CLARA BOW COLLECTION OF 13 BEAUTIFUL 1930s VINTAGE ORIGINAL PHOTOGRAPHS

CLARA BOW COLLECTION OF 13 BEAUTIFUL 1930s VINTAGE ORIGINAL PHOTOGRAPHS. From the estate of actress. Original vintage gelatin silver 8 in.

Photographs of CLARA BOW in a variety of poses and portraits including: - one glossy portrait posing in a swimsuit on the beach taken by Eugene Robert Richee - one matte double-weight on the beach with ball taken by Otto Dyar with photographer credit ink stamp on the verso - one matte double-weight in a smart diamond motif couture ensemble taken by Eugene Robert Richee with photographer embossed stamp. One matte double-weight with dog. Matte double-weight artistic composition in cameo brooch. Matte double-weight with husband Rex Bell and children - one matte double-weight with cousin Billy Bow taken by Eugene Robert Richee with photographer credit ink stamp on the verso - one glossy linen-backed key-book print from. (1927) with studio production number in the negative and handwritten pencil notation on the verso - one glossy linen-backed key-book portrait from.

(1930) with studio production number in the negative - one glossy taken by Eugene Robert Richee with photographer credit ink stamp on the verso - one glossy Fox Film publicity portrait taken by Otto Dyar with studio and photographer credit ink stamps, and other notations on the verso - one glossy from. (1928) with studio production number in the negative - one glossy taken at the age of 16 years old taken by Nickolas Muray with portrait number in the negative. TONE: B&W - FINISH: matte and glossy.

Excellent: Very nearly pristine, with no more than trivial flaws. Very Good: Slight scuffing, rippling, minor surface impressions. Good: Visibly used with small areas of wear, which may include surface impressions and spotting.

Fair: Visibly damaged with extensive wear. CUSTOMER SERVICE - I will respond to all inquiries within 24 hours. (July 29, 1905 September 27, 1965) was an American actress born and raised in Prospect Heights, Brooklyn, who rose to stardom in the silent film era of the 1920s. Her high spirits and acting artistry made her the quintessential flapper and the film. Brought her global fame and the nickname The It Girl. Bow came to personify the roaring twenties and is described as its leading sex symbol. She appeared in 46 silent films and 11 talkies, including hits such as.

She was first box-office draw in 1928 and 1929 and second in 1927 and 1930. Her presence in a motion picture has been described to have ensured investors, by odds of almost 2-to-1, a "safe return" with only two exceptions. At the apex of her stardom, in January 1929, she received more than 45,000 fan letters. Bow ended her career with.

(1933), and became a rancher in Nevada. In 1931 she married actor Rex Bell, later politician and Lieutenant Governor, with whom she had two sons. Clara Bow was born 1905 in a tenement in Brooklyn slums. Bow was the third child; the first two, also daughters, born in 1903 and 1904, died in infancy.

Her mother, Sarah Bow (18801923), was told by a doctor not to become pregnant again for fear the next baby might die as well. Despite this, Bow was conceived in the fall of 1904. In addition to this, a Heat Wave besieged New York In July 1905, with temperatures peeking around 100F, bringing the infant mortality rate to 80%. I don't suppose two people ever looked death in the face more clearly than my mother and I the morning I was born. We were both given up, but somehow we struggled back to life. At sixteen, Sarah fell from a second-story window and suffered a severe head injury. Later she was diagnosed with "psychosis due to epilepsy", which apart from the seizures can cause disordered thoughts, delusional ideas, paranoia and aggressive behavior.

From her earliest years, Bow learned how to care for her mother during seizures and how to deal with psychotic and hostile episodes. She said her mother could be "mean" to her, but didn't mean to... She couldn't help it.

Still, Bow felt deprived of her childhood; "As a kid I took care of my mother, she didn't take care of me". Sarah worsened gradually, and when she realized her daughter was set for a movie career, she told her she "would be much better off dead".

One night in February 1922, Bow awoke with a butcher knife against her throat; when her mother hesitated, Bow fended her off and locked her up. In the morning, Sarah had no recollection of the episode and was later committed to a charity hospital. Bow said that her father, Robert (18741959), had a quick, keen mind... All the natural qualifications to make something of himself, but didn't. Robert seldom managed to hold on to a job and the family income varied drastically.

Between 1905 and 1923, the family lived at 14 different addresses. Robert was often absent, leaving his family without means to survive. I do not think my mother ever loved my father. And it made him very unhappy, for he worshiped her, always.

My mother and I were cold and hungry. We had been cold and hungry for days. We lay in each others arms and cried and tried to keep warm.

It grew worse and worse. So that night my mother but I can't tell you about it. Only when I remember it, it seems to me I can't live. Sarah died on January 5, 1923.

When relatives gathered for the funeral, Bow accused them of not being supportive when it counted. She was so angry she even tried to jump after her mother into the grave. As Bow grew up she felt shy among other girls, who teased her for her worn-out clothes and "carrot-top" hair. But she had no use for their company, "sissy" attitudes or games.

Instead, from first grade, she enjoyed the society of boys and their sports, stunts and fighting I could lick any boy my size. My right arm was quite famous. My right arm was developed from pitching so much... Once I hopped a ride on behind a big fire engine. I got a lot of credit from the gang for that. Bow's athletic prowess also made her a track racing champion in high-school and her proposed arm strength, Louella Parsons examined;... Curiously enough, she has muscles on her arms that stand out like whip-cord.

In the early 1920s, roughly 50 million Americans, or half the population, attended the movies every week. Budding womanhood had made Bow's stature as a "boy" in her old gang "impossible", she didn't have any girlfriends, school was a "heartache" and home "miserable".

But on the silver screen, she found consolation; For the first time in my life I knew there was beauty in the world. For the first time I saw distant lands, serene, lovely homes, romance, nobility, glamor.

And further; I always had a queer feeling about actors and actresses on the screen... I knew I would have done it differently. I couldn't analyze it, but I could always feel it. I'd go home and be a one girl circus, taking the parts of everyone I'd seen, living them before the glass.

" At sixteen Bow "knew" she wanted to be a motion pictures actress, even if she was a "square, awkward, funny-faced kid. Held a nationwide acting contest, Fame and Fortune, and several of its former winners had found work in the pictures afterwards. With her father's support but against her mother's wishes, she competed and won. In the final screen test Bow was up against an already scene-experienced woman, who went first and did "a beautiful piece of acting", but when Bow did the scene she actually became her character and "lived it".

In the January issues 1922 of. The contest jury, Howard Chandler Christy, Neysa Mcmein, and Harrison Fisher, concluded. She is very young, only 16. But she is full of confidence, determination and ambition. She is endowed with a mentality far beyond her years.

She has a genuine spark of divine fire. The five different screen tests she had, showed this very plainly, her emotional range of expression provoking a fine enthusiasm from every contest judge who saw the tests. Her personal appearance is almost enough to carry her to success without the aid of the brains she indubitably possesses.

Bow won an evening gown and a silver trophy and the publisher committed to help her "gain a role in films". Bow's father told her to "haunt" Brewster's office (located in Brooklyn) until they came up with something.

"To get rid of me, or maybe they really meant to (give me) all the time and were just busy", Bow was introduced to director Christy Cabanne who cast her in. Produced late 1921 in New York City and released February 19, 1922. Bow did five scenes, impressed Cabanne with true theatrical tears, but was eventually cut from the print.

Bow wasn't told, but found out when she saw the movie at a theater in Brooklyn. "I was sick to my stomach", she recalled and thought her mother was right about the movie business. Bow, who dropped out of school after she was notified about winning the contest, possibly in October 1921, got an ordinary office job. However, movie ads and newspaper editorial comments from 19221923 suggest that Bow was not cut from. Her name is on the cast list among the other stars, usually tagged "Brewster magazine beauty contest winner" and sometimes even with a picture.

Encouraged by her father, Bow started to run around studio agencies asking for parts. But there was always something. I was too young, or too little, or too fat.

Usually I was too fat. Eventually director Elmer Clifton needed a tomboy for his movie. Down to the Sea in Ships.

Magazine and sent for her. In an attempt to overcome her youthful looks, Bow put her hair up and arrived in a dress she'sneaked' from her mother. Clifton said she was too old, but broke into laughter as the stammering Bow made him believe she was the girl in the magazine. Was shot on location in New Bedford, Massachusetts, produced by Independent'The Whaling Film Corporation', and documented the life, love and work in the whale-hunter community.

The production relied on a few less known actors and local talents. It premiered at'Olympia', New Bedford, on September 25, and went on general distribution on March 4, 1923. Bow was billed 10th, but shined through and critics sang her praise. "Miss Bow will undoubtedly gain fame as a screen comedienne".

She scored a tremendous hit in. Has reached the front rank of motion picture principal players. With her beauty, her brains, her personality and her genuine acting ability it should not be many moons before she enjoys stardom in the fullest sense of the word.

You must see'Down to the Sea in Ships'. In movie parlance, she'stole' the picture...

Bow found herself walking time after time by a Broadway movie theater, staring at her name in shimmering electric light above the entrance. "I can never tell you what happiness I felt, life had been so terrible hard and it seemed to me that now all my troubles were to be in the past". By mid December 1923, primarily due to her merits in. Bow was chosen the most successful of the 1924 WAMPAS Baby Stars.

Was released, Bow danced half nude, on a table, unaccredited in. In spring she got a part in. Were she befriended actress Mary Carr, who taught her how to use make-up. In the summer, she got a "tomboy" part in. A story, which dealt with juvenile crime and was written by F.

Bow met her first boyfriend, cameraman Arthur Jacobson, and she got to know director Frank Tuttle, with whom she worked in five later productions. Her emotions were close to the surface. She could cry on demand, opening the floodgate of tears almost as soon as I asked her to weep.

She was dynamite, full of nervous energy and vitality and pitifully eager to please everyone. Was released on January 7, 1924. Clara Bow lingers in the eye, long after the picture has gone.

At Pyramid Studios, in Astoria, New York, Bow was approached by Jack Bachman of independent Hollywood studio Preferred Pictures. "It can't do any harm", he tried. Why can't I stay in New York and make movies? , Bow asked her father, but he told her not to worry.

On July 21, 1923 she befriended Louella Parsons, who interviewed her for. The New York Morning Telegraph. In 1931 when Bow came under tabloid scrutiny, Parsons defended her and stuck to her first opinion on Bow.

She is as refreshingly unaffected as if she had never faced a means to pretend. She hasn't any secrets from the world, she trusts everyone... She is almost too good to be true... (I) only wish some reformer who believes the screen contaminates all who associate with it could meet this child.

Still on second thought it might not be safe: Clara uses a dangerous pair of eyes. The interview also revealed that Bow already was cast in. And in great favor of Chinese cuisine. July 22, 1923, Bow left New York, her father and her boyfriend behind. As chaperon for the journey and stay in Hollywood, the studio appointed writer/agent Maxine Alton, who Bow later branded a liar.

In late July Bow entered studio chief B. Schulberg's office wearing a simple high-school uniform in which she "had won several gold medals on the cinder track". She was tested and a press-release from early August says Bow had become a member of Preferred Picture's "permanent stock". She and Alton rented an apartment at The Hillview near Hollywood Boulevard. Preferred Pictures was run by Schulberg who started as a publicity manager at Famous Players-Lasky, but in the aftermath of the power struggle around the formation of United Artists ended up on the losing side and lost his job.

In 1919, at age 27, he founded'Preferred'. Bow's first Hollywood picture was an adaptation of the popular operetta. In which she essayed "Alice Tremaine".

Was finished, Schulberg announced that Bow was given the lead in the studio's biggest seasonal assessment. But first she was lent to First National Pictures to co-star in the adaptation of Gertrude Atherton's 1923 bestseller.

Shot in October, and to co-star with Colleen Moore in. Director Frank Lloyd was casting for the part of high society flapper Janet Oglethorpe, and more than fifty women, most with previous screen experience, auditioned. Bow reminisced; He had not found exactly what he wanted and finally somebody suggested me to him. When I came into his office a big smile came over his face and he looked just tickled to death.

Lloyd told the press; "Bow is the personification of the ideal aristocratic flapper, mischievous, pretty, aggressive, quick-tempered and deeply sentimental". It was released on January 4, 1924. New York Times: "The flapper, impersonated by a young actress, Clara Bow, had five speaking titles, and every one of them was so entirely in accord with the character and the mood of the scene that it drew a laugh from what, in film circles, is termed a "hard-boiled" audience". Los Angeles Times: Clara Bow, the prize vulgarian of the lot...

But didn't belong in the picture. The horrid little flapper is adorably played...

Colleen Moore made her flapper debut in a successful adaptation of the daring novel. Released November 12, 1923, six weeks before.

Both films were produced by First National Pictures, and while. Was still being edited and.

Not yet released, Bow was requested to co-star Moore as her kid sister in. Moore essayed the baseball-playing tomboy and Bow, according to Moore, said "I don't like my part, I wanna play yours". Moore was married to a studio executive and Bow's protests fell short.

"I'll get that bitch", she told her boyfriend Jacobson, who had arrived from New York. Bow had sinus problems and decided to have them attended to immediately. A bandaged Bow left the studio with no options but to recast her part.

During 1924 Bow's "horrid" flapper raced against Moore's "whimsical". In May Moore renewed her efforts in. Produced by her husband, but despite good reviews she suddenly withdrew. They have served their purpose... People are tired of soda-pop love affairs, she told the. That commented a month earlier, Clara Bow is the one outstanding type. She has almost immediately been elected for all the recent flapper parts. In November 1933, Bow described the Hollywood years as a French Revolution picture, where women are hollering and waving pitchforks twice as violently as any of the guys...

The only ladies in sight are the ones getting their heads cut off. By New Year 1924, Bow defied the possessive Maxine Alton and brought her father to Hollywood.

Bow remembered their reunion; I didn't care a rap, for (Maxine Alton), or B. Schulberg, or my motion picture career, or Clara Bow, I just threw myself into his arms and kissed and kissed him, and we both cried like a couple of fool kids. Bow felt Alton had misused her trust; "She wanted to keep a hold on me so she made me think I wasn't getting over and that nothing but her clever management kept me going". Bow and her father moved in at 1714 North Kingsley Drive in Beverly Hills, together with Jacobson, whom by then, also worked for Preferred.

When Schulberg learned of this arrangement, he fired Jacobson for potentially getting "his big star" into a scandal. When Bow found out, "She tore up her contract and threw it in his face and told him he couldn't run her private life". Jacobson concluded, "[Clara] was the sweetest girl in the world, but you didn't cross her and you didn't do her wrong".

In a significant article A dangerous little devil is Clara, impish, appealing, but oh, how she can act! ", her father is titled "business manager and Jacobson referred to as her brother.

Bow appeared in eight releases in 1924. Released on February 29, 1924, Bow got her first lead.

The clever little newcomer whose work wins fresh recommendations with every new picture in which she appears. In a scene, described as "original", Bow adds "devices", to "the modern flapper"; she fights a villain, using her fists, and significantly, does not "shrink back in fear".

Also released on February 29, 1924, Bow and Marie Prevost, flapped unhampered as flappers De luxe... I wish somebody could star Clara Bow. I'm sure her'infinite variety' would keep her from wearying us no matter how many scenes she was in. As an out-loan to Universal-Jewel, Bow top-starred, for the first time, in the prohibition, bootleg drama/comedy. Released on August 20, 1924.

The picture exposes the widespread liquor traffic in the upper-classes, and Bow portrays an innocent girl who develops into a wild "redhot mama". "If not taken as information, it is cracking good entertainment", Carl Sandburg reviewed September 29. It's a thoroughly refreshing draught...

There are only about five actresses who give me a real thrill on the screen and Clara is nearly five of them. Observed on September 7, 1924. She radiates sex appeal tempered with an impish sense of humor... She hennas her blond hair so that it will photograph dark in the pictures... Her social decorum is of that natural, good-natured, pleasantly informal kind...

She can act on or off the screen takes a joyous delight in accepting a challenge to vamp any selected male the more unpromising specimen the better. When the hapless victim is scared into speechlessness she gurgles with naughty delight and tries another.

Bow remembered: "All this time I was "running wild, I guess, in the sense of trying to have a good time... Maybe this was a good thing, because I suppose a lot of that excitement, that joy of life, got onto the screen. 1925 Bow appeared in fourteen productions: six for her contract owner, Preferred Pictures, and eight as an "out-loan". Shows alarming symptoms of becoming the sensation of the year... , Motion Picture Classic Magazine wrote in June, and featured her on the cover.

(Tears filled her big round eyes and threatened to fall). I worked in two and even three pictures at once. I played all sorts of parts in all sorts of pictures... The studio like any other independent studio or theater at that time, was under attack from "The Big Three", MPAA, who had formed a trust to block out Independents and enforce the monopolistic studio system. Three days later, it was announced that Schulberg would join with Adolph Zukor and became associate producer of Paramount Pictures, bringing his organization, including Bow. Adolph Zukor, Paramount Picture CEO in his memoirs: All the skill of directors and all the booming of press-agent drums will not make a star.

Only the audiences can do it. We study audience reactions with great care. Johns had a different take, in 1950 she wrote: "If ever a star was made by public demand, it was Clara Bow". And Louise Brooks from 1980: (Bow) became a star without nobody's help... Was Bow's final effort for Preferred Pictures and her biggest hit so far.

Bow starred as the good-bad college-girl, Cynthia Day against Donald Keith. It was shot on location, at Pomona College, in the summer of 1925, and released on December 15, but due to block booking, not shown in New York until July 21, 1926. Was displeased: "The college atmosphere is implausible and Clara Bow is not our idea of a college girl". Theater owners however, were happy: The picture is the biggest sensation we ever had in our theater...

It is 100 per cent at the box-office. Some critics felt Bow conquered new territory: "(Bow) presents a whimsical touch to her work that adds greater laurels to her fast ascending star of screen popularity". Singled out Bow: "Only the amusing and facile acting of Clara Bow rescues the picture from the limbo of the impossible". Bow began to date her co-star Gilbert Roland, who became her first fiancee. In June 1925, Bow was credited for being the first to wear hand-painted legs in public and was reported to have many followers at the Californian beaches.

"Rehearsals sap my pep", Bow explained in November, 1929. And from the beginning of her career she relayed on immediate direction: "Tell me what I have to do and I'll do it". Bow was keen on poetry and music but according to Rogers St.

Johns, her attention didn't allow her to appreciate novels. Bow's focal point was the scene and her creativity made directors call in extra cameras to cover her spontaneous actions, rather than holding her down.

Years after Bow left Hollywood, director Victor Fleming compared Bow to a Stradivarius violin: "Touch her and she responded with genius". Director William Wellman was less poetic: Movie stardom isn't acting ability it's personality and temperament...

I once directed Clara Bow ("Wings"). She was mad and crazy but WHAT a personality! In 1981 Budd Schulberg described Bow as "a easy winner of the dumbbell award" who "couldn't act" and compared her to a puppy who his father B. Schulberg, "trained to become Lassie". In 1926 Bow appeared in eight releases: five for Paramount, and three as an "out-loan", shot in 1925.

As the good/bad "flapperish" upper-class daughter "Kittens". Alice Joyce starred as her "dancing mother" with Conway Tearle as "bad-boy" Naughton. The picture was released on March 1, 1926.

"Clara Bow known as the screen's perfect flapper, does her stuff as the child, and does it well". Her remarkable performance in Dancing Mothers... Louise Brooks remembered: She was absolutely sensational in the United States... She just swept the country... I know I saw her...

In Victor Fleming's triangle-comedy. Bow, as Alverna the manicurist, cures lonely hearts Joe Easter (Ernest Torrence), of the great northern, as well as pill-popping New York divorcee attorney runaway Ralph Prescott (Percy Marmont). Was bad in the book, but - darn it! - of course, they couldn't make her that way in the picture. So I played her as a flirt.

The film was released on July 24, 1926. Variety: "Clara Bow just walks away with the picture from the moment she walks into camera range". Photoplay: When she is on the screen nothing else matters.

When she is off, the same is true. Carl Sandburg: "The smartest and swiftest work as yet seen from Miss Clara Bow". The Reel Journal: Clara Bow is taking the place of Gloria Swanson...

Filling a long need for a popular taste movie actress. Notably Bow added that she intended to leave the motion picture business at the expiration of the contract, i. The poor shop-girl Betty Lou Spence (Bow) conquers the heart of her employer Cyrus Waltham (Antonio Moreno). Provides the magic to make it happen.

The film gave Bow her nickname The It Girl. It was first shown in New York on February 5, 1927. The Film Daily: Clara Bow gets a real chance and carries it off with honors... She is really the whole show. Carl Sandburg:'It' is smart, funny and real.

It makes a full-sized star of Clara Bow. Variety: You can't get away from this Clara Bow girl. She certainly has that certain'It'... And she just runs away with the film.

Dorothy Parker: "It, hell: She had Those". In 1927, Bow starred in. A war picture largely rewritten to accommodate her, as she was Paramount's biggest star.

The film went on to win the first Academy Award for Best Picture. A famous scenario writer, who had done a number of pictures with Bow said.

Clara is the total nonconformist. What she wants she gets if she can. What she desires to do she does. She has a big heart, a remarkable brain, and the most utter contempt for the world in general. Time doesn't exist for her, except that she thinks it will stop tomorrow.

She has real courage, because she lives boldly. Who are we, after all, to say she is wrong? Bow's bohemian lifestyle and "dreadful" manners were considered reminders of the Hollywood Elite's uneasy position in high society. Bow fumed: They yell at me to be dignified. But what are the dignified people like?

The people who are held up as examples of me? I'm a curiosity in Hollywood. I'm a big freak, because I'm myself! MGM executive Paul Bern said Bow was "the greatest emotional actress on the screen", "sentimental, simple, childish and sweet".

He felt her "hard-boiled attitude" was a "defense mechanism". Bow kept her position as the top box-office draw and queen of Hollywood. The quality of Bow's voice, her Brooklyn accent, was not an issue to Bow, her fans or Paramount. However, Bow, like Charlie Chaplin, Louise Brooks and most other silent film-stars didn't embrace the novelty: "I hate talkies", she said, they're stiff and limiting. You lose a lot of your cuteness, because there's no chance for action, and action is the most important thing to me.

A visibly nervous Bow had to do a number of retakes in. Because her eyes kept wandering up to the microphone overhead; Dorothy Arzner took credit for being the first director to hang the microphone from overhead. "I can't buck progress", Bow resigned, "I have to do the best I can". Now they're having me sing. I sort of half-sing, half-talk, with hips-and-eye stuff.

You know what I mean like Maurice Chevalier. I used to sing at home and people would say,'Pipe down! But the studio thinks my voice is great. "True to the Navy", "Love Among the Millionaires" and "Her Wedding Night", she was second at the box-office to her chum, Joan Crawford in 1930. But the pressures of fame, public scandals, overwork and a damaging court trial involving former assistant Daisy DeVoe took their toll on Bow's already fragile emotional health.

As she slipped closer to a major breakdown, her manager B. Schulberg began referring to her as "Crisis-a-day-Clara".

Bow held the position as fifth at box-office in 1931. She ended up in a sanatorium in April 1931 with a case of shattered nerves.

On her request Paramount released her from her last undertaking. She looks and photographs extremely well. Bow commented on her revealing costume in Hoop-La: Rex accused me of enjoying showing myself off.

Then I got a little sore. My life in Hollywood contained plenty of uproar. I'm sorry for a lot of it but not awfully sorry.

I never did anything to hurt anyone else. I made a place for myself on the screen and you can't do that by being Mrs. Alcott's idea of a Little Women. Bow and cowboy actor Rex Bell, later a Lieutenant governor of Nevada, married in Las Vegas, December 1931, and had two sons, Tony Beldam born 1934, changed name to Rex Anthony Bell, Jr. Bow retired from acting in 1933. In September 1937, she and Bell opened The'It' Cafe on Vine Street near Hollywood Blvd. It was closed shortly thereafter. Her last public exposure, albeit fleeting, was a guest appearance on the radio show. In March 1948; Bow provided the voice of Mrs. In 1944, while Bell was running for the U. House of Representatives, Bow tried to commit suicide.

A note was found in which Bow stated she preferred death to a public life. In 1949 she checked into The Institute of Living to be treated for her chronic insomnia and diffuse abdominal pains. Shock treatment was tried and numerous psychological tests performed. Bow's IQ was measured "bright normal" pp.

111119, while others claimed she was unable to reason, had poor judgment and displayed inappropriate or even bizarre behavior. Her pains were considered delusional and she was diagnosed with schizophrenia, despite experiencing neither sound nor vision hallucinations or psychosis. The illness debut, or "onset", as well as her insomnia, the analysts tied to the "butcher knife episode" back in 1922, but Bow rejected psychological explanations and left the Institute. In the permanent exhibition, "Myths, Minds and Medicine", the Institute addresses malpractice issues of the past, including lobotomy, which peaked in 1949, and "crude electroconvulsive therapy". She died on September 27, 1965, aged 60, of a heart attack.

The autopsy revealed that she suffered from atherosclerosis, a heart disease established in early adolescence. Bow's heart bore scars from an earlier undiagnosed heart attack. She was interred in the Forest Lawn Memorial Park Cemetery in Glendale, California. Her pallbearers were Harry Richman, Richard Arlen, Jack Oakie, Maxie Rosenbloom, Jack Dempsey and Buddy Rogers. For her contributions to the motion picture industry, Bow was given a star on the Hollywood Walk of Fame.

Spread the contemporary legend that Bow's friendship with members of the 1927 University of Southern California football team included group sex with the entire team. In the 1980s Morley Drury commented that his team was "too damn innocent" to be anything else. During her lifetime, Bow was the subject of wild rumors regarding her sex life; most of them were untrue. Published lurid allegations about her in 1931, accusing her of exhibitionism, incest, lesbianism, bestiality, drug addiction, alcoholism, and having contracted venereal disease.

Max Fleischer's cartoon character Betty Boop was modeled after Bow and entertainer Helen Kane (the "boop-boop-a-doop-girl"). Bow's mass of tangled red hair was one of her most famous features. When fans of the new star found out she put henna in her hair, sales of the dye tripled. An autographed picture of Bow is offered as a consolation prize of a beauty contest in the 1931 George Gershwin musical.

The Keeper of the Bees. Extant but incomplete;(missing at least 2 reels).

Lost film (Fragments exist, including the only known color footage of Bow). Love'Em and Leave'Em. Screen Snapshots 1860: Howdy, Podner. Create listings that get noticed! With Auctiva's 1,800+ Templates. Attention Sellers - Get Templates Image Hosting, Scheduling at Auctiva. The item "CLARA BOW COLLECTION OF 13 BEAUTIFUL 1930s VINTAGE ORIGINAL PHOTOGRAPHS" is in sale since Sunday, March 13, 2016.

This item is in the category "Entertainment Memorabilia\Movie Memorabilia\Photographs\Pre-1940\Black & White". The seller is "greatclassics" and is located in Los Angeles, California.

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