Large Vintage 1920s Marion Davies Ruth Harriet Louise Fine Art Deco Photograph

Large Vintage 1920s Marion Davies Ruth Harriet Louise Fine Art Deco Photograph

Large Vintage 1920s Marion Davies Ruth Harriet Louise Fine Art Deco Photograph

Large Vintage 1920s Marion Davies Ruth Harriet Louise Fine Art Deco Photograph

Large Vintage 1920s Marion Davies Ruth Harriet Louise Fine Art Deco Photograph

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! ITEM: This is a large format, vintage and original 1920s portrait photograph by Ruth Harriet Louise of the incandescent Marion Davies. An exquisitely beautiful view of the actress with great jazz age art deco style and allure. A fantastic view of the actress who is oftentimes remembered more for her 30+ year affair with newspaper magnate William Randolph Hearst than for illustrious film career. Measures 10 1/4″ x 13 1/4″ with margins on a textured, matte, double weight paper stock. Louise’s blind stamp in the bottom right corner. Her M-G-M ink stamp to verso. CONDITION: Photograph is in very fine condition, as seen. Marion Cecelia Douras was born in the borough of Brooklyn, New York on January 3, 1897. She had been bitten by the show biz bug early as she watched her sisters perform in local stage productions. She wanted to do the same. As Marion got older, she tried out for various school plays and did fairly well. Once her formal education had ended, Marion began her career as a chorus girl in New York City and eventually found herself in the famed Ziegfeld Follies. But she wanted more than to dance. Acting, to Marion, was the epitome of show business and aimed her sights in that direction. Her first film was Runaway, Romany (1917) when she was 20. Written by Marion and directed by her brother-in-law, the film wasn’t exactly a box-office smash, but for Marion, it was a start and a stepping stone to bigger things. The following year Marion starred in three films, The Burden of Proof (1918), [error], and Cecilia of the Pink Roses (1918). The latter film was backed by newspaper magnate, William Randolph Hearst, with whom Marion would continue a long-term romantic relationship for the next 30 years. Because of Hearst’s newspaper empire, Marion would be promoted as no actress before her. She appeared in numerous films over the next few years, with The Cinema Murder (1919) being one of the most suspenseful. In 1922, Marion appeared as Mary Tudor in the historical romantic epic, When Knighthood Was in Flower (1922). It was a film into which Hearst poured in millions of dollars as a showcase for her. Although Marion didn’t normally appear in period pieces, she turned in a wonderful performance and the film turned a profit. Marion remained busy, one of the staples in movie houses around the country. At the end of the twenties, it was obvious that sound films were about to replace the silents. Marion was nervous because she had a stutter when she became excited and worried she wouldn’t make a successful transition to the new medium, but she was a true professional who had no problem with the change. Time after time, film after film, Marion turned in masterful performances. In 1930, two of her better films were Not So Dumb (1930) and The Florodora Girl (1930). By the early 30s, Marion had lost her box office appeal and the downward slide began. Had she been without Hearst’s backing, she possibly could have been more successful. He was more of a hindrance than a help. Hearst had tried to push MGM executives to hire Marion for the role of Elizabeth Barrett in The Barretts of Wimpole Street (1934). Mayer had other ideas and hired producer Irving Thalberg’s wife, Norma Shearer instead. Hearst reacted by pulling his newspaper support for MGM without much impact. Without her the Hearst Corporation might not be where it is today. Hearst’s financial problems also spelled the end to her career. Although she had made the transition to sound, other stars fared better and her roles became fewer and further between. In 1937, a 40 year old Marion filmed her last movie, Ever Since Eve (1937). Out of films and with the intense pressures of her relationship with Hearst, Marion turned to more and more to alcohol. Despite those problems, Marion was a very sharp and savvy business woman. After the death of Hearst in 1951, Marion married for the first time at the age of 54, to Horace Brown. The union would last until she died of cancer on September 22, 1961 in Los Angeles, California. She was 64 years old. IMDb Mini Biography By: Denny Jackson Born Ruth Goldstein on January 13, 1903 in New York City. She was raised in New Brunswick, New Jersey. Her father was a rabbi. In the summer of 1925, at the young age of 22 years old, she was hired by Metro Goldwyn Mayer as chief portrait photographer–the only woman doing so for the Hollywood studios at the time. From 1925 to 1930, she many hopefuls, starlets and major performers including Greta Garbo, Lon Chaney, John Gilbert, Joan Crawford, Marion Davies, Norma Shearer, Lili Damita, Buster Keaton, Myrna Loy, Douglas Fairbanks Jr. Bessie Love, Lillian Gish, and Anna Sten. About Bull’s relationship with Louise from’Glamour of the Gods’ book: After Clarence Sinclair Bull was doing the most time-consuming gallery sessions, Ruth Harriet Louise was hired in 1925 as MGM’s portrait photographer. Still, Louise and Bull seem not to have got along, and he never mentioned her in interviews or his writings after she left MGM in 1929. Louise’s work, however, did influence Bull, who started to emulate her soft-focus pictorialism in 1927. Perhaps challenged by Louise’s talent and craft, by the end of the 1920s Bull had matured as a photographer. Though sometimes outshone by Louise in the late 1920s, and later by his colleague Hurrell in the early 1930s, at his best Bull was equal to both. Bud Graybill, who shot stills under Bull’s supervision for over twenty years starting in the mid-1930s, described him in a letter to Kobal (dated 29 January 1978) as’the quintessence of photographers. His negatives were near perfect in exposure… The imaginative work he did over a period of roughly 40 years was never topped. After Louise left MGM at the end of 1929, Bull distinguished himself as Garbo’s principal photographer, which must have made him the envy of his peers regardless of studio. She decided to retire from her career in 1930 to marry director Leigh Jason. Sadly, after ten years of martial bliss, she died on October 12, 1940 from complications from childbirth in Los Angeles, California. From the book’Glamour of the Gods’, it further adds to Louise’s biography: Louise’s brief reign as portrait studio chief lasted from mid-1925 to the end of 1929. To Louise goes the credit of being the photographer who fashioned Garbo’s face into the timeless visage still immediately recognizable worldwide. Just twenty-two when she joined MGM in summer of 1925, Louise lost her job to George Hurrell four years later. Throughout the 1930s she occasionally took private commissions photographing stars such as Anna Stern (in 1932) and Myrna Loy (in 1935). Louise died in childbirth in 1940, utterly forgotten by an industry she had worked assiduously to document. John Kobal avidly collected her original prints and acquired hundreds of her negatives. Of all the photographer’s he introduced in his book in “The Art of the Great Hollywood Portrait Photographers, ” Louise’s career was most in need of rehabilitation. Even her gender, which set her apart from all her contemporaries, had been insufficient reason to keep her memory alive. Louise was among the first Hollywood photographers to break away from the old-fashioned convention of staid portrait shots and introduce the nuance of her sitter’s personality. When she photographed stars in costume she attempted to find something of the character being portrayed. Kobal noted that she was’in the vanguard of the photographers who would revolutionize Hollywood portrait photography. Hollywood portraiture before Louise documented strong personas: Swanson’s glamour, Chaplin’s tramp, Pickford’s waif. Louise took the screen personas of her favorite sitters, such as Lon Chaney and Joan Crawford, and in her photographs humanized them while never letting their star luster diminish. There is about Louise’s work,’ wrote Kobal in 1980,’delicacy, a shy, appealing privacy, that established an immediate bond with the viewer, Her subjects liked her and trusted her, including the elusive Garbo. The two young women worked together, starting with Garbo’s first portrait session in Hollywood, two months before she appeared on the set, through her ascent as MGM’s greatest female draw. Louise’s sensitive touch, along with the work of MGM’s brilliant cinematographers combined to create the face that enthralled moviegoers. There has been discussion in Hollywood literature as to how much Louise relied on full-length shots, which she would then crop to make half-length or close-ups portraits. Kobal may have started this notion when he wrote about Louise. Although cropping was and remains a useful tool in most photographers’ practice, in fact Louise took as many close-ups and (especially) medium shots as any of her contemporaries. Kobal identified correctly that many of Louise’s famous compositions were derived from cropped negatives that found their final form in the darkroom. But Louise’s surviving negatives (numbering in the thousands)demonstrate without question that Louise shot regularly in close-up and medium shots and these also formed the basis for many of her most important photographs. A couple of her relatives were also notables in Hollywood: her brother was director Mike Sandrich (he directed many Fred Astaire and Ginger Rogers musicals) and her cousin was silent film actress, Carmel Myers. She took over 100,000 photographs during her stint at MGM and now she is considered on equal turf with other great photographers such as George Hurrell and Clarence Sinclair Bull among others. Biography From: VintageMovieStarPhotos (dot) BlogSpot (dot) com. The item “Large Vintage 1920s Marion Davies Ruth Harriet Louise Fine Art Deco Photograph” is in sale since Monday, August 22, 2016. This item is in the category “Entertainment Memorabilia\Movie Memorabilia\Photographs\Pre-1940\Black & White”. The seller is “grapefruitmoongallery” and is located in Minneapolis, Minnesota. This item can be shipped worldwide.
  • Size: 10 1/4″ x 13 1/4″
  • Country/Region of Manufacture: United States

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