Glamour Art Deco Vamp Jeanette Loff 1920s Vintage Early Radio Promo Photograph For Sale
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Glamour Art Deco Vamp Jeanette Loff 1920s Vintage Early Radio Promo Photograph :
$35.00
Thanks to all our buyers! We are honored to be your one-stop, 5-star source for vintage pin up, pulp magazines, original illustration art, decorative collectibles and ephemera with a wide and always changing assortment of antique and vintage items from the Victorian, Art Nouveau, Art Deco, and Mid-Century Modern eras. All items are 100% guaranteed to be original, vintage, and as described. Please feel free to contact us with any and all questions about the items and our policies and please take a moment to peruse our other great items. All sell !ITEM: This is an late 1920s vintage and original Herbert Mitchell photograph of Rolf Armstrong pin-up model, actress and singer Jeanette Loff. This is a glamorous Art Deco studio glamour portrait of the star looking the epitome of the Jazz Age flapper vamp! This photo was used to promote Loff\'s appearance on the Nestle NBC radio program. Great early radio promotion.The press snipe reads, \"Jeanette Loff (above) stage and screen star, will appear as guest artist on the Nestle program Friday, October 2, from 8:00 to 8:30 P.M. (EST). The program will be broadcast through an NBC-WJZ network.\"An actress and singer of both silent films and the early talkie era, she was signed to a film contract by Cecil B. DeMille, and worked as a contract player for Pathé Exchange and later, Universal Pictures. She appeared in over twenty films during the course of her seven-year career. Loff formally retired from acting in 1934, with her last screen credit in Joseph Santley\'s \"Million Dollar Baby\" (1934). She died on August 4, 1942 from ammonia poisoning in Los Angeles at the age of 35. Though law enforcement was unable to determine whether her death was an accident or a suicide, Loff\'s family maintained that she had been murdered.Measures 8\" x 10\" on a glossy single weight paper stock.NBC ink stamp, paper caption, REF. DEPT. ink stamp, remnants of old adhesive, and pencil notations on verso.CONDITION: Fine condition with rippling in the left side of the photo and light, general storage/handling wear. Please use the included images as a conditional guide.Guaranteed to be 100% vintage and original from Grapefruit Moon Loff was born Janette Lov in Orofino, Idaho, on October 9, 1906. Her father Maurice was a successful violinist from Denmark who moved their family to Canada when Jeanette was a child. She loved to sing and she studied music at the Ellison-White Conservatory in Portland, Oregon. At age sixteen she had a starring role in the operetta Treasure Hunters. In Portland, Loff played the organ at local theaters. She made her acting debut in the 1927 film Uncle Tom\'s Cabin. Cecil B. Demille offered her a contract and she quickly became one of Hollywood busiest starlets. In 1928 she appeared in Annapolis, Love Over Night, and Hold \'Em Yale. After her parents divorced Jeanette\'s mother Inga and sisters Irene and Myrtle came to live with her in California. Jeanette married a salesman named Harry Rosenbloom but they divorced in 1929. She also had a love affairs with producer Paul Bern, song writer Walter O\'Keefe, and actor Gilbert Roland. Jeanette got the chance to show off her soprano voice in films like King Of Jazz and Party Girl. By 1931 she was tired of playing ingénues and decided to take a break from making movies. She moved to New York city and starred in several Broadway shows. Jeanette tried to make a comeback with the 1934 drama St. Louis Woman but it was not a hit. After a few more small roles her career stalled. Her final film was the comedy Million Dollar Baby. She retired from acting and married producer and liquor salesman Bert E. Friedlob. Sadly she did not get to enjoy her new life for very long. On August 5, 1942 Jeanette died after ingesting ammonia. She was only thirty-five years old. Although many believe she committed suicide her death may have been accidental. Her family does not believe she took her own life. Jeanette is buried at Forest Lawn Memorial Park in Glendale, California.- IMDb Mini Biography By: Elizabeth Mitchell (1898 - 1980), Manhattan, NY
Biography By: David S. ShieldsBorn Daniel Epstien, Herbert Mitchell left his native Poland with his family, fleeing the Czarist pogroms, shortly after the turn of the 20th century. The Epstiens settled in New Jersey. Visually creative, Mitchell taught himself to paint in his early teens using found materials. In 1915 he secured a job as set painter at a B.F. Keith Vaudeville theater on Broadway. He used his backstage access to celebrities as occasions to create on-the-scene caricatures that he sold to the Hudson Dispatch newspapers. \"The Boy Cartoonist\" was soon contributing lobby sketches of performers to the B.F. Keith theaters.After a brief experiment producing short animated entr’acte films for the Palace Theater, Mitchell established Mitchell-Strand N.Y.C. studio at 1579 Broadway in 1922-23. There, he produced \"cartoons, caricatures, and artistic photographs.\" Graphic work dominated his output until 1928 when Herbert Mitchell broke into the magazine market with his photographs.His earliest work displayed his painterly disposition in backgrounds which he painted on the negatives. This made Mitchell a participant in the new Broadway school of celebrity photographs (other members included M.I. Boris, George M. Kesslere, and John De Mirjian) who defied Hollywood hyper-realism by making the hand of the artist visible in the image. Herbert Mitchell preferred abstract patterning or indeterminate zones of light or dark. His elegantly retouched faces had a quality of sculptural palpability that enabled him to thrive in the 1930s when taste turned toward a humane style of portraiture. During the 1930s, he vied with Irving Chidnoff, G. Maillard Kesslere, Hal Phyfe, and Florence Vandam for the main place in theatrical portrait market. For financial reasons he would form short-lived partnerships with other artists, Ralph Oggiano (a student of M.I. Boris), and James Kriegsmann most notably.Silver shortages and an unwillingness to do West Coast movie shoots drove Mitchell into bankruptcy in 1940. James Kriegsman, Mitchell\'s retoucher for most of the later 1930s, purchased the business in 1940 and rebranded it. Mitchell Fendberg Studio on 4th Avenue changed its named to Mitchell Studio to parasitize Herbert Mitchell\'s reputation.Herbert Mitchell\'s later life proved as incident-filled as his earlier. He and Ed Hutchinson pioneered the theater restaurant idea in the 1930s. He also was a force in the introduction of Cuban rhumba music into American entertainment. But his primary efforts post-1940 were absorbed in brokering the partnerships that enabled the wartime electronics industry to organize on a national scale. A portion of his posthumous archive of photograph prints was sold at public sale by Swann Galleries on February 26, 1987.NOTES: \"Business Records,\" New York Times (Apr 29, 1940), 33. Biographical materials supplied by Howard R. Mitchell, Herbert Mitchell\'s son. David S. Shields/ALSSpecialty: Mitchell was a master of floating heads and the waist-up portrait shot with sitters posed at an angle 25-50 degrees off center. By frequently employing light toned patterned or plain backgrounds, he endeared himself to periodical photo editors for whom the dark backgrounds favored by art photographs presented reproduction difficulties. He never used props. He preferred shooting personalities in their own clothes rather than costumes. He had a talent for suggesting that the sitter was absorbed in thought or amused at his or her surroundings. He signed his best pieces in white ink.In the 1930s he offered the following observations about facial features and their contribution to attractiveness. \"A large mouth is more alluring than a perfectly-shaped small one for it denotes a gay, magnanimous character. Eyes are most important. Large, soulful ones or narrow, deep-set eyes each have a very definite attraction . . . you cannot make up a certain set of rules. Little irregularities make a face more interesting.”— Biography By: David S. Shields c/o Broadway (dot) CAS (dot) SC (dot)