Rare 1929 Ruth Harriet Louise Portrait Flapper Photograph Anita Page Bessie Love For Sale
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ITEM: You are offerding on an antique original 1929 double weight large format gallery photograph by Ruth Harriet Louise of the silent film starlets Anita Page and Bessie Love, studio publicity for MGM's "Broadway Melody." The girs show off their backstage gams in rather risque costumes. Press snipe reads "Anita Page, with hair ribbon, and Bessie Love, features as sisters in a kerosene circuit 'sister-act' in 'Broadway Melody,' the Metro-Goldwyn-Mayer all-talking, singing and sound production directed by Harry Beaumont." Inkstamped on verso for Louise/MGM as seen, blindstamped Louise lower right.Measures 10" x 13" This photograph is just an incredible document, a Hollywood treasure that sells . We have come into an extraordinary collection of antique Hollywood photographs and memorabilia and are happy to combine multiple wins at no additional cost. 100% guaranteed original and vintage.
CONDITION: This 1st generation beautiful art deco photograph is in fine condition as seen with a little corner wear.Born Ruth Goldstein in New York City, Ruth Harriet Louise was the daughter of a rabbi. The family lived in a few different locations in Manhattan before settling in New Jersey. Louise started taking photographs while still living at home. She soon gravitated to the studio of society photographer Nickolas Muray who had come to New York from Europe before the outbreak of World War I. He was working as a color printer and photo engraver in Brooklyn when he decided to open his own portrait studio in his apartment in Greenwich Village. He was getting regular work from Harperâ€™s Bazaar when Ruth began apprenticing for him. Some of her family'a cousin who was a silent film actress and Ruth's brother had already moved to Los Angeles, and they encouraged Ruth to join them on the West Coast. She was 22, and young women of the day could not just rent an apartment on their own and be viewed well. She needed to find someone respectable with whom she could live. Her brother Mark Sandrich, who went on to direct movies with Fred Astaire and Ginger Rogers, had recently married, so Louise was able to move in with them. (The original family name in Europe was Sendreich; their father changed it to Goldstein on coming to the U.S. Mark reverted to an anglicized version of the family name; Ruth took 'Ruth Harriet Louise' as a professional name at about that time.) Ruth opened a small portrait studio near Hollywood and Vine, but her work soon was seen by Louis Mayer who hired her to set up her portrait studio at his new film company, MGM. They were hiring and promoting new stars (Greta Garbo among them), and Ruth Harriet Louise became an important part of the team. Film studios of that day relied heavily on still photography. Budding stars were not sent for screen tests; they were sent to the portrait studio to see what image they would project in the glamor photos that would be used to promote them. This was long before the paparazzi could snag quick candid shots, and as a result, the studio could tightly control the images they sent out to promote a star or a movie. Fan clubs were to become big, and they, too, relied on the still photographs that could be sent to their members. The movies and publicity machine that these photographs supported shaped the basic notions of stardom, glamour, and fashion in the 1920s. Movie stars and photographers developed working relationships, and once a bond was established with a staff photographer, the studio's stars were quick to request that they only be photographed by their photographer. Among those who favored Louise were Greta Garbo, Buster Keaton, Lon Chaney, John Gilbert, Joan Crawford and Marion Davies. Shortly after Herbert Hoover was elected, Louise was selected as the right photographer to capture the president-elect at his home in Palo Alto. In 1929 she was the photographer in charge of shooting Nina Mae McKinney, known as the Black Garbo. She was to star in the first all- African-American film by a major studio. By 1930 the world of portrait photography was changing. Rising star Norma Shearer selected George Hurrell to be her personal photographer as she liked the sexy glamour shots he produced. Louiseâ€™s elegant photos were not as desirable as they once were, and her contract was not renewed. In 1927 Louise had married the writer and director Leigh Jason, so having a family became her priority. She gave birth to a son in 1932 and a daughter a few years later. Tragically, their son died of leukemia while still young, and when Louise got pregnant again in 1940, she and the baby both died of complications during a premature birth.Of Spanish extraction, petite blonde leading lady Anita Page entered films as an extra in 1924. Graduating to larger roles fairly rapidly, Page is best remembered as Ann, the mercenary jazz-baby who tricks millionaire Johnny Mack Brown into marriage, gets royally drunk, then tumbles down a huge flight of stairs to her death in the silent Our Dancing Daughters (1928). Page and her Dancing Daughters co-stars Joan Crawford and Dorothy Sebastian starred in two follow-ups (but not sequels), Our Modern Maidens (1929) and Our Blushing Brides (1930), but only Crawford went on to lasting fame. Making a graceful transition to talkies, Page did some nice work as Bessie Love's headstrong sister in the Oscar-winning Broadway Melody (1929), and proved a sprightly heroine for Buster Keaton in Free and Easy (1930) and Sidewalks of New York (1931). After her MGM contract came to an end in 1932, she made do with independent B-pictures, retiring to get married at the age of 26.
Bessie Love was born Juanita Horton. While still a Los Angeles high school student she began appearing in films in 1915. She was given her screen name by filmmaker D.W. Griffith. In 1916 she began appearing in lead roles opposite several major stars, and made a big impression as the Bride of Cana in Intolerance. Her subsequent career was a roller-coaster; each time she appeared to have broken through as a major star in a big film, she was cast in several forgettable ventures and had to start her way back up. Also, producers weren't sure how to cast her: at first she was an ingenue heroine; in the early '20s she played somber leads in melodramas; in the late '20s she was in light films. A footnote: in 1925 she introduced the Charleston to films in King on Main Street. She had several "comebacks," the most noteworthy of which was in the talkie musical The Broadway Melody. Successfully making the transition to sound, she proved herself to be a very talented song-and-dance star and received a Best Actress Oscar nomination. Once again very popular, she nevertheless appeared in few additional films, primarily because the films in which she was cast were of low quality. In 1931 she appeared at the New York Palace. In 1935 she moved to London, where she remained the rest of her life; after that her film work was sporadic, though it continued until the early '80s. During World War Two she served with the American Red Cross in England and worked as a film technician at Ealing Studios. Later in her life she did much stage work, starring in numerous plays; she also wrote the play The Homecoming (1958), designed to star herself.
On Jun-29-13 at 00:31:41 PDT, seller added the following information: