Witzel Albert (7 results)

No Binding. Condition: Near Fine. Original Photograph. Original Photograph, Image 9" X 6 7/8". Inscribed By The Subject. Photographer's Logo At Lower Left. , And His Stamp On Verso. Albert Witzel (1879-1929 Moved To Los Angeles, Where He Opened His Studio At 811 S. Hill St. He Was Soon Recognized Recognized As One Of Los Angeles' Top Society Photographers, With Many Of His Images Appearing In The Los Angeles Times, Starting In 1912. He Began Reaching Out To Theatrical Entertainers In Need Of Carefully Crafted Portraits To Lure Customers. Around The Same Time, Moving Picture Companies Migrated To Los Angeles To Film In The Ever-Present Sunshine, Away From Motion Picture Trust Interference. These Companies Had Recently Introduced The Practice Of Promoting The Stars Of Their Films, Helping To Create Brand Awareness Among Consumers, Who Flocked To Movies Starring Their Favorites. Witzel'S Theatrical Clients Promoted His Talents To Their Moviemaking Friends, Who Quickly Began Hiring Him To Take Their Portraits. Film Companies Employed His Services Too. The Balboa Film Co. Hired Him In 1913-1914 To Shoot Portraits Of Their Star Stable, Quickly Followed By Companies Like Triangle-Ince. Witzel'S Photograph Of Viola Barry From Balboa Films "The Sea Wolf" Was The First Movie Star Portrait To Appear In The Los Angeles Times, 1913. His Images Often Employed Rembrandt Lighting And Offered Moody Shadows And Sheen. Witzel'S Work Began Running Regularly In The Times In 1915, And Film Fan Magazines Like Photoplay And Motion Picture Regularly Published His Work As Well. Witzel Expanded His Work With Studios, Occasionally Shooting Freelance Images Of Sennett Bathing Beauties In 1916 That Were Published In Magazines And Newspapers, And Working On Assignment For Fox Studios In 1917, Photographing Theda Bara In A Series Of Somewhat Soft Pictorialist Images For Her Iconic Films, "Cleopatra," "Salome," And Madame Du Barry." In Order To Handle The Increased Workload, Witzel Added New Studios And Employed Retouchers Like Photographer William Mortensen And Extra Photographers Like Otto Schellenberg, W. F. Seely, George Cannons, And Max Munn Autrey To Shoot Portraits. Autrey Eventually Became Head Of Witzel'S Hollywood Studio At 6324 Hollywood Blvd. From 1922-1924. Their Work Became More Intense And Exotic, Emphasizing A Glamorous Star Look. The Witzel Studio Downtown Also Handled One Of The More Infamous Special Photo Shoots In Silent Film History. Harold Lloyd Posed In The Studio With A "Fake" Bomb That Turned Out To Be Real, Losing His Right Thumb And Forefinger. The Comedian Performed All Of His Action Stunts, Including Hanging Off A Downtown Building, With Only Three Fingers On His Right Hand. N 1923, Witzel Was Forced Out Of His Lease At 828 S. Hill St. By The May Co., New Owners Of The Original Hamburger'S Department Store, Who Wanted To Make Additions To Their Building. The Firm Opened A New Studio At 1007 W. 7Th St., Run By His Brother Charles, To Go Along With One At 536 S. Broadway. This Studio Occupied The Entire Second Floor And The Lobby Of The Recently Constructed Building, With New Up-To-Date Equipment In What The Times Called The "Largest Photography Studio In The West." The Witzel Hollywood Studio Remained Its Most Attractive, With The South Broadway Studio The Most Modern. During The Mid-1920S, However, Studios Began Establishing Their Own Portrait Galleries To Maintain A Firm Hand And Established Look With The Requirement For An Ever Increasing Production Of Prints. Spurr Left To Establish His Own Studio, Schellenberg Ended Up At Universal, Cannons Went To Sennett, And Autrey Departed To Found Fox'S Portrait Department. Witzel And His Staff Of Photographers Focused More On Special Shoots For Newspapers And Magazines, Like The Peggy Hamilton Fashion Features For The Los Angeles Times, And Other Select Sections.

No Binding. Condition: Near Fine. Original Photograph. Original Photograph, Image 9" X 6 7/8". Inscribed By The Subject. Photographer's Logo At Lower Left. , And His Stamp On Verso. Albert Witzel (1879-1929) Moved To Los Angeles, Where He Opened His Studio At 811 S. Hill St. He Was Soon Recognized As One Of Los Angeles' Top Society Photographers, With Many Of His Images Appearing In The Los Angeles Times, Starting In 1912. He Began Reaching Out To Theatrical Entertainers In Need Of Carefully Crafted Portraits To Lure Customers. Around The Same Time, Moving Picture Companies Migrated To Los Angeles To Film In The Ever-Present Sunshine, Away From Motion Picture Trust Interference. These Companies Had Recently Introduced The Practice Of Promoting The Stars Of Their Films, Helping To Create Brand Awareness Among Consumers, Who Flocked To Movies Starring Their Favorites. Witzel'S Theatrical Clients Promoted His Talents To Their Movie-Making Friends, Who Quickly Began Hiring Him To Take Their Portraits. Film Companies Employed His Services Too. The Balboa Film Co. Hired Him In 1913-1914 To Shoot Portraits Of Their Star Stable, Quickly Followed By Companies Like Triangle-Ince.Witzel'S Photograph Of Viola Barry From Balboa Films "The Sea Wolf" Was The First Movie Star Portrait To Appear In The Los Angeles Times, 1913. His Images Often Employed Rembrandt Lighting And Offered Moody Shadows And Sheen. Witzel'S Work Began Running Regularly In The Times In 1915, And Film Fan Magazines Like Photoplay And Motion Picture Regularly Published His Work As Well. Witzel Expanded His Work With Studios, Occasionally Shooting Freelance Images Of Sennett Bathing Beauties In 1916 That Were Published In Magazines And Newspapers, And Working On Assignment For Fox Studios In 1917, Photographing Theda Bara In A Series Of Somewhat Soft Pictorialist Images For Her Iconic Films, "Cleopatra," "Salome," And Madame Du Barry." In Order To Handle The Increased Workload, Witzel Added New Studios And Employed Retouchers Like Photographer William Mortensen And Extra Photographers Like Otto Schellenberg, W. F. Seely, George Cannons, And Max Munn Autrey To Shoot Portraits. Autrey Eventually Became Head Of Witzel'S Hollywood Studio At 6324 Hollywood Blvd. From 1922-1924. Their Work Became More Intense And Exotic, Emphasizing A Glamorous Star Look. The Witzel Studio Downtown Also Handled One Of The More Infamous Special Photo Shoots In Silent Film History. Harold Lloyd Posed In The Studio With A "Fake" Bomb That Turned Out To Be Real, Losing His Right Thumb And Forefinger. The Comedian Performed All Of His Action Stunts, Including Hanging Off A Downtown Building, With Only Three Fingers On His Right Hand. N 1923, Witzel Was Forced Out Of His Lease At 828 S. Hill St. By The May Co., New Owners Of The Original Hamburger'S Department Store, Who Wanted To Make Additions To Their Building. The Firm Opened A New Studio At 1007 W. 7Th St., Run By His Brother Charles, To Go Along With One At 536 S. Broadway. This Studio Occupied The Entire Second Floor And The Lobby Of The Recently Constructed Building, With New Up-To-Date Equipment In What The Times Called The "Largest Photography Studio In The West." The Witzel Hollywood Studio Remained Its Most Attractive, With The South Broadway Studio The Most Modern. During The Mid-1920S, However, Studios Began Establishing Their Own Portrait Galleries To Maintain A Firm Hand And Established Look With The Requirement For An Ever Increasing Production Of Prints. Spurr Left To Establish His Own Studio, Schellenberg Ended Up At Universal, Cannons Went To Sennett, And Autrey Departed To Found Fox'S Portrait Department. Witzel And His Staff Of Photographers Focused More On Special Shoots For Newspapers And Magazines, Like The Peggy Hamilton Fashion Features For The Los Angeles Times, And Other Select Sections. Signed by Author(s).

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1751 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 19 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 19.

Two vintage matte double weight portrait photographs of silent film actresses Alma Rubens and Anita Stewart, respectively, circa 1920s. Insignia of photographer Albert Witzel from the negative at the bottom corners. One with the stamp of King Features Syndicate to the verso. Witzel Studios was founded in 1909 and rapidly rose to success as one of Hollywood's foremost portrait studios and society photographers. Witzel occasionally took on freelance assignments for Fox Studios, work which gradually became less frequent as studios established their own portrait and stills departments. All but one of Witzel's portrait studios were closed following the photographer's death in 1929. Both photos 7.5 x 9.5 inches. Near Fine.

No binding. Condition: Fine. Set of two vintage original 8 x 10" (20 x 25 cm) black-and-white double weight photos (one glossy, one matte) and one vintage original 7 x 9" (18 x 23 cm) double weight glossy gelatin silver photo. Overall fine. Aimee Elizabeth Semple McPherson (1890-1944), also known as Sister Aimee or Sister, was a Canadian-born American Pentecostal evangelist and media celebrity in the 1920s and 30s, famous for founding the Foursquare Church. McPherson pioneered the use of broadcast mass media for wider dissemination of both religious services and appeals for donations, using radio to draw both audience and revenue with the growing appeal of popular entertainment and incorporating stage techniques into her weekly sermons at Angelus Temple in Los Angeles, CA. McPherson made her mark in a very religious America: back in the 1920s, she was among the first megachurch profiteers. She was accused of fraud many times but continued preaching and raking in money. She was a known bootlegger, con artist, and known to run through men. Both 8 x 10" portraits are likely ca. 1922-23, as they appear to have been used in newspapers concerning her 1926 disappearance. One portrait, by famous photographer Albert Witzel and signed on front, shows McPherson in a preaching position. A 1926 date is handwritten on verso and newspaper clippings of the publication are attached. The other portrait is by Mauray of LA (as signed on front) and shows her with a tambourine, likely from the same period. The third smaller photo has a newspaper blurb describing an accident she was in while on her way to a presentation in Iowa and is likely for her 1927 tour, as it includes the fact she caused nationwide publicity with her 1926 disappearance.

[WESTERN MOVIES]. Three 9" x 7" promotional sepia images of Western Movie star Buck Jones, hand signed by the photographer, Albert Witzel. Marked on the lower front of each photograph is "Witzel /Hollywood. These framed photographs were given by his mother, Mary Gebhard, to a friend with a penciled inscription on the rear that reads: "Charles Fred Gebhard (Buck Jones - Movie Star) From Mrs. Mary Gebhard - 1937 or '38." A very interesting and important inscription, as very few ever used Buck's real name. The three photographs are framed to a total size of 27" x 13." Buck Jones was born Charles Frederick Gebhard in 1891 and died in 1942. On November 28, 1942, he was a guest of some local citizens in Boston at the famed Coconut Grove nightclub. Fire broke out and nearly 500 people died in one of the worst fire disasters on record. Jones was horribly burned and died two days later before his wife Dell could arrive to comfort him. Buck Jones starred in several cowboy movies mostly in the 1930s. Provenance: From the Buck Jones Estate with a letter of provenance from the family. Fine condition.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1899 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. Pages: 590 As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 590 Language: German.