1918 MARY PICKFORD RUPP MOVIE STAR ACTRESS HOLLYWOOD FILM DIRECTOR PRINT 13443

Description: DATE OF ** ORIGINAL ** ADVERTISEMENT: 1918COMPANY NAME: GIRL IN THE WORLD PRODUCT(S): PHOTOS CITY / TOWN-STATE: -OWNER: MARY PICKFORD Gladys Marie Smith (April 8, 1892 – May 29, 1979), known professionally as Mary Pickford, was a Canadian actress resident in the U.S., and also producer, screenwriter and film studio founder, who was a pioneer in the US film industry with a Hollywood career that spanned five decades. Pickford alongside her future husband, actor-producer Douglas Fairbanks, founded Pickford–Fairbanks Studios and United Artists, and was one of the 36 founders of the Academy of Motion Picture Arts and Sciences.[3] Pickford is considered to be one of the most recognisable women in history.[4] Known as "America's Sweetheart" during the silent film era, she is named on the list of the AFI's 100 Years...100 Stars as the 24th-top female star from the Classical Hollywood Cinema era[5][6][7] and the "girl with the curls".[7] Pickford was one of the Canadian pioneers in early Hollywood and a significant figure in the development of film acting. She was one of the earliest stars to be billed under her own name,[8] and was one of the most popular actresses of the 1910s and 1920s, earning the nickname "Queen of the Movies". She is credited with having defined the ingénue type in cinema.[9] She was awarded the second Academy Award for Best Actress for her first sound film role in Coquette (1929). By the late 1920s Pickford's career went into decline. She received an Academy Honorary Award in 1976 in consideration of her contributions to American cinema. Early life[edit] Mary Pickford was born Gladys Marie Smith in 1892, at 211 University Avenue Toronto, Ontario.[1] now the location of the Hospital for Sick Children. Her father, John Charles Smith, was the son of English Methodist immigrants, and worked a variety of odd jobs. Her mother, Charlotte Hennessey, was of Irish Catholic descent and worked for a time as a seamstress. She had two younger siblings, both actors. Charlotte was billed as "Lottie Pickford" (born 1893) and John Charles Jr. was billed as "Jack Pickford" (born 1896). To please her husband's relatives, Pickford's mother baptized her children as Methodists, the religion of their father. John Charles Sr. was an alcoholic; he abandoned the family and died on February 11, 1898, from a fatal blood clot caused by a workplace accident when he was a purser with Niagara Steamship.[1] When Gladys was four years old, her household was under infectious quarantine as a public health measure. Their devoutly Catholic maternal grandmother (Catherine Faeley Hennessey) asked a visiting Roman Catholic priest to baptize the children. Pickford was at this time baptized as Gladys Marie Smith.[10][11] After being widowed in 1899, Charlotte Smith began taking in boarders, one of whom was a Mr. Murphy, the theatrical stage manager for Cummings Stock Company, who soon suggested that Gladys, then age seven, and Lottie, then age six, be given two small theatrical roles—Gladys portrayed a girl and a boy, while Lottie was cast in a silent part in the company's production of The Silver King at Toronto's Princess Theatre (destroyed by fire in 1915, rebuilt, demolished in 1931), while their mother played the organ.[12][1] Pickford subsequently acted in many melodramas with Toronto's Valentine Stock Company, finally playing the major child role in its version of The Silver King. She capped her short career in Toronto with the starring role of Little Eva in the Valentine production of Uncle Tom's Cabin, adapted from the 1852 novel.[1] Career[edit] Early years[edit] By the early 1900s, theatre had become a family enterprise. Gladys, her mother, and two younger siblings toured the United States by rail, performing 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 1905 she played the boy Freckles in Hal Reid's The Gypsy Girl on tour, and at the Star Theatre on Broadway.[13] In 1906 Gladys, Lottie and Jack Smith supported singer Chauncey Olcott on Broadway in Edmund Burke.[14] Gladys finally landed a supporting role in a 1907 Broadway play, The Warrens of Virginia. The play was written by William C. deMille, whose brother, Cecil, appeared in the cast. David Belasco, the producer of the play, insisted that Gladys Smith assume the stage name Mary Pickford.[15] After completing the Broadway run and touring the play, however, Pickford was again out of work. On April 19, 1909, the Biograph Company director D. W. 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.[16] Pickford, like all actors at Biograph, played both bit parts and leading roles, including mothers, ingénues, charwomen, spitfires, slaves, Native Americans, spurned women, 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. She appeared in 51 films in 1909—almost one a week—with her first starring role being in The Violin Maker of Cremona opposite future husband Owen Moore.[3] While at Biograph, she suggested to Florence La Badie to "try pictures", invited her to the studio and later introduced her to D. W. Griffith, who launched La Badie's career.[17] In January 1910, Pickford traveled with a Biograph crew to Los Angeles. Many other film 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 made in California. Actors were not listed in the credits in Griffith's company. Audiences 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.[18] Pickford left Biograph in December 1910. The following year, she starred 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, Pickford returned to work with Griffith in 1912. Some of her best performances were in his 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—whom she had befriended as new neighbors from Ohio[19]—to Griffith,[1] and each became major silent film stars, in comedy and tragedy, respectively. Pickford made her last Biograph picture, The New York Hat, in late 1912. She returned to Broadway in the David Belasco production of A Good Little Devil (1912). This was a major turning point in her career. Pickford, who had always hoped to conquer the Broadway stage, discovered how deeply she missed film acting. In 1913, she decided to work exclusively in film. The previous year, Adolph Zukor had formed Famous Players in Famous Plays. It was later known as Famous Players–Lasky and then Paramount Pictures, one of the first American feature film companies. Pickford left the stage to join Zukor's 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".[1] 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, such as 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.[20] The film marked the first time Pickford's name was featured above the title on movie marquees.[20] Tess of the Storm Country was released five weeks later. Biographer Kevin Brownlow observed that the film "sent her career into orbit and made her the most popular actress in America, if not the world".[20] 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".[1] Only Charlie Chaplin, who slightly surpassed Pickford's popularity in 1916,[21] had a similarly spellbinding pull with critics and the audience. Each enjoyed a level of fame far exceeding 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".[1] Stardom[edit] Pickford starred in 52 features throughout her career. On June 24, 1916, Pickford signed a new contract with Zukor that granted her full authority over production of the films in which she starred,[22] and a record-breaking salary of $10,000 a week.[23] In addition, Pickford's compensation was half of a film's profits, with a guarantee of $1.04 million (US$21,170,000 in 2023),[24] making her the first actress to sign a million-dollar contract.[3] She also became vice-president of Pickford Film Corporation.[3] Occasionally, she played a child, in films such as The Poor Little Rich Girl (1917), Rebecca of Sunnybrook Farm (1917), Daddy-Long-Legs (1919), and Pollyanna (1920). Pickford's fans were devoted to these "little girl" roles, but they were not typical of her career.[1] Due to her lack of a normal childhood, she enjoyed making these pictures. Given how small she was at under five feet, and her naturalistic acting abilities, she was very successful in these roles. Douglas Fairbanks Jr., when he first met her in person as a boy, assumed she was a new playmate for him, and asked her to come and play trains with him, which she obligingly did.[25] In August 1918, Pickford's contract expired and, when refusing Zukor's terms for a renewal, she was offered $250,000 to leave the motion picture business. She declined, and went to First National Pictures, which agreed to her terms.[26] In 1919, Pickford, along with D. W. 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 as she chose. In 1920, Pickford's film Pollyanna grossed around $1.1 million.[27] The following year, Pickford's film Little Lord Fauntleroy was also a success, and in 1923, Rosita grossed over $1 million as well.[27] During this period, she also made Little Annie Rooney (1925), another film in which Pickford played a child, Sparrows (1926), which blended the Dickensian with newly minted German expressionist style, and My Best Girl (1927), a romantic comedy featuring her future husband Charles "Buddy" Rogers. The arrival of sound was her undoing. Pickford underestimated the value of adding sound to movies, claiming that "adding sound to movies would be like putting lipstick on the Venus de Milo".[27] She played a reckless socialite in Coquette (1929), her first talkie,[28] a role for which her famous ringlets were cut into a 1920s bob. Pickford had already cut her hair in the wake of her mother's death in 1928. Fans were shocked at the transformation.[29] Pickford's hair had become a symbol of female virtue, and when she cut it, the act made front-page news in The New York Times and other papers. Coquette was a success and won her an Academy Award for Best Actress,[30] although this was highly controversial.[31] 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.[30] Her next film, The Taming of The Shrew, made with husband Douglas Fairbanks, was not well received at the box office.[32] Established Hollywood actors were panicked by the impending arrival of the talkies. On March 29, 1928, The Dodge Brothers Hour was broadcast from Pickford's bungalow, featuring Fairbanks, Chaplin, Norma Talmadge, Gloria Swanson, John Barrymore, D. W. Griffith, and Dolores del Río, among others. They spoke on the radio show to prove that they could meet the challenge of talking movies.[33] A transition in the roles Pickford selected came when she was in her late thirties, no longer able to play the children, teenage spitfires, and feisty young women so adored by her fans, and not suited for the glamorous and vampish heroines of early sound. In 1933, she underwent a Technicolor screen test for an 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. She retired from film acting in 1933 following three costly failures with her last film appearance being Secrets.[3][34] She appeared on stage in Chicago in 1934 in the play The Church Mouse and went on tour in 1935, starting in Seattle with the stage version of Coquette.[3] She also appeared in a season of radio plays for NBC in 1935 and CBS in 1936.[3] In 1936 she became vice-president of United Artists[34] and continued to produce films for others, including One Rainy Afternoon (1936), The Gay Desperado (1936), Sleep, My Love (1948; with Claudette Colbert), and Love Happy (1949), with the Marx Brothers.[1] The film industry[edit] Pickford used her stature in the movie industry to promote a variety of causes. Although her image depicted fragility and innocence, she proved to be a strong businesswoman who took control of her career in a cutthroat industry.[35] During World War I she promoted the sale of liberty bonds, making an intensive series of fund-raising speeches, beginning in Washington, D.C., where she sold bonds alongside Charlie Chaplin, Douglas Fairbanks, Theda Bara, 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 American culture, kissing the American flag for cameras and auctioning 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.[1] In 1916, Pickford and Constance Adams DeMille, wife of director Cecil B. DeMille, helped found the Hollywood Studio Club, a dormitory for young women involved in the motion picture business.[3] 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 Pickford 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 land and build the Motion Picture Country House and Hospital, in Woodland Hills, California.[1] 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". She demanded (and received) these powers in 1916, when she was under contract to Zukor's Famous Players in Famous Plays (later Paramount). Zukor 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 to also be able to show a Pickford film. In 1916, Pickford's films were distributed, singly, through a special distribution unit called Artcraft. The Mary Pickford Corporation was briefly Pickford's motion-picture production company.[36] In 1919, 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) 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.[citation needed] 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. In 1919, Pickford established The Mary Pickford Company, that was devoted exclusively to producing films distributed by United Artists. With the film Pollyanna being Mary's first film distributed by The United Artists.[37] 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 acting career had largely faded.[30] After retiring three years later, however, she continued to produce films for United Artists. 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 $3 million.[36] She had bought the rights to many of her early silent films with the intention of burning them on her death, but in 1970 she agreed to donate 50 of her Biograph films to the American Film Institute.[28] In 1976, she received an Academy Honorary Award for her contribution to American film.[28] ENDORSER: -ARTIST: STAGG, HARTSOOK THEME: PHOTOGRAPHY KEYWORDS (TEXT & IMAGE): LIFE, DRESS, LETTER, MAIL, FLOWER, POT, FAMILY, CHILD, BABY, FRANCE, TRAVEL, COUNTRY, WORLD, CAMERA, HOME, HOUSEHOLD DATE PRINTED ON ITEM: YES ADVERT SIZE: APPROX- 10-1/2" x 15-1/2" ITEM GRADE: VERY GOOD CONDITION: CLEAN, TEAR IN TOP RIGHT AND BOTTOM RIGHT CORNER, PERFECT FOR FRAMING AND DISPLAYING. DESCRIPTION OF ITEM: A GREAT VINTAGE ORIGINAL ADVERTISEMENT FOR A HISTORICAL COMPANY AND/OR PRODUCT. ADVERTS ARE CAREFULLY REMOVED FROM MAGAZINE AND MAY BE TRIMMED IN PREPARATION FOR DISPLAYING. MARGINS ARE INCLUDED IN ADVERT SIZE. **NOTE** : PAGES MAY SHOW AGE WEAR AND IMPERFECTIONS TO MARGINS, WITH CLOSED NICKS AND CUTS, WHICH DO NOT AFFECT AD IMAGE OR TEXT WHEN MATTED AND FRAMED. At BRANCHWATER BOOKS we look for rare & unusual ADVERTISING, COVERS + PRINTS of commercial graphics from throughout the world. ALL items we sell are ORIGINAL and 100% guaranteed --- (we code all our items to insure authenticity) ---- we stand behind this. As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past. PLEASE LOOK AT OUR PHOTO'S CLOSELY AS THEY ARE EXACT SCANS (ALBEIT VERY LOW RESOLUTION) OF THE PRODUCT BEING SOLD..... Should you have any questions please feel free to email us and we will clarify. We ship via USPS. We are not responsible for uninsured item after mailed. WE ship items on WEDNESDAY + FRIDAY. NO CHARGE for additional like items shipped to the same address. For multiple purchases please wait for our invoice... THANKS. A Note to our international buyers. Please read before placing a bid or buying an item: **Import taxes, duties and charges are not included in the item price or shipping charges. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding/buying on items. These charges are normally collected by the shipping company or when you pick the item up, this is not an additional shipping charge. We do not mark merchandise values below value or mark items as GIFTS. US and International government laws prohibit this. We are not responsible for shipping times to international buyer's. Your country's customs may hold the package for up to a month. Please contact us if you do not receive your item within a couple of weeks. We can then email you the customs form number. Please note: We charge a flat $2.00 handling fee on all international purchases. Also, we use calculated shipping based on the items weight without the box or packaging (as we make each box to fit the item sold for maximum protection) so we estimate the total shipping weight. If your shipping costs were less than charged we will refund the difference within one business day after item was shipped. We ask that payment be made within 3 days or to notify us via email otherwise. We send out a reminder payment email once and then proceed with unpaid item report on the 8th day. We carry thru with reporting and feedback if auction is not completed. **We pride ourselves on quality products, great service, accurate gradations and fast shipping.** BRANCHWATER BOOKS GRADING SCALE: GOOD-->VERY GOOD-->FINE --If you cannot give 5 star rating please contact us so we may attempt to remedy the problem, Thank you.-- --Add literary to your seller favorite list today! We will be adding vintage and unusual advertising almost daily.-- Please visit our EBAY STORE to find more vintage collectibles. Just click on the BOOK below. Branchwater Books and Ephemera 13443 Powered by SixBit's eCommerce Solution

Price: 29.95 USD

Location: Branch, Michigan

End Time: 2024-12-20T06:04:52.000Z

Shipping Cost: 8.95 USD