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Details about  Letter from Forrest Ackerman to Vincent Price

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Letter from Forrest Ackerman to Vincent Price
Letter-from-Forrest-Ackerman-to-Vincent-Price
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Good condition with wear on edges

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Jun 29, 2014 17:40:58 PDT
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US $338.00
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Item location:
Santa Fe, New Mexico, United States

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eBay item number:
310992046636
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Seller Notes: Good condition with wear on edges
This lovely letter was written by horror legend Forrest "Uncle Forry" Ackerman to his friend Vincent Price on Valentine's Day. It is a request for Vincent's "last autograph". It is typewritten and signed Forry. The Ackerman letterhead measures 8 1/2” x 11”.

An iconic piece of horror history!

About Forrest Ackerman:

When science fiction guru Forrest J Ackerman died last December, he was remembered for many firsts. Born November 24, 1916, Ackerman (known as Forry by fans and friends) purchased his first science fiction magazine in 1926. He founded the first science fiction fan group (the Boys’ Scientifiction Club) in 1929, and wrote for the genre’s first fanzine (The Time Traveler) in 1932. That same year, he published the first known list of fantastic films (thirty-four titles). Forry printed Ray Bradbury’s first story in 1938, and in 1954 coined the term sci-fi. Working with publisher James Warren in 1969, Ackerman created the iconic comic book character Vampirella—a bloodsucking femme fatale from outer space.

But it was Forry’s editorship of Warren’s Famous Monsters of Filmland that knocked the earth from its axis and spun it into an entirely new dimension. Published from 1958 to 1983, “the world’s first filmonster magazine” inspired generations of young moviemakers and ushered horror fandom into the mainstream. Filled with behind-the-scenes articles, rare photos, and Ackerman’s trademark puns (“You Axed for It!” was the title of a regular feature), Famous Monsters was the Cahiers du cinéma for fright flicks. George Lucas, Steven Spielberg, and Guillermo del Toro all count the magazine as an influence, and thousands of other “monster kids” spent their adolescence experimenting with stop-motion dinosaurs and ghoulish makeup effects under Ackerman’s tutelage.

For decades, Forry gave public tours of his Los Angeles “Ackermansion”—a Taj Mahal of terror containing the world’s largest collection of sci-fi/horror memorabilia and movie props. Among his estimated fifty thousand visitors was a teenage Dennis Muren, who conspired with a group of other Famous Monsters fans to make the cult DIY creature feature Equinox (1970). Muren would later help revolutionize modern visual effects with his Oscar-winning work on films like Star Wars (1977), The Abyss (1989), and Jurassic Park (1993).

Sadly, many of Forry’s prized possessions were sold or stolen over the years, and much of what’s left will be auctioned off on April 30 and May 1. Despite his steadfast efforts to do so, Ackerman never found a permanent home for his treasure (a portion of it can be viewed at Seattle’s Science Fiction Museum and Hall of Fame). The myriad of marvels to be sold this week include a monocle worn by Fritz Lang during the making of Metropolis (1926), prosthetic teeth from Lon Chaney Sr.’s makeup kit, and a first American edition of Dracula, signed by Bram Stoker, Bela Lugosi, and Christopher Lee.

Some of these relics will find their way to fans eager to share them as Forry did. Others may vanish forever. But even as the Ackermansion slips into memory, monster kids of all ages know that Forrest J Ackerman will never die. The wonder-packed pages of Famous Monsters of Filmland—collected, studied, and adored to this day—endure as his living museum.

For more information on the Ackerman estate auction, click here. And watch a clip of Ackerman talking about Equinox, a film he championed in the pages of Famous Monsters (“because it showed the talents of young readers like Dennis Muren and Mark McGee” and “gave hope and inspiration to others to follow in their footsteps”), from an interview on Criterion’s 2006 release.

About Vincent Price:

Vincent Price is best remembered for his roles in horror movies, specifically the Roger Corman adaptations from Edger Allan Poe. Although these gave him a wide variety of characters to play and were striking enough, they type cast him for the remainder of his career. Price did not start out with the intentions of becoming an      actor but rather an art historian. He obtained degrees in Art History and English at Yale and then taught school for a year. He felt that he needed to further his education though as the students seemed to know more than he did! Price returned to college to take his Masters in Fine Arts at the Courtauld Institute in London, he also studied briefly in Vienna.

It was while in London In 1934 that the theatre bug hit him, theatre tickets were relatively cheap and Price took advantage of this. He first appeared as an actor at the Gate Theatre, at the time a private experimental theater, as the judge and a policeman in the play "Chicago'. He also appeared here as Albert in 'Victoria Regina', the role that was to bring him to Broadway and the public's attention. The show's producer Gilbert Miller, decided to take the play to New York and open with Helen Hayes (the number one actress in America at the time), in the leading role. Miller also decided to take Vincent Price to New York to play opposite her. The play opened on the 26th December 1935 and ran for three years.

The program notes in the original 1936 playbill give an interesting insight into Vincent Price's entrance to the theatrical profession....

"Vincent Price's appearance as leading man to Helen Hayes marks his professional as well as his American debut on the stage. This extraordinary circumstance is due to the fact that although Mr. Price has had stage aspirations since he was ten years old, he was forced to earn his living as a schoolmaster until mere chance decreed otherwise.

 He was studying the history of German art at the Courtauld Institute in London when a friend took him to London's Gate Theater, where casting of Maurine Watkins' "Chicago" was in process. American accents being at a premium, Mr. Price was thrust into the production and found himself doubling as a burly policeman and a venerable judge. His remarkable resemblance to Prince Albert led to his being offered the important role of the Price Consort in the ensuing production of "Victoria Regina".

He received glowing notices and was subsequently signed by Gilbert Miller for the American production."

How accurate that "he was forced to earn his living as a schoolmaster until mere chance decreed otherwise." is probably an exaggeration, his father did own the National Candy Company in St Louis.

Price's love of art never left him and he used his education to good advantage. He was responsible, in 1951, of founding the Vincent Price Gallery, with his then wife Mary Grant Price on the campus of East Los Angeles Collage. Price had been invited to lecture on the ''Aesthetic Responsibilities of the Citizen,'' he arrived to find he was, ''speaking in a Quonset hut on a mud flat.''

He was so struck by the students' spirits and the need for the community to have the opportunity to experience original art works first hand, Price donated some ninety pieces which established the first ''teaching art collection'' owned by a community college in the United States. Over the decades, Price and other patrons continued to contribute art with the goal of illustrating diverse periods, styles, mediums, and techniques: from Egyptian sculpture circa 600 BC to 1990s serigraphs. He continued to maintain a hands-on interest in the gallery with selecting exhibits and developing a fund raising program to which he leant his name and support. In 1991, he was quoted,

''We just wanted it to serve the community. We didn't want to make publicity out of it since everything actors do is suspect! We just shut up and let it grow.''

Price's love of American Indian Art led to another little known side of him, his work for Native Americans, he worked for 15 years with the Department of the Interior and was quoted as saying in an interview:

"I have an enormous respect for the American Indian. I think we shut them off, at a period when they might have become the most creative people on the face of the earth. But we killed them off."

Prior to his movie career Price joined Orson Wells' Mercury Theatre for a brief spell, here he claimed, everyone in the company had a disagreement with Wells at some point or another. Price's first movie was "Service DeLuxe" in 1938 and he went on to play such diverse historical characters as Raleigh, Clarence, Richelieu, Charles II and the Mormon Joseph Smith. He was also cast in several films as a charming but effete young man, notably in 'Laura' (1944) and 'The Fly' (1958). The occasional horror role came his way too at this time, he reveled in the old Lionel Atwell part of the demented sculptor in "The House of Wax" (1953). Price's niche in the horror movie genre was carved in 1960 with the classic movie "The Fall of the House of Usher".

Price did return to the stage in later years. He toured his one-man show of Oscar Wilde throughout America for many years to great acclaim. It was a demonstration of the excellence performing skills of Vincent Price and an escape from the type casting.

In his later years, Price became involved with the rock & roll industry, he was involved in music videos with performers including Alice Cooper, Ringo Starr, and Michael Jackson. Price had his own ideas why he was chosen for this honor.

 "I have great admiration for rock `n roll, but not when it's done badly. My God! You know, I have a theory about how I get selected for these things. I think they've based a lot of their stuff on my movies. They go out and do the rock `n roll, and they're all high, and making the noise and flying around, and then they go back to their hotel room, turn on the TV, and there I am! Alice and I met a couple of times, and I liked him, then he asked me to do 'Welcome to My Nightmare'. Then one time I got a call and they said would you come and do a recording with Michael Jackson, called 'Thriller'. I said, "Sure, I'll do anything." So I went and did it, and I didn't think anything would happen with it, than it came out and sold 40 million copies! I didn't do it for the money, because I didn't have a percentage of it. It was just fun to do.

You know to be identified with the most popular record ever made is not just chopped liver! It has really done me a lot of good, because it has given me a new audience. "

As if Price didn't have enough to occupy himself during his career as an actor, he began another career as a TV chef, which ran for several series. He had a reputation as an outstanding cook and collector of recipes. He also found time to write a book , “Joe".

Towards the end of his life, he was struck with a great personal loss. His beloved third wife, Coral Browne, succumbed to breast cancer two days after Vincent Price's 80th birthday on May 29th, 1991. In the Autumn of that year a memorial service was held at London's Farmers Church, many of Coral Browne's friends from the Theater and Film attended. Price's own frail health made it impossible for him to be at the memorial in person.  A letter written by Price was read out by director John Schlesinger --
         
"Dear John:

When I was courting Coral, the first gift she gave me was a photo of herself simply signed, "Remember Coral" -- not really a challenge as the problem was, how could you forget her? I've come to believe remembering someone is not the highest compliment -- it is missing them. I find I miss every hour of Coral's life -- I miss her morning cloudiness, noon mellowness, evening brightness. I miss her in every corner of our house, every crevice of my life. In missing her, I feel I'm missing much of life itself. Over her long illness, as I held her hand or stroked her brow, or just lay still beside her, it was not the affectionate contact we'd known as we wandered down the glamorous paths we'd been privileged to share in our few years together; we were marching towards the end of our time and we both knew it. But, in our looks, our smiles, the private, few, soft-spoken word, there was hope of other places, other ways, perhaps, to meet again.

One fact of Coral I'll always miss, her many, many devoted friends -- many here, today, in this beautiful church, celebrating her life more than mourning her death, and missing the liveliness of her wit, her personal beauty, her outgoing self. I love them all for loving her. Many of you have shared more of her life than I have, but that very private and intense passion for her is mine alone.

She survived that last long year on the love of her friends, their caring and concern -- and very especially yours, dear John. I miss you all, and though we may not meet as often, nor in the great good company of my wife, you are in my memory locked.

All my love,

Vincent   


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