Gorgeous Vintage C. S. Bull 1940 Photograph Katharine Hepburn Philadelphia Story

Gorgeous Vintage C. S. Bull 1940 Photograph Katharine Hepburn Philadelphia Story

Gorgeous Vintage C. S. Bull 1940 Photograph Katharine Hepburn Philadelphia Story

Gorgeous Vintage C. S. Bull 1940 Photograph Katharine Hepburn Philadelphia Story

Gorgeous Vintage C. S. Bull 1940 Photograph Katharine Hepburn Philadelphia Story

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 1940 vintage and original studio glamour portrait photograph by Clarence Sinclair Bull of movie star Katharine Hepburn. Publicity for the Academy Award winning The Philadelphia Story, Hepburns comeback role and great romantic comedy. Her beauty is never more apparent than in these casual, stripped down, deco portraits. Press snipe reads: KATHARINE HEPBURN… Who plays the role of Tracy Lord in Metro-Goldwyn-Mayer’s film version of the Philip Barry stage success,’The Philadelphia Story,’ which also stars Cary Grant and James Stewart. The film is directed by George Cukor and produced by Joseph Mankiewicz. ” Measures 8″ x 10 on a glossy double weight paper stock. Photographer’s ink stamp, A. Approval ink stamp, and typed press snipe to verso. Please use the included images as a conditional guide. Guaranteed to be 100% vintage and original from Grapefruit Moon Gallery. Born May 12, 1907 in Hartford, Connecticut, she was the daughter of a doctor and a suffragette, both of whom always encouraged her to speak her mind, develop it fully, and exercise her body to its full potential. An athletic tomboy as a child, she was also very close to her brother, Tom, and was devastated at age 14 to find him dead, the apparent result of accidentally hanging himself while practicing a hanging trick their father had taught them. For many years after this, Katharine used his birthdate, November 8, as her own. She then became very shy around girls her age, and was largely schooled at home. She did attend Bryn Mawr College, however, and it was here that she decided to become an actress, appearing in many of their productions. After graduating, she began getting small roles in plays on Broadway and elsewhere. She always attracted attention in these parts, especially for her role in Art and Mrs. Bottle” (1931); then, she finally broke into stardom when she took the starring role of the Amazon princess Antiope in “A Warrior’s Husband (1932). The inevitable film offers followed, and after making a few screen tests, she was cast in A Bill of Divorcement (1932), opposite John Barrymore. The film was a hit, and after agreeing to her salary demands, RKO signed her to a contract. She made five films between 1932 and 1934. For her third, Morning Glory (1933) she won her first Academy Award. Her fourth, Little Women (1933) was the most successful picture of its day. But stories were beginning to leak out of her haughty behavior off- screen and her refusal to play the Hollywood Game, always wearing slacks and no makeup, never posing for pictures or giving interviews. With so many flops, she came to be labeled box-office poison. ” She decided to go back to Broadway to star in “The Philadelphia Story (1938), and was rewarded with a smash. She quickly bought the film rights, and so was able to negotiate her way back to Hollywood on her own terms, including her choice of director and co-stars. The film version of The Philadelphia Story (1940), was a box-office hit, and Hepburn, who won her third Oscar nomination for the film, was bankable again. For her next film, Woman of the Year (1942), she was paired with Spencer Tracy, and the chemistry between them lasted for eight more films, spanning the course of 25 years, and a romance that lasted that long off-screen. She received her fourth Oscar nomination for the film. Their films included the very successful Adam’s Rib (1949), Pat and Mike (1952), and Desk Set (1957). With The African Queen (1951), Hepburn moved into middle-aged spinster roles, receiving her fifth Oscar nomination for the film. She played more of these types of roles throughout the 50s, and won more Oscar nominations for many of them, including her roles in Summertime (1955), The Rainmaker (1956) and Suddenly, Last Summer (1959). Her film roles became fewer and farther between in the 60s, as she devoted her time to her ailing partner Spencer Tracy. For one of her film appearances in this decade, in Long Day’s Journey Into Night (1962), she received her ninth Oscar nomination. After a five-year absence from films, she then made Guess Who’s Coming to Dinner (1967), her last film with Tracy and the last film Tracy ever made; he died just weeks after finishing it. It garnered Hepburn her tenth Oscar nomination and her second win. The next year, she did The Lion in Winter (1968), which brought her her eleventh Oscar nomination and third win. In the 70s, she turned to making made-for-TV films, with The Glass Menagerie (1973), Love Among the Ruins (1975) and The Corn Is Green (1979). She still continued to make an occasional appearance in feature films, such as Rooster Cogburn (1975), with John Wayne, and On Golden Pond (1981), with Henry Fonda. This last brought her her twelfth Oscar nomination and fourth win – the latter currently still a record for an actress. She made more TV-films in the 80s, and wrote her autobiography,’Me’, in 1991. Her last feature film was Love Affair (1994), with Warren Beatty and Annette Bening, and her last TV- film was One Christmas (1994). With her health declining she retired from public life in the mid-nineties. She died at the age of 96 at her home in Old Saybrook, Connecticut. IMDb Mini Biography By: Tommy Peter What is there to say about the legendary Hollywood photographer Clarence Sinclair Bull that has not already been said? One of the most well known and–along with George Hurrell–one said to have helped invent the modern idea of Hollywood Glamour in photography. Bull was born in Sun River, Montana (some sources say he was born in Michigan) in 1896. For a time he studied with the great Western painter Charles Marion Russell. But his real interest lie in photography. He went to Hollywood in 1918 and became an assistant cameraman for Metro Pictures. During breaks from film production, he began taking photographs of the various stars of the time. In 1924, when Metro Pictures became Metro Goldwyn Mayer, Bull became head of MGM stills department. He remained with the studio until the end of his career. Bull was very well accomplished in everything to do with his specialty from lighting to printing and retouching. He photographed many of the first-rate stars of the day including Elizabeth Taylor, Clark Gable, Joan Crawford, Leslie Howard, Katherine Hepburn, Gary Cooper, Hedy Lamarr, Vivian Leigh, Spencer Tracy, Ava Gardner, Grace Kelly, Jean Harlow, John Gilbert, among many others. Of course, he is extremely well known for his numerous photographs of Greta Garbo. Katherine Hepburn said of Bull: One of the greats. And the National Portrait Gallery! From the book,’Glamour of the Gods: Clarence Sinclair Bull’s long association as a photographer with the studio that would become Metro-Goldwyn-Mayer began when producer Samuel Goldwyn hired him in 1919. Managing to survive the commotion of the consolidation of Hollywood in the early and mid-1920s, Bull found himself at the helm of MGM’s stills department when the studio was formed in 1924, and stayed there until retiring in 1961. The enormity of MGM’s output of films in the 1920s–they advertised a new feature every week–saw Bull’s domain grow. He was responsible for managing MGM’s staff of photographers and the large support crew of technicians needed to develop, re-touch, print and collate the hundreds of thousands of prints distributed annually by MGM’s publicity department. At least one photograph from the 1920s shows Bull with twelve stills-men who juggled the task of shooting photos on as many as a dozen films that might be concurrently in production. At MGM, like the other studios, these men–and it was an almost exclusively male profession–worked six days a week and often long hours each day. Generally one photographer was assigned to a production and, as filming was underway, he would document each scene using an 8 x 10 view camera. These cameras not only had lenses with sharp resolution, but contact prints could be made from the negatives quickly and in enormous quantities. The stills made for each film were numbered sequentially and gathered together for a book. Stills photographers also created the images used for poster art, lobby cards and other forms of advertising conceived by imaginative publicity chiefs and their staffs. In later years, the famous documenter of all things Hollywood, John Kobal inherited the extensive work of Bull after he became good friends with Bull and his wife, Jeanne. So many of what is now known as the Kobal Collection contains Bull’s work. Chances are, if you have seen a portrait of Garbo other than Edward Steichen’s iconic image, it is the work of Bull. With the exception of one session, Bull and the reclusive actress worked together exclusively in the portrait studio from 1929 to 1941 and their collaboration resulted in a body of imagery unmatched in Hollywood photography. Reminiscing with Kobal, Bull spoke of Garbo’s extraordinary concentration and described her working methods as’businesslike. She was’his easiest subject,’ surprising given Garbo’s status as the studio’s biggest star. Garbo was one of Kobal’s favorites, and he took care to understand her sittings with Bull to produce a limited-edition portfolio of five Garbo photographs printed under Bull’s supervision from his original negatives. Bull died in 1979, just as the first portfolios were prepared. It seems that every star who worked at MGM was photographed by Bull at least once. Paramount’s biggest male attraction, Gary Cooper, was loaned to MGM in 1934 to co-star with Marion Davies in Operator 32 (1934). Bull and Cooper had a short session together on 17 of April 1934 and the results were splendid. He infused Cooper with a sleek, polished glamour that was as unusual for male subjects as was the cigarette dangling from his lips. Old timers and newcomers all had the chance to work with Bull, including vaudeville alumna Marie Dressler, who for a short time in the early 1930s was Hollywood’s number one draw, and the ingenue Lana Turner, who at twenty was co-starring with Clark Gable in Honky Tonk. Bull started experimenting with color photography in the late 1930s, making color exposure of Garbo first in 1936 and again in 1941. In the late 1940s and throughout the 1950s he worked extensively in color recording, among others, Elizabeth Taylor at the moment she was being considered for adult roles. Bull presided over a team of talented stills photographers, some of whom occasionally made portraits, generally on the set including the great Bert Longworth (see his own post). Longworth took stills for Garbo’s first three pictures and his images of Garbo and John Gilbert in a clinch for’Flesh and the Devil’ (1926) are the quintessence of old-time movie romance. He left MGM in 1927 to work for Warner Brothers. Bull’s photographs are highly collectible and can be worth in the thousands of dollars. In addition, Bull’s photographs are seen in retrospective photography galleries worldwide. Biography From: VintageMovieStarPhotos (dot) blogspot (dot) com. The item “Gorgeous Vintage C. S. Bull 1940 Photograph Katharine Hepburn Philadelphia Story” is in sale since Thursday, November 03, 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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