Mary Pickford Vintage 1920s Signed Gorgeous Doubleweight Photograph Autographed For Sale
MARY PICKFORD VINTAGE 1920s SIGNED GORGEOUS DOUBLEWEIGHT PHOTOGRAPH AUTOGRAPHED
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DESCRIPTION: Silent film actress MARY PICKFORD vintage 1920s authentic original signed heavy weight photograph. This beautiful image is autographed with a blue ink fountain pen.
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- SIZE: approx. 7 5/8" X 9 1/2"
- TONE: sepia toned B&W
- FINISH: semi-gloss
- OTHER: doubleweight paper stock
- CONDITION: Excellent - beautiful!! Highly recommended. (Please note that I am extremely condition conscious so I always point out the slightest anomalies)
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MARY PICKFORD BIO
1892– May 29, 1979) was a
Canadian-born American motion picture actress,
co-founder of the film studio United Artists and one of the original 36
founders of the Academy
of Motion Picture Arts
and Sciences. Known as "America's Sweetheart,"
"Little Mary" and "The girl with the curls,"
she was one of the Canadian pioneers in early Hollywood and a significant figure in the
development of film acting.
Because her international fame was triggered
by moving images, she is a watershed
figure in the history of modern celebrity.
And as one of silent film's most important performers and producers, her contract demands were central to shaping the Hollywood industry.
In consideration of her contributions to American cinema,
the American Film Institute named Pickford 24th among the greatest female stars
of all time.
Mary Pickford was born Gladys Louise Smith
in Toronto, Ontario. Her father,
John Charles Smith, was the son of
English Methodistimmigrants, and
worked a variety of odd jobs. Her mother, Charlotte Hennessy,
was Irish Catholic. She had two
younger siblings, JackLottie
Pickford, who would also become
actors. To please the relatives, Pickford's mother baptized her in both the
Methodist and Catholic churches (and used the opportunity to change her middle
name to "Mary"). She was
raised Roman Catholic after her alcoholic father left his family in 1895. He died three years later of a cerebral hemorrhage.
who had worked as a seamstress throughout the separation,
began taking in boarders. Through
one of these lodgers, the
seven-year-old Pickford won a big part at Toronto's
Princess Theatre in a stock company production of The Silver King. She subsequently acted in many melodramas with the
Valentine Company in Toronto, capped by the starring role of Little Eva in their
production of Uncle Tom's Cabin,
the most popular play of the 19th century.
By the early 1900s,
acting had become a family enterprise.
Pickford, her mother and two younger
siblings toured the United
States by rail in third-rate companies and
plays. After six impoverished years, Pickford allowed one more summer to land a leading
role on Broadway, planning to quit
acting if she failed. In 1906 Mary, Lottie and Jack supported the great
Irish American singer Chauncey Olcott on Broadway in the play Edmund
Burke. Mary finally landed a
supporting role in a 1907 Broadway play,
The Warrens of Virginia. The
play was written by William C.
deMille, whose brother, the then-unknown Cecil B.
DeMille, also appeared in the cast. David Belasco,
the producer of the play, insisted
that Gladys Smith assume the stage name Mary Pickford. After completing the Broadway run and touring the
Pickford was once again out of work.
On April 19,
1909, the Biograph Company director
Griffith screen-tested her at the company's New York studio for a role in the
nickelodeon film Pippa Passes.
The role went to someone else but Griffith
was immediately taken with Pickford.
She quickly grasped that movie acting was simpler than the stylized stage
acting of the day.
Most Biograph actors earned $5 a day but, after Pickford's single day in the studio, Griffith
agreed to pay her $10 a day against a guarantee of $40 a week. Pickford,
like all actors at Biograph, played
both bit parts and leading roles,
playing mothers, ingenues, spurned women,
spitfires, slaves, native Americans,
and a prostitute. As Pickford said
of her success at Biograph: "I played scrubwomen and secretaries and women
of all nationalities... I
decided that if I could get into as many pictures as possible, I'd become known,
and there would be a demand for my work."
Pickford appeared in 51 films in 1909— almost one a week. She also introduced her friend Florence La Badie
to D. W.
Griffith, which launched La Badie's
successful film acting career.
In January 1910,
Pickford traveled with a Biograph crew to Los
Many other companies wintered on the West Coast,
escaping the weak light and short days that hampered winter shooting in the
East. Pickford added to her 1909
Biographs (Sweet and Twenty, They
Would Elope, and To Save Her
Soul, to name a few) with films
from California. Actors were not listed in the credits in Griffith's company. Audiences nonetheless noticed and identified
Pickford within weeks of her first film appearance.
Exhibitors in turn capitalized on her popularity by advertising on sandwich
boards that a film featuring "The Girl with the Golden Curls," "Blondilocks" or "The
Biograph Girl" was inside.
Pickford left Biograph in December,
1910 and spent 1911 starring in films at Carl Laemmle's Independent Moving
Pictures Company (IMP). IMP was
absorbed into Universal Pictures in 1912,
along with Majestic. Unhappy with
their creative standards, she
returned to work with Griffith
in 1912. Some of her best
performances were in films such as Friends,
The Mender of Nets, Just
Like a Woman, and The Female
of the Species. That year
Pickford also introduced Dorothy and Lillian Gish (both friends from her days
touring melodrama) to Griffith. Both became major silent stars, in comedy and tragedy respectively.
Pickford made her last Biograph picture, The New York Hat,
in late 1912 and returned to Broadway in the David Belasco production of A
Good Little Devil. The
experience was the major turning point in her career.
Pickford, who had always hoped to
conquer the Broadway stage,
discovered how deeply she missed film acting.
she decided to work exclusively in film.
In 1912, Adolph Zukor had formed
Famous Players in Famous Plays -- later Famous Players-Lasky and then Paramount
Pictures -- one of the first American feature film companies. Pickford left the stage to join his roster of
stars. Zukor believed film's
potential lay in recording theatrical players in replicas of their most famous
stage roles and productions. Zukor
first filmed Pickford in a silent version of A Good Little Devil. The film,
produced in 1913, showed the play's
Broadway actors reciting every line of dialogue,
resulting in a stiff film that Pickford later called "one of the worst
[features] I ever made...it was
deadly." Zukor agreed; he held
the film back from distribution for a year.
Pickford's work in material written for the
camera by that time had attracted a strong following.
Comedy-dramas like In the Bishop's Carriage (1913),
Caprice (1913), and especially
Hearts Adrift (1914) made her irresistible to moviegoers. Hearts Adrift was so popular that Pickford
asked for the first of her many publicized pay raises based on the profits and
reviews. The film also marked the
first time Pickford’s name was put above the title on movie marquees. Tess of the Storm Country was released five
weeks later. Brownlow observes that
the movie “sent her career into orbit and made her the most popular actress in America, if not the world.”
Her appeal was summed up two years later by
the February 1916 issue of Photoplay as "luminous tenderness in a
steel band of gutter ferocity".
Only Charlie Chaplin—who reportedly slightly surpassed Pickford's popularity in
1916 had a similarly spellbinding pull with critics and the audience. Each enjoyed a level of fame that far outstripped
that of other actors.
Throughout the 1910s and 1920s Pickford was
believed to be the most famous woman in the world,
or, as a silent-film journalist
described her, "the best known
woman who has ever lived, the woman
who was known to more people and loved by more people than any other woman that
has been in all history."
Pickford's closest female rival at this time at the box office and with the
public was 31-year-old Marguerite Clark.
She also came from stage acting and had a girlish/whimsical charm to which
Throughout her career,
Pickford starred in 52 features. In
1916, Pickford signed a new contract
with Zukor that granted her full authority over production of the films in
which she starred, and a
record-breaking salary of $500 a week.
Occasionally, she played a child, in films like The Poor Little Rich Girl
(1917), Rebecca of Sunnybrook
Farm (1917), and Daddy-Long-Legs
(1919). Pickford's fans were devoted
to these "Little Girl" roles,
but they were not typical of her career.
Pickford broke with Paramount
and became an independent producer at First National.
In 1919, Pickford— along with
Griffith, Charlie Chaplin, and Douglas Fairbanks— formed the
independent film production company United Artists.
Through United Artists, Pickford
continued to produce and perform in her own movies; she could also distribute
them the way she chose.
Pickford's film Pollyanna grossed around $1,100,000.
The following year, Pickford's film Little
Lord Fauntleroy would also be a success,
and in 1923, Rosita grossed
as well. In this period, Pickford also made two of the greatest silent
films ever made in Hollywood:
Sparrows (1926), which
blended the Dickensian with newly minted German expressionist style, and the romantic comedy My Best Girl (1927). These films are not just technical triumphs, but are icons of the silent's great, poetic final period.
The arrival of sound was her undoing. She appears to have underestimated the value of
adding sound to movies. She said, "Adding sound to movies would be like putting
lipstick on the Venus de Milo".
She played a reckless socialite in Coquette (1929),
a role where she no longer had her famous curls,
but rather a 1920s bob; Pickford had cut her hair in the wake of her mother's
death in 1928. Fans were shocked at
the transformation. Pickford's hair
had become a symbol of female virtue,
and cutting it was front-page news in The New York Times and other
papers. Coquette was a success
and won her an Academy Award for Best Actress,
but the public failed to respond to her in the more sophisticated roles.
Like most movie stars of the silent era, Pickford found her career fading as talkies became
more popular among audiences. Her next
film, The Taming of The Shrew, was a disaster at the box office. In her late thirties,
Pickford was unable to play the children,
teenage spitfires and feisty young women so adored by her fans, nor could she play the soignée heroines of early
Pickford underwent a Technicolor screen test for a animated/live action film
version of Alice in Wonderland, but Walt Disney discarded the project when Paramount released its own
version of the book. Only one
Technicolor "still" of her screen test still exists.
Pickford retired from acting in 1933. She continued to produce films for others, including Sleep,
My Love (1948) with Claudette Colbert and Love Happy (1949) with the
Pickford was married three times. She first married Owen Moore (1886–1939), an Irish-born silent film actor, on January 7,
1911. It is believed she became
pregnant by Moore
in the early 1910s and had a miscarriage or an abortion.
Some accounts suggest this led to her inability to have children. The couple had numerous marital problems, notably Moore's
alcoholism, insecurity about living
in the shadow of Pickford's fame,
and bouts of domestic violence. The
failure of her pregnancy may have exacerbated Moore's drinking problem. The couple lived apart for several years.
Pickford became secretly involved in a
relationship with Douglas Fairbanks.
They toured the US
together in 1918 to promote Liberty Bond sales for the World War I effort.
Pickford divorced Moore
on March 2, 1920, and married Fairbanks
on March 28 of the same year. They
went to Europe for their honeymoon; fans in London caused a riot trying to get to her. A similar incident occurred in Paris.
The couple's triumphant return to Hollywood was
witnessed by vast crowds who turned out to hail them at railway stations across
the United States.
The Mark of Zorro (1920) and a series of other swashbucklers gave the
a more romantic, heroic image. Pickford continued to epitomize the virtuous but
fiery girl next door. Even at
private parties people instinctively stood up when Pickford entered a room; she
and her husband were often referred to as "Hollywood
royalty." Their international
reputations were broad. Foreign
heads of state and dignitaries who visited the White House often asked if they
could also visit Pickfair, the
couple's mansion in Beverly Hills.
Dinners at Pickfair included a number of
notable guests. Charlie Chaplin, Fairbanks'
best friend, was often present. Other guests included George Bernard Shaw, Albert Einstein,
Elinor Glyn, Helen Keller, H. G. Wells,
Lord Mountbatten, Fritz Kreisler, Amelia Earhart,
F. Scott Fitzgerald, Noel Coward,
Max Reinhardt, Vladimir
Nemirovich-Danchenko, Sir Arthur
Conan Doyle, Austen Chamberlain, and Sir Harry Lauder.
The public nature of Pickford's second marriage strained it to the breaking
point. Both she and Fairbanks had
little time off from producing and acting in their films.
They were also constantly on display as America's unofficial ambassadors to
the world, leading parades, cutting ribbons,
and making speeches.
When their film careers both began to founder
at the end of the silent era Fairbanks'
restless nature prompted him to overseas travel (something which Pickford did
not enjoy). When Fairbanks' romance with Sylvia, Lady Ashley became public in the early 1930s he
and Pickford separated. They
divorced January 10, 1936. Fairbanks'
son by his first wife, Douglas
claimed that his father and Pickford long regretted their inability to
On June 24,
1937, Pickford married her third and
last husband, actor and band leader
Charles 'Buddy' Rogers. They adopted
two children: Roxanne (born 1944,
adopted 1944) and Ronald Charles (born 1937,
adopted 1943, a.k.a. Ron Pickford Rogers).
As a PBSAmerican Experience documentary noted,
Pickford's relationship with her children was tense.
She criticized their physical imperfections,
including Ronnie's small stature and Roxanne's crooked teeth. Both children later said that their mother was too
self-absorbed to provide real maternal love.
In 2003, Ronnie recalled that
"Things didn't work out that much,
you know. But I'll never forget her. I think that she was a good woman."
In March 1928,
Pickford's mother Charlotte died of breast cancer,
followed by her brother Jack in 1933 and sister Lottie in 1936. Owen Moore,
an incurable alcoholic, died in 1939. Fairbanks
also died in 1939, of a heart attack.
Ronald and Roxanne each left Pickford at a
young age. Pickford and Rogers
stayed together for over four decades until Pickford's death from a cerebral
hemorrhage at the age of 87.
Pickford used her stature in the movie
industry to promote a variety of causes.
During World War I, she promoted the
sale of Liberty Bonds, through an
exhausting series of fund-raising speeches that kicked off in Washington, D.C., where she sold bonds alongside Charles Chaplin, Douglas Fairbanks,
and Marie Dressler. Five days later
she spoke on Wall Street to an estimated 50,000
people. Though Canadian-born, she was a powerful symbol of Americana,
kissing the American flag for cameras and saleing one of her world-famous
curls for $15,000. In a single speech in Chicago she sold an estimated five million
dollars' worth of bonds. She was
christened the U.S. Navy's official "Little Sister"; the
Army named two cannons after her and made her an honorary colonel.
At the end of World War I, Pickford conceived of the Motion Picture Relief
Fund, an organization to help
financially needy actors. Leftover
funds from her work selling Liberty Bonds were put toward its creation, and in 1921,
the Motion Picture Relief Fund (MPRF) was officially incorporated, with Joseph Schenck voted its first president and
Mary Pickford as its vice president.
In 1932, Pickford spearheaded the
"Payroll Pledge Program,"
a payroll-deduction plan for studio workers who gave one half of one percent of
their earnings to the MPRF. As a
result, in 1940 the Fund was able to
purchase the land and build the Motion Picture Country House and Hospital.
But Pickford's most profound influence
(beyond her acting) was to help reshape the film industry itself. When she entered features,
believed that the movies' future lay in reproducing Broadway plays for a mass
audience. Pickford, who entered feature film with two Broadway credits
but a far greater following among fans of nickelodeon flickers, became the world's most popular actress in a
matter of months. In response to her
popularity, Hollywood rethought its vision of features as
"canned theatre," and
focused instead on actors and material that were uniquely suited to film, not stage performances.
An astute businesswoman,
Pickford became her own producer within three years of her start in features. According to her Foundation,
"she oversaw every aspect of the making of her films,
from hiring talent and crew to overseeing the script,
the shooting, the editing, to the final release and promotion of each project." Pickford first demanded (and received) these
powers in 1916, when she was under
contract to Adolph Zukor's Famous Players In Famous Plays (later Paramount). He also acquiesced to her refusal to participate
in block-booking, the widespread
practice of forcing an exhibitor to show a bad film of the studio's choosing in
order to also show a Pickford film.
In 1916, Pickford's films were
distributed, singly, through a special distribution unit called
she increased her power by co-founding United Artists (UA) with Charlie Chaplin, D. W. Griffith,
and her soon-to-be husband, Douglas
Fairbanks. Before UA's creation, Hollywood studios
were vertically integrated, not only
producing films but forming chains of theaters.
Distributors (also part of the studios) then arranged for company productions
to be shown in the company's movie venues.
Filmmakers relied on the studios for bookings; in return they put up with what
many considered creative interference.
United Artists broke from this tradition.
It was solely a distribution company,
offering independent film producers access to its own screens as well as the
rental of temporarily unbooked cinemas owned by other companies. Pickford and Fairbanks produced and shot their
films after 1920 at the jointly owned Pickford-Fairbanks studio on Santa Monica Boulevard. The producers who signed with UA were true
independents, producing, creating and controlling their work to an unprecedented
degree. As a co-founder, as well as the producer and star of her own films, Pickford became the most powerful woman who has
ever worked in Hollywood. By 1930,
Pickford's career as an actress had greatly faded.
When she retired from acting in 1933, Pickford continued to produce films for United
Artists, and she and Chaplin
remained partners in the company for decades.
Chaplin left the company in 1955,
and Pickford followed suit in 1956,
selling her remaining shares for three million dollars.
After retiring from the screen, Pickford developed alcoholism, the addiction that had afflicted her father. Other alcoholics in the family included her first
husband Owen Moore, her mother
Charlotte, and her younger siblings
Lottie and Jack. Charlotte died of breast cancer in March 1928
after several operations. Within a
few years, Lottie and Jack died of
alcohol-related causes. These deaths, her divorce from Fairbanks,
and the end of silent films left Pickford deeply depressed. Her relationship to her adopted children, Roxanne and Ronald,
was turbulent at best. Pickford
gradually became a recluse,
remaining almost entirely at Pickfair,
allowing visits only from Lillian Gish,
her stepson Douglas Fairbanks, Jr., and a
few select others. In the mid-1960s, she often received visitors only by telephone, speaking to them from her bedroom. Buddy Rogers
often gave guests tours of Pickfair,
including views of a genuine western bar Pickford had bought for Douglas
Fairbanks, and a portrait of
Pickford in the drawing room.
Painted at the height of her fame,
it emphasizes her girlish beauty and spun-gold curls.
A print of this image now hangs in the Library of Congress.
In addition to her Oscar as best actress for Coquette
(1929), Mary Pickford received an
Academy Honorary Award for a lifetime of achievements in 1976. The Academy sent a TV crew to her house to record
her short statement of thanks.
Facing the end of her days, Pickford
petitioned the Canadian government to restore her Canadian citizenship,thinking it had been lost when she married Fairbanks in 1920. It was never lost and she became a dual
She died of cerebral hemorrhage on May 29, 1979,
and was buried in the Garden of Memory of the Forest Lawn Memorial Park Cemetery in Glendale,
Buried alongside her in the Pickford private family plot are her mother
Charlotte, her siblings Lottie and
Jack Pickford, and the family of
Elizabeth Watson, Charlotte's
sister, who had helped raise Mary in
Center for Motion Picture Study"
at 1313 Vine Street
constructed by the Academy
of Motion Picture Arts
and Sciences, opened in 1948 as a
radio and television studio facility.
The "Mary Pickford Theater" at the Library of Congress is named in
There is a first-run movie theatre in Cathedral City,
called "The Mary Pickford Theatre".
The theater is a grand one with several screens and is built in the shape of a
Spanish Cathedral, complete with
bell tower and three-story lobby.
The lobby contains a historic display with original artifacts belonging to Ms. Pickford and Buddy Rogers,
her last husband. Among them are a
rare and spectacular beaded gown she wore in the film "Dorothy Vernon at
Haddon Hall" (1924) designed by Mitchell Leisen,
her special Oscar and jewelry box.
The 1980 stage musical The Biograph Girl
about the silent film era features the character of Pickford. She received a posthumous star on Canada's Walk of Fame in Toronto in 1999.
In 2006, along with fellow deceased
Canadian stars Fay Wray, Lorne
Greene and John Candy, Pickford was
featured on a Canadian postage stamp.
In 2007, the Motion Picture Academy
of Arts and Sciences has sued the estate of the deceased Buddy Rogers' second
wife, Beverly Rogers, in order to stop the public sale of one of
Mary Pickford Auditorium at Claremont McKenna
College is named in her
discovered by D.W. Griffith at Biograph,
worked for $5 a day, which he
quickly increased to $10 a day.
$175 a week, with the
employment of her mother and siblings guaranteed.
Unhappy with the quality of I.M.P.
films, Pickford sued to be
released from her contract and won on the grounds that being under 21, she had been too young to contract with I.M.P.
Majestic Film Corp., $225 a week,
with the employment of her husband,
Owen Moore, as an actor and
back to Biograph, $175 a week, a pay cut she justified with the belief that
the key to a great career was to "get yourself with the right
associates." This period
featured some of Pickford's most mature and varied work. Owen Moore signed with Victor Films and an
unpublicized marital separation began.
appeared as the star (with Lillian Gish in a small role) in Belasco's
Broadway production A Good Little Devil for $175 a week, raised to $200 a week.
Pickford moved to feature film by signing with Adolph Zukor's Famous
Players in Famous Plays, for
$500/week (D.W. Griffith had balked at paying more than $300).
Pickford became an international phenomenon through her roles as barefoot
adolescents and urchins in the features Hearts Adrift and Tess
of the Storm Country.
Within the U.S.,
she was called "America's
Sweetheart." In the
country of her birth, she was
Sweetheart" and she became "The World's Sweetheart"
overseas. Pickford asked Zukor
for double her previous salary,
and received it ($1,000/wk.).
At her request, her salary at
Famous Players was again doubled,
to $2000 a week, plus half the
profits of her films. The movie
Rags contained one of Pickford's ground-breaking roles as a
Pickford formed her own producing unit,
the Pickford Film Corporation,
within Famous Players, and
installed her mother as treasurer.
She had a voice in the selection of her roles and the film's final cut. She chose her own directors and approved the
supporting cast and the advertising.
She was required to make only six films a year,
a saner quota than earlier years,
in which she made nine or more.
She was paid annually $10,000 a
week plus half the profits in her films,
or half a million dollars,
whichever was greater. As the
contract's duration was two years,
Pickford was guaranteed at least a million dollars.
Famous Players also created a special unit called Artcraft to distribute
Pickford's features, rather
than blockbooking them, a
practice Pickford vehemently opposed.
Pickford toured the United States
with Fairbanks and Chaplin,
involvement in World War I and promoting Liberty Bonds. She played three of her roles as children in The
Poor Little Rich Girl, Rebecca
of Sunnybrook Farm, and A
Little Princess. On the
other hand, she was thoroughly
adult in an anti-German propaganda picture The Little American, and the western A Romance of the Redwoods, both directed by Cecil B. DeMille.
She signed a contract with First National to make three films for $675,000 (about $10 million in 2005-terms). Pickford also received 50 percent of all
profits, and complete creative
control from script to the final cut.
Meanwhile, Famous Players
released one of her greatest films,
the tragedy Stella Maris,
in which she played a double role,
as well as M'liss (another ragged spitfire) and the war comedy Johanna
Pickford co-founded United Artists with Charlie Chaplin, Douglas Fairbanks and D.W. Griffith.
During U.A.'s start-up,
Pickford's films for First National were released,
including Daddy Long-Legs (from the book by Jean Webster) and the
violent melodrama The Heart o' the Hills.
Hoping to expand her image,
Pickford convinced Ernst Lubitsch to direct her next film. After considering Faust, they settled on Rosita, the story of a Spanish street-singer who
attracts the attention of the lecherous king.
Though the role catered to Pickford's gift for playing sweet-but-fiery
women in rags, it introduced a
note of sexual sophistication which many of her fans loathed. Plans for future films with Lubitsch were
abandoned. For the next few
years she appeared in a series of superlative productions, culminating in Sparrows (1926), which blended German expressionism to Hollywood production values.
Pickford purchased 132 reels of camera negatives and prints from her
Biograph period, 1909–1912, nearly 70 percent of her short films for that
United Artists, under
Pickford's direction, opened
their flagship Spanish Gothic movie theatre in downtown Los Angeles.
Pickford became deeply involved in the design of the theatre, and two Anthony Heinsbergen murals in the
auditorium feature her. Theatre
architect Howard Crane opened two other UA theatres in the same year, in Chicago and
Detroit. The Los
Angeles theatre has become known as the
University Cathedral of Dr.
Eugene Scott. The romantic
comedy My Best Girl was released with her future husband, Charles Rogers,
playing the male interest.
Mary travels to Russia
and is filmed going about her business.
The shots were made into a film,
A Kiss From Mary Pickford,
that Pickford supposedly knew nothing about.
Pickford starred in a sound film,
Coquette, a production
that did well at the box office,
earning $1.4 million. Pickford used the break from silent film to
establish a more flirtatious and sophisticated adult character. Her performance earned her an Oscar. In the same year,
Pickford appeared with her husband Douglas Fairbanks in a sound version of
The Taming of the Shrew.
Pickford starred with Leslie Howard in Secrets,
a money-losing film which proved her last.
Pickford founded Mary Pickford Cosmetics,
a beauty company.
Pickford, Charlie Chaplin, Walt Disney,
Orson Welles, Samuel Goldwyn, David O.
Selznick, Alexander Korda, and Walter Wanger founded the Society of
Independent Motion Picture Producers.
Pickford and her husband Buddy Rogers formed Pickford-Rogers-Boyd, a radio and television-production company.
Pictures and producer Stanley Kramer announced that Pickford would star in
The Library, her first
picture since 1933. She
withdrew a month before filming was to begin in 1952.
The anti-censorship screenplay was eventually filmed as Storm Center
(1956), with Bette Davis in the
Sunshine and Shadow, her
autobiography, is published.
Pickford sold her stock interest in United Artists,
one-third of the company's shares,
a year after Charles Chaplin had sold his quarter interest.
Pickford received an Academy Honorary Award for a lifetime of achievements.
Pickford has a star on the Hollywood Walk of Fame at 6280 Hollywood Boulevard. Her handprints and footprints can be seen in
the courtyard of Grauman's Chinese Theater in Hollywood.
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Mary Pickford Vintage 1920s Signed Gorgeous Doubleweight Photograph Autographed: $79