A Carole Lombard Group of Set Stills from Her Films

A Carole Lombard Group of Set Stills from Her Films Including Safety in Numbers, It Pays to Advertise, Ladies Man, I Take This Woman, Up Pops the Devil, Sinners in the Sun, No One Man, Supernatural, From Hell to Heaven, White Woman, We're Not Dressing, Bolero, Hands Across the Table, Rumba, The Princess Comes Across, True Confession, and Swing High, Swing Low. Please note that there may be some duplication of photographs in each film folder. Safety in Numbers (Paramount Pictures, 1930). Starring Carole Lombard. Director Victor Schertzinger. Approximately 11 silver gelatin photographs, 8 x 10 in., some with photographer 'A.E. Freudeman' stamped to verso. It Pays to Advertise (Paramount Pictures, 1931). Starring Carole Lombard. Director Frank Tuttle. Approximately 14 silver gelatin photographs, 8 x 10 in., some with photographer 'A.E. Freudeman' stamped to verso. Ladies Man (Paramount Pictures, 1931). Starring William Powell, Carole Lombard. Director Lothar Mendes. A group of 55 silver gelatin photographs, 8 x 10 in., some with photographer 'A.E. Freudeman' stamped to verso, one featuring William Powell. I Take This Woman (Paramount Pictures, 1931). Starring Carole Lombard, Gary Cooper. Director Marion Gering. Approximately 35 silver gelatin photographs, 8 x 10 in., some with photographer 'A.E. Freudeman' stamped to verso, two featuring Carole Lombard and one featuring Gary Cooper. Up Pops the Devil (aka Up Pops the Girl) (Paramount Pictures, 1931). Starring Carole Lombard. Director A. Edward Sutherland. Approximately 25 silver gelatin photographs, 8 x 10 in., some with photographer 'A.E. Freudeman' stamped to verso. Sinners in the Sun (Paramount Pictures, 1932). Starring Carole Lombard. Directors Alexander Hall, David Burton, William C. deMille. Approximately 70 silver gelatin photographs, 8 x 10 in., some with photographer 'A.E. Freudeman' stamped to verso. No One Man (Paramount Pictures, 1932). Starring Carole Lombard. Director Lloyd Corrigan. Approximately 65 silver gelatin photographs, 8 x 10 in., many with photographer 'A.E. Freudeman' stamped to verso, 2 featuring Carole Lombard. Supernatural (Paramount Pictures, 1933). Starring Carole Lombard. Director Victor Halperin. Approximately 80 silver gelatin photographs, 8 x 10 in., some with photographer 'A.E. Freudeman' stamped to verso, including 3 scene stills featuring Carole Lombard. From Hell to Heaven (aka Eleven Lives) (Paramount Pictures, 1933). Starring Carole Lombard. Director Erle Kenton. Approximately 40 silver gelatin photographs, 8 x 10 in., some with photographer 'A.E. Freudeman' stamped to verso. White Woman (Paramount Pictures, 1933). Starring Carole Lombard. Director Stuart Walker. Approximately 25 silver gelatin photographs, 8 x 10 in., many with photographer 'A.E. Freudeman' stamped to verso. We're Not Dressing (Paramount Pictures, 1934). Starring Bing Crosby, Carole Lombard. Director Norman Taurog. Approximately 90 silver gelatin photographs, 8 x 10 in., some with location descriptions handwritten in ink to border, many with photographer 'A.E. Freudeman' stamped to verso. Bolero (Paramount Pictures, 1934). Starring Carole Lombard. Directors Wesley Ruggles and Mitchell Leisen. Approximately 50 silver gelatin photographs, 8 x 10 in., most with location descriptions handwritten in ink to border, many with photographer 'A.E. Freudeman' stamped to verso. Hands Across the Table (Paramount Pictures, 1935). Starring Carole Lombard, Fred MacMurray. Director Mitchell Leisen. Approximately 65 silver gelatin photographs, 8 x 10 in., almost all with location descriptions handwritten in ink to border, some with photographer 'A.E. Freudeman' stamped to verso. Rumba (Paramount Pictures, 1935). Starring Carole Lombard. Director Marion Gering. Approximately 90 silver gelatin photographs, 8 x 10 in., almost all with location descriptions handwritten in ink to border, many with photographer 'A.E. Freudeman' stamped to verso. The Princess Comes Across (aka Concertina) (Paramount Pictures, 1936). Starring Carole Lombard, Fred MacMurray. Director William K. Howard. Approximately 60 silver gelatin photographs, 8 x 10 in., almost all with location descriptions handwritten in ink to border, many with photographer 'A.E. Freudeman' stamped to verso, one featuring Carole Lombard. True Confession (Paramount Pictures, 1937). Starring Carole Lombard. Director Wesley Ruggles. Approximately 75 silver gelatin photographs, 8 x 10 in., almost all with location descriptions handwritten in ink to border, some with 'Set Dressing (36)' stamped to verso. Swing High, Swing Low (Paramount Pictures, 1937). Starring Carole Lombard, Fred MacMurray. Director Mitchell Leisen. Approximately 110 silver gelatin photographs, 8 x 10 in., most with location descriptions handwritten in ink to border, most with photographer 'A.E. Freudeman' stamped to verso. Because of her marriage to superstar Clark Gable and her untimely death in a plane crash in 1942, it is often forgotten that Carole Lombard was one of Paramount Pictures' biggest stars in the 1930s. She began her career in silent films and as a Mack Sennett beauty in comedies, but her dramatic skills landed her serious roles at Paramount. Unlike the screwball comedy parts she would play later, the early 1930s exhibited Lombard's exquisite dramatic abilities and promoted a sex symbol image, one that was eclipsed to some degree by the Hays Code in 1934. She also formed a popular screen team for 2 films with George Raft. Her tenure at Paramount teamed her with everyone from Fred MacMurray to Shirley Temple before she branched out to other studios. 8 x 10 in. or smaller Footnotes: The collection of Paramount Pictures set stills that is being offered in this auction is an extraordinary historical archive from the late 1920s to the early 1970s. Sets stills were taken for continuity purposes and to document the arrangements of the sets and props, etc, during the making of a film. Not only does this collection photographically document the changes in filmmaking through the decades, it details the changing styles of architecture, interior design (the Art Deco sets from the 1930s are astonishingly beautiful), fashion, cars, and more. In the cases of location shooting, one can see the evolution of various southern California towns and landmarks, from the tony nightspots of Hollywood to the open spaces of Brentwood to the artistry of the Paramount Ranch. The photos give a unique behind-the-scenes look at the stars during filming; some vamp for the camera while others avoid it, some study their scripts or confer with the director, and some look incredibly bored. Equally interesting is the appearance of the stars' lookalike stand-ins and famous extras such as Bess Flowers. The unsung heroes of filmmaking, the crews, are seen as well, holding the booms, adjusting the lights, holding the clapper boards, and waiting, waiting, waiting. And speaking of unsung heroes, the talent, imagination, style, and creativity of the art directors and set decorators for these films cannot be overstated. Most of the fashion designers of the 1930s and '40s, such as Edith Head, are recognized for their contributions, as well they should be; however, the set decorators and art directors are grossly overlooked. Masters of their profession such as Hans Dreier, Robert Usher, William Flannery, Hal Pereira, Ernst Fegte For further information about this lot please visit the lot listing