Barefoot Bathing Beauty Rita Hayworth Vintage 1940 Pin - Up Glamour Photograph




Item History & Price

Information:
Reference Number: Avaluer:6828173Size: 8" x 10"
Modified Item: NoSubject: Rita Hayworth
Country/Region of Manufacture: United StatesPhotographer: A.L. "Whitey" Schafer
Original/Reproduction: Original
Original Description:


Thanks to all our eBay bidders! 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 p...olicies and please take a moment to peruse our other great eBay listings. All sell no reserve!

ITEM: This is a vintage and original Columbia Pictures photograph featuring Golden Age of Hollywood sex symbol Rita Hayworth as photographed by A.L. Schafer. The silver screen superstar is radiant as a barefoot bathing beauty seated in a small director's chair with her long legs draped over one side. A wonderfully glamorous and sexy pin-up portrait that dates to 1940.

Rita Hayworth was one of the era's top stars, appearing in a total of 61 films over 37 years. The press coined the term "The Love Goddess" to describe Hayworth after she had become the most glamorous screen idol of the 1940s. She was the top pin-up girl for GIs during World War II.

Measures 8" x 10" on a glossy double weight paper stock.
Photographer's ink stamp, Advertising Advisory Council ink stamp, and handwritten notations on verso.

CONDITION: Fine condition with soft corners and mild storage/handling wear. Please use the included images as a conditional guide.

Guaranteed to be 100% vintage and original from Grapefruit Moon Gallery.

••••••••••••••••••••

Rita Hayworth was born Margarita Carmen Cansino on October 17, 1918, in Brooklyn, New York, into a family of dancers. Her father, Eduardo Cansino Reina, was a dancer as was his father before him. He emigrated from Spain in 1913. Rita's American mother, Volga Margaret (Hayworth), who was of mostly Irish descent, met Eduardo in 1916 and were married the following year. Rita, herself, studied as a dancer in order to follow in her family's footsteps. She joined her family on stage when she was eight years old when her family was filmed in a movie called La Fiesta (1926). It was her first film appearance, albeit an uncredited one. Sotted by Fox studio head Winfield R. Sheehan, she signed her first studio contract, and make her film debut at age sixteen, in Dante's Inferno (1935), followed by Cruz Diablo (1934). She continued to play small bit parts in several films under the name of "Rita Cansino". She was Fox dropped her after five small roles, but expert, exploitative promotion by her first husband Edward Judson soon brought Rita a new contract at Columbia Pictures, where studio head Harry Cohn changed her surname to Hayworth and approved raising her hairline by electrolysis. She played the second female lead, Judy McPherson, in Only Angels Have Wings (1939). After thirteen minor roles, Columbia lent her to Warner Bros. for her first big success, The Strawberry Blonde (1941); her splendid dancing with Fred Astaire in You'll Never Get Rich (1941) made her a star. This was the film that exuded the warmth and seductive vitality that was to make her famous. Her natural, raw beauty was showcased later that year in Blood and Sand (1941), filmed in Technicolor.

Rita was probably the second most popular actress after Betty Grable. In You'll Never Get Rich (1941) with Fred Astaire, was probably the film that moviegoers felt close to Rita. Her dancing, for which she had studied all her life, was astounding. After the hit Gilda (1946) (her dancing had made the film and it had made her), her career was on the skids. Although she was still making movies, they never approached her earlier success. The drought began between The Lady from Shanghai (1947) and Champagne Safari (1954). Then after Salome (1953), she was not seen again until Pal Joey (1957). Part of the reasons for the downward spiral was television, but also Rita had been replaced by a new star at Columbia, Kim Novak.

Rita, herself, said, "Men fell in love with Gilda, but they wake up with me". In person, Rita was shy, quiet and unassuming; only when the cameras rolled did she turn on the explosive sexual charisma that in Gilda (1946) made her a superstar. To Rita, though, domestic bliss was a more important, if elusive, goal, and in 1949 she interrupted her career for marriage - unfortunately an unhappy one almost from the start - to the playboy Prince Aly Khan. Her films after her divorce from Khan include perhaps her best straight acting performances, Miss Sadie Thompson (1953) and They Came to Cordura (1959).

After a few, rather forgettable films in the 1960s, her career was essentially over. Her final film was The Wrath of God (1972). Her career was really never the same after Gilda (1946). Perhaps Gene Ringgold said it best when he remarked, "Rita Hayworth is not an actress of great depth. She was a dancer, a glamorous personality, and a sex symbol. These qualities are such that they can carry her no further professionally." Perhaps he was right but Hayworth fans would vehemently disagree with him.

Beginning in 1960 (age 42), early onset of Alzheimer's disease (undiagnosed until 1980) limited Rita's ability. The last few roles in her 60-film career were increasingly small. With 20 years of symptoms, Rita was cared for by her daughter, Yasmin Khan, until Rita's death at age 68 on May 14, 1987, in New York City.

- IMDb Mini Biography By: Rod Crawford and Denny Jackson

••••••••••••••••••••

A.L. “Whitey” Schafer
Biography By: Mary Mallory

In the very early days of the motion picture industry, stills photographers meant nothing to the moving picture companies. They asked their feature cameramen to work double duty, shooting scene stills after completing filming that very same scene. These companies also hired local photographic studios to shoot portraits of their stars, or allowed the stars themselves to hire photographers to shoot images that could be employed in advertising.

When stars’ names and faces became important tools to sell product, stillsmen became integral in shaping a motion picture company’s or star’s brand that could be sold to consumers. Studios hired their own photographers to shoot scene, production, off-camera and reference stills that could be employed in advertising, while major stars Mary Pickford and William S. Hart signed their own personal cameramen like K. O. Rahmn and Junius Estep to capture their on- and off-camera pursuits. By the middle of the 1920s, each studio established stills departments to shoot, process and manufacture the thousands of stills required for product-hungry newspapers, magazines and consumer tie-ins.

A. L. “Whitey” Schafer” experienced the evolution of motion picture still photography in his 30-year career working as a lenser at film studios. He would go on to head two studios’ portrait galleries, win awards and share his talent with amateur photographers, becoming one of the top star shooters of the 1930s and 1940s.

Born in Salt Lake City, May 16, 1902, Adolph L. Schafer moved with his family to Hollywood in the mid-teens, where he studied and created art. Schafer won an art scholarship to a Chicago school after graduating from high school, but lack of funds prevented him from accepting the offer. Instead, he joined Famous Players-Lasky in 1921, where he worked in the stills laboratory, processing prints.

A popular, outgoing man, Schafer was described as being as loud as his clothes. Somewhere along the way, he acquired the nickname, “Whitey, ” but with a name like Adolph, it probably occurred when he was a boy.

In 1923, Schafer joined the Thomas Ince Studio, where he shot stills and occasionally appeared in features. Schafer revealed in a 1948 Popular Photography article, “That was in the days when everybody on the lot was called on to act at times. When we weren’t shooting pictures, we were doing “walk-ons.”

Schafer stayed at the Culver City studio as a stills photographer through 1931, as it passed from Ince to Cecil B. DeMille, Pathe, and RKO-Pathe, later joining Universal. He moved to Columbia in 1932, before being appointed head of the stills photography department in 1935 upon the death of department chief William Fraker. Schafer would create glamorous, lush portraits of such stars as Rita Hayworth, Loretta Young, Jean Arthur and William Holden over the next six years. Many of his photos featured simple lighting highlighting female stars’ flowing locks, full, relaxed body shots, or heroic, manly poses. His simple yet lovely images defined stars’ personas.

In his 1941 book, “Portraiture Simplified, ” Schafer emphasized, “…portraiture’s purpose is the realization of character realistically.” That meant capturing people as they really were. Portraiture required forethought in capturing character, with its goal “…to get the entire character of your subject into a single picture.”

His intent in writing the book was to assist amateur photographers in creating vivid portraits and not just snapshots. Schafer described the equipment required, especially lenses and lighting, along with the proper film, papers and processing. The heart of his book, however, focused on composition of portraits, giving examples of each type (straight, full figure, effect, illustrative, and high and low key), with illustrations explaining the proper setup of lights and backgrounds.

To help promote the book, he wrote articles for a variety of magazines, including Popular Science in 1943 and Popular Photography in 1948. In Popular Science, he listed suggestions on how to improve pictures, especially employing backgrounds with patterns, looking for interesting lines, finding a contradictory line between the center of attention and plain background, varying the heights and directions of group poses and most important, have the subject look away from the lens as the photographer tilts the camera.

“It is the background that makes your pictures…Place your subject directly against the wall, turn one shoulder toward the camera and arrange a single key light high enough to cast a butterfly shadow under the nose so long as almost to reach the lip.”

In Popular Photography, he stated, “Composing a portrait is comparable to writing a symphony. There must be a center of interest, and in all portraits this naturally must be the head, or your purpose is defeated. Therefore, the highest light should be on the head.”

Schafer replaced Eugene Robert Richee as Paramount Studios’ stills photography head in 1941, moving away from Richee’s more experimental and inventive lighting and sophistication to focus on more conventional and subdued photography. He also experimented with technology, manufacturing a specially balanced tripod and speed lamp, and patenting the Devin One-Shot for color.

For the inaugural Hollywood Studios’ Still Show in 1941, a show created by the Academy of Motion Picture Arts and Sciences to recognize outstanding still photography work, help define professional practices, and promote films to the general public, Schafer decided to create a novelty shot to satirically slap at the Production Code, the censorship standards of the Motion Picture Producers and Distributors Assn. His satirical image, entitled, “Thou Shalt Not, ” displayed the top 10 faux-pas disallowed by industry censors, who approved every photographic image shot by studios before they could be distributed.

Fellow photographers and publicity heads loved the photograph, which became a popular bootleg item among the studios. Outraged organizers pulled the image from the competition, and Schafer was threatened with a $2, 000 fine for violating the Production Code. Schafer defended himself, noting that all the judges were hoarding the 18 prints submitted for the show. The image was banned for many years before being printed in a newspaper decades later.

Schafer’s success as a studio photographer enabled him to move his wife, Beulah, and son Wayne to a 10-room North Hollywood home at 10337 Valley Spring Lane, drive a flashy convertible, and establish an outside photography store.

While on a vacation with his wife to visit friends in Bremerton, Wash., in late August 1951, tragedy struck. On Aug. 26, Schafer was attempting to help the owner of the 42-foot yacht light a stove, when the boat “exploded, burned and sunk, ” per the Sept. 1, 1951, Los Angeles Times, in an explosion heard two miles away. Four other people were injured. He died from his injuries on Aug. 31.

Schafer’s Requiem Mass was held the morning of Sept. 5, 1951, at St. Brendan’s Catholic Church, with the Paramount stills department closed for the morning to enable the staff to attend the service. “Bud” Fraker, the son of William Fraker, replaced him as Paramount stills department head.

Only 49 when he died, Schafer left an impressive body of work behind, and sadness of what other great accomplishments he might have achieved.

— Biography By: Mary Mallory c/o The Daily Mirror

••••••••••••••••••••





    Similar items


  • Lissome Barefoot Bathing Beauty Loretta Young Vintage 1931 Pin - Up Photograph

    Lissome Barefoot Bathing Beauty Loretta Young Vintage 1931 Pin - Up Photograph

  • Vintage 1950 Rolf Armstrong Pin - Up Calendar Barefoot Bathing Beauty Twinkle Toes

    Vintage 1950 Rolf Armstrong Pin - Up Calendar Barefoot Bathing Beauty Twinkle Toes

  • Barefoot Bathing Beauty 1933 Art Deco Blonde Pin - Up Girl Photograph

    Barefoot Bathing Beauty 1933 Art Deco Blonde Pin - Up Girl Photograph

  • Barefoot Bathing Beauty Ann Miller 1941 Glamorous Pin - Up Photograph

    Barefoot Bathing Beauty Ann Miller 1941 Glamorous Pin - Up Photograph

  • Rita Hayworth Vintage 1940s Columbia Pictures Portrait Photo

    Rita Hayworth Vintage 1940s Columbia Pictures Portrait Photo

  • Rita Hayworth Vintage 1940s Close - Up Portrait Photo

    Rita Hayworth Vintage 1940s Close - Up Portrait Photo

  • Rita Hayworth Vintage 1940 Portrait Photo " Angels Over Broadway "

    Rita Hayworth Vintage 1940 Portrait Photo " Angels Over Broadway "

  • Barefoot Bathing Beauty Terry Moore 1950s Poolside Pin - Up Photograph

    Barefoot Bathing Beauty Terry Moore 1950s Poolside Pin - Up Photograph


    • You might also like


    • Vintage Photo Sexy Ava Gardner Museum Find Rare Great Artistic Lovely

      Vintage Photo Sexy Ava Gardner Museum Find Rare Great Artistic Lovely

    • Vintage Photo Sexy Lana Turner Museum Find Rare Beguiling Beauteous

      Vintage Photo Sexy Lana Turner Museum Find Rare Beguiling Beauteous

    • Ingrid Bergman " Casablanca " Vintage 1942 Jack Woods Stamp Photo

      Ingrid Bergman " Casablanca " Vintage 1942 Jack Woods Stamp Photo

    • Paulette Goddard Sexy Leggy Swimsuit At Beach Vintage Portrait Photo 1942

      Paulette Goddard Sexy Leggy Swimsuit At Beach Vintage Portrait Photo 1942

    • Deanna Durbin Vintage 1942 Ray Jones Stamp Leggy Photo

      Deanna Durbin Vintage 1942 Ray Jones Stamp Leggy Photo

    • Janet Blair Sexy Leggy Swimsuit Vintage Portrait Photo

      Janet Blair Sexy Leggy Swimsuit Vintage Portrait Photo

    • Paulette Goddard In Bathing Suit Vintage 1940 Leggy Cheesecake Photo

      Paulette Goddard In Bathing Suit Vintage 1940 Leggy Cheesecake Photo

    • Paulette Goddard Sexy Leggy Swimsuit At Beach Vintage Portrait Photo 1942

      Paulette Goddard Sexy Leggy Swimsuit At Beach Vintage Portrait Photo 1942

Avaluer          About Us          Privacy Policy          Contact Us          UP
© 2022, avaluer.net, Inc. or its affiliates