This archive brings together the Mary Pickford collections of Chris Milewski and Pamela Short. High-resolution, non-watermarked scans are available upon request (subject to availability and discretion) by emailing filmiracle[at]yahoo[dot]com. If you notice any errors or can provide additional information, don't hesitate to get in touch. This website is a work in progress and will be updated as new material becomes available.
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.
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 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.
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.
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.
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| Mary Pickford in Hearts Adrift |
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| Mistress Nell |
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| The Fairy's Reward to the Good Little Devil |
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| Hearts Adrift |
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| Photo taken from the September 11, 1915 issue of Motion Picture News. Courtesy MHDL. |
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| 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. |
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.
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.
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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.
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.
Publicity still of Mary receiving a loving cup from Australian fans while on set during the production of Cinderella (1914.)
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.
