TITLE: Tower Theater Marquee PHOTO PRINTS This listing is for an unmatted, unframed photographic print created from an original image made by me (Mark Beach). It will be printed on professional acid-free photographic paper and feature a lustre finish, which has a slight sheen without being glossy. Prints are signed on the back. CANVAS WALL ART Images are reproduced on high-quality canvas stretched over a wood frame and come with all hanging hardware. Edges are 1.5” deep and colored black. If you prefer to have the image wrapped around the edges, please let me know via direct message. ***UNFORTUNATELY, CANVASES CAN ONLY BE SHIPPED TO US AND CANADA ADDRESSES*** PLEASE NOTE: The colors you see on your monitor may differ slightly from those of the print due to variations in monitor quality and settings. CUSTOM ORDERS If you are looking for a particular size, finish, or medium that's not listed, please message me and I'll do my best accommodate. SHIPPING Photo prints are made within 5 business days of your order and are shipped via USPS Priority Mail, which is tracked and insured. If for any reason you need to receive your print urgently, please let me know and I’ll do my best to make that happen. I will happily combine shipping should you purchase multiple prints. Canvas wall art takes 1-2 weeks to produce (it’s worth the wait) and ships via FedEx or UPS. As with photo prints, it MAY be possible to expedite production if you’re really in a pinch. Message me if that’s the case. ------------------------- You’ll find many more fine art images in several genres in my shop: https://etsy.me/2WrFYQD All images and prints copyright Mark Beach. Artwork may not be reproduced or resold without the express permission of the artist.

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Laurelhurst theater neon signage. A vintage movie marquee from an old folder of photos I came across. Don't know who took the pictures or remember where they came from, but they sure look nice.

In 1911 neon was born. Before long its raffish charm had lit up the streets of urban America and inspired artists

Introduction to the DHM 100 -- During the next few months I'll be posting 100 films that illustrate the Decaying Hollywood Mansions aesthetic. In hopes of making this feature a little more interesting than your average Top 100 Films list, I've imposed some criteria, some threads that run through them all to make them deserving of the DHM imprimatur. While the criteria are really nothing more than themes & styles I began to notice long after I fell in love with the films, it was my realization of these viewing trends that led me to start DHM in the first place. While very few of the movies contain all the directorial tics, wild moodswings, operatic flourishes & Gothic appurtenances which set DHM films apart from standard-issue list-fodder like Citizen Kane & Vertigo, each one will contain enough of these elements that, while you you may quibble with the value of the films themselves, I don't think you'll quibble with the manner in which they've been chosen. The Elements -- Artifice - Our favorite films thrive inside vivariums made plush with painted cornflake snow, tinsel stars, dry-ice fog, exotic backlot Potemkin Villages, nightclubs with infinitely regenerative stages & minutely-detailed model railways & are silvered, or hand-painted, or are warped & made garish with Pathechrome, three-strip Technicolor, Kinemacolor, Prizma, Cosmocolor, Cinecolor, Cinerama, CinemaScope, TechniScope, VistaVision, Todd-AO & P & of course, Percepto. From these sumptuous, egregiously artificial hotbeds, poppy-fueled hallucinations are made flesh, Georgio de Chirco streets are peopled & ecstatic dances swirl, blossom & radiate into pagan idols of flesh, feathers, mesh & mirrors. Whiplash Moodswings -- Silent films had become expert at establishing cohesive tones that fixed films in time, space & mood. This is not to say that there aren't erratic silent movies, but the great filmmakers of the silent era (D. W. Griffith, Ewald Dupont, Frank Borzage, Marcel L'Herbier, etc.) maintained steady, though supple, tones. Like great novelists, they could brilliantly move from action to comedy to pathos without brashly coloring outside the lines. Once sound entered in to the equation, directors seemed to, well, flip out. During the 1930s, absolutely phenomenal directors (Borzage included here), began to make films that could go from war-ravaged tragedy to urban crime film to tropical island romance to rampaging gorilla movie, without so much as a helpful "Meanwhile..." And, of course, these films would veer violently off the path for scenes of depravity -- for a Chinese opium den, a thinly-disguised brothel, a tavern full of cross-dressers, or a generously-implied rape. These wild, neck-wrenching divorces from the original tone or intent make many films from the 1930s far trippier than any "Head Movie" from the late-60s. Florid Dialogue -- This is really just a sidebar to the paragraph on artifice, but it does deserve separate mention. While florid dialogue isn't much fun in contemporary films, when dizzyingly verbose & colorful scribes like Clifford Odets, Virginia Van Upp, Richard Landau, Tennessee Williams, Sam Fuller, Noel Coward, William Peter Blatty & Paddy Chayefsky were allowed to stilt a screenplay, the results often teetered thrillingly between evangelical wind-baggery & verbal flotillas of Joycean grandeur. This combination of the brilliant & the besotted doesn't fly with most tight-ass cinephiles, but it makes us hold our breaths like we're just about to plummet down the last half-mile of the Son of Beast hypercoaster at Kings Island. The Operatic Reaction (To Everything) -- Let's face it, when your crazy genius lover/conniving vixen wife tells you it's over, you can either fling yourself against the stone wall of your catacomb, dig your fingernails into the grit, shake your fists at heaven, roll your eyes back so only the whites show & stretch your mouth into some impossible melting void, or you can spend five minutes of the audience's time violently stuffing a duffel bag with clothes & method-fume like a spoiled child. While this is often confused with "camp", there are performances where more is definitely more. Not every actor can eat the brocade with style & make it a part of the film's overall visual scheme, but when a facial expression obviously echoes a room's cascading velvet drapes, or is twisted to abstraction by rain, leaded glass & diffuse grey light through a clerestory window, it becomes part of the production design. This is, perhaps, another way of saying, "We had faces then..." Our favorite examples of this come from silent Italian & Russian cinema, the gasping faces & hollow-socketed eyes of women in the films of Giovanni Pastrone, the slowly wilting forms of Yevgeni Bauer...but there are fine examples in Modernist American film as well & unfortunately it's written-off as some of kind of directorial malfeasance or the hubris of some actor whose star is rising (see Joan Crawford & Bette Davis...). Freaks/The Grotesque -- The Edwardian Dime Museum & the history of film are deeply interconnected blah-blah-blah. What matters is how these grotesque elements echo from 1910 to 19-now. The Dime Museum has always been an inkwell for screenwriters & directors, used with varying degrees of aplomb. While Tod Browning & Lon Chaney perfected it, Frank Capra copped it for Miracle Woman & it bounced on & on through film history until, if there wasn't a dwarf sitting on a Hollywood residential hotel desk drinking from a pint of JTS Brown in a 70s crime film, you felt cheated. And while it's not exactly according to Hoyle, we combine the two. The best DHM films connect the tragic, terrifying clowns of Laugh, Clown, Laugh (1928) & He Who Gets Slapped (1924), with the Kabuki make-up of Bette Davis in the 1960s, the nebulous maw of Joan Crawford in so many overripe melodramas & the oddball assortment of hotel desk-sitting midgets from Madigan (1968) to Curtis Harrington's The Cat Creature (1973). Film has never been a particularly healthy Petri dish & we revel in the ick of it all. The Hollywood Gothic -- As you can probably detect by now, the lines between these elements aren't particularly distinct. What DHM has always been about -- though we've digressed like children snuffling along a floor littered with candy & Christmas ornaments -- are those connections between fin-de-siecle exoticism, decadence & cinema. Monkey funerals, dolls of faded movie stars, the sick light in mansions gorged with orientalist geegaws, Pre-Raphaelite tableaux gone-to-seed, censers spewing lithe cords of incense through rooms sultry with death -- we are covened to these extravagant excesses of Hollywood life. Though many Hollywood film stars wound up living in large, but unassuming, farmhouses, ranch-houses & quaint antebellum facades in Beverly Hills & the hills beyond, DHM is more interested in the early days, when every film star was a fledgling Des Esseintes, Livia Serpeiri, or Giorgio Aurispa. By being photographed with leopards, tigers, lions, snakes & elephants, these stars became magical, saintly even. Starlets were filmed with bluebirds on their fingers, parrots on their shoulders, curled as if sexually-spent around tigers & bears. While this image of the Hollywood star made its greatest impact with Billy Wilder's Sunset Boulevard, it had been a staple in forgotten films from the 20s & 30s. We are at the service of those films. Orientalism/Exotica -- The fake Moroccos, Shanghais, Chinatowns & Bagdads of cinema are our favorite locations & the filigree & opium miasma that drift through so many films of the 20s & 30s grip us. We sweat it out in bamboo huts, we fall in love with the women who press the wet washrag to our foreheads, we side with cannibals to fend off inscrutable masterminds, we perspire & clench our teeth in Deco Ming Dynasty torture mechanisms while being sized-up by slant-eyed Myrna Loys, we jazz to Limehouse Nights, swoon to lotus flowers, sag against the ornamental trellieses which divide the first-class cars of the Shanghai Express from the oppressed & doomed masses. Chinese filigree & Bombay curlicues infest our favorite films, leave us daft with the mysteries of the faux-orient. Often even the complexities in the fabric of orientalist set design make plots seem more labyrinthine than they really are, elegantly covering for the ludicrous turnabouts in a script, shoring-up the welter-weight Rudyard Kipling who evokes Queen & Country while being strangled by some pagan Thugee, giving blurry Gamelan punctuation to otherwise doltish Colonialist bullshit. Add to this exotica any of the preceding elements & well, you've arrived at a kind of DHM paradise... We begin the DHM 100 tomorrow, with Corridor of Mirrors (Terence Young, 1948) Edana Romney in Corridor of Mirrors

Here is the cool neon marquee for the West Theater along old Route 66 in Grants, New Mexico. It's nice to see some of these old movie houses still going. These definitely are a part of our American heritage. Places like this were THE place to be on a Friday night in many towns across this country. In some towns, it's still like that.

An award-winning freelance creative/art director and filmmaker based in New York, Daniel Soares has worked at some big-name agencies, including Grey New York, R/GA Los Angeles and AKQA San Francisc...

The Vernal at night, July 1998.

The neon sign that overlooks the old Heights Theatre (now an antique store) just looked so cool during the Dickens in the Heights holiday celebration last weekend. Many more to come...

Love the marquee on this great old theatre.

Brighten up your day with this glowing gallery, in which you can time travel to 1955 and ring in the New Year in luminous London, grab a slice of pizza for 15 cents, or enjoy the razzle-dazzle of Broadway in the 70s

Baixe esta foto de Prateek Katyal grátis no Pexels

Atlas Obscura readers from across the U.S. share their favorites.

There's a difference between a true Austinite and one of those fair-weather south-by characters.

Retro signage breathes new life into repurposed movie houses and still-operating cinemas.

Inside stories from a Hollywood Outlier

Neon nights: When 'liquid fire' powered New York City

Once the main highway between Portland, Oregon and Vancouver, Washington, Interstate Avenue was lined with mom and pop motels, restaurants, and gas stations - many lit with neon. Interstate Avenue would never be the same after the opening of I-5 on December 2, 1964. Located just west of Interstate, I-5 became the corridor of choice for travelers who had patronized Interstate's businesses, leaving many of the mom and pops without the customers they relied on. With such a drastic change in traffic flow and loss of business, you might think that all of the neon along Interstate would have been lost to time and decay. Although many vintage signs have been demolished, replaced, or taken down over the past five decades (including one ongoing preservation project, the Crown Motel sign), we're happy to say a nice cluster can still be found along the old highway. Working our way south to north, here's a fun look at some of the neon sights we're fortunate to still enjoy along Interstate Avenue. Palms Motel 3801 N Interstate Ave The Alibi 4024 N Interstate Ave Westerner Motel 4333 N Interstate Ave Viking Motel 6701 N Interstate Ave Additional good news: In 2008, the North Interstate Corridor Plan, was adopted by Portland's city council. The Plan included a provision which "establishes the city's first neighborhood-based neon district that encourages the preservation of existing 1950s era neon signs while providing flexibility for new signage." We don't know yet what this means for the future of neon along Interstate, but we're hoping for the best - preservation of existing signage. If you'd like to learn more about the history of North Interstate Avenue or you enjoy vintage photos, we highly recommend this excellent and well-researched blog by Dan Haneckow at Cafe Unknown. "Illuminating Interstate." Jeff & Kelly Vintage Roadside

PHOTOS: Amazing Images Of New York At Night

The newly restored neon marquee on opening night at the New US-23 Drive-In in Flint, Michigan.

I got to see this beauty again (I have 2008 photos too)--and at night this time! Still haven't been inside--there are also stores in the building

Attending a midnight screening at the historic Oriental Theater is a Milwaukeean right of passage. Not only is the theater literally the def...

Rainy Time Square (1953) Silver Gelatin Fibre Print - Oversized (Photo by H. Armstrong Roberts/Alamy) Two silhouetted women at bus stop under umbrellas in Time Square, Manhattan, New York, USA 1st August 1953. Additional Information: Unframed Paper Size: 30x40'' Printed Later Silver Gelatin Fibre Print NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12'' 12 x 16'' 16 x 20'' 20 x 24'' 20 x 30'' 30 x 40'' FRAMING AVAILABLE ON REQUEST About the Artist: H. Armstrong ROBERTS (1883-1947) is an artist born in 1883 The oldest auction result ever registered on the website for an artwork by this artist is a photography sold in 2012. ACTORS ON SET, Bette Davis, Ladies Fashion, LEADING LADIES, Black and White, Photography, BnW, Vintage, Retro, Classic, Tennis, Specators,

In an age of multiplexes, 3D cinema and pirated movies, the theatre is on the decline and rapidly fading in oblivion. Art Deco movie palaces, as they were called, could once be found in every American city during the Hollywood’s golden age of cinema spanning from the 1920s through the 1940s. These opulent, single-screen theatres represent an important aspect of American popular culture. Celluloid Dreams is the decade long project by Boston photographer, Stefanie Klavens, who seeks to preserve the memory of these historic movie palaces before they disappear forever.

The Tampa Theater art print by Marvin Spates.   Our art prints are produced on acid-free papers using archival inks to guarantee that they last a lifetime without fading or loss of color. All art prints include a 1" white border around the image to allow for future framing and matting, if desired.