jack henley (10 Ergebnisse)

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Vintage studio still photograph from the 1962 re-release of the 1946 film. With one provenance stamp on the verso. Two screentwriters go their separate ways when one of them starts working for his soon-to-be-father-in-law. Set in Chicago. 10 x 8 inches. Near Fine.

Broschiert. Zustand: gut. VII, 93 S., 25 cm, Bibliotheksexemplar, eine Seite mit Läsur. Sprache: Englisch.

Buch. Zustand: Neu. Neuware - This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Vintage publicity photograph from the 1951 film. Printed mimeo snipe and provenance stamp on the verso. Ma and Pa Kettle discover that they are going to become grandparents. The third installment in the "Ma and Pa Kettle" series. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. 8 x 10 inches. Near Fine.

Two vintage publicity photographs from the 1955 film, one showing actors Marjorie Main and Percy Kilbride, the other showing actress Lori Nelson. Printed mimeo snipe affixed to the verso of one. Ma and Pa head to visit a cousin in Hawaii. The seventh film in Universal-International's successful "Ma and Pa Kettle" series, and Kilbride's final film appearance. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. 8 x 10 inches. Near Fine.

Paperback. Zustand: Good. Illustrated by Alexander, David (illustrator). First Edition. 64 pages. Seventeen gorgeous one-page photos of Linda, seven of these in color. Includes piano sheet music, lyrics and guitar chords for these classic Linda Rondstadt hits: Desperado; Different Drum; Heat Wave; It Doesn't Matter Any More; Long Long Time; Love Has No Price; Love is a Rose; Silver Threads & Golden Needles; That'll Be The Day; Tracks Of My Tears; When Will I Be Loved; You're No Good. Unmarked with average wear. Binding intact. A sound vintage copy.; 4to - over 9¾" - 12" tall; Linda Rondstadt - Sheet Music, Desperado, Different Drum, Heat Wave, It Doesn't Matter Any More, Long Long Time, Love Has No Price, Love is a Rose, Silver Threads & Golden Needles, That'll Be The Day, Tracks Of My Tears, When Will I Be Loved, You're No Go.

Vintage reference photograph from the set of the 1943 film, showing actresses Kay Harris and Marguerite Chapman visiting director Charles Barton on the set. Printed mimeo snipe and stamp of photographer M.B. Paul on the verso. Based on the 1941-1944 wartime radio show by Jean Ruth, about a switchboard operator who dreams of becoming a radio personality. 8 x 10 inches. Very Good plus, with dents at the center top and bottom edges.

An archive of 38 photographs, two newspaper clippings, and an SS Lurline paper photo-mat, housed in a generic photograph album, belonging to screenwriter Jack Henley, circa 1920-1957. The archive primarily consists of 8 x 10 inch press and professional photographs, with six smaller vernacular photographs, documenting the screenwriter's private and professional life, the majority of which date from the late 1920s to the early 1940s, during Henley's ascent and establishment as a popular comic screenwriter during Hollywood's Golden Age. 17 double-weight photographs, five borderless photographs, eight inscribed photographs, and seven on-the-set photographs, as well as two newspaper clippings, and a lei-themed paper photo-mat from a cruise on the SS Lurline. The photograph album contains twenty pages with the photographs, one newspaper article, and the cruise photo-mat under a clear plastic overlay on the rectos and versos of most pages, with one article laid in. Detailed inventory available upon request. A prolific comedy screenwriter, Henley is credited with writing or contributing to 120 films beginning in 1930 until his death in 1958. Despite Henley's contribution to cinema, we have been unable to locate much biographic information on the Irish born writer other than screen credits, death notices, and the photograph album found here. Henley's first screen credits date to pre-Code comedy shorts beginning in 1930, and beginning in 1932 he worked extensively with Roscoe 'Fatty' Arbuckle on his comeback projects until Arbuckle's death in 1933. Henley is credited as screenwriter or co-screenwriter (with Glen Lambert) on all six of the films Arbuckle made in the last two years of his life, Hey Pop" (1932), "In the Dough" (1932), "Buzzin' Around" (1933), "How've You Bean?" (1933), "Close Relations" (1933), and "Tomalio" (1933). Henley is perhaps best remembered for his work on the films "A Night to Remember" (1942), "Reveille with Beverly" (1943), and "Strange Affair" (1944), as well as being screenwriter for six of the "Blondie" film series made between 1947 and 1950. The first nine photographs in the album all appear to be of "America's Prima Donna of the Blues," Billie DeVere (not to be confused with the 1940s "Myrt and Marge" radio show character of the same name), circa 1920s to 1934, a likely early paramour of Henley's. Five of the photographs are publicity portrait photographs, one with an annotation of DeVere's name on the verso, and two charmingly inscribed by DeVere's mother. One, a smaller portrait photograph, is inscribed "Lovingly Always Billie," and another, a publicity photograph for the nine-piece Billie DeVere Company, is inscribed "Best Regard from The Billie DeVere Co," with the inscription of the ensemble member's first names in the bottom margin. The final two of the nine DeVere photographs depict DeVere and a man, we believe to be Henley, together, one at a 1932 New Year's Eve celebration aboard the SS Rotterdam with a third, unidentified man, inscribed in the negative as "New Years Eve / 1933-34 / S.S. Rotterdam," and a humorous photograph of DeVere and Henley in cowboy regalia. DeVere was renowned for her elaborate, gorgeous costumes, and toured extensively with her company around the US during the late 1920s and early 1930s, "Bluin' the Blues," performing "a riot of singing, music, comedy and novelties." The next five photographs are of Henley's next and, presumably, final girlfriend, Lucille Watson (not to be confused with the Canadian actress Lucile Watson), an aspiring blonde actress, who, because of the inscription on a later photograph by actor and singer Charles 'Buddy' Rogers, "For Lucille - Regards to the charming wife of my pal Jackie," we can reasonably infer became the wife of Henley. Three of the five are publicity portraits with agency stamps on the versos, one is a candid photograph of Watson, and one is of Watson with an unknown performer, "Jack," found in two other photographs in the archive, including one inscribed photograph. Next is a 5 x 7 inch photograph of an unidentified man in a "Mocambo Hollywood" paper mat, the large ornamental SS Lurline, lei-themed paper photo-mat (not containing a photograph), two 5 x 7 inch photographs of Watson at cruise ship events, and a vernacular photograph of Henley with fishing gear and his catch, a large flatfish (Henley and Watson likely honeymooned aboard the SS Lurline). Next is a portrait photograph of a young man in a Royal Flying Corps (RFC) uniform, circa early 1920s, likely Henley during or after World War I, before emigrating to the US. Most of the subsequent photographs document Henley's career in Hollywood, including: Two copies of a photograph of Henley behind a piano with an unidentified pianist and woman, possibly Ann Miller rehearsing for the film "Reveille with Beverly" (1943). Four on-the-set photographs from the "The Wife Takes a Flyer" (1942), here under the working title "Highly Irregular," featuring director Richard Wallace, stars Joan Bennett and Franchot Tone, and actor Pat O'Brien visiting the set. Two feature Henley, who is noted on the mimeo snipes on the versos, but was not credited in the final film. Three on-the-set photographs from "Two Yanks in Trinidad" (1942), featuring director Gregory Ratoff and stars Pat O'Brien, Janet Blair, Brian Donlevy, and Roger Clark, with two featuring Henley. Four inscribed portrait photographs to Henley (or his wife "Lucille") from actor Victor Moore, actor and singer Charles 'Buddy' Rogers, actress Leslie Brooks, and an unidentified actor or performer "Jack." Among the other photographs in the archive is a humorous photograph of Henley in a undershirt with four unidentified, sharply-dressed individuals posing on an LA street, and a group of six unidentified individuals, including the aforementioned "Jack," at a nightclub table. Other photographs include three photographs of the interior and exterior of a home (presumably Henley's) and a vernacular photogr.