VINTAGE 1953 PRINCESS GRACE KELLY PORTRAIT RARE HITCHCOCK REAR WINDOW PHOTOGRAPH


VINTAGE 1953 PRINCESS GRACE KELLY PORTRAIT RARE HITCHCOCK REAR WINDOW PHOTOGRAPH

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VINTAGE 1953 PRINCESS GRACE KELLY PORTRAIT RARE HITCHCOCK REAR WINDOW PHOTOGRAPH:
$142.75


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 changed 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: You are offerding on a vintage and original 1953 glamorous and regal portrait photograph of iconic Grace Kelly - a 20th Century fairytale come to life. Posed in an unforgettable \"fresh from Paris\" Edith Head gown that she wore in Rear Window, this portrait captures the cool beauty that wowed Hitchcock, the moviegoing public, and eventually, Monaco\'s royal family. A truly stunning image and remarkable Golden Age of Hollywood treasure!Measures 8\" x 10\" with margins on glossy, single weight paper stock. Verso is blank.Guaranteed to be 100% vintage and original from GrapefruitMoonGallery.
We have come into an extraordinary collection of antique Hollywood photography and memorabilia and are happy to combine multiple wins at no additional cost.CONDITION: This original, gelatin silver photograph is in fine condition, but no better. There is scattered corner and edge wear; some loss to the top left corner; and two tears in the top margin. The image area is clean and near flawless. A magnificent photo!***************Both literally and metaphorically, Grace Kelly was the cinema\'s fairy-tale princess; beautiful, elegant, and impossibly glamorous, she transcended the limits of Hollywood aristocracy to attain the power and glory of true royalty. Born November 12, 1929, in Philadelphia, PA, her father was a wealthy industrialist while her mother was a onetime cover girl. Her uncle, George Kelly, was the Pulitzer Prize-winning dramatist behind the plays The Show-Off and Craig\'s Wife. At the age of ten, she made her own theatrical debut in a Philadelphia-area production, and in her late teens she moved to New York, where she worked as a model while attending the American Academy of Dramatic Arts. After turning down a Hollywood contract for fear of being typecast as a starlet, Kelly began to work in television, and in 1949 she made her Broadway debut in a revival of August Strindberg\'s The Father. When Hollywood again came calling, she accepted and was soon cast in a bit part in 1951\'s Fourteen Hours.In just her second screen appearance, Kelly co-starred in a certifiable classic, the 1952 Western High Noon. Curiously, however, she did not benefit from the film\'s success, and no other offers were immediately forthcoming. She agreed to a screen test for a role in Taxi! but was rejected in favor of Constance Smith. However, the screen test found its way to director John Ford, who tapped her for 1953\'s Mogambo. The result was a seven-year contract with MGM, as well as a Best Supporting Actress Oscar nomination. Alfred Hitchcock then enlisted Kelly\'s services for a pair of 1954 films, Dial M for Murder and the brilliant Rear Window; it was said that she was the perfect blonde the master director had been seeking throughout his career. She was now a major star, and when actress Jennifer Jones became unexpectedly pregnant, Paramount begged MGM to allow Kelly to take her place in 1954\'s The Country Girl. The studio initially refused, but she successfully battled for the role. The result was a Best Actress Oscar.After starring in MGM\'s Green Fire, Kelly teamed with Hitchcock for the third and final time on 1955\'s To Catch a Thief. While filming on the French Riviera, she met Prince Rainier III of Monaco, and the two began a romance which was soon making international headlines. After starring in 1956\'s High Society, a musical update of The Philadelphia Story, and a remake of the onetime Lillian Gish vehicle The Swan, Kelly announced her pending marriage to Rainier. She also announced her retirement from filmmaking to devote her full energies to her new duties as Princess of Monaco. A lavish wedding soon followed, and although it was announced in 1962 that she was to return to Hollywood to star in Hitchcock\'s Marnie, she later withdrew from the project and never acted again. Grace Kelly died September 14, 1982, in an auto accident after suffering a heart attack while driving.~ All Movie Biography by Jason Ankeny***************Along with composer Max Steiner and cinematographer James Wong Howe, American costume designer Edith Head was one of the few behind-the-scenes movie technicians that the general public knew by name. Holding a BA from the University of California at Berkeley and an MA from Stanford, Ms. Head spent her early professional years as a language and art teacher. Reportedly, she also tried her luck as a movie starlet in 1923. While attracted to films, Ms. Head was more at home designing for them than appearing in them. She joined the costume department of Paramount in 1932, graduating to head designer in the late \'30s. Her name was attached to virtually every prestige production turned out by the studio over the next thirty years, including the autonomously-produced films of Cecil B. DeMille; Ms. Head gained DeMille\'s lifelong respect by being one of the few Hollywoodites who refused to kowtow to him. Many of Ms. Head\'s movie designs gained popularity in the public sector, notably Dorothy Lamour\'s formfitting sarong, Veronica Lake\'s peekaboo haircut, and Bette Davis\' off-the-shoulder evening gown for All About Eve (1950). Nominated for 40 Academy Awards (all after 1947, the first year of the Best Costume Design category) Ms. Head won the prize for All About Eve, The Heiress (1949), Samson and Delilah (1949), A Place in the Sun (1951), Roman Holiday (1953), Sabrina (1954), The Facts of Life (1960) and The Sting (1973). She also designed many of the gowns worn by the other Oscar recipients. After 35 years at Paramount, Ms. Head was signed by Universal in 1967, where she remained until her death. Because of her first-hand experience with four decades\' worth of changing fashions, Ms. Head was indispensible to such period films of the \'70s as The Sting, Gable and Lombard (1976) and W.C. Fields and Me (1977). In 1980, she deliberately copied many of the creations of her Hollywood rivals for the Steve Martin comedy Dead Men Don\'t Wear Plaid, in which Martin interacted with clips from classic films of the \'40s. Ms. Head died shortly after finishing this assignment; when Dead Men Don\'t Wear Plaid was released in 1982, it carried a dedication to Edith Head.~ All Movie Biography by Hal Erickson

VINTAGE 1953 PRINCESS GRACE KELLY PORTRAIT RARE HITCHCOCK REAR WINDOW PHOTOGRAPH:
$142.75

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