Myrna Loy Vintage 1944 The Thin Man Goes Home Eric Carpenter Glamour Photograph

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Myrna Loy Vintage 1944 The Thin Man Goes Home Eric Carpenter Glamour Photograph:
$31.00

Thanks to all our buyers! 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. Please feel free to contact us with any and all questions about the items and our policies and please take a moment to peruse our other great items. All sell !ITEM: This is a 1944 vintage and original studio portrait photograph of popular Golden Age of Hollywood actress Myrna Loy. A stylish moderne view of Loy by Eric Carpenter with that classic Hollywood glamour, sophistication, and allure. Publicity for The Thin Man Goes Home(1944), the fifth of six Thin Man movies featuring Loy and William Powell as witty detectives Nick and Nora Charles, solving crimes with a martini in one hand and their little dog Asta\'s leash in the other.Getting her start as an ingénue in silent films, Loy was generally typecast in exotic roles as a vamp or as a character of Asian heritage, but her role choices expanded greatly after her portrayal of Nora Charles in The Thin Man(1934), the first of the popular film series.Measures 8\" x 10\" on a glossy single weight paper stock.
M-G-M ink stamp on verso.CONDITION: This vintage, silver gelatin, classic Hollywood photograph is in fine condition with mild corner wear and nominal storage/handling wear. A beautiful Golden Era portrait! Please use the included images as a conditional guide.Guaranteed to be 100% vintage and original from Grapefruit Moon Loy was born Myrna Adele Williams on August 2, 1905 in Helena, Montana, to Adelle Mae (Johnson) and David Franklin Williams. Her paternal grandparents were Welsh, and her mother was of Scottish and Swedish descent. Myrna was raised in Helena and nearby Radersburg. Her father, a rancher, was the youngest person ever elected to the Montana State legislature.When she was thirteen, Myrna\'s father died of influenza, and the rest of the family moved to Los Angeles. She was educated in L.A. and the Westlake School for Girls where she caught the acting bug. She started at the age of 15 when she appeared in local stage productions in order to help support her family. Some of the stage plays were held in the now famous Grauman\'s Theater in Hollywood. Mrs. Rudolph Valentino happened to be in the audience one night who managed to pull some strings to get Myrna some parts in the motion picture industry.Her first film was a small part in the production of What Price Beauty? (1925). Later, she appeared the same year in Pretty Ladies (1925) along with Joan Crawford. She was one of the few stars that would start in the silent movies and make a successful transition into the sound era. In her silent films, Myrna would appear as a Theda Bara-like, exotic, femme fatale. Later in the sound era, she would become a refined, wholesome character. Unable to land a contract with MGM, she continued to appear in small, bit roles, nothing that one could really call acting. In 1926, Myrna appeared in the Warner Brothers film called Satan in Sables (1925) which, at long last, landed her a contract. Her first appearance as a contract player was The Caveman (1926) where she played a maid. Although she was typecast over and over again as a vamp, Myrna continued to stay busy with small parts. Finally, in 1927, she received star billing in Bitter Apples (1927). The excitement was short lived as she returned to the usual smaller roles afterward.Myrna would take any role that would give her exposure and showcase the talent she felt was being wasted. It seemed that she would play one vamp after another. She wanted something better. Finally her contract ran out with Warner and she signed with MGM where she got two meaty roles. One was in the The Prizefighter and the Lady (1933), and the other as Nora Charles in The Thin Man (1934) with William Powell. Most agreed that the Thin Man series would never have been successful without Myrna. Her witty perception of situations gave her the image that one could not pull a fast one over on the no-nonsense Mrs. Charles. After The Thin Man (1934), Myrna would appear in five more in the series. Myrna was a big box-office draw. She was popular enough that, in 1936, she was named Queen of the Movies and Clark Gable the king in a nationwide poll of movie goers. Her popularity was at its zenith. She continued to make films through the 40s and 50s but the roles were fewer and fewer. By the 1960\'s the parts had all but dried up as producers and directors looked elsewhere for talent.In 1960, she appeared in Midnight Lace (1960) and was not in another until 1969 in The April Fools (1969). The 1970s found her in TV movies, not theatrical productions. Her last film was in 1981 called Summer Solstice (1981). By the time Myrna passed away, on December 14, 1993, at the age of 88, she had appeared in a phenomenal 129 motion pictures. She was buried in Helena, Montana.- IMDb Mini Biography By: Ray Hamel and Dave Curbow and Denny Carpenter was born July 8, 1909 and as a young man he began working as a plasterer during the depression.Eric Carpenter worked at MGM, aside from a couple of short breaks, from 1933 to the 1960s. Elevated from office boy, he succeeded Virgil Apger as Bull\'s assistant and continued in that capacity until he got his union card.\"(I did this) on the condition that I worked in the gallery and not as a still or publicity photographer, because that area was all sewn up. I didn\'t have my own gallery, so I set up one on the set and shot there. That was the end of 1939.My first solo assignment--and this was a case of make or break--was to photograph Norma Shearer. She was trying out new photographers at the time and she wanted someone loyal to her. If she approved, I was in. Lucky for me she did. We did an outside session down by her beach house. I had already learned a lot by watching Hurrell and Bull, but my \'style\' was trial and error.”He finally became a portrait photographer at precisely the moment when MGM was cultivating a new crop of stars--Lana Turner, Esther Williams and the popular team Judy Garland and Mickey Rooney. A decade later Carpenter photographed Marilyn Monroe when she made \'The Asphalt Jungle\' (1950). He \'photographed her,\' wrote Kobal, \'in a pose and clinging dress similar to what he\'d successfully used with Lana Turner, most of whose poses had been variations of those dreamed up for Harlow.\' In an interview after he retired, Carpenter told Kobal, \"The stars were about the only ones who appreciated what you were trying to do. As far as the producers and executives were concerned, it was just publicity. They couldn\'t have cared less.”He also worked as a uncredited still photographer on many great films including \'The Wizard of Oz\' for which he did some wonderful Kodachrome stills, \'Singing in the Rain,\' \'The Swan\'--Grace Kelly\'s last film--\'Gigi\', \'Ben Hur,\' and \'Please Don\'t Eat the Daisies\' with Doris Day.With his spirited and beautiful portraits, Carpenter quickly became the favorite photographer of the studio\'s rising young stars, like Ava Gardner and James Craig, among others. His rapport with Lana Turner began when she signed with MGM and lasted up to her departure from the studio in the late fifties. Carpenter was responsible for the most of her torrid, memorable gallery portrait sittings. His photographs of her are lush and immediate in dazzling whites and sophisticated, plungingly deep backs. More dynamic than almost any of the other glamour portraits of the era, their effect recalled the Harlow portraits and and anticipated the ones of Monroe at Fox in the early fifties--acres of white fur, opalescent skin, poses inviting by their ease.Carpenter once explained:\"The only secret of good work is to get the star to have confidence in you so that you can try to do something interesting. Stars appreciated what you were trying to do. The publicity department kept asking for glorified passport photos, which was what the newspapers could use. It was a fight to get some shading into those pictures.”After the war Carpenter left the profession to join his brother in the shipyard business, but by 1950 he went back at MGM, this time as a production still photographer--a job he held until his retirement in the sixties--working on films like \'Quentin Durward\' (1955), \'Beau Brummel (1954), and \'Mutiny on the Bounty\' (1962).He passed away on June 16, 1976 at the age of 66 in Hollywood, California.— Biography From: VintageMovieStarPhotos (dot) BlogSpot (dot)