Geographic Society. Among Wolff's chief duties was stockpiling "completed productions from various producers" for "possible later TV syndication."(9) As he had withOther People, Other Places, Wolff would then adapt these predominantly ethnographic films for U.S. broadcast.(10) In 1976 Wolff producedThe March of Time, a 30-minute film for North German Television about the origins and influence of the newsreel series. That same year Wolff served as the editorial director ofI Sought My Brother, akaI Shall Moulder Before I Shall Be Taken, a one-hour documentary about the Maroons, or "Bush Negroes," of Surinam produced by Harvard University. During 1977 Wolff was also employed as a consultant by Metropolitan Pittsburgh Public Broadcasting (WQED).

In 1977 Wolff began production on a long-planned biographical film aboutJohann Sebastian Bach. First televised on PBS on December 23, 1979,The Joy of Bachfeatured musical recitals as well as dramatic recreations starring actorBrian Blessedas Bach. In November 1978 Wolff traveled to Switzerland to introduce aMarch of Timeretrospective at the 10th International Documentary Film Festival in Nyon. Running approximately 14 hours, this multi-session program showed allMarch of Timeshorts made between 1935 and 1937. In November 1979 Wolff attended the Yorkton International Film Festival in Saskatchewan, Canada, where he introduced "The History of March of Time" sessions and conducted a seminar on the making ofThe Joy of Bachentitled "The Total Picture of Making a Film." The following month he introduced a week-longMarch of Timeretrospective at the XX Festival dei Popoli in Florence, Italy.

From 1979-81 Wolff produced a series of three films for the National Geographic Society Educational Film Section:The Moon[akaReflecting the Moon],The Sun[akaThe Sun: The Earth's Star] andThe Solar System. Much of the filming was done at theKitt Peak National Observatoryin Tuscon, Arizona. In 1980 Wolff was also hired by Beta/Taurus Films, GmbHto serve as a consultant on a planned production of 32 one-hour films based on the Old Testament titledFernsehbibel/The TV Bible. The following year Wolff began work onPlanet Earth Revisited, a planned sequel to the TV seriesPlanet Earthcommemorating the 25th anniversary of the International Geophysical Year (IGY). The series was eventually produced byWQEDunder the titlePlanet Earth, but without Wolff's involvement. In 1981 Wolff also received an honorary degree from Thiel College in Greenville, PA.

In 1983 Wolff producedA Parade of Witnesses, a one-hour live television program for Satellite Broadcasting commemorating the 500th anniversary of the birth of Martin Luther. The following year Wolff produced and directedSky's the Limit(working titleFrom Montgolfier to Satellite), a one-hour documentary commemorating the bicentennial of the first public hot-air balloon demonstration by the Montgolfier brothers in 1783. In 1984 Wolff attended aMarch of Timeretrospective in Tokyo.

On October 2, 1988, Lothar Wolff died of prostate cancer at Rosary Hill Home nursing facility in Hawthorne, NY. At the time of his death Wolff had been living with his wife, Violet, in Sharon, Connecticut.

1. Jan-Christopher Horak, "Rin-Tin-Tin in Berlin, or American Cinema in Weimar,"Film History, Volume 5 (1993), 49-62.

2. Lothar Wolff, "Reminiscences of an Itinerant Filmmaker,"Journal of the University Film Association, Vol. 24, No. 4 (1972), 83-91.

3. Lothar Wolff interview, Box C301, folder 60.

4. According to the website Secvenţe: Film Româneşti [http://secvente.ro/2012/06/prima-dragoste-marie/] eight versions ofMariewere shot in Budapest in 1933. Each starred the French actressAnnabellabut each version often featured a different supporting cast.

5. Raymond Fielding,The March of Time, 1935-1951(New York: Oxford University Press, 1978), 112.

6. Regina M. Longo, "Between Documentary and Neorealism: Marshall Plan Films in Italy (1948-1955)."California Italian Studies3:2 (2012): 17-19.

7. Wolff, "Reminiscences of an Itinerant Filmmaker," 83-91.

8. In a CV found in box C310 Wolff refers to this agency as "A.I.D.", an acronym for the Agency for International Development. Considering the A.I.D. was not founded until 1961, Wolff may be referring to a precursor organization.

9. December 16, 1975, letter to Lester Wunderman from Sidney Platt, Supervisor Educational Film Projects, National Geographic Society. Box C355, Folder 35.

10. December 20, 1975, letter to Hugh Gibb. Box C355, Folder 32.

Acquisition information:
TK
Arrangement:

Papers are arranged in 10 series according to subject, and in the case of artworks, artifacts, photographs, and film, according to format. The series "Business Materials" has been further subdivided into subseries, and "Film/TV Projects" into subseries and sub-subseries according to film series title and episode name. Paper materials are largely arranged in reverse chronological order as found. Most photographs appear to have been previously arranged into albums according subject and/or time period, some further arranged in chronological order. Additional photographs can be found along with related materials in their folders. Artwork and artifacts are grouped according to size. Films and video are located in the film vaults at the George Eastman Museum and are arranged according to the Moving Image Department's location protocols. The series and subseries arrangement of the records are as follows:

  • Series 1, Business Materials,1933-1985
    • Subseries 1,Time, Inc./Time-Life,1968-1981
    • Subseries 2,Lutheran Film Associates,1978-1983
    • Subseries 3, General,1947-1985
  • Series 2, Film/TV Projects,1932-1986
    • Subseries 1,Earth and Its Peoples,ca. 1932,1938,1951-1962,1967-1986
    • Subseries 2,Fortress of Peace[akaVigilant Switzerland],1964-1966
    • Subseries 3,The Joy of Bach,1967-1985,bulk 1977-1980
    • Subseries 4,Lost Boundaries,1949
    • Subseries 5,The March of Time,1933,1936-1951,1957,1969-1970,1979-1982
    • Subseries 6, Marshall Plan Films,1951,1979
    • Subseries 7,Martin Luther,1952-1954,1971,1978,1983
    • Subseries 8, National Geographic Society Films [General],1973-1983
    • Subseries 9,Other People, Other Places,1971-1975,1980
    • Subseries 10,A Parade of Witnesses,1953,1979-1983
    • Subseries 11,Planet Earth/Planet Earth Revisited,1960-1963,1979-1983
    • Subseries 12,Question 7,1961-1962
    • Subseries 13,The Roman Spring of Mrs. Stone,1961,1979
    • Subseries 14,Sky's the Limit,1969-1985
    • Subseries 15,The Sun/The Moon/The Solar System,1971-1985,undated
    • Subseries 16,The 13 Clocks,1950-1951,1958-1969,undated
    • Subseries 17,The TV Bible,1980-1985,undated
    • Subseries 18,Wild, Wild World of Animals,1973-1975
    • Subseries 19,Windjammer: The Voyage of the Christian Radich,1957-1958
    • Subseries 20,The World We Live In[akaLife Around Us],1968-1974,1981-1986,undated
      • Sub-subseries 1, General,1968-1974,undated
      • Sub-subseries 2, "The Not-So-Solid Earth,"1971-1972,undated
      • Sub-subseries 3, "Rock-a-Bye Baby,"1971-1972,1981-1986
    • Subseries 21, Miscellaneous,ca. 1932,1938,1948-1967,1973-1986,undated
  • Series 3, General Research Materials,1947,1957,1967,1972-1985,undated
  • Series 4, Festivals/Retrospectives,1975-1986
  • Series 5, Publications/Clippings,1932-1946,1951-1984
  • Series 6, Personal Records,1926-1940,1946,1968-1972,1984-1985,undated
  • Series 7, Photographs,1927-1984,undated
  • Series 8, Film/Video,1943-1953,1960-1961,1966-1986
    • Subseries 1,Coast Guard Films,1944,undated
    • Subseries 2,The Earth and Its Peoples,1948-1949
    • Subseries 3,The March of Time,1943,1947
    • Subseries 4,Other People, Other Places1974
    • Subseries 5,Planet Earth,1960-1961
    • Subseries 6,The Sun and the Earth,ca. 1966
    • Subseries 7,Wild, Wild World of Animals,ca. 1973
    • Subseries 8,The World We Live In,1968-1973
    • Subseries 9, Features and Other Non-series Films,1953,1961,1978-1986,undated
  • Series 9, Artwork,approximately 1960-1987,undated
  • Series 10, Awards/Citations,1961-1962,1965-1966,1971-1972,1980-1982
Physical location:
Collection materials are located onsite.

Indexed Terms

Subjects:
Astronomy--Films.
Ballooning--History.
Composers in motion pictures
Educational films.
Ethnographic films.
Human geography--Films.
International Geophysical Year, 1957-1958.
Motion picture industry--Public relations
Motion pictures--Editing.
Motion pictures--Production and direction.Newsreels.
Newsreels.
Religious films.
Science films.
Wildlife films.
acetate film
animation cells
awards
black-and-white negatives
black-and-white photographs
booklets
brochures
bumper stickers
business records
catalogs (documents)
clippings (information artifacts)
collages (visual works)
color photographs
commercial correspondence
cue sheets
drawings (visual works)
financial records
hardcover books
house organs
invoices
notes
paintings (visual works)
pamphlets
photograph albums
picture postcards
posters
programs (documents)
receipts (financial records)
résumés (personnel records)
screenplays
transcripts
transparencies
trophies (objects)
videotapes
Names:
United States. Economic Cooperation Administration
Hom-AG für Filmfabrikation
Kitt Peak National Observatory
Lothar Wolff Productions
Louis De Rochemont Associates
Lutheran Film Associates
March of time (Motion Picture)
March of Time, Inc.
Marshall Plan
National Geographic Society (U.S.)
National Geographic Films
National Geographic Society (U.S.). Educational Media Department
Ondra-Lamač Film
Parufamet
Les Films Osso
Time, Inc.
Time-Life Films
United States. Economic Cooperation Administration--Films.
Beatty, Warren, 1937-
Blessed, Brian
Brooks, Louise, 1906-1985
Casals, Pablo, 1876-1973
Crowther, Bosley
Danois, Jacques
De Rochemont, Louis, 1899-1978
Fejos, Paul, 1897-1963
Guiles, Fred Lawrence
Guinness, Alec, 1914-2000
Hitchens, Gordon
Lamač, Karel, 1898-1952
Lang, Fritz, 1890-1976
Lee, Robert E. A. (Robert Edward Alexander), 1921-2009
Leigh, Vivien, 1913-1967
Meier, Theo, 1908-1982
Ondra, Anny
Pabst, G. W. (Georg Wilhelm), 1885-1967
Paris, Barry
Prescott, James W.
Shute, James L.
St. John, Jill
Stapp, Philip
Thurber, James, 1894-1961
Wolff, Lothar
Wolff, Violet M.

Access

PREFERRED CITATION:

Preferred citation for this material is as follows:

Lothar Wolff Collection, 1926-1987, George Eastman Museum, Moving Image Department, Stills, Posters, and Papers Collection

LOCATION OF THIS COLLECTION:
900 East Avenue
Rochester, NY 14607, United States
CONTACT:
585-271-3361
stills@eastman.org