For the Obscure AUTOGRAPH Collector! This is an ORIGINAL Signed in Person autograph photo. IT IS ALMOST 100 YEARS OLD!!! It measures 11" x 14."

This Original Photo is from acclaimed photographer, DONALD BIDDLE KEYES, from the Silent Film era.

It is a signed in person original Photograph of silent film star,


This photo was signed, but the signature is all but faint. If you look closely, you can see the last "T" in sweet, but it is so faint for its age. Photo has a lot of wear for its age. It has yellowed, with bends all and a tiny corner clip. It has the PHOTOGRAPH BY DONALD BIDDLE KEYES Stamped on the back. PLEASE SEE IMAGES. It is still a unique find to find an original photo of this photographer, after all these years!!!

It's a unique photo if you like originals!

Shop with confidence! This is part of our in-store inventory from our shop which is has been located in the heart of Hollywood where we have been in business for OVER 40 years!

MORE INFO ON BLANCHE SWEET: Sarah Blanche Sweet (June 18, 1896- September 6, 1986) was an American silent film actress who began her career in the earliest days of the Hollywood motion picture film industry.

Born in Chicago, Illinois into a family of stock theater and vaudeville performers, Blanche Sweet entered the entertainment industry at an early age. At age 4 she toured in a play called The Battle of the Strong whose star was stage luminary Maurice Barrymore. A decade later Sweet would act with Barrymore's son Lionel in a D. W. Griffith directed film. In 1909, she started work at Biograph Studios under contract to director D. W. Griffith. By 1910 she had become a rival to Mary Pickford, who had also started for Griffith the year before.

Sweet was known for her energetic, independent roles, at variance with the 'ideal' Griffith type of vulnerable, often fragile, femininity. After many starring roles, her first real landmark film was the 1911 Griffith thriller The Lonedale Operator. In 1913 she starred in Griffith's first feature-length film, Judith of Bethulia. In 1914 Sweet was initially cast by Griffith in the part of Elsie Stoneman in his epic The Birth of a Nation but the role was eventually given to rival actress Lillian Gish, who was Sweet's senior by three years. That same year Sweet parted ways with Griffith and joined Paramount (then Famous Players-Lasky) for the much higher pay that studio was able to afford.

Throughout the 1910s, Sweet continued her career appearing in a number of highly prominent roles in films and remained a publicly popular leading lady. She often starred in vehicles by Cecil B. DeMille and Marshall Neilan, and she was recognised by leading film critics of the time to be one of the foremost actresses of the entire silent era. It was during her time working with Neilan that the two began a publicized affair, which brought on his divorce from former actress Gertrude Bambrick. Sweet and Neilan married in 1922. The union ended in 1929 with Sweet charging that Neilan was a persistent adulterer.

During the early 1920s Sweet's career continued to prosper, and she starred in the first film version of Anna Christie in 1923. The film is also notable as being the first Eugene O'Neill play to be made into a motion picture. In successive years, she starred in Tess of the d'Urbervilles and The Sporting Venus, both directed by Neilan. Sweet soon began a new career phase as one of the newly formed MGM studio's biggest stars.

As the Roaring Twenties wound down, Sweet's career faltered with the advent of talkies. Sweet made just three talking pictures, including her critically lauded performance in 1930's Show Girl in Hollywood, before retiring from the screen that same year and marrying stage actor Raymond Hackett in 1935. The marriage lasted until Hackett's death in 1958.

Sweet spent the remainder of her performing career in radio and in secondary Broadway stage roles. Eventually, her career in both of these fields petered out, and she began working in a Los Angeles department store. In the late 1960s, her acting legacy was resurrected when film scholars invited her to Europe to receive recognition for her work.

Sweet is the subject of a 1982 documentary by Anthony Slide, titled "Portrait of Blanche Sweet," in which she talks of her life and her career. On September 24, 1984, a tribute to Blanche Sweet was held at the Museum of Modern Art in New York City. Miss Sweet introduced her 1925 film, The Sporting Venus.

Sweet died in New York City of a stroke, on September 6, 1986, just weeks after her 90th birthday. Her ashes were later scattered at the Brooklyn Botanical Gardens.

MORE INFO ON DONALD BIDDLE KEYES: Born in Chicago on Feb. 17, 1894, Keyes wound up in Los Angeles by the teens, working as a photographer for the New York Motion Picture Corp. He was drafted into the Army for World War I, serving as a first lieutenant at the Army's photographic school at the Eastman Kodak plant in Rochester, N.Y.

Upon war completion, Keyes returned to California and film work, shooting stills for the Selig Motion Picture Co. and Goldwyn Pictures. By the summer of 1919, he was ready for new adventures. Keyes obtained a passport in July to travel to South Africa for photographic work on behalf of the Oakland Museum.

The Nov. 30, 1919, San Francisco Chronicle reported that H. A. and Sydney Snow, accompanied by cameramen Frank S. Wilton and Donald Keyes, were en route to Capetown, South Africa to join the Simson big game expedition. This expedition would spend two years collecting specimens of all the animals of Australia before proceeding to South Africa. The specimens would fill the new Oakland Museum to be constructed when they returned in 1921.

As the Chronicle stated, "Moving pictures will be made of all activities of the trip, scenery along the route, the killing of the animals, and the methods used in packing the skins for transportation to the United States." Los Angeles had offered to build a $1-million building to house the collection, but Oakland worked to build a suitable home for the collection. Keyes returned to California by at least 1920, living in Burbank with his father, aunt, and sisters while he worked as a photographer

Keyes soon landed at Famous Players-Lasky Studio in Hollywood, shooting both scene stills and portraits for the studio. During this time, his work drew the attention of film fans. A reader wrote into Photoplay magazine in 1922 asking a question about photographs at the Lasky Studio. The magazine replied to address the photographer Donald Biddle Keyes at the studio, stating, "I believe Mr. Keyes is the staff photographer for the more important productions. Anyway, he's an artist."

Keyes shot images for Lasky's big films like "The Sheik"? and "The Ten Commandments," as well as producing elegant portraits of stars like Rudolph Valentino and Thomas Meighan. He and photographer Eugene Robert Richee crafted gorgeous shots of productions and stars in the mid-1920s, ranking near the top of studio photographers.

In July 1924, Keyes applied for a passport to travel to the British Isles, France, German, Italy, Spain, Holland, Belgium, Norway, Sweden, and Denmark for photographic work. He arrived back in New York on Feb. 4, 1925, traveling on the same ship with actresses Kathleen Key and Enid Bennett, and her husband, director Fred Niblo.

Keyes returned to camerawork in 1926, shooting three films with director Marshall "Mickey" Neilan, both for Paramount and Neilan"??s independent studio. The newspaper states he was also assisting Neilan with technical issues in 1927. The 1927 Film Year Book credits him as "??cameraman/cinematographer," recognizing his diverse talents. Keyes continued working as cinematographer for a few years, including on Howard Hughes' epic, "Hell's Angels."

Keyes tired of cinematography and returned to portraiture in 1931, opening the Studio of Donald Biddle Keyes at 127 N. Larchmont Blvd. The December 1931 American Cinematographer claimed, "Mr. Keyes, long a motion picture photographer, has always been an outstanding portrait man, having started his picture work as a "still" man. He first introduced the idea of a studio having its own portrait studio."

After a few years, Keyes joined Goldwyn Pictures as a stills photographer, shooting scene stills under the name Donald B. Keyes. Restless again, he joined publisher George Palmer Putnam's expedition to document the "barbaric" San Blas Indians in Panama, per the December 17, 1937, Los Angeles Times. The three-month trip would explore Mexico, Central America, and the Galapagos Islands "in a search of rare animals, birds, and reptiles." Items collected during travels would be presented to California Zoological Society's Zoopark.

Once he returned to Los Angeles, Keyes returned to stills work, joining United Artists Studio, working on Walter Wanger films. The artist also shot portraits. He worked independently in 1940, shooting freelance scene stills with various studios. The Dec. 16, 1945, Times claimed that Keyes was supposedly the first person to photograph Lana Turner in a sweater, and also captured Ann Sheridan's first "oomphy" magazine cover.

The art world recognized his talent as well. The Los Angeles County Museum selected Keyes, along with photographers Robert Coburn and Scotty Welbourne, to serve on a jury choosing images for an arts and crafts exhibit by World War II vets in 1946. In 1949, Keyes served as a judge at the 31st Los Angeles International Salon of Photography.

Keyes joined Republic Pictures around 1950, shooting scene stills on many westerns for the next several years under the name Donald Keyes. He found time to serve as an executive on the Board of Local 653, the Cameraman"??s Union, in 1952, as he had in the late 1920s.

Upon retirement, Keyes and his wife moved to Edmonds, Washington, where he died on Nov. 17, 1974.

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This item is part of Backlot Movie Memorabilia and collectibles in-store inventory from our shop which is located in the heart of Hollywood, where we have been in business for OVER 40 years!!!

Item #BMM0003733