Barefoot Bathing Beauty Barbara Eden ' 62 Virgil Apger Pin - Up Photograph
Item History & Price
ITEM: This is a 1962 vintage and original pin-up photograph of actress Barbara Eden. Though not stamped, this is from a known sitting with Virgil Apger done in promotion of Eden's fairytale inspired film, "The Wonderful World of the Brothers Grimm." Eden's flirtatious cheesecake pose shows off her bombshell figure thanks to the skimpy bikini she wears.
Photograph measures 8" x 10" on a glossy single weight paper stock.
Guaranteed to be 100% vintage and original from Grapefruit Mo...on Gallery.
More about Barbara Eden:
One of television's most enduring icons, actress Barbara Eden embraced the character and show that made her a star, playing the 2, 000-year-old Jeannie on the sitcom "I Dream of Jeannie" (NBC, 1965-1970). Prior to the beloved show, Eden appeared on a number of television shows like "Father Knows Best" (CBS, 1954-1960), "Gunsmoke" (CBS, 1955-1975) and "The Andy Griffith Show" (CBS, 1960-68), before starring on the small screen version of the hit movie, "How to Marry a Millionaire" (syndicated, 1957-59). She made the jump to features around this time and had an early co-starring role opposite Elvis Presley in "Flaming Star" (1960), before logging performances in "Voyage to the Bottom of the Sea" (1961) and "The Yellow Canary" (1963). But it was her performance as "Jeannie" that made her a household name. After the show was finished, Eden starred in the horror movie "A Howling in the Woods" (1971) and in the comedy "Harper Valley PTA" (1978). She later embraced the association with the naïve Jeannie and, though tame by modern standards, her brand of playful femininity was revolutionary for its time and helped open the doors for future television sex symbols.
Born Barbara Jean Moorhead on Aug. 23, 1934 (though some sources claim 1930), Eden's parents divorced when the actress was three. Following her mother's second marriage, Eden took the name Barbara Huffman after her stepfather, Harrison Connor Huffman. As a child, Eden suffered from a severe vision problem which required her to wear thick glasses and a sometimes eye patch. As a result, Eden grew up very shy. To help ease her daughter's insecurities, her mother, Alice, arranged for young Barbara to take singing lessons which did indeed help alleviate her shyness. By the time she was a teenager, this "ugly duckling" had blossomed into an attractive young woman, graduating from San Francisco's Abraham Lincoln High School in 1949. Moving to the Bay Area in the early 1950s, Eden made a living singing in nightclubs, but soon decided that a singing career was not in the cards for her. In 1951, Eden entered a local beauty pageant and won the title of Miss San Francisco - the catalyst which propelled the actress to Hollywood.
In 1956, Eden made her screen debut in with a minor, uncredited role in "Back from Eternity." Later that year, however, while performing in a local play, Eden was discovered "Hollywood style" by respected film director, Mark Robson. Impressed by Eden's talent and beauty, Robson introduced her to casting directors at Twentieth Century Fox. Only a year after her debut, Eden landed the leading role on the television comedy "How to Marry a Millionaire" (1957-59), a show based on the 1953 film, in which Eden played Marilyn Monroe's gold-digging character. Though this was her first sitcom, it would hardly be her last or her best known, for that matter. In the early 1960s, Eden branched out, appearing in a string of unremarkable films including "Flaming Star" (1960), "Five Weeks in a Balloon" (1962) and "The Yellow Canary" (1963). She also landed a co-starring role in Irwin Allen's sci-fi outing, "Voyage to the Bottom of the Sea" (1961). At the same time, Eden maintained high visibility on the small screen with guest roles on such series as "The Andy Griffith Show" (CBS, 1960-68), "Route 66"(CBS, 1960-64), and "Gunsmoke" (CBS, 1955-1975).
In 1965, Eden finally landed the role that would define her career - as the star and title character of the fantasy sitcom, "I Dream of Jeannie." Created by prolific novelist Sidney Sheldon, the series was a direct response to rival the popular "Bewitched" (ABC, 1964-1972). Both shows shared a similar premise: the misadventures of a sexy sorceress who falls in love with a bumbling mortal and must adjust to life in suburbia. As hoped, "Jeannie" quickly proved to be a huge success. Over the show's five year run, Eden was twice nominated for Golden Globe Awards, as was her co-star, Larry Hagman. Ironically, for a show that relied so heavily on its sex appeal, "Jeannie" had to play things remarkably coy in order to satisfy NBC's prudish standards. The most famous example of this was the network's "No Navel Edict, " which barred Eden from baring her belly button in any way. Appropriately enough, "Jeannie" ended just as the sexual revolution was redefining women's roles. By the time it went off the air, the once risqué show was already considered a "quaint" remnant of a bygone era.
Post-"Jeanie, " Eden starred in the lightweight 1978 feature film comedy based on the 1968 Jeannie C. Riley country hit, "Harper Valley PTA." The film's success spawned a short-lived TV series of the same name, "Harper Valley PTA" (NBC, 1981-82), in which Eden reprised her role. Since then, the actress appeared on screen only intermittently. In 1991, Eden was signed to a five-episode guest-starring role on "Dallas" (CBS, 1978-1991), reuniting her with Hagman. In 1998, it was reported that Eden would make a cameo as Jeannie's aunt in a feature remake of "I Dream of Jeannie" starring Alicia Silverstone. Though the film was never produced, Eden got to play a similar role in 2002 as Sabrina's Great Aunt Irma on the hit comedy series, "Sabrina, The Teenage Witch" (ABC, 1996-2003).
Biography From: TCM | Turner Classic Movies
More about Virgil Apger:
Metro-Goldwyn-Mayer studios excelled in most areas of film production, including that of still portrait photography. Several of its head portrait photographers, like Ruth Harriet Louise, George Hurrell and Clarence Sinclair Bull, are recognized for their unique style and artistry in creating some of the most iconic portrait photographs in Hollywood history. While not as flashy or dramatic as these lensers, Virgil Apger, MGM’s leading gallery photographer for over 20 years, created classy, understated head shots of leading stars that made them more accessible to the movie-going public.
Born in Grantland, Ind., June 25, 1903, to the local sheriff, Virgil Apger was drawn to motion pictures as a young man, working as an usher and assistant to a projectionist in a local movie theater, per John Kobal’s “The Art of the Great Hollywood Portrait Photographers.” Apger and his family moved to Los Angeles in 1916, where he worked for six months in an iron foundry business before joining the Marines. During his two-year term, Apger was stationed in Hawaii, Philippines and the Orient.
After discharge, Apger returned to Los Angeles and landed a job in the Mack Sennett Studios location department taking photographs of possible shooting locations. Several months later, Kobal claims that Apger moved over to Paramount Pictures, where he worked as the assistant of gallery head Eugene Robert Richee, his brother-in-law. Apger developed negatives and produced prints for two years. Apger stated, “Gene never left a sitting with fewer than a hundred negatives, which had to be retouched and printed.”
Perhaps bored or needing a break, Apger left Hollywood and worked at an Imperial Valley dairy farm for a year before returning to Paramount in 1929. He joined MGM’s still lab six months later, where he became Bull’s assistant, developing and printing Bull’s work. Apger learned quickly. Within two years, he received a promotion and began shooting candids and behind-the-scenes publicity shots.
Jean Harlow requested Apger to shoot scene stills for her 1935 film “China Seas, ” earning him another promotion. From this moment forward, Apger shot all scene stills for her movies. He photographed all scene stills for Jeanette MacDonald films starting with “Naughty Marietta, ” and all stills for Greer Garson motion pictures until “That Forsythe Woman.”
Apger received accolades for his work. He won Best Posed Production Still for a shot from “Mrs. Miniver” in the Academy of Motion Picture Arts and Sciences’ Second Annual Still Show in 1942, which recognized outstanding motion picture still photography work in a variety of categories. Apger and other section winners earned gold medals for their work, while Charles (Scotty) Welbourne, Best in Show, earned a trophy for his prize-winning shot.
Apger’s MGM Studio biography relates that he was named head of MGM’s portrait gallery in 1947, which he led for over 20 years, shooting the likes of MacDonald, Esther Williams, Ava Gardner, Lana Turner, Clark Gable, Judy Garland, Gene Kelly and Elizabeth Taylor. Apger designed his own backings for these sittings and often suggested colors and styles of clothing to stars before their sessions. His work appeared in magazines and newspapers across the country, popular because of its low key and simple elegance.
Apger later recounted to Kobal that Joan Crawford and Ava Gardner were great to work with, open to almost anything, and “Esther Williams loved being photographed and fell into a pose with great ease. Hedy Lamarr couldn’t. She thought she knew it all and was forever telling you what to do. She was beautiful – she had great skin texture – but I don’t recall anybody saying that enjoyed shooting her.”
After the studio system collapsed in the late 1950s, Apger focused on shooting scene stills for such films as “Sunday in New York” (1963), “The Money Trap” (1965), and “Point Blank” (1967). Apger retired from MGM in 1969 and joined NBC studios in 1970, where he worked for a short time.
The photographer enjoyed a long life, dying at the age of 90 in San Diego in 1994.
Biography By: Mary Mallory / Hollywood Heights: Virgil Apger, MGM’S Classic Portrait Photographer
Photograph measures 8" x 10" on a glossy single weight paper stock.
Guaranteed to be 100% vintage and original from Grapefruit Mo...on Gallery.
More about Barbara Eden:
One of television's most enduring icons, actress Barbara Eden embraced the character and show that made her a star, playing the 2, 000-year-old Jeannie on the sitcom "I Dream of Jeannie" (NBC, 1965-1970). Prior to the beloved show, Eden appeared on a number of television shows like "Father Knows Best" (CBS, 1954-1960), "Gunsmoke" (CBS, 1955-1975) and "The Andy Griffith Show" (CBS, 1960-68), before starring on the small screen version of the hit movie, "How to Marry a Millionaire" (syndicated, 1957-59). She made the jump to features around this time and had an early co-starring role opposite Elvis Presley in "Flaming Star" (1960), before logging performances in "Voyage to the Bottom of the Sea" (1961) and "The Yellow Canary" (1963). But it was her performance as "Jeannie" that made her a household name. After the show was finished, Eden starred in the horror movie "A Howling in the Woods" (1971) and in the comedy "Harper Valley PTA" (1978). She later embraced the association with the naïve Jeannie and, though tame by modern standards, her brand of playful femininity was revolutionary for its time and helped open the doors for future television sex symbols.
Born Barbara Jean Moorhead on Aug. 23, 1934 (though some sources claim 1930), Eden's parents divorced when the actress was three. Following her mother's second marriage, Eden took the name Barbara Huffman after her stepfather, Harrison Connor Huffman. As a child, Eden suffered from a severe vision problem which required her to wear thick glasses and a sometimes eye patch. As a result, Eden grew up very shy. To help ease her daughter's insecurities, her mother, Alice, arranged for young Barbara to take singing lessons which did indeed help alleviate her shyness. By the time she was a teenager, this "ugly duckling" had blossomed into an attractive young woman, graduating from San Francisco's Abraham Lincoln High School in 1949. Moving to the Bay Area in the early 1950s, Eden made a living singing in nightclubs, but soon decided that a singing career was not in the cards for her. In 1951, Eden entered a local beauty pageant and won the title of Miss San Francisco - the catalyst which propelled the actress to Hollywood.
In 1956, Eden made her screen debut in with a minor, uncredited role in "Back from Eternity." Later that year, however, while performing in a local play, Eden was discovered "Hollywood style" by respected film director, Mark Robson. Impressed by Eden's talent and beauty, Robson introduced her to casting directors at Twentieth Century Fox. Only a year after her debut, Eden landed the leading role on the television comedy "How to Marry a Millionaire" (1957-59), a show based on the 1953 film, in which Eden played Marilyn Monroe's gold-digging character. Though this was her first sitcom, it would hardly be her last or her best known, for that matter. In the early 1960s, Eden branched out, appearing in a string of unremarkable films including "Flaming Star" (1960), "Five Weeks in a Balloon" (1962) and "The Yellow Canary" (1963). She also landed a co-starring role in Irwin Allen's sci-fi outing, "Voyage to the Bottom of the Sea" (1961). At the same time, Eden maintained high visibility on the small screen with guest roles on such series as "The Andy Griffith Show" (CBS, 1960-68), "Route 66"(CBS, 1960-64), and "Gunsmoke" (CBS, 1955-1975).
In 1965, Eden finally landed the role that would define her career - as the star and title character of the fantasy sitcom, "I Dream of Jeannie." Created by prolific novelist Sidney Sheldon, the series was a direct response to rival the popular "Bewitched" (ABC, 1964-1972). Both shows shared a similar premise: the misadventures of a sexy sorceress who falls in love with a bumbling mortal and must adjust to life in suburbia. As hoped, "Jeannie" quickly proved to be a huge success. Over the show's five year run, Eden was twice nominated for Golden Globe Awards, as was her co-star, Larry Hagman. Ironically, for a show that relied so heavily on its sex appeal, "Jeannie" had to play things remarkably coy in order to satisfy NBC's prudish standards. The most famous example of this was the network's "No Navel Edict, " which barred Eden from baring her belly button in any way. Appropriately enough, "Jeannie" ended just as the sexual revolution was redefining women's roles. By the time it went off the air, the once risqué show was already considered a "quaint" remnant of a bygone era.
Post-"Jeanie, " Eden starred in the lightweight 1978 feature film comedy based on the 1968 Jeannie C. Riley country hit, "Harper Valley PTA." The film's success spawned a short-lived TV series of the same name, "Harper Valley PTA" (NBC, 1981-82), in which Eden reprised her role. Since then, the actress appeared on screen only intermittently. In 1991, Eden was signed to a five-episode guest-starring role on "Dallas" (CBS, 1978-1991), reuniting her with Hagman. In 1998, it was reported that Eden would make a cameo as Jeannie's aunt in a feature remake of "I Dream of Jeannie" starring Alicia Silverstone. Though the film was never produced, Eden got to play a similar role in 2002 as Sabrina's Great Aunt Irma on the hit comedy series, "Sabrina, The Teenage Witch" (ABC, 1996-2003).
Biography From: TCM | Turner Classic Movies
More about Virgil Apger:
Metro-Goldwyn-Mayer studios excelled in most areas of film production, including that of still portrait photography. Several of its head portrait photographers, like Ruth Harriet Louise, George Hurrell and Clarence Sinclair Bull, are recognized for their unique style and artistry in creating some of the most iconic portrait photographs in Hollywood history. While not as flashy or dramatic as these lensers, Virgil Apger, MGM’s leading gallery photographer for over 20 years, created classy, understated head shots of leading stars that made them more accessible to the movie-going public.
Born in Grantland, Ind., June 25, 1903, to the local sheriff, Virgil Apger was drawn to motion pictures as a young man, working as an usher and assistant to a projectionist in a local movie theater, per John Kobal’s “The Art of the Great Hollywood Portrait Photographers.” Apger and his family moved to Los Angeles in 1916, where he worked for six months in an iron foundry business before joining the Marines. During his two-year term, Apger was stationed in Hawaii, Philippines and the Orient.
After discharge, Apger returned to Los Angeles and landed a job in the Mack Sennett Studios location department taking photographs of possible shooting locations. Several months later, Kobal claims that Apger moved over to Paramount Pictures, where he worked as the assistant of gallery head Eugene Robert Richee, his brother-in-law. Apger developed negatives and produced prints for two years. Apger stated, “Gene never left a sitting with fewer than a hundred negatives, which had to be retouched and printed.”
Perhaps bored or needing a break, Apger left Hollywood and worked at an Imperial Valley dairy farm for a year before returning to Paramount in 1929. He joined MGM’s still lab six months later, where he became Bull’s assistant, developing and printing Bull’s work. Apger learned quickly. Within two years, he received a promotion and began shooting candids and behind-the-scenes publicity shots.
Jean Harlow requested Apger to shoot scene stills for her 1935 film “China Seas, ” earning him another promotion. From this moment forward, Apger shot all scene stills for her movies. He photographed all scene stills for Jeanette MacDonald films starting with “Naughty Marietta, ” and all stills for Greer Garson motion pictures until “That Forsythe Woman.”
Apger received accolades for his work. He won Best Posed Production Still for a shot from “Mrs. Miniver” in the Academy of Motion Picture Arts and Sciences’ Second Annual Still Show in 1942, which recognized outstanding motion picture still photography work in a variety of categories. Apger and other section winners earned gold medals for their work, while Charles (Scotty) Welbourne, Best in Show, earned a trophy for his prize-winning shot.
Apger’s MGM Studio biography relates that he was named head of MGM’s portrait gallery in 1947, which he led for over 20 years, shooting the likes of MacDonald, Esther Williams, Ava Gardner, Lana Turner, Clark Gable, Judy Garland, Gene Kelly and Elizabeth Taylor. Apger designed his own backings for these sittings and often suggested colors and styles of clothing to stars before their sessions. His work appeared in magazines and newspapers across the country, popular because of its low key and simple elegance.
Apger later recounted to Kobal that Joan Crawford and Ava Gardner were great to work with, open to almost anything, and “Esther Williams loved being photographed and fell into a pose with great ease. Hedy Lamarr couldn’t. She thought she knew it all and was forever telling you what to do. She was beautiful – she had great skin texture – but I don’t recall anybody saying that enjoyed shooting her.”
After the studio system collapsed in the late 1950s, Apger focused on shooting scene stills for such films as “Sunday in New York” (1963), “The Money Trap” (1965), and “Point Blank” (1967). Apger retired from MGM in 1969 and joined NBC studios in 1970, where he worked for a short time.
The photographer enjoyed a long life, dying at the age of 90 in San Diego in 1994.
Biography By: Mary Mallory / Hollywood Heights: Virgil Apger, MGM’S Classic Portrait Photographer
