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Search Results for “Judy Garland”

ZIEGFELD GIRL (1941) Judy Garland and Lana Turner

Vintage original 10 x 8” (25 x 20 cm.) black and white single weight glossy silver gelatin print still photo, USA. Judy Garland, Lana Turner, Hedy Lamarr, James Stewart, dir: Robert Z. Leonard; Metro-Goldwyn-Mayer. Lana Turner and Judy Garland pose for a publicity still on the Ziegfeld Follies backstage rehearsal set. The story of three girls in show business and the different paths their lives take is an archetype which has been played out in many variations. The film was in development since 1938 and was to originally star a combination of MGM top female stars of the time including Eleanor Powell, Joan Crawford, Virginia Bruce and Margaret Sullavan. However, by 1940, the script was developed for the new reigning female stars. Garland and Turner first worked together in 1938 when Turner was brought into MGM by her mentor Mervyn Le Roy. The two co-starred in LOVE FINDS ANDY HARDY and became good friends, and remained so even when Turner eloped with Garland’s crush Artie Shaw. The two appear to be sharing confidential information in photo coded 1165-173. Slight soil to the blank white margins. ABOUT FINE.

JUDY GARLAND / BROADWAY MELODY OF 1938 (1937) by Clarence Sinclair Bull

Vintage original 10 x 8” (25 x 20 cm.) black-and-white single weight glossy silver gelatin print still photo, USA. Robert Taylor, Eleanor Powell, George Murphy, Sophie Tucker, Buddy Ebsen, Judy Garland, dir: Roy Del Ruth; Metro-Goldwyn-Mayer.

From March through July of 1937, Judy Garland was working on her first MGM feature production, BROADWAY MELODY OF 1937. She had appeared in several shorts for MGM and a feature at Twentieth Century Fox in 1936. Though she had signed with MGM in 1935, the studio was not sure what to do with her initially and groomed her slowly. Most of her first year was spent doing radio appearances so as audiences would become accustomed to the mature voice the 13 year-old possessed. She signed a contract with Decca records on her own at the time.

When, in Feb. 1937 she sang a special version of the song “You Made Me Love You” to Clark Gable at his studio birthday party, executives felt that the piece was so outstanding that she needed to perform it in a feature — thus, the role of Betty Clayton was created for the new Eleanor Powell-starring vehicle. The film was renamed BROADWAY MELODY OF 1938 and publicized as being so NEW that it was a year ahead of its time!

To promote her new feature, Garland at age 15 posed for a variety of portraits for famed photographer C.S. Bull. His ink stamp is on the verso as is a date of July 7, 1937, and pencil notations for magazine use. Another ink date stamp of Jun 18, 1969, is also present for another publishing, which was just 4 days before her death.

Shows signs of use including light crop markings on the image, and light creasing at the four corners. Scratch to emulsion on piano music stand, VERY GOOD-FINE.

JUDY GARLAND | EVERYBODY SING (1938) Photo

Vintage original 8 x 10″ (20 x 25 cm.) black-and-white single weight glossy silver gelatin print still photo, USA. Judy Garland, Billie Burke, Fanny Brice, Allan Jones, Reginald Owen, dir: Edwin L. Marin; Metro-Goldwyn-Mayer. Still is coded 1020-13 and has minimal edge wear, about fine.

When in late-1937 MGM acquired the rights to The Wizard of Oz, with the intent of it being a vehicle for their rising musical star Judy Garland, the star-making machinery went into fast action. Featured in several films prior, the studio created this lower budget musical for her, sent her on a US personal tour, announced her casting in Oz in Feb. 1938, moved her to star status on their roster and set the script and music writers to their task of turning L. Frank Baum’s fantasy book into a musical. There were months of pre-production and so long did it take that Garland finished two more films before starting Oz.

This story, initially titled The Ugly Duckling, gave Judy great comic and dramatic moments as well as songs in the form of ballad, swing and minstrel — utilizing all her grand talents. Here she is with leading lady Lynn Carver, who plays her sister.

JUDY GARLAND | I COULD GO ON SINGING (1963) Performing “It Never Was You”

Vintage original 9 x 7″ (23 x 18 cm) borderless single weight glossy silver gelatin print still photo, USA. Judy Garland, Dirk Bogarde, Jack Klugman, Aline MacMahon, Gregory Phillips, dir: Ronald Neame; United Artists. A very fine glossy print, fine.

Judy Garland’s satisfying swan song film. Originally titled (and released in Europe) as The Lonely Stage, both titles were appropriate for Garland. Essentially a soap opera, nowadays it is seen as a glossy 1960s drama in the style of The V.I.P.s and similar ’60s films.

Even today, the acting by both Garland and Dirk Bogarde (and the supports) is considered superb and the musical interludes, spell binding. Most of Garland’s concert performance work in the film was shot at the actual London Palladium, the scene of several record-breaking concert engagements by Garland. A mock-up of the Palladium stage was erected at Shepperton Studios for some of her songs and this still is for one of those.

Here she performs, with just a pianist (David Lee), the beautiful Kurt Weill/Maxwell Anderson song “It Never Was You”. Garland is framed in light on the stage, an iconic image of the beloved lady. Bob Willoughby is credited with the still photography on this film. Coded LS (1317)-3 on front.

WIZARD OF OZ, THE (1939) Cut scene photo

[Los Angeles]: Metro-Goldwyn-Mayer, 1939. Vintage original 8 x 10″ (20 x 25 cm) black-and-white glossy silver gelatin photo. Text blurb and two ink date stamps from Sep 1939 on verso. Near fine.

This superb original photo with Ray Bolger, Judy Garland and Jack Haley is of a rare outtake scene. In the Tin Man forest, the Wicked Witch has just made a beehive of the Tin Man, and he cries as he has just killed a bee. The text on verso describes the scene, which was intact when the publicity photo was issued and, though cut, was used in publications throughout the 1939 release. Only the sound effect for the bees exists.

Photo was used for its run at the Carthay Circle Theatre in Los Angeles. 1939 Loews Inc. printed on front left lower margin. Still coded 1060-77.

SAUL BASS | THE MAN WITH THE GOLDEN ARM (Dec 26, 1955) Film premiere invitation

The Man with the Golden Arm. Los Angeles: United Artists, 1955. Vintage original 6  x 8″ (15 x 20 cm) cardboard program with vellum paper cover. Fine.

The Man with the Golden Arm was the first major Hollywood film to tackle the subject of drug addiction, which was still a taboo subject for American films during the 1950s. Its release defied censorship codes of the time while its success signaled moviegoers’ growing interest in serious, adult film themes. As early as 1949 the source material was considered as a vehicle for John Garfield, and even in 1955 censors were very hard on the content of the film.

Saul Bass designed the crooked arm symbol used in the film’s advertising campaign, which director Otto Preminger liked so much that he threatened to pull the picture if an exhibitor changed the advertisements. Ranked at number 14 of the 25 best poster designs of all time, here is Bass’ art in its purest form. Bass also created the film’s animated title sequence, the first of many such sequences he created for films by Preminger, Alfred Hitchcock and others. (Wikipedia)

For the opening guest-invited premiere, stars including Judy Garland, Bette Davis, Noel Coward, Liberace, Debbie Reynolds, as well as cast and crew, attended and would have received an invitation such as this. The West Coast premiere, as indicated on the invitation, was held on Dec 26th, 1955, at the Fox Beverly Theatre and was a formal affair.

ADRIAN, MGM COSTUME DESIGNER [ca. 1939] Portrait by Frank Tanner

Los Angeles: Metro-Goldwyn-Mayer, [ca. 1939]. Vintage original 8 x 10″ (20 x 25 cm) black-and-white double weight glossy silver gelatin photo. Full typed blurb, ink stamp of MGM photographer Frank Tanner and still number 5204 on verso. Chip at bottom center, overall about fine.

Portrait of the famed costume designer Adrian during his prolific period at MGM where he designed for the top female stars: Greta Garbo, Jean Harlow, Joan Crawford, Norma Shearer and Judy Garland, to name a few. He also started a number of fashion trends, including the cloche hat and shoulder pads in women’s suits and gowns.

RICHARD AVEDON (1957) Portrait

New York: Frank Finocchio, May 12, 1957. Vintage original 8 x 10″ (20 x 25 cm) black-and-white double weight glossy silver gelatin photo. Ink date stamped May 12, 1957, with two attached newspaper clippings and newspaper “SUNDAY” ink stamp and handwritten but crossed out, “Please credit this photograph Frank Finocchio”. Minor wear, light scratching on right edge, overall near fine. 

Frank Finocchio was Richard Avedon‘s studio manager from September 1953 to early-1962. He is also credited in Avedon’s 1959 book Observations for his excellent work in photographic printing.

In 1957 Avedon was at his pinnacle of success, photographing Marilyn Monroe, Judy Garland, Audrey Hepburn, Truman Capote, directing a TV special with Judy Garland and creating sequences for the film Funny Face.

MICKEY ROONEY | GIRL CRAZY (1943) Oversized publicity photo

[Los Angeles]: Metro-Goldwyn-Mayer, [1943]. Vintage original 10 x 13″ (25 x 32 cm.) black-and-white double weight glossy silver gelatin photo. Crease at top right corner, ink stamped 988 on verso. Some soil to the back, about fine.

As the original typed blurb on verso tells us, Mickey, the busiest young man in filmdom, has just finished his role opposite Judy Garland in Girl Crazy and is about to embark on a tour of army camps. He would be joining Judy and gang on the train to sell war bonds all over the country as part of the Hollywood Cavalcade Tour. Mickey would also enter the service within the next year.