Leggy Pin - Up Martha Vickers In Travilla Cowhide Sun Suit Vintage Photograph 1947
Item History & Price
ITEM: This is a vintage and original Warner Bros. publicity photograph of model, cover girl, and actress Martha Vickers. The beauty poses amongst trees and foliage while modeling a Travilla designed cowhide sun suit with matching shoes. This was used to advertise Vickers' role in the 1947 musical comedy "Love and Learn." The press snipe on verso reads:
Not made for swimming, but most effective for cool summer days is this cowhide, strapless sun suit by Travilla. Note matching slippe...rs. A shoulder-strap beach bag of cowhide goes with it. The lovely model is Martha Vickers, star of Warner Bros.' LOVE AND LEARN.
Martha Vickers began her career as a model and cover girl. Her family moved to Hollywood when her father assumed control of an agency in Burbank, California. Vickers was 15 at that time. Her first film role was a small uncredited part in "Frankenstein Meets the Wolf Man" (1943). She played minor roles in several films during the early 1940s, working first at Universal Studios and then at RKO Pictures. She next went to Warner Bros., where "they gave her the star push, rearranging her surname to 'Vickers.'" Her work there included the role of Carmen Sternwood, the promiscuous, drug-addicted younger sister of Lauren Bacall's character in "The Big Sleep" (1946). She also starred in a musical, "The Time, the Place and the Girl" (also 1946), followed by two Warner Bros. comedies, "Love and Learn" and "That Way with Women" (both 1947). During the 1950s, however, Vickers' film career stalled.
Photograph measures 7.25" x 9.5" without margins, as created, on a glossy single weight paper stock with studio paper caption on verso.
Guaranteed to be 100% vintage and original from Grapefruit Moon Gallery.
More about Martha Vickers:
Lovely, auburn-haired Martha Vickers (nee Martha MacVicar) was born in Ann Arbor, Michigan, on May 28, 1925, the daughter of James S. and Frances MacVicar. After attending schools in various states - Florida, Texas and California - she and her family settled on the West Coast. A raving beauty, she broke into the entertainment field as a model for still photographer William Mortenson. This attracted the interest of David O. Selznick and she signed a starlet contract with him, but nothing came of it. Universal took over her contract where she was groomed in inauspicious bit parts such as her corpse/victim in Frankenstein Meets the Wolf Man (1943), and in such low-level entries as Captive Wild Woman (1943) and The Mummy's Ghost (1944). In between assignments, Martha earned WWII pin-up exposure in such magazines as "Yank: The Army Weekly."
RKO gave her some higher-level billing chances with Marine Raiders (1944) and The Falcon in Mexico (1944), but it was Warner Bros. that put her officially on the map. The enticing Martha earned celebrity status and a new stage moniker when she generated some real heat as Lauren Bacall's wild, thumb-sucking sister Carmen in the film noir classic The Big Sleep (1946), which also starred Humphrey Bogart, playing the teenage nymphet "bad girl" for all it was worth. This major success quickly led to other "B" roles and not necessarily all "bad girl" parts. Highly appealing as the second femme lead in the pleasant musical The Time, the Place and the Girl (1946), Martha looked radiant but was overlooked for bigger things. She continued on and disrupted the proceedings again in the atmospheric film noir The Man I Love (1946) with Ida Lupino and finally earned leading lady status in That Way with Women (1947) opposite Dane Clark.
Very much a part of the Hollywood dating scene, which included actor James Stewart and director Frederick De Cordova, Martha finally married producer A.C. Lyles in March of 1948, but the marriage was over within a couple of months. Post-war films included Love and Learn (1947), another film noir piece Ruthless (1948), and the melodrama Bad Boy (1949), which was Audie Murphy's first starring role. She ended the decade top-lining the "Poverty-Row" drama Alimony (1949). Surprisingly, Martha's high-profiled second marriage in 1949 to film star Mickey Rooney (she was his third wife) did not advance her career. In fact, Martha was not seen in films at all during this period. Despite the couple having a son, Teddy Rooney, the next year (1950), Rooney had already hit the nadir of his career and had turned excessively to the bottle. Her marriage to Rooney would be short-lived as well.
Martha married a third time in 1954 to Chilean polo player-turned-actor Manuel Rojas, best known for his co-starring role in The Magnificent Matador (1955), and she finally returned to the screen in The Big Bluff (1955) co-starring with John Bromfield. The momentum, however, was gone and the movie did nothing to generate new interest. She did move, however, into TV and performed effectively in a number of dramatic showcases. She and Rojas had two children, Tina and Tessa. In 1960, Martha did her last filming with the western Four Fast Guns (1960) and after guesting on a couple of episodes of the TV series "The Rebel, " ended her career. Not much was heard from this sultry beauty until her death from cancer in 1971 at age 46 in Hollywood, California.
- IMDb Mini Biography By: Gary Brumburgh
More about Travilla:
The man who draped a fringed Idaho potato sack on Marilyn Monroe for a famous snapshot - proving that she looked good in anything - was born on Catalina Island off the California coast on March 22 1920. He studied at the Chouinard School of Art in L.A., showing a precocious talent for drawing fashion design from an early age. By the time he was sixteen, he made money by selling sketches of costume designs for showgirls he had studied at burlesque houses.
Found unfit for wartime duties due to flat feet, William Travilla made his way to Hollywood and signed his first contract as costume designer at Columbia in 1941. However, during his two-year tenure he received rather few assignments and left disillusioned. Little work came his way during the next few years, until, in 1946, he was spotted in a nightclub (selling travel sketches of the South Pacific) by the actress Ann Sheridan, who became an instant admirer of his work. Sheridan persuaded Travilla to become her personal costume designer at Warner Brothers. This didn't quite come to pass, though he did design her gowns for Nora Prentiss (1947). More importantly, he notched up his first major success by winning the Academy Award for the lavish and colourful costumes of Adventures of Don Juan (1948) in conjunction with Leah Rhodes and Marjorie Best. After his three year contract was up, Travilla went on to 20th Century Fox, for what would become the most productive period of his career in the film business. At the same time, he set up his own high end fashion salon, Travilla Inc., in Los Angeles, creating several collections of elegant, award-winning designs.
Travilla dressed many established stars, from Marlene Dietrich and Joan Crawford, to Loretta Young. However, he is chiefly remembered for the iconic gowns, designed for Marilyn Monroe's famous hourglass shape in eight of her most popular films. These include her sexy satin number from How to Marry a Millionaire (1953), the gold lame dress with the sun ray pleats glimpsed in Gentlemen Prefer Blondes (1953) and, subsequently, at the 1953 Photoplay Awards (over Travilla's objections); and, of course, the white cocktail dress famously uplifted above the subway grate in The Seven Year Itch (1955). One of three versions of the latter sold at auction for $ 4.6 million in 2011. Despite their close working relationship, Travilla later went on record describing Marilyn on a personal level as 'childlike' and plagued by feelings of inadequacy.
After his contract with Fox expired in 1956, Travilla tended to his own exclusive label, designing a collection of ready-to-wear 'California' fashion. In the 1960's, he continued to freelance, working primarily for television. He showed off a young Connie Sellecca to great effect in a murder mystery revolving around the fashion industry, fittingly titled She's Dressed to Kill (1979). Ever synonymous with a bygone era of glamour, he went on to win two Emmy Awards for Outstanding Costume Design for The Scarlett O'Hara War (1980) and for Dallas (1978). An exhibition of his personal collection, under the auspices of his longtime collaborator William Sarris, went on a world tour in 2008.
- IMDb Mini Biography By: I.S.Mowis
Not made for swimming, but most effective for cool summer days is this cowhide, strapless sun suit by Travilla. Note matching slippe...rs. A shoulder-strap beach bag of cowhide goes with it. The lovely model is Martha Vickers, star of Warner Bros.' LOVE AND LEARN.
Martha Vickers began her career as a model and cover girl. Her family moved to Hollywood when her father assumed control of an agency in Burbank, California. Vickers was 15 at that time. Her first film role was a small uncredited part in "Frankenstein Meets the Wolf Man" (1943). She played minor roles in several films during the early 1940s, working first at Universal Studios and then at RKO Pictures. She next went to Warner Bros., where "they gave her the star push, rearranging her surname to 'Vickers.'" Her work there included the role of Carmen Sternwood, the promiscuous, drug-addicted younger sister of Lauren Bacall's character in "The Big Sleep" (1946). She also starred in a musical, "The Time, the Place and the Girl" (also 1946), followed by two Warner Bros. comedies, "Love and Learn" and "That Way with Women" (both 1947). During the 1950s, however, Vickers' film career stalled.
Photograph measures 7.25" x 9.5" without margins, as created, on a glossy single weight paper stock with studio paper caption on verso.
Guaranteed to be 100% vintage and original from Grapefruit Moon Gallery.
More about Martha Vickers:
Lovely, auburn-haired Martha Vickers (nee Martha MacVicar) was born in Ann Arbor, Michigan, on May 28, 1925, the daughter of James S. and Frances MacVicar. After attending schools in various states - Florida, Texas and California - she and her family settled on the West Coast. A raving beauty, she broke into the entertainment field as a model for still photographer William Mortenson. This attracted the interest of David O. Selznick and she signed a starlet contract with him, but nothing came of it. Universal took over her contract where she was groomed in inauspicious bit parts such as her corpse/victim in Frankenstein Meets the Wolf Man (1943), and in such low-level entries as Captive Wild Woman (1943) and The Mummy's Ghost (1944). In between assignments, Martha earned WWII pin-up exposure in such magazines as "Yank: The Army Weekly."
RKO gave her some higher-level billing chances with Marine Raiders (1944) and The Falcon in Mexico (1944), but it was Warner Bros. that put her officially on the map. The enticing Martha earned celebrity status and a new stage moniker when she generated some real heat as Lauren Bacall's wild, thumb-sucking sister Carmen in the film noir classic The Big Sleep (1946), which also starred Humphrey Bogart, playing the teenage nymphet "bad girl" for all it was worth. This major success quickly led to other "B" roles and not necessarily all "bad girl" parts. Highly appealing as the second femme lead in the pleasant musical The Time, the Place and the Girl (1946), Martha looked radiant but was overlooked for bigger things. She continued on and disrupted the proceedings again in the atmospheric film noir The Man I Love (1946) with Ida Lupino and finally earned leading lady status in That Way with Women (1947) opposite Dane Clark.
Very much a part of the Hollywood dating scene, which included actor James Stewart and director Frederick De Cordova, Martha finally married producer A.C. Lyles in March of 1948, but the marriage was over within a couple of months. Post-war films included Love and Learn (1947), another film noir piece Ruthless (1948), and the melodrama Bad Boy (1949), which was Audie Murphy's first starring role. She ended the decade top-lining the "Poverty-Row" drama Alimony (1949). Surprisingly, Martha's high-profiled second marriage in 1949 to film star Mickey Rooney (she was his third wife) did not advance her career. In fact, Martha was not seen in films at all during this period. Despite the couple having a son, Teddy Rooney, the next year (1950), Rooney had already hit the nadir of his career and had turned excessively to the bottle. Her marriage to Rooney would be short-lived as well.
Martha married a third time in 1954 to Chilean polo player-turned-actor Manuel Rojas, best known for his co-starring role in The Magnificent Matador (1955), and she finally returned to the screen in The Big Bluff (1955) co-starring with John Bromfield. The momentum, however, was gone and the movie did nothing to generate new interest. She did move, however, into TV and performed effectively in a number of dramatic showcases. She and Rojas had two children, Tina and Tessa. In 1960, Martha did her last filming with the western Four Fast Guns (1960) and after guesting on a couple of episodes of the TV series "The Rebel, " ended her career. Not much was heard from this sultry beauty until her death from cancer in 1971 at age 46 in Hollywood, California.
- IMDb Mini Biography By: Gary Brumburgh
More about Travilla:
The man who draped a fringed Idaho potato sack on Marilyn Monroe for a famous snapshot - proving that she looked good in anything - was born on Catalina Island off the California coast on March 22 1920. He studied at the Chouinard School of Art in L.A., showing a precocious talent for drawing fashion design from an early age. By the time he was sixteen, he made money by selling sketches of costume designs for showgirls he had studied at burlesque houses.
Found unfit for wartime duties due to flat feet, William Travilla made his way to Hollywood and signed his first contract as costume designer at Columbia in 1941. However, during his two-year tenure he received rather few assignments and left disillusioned. Little work came his way during the next few years, until, in 1946, he was spotted in a nightclub (selling travel sketches of the South Pacific) by the actress Ann Sheridan, who became an instant admirer of his work. Sheridan persuaded Travilla to become her personal costume designer at Warner Brothers. This didn't quite come to pass, though he did design her gowns for Nora Prentiss (1947). More importantly, he notched up his first major success by winning the Academy Award for the lavish and colourful costumes of Adventures of Don Juan (1948) in conjunction with Leah Rhodes and Marjorie Best. After his three year contract was up, Travilla went on to 20th Century Fox, for what would become the most productive period of his career in the film business. At the same time, he set up his own high end fashion salon, Travilla Inc., in Los Angeles, creating several collections of elegant, award-winning designs.
Travilla dressed many established stars, from Marlene Dietrich and Joan Crawford, to Loretta Young. However, he is chiefly remembered for the iconic gowns, designed for Marilyn Monroe's famous hourglass shape in eight of her most popular films. These include her sexy satin number from How to Marry a Millionaire (1953), the gold lame dress with the sun ray pleats glimpsed in Gentlemen Prefer Blondes (1953) and, subsequently, at the 1953 Photoplay Awards (over Travilla's objections); and, of course, the white cocktail dress famously uplifted above the subway grate in The Seven Year Itch (1955). One of three versions of the latter sold at auction for $ 4.6 million in 2011. Despite their close working relationship, Travilla later went on record describing Marilyn on a personal level as 'childlike' and plagued by feelings of inadequacy.
After his contract with Fox expired in 1956, Travilla tended to his own exclusive label, designing a collection of ready-to-wear 'California' fashion. In the 1960's, he continued to freelance, working primarily for television. He showed off a young Connie Sellecca to great effect in a murder mystery revolving around the fashion industry, fittingly titled She's Dressed to Kill (1979). Ever synonymous with a bygone era of glamour, he went on to win two Emmy Awards for Outstanding Costume Design for The Scarlett O'Hara War (1980) and for Dallas (1978). An exhibition of his personal collection, under the auspices of his longtime collaborator William Sarris, went on a world tour in 2008.
- IMDb Mini Biography By: I.S.Mowis
