[New York: International Newsreel,1926]. Vintage original 8 1/2 x 6 1/2″ (22 x 17 cm.) black-and-white print still photo, VERY GOOD+.
Photo of Rudy Valentino kissing his then-wife Natasha Rambova. At the time when this photo was issued they were now divorced, and he was fighting for his life.
New York: Underwood and Underwood, [ca. 1923]. Vintage original 10 x 8″ (25 x 20 cm.) black-and-white print still photo, stamp of photographer Underwood and Underwood on verso, NEAR FINE.
A portrait of Rudy Valentino with his brother Alberto d’Antonguolla and his then-wife Natasha Rambova.
Walter Film has acquired a collection of vintage original studio photographs of Rudolph Valentino from Four Horsemen Of The Apocalypse (1921), Camille (1921) with Alla Nazimova (1921), A Sainted Devil (1924) See Image Above, The Son Of The Sheik (1926) and a hand tinted lobby card from the film that made him an international star, The Sheik (1921).
[Hollywood: Paramount Pictures, 1924]. Vintage original 10 x 8″ (25 x 20 cm.) borderless black-and-white print still photo, very minor wear at edges, NEAR FINE. An appropriately shouldering image of Rudolph Valentino as a Spanish nobleman.
[Hollywood: Metro Pictures, 1921]. Vintage original 8 x 10″ (20 x 25 cm.) double weight matte finish photo, FINE.
Alla Nazimova and Rudolph Valentino as the star-crossed lovers in this silent film adapted from Alexandre Dumas’ La Dame aux Camélias (The Lady with the Camellias). After his breakthrough the year before in THE FOUR HORSEMEN OF THE APOCALYPSE, Valentino was by now on the edge of stardom, and his next film — THE SHEIK — would cement his ascendance in the world of film.
Photos from this film are very scarce, especially in this double weight format.
[Hollywood: Metro Pictures, 1921] Vintage original 8 x 10″ (20 x 25 cm.) sepia-tinted double weight matte print still photo, USA. Rudolph Valentino, Alice Terry, Alan Hale, Nigel De Brulier, Wallace Beery, Jean Hersholt, dir: Rex Ingram; Metro.
The film which made Rudolph Valentino a legend. It earned ten million dollars during its initial release ($300 million in today’s dollars) and is famous for the torrid tango scene, but the film is much more. It is the story of the devastation of the Great War (having just ended in 1918) on the people of Argentina. The film was masterfully directed by Ingram (who would marry the leading lady Alice Terry at end of filming). Valentino paid for much of his wardrobe used in the film, and made so little money for his role that he spent the next year paying off his wardrobe bill. Fortunately he would soon be paid better. To this day, this is one of the most visually stunning of all American silent films. It was placed on the National Film Registry in 1995.
This portrait of Valentino in his dance costume as character Julio Desnoyers is exquisite. It is coded “37”. Brown tape remnant on verso, FINE.
[Hollywood: United Artists, 1926] Vintage original 9 x 10″ (22.8 x 25 cm.) black-and-white single weight glossy silver gelatin print still photo, USA. Rudolph Valentino, Vilma Banky, George Fawcette, Montagu Love, Karl Dane, dir: George Fitzmaurice; United Artists.
Sequel film to THE SHEIK, which would be Rudolph Valentino’s last film. He plays a dual role, as both the Sheik and his son. As the son he ravages dancing girl Vilma Banky in his tent palace, and much of the adventurous action is played for fun. Banky’s father and gang do not care for what is going on in the lover’s lair, so they capture and torture Valentino. One of the first “sequel” films to be made, it is also one of the first to be released after a star’s death. Sets by William Cameron Menzies.
In perhaps the most famous scene from the film, Valentino tears open his costume to reveal his torture wounds to Vilma Banky. Photo is coded “V-3-1-94”. Stamped by photographer Nealson Smith on verso. FINE.
[Hollywood: United Artists, 1926] Vintage original 8 x 10″ (20 x 25 cm.) black-and-white single weight glossy silver gelatin print still photo, USA. Rudolph Valentino, Vilma Banky, George Fawcette, Montagu Love, Karl Dane, dir: George Fitzmaurice; United Artists.
Sequel film to THE SHEIK, which would be Rudolph Valentino’s last film. He plays a dual role, as both the Sheik and his son. As the son he ravages dancing girl Vilma Banky in his tent palace, and much of the adventurous action is played for fun. Banky’s father and gang do not care for what is going on in the lover’s lair, so they capture and torture Valentino. One of the first “sequel” films to be made, it is also one of the first to be released after a star’s death. Sets by William Cameron Menzies.
Valentino smolders while holding a cigarette in this close-up image coded “V-3-1A70”. Stamped by photographer Nealson Smith on verso. FINE.
[Hollywood] United Artists, 1926. Vintage original 8 x 10″ (20 x 25 cm.) black and white single weight glossy silver gelatin print still photo, USA. Rudolph Valentino, Vilma Banky, George Fawcette, Montagu Love, Karl Dane, dir: George Fitzmaurice; United Artists.
Sequel film to THE SHEIK which would be Rudolph Valentino’s last film. He plays a dual role, as both the Sheik and his son. As the son he ravages dancing girl Vilma Banky in his tent palace, and much of the adventurous action is played for fun. Banky’s father and gang do not care for what is going on in the lover’s lair, so they capture and torture Valentino. One of the first “sequel” films to be made, it is also one of the first to be released after a star’s death. Sets by William Cameron Menzies.
Valentino as Ahmed the Sheik in this full-length character shot takes a striking pose. Photo is coded “V-3-7”. Stamped by photographer Nealson Smith on verso, a one-inch tear at top border near right corner, ABOUT FINE.
[Santa Monica] 1926. Vintage original 7 1/2 by 9 3/4″ (19 x 24 cm.) sepia-tinted silver gelatin double weight print still photo, FINE.
According to a print found with an attached paper blurb dated June 19, 1926, this image of eclectic Hollywood elite was taken for Richard Barthelmess’ birthday party at the Santa Monica beach home of Constance Talmadge. Other sources say that is was at the beach home of her sister Natalie Talmadge (Mrs. Buster Keaton). Both had homes at the beach at the time; Constance’s home was at 1020 Beach Road (now Pacific Coast Highway).
Barthelmess’ birthday fell in May and he had gathered an interesting group, including Rudolph Valentino (who would die just a few months later while on tour in New York City); Beatrice Lillie (in town to make a rare film appearance in EXIT LAUGHING) and Fatty Arbuckle (still part of the crowd though working only in uncredited bits).
Those in the photo are:
Top row: Roscoe “Fatty” Arbuckle, Mae Murray, Ward Crane, Virginia Valli, Ronald Colman, Bessie Love, Jack Pickford, Rudolph Valentino, Pola Negri;
Middle row: Maitland Rice, Chris Goulding, Louella Parsons, Lila Lee, Carmel Myers, Alan Forest, Bert Lytell, Claire Windsor, Richard Barthelmess, Constance Talmadge, Beatrice Lillie, Al Hall, Dorothy Dalton, Mrs. John Robertson, Helen Ferguson, Agnes Ayres, John Robertson, Mrs. Talmadge, Marquis Henry de La Falaise, Marshall Neilan, Howard Hughes, unknown;
Bottom row (sitting): Antonio Moreno, Prince David Mdivani, Charles Lane, Edmund Goulding, Henry D’Arcy, unknown, Harry d’Arrast, Doris Deau, Mae McAvoy, Eddie Kane, Natalie Talmadge, Daisy Canfield Danziger, unknown, Alastair Mackintosh, Kittie Scalla and Blanche Sweet. There are no condition issues.
Vintage original 7 ½ x 9 1/2” (19 x 24 cm.) silver gelatin sepia tinted still photo print, USA> According to the original attached publicity blurb dated June 19, 1926, the eclectic group of the movie industry’s elite this was a party which Richard Barthelmess was giving which he moved to Constance Talmadge’s Santa Monica beach house. The gathering includes Rudolph Valentino who would die two months later while on tour in New York City. According to sources though, this gathering was for Richard Barthelmess’ May 1926 birthday party and was at the home of Natalie Talmadge (Mrs. Buster Keaton). At any rate, the home appears to have been owned by one of the Talmadge sisters. Constance Talmadge had a home into the 1930s with an address of 1020 Beach Road (now Pacific Coast Highway) and that may be the address at which this party took place. The image fortunately comes with a copy pointing out the celebrities in attendance and most of the original International Newsreel Photo Los Angeles Bureau paper “slug.” Attendees include: Fatty Arbuckle, Mae Murray, Virginia Vallie, Claire Windsor, Ronald Coleman, Bessie Love, Constance Talmadge, Jack Pickford, Rudolph Valentino, Pola Negri, Agnes Ayres, Howard Hughes, Blanche Sweet, Norma Talmadge, Beatrice Lilly, Richard Barthelmess, Edmund Goulding, Carmel Myers, Antonio Moreno, and Louella Parsons. Quite a historic piece. Photo is sepia toned. There are chips to all four corners. Crease at lower left corner. Borders may have been trimmed,. Number written in pen near top right corner. VERY GOOD.
Vintage original 10 x 8” (25 x 20 cm.) black and white single weight glossy silver gelatin print still photo, USA. Rudolph Valentino, Vilma Banky, George Fawcett, Montagu Love, Karl Dane, Agnes Ayres, dir: George Fitzmaurice; United Artists. Sequel film to THE SHEIK and Valentino’s last film. He plays a dual role, as both the Sheik, and his son. This time, as the son he ravages dancing girl Vilma Banky in his tent palace, and much of the adventurous action is played for fun. Banky’s father and gang do not care for what is going on in the lovers’ lair, so they capture and torture Valentino, as in this scene. One of the first “sequel” films to be made, it is also one of the first to be released after a stars death. A smoldering portrait of Rudolph Valentino in perhaps his best remembered role. The still is coded V-3-2-16. Slight creasing along top blank white border. ABOUT FINE.
Vintage original 11 x 14″ (28 x 35 cm.) lobby card, USA. Rudolph Valentino, Agnes Ayres, Ruth Miller, George Waggner, Adolph Menjou, dir: George Melford, Paramount. A legendary and iconic film, the ultimate romantic melodrama.
A free thinking British woman is abducted by an Arab sheik who has become infatuated with her when she visits the Sahara desert. He takes her to his desert tent castle and seduces the reluctant beauty. Only when she is kidnapped by desert bandits does she realize she has fallen in love with him, and he is to her rescue!
This film made Rudolph Valentino a star and the image of him as The Sheik is now iconic. He appears on this card in his most famous costumes with leading lady Agnes Ayres. Interestingly, his future wife, Natasha Rambova, appears as an extra, as do three sisters who would become stars — Sally Blane, Polly Ann Young, and Loretta Young. Border art includes line art of “The Sheik” carrying his lady across the desert while being pursued by bandits. There is one single neat closed pinhole in each corner, FINE.
Vintage original 10 x 8″ (25 x 20 cm.) black-and-white double weight glossy silver gelatin print still photo, USA. Rudolph Valentino, Alice Terry, Alan Hale, Nigel De Brulier, Wallace Beery, Jean Hersholt, dir: Rex Ingram; Metro. The film which made Rudolph Valentino a legend. It earned ten million dollars during it’s initial release ($300 million in today’s dollars) and is famous for the torrid tango scene, but the film is much more. It is the story of the devastation of the Great War (having just ended in 1918) on the people of Argentina.
The film was masterfully directed by Ingram (who would marry leading lady Alice Terry at the end of filming). Valentino paid for much of his wardrobe used in the film, and made so little money for his role that he spent the next year paying off his wardrobe bill. Fortunately he would soon be paid better. To this day, this is one of the most visually stunning of all American silent films. It was placed on the National Film Registry in 1995.
This profile portrait of Valentino in his dance costume as character Julio Desnoyers is very rare and photographed by Evans, LA. Flawless. FINE.
Motion picture studios left no stone unturned in their quest to market their movies. Therefore, movie merchandising, which reached its apex with films like STAR WARS, started with the dawn of film. Just like female stars, male stars were presented in doll form during the height of their popularity. Over the[…]
WalterFilm.com was never meant to be a large website, it was intended to be an exclusive boutique featuring some of the greatest objects Walter Reuben could find. A website that would appeal to him as a collector of “movie memorabilia” – reflecting his own personal tastes and interests.
[Hollywood: Allied Producers and Distributors, 1923]. Vintage original 8 x 10″ (20 x 25 cm.) black-and-white print still photo, small chip in blank extreme left bottom corner, minor creasing, near fine.
Nazimova is here surrounded by other members of her cast. She produced and is alleged to have done most of the directing for this wild movie. Rudolph Valentino’s wife Natacha Rambova worked on sets and costumes based on designs by Audrey Beardsley. It has long been rumored that the film had an entirely LGBTQ cast; a century later this cannot be verified, but it is clear that the film has a very queer extravagance, and is also a landmark film created by a woman.
In recognition of Gay Pride and as an observation of the state of “drag“ in America, the photograph of Julian Eltinge and Mary Pickford appeared in the Washington Post on June 24, 2023, along with a profile by Randy Dotinga entitled “A century ago, this star ‘female impersonator’ made men swoon.”
“Drag Queen” became “Drag” in 2009, when RuPaul became an international celebrity, turning his success as RuPaul Female Impersonator, recording artist, spokesperson, actor, author and talk show host into a reality competition television series, RuPaul’s Drag Race, which he produces, hosts and judges to this day.
[New York, 1915]. Vintage original borderless 12 1/2 x 8 3/4″ (32 x 22 cm.) black-and-white print still photo, trimmed for publication, with tears reinforced with tape, and stickers of an old photo agency on verso. An ink hologram note on back reads “Julian Eltinge Cousin Lucy Cohan Theatre”. Photo shows signs of handling, GOOD.
COUSIN LUCY was a show with music by Jerome Kern. Julian Eltinge was the most famous female impersonator of his time.
“After appearing in the Boston Cadets Revue at the age of ten in feminine garb, Eltinge garnered notice from other producers and made his first appearance on Broadway in 1904. As his star began to rise, he appeared in Vaudeville and toured Europe and the United States, even giving a command performance before King Edward VII. Eltinge appeared in a series of musical comedies written specifically for his talents starting in 1910 with The Fascinating Widow, returning to Vaudeville in 1918. His popularity soon earned him the moniker “Mr. Lillian Russell” for the popular beauty and musical comedy star.
“Hollywood beckoned Eltinge and in 1917 he appeared in his first feature film, The Countess Charming. This led to other films, including 1918’s The Isle of Love with Rudolph Valentino and Virginia Rappe. By the time Eltinge arrived in Hollywood, he was considered one of the highest paid actors on the American stage; but with the arrival of the Great Depression and the death of Vaudeville, Eltinge’s star began to fade. He continued his show in nightclubs but found little success. He died in 1941 following a show at a New York City nightclub.” (Wikipedia)
The four gifted LGBTQ individuals featured in this month’s blog, Dorothy Arzner, Julian Eltinge, Karyl Norman and Anna Sosenko, made significant contributions in their respective fields during the first half of the 20th Century. It is our pleasure to celebrate their talents and accomplishments.
Hollywood Portrait Photography came into existence at the beginning of the 20th Century, following the relocation of the film industry from the east coast to Hollywood. These fledgling studios needed to create interest in their motion pictures by promoting the actors who stared in them. From 1910 – 1970, there[…]
Vintage original MGM 8 x 10” (20 x 25 cm.) photo, USA. #MGM-3163. One small repair on verso of blank upper right margin, near fine.
Novarro was born in Durango, Mexico. His family moved to Los Angeles in 1913 to flee from the Mexican Revolution. He entered silent films in 1917, first in bit parts. By the mid-1920’s, with the death of Valentino, he was acclaimed as the screen’s leading “Latin lover.” His popularity waned by the mid-1930’s, when MGM did not renew his contract. Novarro was a closeted gay, and he refused Mayer’s request to enter into a sham, so-called “lavender marriage,” which was almost certainly one factor in the effective end of his career.
A posed portrait of Novarro and Terry, who had already made three films together, including SCARAMOUCHE, and were preparing to shoot a fourth one.
Vintage original 10 x 8″ (25 x 20 cm.) black-and-white print still photo, USA. MGM studio printed text on back; a few marginal tears mended on verso, very good.
Novarro was born in Durango, Mexico. His family moved to Los Angeles in 1913 fleeing from the Mexican Revolution. He entered silent films in bit parts in 1917. By the mid-1920s, with the death of Rudolph Valentino, he was acclaimed as the screen’s leading “Latin lover”. His popularity waned by the mid-1930s when MGM did not renew his contract. Novarro was a closeted gay man, and he refused studio head Louis B. Mayer’s request to enter into a sham so-called “lavender marriage”, which was almost certainly one factor in the effective end of his career.
Profile shot of the handsome star coded RN-33. Text refers to Novarro’s upcoming film THE RED LILY, and to his success in getting the highly-coveted lead role of BEN-HUR, which would be released in 1925.
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