Opulent Vamp Fine Art Marlene Dietrich Photograph Vintage John Engstead 1955

Opulent Vamp Fine Art Marlene Dietrich Photograph Vintage John Engstead 1955

Opulent Vamp Fine Art Marlene Dietrich Photograph Vintage John Engstead 1955

Opulent Vamp Fine Art Marlene Dietrich Photograph Vintage John Engstead 1955

Opulent Vamp Fine Art Marlene Dietrich Photograph Vintage John Engstead 1955

We are honored to be your one-stop, 5-star source for vintage pin up, pulp magazines, original illustration art, decorative collectibles and ephemera with a wide and always changed assortment of antique and vintage items from the Victorian, Art Nouveau, Art Deco, and Mid-Century Modern eras. All items are 100% guaranteed to be original, vintage, and as described. All sell no reserve! This boldly intriguingfashion portrait of Marlene in a chic, formfitting, flaunts her talent for shocking, and features an extensive hand written press snipe to verso that details Dietrich’s series of Las Vegas cabaret shows. Measures 8″ x10″ with margins on a glossy, single weight paper stock. Photographer’s ink stamp; extensive notations; and Hollywood Memorabilia Collection ink stamp (which was the name of Debbie Reynolds’ archive of Hollywood history) on verso. CONDITION: Fine condition with some light creasing in the lower left quadrant. Please use the included images as a conditional guide. Marie Magdelene Dietrich von Losch (aka Marlene) was born in Berlin, Germany on December 27, 1901. Her father was an army officer who had served in the Franco-Prussian War. When he died, while she was 11, Marlene’s mother married Eduard von Losch and he adopted the Dietrich children. Marlene enjoyed music and attended concerts. She was adept at playing the violin and piano. By the time she was in her mid-teens, Marlene had discovered the stage. Acting was to be her vocation. In 1921, Marlene applied for an acting school run by Max Reinhardt. She appeared in several stage production, but never had more than a couple of spoken lines. In short, she wasn’t setting the stage world on fire. She attempted films for the first time in 1922 Her first film was The Little Napoleon (1923) which was followed by Love Tragedy (1923). On this last project, she met Rudolf Sieber and married him in 1924. The union lasted until his death in 1976 although they didn’t live together that whole time. The remainder of her early film career was generally filled with bit roles that never amounted to a whole lot. After being seen in the German production of The Blue Angel (1930) in 1930, Marlene was given a crack at Hollywood. Her first US film was Morocco (1930) with Gary Cooper later that year followed, by Dishonored (1931) in 1931. This latter movie had her cast as a street walker who is appointed a spy. The film was a rather boring affair but was a success because of Marlene’s presence. Movie goers were simply attracted to her. Once again, she was cast as a prostitute. The next film was Blonde Venus (1932) which turned out to be a horrible production. Her co-star was Cary Grant and once again she was cast as a prostitute. Marlene seemed to be typecast as a woman of low morals and she wanted different parts. Some films such as Desire (1936) in 1936 didn’t do that but she wanted to expand. Her chance came in 1939 in Destry Rides Again (1939) when she was cast as “Frenchy”, a Western saloon hostess. This began a new direction for Marlene since it shed the typecasting which she was forced to endure during her career. All through the 1940s, she appeared in well-produced, well-directed films such as Manpower (1942), The Spoilers (1942), The Lady Is Willing (1942) and Pittsburgh (1942) all in 1942. Afterwards the roles came fewer, perhaps one to two films every year. In 1945, Marlene didn’t appear in any. She only made seven productions in the 1950′s. Her last role of any substance was Judgment at Nuremberg (1961) in 1961. Despite the lack of theatrical roles, Marlene still made appearances on the stage. However, by 1979, she was a shell of her former self. After breaking her leg in one performance, she never made a go of it in show business again. Spending the last 12 years of her life bed-ridden, Marlene died on May 6, 1992 in Paris, France of natural causes at the age of 90. IMDb Mini Biography By: Denny Jackson A. Whitey Schafer Biography By: Mary Mallory In the very early days of the motion picture industry, stills photographers meant nothing to the moving picture companies. They asked their feature cameramen to work double duty, shooting scene stills after completing filming that very same scene. These companies also hired local photographic studios to shoot portraits of their stars, or allowed the stars themselves to hire photographers to shoot images that could be employed in advertising. Studios hired their own photographers to shoot scene, production, off-camera and reference stills that could be employed in advertising, while major stars Mary Pickford and William S. Hart signed their own personal cameramen like K. Rahmn and Junius Estep to capture their on- and off-camera pursuits. By the middle of the 1920s, each studio established stills departments to shoot, process and manufacture the thousands of stills required for product-hungry newspapers, magazines and consumer tie-ins. Whitey Schafer experienced the evolution of motion picture still photography in his 30-year career working as a lenser at film studios. He would go on to head two studios portrait galleries, win awards and share his talent with amateur photographers, becoming one of the top star shooters of the 1930s and 1940s. Born in Salt Lake City, May 16, 1902, Adolph L. Schafer moved with his family to Hollywood in the mid-teens, where he studied and created art. Schafer won an art scholarship to a Chicago school after graduating from high school, but lack of funds prevented him from accepting the offer. Instead, he joined Famous Players-Lasky in 1921, where he worked in the stills laboratory, processing prints. A popular, outgoing man, Schafer was described as being as loud as his clothes. Somewhere along the way, he acquired the nickname, Whitey, but with a name like Adolph, it probably occurred when he was a boy. In 1923, Schafer joined the Thomas Ince Studio, where he shot stills and occasionally appeared in features. Schafer revealed in a 1948 Popular Photography article, That was in the days when everybody on the lot was called on to act at times. When we werent shooting pictures, we were doing walk-ons. Schafer stayed at the Culver City studio as a stills photographer through 1931, as it passed from Ince to Cecil B. DeMille, Pathe, and RKO-Pathe, later joining Universal. He moved to Columbia in 1932, before being appointed head of the stills photography department in 1935 upon the death of department chief William Fraker. Schafer would create glamorous, lush portraits of such stars as Rita Hayworth, Loretta Young, Jean Arthur and William Holden over the next six years. Many of his photos featured simple lighting highlighting female stars flowing locks, full, relaxed body shots, or heroic, manly poses. His simple yet lovely images defined stars personas. In his 1941 book, Portraiture Simplified, Schafer emphasized, portraitures purpose is the realization of character realistically. That meant capturing people as they really were. Portraiture required forethought in capturing character, with its goal to get the entire character of your subject into a single picture. His intent in writing the book was to assist amateur photographers in creating vivid portraits and not just snapshots. Schafer described the equipment required, especially lenses and lighting, along with the proper film, papers and processing. The heart of his book, however, focused on composition of portraits, giving examples of each type (straight, full figure, effect, illustrative, and high and low key), with illustrations explaining the proper setup of lights and backgrounds. To help promote the book, he wrote articles for a variety of magazines, including Popular Science in 1943 and Popular Photography in 1948. In Popular Science, he listed suggestions on how to improve pictures, especially employing backgrounds with patterns, looking for interesting lines, finding a contradictory line between the center of attention and plain background, varying the heights and directions of group poses and most important, have the subject look away from the lens as the photographer tilts the camera. It is the background that makes your picturesPlace your subject directly against the wall, turn one shoulder toward the camera and arrange a single key light high enough to cast a butterfly shadow under the nose so long as almost to reach the lip. In Popular Photography, he stated, Composing a portrait is comparable to writing a symphony. There must be a center of interest, and in all portraits this naturally must be the head, or your purpose is defeated. Therefore, the highest light should be on the head. Schafer replaced Eugene Robert Richee as Paramount Studios stills photography head in 1941, moving away from Richees more experimental and inventive lighting and sophistication to focus on more conventional and subdued photography. He also experimented with technology, manufacturing a specially balanced tripod and speed lamp, and patenting the Devin One-Shot for color. For the inaugural Hollywood Studios Still Show in 1941, a show created by the Academy of Motion Picture Arts and Sciences to recognize outstanding still photography work, help define professional practices, and promote films to the general public, Schafer decided to create a novelty shot to satirically slap at the Production Code, the censorship standards of the Motion Picture Producers and Distributors Assn. His satirical image, entitled, Thou Shalt Not, displayed the top 10 faux-pas disallowed by industry censors, who approved every photographic image shot by studios before they could be distributed. Fellow photographers and publicity heads loved the photograph, which became a popular bootleg item among the studios. Schafer defended himself, noting that all the judges were hoarding the 18 prints submitted for the show. The image was banned for many years before being printed in a newspaper decades later. Schafers success as a studio photographer enabled him to move his wife, Beulah, and son Wayne to a 10-room North Hollywood home at 10337 Valley Spring Lane, drive a flashy convertible, and establish an outside photography store. While on a vacation with his wife to visit friends in Bremerton, Wash. In late August 1951, tragedy struck. 26, Schafer was attempting to help the owner of the 42-foot yacht light a stove, when the boat exploded, burned and sunk, per the Sept. 1, 1951, Los Angeles Times, in an explosion heard two miles away. Four other people were injured. He died from his injuries on Aug. Schafers Requiem Mass was held the morning of Sept. 5, 1951, at St. Brendans Catholic Church, with the Paramount stills department closed for the morning to enable the staff to attend the service. Bud Fraker, the son of William Fraker, replaced him as Paramount stills department head. Only 49 when he died, Schafer left an impressive body of work behind, and sadness of what other great accomplishments he might have achieved. Biography By: Mary Mallory c/o The Daily Mirror. The item “Opulent Vamp Fine Art Marlene Dietrich Photograph Vintage John Engstead 1955″ is in sale since Sunday, July 31, 2016. This item is in the category “Entertainment Memorabilia\Movie Memorabilia\Photographs\1940-49\Black & White”. The seller is “grapefruitmoongallery” and is located in Minneapolis, Minnesota. This item can be shipped worldwide.
  • Size: 8″ x 10″
  • Country/Region of Manufacture: United States

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