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Item ended: Ziegfeld Follies Showgirl Iris Adrian Vintage 1932 Murray Korman Deco Photograph (details below)

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This eBay listing has ended : Ziegfeld Follies Showgirl Iris Adrian Vintage 1932 Murray Korman Deco Photograph

Ziegfeld Follies Showgirl Iris Adrian Vintage 1932 Murray Korman Deco Photograph

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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 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 eBay listings. All sell no reserve! ITEM: This is a vintage and original art deco studio portrait photograph of theatre and movie actress/dancer Iris Adrian. Photographed by Murray Korman, Adrian is a dreamy beauty washed in warm sepia tones. Used in promotion of Adrian's turn on the Broadway stage for Ziegfeld's musical-comedy "Hot-Cha!" (1932). Measures 8" x 10" on a glossy double weight paper stock. Culver Pictures, Inc. ink stamp and handwritten notations on verso. CONDITION: This vintage, silver gelatin photograph is in fine condition. There is a tear in the bottom margin, soft corners, and mild storage/handling wear throughout. Please use the included images as a conditional guide. Guaranteed to be 100% vintage and original from Grapefruit Moon Gallery. •••••••••••••••••••• Sugar, Pepper, Pearl, Sunny, Goldie, Bubbles, all those are nicknames borne by petite actress Iris Adrian in several of the 160 movies she made. With such names, don't expect to see her playing Joan of Arc or Electra but it remains that all these pet names reflect her winning femininity, its sweetness, its spiciness, its radiance. What's more their funny overtones are telltale signs of Iris Adrian's own quick witty sense of humor. Sexy yes, but with a sharp tongue. This aspect of her personality helped her to evolve and last, changing from the roles of blonde chorines or waitresses or, on the wilder side, of streetwalkers and other gangsters' molls to colorful bit parts in comedies with Abbott and Costello, Jerry Lewis and Elvis Presley. She ended up playing almost exclusively for Walt Disney productions before retiring at the respectable age of 82. Though she never achieved star status she could easily have if the circumstances had been favorable. For she steals scenes in a lot of movies provided of course her role is fleshed out sufficiently. She was excellent, for instance, in more than one poverty row crime movies. Don't miss her in 'Gold Diggers of 1937', 'Go West' (with the Marx Brothers, 1940), 'Lady of Burlesque' (1943), 'The Paleface'(1948), 'Once a Thief' (1950) and 'The Errand Boy' (with Jerry Lewis, 1961). - IMDb Mini Biography By: Guy Bellinger •••••••••••••••••••• Born on March 16, 1900, in Podolak, Russia, Murray Korman and his parents emigrated to New York City in 1912. Trained in graphic artists at the Cooper Union, he worked as a newspaper illustrator, and a kewpie doll painter in the early 1920s. He made money on the side by doing quick sketches of nightclub habitués at their tables. He submitted his petition for naturalization in May of 1928. At the time he was sketch artist for the Spanish language newspaper, La Prensa, and produced a short-lived daily comic strip, "Poor Paddy" that appeared in some New England papers. In late 1929, he opened a photographic studio on the fifth floor of The Mayfair Theatre Building on 47th Street and Seventh Avenue New York City for his theatrical work. In 1940 he opened a second studio at 324 Madison Avenue for his cafe society trade. He employed twelve persons, including his brother, and became the first artist proprietor to sign a wage agreement with the Photo Employees Union in 1943. The 47th Street studio was chaotic, the Madison Avenue venue, sedate. He quickly made a reputation as a capable New York practitioner of Hollywood style high key high gloss glamour. He distinguished himself from the other major theatrical portraitists of the Depression era by not attempting to manipulate the images graphically. Herbert Mitchell, M.I. Boris, Irving Chidnoff, and Alfred Cheney Johnston all inserted artistic effects in backgrounds. Since Korman's artistry lay in posing and lighting, he limited himself to retouching blemishes. He favored hot small spots angling from the side. "He turned to leg art and nudes because people looked at them and because he found women vain enough to desire that kind of picture. These shots made him the best known photographer of show girls in the Times Square Area." He advertised to open a branch of his studio in Boston in 1948, but the business did not come to pass. In the 1950s he formed a partnership with photographer Gil Ross and the joint studio operated at 32 West 58th Street in Manhattan. NOTES: "Noted Photographer Selects Bouquet of American Beauties" (Dec 27, 1936). John Ferris, "Murray Korman Leads Two Lives Very Profitably," Syndicated Story, Springfield Daily Republican (Jun 2, 1941), 2. David S. Shields/ALS Specialty: In 1947 Murray Korman self published a how-to pamphlet series in five installments entitled, The Art of Glamour Photography. Sold as a "course," it cost $10 and presented his analysis of poses, lighting, and issues with human parts, such as legs and thighs. It codified the sort of celebration of the flesh imagery that the public associated with Korman. Yet he was a more creative figure than the "course" would suggest. He liked Bert Longworth's photographic play with angles. He also had artistic ambitions, manifested perhaps most memorably in his collaboration with Salvador Dali in the "Dream of Venus" film and installation and the New York World's fair. Korman's stills of that installation remain the most evocation trace of that temporary provocation. – David S. Shields c/o Broadway (dot) CAS (dot) SC (dot) edu ••••••••••••••••••••