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DOES IT PAY? (1923) Silent Film Title Lobby Card Hope Hampton & Florence Short

$195.00

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Estimated to arrive by Mon, Jun 2nd. Details
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Shipping options

Estimated to arrive by Mon, Jun 2nd. Details
Calculated by USPS in US.

Offer policy

OBO - Seller accepts offers on this item. Details

Return policy

Refunds available: See booth/item description for details Details

Purchase protection

Payment options

PayPal accepted
PayPal Credit accepted
Venmo accepted
PayPal, MasterCard, Visa, Discover, and American Express accepted
Maestro accepted
Amazon Pay accepted
Nuvei accepted

Item traits

Category:

Pre-1940

Quantity Available:

Only one in stock, order soon

Condition:

--not specified

Country/Region of Manufacture:

United States

Original/Reproduction:

Original

ACTORS:

Hope Hampton, Florence Short

FILM TITLE:

Does It Pay?

GENRE:

Silent Film Melodrama

STUDIO:

Fox Film Corporation

ITEM:

Vintage Original 11x14 U.S. Title Lobby Card

YEAR:

1923

LOCATION:

SFLCB1

DIRECTOR:

Charles Horan

ITEM NUMBER:

LC-DOESITPAY-TC

Modified Item:

No

Listing details

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View seller policies

Shipping discount:

No combined shipping offered

Posted for sale:

More than a week ago

Item number:

503692024

Item description

Vintage original 11x14 in. U.S. title lobby card from the silent film melodrama DOES IT PAY?, released in 1923 by the Fox Film Corp. and directed by Charles Horan. John Weston (Robert T. Haines) is lured away from his wife (Florence Short) and children by Doris Clark (Hope Hampton), a youthful adventuress and employee in the Weston household. Weston divorces his wife and marries Miss Clark. One evening, he suffers a nervous breakdown when he finds his bride in her boudoir embracing her music teacher, Franรงois Chavelle (Roland Bottomley). Weston loses his memory and is taken to the first Mrs. Weston, who, with her daughter, welcomes him and promises to restore his health. Billed as "A Drama of Modern Life," the image features a large full-length shot of the beautiful Hope Hampton with a look of redemption on her face while at the same time revealing her long bare leg and bare right shoulder as the "wronged woman" (Florence Short) looks at her angrily while pointing towards the exit. it is unrestored and in very fine- condition with a tiny bit of wear on the tip of each top corner; a 0.25 in. horizontal tear on the center of the right border; a 1/8 in. horizontal tear in the bottom fifth of the right border; a 1 in. and 0.5 in. diagonal crease on the bottom right corner with some light surface dirt; a 1.5 in. horizontal crease on the bottom border near the left corner with a 1 in. horizontal crease to the left of it; a 0.5 in. diagonal crease with light signs of wear on the bottom left corner; and a very light 2.25 in. vertical crease in the bottom of the left border. The printing is fresh and vibrant and this card looks even nicer in person. Hope Hampton (Mae Elizabeth Hampton) (February 19, 1897 - January 23, 1982) was an American silent motion picture actress and producer who was noted for her seemingly effortless incarnation of siren and flapper types during the 1920's. She also at one time was an aspiring opera singer. Texas-born, Philadelphia-bred beauty-contest winner Hampton was discovered by U.S. silent cinema pioneer Jules Brulatour while working as an extra for director Maurice Tourneur. She made her screen debut in 1920's A Modern Salome and went on to feature prominently in several Brulatour-financed films. Her last starring role was in The Road to Reno (1938), with Randolph Scott and Glenda Farrell. In 1923, Hampton wed her manager Brulatour and they remained married until his death in 1946. After retiring from motion pictures at the dawn of sound, Hampton turned to opera and made her debut with the Philadelphia Opera in Manon. The idea that she ever toured with the Metropolitan Opera is belied by a look at the company's online archives. She returned to the screen in The Road to Reno (1938), a film directed by her husband. Later she was known as The Duchess of Park Avenue, a leading member of New York's social set. In 1978, she was crowned Queen of the Beaux Arts Ball over which she presided with King Arthur Tracy.