LON CHANEY Jr JACK PIERCE THE WOLF MAN 1941 8x10\" HAND COLOR TINTED PHOTOGRAPH For Sale
![LON CHANEY Jr JACK PIERCE THE WOLF MAN 1941 8x10\](img/g/HvgAAMXQVD1SKO2i/s-l1600/LON-CHANEY-Jr-JACK-PIERCE-THE-WOLF-MAN-1941-8x10-H.jpg "LON CHANEY Jr JACK PIERCE THE WOLF MAN 1941 8x10\")
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LON CHANEY Jr JACK PIERCE THE WOLF MAN 1941 8x10\" HAND COLOR TINTED PHOTOGRAPH:
$14.50
Up for sale is an awesome8 x 10\" full color photo print of a hand oil tinted photograph featuring actor, Lon Chaney Jr. & make up artist Jack Pierce from the 1941 movie, The Wolf Man.This is a high-resolution (320 dpi/ 2,560 x 3,200 pixel) 8\" x 10\" vintage image, hand oil tinted and photo processed onto Fuji Film Archival Photo Paper. Fuji Film Archival Photo Paper is the highest quality paper and photo processing available. Fuji guarantees it not to fade for up to 70 years!
Lon Chaney Jr., The Wolf Man
Lon Chaney, Jr. (February 10, 1906 - July 12, 1973), born Creighton Tull Chaney, was an American character actor. He was best known for his roles in monster movies and as the son of famous silent film actor, Lon Chaney. He is notable for playing Larry Talbot in The Wolf Man movies.Originally credited in films as Creighton Chaney, he was first credited as \"Lon Chaney, Jr.\" in 1935. Chaney had English, French and Irish ancestry.Early lifeCreighton was born in Oklahoma City, Oklahoma, the son of silent film star Lon Chaney and Frances Cleveland Creighton Chaney, a singing stage performer who traveled in road shows across the country with Creighton. His parents\' troubled marriage ended in divorce in 1913 following his mother\'s scandalous public suicide attempt in Los Angeles. Young Creighton lived in various homes and boarding schools until 1916, when his father (now employed in films) married Hazel Hastings and could provide a stable home. Many articles and biographies over the years report that Creighton was led to believe his mother had died while he was a boy, and was only made aware she lived after his father\'s death in 1930.From an early age, he worked hard to get out of his famous father\'s shadow. In young adulthood, his father discouraged him from show business, and he attended business college and became successful in a Los Angeles appliance corporation.Career
It was only after his father\'s death that Chaney started acting in movies, beginning with an uncredited role in the 1932 film Girl Crazy. He appeared in films under his real name until 1935, when he began to be billed as \"Lon Chaney, Jr.\" (and would appear as \"Lon Chaney\" later in his career). Chaney was asked to test for the role of Quasimodo for the 1939 remake of The Hunchback of Notre Dame. The role went to Charles Laughton. In his final years, Chaney would get a brief chance to play Quasimodo, and return to the roles of the Mummy, and the Wolfman on the 1960s television series Route 66 with friends Boris Karloff and Peter Lorre.Chaney first achieved stardom and critical acclaim in the 1939 feature film version of Of Mice and Men, in which he played Lennie Small.In 1941, Chaney starred in the title role of The Wolf Man for Universal Pictures Co. Inc., a role which would typecast him for the rest of his life. He maintained a career at Universal horror movies over the next few years, replaying the Wolf Man in Frankenstein Meets the Wolf Man, House of Frankenstein, House of Dracula, Abbott and Costello Meet Frankenstein, Frankenstein\'s monster in The Ghost of Frankenstein, Kharis the mummy in The Mummy\'s Tomb, The Mummy\'s Ghost and The Mummy\'s Curse. He also played the title character in Son of Dracula. Chaney is thus the only actor to portray all four of Universal\'s major monsters: the Wolf Man, Frankenstein\'s Monster, the Mummy, and the vampire son of Count Dracula. Universal also starred him in a series of psychological mysteries associated with the Inner Sanctum radio series. He also played western heroes, such as in the serial Overland Mail, but the imposing 6-foot 2-inch, 220-pound actor often appeared as heavies. After leaving Universal Studios, where he made 30 films, he worked primarily in character roles in low-budget films.He also established himself as a favorite of producer Stanley Kramer, taking key supporting roles in the western High Noon (1952) (starring Gary Cooper), Not as a Stranger (1955), a hospital melodrama featuring Robert Mitchum and Frank Sinatra, and The Defiant Ones (1958, starring Tony Curtis and Sidney Poitier). Kramer told the press at the time that whenever a script came in with a role too difficult for most actors in Hollywood, he called Chaney.One of his most talked about roles was a live television version of Frankenstein on the anthology series Tales of Tomorrow, for which he showed up drunk. During the live broadcast, Chaney, playing the Monster, was so drunk that he thought it was just a rehearsal and he would pick up furniture that he was supposed to break only to gingerly put it back down while muttering, \"Break later.\"He became quite popular with baby boomers after Universal released its back catalog of horror films to television in 1957 and Famous Monsters of Filmland magazine regularly focused on his films. In 1957, Chaney went to Ontario, Canada, to costar in the first ever American-Canadian television production, as Chingachgook in Hawkeye and the Last of the Mohicans, suggested by James Fenimore Cooper\'s stories. The series ended after 39 episodes.In the 1960s, Chaney\'s career ran the gamut from horror productions, such as Roger Corman\'s The Haunted Palace and big-studio Westerns such as 1967\'s Welcome to Hard Times, to such bottom-of-the-barrel fodder as Hillbillys in a Haunted House and Dr. Terror\'s Gallery of Horrors (both 1967). His bread-and-butter work during this decade was television where he made guest appearances on everything from Wagon Train to The Monkees and in a string of supporting roles in low-budget Westerns produced by A. C. Lyles for Paramount. During this era, he starred in Jack Hill\'s Spider Baby (filmed 1964, released 1968), for which he also sang the title song. He appeared in a 1958 episode of the western series Tombstone Territory titled \"The Black Marshal from Deadwood.\"In later years he battled throat cancer and chronic heart disease after decades of heavy drinking and smoking. In his final horror film, Dracula vs. Frankenstein (1971), directed by Al Adamson, he played Groton, Dr. Frankenstein\'s mute henchman. He filmed his part in the spring of 1969, and shortly thereafter filmed his final film role, also for Adamson, in The Female Bunch. Due to illness he retired from acting to concentrate on a book about the Chaney family legacy, A Century of Chaneys, which remains to date unpublished in any form. His grandson, Ron Chaney, was working on completing this project.Personal lifeMarried twice, Chaney had two sons, Lon Ralph Chaney (born July 3, 1928) and Ronald Creighton Chaney (born March 18, 1930), both now deceased. He is survived by a grandson, Ron Chaney, who attends film conventions and discusses his grandfather\'s life and film career. Ron Chaney was featured on the CBS News Sunday Morning program on October 29, 2006.Chaney seemed to have been well-liked by his co-workers \"sweet\" is the adjective that most commonly emerges from people who acted with him yet he was capable of intense dislikes. For instance, he and frequent co-star Evelyn Ankers did not get along at all despite their undeniable on-camera chemistry. Chaney is also said to have had a belligerent relationship with actor Martin Kosleck; years after the fact, Kosleck explained this as a case of jealousy over Kosleck\'s (self-described) superior talent. Chaney had run-ins with actor Frank Reicher (whom he nearly strangled on camera in The Mummy\'s Ghost) and director Robert Siodmak (over whose head Chaney broke a vase).DeathAt the age of 67, Chaney died on July 12, 1973, of heart failure in San Clemente, California. His body was donated for medical research.He was honored by appearing as the Wolf Man on one of a 1997 series of United States postage stamps depicting movie monsters.
Jack Pierce (born Janus Piccoula; May 5, 1889 – July 19, 1968) was a Hollywood makeup artist most famous for creating the iconic makeup worn by Boris Karloff in Universal Studios\' 1931 adaptation of Mary Shelley\'s Frankenstein, along with various other classic monster make-ups for Universal Studios.Early career
After immigrating to the United States from his native Greece as a teenager, Pierce tried his hand at several careers, including a stint as an amateur baseball player. In the opportunist twenties, Pierce embarked on a series of jobs in cinema—cinema manager, stuntman, actor, even assistant director—which would eventually lead to his mastery of in the field of makeup. The small-statured Pierce was never a \"leading man\" type, and he put his performing career aside to specialize in makeups on other performers. In 1915 he was hired to work on crews for the studio\'s productions. On the 1926 set of The Monkey Talks, Jack Pierce created the makeup for actor Jacques Lernier who was playing a simian with the ability to communicate. The head of Universal, Carl Laemmle, was won over with the creative outcome. Next came the rictus-grin face of Conrad Veidt in The Man Who Laughs, also a silent Universal picture. Pierce was then immediately hired full-time by the newly established Universal Pictures motion picture studio. The 1930 death of Lon Chaney, who throughout the 1920s had made a name for himself by creating grotesque and often painful horror makeups, opened a niche for Pierce and Universal, Chaney\'s films provided audiences with the deformed, monstrous faces that Pierce and moviegoers so clearly enjoyed. Universal\'s first talkie horror film, Dracula, eschewed elaborate horror makeup. Pierce designed a special color greasepaint for Bela Lugosi for his vampire character, but apparently the actor insisted on applying his own makeup. For all film appearances of the character thereafter, Pierce instituted a different look entirely, recasting Dracula as a man with graying hair and a mustache. The most significant creation during Pierce\'s time at the studio was clearly Frankenstein, originally begun with Lugosi in the role of the Monster. The preliminary design (from contemporary newspaper accounts and a recollection of the screen test by actor Edward Van Sloan) was similar to the Paul Wegener 1920 German film of The Golem. This is not surprising, since studio head Carl Laemmle, Jr. and director Robert Florey were both familiar with German Expressionist films. When James Whale replaced Florey as director, the concept was radically changed. Pierce came up with a design which was horrific as well as logical in the context of the story. So, where Henry Frankenstein has accessed the brain cavity, there is a scar and a seal, and the now famous \"bolts\" on the neck are actually electrodes; carriers for the electricity used to revive the stitched-up corpse. How much input director James Whale had into the initial concept remains controversial. Universal loaned out Pierce for the Lugosi film White Zombie. They also loaned out some of the Dracula sets for the troublesome filming. Lugosi had collaborated with Pierce on the look of his devilish character in the film. Collaboration with Karloff
Pierce\'s reputation was as bad-tempered, or at least extremely stern, but his relationship with Karloff was a good one. They both cooperated on the design of the now iconic make-up, with Karloff removing a dental plate to create an indentation on one side of the Monster\'s face. He also endured four hours of make-up under Pierce\'s hand each day, during which time his head was built up with cotton, collodion and gum, and green greasepaint (designed to look pale on black and white film) was applied to his face and hands. The finished product was universally acclaimed, and has since become the commonly accepted visual representation of Mary Shelley\'s creation. The Mummy, produced the following year, combines the plot of Dracula with the make-up tricks of Frankenstein, to turn Karloff into an incredibly aged and wrinkled Egyptian prince. Again, Pierce and Karloff\'s collaboration was critically acclaimed and impressed audiences. Interestingly, that same year Pierce designed the Satanic make-up for Lugosi in White Zombie, although this was an independent film, rather than a Universal production. On November 20, 1957, Ralph Edwards got Jack Pierce reunited with a smiling Boris Karloff on the celebrity biography program This is Your Life. On that night\'s program, Jack unveiled some memories of working together with Karloff on the Universal film lot. Karloff, the special guest of the night, was pleasantly surprised to see Jack Pierce once again, and called him the greatest makeup man in the business.
Universal Studios Monster Maker
As the head of Universal\'s make-up department, Pierce is credited with designing and creating the iconic make-ups for films like Frankenstein, The Mummy (1932), The Wolf Man (1941), and their various sequels associated with the characters. Utilizing his \"out of the kit\" techniques, Pierce\'s make-ups were often very grueling and took a considerable amount of time to apply. Pierce was always reluctant to use latex appliances, favoring his technique of building facial features out of cotton and collodion (a strong smelling liquid plastic), or nose putty. Pierce eventually started using latex appliances, most notably a rubber nose for Lon Chaney, Jr. in The Wolf Man (1941) (the edges of the appliance are clearly visible through most of the film), and a rubber head piece for Boris Karloff in Bride of Frankenstein (1935) and Son of Frankenstein (1939). With Lon Chaney, Jr.
Pierce was not especially liked around Universal, which in part led to his demise at the studio. His most notorious relationship being with Lon Chaney, Jr., the two despised each other. Both worked on four Wolf Man films and three Mummy films at Universal. Chaney claimed that Pierce compounded difficulties in the long uncomfortable process with the adding on of sticky appliances. Lon\'s Wolf Man make-up partially consisted of yak hair being glued to his face, and having it singed with a hot iron. Chaney furthermore claimed, Pierce would purposely burn him with the hot iron. Chaney also had an allergic reaction to the make-up Pierce used on him in The Ghost of Frankenstein. Later, Chaney suffered with Pierce\'s laboriously wrapped bandages for three Mummy films. In Jack\'s defense, the use of the fused elements of make-up was a needful 8 hour task for the desired effect that Pierce was looking for, and Chaney was well known for not working well with others on set. Outside of his unusual horror makeups, a recurring signature of Pierce\'s makeup was to give actors a widow\'s peak hairline. Bela Lugosi and his Spanish-language counterpart Carlos Villarias both wore widow\'s peak toupees in their respective versions of Dracula in 1931, and Lugosi\'s makeup for 1932\'s White Zombie included an even more severe widow\'s peak. Pierce shaved the hairline of Boris Karloff and turned it into an arrow-like widow\'s peak for the 1934 film The Black Cat, and had comedian Bud Abbott augment his thinning hairline with a widow\'s peak toupee in his early films with Lou Costello. Pierce even gave Lon Chaney, Jr. a low, pointed hairline in such Inner Sanctum films as Strange Confession and 1943\'s Son of Dracula. For 1938\'s Service Deluxe, a comedy in which Vincent Price made his film debut, Pierce flattened Price\'s natural widow\'s peak with hair plugs. Unfortunately for Pierce, throughout the 1940s, make up artists were dropping their \"out of the kit\" techniques in favor of molded foam latex appliances that were cheaper, quicker, and more comfortable for the actors. Pierce, always known as a stubborn man, continually resisted this way. The old regime at Universal was gone by the late 40s and new studio heads were looking for quicker, more cost-effective make-ups. Pierce was eventually let go from Universal in 1946 after over a decade of creating make-ups. It had become difficult for him to adapt to more modern and less costly methods. Jack was a man of tradition to his own executed designs. In the 1950s, things took a turn for the worse as television broadcasting came onto the scene. The Hollywood studios saw television as competition. Universal started the process of cutting their costs by selling needless studio assets, and trashing the unnecessary things they thought at the time were questionable. Pierce\'s final credit is as makeup artist for the TV show Mister Ed from 1961 to 1964. He died in 1968 from uremia.
Photograph is from the 1941 movie, The Wolf Man & was Hand Oil Tinted by artist Margaret A. Rogers.
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