A Barbara Stanwyck Group of Set Stills from Her Films

A Barbara Stanwyck Group of Set Stills from Her Films Including Internes Can't Take Money, Remember the Night, The Lady Eve, The Great Man's Lady, The Bride Wore Boots, The Strange Love of Martha Ivers, California, Sorry, Wrong Number, The File on Thelma Jordan, The Furies, and No Man of Her Own. Please note that there may be some duplication of photographs in each film folder. Internes Can't Take Money (Paramount Pictures, 1937). Starring Barbara Stanwyck, Joel McCrea. Director Alfred Santell. Approximately 60 silver gelatin photographs, 8 x 10 in., most with location descriptions handwritten in ink to border, some with photographer 'A.E. Freudeman' stamped to verso, one featuring Barbara Stanwyck and Joel McCrea. Remember the Night (Paramount Pictures, 1939). Starring Barbara Stanwyck. Director Mitchell Leisen. Approximately 90 silver gelatin photographs, 8 x 10 in., almost all with location descriptions handwritten in ink to border, many with 'Interior Decorating (36)' stamped to verso, 2 with Barbara Stanwyck and director Mitchell Leisen. The Lady Eve (Paramount Pictures, 1941). Starring Barbara Stanwyck. Director Preston Sturges. Approximately 100 silver gelatin photographs, 8 x 10 in., most with location descriptions handwritten in ink to border, many with 'Interior Decorating (36)' stamped to verso, 2 featuring director Preston Sturges. The Great Man's Lady (aka Pioneer Woman) (Paramount Pictures, 1941). Starring Barbara Stanwyck. Director William Wellman. Approximately 400 silver gelatin photographs, 8 x 10 in., almost all with location descriptions handwritten in ink to border, many with 'Interior Decorating (36)' stamped to verso, one featuring Barbara Stanwyck and Joel McCrea and one of McCrea alone. The Bride Wore Boots (Paramount Pictures, 1946). Starring Barbara Stanwyck. Director Irving Pichel. Approximately 45 silver gelatin photographs, 8 x 10 in., almost all with location descriptions handwritten in ink to border, some with 'Interior Decorating (36)' stamped to verso, one featuring Robert Cummings. Together with 30 smaller photos, 4 x 5 in. The Strange Love of Martha Ivers (aka Love Lies Bleeding) (Paramount Pictures, 1946). Starring Barbara Stanwyck. Director Lewis Milestone. Approximately 65 silver gelatin photographs, 8 x 10 in., almost all with location descriptions handwritten in ink to border, some date stamped (July 1945), some with 'Interior Decorating (36)' stamped to verso, one featuring Barbara Stanwyck and one featuring Kirk Douglas. Together with approximately 23 smaller photos, 4 x 5 in. California (Paramount Pictures, 1947). Starring Barbara Stanwyck, Ray Milland. Director John Farrow. Approximately 90 silver gelatin photographs, 8 x 10 in., almost all with location descriptions handwritten in ink to border, some with 'Interior Decorating (36)' stamped to verso. Together with 4 smaller photos, 4 x 5 in. Sorry, Wrong Number (Paramount Pictures, 1948). Starring Barbara Stanwyck. Director Anatole Litvak. Approximately 135 silver gelatin photographs, 8 x 10 in., most with location descriptions handwritten in ink to border, and some with 'Interior Decorating' stamped to verso, one featuring Barbara Stanwyck (photos are curled at bottom, with some foxing). Together with 11 smaller photos (some with foxing), 4 x 5 in. The File on Thelma Jordan (Paramount Pictures, 1949). Starring Barbara Stanwyck. Director Robert Siodmak. Approximately 120 silver gelatin photographs, 4 x 5 in., many with location descriptions handwritten in ink to border, some date stamped (March 1949) to verso, one featuring Stanwyck and Wendell Corey. Together with 115 silver gelatin photographs, 8 x 10 in., one featuring Barbara Stanwyck. The Furies (Paramount Pictures, 1950). Starring Barbara Stanwyck. Director Anthony Mann. Approximately 150 silver gelatin photographs, 4 x 5 in., most with location descriptions handwritten in ink to border, and some with 'Interior Decorating' stamped to verso, 2 featuring Barbara Stanwyck and 2 featuring Gilbert Roland. Together with 115 larger photos, 8 x 10 in., two featuring Barbara Stanwyck (one with Judith Anderson). No Man of Her Own (Paramount Pictures, 1950). Starring Barbara Stanwyck. Director Mitchell Leisen. Approximately 185 silver gelatin photographs, 4 x 5 in., most with location descriptions handwritten in ink to border, some date stamped (June 1949), and some with 'Interior Decorating' stamped to verso, 7 featuring Barbara Stanwyck (one of her with director Mitchell Leisen). Though never under exclusive contract with Paramount Pictures, Barbara Stanwyck made some of her best films for them. Stanwyck often played tough women, some with, and some without, hearts of gold. She was adept at all genres and as such was never stereotyped. Directors instantly recognized her talent; in The Lady Eve (1941), director Preston Sturges chose her to hustle the meek Henry Fonda, resulting in one of her most memorable performances. During the war years, she was considered one of the top box office stars working for Paramount, along with Bing Crosby and Ray Milland. She hit the jackpot under the direction of Billy Wilder in the quintessential film noir, Double Indemnity (1944), with Fred MacMurray, playing a femme fatale with money and murder on her mind. It is her most unforgettable role. Paramount gave her the cream of the crop as far as their leading men including Kirk Douglas, Joel McCrea, and Burt Lancaster, to name a few. In the 1930s and '40s, Barbara was the rare star who freelanced as opposed to being under contract with a studio, but many of her best films came out of her association with Paramount Pictures. 8 x 10 in. or smaller Footnotes: The collection of Paramount Pictures set stills that is being offered in this auction is an extraordinary historical archive from the late 1920s to the early 1970s. Sets stills were taken for continuity purposes and to document the arrangements of the sets and props, etc, during the making of a film. Not only does this collection photographically document the changes in filmmaking through the decades, it details the changing styles of architecture, interior design (the Art Deco sets from the 1930s are astonishingly beautiful), fashion, cars, and more. In the cases of location shooting, one can see the evolution of various southern California towns and landmarks, from the tony nightspots of Hollywood to the open spaces of Brentwood to the artistry of the Paramount Ranch. The photos give a unique behind-the-scenes look at the stars during filming; some vamp for the camera while others avoid it, some study their scripts or confer with the director, and some look incredibly bored. Equally interesting is the appearance of the stars' lookalike stand-ins and famous extras such as Bess Flowers. The unsung heroes of filmmaking, the crews, are seen as well, holding the booms, adjusting the lights, holding the clapper boards, and waiting, waiting, waiting. And speaking of unsung heroes, the talent, imagination, style, and creativity of the art directors and set decorators for these films cannot be overstated. Most of the fashion designers of the 1930s and '40s, such as Edith Head, are recognized for their contributions, as well they should be; however, the set decorators and art directors are grossly overlooked. Masters of their profession such as Hans Dreier, Robert Usher, William Flannery, Hal Pereira, Ernst Fegte, Sam Comer, Walter H. Tyler, A. Earl Hedrick, and so many others, deserve their place in the s For further information about this lot please visit the lot listing