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.)

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 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 theatregoers by the Clemmer Theatre. After scouring many newspaper articles and ads, I have been unable to conclusively determine 1. Which Clemmer Theatre gave these away (as there was one in Seattle and one in Spokane) and 2. When exactly they were given away. With that said, I think ca. 1915 is fair based on the lovely photo by Apeda (assuming it’s really by Apeda) which was most used around then. 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 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.

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 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.

A short cell phone video showing the dedication of Mary's star. Unfortunately, the remnants of Hurricane Ian were creating a rather wet conditions outside so it took place inside.

Power Couple: Douglas Fairbanks and Mary Pickford in Hollywood

For a good bit of 2023, the Barrymore Film Center in Fort Lee, NJ is running the Power Couple: Douglas Fairbanks and Mary Pickford in Hollywood exhibit. While it mainly highlights some very nice pieces from Tracey Goessel's impressive collection, I was able to contribute, albeit in minor capacity, several things including a 1916 Stanbury pillowtop, which is on display, as well as a few photographs/scans. Admission is free during business hours and I encourage everyone to check it out if you're in the area. The exhibit is now over.

Below are a number of cellphone photos from opening night on June 10, 2023. It was indeed a packed house, but I was able to grab these mostly-unobstructed shots while The Thief of Bagdad was playing in the theatre.

Pardon the lack of a Fairbanks focus in my photos which is not indicative of the exhibit. But shouldn't that be expected?

Power Couple: Douglas Fairbanks and Mary Pickford in Hollywood

A general view of the well-designed exhibit.

A general view of the well-designed exhibit.
The small box in case in the foreground contains one of Mary's curls.

A general view of the well-designed exhibit.

A general view of the well-designed exhibit.

A general view of the well-designed exhibit. Mary's Biograph The New York Hat (1912) directed by D. W. Griffith in Fort Lee / Coytesville, is playing on the screen the background.

Those responsible.

This mural shows several images of a few glass slides from my collection.

A small portion of a nice collection amassed by Richard S. Hoffman, a period fan, on loan from the Museum of the Moving Image. Several of Tracey Gossel's Pickford posters adorn the wall in the background (with a particularly nice piece for Maurice Tourneur's Pride of the Clan (1917.))

My 1916 Stanbury pillowtop, featuring a photo by White and fashioned into a fringed pillowcase, on display.

R.K. Stanbury erroneously noted as B.K. Stanbury and my reflection.

This graphic shows shows several Fort Lee locations from The New York Hat (1912,) some of which not at all far from the BFC, along with present-day photos taken by myself.

The aforementioned Pride of the Clan (1917) window card. I have never seen it before and I found it to be quite striking that is was singled out for a closeup. I admittedly feel a little strange posting it as it's from someone else's collection, but it was part of the exhibit... so...  

One of several display showing some of Mary's / Pickfair's personal effects. Here, hair-care-related items along with one of Mary's famous curls. Creepy to some. Interesting to others. Or, is is just a clump of hair?