Mary Pickford inked handprint by Alice Denton Jennings - 1939

Perhaps one of the most unique pieces in this collection is this Mary Pickford inked handprint by palmist Alice Denton Jennings. Jennings offered "character analysis and vocational guidance" based on the lines and measurements of one's hand. She was a renowned expert on the "science" and in 1942, wrote a book on the subject: Your Hand Tells All: A Manual of Simplified Palmistry. This handprint reportedly originates from Jennings' own collection and probably adorned the walls of her Atlanta, GA studio, where hung the handprints of many great people, from political figures to movie stars and in between. It is also signed in ink by Mary herself and dated 1939.

Mary, not at Jennings' studio but on a set that spared no expense and featuring a palmist print on the wall, in the 1911 IMP The Mirror. (Courtesy of the Mary Pickford Foundation.)

Mary Pickford Pillow Top - Stanbury - 1916

Photo pillow tops, popular in the early-1900s, were an easy way to dress up your boring couch pillows. One could have any photo printed on a sheet of fabric (typically an 18"x18" sateen square) which would would then be sewn onto a dull pillow and embellished however one's heart desired. R. K. Stanbury, seeing a way to cash in, printed the portraits of early stars on pillow tops and sold them, along with other photos and the like, via advertising in an assortment of publications. This Stanbury pillow top, cut down to 15"x15", trimmed with fringe and a back added, features a photo of Mary Pickford by White Studio.

An advertisement for the same. This ad is for reference only and is not part of the collection.

This pillow top on display at the Barrymore Film Center's 2023 exhibit, Power Couple: Douglas Fairbanks and Mary Pickford in Hollywood, albeit erroneously noted as being produced by B.K. Stanbury. 

Mary Pickford - Photoplayers Portrait Co. White Photo Print - 1914

11x14 colored print, issued by the Photoplayers Portrait Co. of New York in 1914, featuring a Mary Pickford portrait by White Studio. It's worth noting that "this richly colored portrait on heavy art photo-board to stand on your bureau will not require a frame, as embossed design frames it. A new pose-rich in color. The most beautiful and artistic colored photograph of this popular star ever made." All for 25 cents! Incidentally, the dress Mary is wearing is the same one worn in the oddly-placed opening shot of one of Mary's greatest films--Tess of the Storm Country (1914.)

This ad is for reference only and is not part of the collection.

Mary Pickford - White - Poster / Lobby Photo / Photo - ca. 1914

This sepia-toned piece that has seen better days (though it does look much nicer in reality as every possible flaw has been accentuated by the camera) is bit of a mystery. I have never seen it before nor can I turn up any information about it. It is roughly lobbycard size (10.375" x 13.875 to be exact) and printed on paper with the reverse being blank. I assume it is a printed lobby photo -- the type of thing exhibitors could order from trade magazines -- to be displayed in a theatre to entice the public, but it could possibly be a "free" fan photo of sorts obtained from who knows where. In any event, ca. 1914 with an oft-used photo by White Studio. Do you know the story behind it?

P.W. Ellis & Co., Ltd. Sterling Clothes / Hat Brush

This sterling clothes / hat brush, featuring a gold-toned single-letter P monogram, was manufactured by P.W. Ellis & Co., Ltd in Mary's hometown of Toronto. I am unsure of exactly when this is from, but I can at least say that it must date prior to 1928 as that is when P.W. Ellis & Co., Ltd. ceased operations. In recent history, this piece was sold as part of a vanity set in the 1981 Mary Pickford Estate auction which, unfortunately, has since been pieced out. Gifted from the Pamela Short Collection.

The Little American (1917) Parasol

As part of the 1981 Mary Pickford Estate auction, this exquisitely made, extremely delicate aqua, peach, and cream parasol -- presumably from Lady Duff Gordon's Lucile, Ltd. -- was erroneously noted as having been used in her film Rebecca of Sunnybrook Farm (1917.) A simple comparison of this piece with that seen in Rebecca... shows they are very different. After a bit of research however, I have determined this parasol can be seen in the opening shots of Cecil B. DeMille's The Little American (1917,) as well as publicity stills associated with the film, and even at least one portrait by Melbourne Spurr. While it has certainly seen better days—being somewhat tattered as well as having lost the ribbon and most of the decorative tip that once adorned the handle—it is nice to know that this parasol still exists and here it is today. Gifted from the Pamela Short collection.

Mary posing with the parasol in a The Little American publicity still.

Mary with the parasol in The Little American (1917) (Courtesy of the Mary Pickford Foundation)

America's Sweetheart Mary Pickford at the Clemmer - pinback button - ca. 1915

1.25” souvenir pinback button manufactured by the Whitehead & Hoag Co. of Newark, NJ and distributed to theatergoers by the Clemmer Theatre. After scouring many newspaper / trade publication articles and ads, I have been unable to conclusively determine 1. Which Clemmer Theatre gave these away (as there was one in Seattle, WA run by the father -- John Clemmer, and one in Spokane, WA run by the son -- Howard Clemmer) and 2. When exactly they were given away. I think ca. 1915 is fair based on the photo by Apeda (or White? Gould & Marsden?) which was most used around then. It's worth noting that the Spokane Clemmer opened with Mary's film Mistress Nell on February 22, 1915, as such it is possible these might have been distributed then, but that is pure speculation -- ultimately it could have been the Seattle theatre. Incidentally, a similar button was likewise issued by the Popular Theatre.

Mary Pickford / United Artists Promotional Hand Fan ca. 1920s

Die-cut Mary Pickford / United Artists promotional hand fan with wood handle, produced, we can assume, by Josep Germa (Sabadell, Spain) to advertise Anis del Taup anisette -- evidently, the preference for people of good taste. The front features a nice photo of Mary by Campbell Studio framed and surrounded by a floral design. ca. 1920s.

Mary Pickford - Writing Pad - ca. 1918

Mary Pickford writing pad with blank white pages. Considering the cover is the painting and signature used on the 1918 Pompeian Beauty panel (and small ad / calendar,) I would assume this was likewise manufactured by the Forbes Lithograph Manufacturing Company, but for whom I can't say. The back cover consists of everyone's favorite "arithmetical tables."

Mary and Charlotte Pickford in Asbury Park - RPPC - 1915

On August 25, 1915, Mary Pickford, along with her mother, Charlotte, Adolph Zukor, and his wife, Lottie, were special guests at the 25th annual Baby Parade in Asbury Park, NJ. While visiting, Mary reportedly also made a personal appearance at the Lyric Theatre during a screening of Rags and stopped at The Auditorium in nearby Ocean Grove for additional parade festivities. While it is no secret, various reports detailing these festivities show just how popular Mary was at the time.

The September 11, 1915 issue of Motion Picture News noted: “Mary Pickford, star of the Famous Players Film Company, who was last Wednesday extended the unusual distinction of being the Guest of Honor of the City of Asbury Park at a Silver Jubilee Baby Parade—the first actress in all the twenty-five years during which Asbury Park has annually celebrated a Baby Parade to receive this signal honor, a preference shared in past years by President Wilson, Ex-President Theodore Roosevelt and other national celebrities—was tendered the greatest ovation with which the famous seaside resort has ever welcomed a visitor. 

“A significant feature of the parade was the numerous impersonations of Miss Pickford’s various creations by the children, principal among which were 'Tess of the Storm Country,' 'Hearts Adrift,' 'Such a Little Queen' and 'Mistress Nell.' [While information regarding those entries remains elusive, it is worth noting that the August 26, 1915 edition of the Newark Evening Star reported, “Ina Stevenson, daughter of Phillip Stevenson, of Kearny, won first prize in the express wagon division, dressed to represent Mary Pickford in one of her characteristic poses.” The August 29, 1915 edition of the Brooklyn Daily Eagle also noted that NY Senator Daniel J. Carroll's son, Lawrence (8) as "The Little Devil" and daughter, Margaret (7) as the "The Good Fairy," were chosen by Mary Pickford to received the Mary Pickford Prize for their leaf and daisy-decorated float, “The Fairy's Reward to the Good Little Devil.” We can assume Mary was just a tad biased.] Another interesting aspect of the event was the fact that Miss Pickford has obtained the addresses of three of the youngsters who appeared in the parade, and in whom she detected screen possibilities. As the children in question passed the reviewing stand, the star pointed them out to Adolph Zukor, president of the Famous Players Film Company, who, with Mrs. Zukor and Miss Pickford’s mother, accompanied her to Asbury Park, and who later secured the names and addresses of the children from the carnival officials. It is planned by Mr. Zukor and Mary Pickford to give these children an early opportunity to appear with her on the screen. The fortunate youngsters selected for this unusual notice are Jean Linn Hart, of Brooklyn, who appeared in the parade in the float call 'The Barrel of Love'; Marjorie H. Conover, of Bayonne, who appeared in a revolving frame called 'The Moving Picture'; and Adele Demming, of Asbury Park [who, the August 29, 1915 edition of the Brooklyn Daily Eagle reported,  “was seated in a huge candy box entitled 'Just a Box of Sweets.” And as far as I can tell, even with Mary’s accolades, acting was not in the future of any of the children she selected, though of course I can not say conclusively.]”

Festivities concluded at the Ocean Grove Auditorium where Mary gave a little speech saying, "I want to tell you how much I've enjoyed Ocean Grove and Asbury Park. I think they are two very beautiful places and I've enjoyed being here." (The Ocean Grove Times, August 27, 1915)

It was reported in the September 15, 1915 issue of The Moving Picture World that Pathe, on behalf of Paramount, filmed the parade and the film, featuring some footage of Mary, was shown at local theatres. A series of 15 postcards commemorating the parade, some of which featuring Mary, were produced by Cole & Co. of Asbury Park. The two shown above were gifted from the Pamela Short Collection.

Photo taken from the September 11, 1915 issue of Motion Picture News.
Courtesy MHDL. 

A view of the amphitheater and reviewing stand, where Mary and party were seated (under the umbrella on the left of the viewing stand,) along Kingsley Avenue between 7th and 8th Avenues--the current site of the Asbury Park Parking. The largest building in the background is the Hotel Colonial which, along with every other building shown, is no longer standing.

Mary Pickford Cap - 1914

Manufactured by Chicago's Vassar Cap Company, the Mary Pickford Cap (actually a variety of caps) was "the greatest sensation in years" and "the craze of the age" -- the age being late-1914, when the hats cost an upwards of $2.95, until about the mid-1915 when some were on special for as low as $.59.

In otherwise good condition, this black cloth cap may be missing its light-colored trimming/band that is present in several photos of Mary sporting it by White Studio (unless that was a personal add on as it seems to be missing in at least one of Mary's photo.) Printed logo inside the hat. Gifted from the Pamela Short Collection.

The November 11, 1914 Dry Goods Reporter reported, "A new cap, called the 'Mary Pickford,' which is said to have been designed by the popular moving picture star of that name, has made its appearance and through the publicity given it in an advertising way in the Chicago daily papers, gives promise of becoming popular.

"The cap is made of cloth, velvet, corduroy, satin and mohair and it comes in a variety of the season's favored colors. It is made with a pleated full crown with a rubber in the back which persists of adjustment. The front of the cap has a visor which protects the face and gives an air of jauntiness which is becoming to young girls, for whom the cap is intended.

"The Vassar Cap Company, the manufacturers, announced in an advertisement in the Sunday papers that on Monday several pretty girls would promenade about the downtown streets between the hours of 10 a.m. and 3 p.m. The first fifty persons who said to one of the girls, 'You are wearing the new Mary Pickford caps,' would be presented with an order for one of the caps which could be procured at any of the leading State street stores. Although a perfect blizzard raged in Chicago at the time, the girls were approached many times over fifty times by women who wanted one of the caps. The was the means by which the cap was brought directly to the attention of the consumer."

For more information, see the sampling of advertisements below (from Photoplay 12/1914, Fort Wayne Sentinel 11/19/1914, Dry Goods Reporter 11/11/1914, and Duluth Herald 11/20/1914.) These ads are for reference only and not part of this collection.

Mary Pickford - Pinback Button - Photo by Evans - 1920s

Small pinback button featuring a nice portrait of Mary by Evans. 1920s. Gifted from the Pamela Short Collection.

Mary Pickford - Glass Perfume Bottle

Mary Pickford-owned perfume bottle -- 8-lobed, mold-blown glass (polished pontil on base) with gilding on lip and similar lobed finial stopper. Unfortunately, there are no markings so I have very information about the piece at this time. This page will be updated should anything be uncovered. Gifted from the Pamela Short Collection.

Mary Pickford-stamped Smileage Book - 1918

According to the August 1918 issue of Motion Picture Magazine, Mary Pickford reportedly spent $1200 on Smileage Books -- the largest single sale of such books on the Pacific coast. While visiting Camp Kearny, she gave the 1200 books to her “godsons,” the 143rd Field Artillery, of which she was honorary Colonel.

This Smileage Book, stamped with Mary’s signature, contains 12 remaining tickets. Gifted from the Pamela Short Collection.

An advertisement in the July 1918 issue of Photoplay offered some details about these books.

1 - Smileage Books are books containing coupons entitling a soldier to admission to any entertainment held in Liberty Theatres, Liberty Tents, etc., in National Army Cantonments, and National Guard Camps in the U.S.A.

2 - Smileage Books are issued by Military Entertainment Committee, under supervision of War Department.

3 - Smileage Books containing 20 coupons cost $1.00 each. Smileage Books containing 100 coupons cost $5.00 each. The price of entertainments range from five to twenty-five centers.

4 - Smileage Books are for use in Liberty Entertainments in National Army Cantonments and National Guard Camps only. They do not apply to naval training stations or other camps.

5 - Smileage Books are on sale by local Smileage Committees everywhere throughout the country.

6 - There is a space on each book for name of soldier and name of person sending book. Smileage Books are transferable to soldiers in uniform. They can be used by civilians only when accompanied by a soldier.

7 - Sixteen theaters have been built. Chautauqua tents erected. A complete schedule of entertainments arranged.

8 - Smileage Books are need for our million of soldiers. Buy yours today — send it at once to your solider.

Mary Pickford - Pinback - ca. 1914/1915

Mary Pickford 1.25" pinback button featuring a portrait of Mary by an unknown photographer (I believe it is White Studio but it could be Apeda? Gould & Marsden?) Based on the photo and the stylization of the signature, I'd say this is ca. 1914/1915.

Little Mary Gets Loving Cup on the set of Cinderella - 1914

Publicity still of Mary receiving a loving cup from Australian fans while on set during the production of Cinderella (1914.) Gifted from the Pamela Short Collection.

The October 31, 1914 issue of Moving Picture World explained it in the greatest detail:

“There was a pretty scened enacted at the studio of the Famous Players on Tuesday evening at 6 o’clock when Miss Mary Pickford was presented with a loving cup and album from her admirers in Sydney, Australia. Miss Pickford was working in “The Step-Sister” [Cinderella] when Daniel Frohman walked int the range of the camera and stopped proceedings. Miss Pickford, garbed in the robs of a queen, descended from her throne to inquire the cause of the interruption. Mr. Frohman beckoned to Millard Johnson, of Australasian Films, Ltd. of Sydney, Australia, standing at the side to ender the improvised throne room. Mr. Johnson accompanied by Mrs. Johnson [Lily Gibson] and Miss Duffy, advanced in front of the camera. Mr. Frohman explained to Miss Pickford that Mr. Johnson had brought to her a message from the picture patrons of the far-off city. Mr. Johnson then presented to the popular actress a silver loving cup, explaining that as its inscription indicated it was generally a token of the affection in which Miss Pickford held by her fellow-townsmen and specifically in honor of her work in “Tess of the Storm Country,” in which she had particularly endeared herself to Australians. With the cup was a great album. Mrs. Johnson then presented to Miss Pickford a handsome bouquet of orchids.

“The actress made a fitting reply. She was getting along very nicely when suddenly her voice broke, she turned her head and covered her face.

“The proceedings had been very carefully rehearsed. Mr. Zukor had been slated for a part in the ceremony, but at the last moment dropped out. He said he feared the presence of too many might detract from the illusion of spontaneity. James Kirkwood, who was directing the picture, took charge of the rehearsal. A large number of players, arrayed in court costume, were grouped about. The setting was of unusual elaborateness, extending back probably seventy-five feet. When everything seemed satisfactory the lights were thrown on, the camera was turned. It may have been acting at first, but Mr. Frohman entered into the spirit of the occasion, apparently forgetting the face that the film was recording the scene. Mr. Johnson, too, was thoroughly in earnest. He was executing a commission from his neighbors many thousand miles away. His praise was hearty, his manner sincere; it could not help reaching the heart of the little woman he was addressing. It was the natural thing she should forget she was taking part in a ceremony the record of which was to be carried over land and sea to her friends at the other side of the earth. There was art in the beginning of her response, but it was life at the finish.

“The loving cup represented the contributions of 13,651 1/2 Australian pennies. The signatures in the album were of the many contributors. The great volume was bound in the finest leather. On the cover in raised letters was the inscription “The Roll of Honor Our Little Mary Pickford — a Tribute from Australia.” On the initial page were the signatures of the Lord Mayor and the Town Clerk, attested by the municipal seal, said to be the first time it had been used in any other than a city document. The idea of the presentation originated with the management and patrons of the Crystal Theatre, Sydney, and was heartily seconded by their patrons. In the recording of the ceremony 230 feet of film were used.”

Miraculously, the footage survives at the National Film and Sound Archive of Australia and can be view at https://www.nfsa.gov.au/collection/curated/12000-aussies-send-their-love-little-mary.

Mary Pickford Hoover Art Co. Print

High quality, monotone portraits of Mary Pickford by Hoover Art Co. printed on plastic. I am not sure of the story behind these two pieces, but it appears they might have once been part of a modern display of sorts. Gifted from the Pamela Short Collection.

The Mary Pickford Film Festival - Toronto - 9/16/1979 - 9/25/1979

Organized by Matty Kemp of the Mary Pickford Company in conjunction with the Variety Club of Ontario and The Festival Cinema, The Mary Pickford Film Festival was held in Mary's hometown of Toronto from September 16 to September 25, 1979. Over the course of 10 days, many films were shown including: My Best Girl, Sparrows, Pollyanna, Suds, Little Lord Fauntleroy, Rebecca of Sunnybrook Farm, Little Annie Rooney, Taming of the Shrew, and a variety of Biograph shorts. Buddy Rogers himself appeared on the first day of the event. Gifted from the Pamela Short Collection (who was incidentally in attendance for Rebecca of Sunnybrook Farm.)

Mary and Charlotte Pickford on-screen together!

Mary and Charlotte Pickford by Hartsook Studio.

While the global pandemic has delayed the completion of my book, Cameras & Curls: On Location with Mary Pickford, it has allowed extra time for research and discovery. Many of these new and exciting discoveries will of course be highlighted in the book, but two of them are too good not to share (at least in my opinion.) It is no secret that Mary’s mother Charlotte appears in the 1911 IMP Sweet Memories, but I have uncovered her presence at the Inglewood Station in D.W. Griffith's 1912 Biograph A Beast at Bay as well as on the Abbot Kinney Pier in Arthur Rosson's 1918 100% American. Making her appearance even more special in these films is that she is on screen with Mary. 

Charlotte's presence is significant because, besides the small fact of bringing Mary into the world, “Mrs. Pickford is her daughter’s best friend, confidante and business manager. This shrewd, kindly woman—so versed in the world’s trickery that her managerial cleverness sometimes hits the big heart of her—I dare to say is responsible for the Mary Pickford of today. Mary Pickford in personality is entirely herself, but it is her mother, no other, who has smoothed away the obstacles on that personality’s path toward full expression.” (as put so nicely in part 4/4 of the 1915/1916 Julian Johnson Photoplay article “Mary Pickford: Herself and Her Career.”) And Mary concurs noting in the April 2, 1915 edition of The Day Book, “[My mother] is not only the best mother in this whole wide world, but she has developed into a wonderful businesswoman. I would take her advice before that of any man on earth, and I regard her as he greatest element in whatever success I have.” Indeed, Mary has admitted countless times, it was Charlotte—not Mary—who was the business-end of the whole Pickford affair (but that's a topic for another discussion.) 

In a 1958 interview with George Pratt, Mary recalled her mother on the set of A Beast at Bay but did not add the fact that she had a small part in the film: “. . . here was a train keeping up with me and I drove 50 miles per hour which would be equivalent to 150 today. And my poor mother, standing on the roadside, praying out loud. I mean she was so terrified and of course I wasn’t very good at driving at that time and this was an old car as I recall and open, you know. It had no top and that was made out here in California. And it was right alongside the railroad track and I was racing the engine. I believe as I recall it I won out." (https://marypickford.org/av-element-type/audio-recordings.) The chase scenes Mary is referencing were taken not far from the station. It's not out of the question that D.W. Griffith might have said, "Ma Pickford... since you're here... stand in the background and make this train station look a little more lively... I'll pay you $5." Surely, Charlotte would have wanted more and so after a bit of haggling, she ended up in the background.

It's also worth noting that Mary's brother Jack appears at the station as well in A Beast at Bay, but then again, he pops up in many of Mary's Biographs if you look for him.

Charlotte Pickford in A Beast at Bay (1912.)
Photos and frames courtesy of the Mary Pickford Foundation / Marc Wanamaker.

In 100% American, there is just a hair more interaction between the duo--or in this case, trio. In the film, as Mary and her friend (played by Loretta Blake) make their way into the crowd on the Abbot Kinney Pier in Venice, CA, they nudge a bystander out of the way. It would make sense that during the film's production bumping into a stranger could have yielded an unwanted reaction and, as always, Charlotte was probably around on set so she played the part. Interestingly, it seems that Charlotte is interacting with the few people around her, as if acquainted, but I have been unable to identify them conclusively.

Charlotte in 100% American (1918.) Note the inset image is from a Liberty Loan event and shows Charlotte in the same hat, and quite possibly the same ensemble all together. Photos and frames courtesy of the Mary Pickford Foundation.

On to the next discovery...

Mary Pickford "Walk of Fame" Star Dedication at the Barrymore Film Center in Fort Lee, NJ

Mary Pickford's star on Main Street in Fort Lee, NJ.

On the rainy night of October 3, 2022, the Barrymore Film Center in Fort Lee, NJ dedicated a star on their "Walk of Fame" to Mary Pickford and 10 other notables of early film--Theda Bara, The Barrymore Family, Lon Chaney, William Fox, Sam Goldwyn, Alice Guy Blache, Carl Laemmle, Oscar Micheaux, Maurice Tourneur (who incidentally directed Mary in The Pride of the Clan (1917,) and The Poor Little Rich Girl (1917) at Fort Lee's Paragon Studio,) and Pearl White. Those attending were also given a sneak peak at the new museum, of which I proudly contributed to, albeit in very minor capacity, and the theatre. Many of Mary's earliest films for Biograph, IMP, and others were taken in and around Fort Lee, some of which including scenes taken right along the same stretch of Main St. where the BFC now stands.

Invitation and brochure.