Carole Lombard 1937 Art Deco Large Format Glamour Hollywood Vintage Photograph

Carole Lombard 1937 Art Deco Large Format Glamour Hollywood Vintage Photograph

Carole Lombard 1937 Art Deco Large Format Glamour Hollywood Vintage Photograph

Carole Lombard 1937 Art Deco Large Format Glamour Hollywood Vintage 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 c. 1937 vintage and original, large format, silver gelatin photograph of early Hollywood comedy queen Carole Lombard. Photographed in a high glamour, art deco, Hollywood Regency style by Paramount’s Eugene Robert Richee, this portrait is an exquisite example of Lombard’s brilliant and timeless beauty. Stunning fashions combined with dramatic lighting give this portrait a dazzling Golden Era style that we are in love with! Measures 10″ x 13″ on a glossy single weight paper stock. Paramount ink stamps on verso. Please use the included images as a conditional guide. Guaranteed to be 100% vintage and original from Grapefruit Moon Gallery. Carole Lombard was born Jane Alice Peters in Fort Wayne, Indiana, on October 6, 1908. Her parents divorced in 1916 and her mother took the family on a trip out West. While there they decided to settle down in the Los Angeles area. After being spotted playing baseball in the street with the neighborhood boys by a film director, Carole was signed to a one-picture contract in 1921 when she was 12. The film in question was A Perfect Crime (1921). Although she tried for other acting jobs, she would not be seen onscreen again for four years. By age 15 she had had enough of school, though, and quit. She joined a theater troupe and played in several stage shows, which were for the most part nothing to write home about. In 1925 she passed a screen test and was signed to a contract with Fox Films. Her first role as a Fox player was Hearts and Spurs (1925), in which she had the lead. Right after that film she appeared in a western called Durand of the Bad Lands (1925). She rounded out 1925 in the comedy Marriage in Transit (1925) (she also appeared in a number of two-reel shorts). In 1926 Carole was seriously injured in an automobile accident that resulted in the left side of her face being scarred. Once she had recovered, Fox canceled her contract. She did find work in a number of shorts during 1928 (13 of them, many for slapstick comedy director Mack Sennett), but did go back for a one-time shot with Fox called Me, Gangster (1928). By now the film industry was moving from the silent era to “talkies”. While some stars’ careers ended because of heavy accents, poor diction or a voice unsuitable to sound, Carole’s light, breezy, sexy voice enabled her to transition smoothly during this period. Her first sound film was High Voltage (1929) at Pathe (her new studio) in 1929. In 1931 she was teamed with William Powell in Man of the World (1931). She and Powell hit it off and soon married, but the marriage didn’t work out and they divorced in 1933. No Man of Her Own (1932) put Carole opposite Clark Gable for the first and only time (they married seven years later in 1939). By now she was with Paramount Pictures and was one of its top stars. However, it was Twentieth Century (1934) that showed her true comedic talents and proved to the world what a fine actress she really was. In 1936 Carole received her only Oscar nomination for Best Actress for My Man Godfrey (1936). She was superb as ditzy heiress Irene Bullock. Unfortunately, the coveted award went to Luise Rainer in The Great Ziegfeld (1936), which also won for Best Picture. Carole was now putting out about one film a year of her own choosing, because she wanted whatever role she picked to be a good one. She was adept at picking just the right part, which wasn’t surprising as she was smart enough to see through the good-ol’-boy syndrome of the studio moguls. She made but one film in 1941, Mr. Her last film was in 1942, when she played Maria Tura opposite Jack Benny in To Be or Not to Be (1942). Tragically, she didn’t live to see its release. The film was completed in 1941 just at the time the US entered World War II, and was subsequently held back for release until 1942. Meanwhile, Carole went home to Indiana for a war bond rally. On January 16, 1942, Carole, her mother, and 20 other people were flying back to California when the plane went down outside of Las Vegas, Nevada. The highly acclaimed actress was dead at the age of 33 and few have been able to match her talents since. IMDb Mini Biography By: Denny Jackson Eugene (sometimes also just called Gene) Robert Richee was born August 21, 1896 in Denver, Colorado. Richee began his career in the silent movie era. He got his job at Paramount in the late teens through his friend Clarence Sinclair Bull. He started shooting stars while Donald Biddle Keyes was taking portraits in the gallery. When Keyes left Paramount, Richee took over, and for two decades he photographed the studio’s stars including Gloria Swanson, Rudolph Valentino, Claudette Colbert, Fredrick March, the Marx Brothers and Carole Lombard. Lombard so admired his work with Dietrich that she started posing in some of the same ways to get that’glamour mysterious’ look. Richee was the perfect technician for Joseph Von Sternberg, who controlled Dietrich’s career. All sittings were supervised by von Sternberg for the lighting setups, and directed the action just as he did on the studio floor. When Dietrich’s collaboration with Von Sternberg ended, Richee continued to take her portraits, which retained the look of the von Sternberg originals. It could be said that Richee learned plenty from the great director that he used for many of his own stills. He took portrait photographs of stars on the sets of some of Paramount Pictures most well known classics. As his talent became more and more prevalent, he was put in charge of the main portrait gallery at Paramount. He worked with a talented coterie of associates including William Walling and Don English. Richee remains the least examined among the top Hollywood photographers although he was one of the finest–one needs to look no further than his sensational portraits of Paramount stars like Anna Mae Wong, Clara Bow, and Marlene Dietrich among others. From 1925 to 1935 took many photographs of Louise Brooks. Perhaps Richee’s most famous work is a 1928 portrait of Louise Brooks wearing a long string of pearls. Few photos capture better the zeitgeist of the Roaring’20s. Simplicity is the hallmark of this photograph, along with masterful composition. Brooks stands, face in profile and wearing a long-sleeved black dress, against a black background, her face hands and pearls along illuminated. Her bob, with its razor-sharp line across the white skin of her jaw, was widely copied and became one of the last century’s most potent fashion statements. Brook’s career had intermittent highs and lows, but she was one of Hollywood’s great portrait subjects and was never better served than by Richee. Even a tireless researcher like Kobal had difficulty uncovering biographical information about Richee, and it is only after Kobal’s death that a few details have emerged about Richee’s life including his 1896 birth in Colorado. He started at Paramount in 1921 and stayed there twenty years, after which he took a job at Warner Brothers. Richee died in 1972, just before Kobal began exploring seriously the careers of Hollywood portrait photographers. Like Ruth Harriet Louise, Richee left scant biographical information behind but, again like Louise, he left a corpus of extraordinary work that may be seen as emblematic of the best of Hollywood photography. Richee was an inventive photographer and when working with starlets he sometime incorporated props made of plastic, glass or even mirrors, giving his prints a sparkling reflective quality. Portraits of the top stars always had a sheen that was consistent with the studio’s image of smart sophistication. When he photographed Clara Bow, the studio’s number one sexpot took on a polished veneer. Richee has the distinction of being the first photographer to record Veronica Lake and her distinctive blonde locks in his portraits for’I Wanted Wings’ (1940), the film that brought her worldwide fame. Gary Cooper had made more than thirty films over five years when he was cast in 1930 as Dietrich’s first Paramount co-star in’Morocco’ (1930). He was the first male Hollywood star to bridge the opposing forces of masculinity and beauty. Plenty of handsome men had great careers before Cooper, but none so perfectly fused with what had always been considered opposites. Richee photographed him extensively, beginning when he was a touch too beautiful for a young man, and followed his transformation to the exemplar of male virility. According to Bob Coburn, who worked principally at Columbia, Cooper was’embarrassed a little bit at constantly being photographed. He preferred to be in movement in front of the camera. At the top of his game and for unknown reasons, Richee left Paramount in 1941 to go to Warner Brothers. Whitey’ Schafer, who had been in the top position at Columbia, replaced Richee. This change indicated that Paramount’s image was shifting away from the opulent glamour that had typified publicity material released during the two previous decades. Richee later worked for MGM and Warner Brothers. In his role, Richee became the premiere photographer of stars such as Dorothy Lamour, Jean Arthur, Mae West, Gary Cooper, and Fay Wray, William Powell, Irene Dunne, Veronica Lake, Fredrick March, Nancy Carroll, Gloria Swanson, and Carole Lombard. Some stars became so accustomed to Richee they wanted only to work with him. Miriam Hopkins was one of them. It was said she was quite curt and frigidity when Richee was working elsewhere and she had to be photographed instead by William Walling. Walling says: She was being difficult from the moment she arrived, because Richee was not there. Oddly enough, Dietrich herself was much more pleasant when she found out that Richee was on vacation and she would have to be photographed by Walling. Of course, Von Sternberg was with her. Virgil Apger, Richee’s assistant (and brother-in-law) developed Richee’s negatives, worked on with the dryers, and made prints. He recalled: Gene never left a sitting with fewer than a hundred negatives, which had to be retouched and printed. Retouching was the norm by then for all photographers in Hollywood. Richee passed away on April 21, 1972 in Orange County, California. He was survived by his wife, Levaughn Larson. Biography From: VintageMovieStarPhotos (dot) blogspot (dot) com. The item “Carole Lombard 1937 Art Deco Large Format Glamour Hollywood Vintage Photograph” is in sale since Monday, October 24, 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″ x 13″
  • Country/Region of Manufacture: United States

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