[Los Angeles: Metro-Goldwyn-Mayer, 1941]. Vintage original 8 x 10″ (20 x 25 cm.) black-and-white double weight matte photo. Ink stamp of 1165×48 appears on verso, minor border wear. About fine.
Judy Garland and Lana Turner observe Hedy Lamarr as she touches-up her makeup behind-the-scenes on the set of Ziegfeld Girl. All are in costume for the scene in which the showgirls and dancers rehearse for the big show!
[Los Angeles: Metro-Goldwyn-Mayer, 1941]. Vintage original 8 x 10″ (20 x 25 cm.) black-and-white double weight matte finish silver gelatin photo. Fine.
Under the direction of Busby Berkeley and the camera work of Ray June, Judy Garland reacts with effervescent charisma for her close-up in this spectacular musical number. Judy and the dancers awaiting their cue are all dressed by Adrian. Production ink stamp of 1165×65 on verso.
[Los Angeles: Metro-Goldwyn-Mayer, 1941]. Vintage original 8 x 10″ (20 x 25 cm.) black-and-white double weight matte photo. Production number ink stamp on verso, fine.
The relationship between Judy Garland and her mother was truly complicated. The stage mother gave her daughter the drive and the brain wiring to be a star. In later years Judy openly expressed that she had been pushed and lost her childhood. The always demanding Ethel Gumm, who relied on her daughter for a living, was barred from MGM when Judy turned 18; the studio then took control.
A happy moment like this was taken when Ethel was allowed to visit her daughter in her dressing trailer during the filming of Ziegfeld Girl. Nearly flawless print.
[Los Angeles: Metro-Goldwyn-Mayer, 1938]. Vintage original 10 x 13″ (25 x 32 cm.) black-and-white double weight matte finish print photo. Some overall minor creases including across Judy’s lip and cheek area. Tiny creases at corner edges and repaired tear to blank white margin at bottom middle area. Some minor soil on top background. Near fine.
A stunning portrait from one of Judy Garland’s most famous sittings. This and other portraits from the sitting were those which Judy kept with her and signed while filming The Wizard of Oz between Sep. 1938 and Mar. 1939. While filming the Munchkinland sequence in Dec. 1938, Judy signed a similar portrait for each of the Munchkins as well as to her other Oz cast and crew mates.
Photo features ink stamp of photographer László Willinger.
[Los Angeles: CBS Television, 1963]. Vintage original 7 x 9″ (17 x 22 cm.) black-and-white glossy silver gelatin print photo. Crease at top right corner, about fine.
Judy Garland and Liza Minnelli display their versatility in song, dance and comedy in the final number to episode #8 of The Judy Garland Show. The show was the third to be taped in July of 1963. The show broadcast as number 8 on Nov. 17, 1963. Liza would return to perform on Judy’s Christmas show a month later.
Liza surely demonstrated the tricks of the trade she had learned from her mother, keeping up with her in a routine that had its basis in Judy’s movie and stage tramp number, “A Couple of Swells”. The Adler and Ross song “Two Lost Souls” from Damn Yankees was substituted. This TV still from CBS includes the original wraparound attached paper blurb and a Nov. 15, 1963, ink stamp from the Cleveland Press.
[Los Angeles: CBS, 1963]. Vintage original 8 x 10″ (20 x 25 cm.) black-and-white glossy silver gelatin print photo. Scratch at top left edge, about fine.
When Judy Garland asked daughter Liza Minnelli to co-star with her on episode #8 of her television series, Liza was asked to display her wide array of talents in dance, singing and comedy. She was up to the challenge and dueted with her superstar mom, including on this musical comedy duet “Two Lost Souls”. Judy appears to be quite verklempt at Liza’s performance here.
Magazine usage ink stamp form on verso as well as inventory number. Photo is borderless.
[Los Angeles: CBS Television, 1963]. Vintage original 8 x 10″ (20 x 25 cm.) black-and-white glossy silver gelatin print photo. Significant crease at bottom right corner, very good.
For taped episode #3 (in July of 1963) which became the #8 episode aired on Nov. 17, 1963, Judy Garland welcomed daughter Liza Minnelli as her main guest. The mother/daughter duo performed several numbers together, including a recreation of Judy’s popular tramp number, this time to the song “Two Lost Souls”, as appropriate to the character as the original song “A Couple of Swells”.
Here they take a bow at the end of the performance. Original magazine ink stamp usage form on the verso and handwritten notes.
[New York: CBS Television, 1962]. Vintage original 7 x 9″ (17 x 22 cm.) black-and-white glossy silver gelatin print photo. Creases at bottom right corner and along the top of the photo as well as a tiny edge tear at top. Near fine.
Judy Garland was on a huge resurgence. Told she should not work again after a health scare in 1959, she rallied and spent five years at the top of her game with 5 movies, concerts in Europe, numerous record albums, nightclubs and Vegas, and the grand Carnegie Hall concert and tour of 32 cities which led to interest from TV networks.
Two specials led to her having her own TV series. The first was this, which was filmed before a live audience in Burbank, CA. The first half of the show featured Dean Martin and Frank Sinatra as her guests; the second half was a mini version of her Carnegie Hall concert. Presented by CBS, it was a huge success.
Caricatures such as this appeared in TV magazines and newspapers. Two original CBS paper blurbs are attached.
[Los Angeles: Metro-Goldwyn-Mayer, 1938]. Vintage original 8 x 10″ (20 x 25 cm.) black-and-white glossy silver gelatin print photo. Minor crease at top right corner, near fine.
Judy Garland at 15 displays a lovely smile for this portrait used to promote her move to star status. When MGM bought the rights to The Wizard of Oz in late 1937, it was bought to make Garland a star. In preparation for over a year before it went before the cameras, Judy was rushed through three films.
The first was a vehicle to move her from the character/juvenile classification to the star roster at MGM. Originally called The Ugly Duckling (to which mother Billie Burke refers to in the script), it was retitled Everybody Sing. Judy sang — a lot — but so did everyone else. As Oz was being prepared and she tested various hair, costume and make-ups, she finished this film as well as Love Finds Andy Hardy and Listen, Darling. This portrait was used all through 1938 to promote those films.
There is a date stamp on the verso of Nov. 28, 1938.