Ziegfeld Girl (MGM, 1941) Judy Garland, Hedy Lamarr, and Lana Turner 8" x 10" Key Set Photographs (56). Collection of ...

Description

Ziegfeld Girl (MGM, 1941) Judy Garland, Hedy Lamarr, and Lana Turner 8" x 10" Key Set Photographs (56). Collection of Leonard Stanley. Vintage gelatin silver semi-gloss double-weight (34) 13" x 10" (1) and 8" x 10" (55) key set photographs of James Stewart, Judy Garland, Hedy Lamarr, and Lana Turner in Ziegfeld Girl (MGM, 1941) by Clarence Sinclair Bull (21) and Ed Cronenweth (2), with photographer/portrait number wet stamps, and caption stamp on the verso. Reproduced in Adrian: A Lifetime of Movie Glamour, Art and High Fashion, 2019, Leonard Stanley, pp. 114-115. Gowns by Adrian. Original Collection of Gilbert Adrian. From the Collection of Leonard Stanley. Very Fine/Excellent, with corner tip stress to some. Comes with a COA from Heritage Auctions.

More Information: "Born in the Territory of Hawai'i, Leonard Stanley's childhood was marked by proximity to grandeur and artistic creation. He spent his early years wandering the construction site of Doris Duke's Shangri La, a magnificent Islamic-style estate built on the cliffs of Diamond Head, Honolulu. This early exposure to artistic creation, architectural beauty, and a mix of cultures left a lasting impression on Stanley, foreshadowing his future career in interior design. It was in Honolulu, however, that Stanley's lifelong fascination with Hollywood began.
At just nine years old, after seeing Lady of the Tropics (1939) starring Hedy Lamarr, Leonard became captivated by the glamour of the silver screen. He began clipping images of movie stars from magazines and newspapers, building a collection that would later grow into an extraordinary archive of Hollywood photography. By the time he was 11, with the support of his mother, Stanley had amassed a collection of movie star portraits and scrapbooks dedicated to the costume designs of famed Hollywood designer Adrian. This early passion for collecting would define Stanley's entire life.
Stanley's collection included over 7,000 images, ranging from formal portraits by famous society photographers like Cecil Beaton and Horst to candid snapshots of Hollywood legends such as Marlene Dietrich and Joan Crawford. His vast archive of Hollywood studio photography and costume design sketches stands as a testament to his dedication to preserving the cultural history of an era.
In 1951, Stanley moved to Los Angeles, bringing with him a deep love of Hollywood glamour. His career began under the wing of the legendary designer Tony Duquette, working first in Duquette's retail shop at The Beverly Hills Hotel, and later residing at Duquette Studio for nearly a decade. This period not only connected Stanley to Hollywood's artistic and social elite but also deepened his understanding of design, art, and cultural preservation.
During his time with Duquette, Stanley met iconic figures like Adrian and Janet Gaynor, who further inspired his growing collection of costume designs. His fascination with film and fashion design blossomed into a more focused passion for costume sketches, leading to an unparalleled collection of works from renowned Hollywood designers like Edith Head, Cecil Beaton, and Walter Plunkett. By the 1970s, Stanley had established his own design firm and was catering to a list of high-profile clients that included Warren Beatty, Jennifer Jones, and Eva Gabor.
Over years of friendship with celebrated fashion designer Gilbert Adrian, Stanley amassed an impressive collection of art and objects, which he documented in his book Adrian: A Lifetime of Movie Glamour, Art, and High Fashion (Rizzoli, 2019)." (Bonhams.com)
The auction presents the largest private collection known of Adrian's Hollywood work documented in film stills from the 1920s to 1950s, mostly acquired from his original estate by Stanley. Adrian's personal collection consisted of the best prints by format – the majority being the double-weight MGM key set prints made in the portrait gallery darkroom by hand in limited numbers. Special focus was given to his magnum opus Marie Antoinette (MGM, 1938), for which he designed 2,500-4,000 costumes for 150 actresses and 1,250 extras, including 34 full-length gowns for Norma Shearer alone, all personally sourced from vintage salons in Europe with a near-limitless budget.


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