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Archive for the ‘Charles Chaplin’ Category

MUSEUM RE-OPENING ON SCHEDULE

 

We are pleased to announce that the Douglas Fairbanks Museum will re-open to the public in May of 2011 as scheduled.

Our doors will open Monday, May 23rd, on what would have been Mr. Fairbanks’ 128th birthday.

The museum’s hours of operation are from 2-6 p.m, Monday through Friday. All tours are by appointment only.

Admission is $4 for adults, $2 for children, students with ID, and seniors.

Just a short drive from Austin, we are conveniently close to many Central Texas tourist attractions and are always happy to help you plan a special and event-filled vacation while you’re in the area.

We invite you to visit, learn more about Douglas Fairbanks and the silent film era, and take a tour of our beautiful new gallery space. We’re very proud indeed and eager to have you as our guest!

As the museum is located inside a historic private residence, advance registration and a prior confirmed appointment is required for all visitors.

If you would like to tour the museum, you may schedule an appointment via email or by phone at (830) 444-0523.

Also, please take the time to review our “VISIT” page to familiarize yourself with the museum’s policies and guest etiquette before you arrive.

Our heartfelt thanks to everyone who assisted with our relocation and volunteered their time/effort/sweat to help rebuild the gallery, library, and exhibit spaces. We simply could not have done it all without you!

 

 

 

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FOR IMMEDIATE RELEASE

January 10, 2011

CONTACT:

THE DOUGLAS FAIRBANKS MUSEUM

(830) 444-0523

Email

Original 1926 photo from "The Black Pirate," stolen in Dec. 2010 burglary.

BURGLARS NAB RARE FAIRBANKS FILMS, PHOTOS,

ARTIFACTS IN HOLIDAY HEIST

Items dating back to the early 1900s and valued at more than $10,000 (USD) were stolen from the museum’s collections during a late night burglary over the New Year’s holiday.

Original one-of-a-kind photographic prints, negatives and slides, autographs, promotional materials for Fairbanks’ films, the star’s handwritten correspondence, vintage newspapers and magazines, and other rare silent film memorabilia were stolen from the archives.

Fortunately intruders did not gain access to the museum’s most valuable artifacts, which are housed separately in a secure storage facility off-site. However, the crooks did manage to make off with a goodly portion of the museum’s photo, video, and periodicals collections. These are the items most frequently requested by the public, media, filmmakers, other libraries, museums and galleries for reproductions, research and exhibition loans.

Items stolen include five archival binder boxes containing photographic prints, negatives and slides; two large archival albums containing film posters, playbills, programs, vintage theater tickets and other rare film memorabilia; two archival boxes containing newspapers, magazines and film periodicals nearly a century old, as well as copies of films by Fairbanks and other silent cinema stars on VHS tape and DVD from the museum’s circulation library.

The most valuable artifact the burglars got away with was (ironically) an original brass urn dating to approximately 1923, a set piece for the film The Thief of Bagdad. This urn has been a centerpiece of exhibits since the museum acquired it from a Los Angeles movie prop house in 2005. The object stands appx. 2 feet tall and features ornate lifting handles in the shape of two cobra snakes on each side. The rare prop urn was in the process of having a broken handle repaired at the time of the burglary; normally it would have been stored offsite.

1924 prop urn used in "The Thief of Bagdad"

UNHAPPY HOLIDAYS

The burglary took place at the domicile of museum curator Keri Leigh, who was out of town over the holidays. Leigh co-founded the small private museum in 1998 and for many years housed the collections inside her family residence. A lifelong silent film enthusiast, Leigh always enjoyed sharing her rare film memorabilia collection with other Fairbanks fans, filmmakers, researchers, students, and historians, welcoming visitors from all around the globe.

“We never really worried too terribly much about break-ins or petty theft because as a private museum, we’re not readily accessible to the general public. Our tours are by appointment only. We don’t have a location that people can just walk into off the street. ” Leigh explains. “So we avoided a lot of would-be thieves casing the place for valuables with that added layer of security.”

While the museum’s policy limits admittance and access to the collections only to those with a bona fide research or scholarly need, curator Leigh says “actually, we’ve never denied admittance to anyone over the years,” a decision she does not regret even in light of the burglary. “The whole point is to share the collections with people.”

“Silent film fans respect the historical value of these artifacts,” she stresses. “They would never want to deprive future generations of the chance to see and learn about Douglas Fairbanks. They’ve always treated the museum and the home with great care when they come to visit us. They are as upset as we are about this theft, because these collections rightfully belong to the people – to Doug’s fans; to history.”

The most distressing aspect of the theft, according to Leigh, is that “the people who stole these artifacts were probably unaware of their cultural value and importance. They probably just thought they were robbing a well-stocked private residence, maybe looking to make a quick buck by selling the contents. They likely had no idea they had stolen property belonging to a museum.” Leigh shook her head in sad disbelief. “It would not surprise me at all if they didn’t even know who Douglas Fairbanks was.”

Such a burglary is not at all uncommon: according to the Art Loss Register, 54 percent of art thefts occur in domestic dwellings. However, the next three highest areas of theft occur in museums and galleries (12 percent each) and in churches (10 percent.) For this reason, institutions housing valuables have set up organizations to combat and prevent art thefts. These include the Univeristy of Cambridge’s Illicit Antiquities Research Centre, which monitors and reports on the international trade of stolen antiquities, and MuseumSecurity.Org, which has a mailing list that provides regular reports on stolen museum items.

Other major law enforcement agencies have their own databases of stolen artwork, including the Interpol database of stolen art. The U.S. State Department’s Bureau of Educational and Cultural Affairs is also devoted to International Cultural Property Protection.

The problem has become so prevalent that in 1991 the art and insurance communities jointly began the Art Loss Register in an attempt to fight art thefts around the globe. The register allows major auctioneers, collectors and art buyers to check their catalogues to determine whether a valuable piece is stolen property. The ALR lists about 1,200 new items each month and has a total of more than 120,000 stolen paintings, sculptures, furnishings and other valuable artifacts on file.

A rare image of Fairbanks with his custom Cadillac, circa 1928. This photograph, along with hundreds of others, was stolen in the Dec. 2010 burglary.

A RUDE AWAKENING

In the early morning hours of December 30th, museum curator Leigh was awakened in her hotel room miles away by a phone call from her neighbors. They had witnessed the bandits driving away in the middle of the night and alerted police.

When a panicked Leigh returned home, she discovered that the front door lock had been cracked. Her home surveillance cameras were of no use, either — electrical lines to the house were cut before the looters entered. Inside, she found a ransacked mess of her personal possessions strewn about the floor; all drawers, closets, and cabinets were picked through by the criminals. Everything of value in the home had been taken.

Leigh (who is also a renowned musician, recording artist, writer, and radio personality) lost an invaluable collection of rare tapes, photographs, concert posters and music memorabilia documenting her 25 year music career in the heist. Leigh has previously authored biographies of Douglas Fairbanks and blues guitarist Stevie Ray Vaughan, her late friend and musical mentor.

Items taken from the home include Leigh’s original onstage costumes; many were handmade custom designs given to her by fans and friends through the years. She also lost master tapes for her band’s studio albums, a treasured 1940s Stella acoustic guitar, as well as her collection of her band’s live recordings, radio interviews and broadcasts, demo tapes, notes, song lyrics, notes, research and chapters for a book she was writing at the time of the break-in. While the actual cash or replacement value for these items exceeds $20,000, Leigh says their practical and sentimental value is incalculable: “You just can’t put a price tag on things like that.”

“”They took the deepest part of me – my music.” She says. “Songs I wrote, recorded, mixed and produced. They took my demo tapes and a 20-year archive of recorded performances of the band in concert, in the studio and on the radio. That’s a lifetime of work – my whole heart and soul – was in there. And they took it all. I could write an album’s worth of blues songs about how I feel right now, but don’t even have a guitar left to write them on.”

Hundreds of CDs, DVDs, 45 and 78 rpm records were stolen from Leigh’s sizable music collection. Designer clothing items were also pilfered; medicines and nutritional supplements nicked from her kitchen pantry. (“Seriously — what kind of burglars steal your vitamins?” Leigh mused.) The peckish prowlers also helped themselves to food items in her pantry. To make matters worse for Leigh personally, the burglars found her spare sets of keys and copped two cars. Until the stolen property is recovered and returned, Leigh is without even the basic necessities of daily life. “They totally cleaned me out,” she says.

“About the only thing they didn’t take were my books,” Leigh sighed. “I guess they weren’t very literary burglars.”

So far, no arrests have been made in the case.

TO CATCH A THIEF

Leigh’s friends, family, fans, and Fairbanks museum supporters have organized an online community watch effort to catch the crooks. They scour web auction and classified sites such as Craigslist looking out for her stage clothing, guitars, master tapes, personal effects, and museum artifacts to emerge. (Many of Leigh’s stolen stage costumes can be seen in the photo galleries of her band’s Official MySpace and in her music videos on YouTube.)

Music and film memorabilia dealers, auctioneers, other museums, and the general public are being urged to keep their eyes peeled for these items and to report any suspected stolen property to their local police or the FBI. Leigh has also retained a private investigator to help track down her stolen property and locate the thieves.

“These things nearly always wind up on eBay sooner or later.” Leigh says. “Art thieves routinely approach museums, galleries and memorabilia dealers trying to sell stolen goods. With the eyes of the public watching them, they are far less likely to succeed. Most art thieves are caught by one person who recognizes a piece of cultural property offered for sale as stolen and reports back to the rightful owner.”

Perhaps the only consolation for Leigh is that most of the items stolen from her home are unique and one-of-a-kind, and thus easily identifiable. “For the most part, these are not the typical sorts of items that can be sold off to pawn shops, such as TVs, computers, stereo equipment and electronics.” She explained. “It would take a very sophisticated fence operation that deals in stolen art and cultural property to handle them on the black market. I rather doubt these thieves are that clever or that connected.”

The museum is offering a 90-day “no questions asked” amnesty period for the safe return of the property. Should the burglars — or anyone currently in possession of the stolen items — return them to the museum, the band’s management, or to Leigh personally before March 30, 2011, they will not face criminal prosecution.

“The most important thing is getting the items returned promptly,” Leigh says. “The museum is scheduled to re-open in May 2011, and I can only pray we will have this substantial part of our collections back in time for that. Otherwise, our ability to present exhibits and fulfill research requests will be greatly diminished. To say the least.”

An alert and vigilant public will play a crucial role in recovering both Leigh’s own musical treasures and the Fairbanks Museum artifacts taken from her home.”Working together, I hope and pray that we can catch the thieves and get these rare items returned to the museum, so that the public may continue to have access to them for hundreds of years to come.” Leigh says. “This collection was intended to survive well past my earthly lifetime. I built it for the education, enjoyment and cultural enrichment of future generations. To think that all that time, effort and expense was in vain absolutely breaks my heart.”

Signed Fairbanks photographic print, circa 1920. Stolen.

BE OUR EYES AND EARS

Anyone with information about the burglary or reports of artifacts from the museum’s collections being offered for sale is encouraged to contact the museum immediately via email or phone at (830) 444-0523. Tips leading to an arrest and/or return of museum property may also qualify for a cash reward.

As the inventory of stolen property contains hundreds of items and is too extensive to include here, 100 images and descriptions of artifacts taken in the Dec. 30th burglary are sampled below. Please take a few moments to familiarize yourself with them.

Many more of the stolen photographs, posters, and museum artifacts can be seen in the 2005 documentary film Douglas Fairbanks: The Great Swashbuckler. You can watch this film on the museum’s official YouTube Channel.

If you spot the same or similar item(s) being offered for sale and suspect these may be museum property, please contact the museum to confirm provenance via catalog/accession numbers and identifying tags/marks on the object(s) right away. Time is of the essence in reclaiming these historic museum artifacts before they are lost forever.

Samples of property/objects stolen from the museum’s collections:

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The Douglas Fairbanks Museum recently provided research materials to the History Channel for an upcoming  documentary about the use of language in film.

Vintage news articles from the museum’s newspaper and magazine archives were requested by the network specifically pertaining to the 1916 Douglas Fairbanks comedy, The Habit of Happiness – reportedly the first Hollywood film to contain a curse word. And this was in the silent days before spoken dialogue!

Although there are no swear words in the printed title cards, Fairbanks reportedly swore up a blue streak in one particular scene, sparking a nationwide lip-reading movie controversy.

 

 

From the 1917 book "Laugh and Live" by Douglas Fairbanks. Original in the museum's library.

 

 

Fairbanks fans may already be familiar with the story of Sunny Wiggins, the film’s central character. He’s convinced that laughter can cure any ailment and to prove his point, he conducts an experiment: find the saddest, sickest characters on earth and heal them with happiness. He decides to test his theory on a group of street-hardened “bums” at the local homeless shelter.

Douglas Fairbanks (always a stickler for authenticity) decided to make the scene as realistic as possible, hiring actual direlects from skid row instead of professional actors.

Things didn’t quite work out as planned, however; despite Doug’s many attempts to crack them up with his best gags, the men weren’t at all amused. At wits’ end, Fairbanks thus began to tell some extremely ribald and off-color stories – only this got the sad sacks to elicit a genuine chuckle before finally erupting into all-out belly laughs.

When the film was initially released by Triangle Pictures in 1916, complaints from deaf lip-readers who could grasp the flurry of Fairbanks’ profanities caused the offending scenes to be re-shot and distributed anew to theatres.

“It’s a hilarious story,” museum curator Keri Leigh says, “and I always enjoy telling it to our visitors. Although I still maintain that no one could tell the story better than Doug himself.”

Fairbanks did write his own version of the now-infamous event in an article called “Combining Play With Work,” which originally appeared in the American Magazine for July 1917.

A complete reprint of the 1917 article appears in the book Douglas Fairbanks: In His Own Words, a literary collection of Fairbanks’ writings published by the museum in 2006.

 

Leigh says that consulting with the producers on this documentary film was “a wonderful opportunity for the museum to further our mission of educating a younger generation about who Douglas Fairbanks was. We want kids especially to learn of his importance to the history and development of the cinematic arts.”

The educational documentary, which is geared towards school-age children, will be broadcast in early 2011. Stay tuned to the museum’s blog for further announcements as the air date nears.

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Doug Fairbanks' Santa Monica beach house

 

The 1922 house has ocean views and is nestled in Santa Monica’s ritzy Gold Coast area.

 

The former Santa Monica beach house of silent film star Douglas Fairbanks Sr. has sold for $6,862,000.

In an area that became known as the Gold Coast after Hollywood stars and industry giants built homes there in the 1920s, the neighborhood included such titans as MGM head Irving Thalberg and his actress-wife, Norma Shearer, oilman J. Paul Getty and comic actor Harold Lloyd. The street where Fairbanks’ home sits was nicknamed Rolls-Royce Row.

The ocean-view Mediterranean, built in 1922, has formal living and dining rooms, three bedrooms, 3 1/2 bathrooms and 3,817 square feet of living space. A wide brick terrace extends the living area off the back of the house and steps down to the swimming pool and spa, which are flanked by lawns lined with mature trees. There is a paddle tennis or sports court and a fire pit.

The property previously sold in 1994 for $1,815,000, according to public records. It came on the market less than a year ago at $7.9 million.

The hit “The Mark of Zorro” (1920) established Fairbanks as a swashbuckling leading man. His natural athleticism was put to use in films such as “Robin Hood” (1922) and “The Thief of Bagdad” (1924).

Jeffrey Hyland of Hilton & Hyland, Beverly Hills, had the listing. Chad Rogers of the same office represented the buyer.
 

 

Story by Lauren Beale, The Los Angeles Times.
lauren.beale@latimes.com

Copyright © 2010, The Los Angeles Times

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On May 23, 1883, a ray of Colorado sunshine was born in Denver. He grew up to become our swashbuckling hero of the silent silver screen and everyone’s favorite all-American boy!

 

Happy Birthday, Mr. Fairbanks…and *thank you* for all the smiles you’ve given the world.:)

Douglas Fairbanks as D'Artagnan from "The Three Musketeers" as featured on the cover of Motion Picture Magazine, September 1921. From the collections of the Douglas Fairbanks Museum.
Douglas Fairbanks as D’Artagnan from “The Three Musketeers” as featured on the cover of Motion Picture Magazine, September 1921. From the collections of the Douglas Fairbanks Museum.

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Mold found growing on a water damaged support beam beneath the museum's floor

FOR IMMEDIATE RELEASE

MAR. 7, 2010

CONTACT: THE DOUGLAS FAIRBANKS MUSEUM

PHONE: (830) 444-0523

MUSEUM MOVES OUT OF MOLDY BUILDING

Since the discovery of mold inside the Douglas Fairbanks Museum’s new building over a month ago, museum staffers have been busy packing and moving the collections to safe climate-controlled storage offsite. The move was completed in mid-February.

“I’m happy to report that the collections do not appear to have suffered any damage as a result of the mold infestation,” museum curator Keri Leigh announced at the March board meeting in Austin. “Luckily the problem was discovered early on — about 10 days after we moved in — so we hadn’t uncrated any significant artifacts or hung anything on the gallery walls yet. We were so fortunate in that sense.”

The unfortunate news is that the museum’s planned re-opening, originally scheduled for March 1, has been postponed indefinitely pending repairs to the sick building. Extensive mold remediation, moisture intrusion repairs and replacement of key structural members will be required before the building can be safely opened to the public.

It’s obviously a major health issue,” Leigh said. “In addition to the dangers mold poses to the museum’s collection itself, my biggest concern is the health risks to staff and visitors.

“Most of the museum’s visitors have always traditionally been kids and the elderly, and those are the age groups most suceptible to harm from mold,” she explained. “Until the mold is remediated and the underlying moisture problems are fixed, there’s just no way we can continue to occupy this building or even consider opening it as a museum.”

Evidence of severe water damage, rust, dry rot and mold found under museum sub floor

Numerous case studies have shown mold to pose serious health risks to normal, healthy persons. The effects are even more severe and dangerous to the elderly, small children and infants, persons with compromised immune systems, asthma, breathing problems or mold allergies.

To make matters worse, Leigh herself is highly allergic to mold. Shortly after moving into the home in January, Leigh soon found herself suffering spells of dizziness, difficulty breathing, loss of short term memory and motor coordination, unexplained fatigue, joint pain, swelling of her face and extremities, skin rashes, and flu-like symptoms that just wouldn’t go away.

“For a couple of weeks there, I thought I just had the flu.” Leigh says. “But my symptoms weren’t getting any better and I couldn’t figure out why I was having all these other symptoms but no fever. It didn’t make sense.”

Then the mold was discovered about a week later. “While that was the worst news possible for the museum, it was kind of a relief to at least know what was making me so sick. As someone who has dealt with severe mold allergies from birth, finding out the home was ridden with mold explained all those symptoms. So at least I knew what the cause was, but of course it didn’t help me feel any better.”

“The only thing to do was for me to get myself and the museum collections out of the house as fast as possible.”

Leigh and museum staff quickly packed up the museum’s artifacts and put them in safe storage offsite. The next step was to get Leigh moved to temporary shelter for her own health.

“Once I got out of the house and into a mold-free environment, I started feeling better immediately,” she said.

But Leigh still has to travel to the museum frequently to deal with business matters once or twice a week. “It’s amazing – almost as soon as I step in the door, I’ll start sneezing. My eyes get all puffy and watery and it’s hard to breathe,” she says. “Within an hour or two I’m itching and scratching and have red bumps coming up on my skin. My brain will start to feel foggy and I can’t concentrate. The effect is instantaneous. So I’m trying to spend as little time here as possible.”

Severely water, dry rot and termite damaged wooden sheathing in attic

Although she is terribly disappointed, Leigh has come to accept the fact that the museum will not be opening in the building anytime soon. The repairs needed to remediate the mold, fix the moisture intrusion problems, and stabalize the structure are too extensive to be performed while the building is occupied.

“It’s really sad,” Leigh says. “I had such high hopes for this place just a few short months ago. It’s a lovely old Victorian home and I saw a lot of potential for the museum here. To find that this grand old house has sick building syndrome just breaks my heart because I love historic homes and hate to see something like this happen to them. It’s entirely preventable with proper care, conservation and maintenance. If homes are not cared for, these types of problems – termites, mold, wood-destroying organisms – set in and eventually just overtake the whole house.”

“It’s sort of like a cancerous growth in your home,” Leigh explains. “Early detection is key. If you can find the cancer early and remove it, it’s much less likely to come back. If it is not caught until the late stages, the cancer will spread like wildfire and be much more difficult and costly to get rid of. It may recur again and again, or it may prove fatal.”

For now, Leigh is just relieved that her health is improving and the museum’s collections are safe. “Luckily we discovered the mold and moisture problems quickly before the collections were uncrated or on the walls,” she says.

“While this is certainly a nightmare, it would have been so much worse had we actually been open to the public at the time. I have often shuddered to think of one artifact getting damaged or even one visitor or staffer getting sick from the mold. One is one too many,” says Leigh. “So I guess we were fortunate, if we try to look on the bright side of this.”

While Leigh looks for the bright side, the museum’s future hangs under a dark cloud. With grants and donating funding for nonprofit arts and cultural groups at an all-time low nationwide, many small museums like the Douglas Fairbanks are having to close their doors, either temporarily or permanently.

“The last two years have been particularly tough for us,” she says. “With the downturn in the economy, many of the funding sources we could always count on for support were either cutting grants altogether or giving much less. And the trend across the country is for even more cuts to arts, culture and educational organizations.

“When I see the Governors of big states like California and New York closing major parks and recreation facilities, and shuttering museums and libraries due to massive budget cuts, I really have to wonder how a small private museum like ours is going to stay afloat in this economy.” 

“Right now, our greatest obstacle is to have a permanent location that we can call our own,” Leigh explains. “We thought we had one here, and then we discover the building needs repairs to extensive for us to stay in it. So we’re basically right back to square one — using temporary office and exhibit space until we can settle into a new home.”

Leigh says just having a bricks-and-mortar location would most likely save the museum. Even in these tough and uncertain economic times, Leigh feels that the museum can stand on its’ own two feet without taxpayer funds.

“We’re always been self-supporting,” Leigh says. “The museum has been open since 1998 and has never accepted any public funds. All of our funding comes from donations and grants from private individuals and businesses, admission fees, gift shop sales, fundraisers and special events. We’re very proud of the fact that we’re not a burden to the taxpayer.

“We believe that if the silent film and local community think we provide a valuable service to the public, they will support us, and they always have before,” she says. “These are just tough times for everyone. We’re trying to weather the economic storm, like everybody else.”

The museum also raises additional funding from licensing and duplication fees charged to film producers and book publishers seeking to reproduce items from its’ collections, as well as fees charged to other museums when artifacts are loaned out for long-distance and traveling exhibits. The museum also has an online gift shop where Fairbanks fans can purchase books, DVD’s, apparel and memorabilia, with a percentage of sales going to the museum. “Every little bit helps right now,” Leigh says. “Especially when we don’t have a building that is open to the public where we can raise funds through admission fees, events, and the gift shop.”

“Our first priority now has to be finding either temporary or permanent space for the museum to operate,” she says.

Will the museum eventually return to the old house on St. George Street? Leigh says it’s possible.

“Sure, once the home is repaired and stabalized structurally, we could move right back in.” She says. “But there is a lot of serious work to be done here before the house will be fully repaired, and who knows how long that’s going to take? By that time, we may well be in a new permanent location with a long term lease commitment. And that’s what I hope will happen, the sooner the better. Finding us a new building is my only focus now. We desperately need to get our doors open to the public again.”

Anyone who has a suitable historic home or building they would consider donating or leasing to the Douglas Fairbanks Museum is encouraged to email or call (830) 444-0523 to discuss a resident curatorship, possible tax incentives or other options for your property. The museum is willing to relocate anywhere within the United States.

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1890s vintage residence housing the museum in Gonzales, TX

 FOR IMMEDIATE RELEASE

MAR. 1, 2010

CONTACT: THE DOUGLAS FAIRBANKS MUSEUM

PHONE: (830) 444-0523

MUSEUM’S NEW BUILDING INFESTED WITH MOLD

 

On January 1, the Douglas Fairbanks Museum relocated to Gonzales, Texas, after nearly four years of occupying temporary office and exhibit spaces during their search for a new permanent location.

The museum moved into an 1890s vintage home on Saint George Street in Gonzales, with 800 square feet of space donated to the museum for library and gallery space, along with separate housing quarters for onsite staff.

Plans were underway to re-open the museum on March 1, just in time for Texas Independence Week festivities.

Museum staff and volunteers were working fast and furious to uncrate exhibits when on one rainy day in January, somebody noticed a strong and unmistakeable smell in the museum’s entry hall — mold.

“At that moment, it was like the sound of tires screeching to a halt,” said museum curator Keri Leigh. “Everything stopped until we could investigate further and see how severe the mold problem was, and most importantly, until we could find out what level of action and resources was going to be required to fix it.”

Museum entrance hall (wall where mold was initially discovered is to the R of desk/chair).

Unpacking museum artifacts, January 2010

 

Photo of mold and water damaged sub floor directly beneath entry hall area

“So I put on my coveralls, got out the flashlight, camera, clipboard, toolkit and got to work,” says Greg Jackson, the museum’s onsite facilities manager.

Jackson, who was also a licensed structural pest control inspector in California for many years before moving to Texas, began inspecting the home top to bottom; taking samples of the mold with scotch tape and petri dishes for further lab testing to find out the exact types and levels of mold present within the structure.

“At first, we thought the mold was contained to just one wall of the home since we were only smelling it in that one area,” says Jackson. “However, once I inspected the attic and crawled the home’s sub area, it became clear that this infestation was far more widespread than we originally thought. Mold is present and live throughout the home.”

The inspection revealed extensive evidence of roof leaks in the attic – water had severely damaged the sheathing and in many spots had completely rotted out the wood.  Mold and fungus were found to be growing on wood and metal flashing throughout the attic area.

Jackson also found another surprise while inspecting the attic:  a severe termite infestation. “Apparently termites have found this home a delicious treat,” says Jackson. “They’ve obviously been eating here for several years, and have simply chewed a lot of the wood away. Between the water damage, dry rot and termite damage, it’s a real mess.”

Water, dry rot and termite damaged wooden sheathing in attic

 

Closeup of same area

Jackson was in for an even bigger surprise when he inspected under the house: “Turns out a little mold growing inside a wall was the least of our problems,” he said. “It’s not only inside that one wall, but is growing underneath the entire house.”

When Jackson inspected the subarea beneath the home, he found evidence of prior flooding which had severely damaged the flooring and sub flooring. “And because these are wood floors, they became a magnet for termites and fungi,” Jackson says. “I discovered extensive evidence of termite infestations, dry rot, mold and fungus all throughout the sub area.”

Jackson says that because these water problems appear to have been present for some time and were not treated or remedied before, the infestation has had lots of time to fester and spread, which is going to make treatment and remediation both costly and time-consuming.

But what concerned Jackson even more than the evidence of water intrusion, termites and mold itself was the damage these problems have caused to the home’s structural system and foundation. “Key support beams and piers beneath the home have been severely weakened in spots due to prior water damage, dry rot, and termite infestations,” Jackson reported. “Some of these key support systems are so weakened that they could fail at any time.”

Rotted wooden support beam rests precariously atop brick pier which is slipping to the R

Evidence of severe water damage, rust, dry rot and mold found under museum sub floor

Water damage, dry rot and mold on support beam

Moldy sub floor

Mold and termite damage to load bearing wall

Cedar support pier base exhibiting severe water, fungus and termite damage

 One area of particular concern to Jackson was the bathroom. Upon entering the subarea directly beneath, he made a startling discovery:  the floors were so badly water damaged that portions of the sub flooring had disintigrated away. 

“The wood in that area is so far gone that it literally crumbles into dust when you touch it,” Jackson says. “ The floor is in danger of collapse.”

“Ever since I made that discovery, I’m very nervous every time I sit down on the commode,” he said with a light chuckle. “Let’s put it that way.”

Jackson, who also lives onsite, had noticed previously that the bathtub was leaning slightly off-level and leaked water on to the floor every time the tub was used. “That’s not a really difficult repair to make, so I wasn’t too worried about that so long as it as attended to quickly,” he said. “But when I looked under the house and saw how extensively water damaged the support beams directly beneath the bathroom area were, I knew the problem was much more serious.”

“There’s nothing quite like the possibility that the tub or commode could just fall through the floor to get your attention,” Jackson said. “Someone could get seriously hurt or even killed just using the bathroom, and that’s a risk the museum obviously won’t take with the safety of its’ visitors.”

Severely damaged flooring and support beam under commode

 

Rotted flooring and cut support beam under museum bathroom

When Jackson turned in his inspection report and photos to the museum’s curator, Leigh was shocked by what she saw: “Needless to say, this was not good news,” she said.

Mold is a museum’s worst enemy,” Leigh explained. “For a museum like ours where the majority of our collections are very old and porous paper products such as newspapers, books, posters, photographs and documents, mold just attaches itself to them. It feeds on cellulose. Air where the relative humidity (RH) is above 80% will support mold on cellulosics — cotton or linen — and most of our collections are made from those materials.”

Leigh has expressed great concern about high humidity levels in the home. Several months ago, even before the mold was discovered, Leigh was setting up an exhibit case in the main gallery when she noticed the gauge used to monitor humidity levels was giving off very high readings. “My thermo hygrometer was reading at 80-95%, based on the weather that day. On dry sunny days, the levels were at about 60-65%, but on humid or rainy days, the recorded humidity levels were just off the charts. I couldn’t figure out why.”

Leigh had also noticed excessive condensation appearing on glass doors and windows inside the museum, even on and inside the exhibit cases. “Now that’s a problem.” Leigh said. “You can’t have water droplets collecting inside an exhibit case filled with rare artifacts. Without airflow inside a case, those artifacts would start growing mold in no time.”

Extreme water condensation on windows in museum office

“So from all previous indicators, I could tell the museum building had some kind of moisture instrusion problem,” Leigh says, “but didn’t know just how widespread or severe the problem really was until I saw Greg’s photos and report of what was going on in the attic, underneath the building and within the walls. The whole building is a petri dish. Live mold and fungus are growing everywhere.”

 

 

 

 

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Douglas Fairbanks Sr. (Left) in his final film, "The Private Life of Don Juan" (1934)

SILENT SCREEN LEGEND HAS NEW HOME IN GONZALES

The Gonzales Cannon

January 22, 2010

The city of Gonzales is known for its history and museums.  Now there is a new attraction to add to the list of tourist destinations.

“I have been a silent movie fanatic since I was about five years old,” said Keri Leigh, curator of the Douglas Fairbanks Museum, scheduled to open March 1 in Gonzales.  “I remember falling in love with The Hunchback of Notre Dame, starring Lon Chaney — that was my first favorite film.”

Leigh recalls fencing with the boys in her neighborhood as a child, and watching the films of legendary actor Douglas Fairbanks.

“I used to reenact his stunt scenes from his movies when he played Robin Hood, Zorro and a pirate,” said Leigh.  “I grew up but I never fell out of love with silent movies.”

As a musician, Leigh toured the globe for several years, but in 1998 she decided to make a change.

“I was getting tired of life on the road living in a suitcase,” she said.  “It’s fun to do when you’re in your twenties, but I was finally ready to do something else.”

Silent films went through a revival in the 1990’s.  Old reels were turned into DVDs and cleaned up in the archives, so Leigh returned to her love of old films and the stars that made them shine and her life became engrossed in the world of Charlie Chaplin, Mary Pickford, Gloria Swanson and Douglas Fairbanks.  It was then that she decided to preserve his memory.

“I saw a growing interest in old films, with museums and libraries being dedicated to other stars, but then I thought, ‘What about Doug?’” said Leigh. “Doug, Mary and Charlie were known as the big three, and I wanted to make sure their contributions were not forgotten.”

In 1999 she held film screenings in Austin to raise money for the Douglas Fairbanks Museum.  With her former bass player Greg Jackson (now the museum’s live-in caretaker) they set up the museum in their home for two years, and eventually moved it into another building. 

Nearly three years ago the museum building’s first floor was flooded by rain water. They were renting the building and the owner sold it after flood damages were repaired.  After a two year search for a new location, Leigh said that’s when she realized that it may be time to take her friend’s advice and consider moving to Gonzales.  She admires the history of the city and its appreciation for the arts.

“This is one of the few small towns I’ve ever seen with two theaters – the Lynn and the Crystal – and I think we will fit right in,” said Leigh.

Leigh and museum mascot "Jack," her current leading man.

DOUGLAS FAIRBANKS

 

His real name was Douglas Elton Thomas Ullman Fairbanks, Sr., and he was raised in Denver, Colorado. Fairbanks was a serious stage actor, and according to Leigh that is exactly what Hollywood producers were looking for when silent films became popular.

“They wanted someone respectable to be on the screen to legitimize movies. At the turn of the 20th century, it was  mostly immigrants and lower income people who went to the movies. They could watch a film and get lost in another world, a better world, for 20 minutes.  And it only cost a nickel! Nickelodeons operated out of shop fronts in seedy neighborhoods. So-called “respectable” people wouldn’t go anywhere near them. The producers essentially wanted to attract a higher class of audience, so they had to start bringing in a higher class of star.”

In fact, Leigh said the job of a film actor wasn’t really respectable at all in the beginning.

“There would be signs in boarding houses that said, ‘No dogs or actors allowed!’”

The stage to screen theory paid off, and movies began to make huge profits.

“Doug was skeptical at first, but his attitude changed and he was taken by the technology of the movie camera and the freedom of film, he was no longer limited to the stage,” Leigh said.  “Movies made it possible for him to be famous all over the world, not just in New York City.”
In the late 1910s, when Fairbanks was the #1 male box office attraction, Mary Pickford was the world’s most popular female star, affectionately known as “America’s Sweetheart.” They married in 1920, and together they ruled the film industry.  Leigh describes them as the first Hollywood power couple.

“Back then, a celebrity was usually a president or politician, but they were something different. The world had never seen anything like it before. They truly were the first great Hollywood stars.” Leigh said.  “The crowds that came out to see them when they traveled were outrageous mobs. It was like Beatlemania.  In one case, Doug had to carry Mary on his shoulders through the crowd to protect her from their own fans.”

Museum curator Leigh

Fairbanks was truly a pioneer in the film industry. He earned enough money to start his own production company and was a founding member of United Artists. Fairbanks was also a founding member of The Motion Picture Academy, served as the Academy’s first president and hosted the first Oscars Ceremony in 1929.

His debut film was “Martyrs of the Alamo” in 1915, in which he plays five separate uncredited small characters.  One of the few movies about the Texas stand-off against the Mexican Army which includes the town of Gonzales in the story.  Leigh hopes to screen the film in Gonzales in the near future.

Fairbanks was part German and Jewish.  His family had moved to the United States in the 1800s.  Leigh said she often wonders how he felt in the years preceding World War Two, when his family’s homeland and people were under siege from Hitler.  In fact, she said if she could ask Fairbanks one question it would be about that.

“I would ask him why he didn’t use his celebrity to make a difference and stand up against Hitler and what was happening,” Leigh said.  “He must have been terrified, but he had the power – if he had made just one film about what was happening in Germany, and presented it the right way, who knows what impact it might have had?”

She has written and edited several books, including Douglas Fairbanks:In His Own Words. She carefully preserves the treasures she has gathered through the years, from film set props to books and photographs, Leigh, Jackson and museum mascot Jack the Cat are very excited to share the accomplishments of Fairbanks with visitors at the museum.
Leigh believes it will draw students and silent film fans from all over Texas and the country to Gonzales.

“I’m a steward of history and I feel like I work for him (Fairbanks). I’m merely taking care of his things for a few years, then the collection will be passed along to someone else one day who will continue to care for them and share these important pieces of history with others.

“I want to make sure he is not forgotten.  He was always a crusader and a defender of freedom and liberty, and that’s a very important part of his message. To this day his acting, writing, production skills and amazing stunt work are still looked at in awe,” said Leigh. “He was a force of nature, and an all-American hero.”

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Fairbanks in the 1919 comedy "When the Clouds Roll By"

 

Silence is golden: New museum pays tribute to silent film star Douglas Fairbanks, Sr.

 
 
The Gonzales Inquirer 
  
January 21, 2010
 

If you have never heard of the famed silent movie star Douglas Fairbanks, Sr., before, chances are you will be hearing about him more and more if you live in Gonzales County.

“We were looking everywhere,” said Keri Leigh, curator of the Douglas Fairbanks Museum.

What she was looking for was a place to relocate the museum honoring the life and times of actor and movie pioneer Douglas Fairbanks, Sr.

In 1998, the museum was founded in Austin. But a flood and other circumstances has meant it didn’t have a permanent home for nearly the last three years.

That has all changed now.

The museum has found a home in Gonzales. It’s located on St. George Street, near the downtown clinic.

And Leigh couldn’t be happier.

“We needed a home and community,” said Leigh.

In the beginning

For Leigh, she never dreamed of being a museum curator. Her life as a journalist, musician, author and radio host seemed quite fulfilling and, well, rather hectic. She was on the road almost all of the time.

But in the back of her mind, there was something there.

“I have been a silent movie buff since I was a kid,” said Leigh.

She remembers a PBS series called, “Silence, Please” which aired every Saturday night. She was hooked at a young age.

In fact, one of her favorites was “Robin Hood,” which starred Fairbanks. She keenly recalls being age seven, armed with a sword, and recreating the scenes in her backyard.

Yet for Leigh, silent movies were more of a hobby, a passion.

Then came the 1990s when silent films suddenly made a comeback. They were becoming all of the rage.

“They were being rediscovered,” said Leigh. “The movies are amazing. To see the production quality.”

Because silent films have no sound, Leigh said the actors and filmmakers really had to paint a picture of what was happening on the screen. It made them really concentrate.

Fortunately, since it was a new phenomenon, Leigh said the references for the filmmakers and actors was art. They were used to seeing artwork and fine detail.

“Film was new,” said Leigh. “There were no rules and no boundaries.”

But this budding new industry was not accepted for quite some time. At that time, Hollywood was nothing more than a small farming community. When the industry began, Leigh said the locals weren’t pleased.

Some signs read, “No dogs or actors allowed.”

“They were not accepted back then,” said Leigh.

A passing fad?

In fact, many critics of the day said movies would be nothing more than a passing fad; that live theatre would remain king.

When the Nickelodeon theatres became popular in America, it appeared the critics may be wrong. People could watch a short film in just minutes for five cents. They’d watch on their lunch hours or just about any time.

“The profit margin was phenomenal,” said Leigh.

Because of that, early filmmakers were able to lure away some of the top Broadway talent with good salaries.

“They took giant steps to legitimize the industry,” said Leigh.

One of those steps involved signing a contract with Fairbanks, a star of the stage.

In 1915, Fairbanks signed a contract worth $100,000, a huge salary at that time.

Though he was skeptical of this new medium, Leigh said Fairbanks “took the deal.”

One of his first roles, ironically, was in a film called, “Martyrs of the Alamo.”

Not surprisingly, Gonzales is featured prominently in the film.

For Fairbanks, he was little more than a bit player in the movie, though he did play five different roles. One was even in black face, where he played the slave of Col. Travis.

Sadly at that time, African-Americans were not allowed to appear in films.

A new approach

Another huge advantage for filmmakers at that time was how quickly and cheaply a production could be completed.

Leigh said for about $2,000 they could make a movie and it would be finished in a week.

But that didn’t mean there was anything cheap about this new craft.

“They had a creative and original approach,” said Leigh. “They were experimenting with the equipment.”

Another big advantage, said Leigh, was the “title cards” which were used. Those are the frames with text in the movies. Leigh calls it the first “closed captioning” in the world.

Because that was the only text, she said those title cards could be made into any language, meaning the films were meaningful around the world.

What it did was lead to a huge industry, and Fairbanks was in on the leading edge. Leigh said he was a Hollywood leader in making sure the film industry was successful and lucrative.

He helped found many of the hotels and other staples of Hollywood which still exist today. He was a pioneer.

Fairbanks helped start the very first film school at the University of Southern California.

“He saw a need for this,” said Leigh.

He had helped found the Motion Picture Academy, with the hopes of having the school as part of that organization. But that turned into a group which basically handed out industry awards, and Fairbanks was not satisfied.

One day while on the golf course, Fairbanks had a discussion with the dean of USC, who he said “loved the idea” of a film school. That school is still going strong today, producing some of the top filmmakers in Hollywood.

Yet much of the past may have been forgotten had it not been for the resurgence of silent films. Ironically, it was new technology which led to silent films in the first place and the resurgence had a lot to do with today’s new technology.

With the internet and so many other mediums, Leigh said fans around the world can communicate and enjoy silent films.

“Studios began pulling them out of the vault,” said Leigh.

Today, screenings of silent films play to sell-out crowds around the world.

A change of direction

For Leigh, she thought her life would revolve around her chosen career of journalism.

“I thought I would be a journalist my entire career,” said Leigh.

But that turned into a musical career, which meant traveling all over the country and sleeping in hotel room after hotel room. Her band, Keri Leigh and the Blue Devils, found great success.

But that success can also lead to burnout.

“I was ready to sleep in my own bed, ready to settle down,” said Leigh.

And then came the silent film revolution.

In doing research, Leigh said she found that many of the silent film stars had museums dedicated to their lives.

“They all seemed to have them,” said Leigh.

But, she said, to “my amazement,” there wasn’t any such museum for Fairbanks.

As she began studying Fairbanks more and more, she learned just how crucial he was in getting the new industry off the ground and turning it into what many of us know as Hollywood today.

She said in his writings, Fairbanks predicted cable television and video on demand. He also envisioned a ratings system for movies.

All of that came to pass.

Yet there still was nothing permanent to honor one of the true pioneers of Hollywood.

Leigh said she and Jackson, along with “other like-minded folks,” decided they should come up with a plan.

They pooled their resources, built some exhibit space and launched the museum effort.

“It was a community effort,” said Leigh.

In 1998, the museum found a permanent home in Austin.

But in 2007, massive rains struck the Austin area. Though they didn’t really understand exactly what was about to happen, Leigh said they did know enough to move all of the exhibits to the second floor of the building which housed the museum.

The flood came and wiped out the entire downstairs.

They were renting the building and the owner decided he wanted to go in a different direction.

“We began looking elsewhere,” said Leigh.

That search started in Austin but she said it was “cost prohibitive.”

They even looked in Denver, the hometown of Fairbanks, as well as Los Angeles.

She said real estate prices were “astronomical.”

Leigh said they weren’t exactly sure what was going to happen next. It seemed like the museum might not find a home.

Then a local resident contacted Leigh and told her she should seriously consider moving her museum to Gonzales.

Leigh, a Texas history buff (you’ll have to ask her the reason for that little fact), decided she would come and take a look. What could it hurt?

“I love old, historic Texas small towns,” said Leigh.

It didn’t take much time in Gonzales for Leigh to make the decision and take the plunge. The museum would be located in Gonzales.

A new beginning

Because of limited space in the house on St. George Street, Leigh estimates they will be able to handle about 10 visitors at a time.

But there’s plenty of space on the big porch and in the yard, so larger groups should not be a problem.

The museum will be open from 2-6 p.m. Wednesday through Sunday. Visitors must call in advance to arrange tours. To do so, you can call the museum at 830-444-0523. The web site is www.DouglasFairbanks.org.

They will officially be open Monday, March 1, just in time to celebrate Texas Independence. A major grand opening is set for Sunday, May 23, which is the birthday of Fairbanks, who was born in Colorado in 1883.

Leigh said they have about 1,200 artifacts which will be displayed. Those include movie posters, stills, autographs, programs and film props.

In fact, the “crown jewel” of the museum is a 1924 urn which was featured in the film “Thief of Baghdad,” a movie many say was the best work of Fairbanks.

In those days, sets were built with “real materials,” said Leigh. You can tell by the urn, which has intricate details and is extremely heavy.

Leigh said there is another place named after Fairbanks now, and that is at the Academy in Hollywood. She said Fairbanks’ wife had kept a lot of items in storage, some of it very delicate film, and when it was rediscovered, the Academy took it in and now has it on display. She works with that group, as well, to keep the Fairbanks name alive and well.

Leigh also said they have talked to members of the Fairbanks family. In fact, they were able to let his son, Douglas Fairbanks, Jr., know about their plans for a museum. However, he was in his 90s and suffering from Alzheimer’s disease. But Leigh said he did understand what they were doing and was happy his father was being honored.

As for Leigh, she’s happy to have a new home for her beloved museum and hopes the people of Gonzales will stop in and see what they have to offer.

She said their visitors come from all around the world and she estimated they were getting 300 to 400 per year when the museum was open in Austin. Hopefully, she said, that number will increase in the new Gonzales location.

That location is something which thrills Leigh, as she feels like she has found a home in Gonzales.

“I really do,” she concluded.

 
Copyright © 2010 The Gonzales Inquirer. All rights reserved.

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GOOD NEWS!

More than two years after the flood that totaled our old building, The Douglas Fairbanks Museum will re-open in 2010!

Our long search for a suitable site to house and display our collections led us to look at relocating outside our original home of Austin, Texas, where we have been for more than a decade. We considered sites as far away as Denver, Los Angeles, New York and Boston before discovering the perfect spot just a few miles south of Austin.

A friend of the museum recently suggested that we explore an available property in the historic town of Gonzales, Texas — once we visited there and had a look around, we absolutely fell in love with the place and the people. The museum board, staff, and supporters all agreed that this is the ideal location for our new home.

Not only will this allow us to remain in the Central Texas area, the museum will now be centrally located between two major cities, drawing visitors from both Austin and San Antonio. Just 50 miles from San Antone and 60 miles from Austin, Gonzales is a hot tourist destination spot along the Texas Independence Trail.

Antique wagons in front of the Gonzales Courthouse

Historic Gonzales County Courthouse & Town Square

Gonzales holds a very special place in the hearts of Texans and in the annals of the Lone Star State’s history. Known as “The Birthplace of Texas Freedom,” Gonzales was the first Anglo-American settlement west of the Colorado River, established by a land grant in 1825 when Texas was still a part of Mexico.

The first shot of the Texas Revolution was fired in Gonzales on October 2, 1835, when residents of the town refused to return a cannon originally given to them by Mexico for self-defense. General Santa Anna sent Mexican troops into Gonzales demanding the cannon be returned. But the Mexicans soon found themselves confronted by a band of determined Gonzaleans who told them if they wanted the cannon back, they could “Come And Take It.”

The ensuing battle of Gonzales was the first of many legendary battles in the struggle for Texas Independence.

In late February 1836, 32 men from Gonzales answered the urgent call for help defending the besieged Alamo and went to their deaths as true Texas heroes.  Among them were Almaron Dickenson, whose wife Susanna and their infant child were the only Anglo survivors of the bloody Alamo battle.

Appropriately enough, this story is told in the very first film Douglas Fairbanks ever appeared in, 1915′s “Martyrs of the Alamo” (aka “The Birth of Texas“) directed by D.W. Griffith.

We could not find any spot in Texas more appropriate for the museum’s new home than Gonzales. The town’s amazing history is an ideal match for Douglas Fairbanks, a man whose films always echoed the same ideals Gonzaleans fought and died for: freedom, justice and liberty!

The museum will be moving to our new building  in Gonzales on January 4, 2010. Located in a historic 1890s home just a block off the picturesque town square (on the National Register of Historic Places) and within walking distance of all other local museums and cultural attractions, we plan to make a sizeable contribution to the quality of life and tourism in Gonzales over the years ahead.

It will take some time to complete the move and set up exhibits and office space within the building, so the museum will not be open to the public until March 1st, 2010 — just in time to take part in the Annual Texas Independence Day celebrations.

We are already planning for an official Grand Opening party around May 23rd, Douglas Fairbanks’ birthday.

Keep an eye on our news blog for updates on our progress as the museum’s new home is being prepared. We’ll have lots of photos to share depicting the home restoration and building of exhibit spaces, as well as announcements of future programs, exhibits and special events coming up in 2010. It’s going to be a great year, and we hope you will join us!

Donations are especially important to help us with the costs of relocating to a new town and restoring this historic home. So if you haven’t already, please visit our “DONATE” page and make a financial contribution in any amount you can afford. Every little bit helps right now! Thank you for your continuing support.

The Douglas Fairbanks Museum: “Come And See It” in Gonzales next year!

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TWELVE MONTHS OF FILM FUN

The Douglas Fairbanks Museum is pleased to announce the new 2010 Douglas Fairbanks Wall Calendars are now available in the museum gift shop. Pick one up for the silent film fanatic on your holiday shopping list!

These lovely wall calendars each feature 12 classic images of Douglas Fairbanks from our extensive archives, and are available in three different sizes this year: 8.5×11 (horizontal), 11×17 (horizontal) and 11×17 (vertical).

Douglas Fairbanks 2009 Small Wall Calendar

Douglas Fairbanks 2010 Small (8.5×11) Wall Calendar $16.99

Douglas Fairbanks 2009 Wall Calendar

Douglas Fairbanks 2010 Large (11×17 Vertical) Wall Calendar $19.99

Douglas Fairbanks 2009 Oversized Wall Calendar

Douglas Fairbanks 2010 Oversized (11×17 Horizontal) Wall Calendar $20.99

No two are alike; each calendar design features a variety of twelve distinct and rare images spanning Mr. Fairbanks’ entire career in film, from the 1910s to the 1930s. Classic film posters, movie stills, portraits, and candid images of Fairbanks with Mary Pickford and Charlie Chaplin, in b&w and color.

We also still have the popular one-page calendar design, with all 12 months on a single 11×17 page for only $5.99:

Douglas Fairbanks 2009 Wall Calendar

Douglas Fairbanks 2010 One-Page Wall Calendar $5.99

The full price of each sale goes to fund the continuing preservation and educational work of the Douglas Fairbanks Museum. Get these great-looking calendars for your home or office wall NOW and save 20% while they last!

Each year, we issue a completely new variety of calendar designs, so these will be collector’s items and are limited editions available for one year only. The 2010 calendars are on sale through Oct. 31, 2010, and after that, they’re gone forever…like the silent films of yesteryear.

VISIT OUR GIFT SHOP AND PICK UP COOL GOODIES FOR THE FAIRBANKS FANS ON YOUR LIST!

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THE MUSEUM’S FALL 2009 DONATION DRIVE RUNS THROUGH OCT. 31

ulmanexhibit3

WHY A MUSEUM FOR AN OLD SILENT FILM STAR, ANYWAY?

Donation Drives for the Douglas Fairbanks Museum’s relocation effort have been considerably more difficult since the American economy went into a recession. Like all small nonprofits; libraries, museums and performing arts/cultural organizations, we’re faced with dramatic drops in funding sources and donations. Right now we need your help more than ever in order to meet our goal of securing a suitable new building to house and exhibit our collections.

In these turbulent economic times, we sometimes hear people say: “but why does an old silent movie star need a museum? And why should taxpayers foot the bill?”

We’ll tackle the second part of the question first: throughout the entire 11-year history of the Douglas Fairbanks Museum, we have never asked for nor accepted any public funding.

Our operating costs have always been funded by donations from private individuals, businesses and foundation grants, in addition to our own funds raised though film screenings, events, workshops, publications, admission fees, licensing/loan fees and sales from our gift shop. We strongly believe that small museums like ours should not be a drain on our taxpayers or our government, and that if silent film lovers and the local community believe that we provide a valuable service, they will contribute financially.

Now – for the most important part of that question: why should people care about an old silent movie star, anyway?

Let us pause for a moment to consider a world without “Doug”.

If it weren’t for Douglas Fairbanks, the history of cinema may have been written very differently indeed.

  • We have Mr. Fairbanks to thank for giving independent film producers power over the production and distribution of their own films with the creation of United Artists in 1919.
  • We can give our thanks to him for ensuring long-term health care and housing for elderly members of the industry with the Motion Picture Relief Fund and Hospital in 1921.
  • Thanks to Fairbanks’ efforts to found the nation’s first film school at USC in 1929, young and aspiring filmmakers can learn their craft in universities around the world today.
  • We can also thank him for helping to found the Academy of Motion Picture Arts and Sciences, who have brought us the Oscars every year since 1927.
  • And above all, we have to thank him for giving us all those wonderful films which continue to inspire and influence us.

Now, let us stop for a moment to consider a world without the Douglas Fairbanks Museum (perish the thought!):

Had it not been for the Douglas Fairbanks Museum over these past 11 years, Doug’s fans, cinema scholars, and silent film enthusiasts would have no other place on earth to learn about his immense contribution to movie history.

Anyone looking for biographical information, research materials, photographs, copies of his films, or answers to questions about Mr. Fairbanks have come here to find what they were looking for. Our educational programs, workshops, lectures, film screenings, free web resources and virtual online galleries, news blog, books and other publications all provide a valuable service to the community of movie lovers everywhere.

We hope to continue providing these services in the future, but we can’t do it without your financial support.

With the economy as it is, small museums like ours rely mostly on donations from people like you to survive. Nonprofits, educational institutions, libraries and museums across America are seeing our annual donations plummet to record lows, and many of us are being forced to cut back on programs and staff or face permanent closure.

The Douglas Fairbanks Museum has been particularly hard hit by the financial crisis, as we are still trying to recover from the flood damage which forced us to close our doors last year. Over the past three quarters, the amount of financial contributions from individuals and businesses who have been our strongest supporters has dropped significantly due to the unstable economy, but we are hoping to get a much-needed boost from our fall donation drive this year.

Please don’t forget that our dedicated staff and volunteers make it all possible. Without their efforts, we would not have been able to make it through the storm (literally!), nor would we be able to continue making our collections available to the public while our doors remain temporarily closed.

Without YOU, a new library and exhibit space may not be in our future. We really do need your help now as we continue to raise funding for a new location. Please show your support for silent film, as well as your appreciation for Douglas Fairbanks and the many dedicated individuals who keep his museum going with a financial contribution today!

Your financial support helps us achieve our mission, enables us to acquire new artifacts, and to provide the very best care and conservation for our existing collections. As these items are now approaching or over 100 years of age, they need increasing amounts of attention and preservation.

You can make a donation quickly, easily, and safely through PayPal using a credit card, debit card or bank account below.Every donation, small or large – even just dropping $5.00 in our Virtual Donation Box - brings us one step closer to accomplishing our mission. That goal is establishing a permanent place in history for Douglas Fairbanks, Sr., to ensure that film historians and fans have his work, his extraordinary life and legacy to study and enjoy for many generations to come.

Make a financial gift through safe, secure Pay Pal International below:

 

 

 

 

Thank You.

 

 

(*) – Donations may not be tax-deductible.

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PLEASE SHOW YOUR SUPPORT THIS YEAR

As our annual March Donation Drive comes to a close, we want to remind you that it’s not too late to send in a contribution and show your appreciation for the efforts of our hardworking volunteers. This is the time of year when we ask Fairbanks fans and silent film enthusiasts around the world to assist us in keeping his legacy alive.

Let us pause for a moment to consider a world without “Doug”.

If it weren’t for Douglas Fairbanks, the history of cinema may have been written very differently indeed.

We have Mr. Fairbanks to thank for giving independent film producers power over the production and distribution of their own films with the creation of United Artists in 1919. We can give our thanks to him for ensuring long-term health care and housing for elderly members of the industry with the Motion Picture Relief Fund and Hospital in 1921. Thanks to Fairbanks’ efforts to found the nation’s first film school at USC in 1929, young and aspiring filmmakers can learn their craft in universities around the world today. We can also thank him for helping to found the Academy of Motion Picture Arts and Sciences, who have brought us the Oscars every year since 1927. And above all, we have to thank him for giving us all those wonderful films which continue to inspire and influence us.

Now, let us stop for a moment to consider a world without the Douglas Fairbanks Museum (perish the thought!):

Had it not been for the Douglas Fairbanks Museum over these past 11 years, Doug’s fans, cinema scholars, and silent film enthusiasts would have no other place on earth to learn about his immense contribution to movie history.

Anyone looking for biographical information, research materials, photographs, copies of his films, or answers to questions about Mr. Fairbanks have come here to find what they were looking for. Our educational programs, workshops, lectures, film screenings, free web resources and virtual online galleries, news blog, books and other publications all provide a valuable service to the community of movie lovers everywhere.

We hope to continue providing these services in the future, but we can’t do it without your financial support.

With the economy as it is, small museums like ours need your help now more than ever. Nonprofits, educational institutions, libraries and museums across America are seeing our annual donations plummet to record lows, and many of us are being forced to cut back on programs and staff, or face permanent closure.

The Douglas Fairbanks Museum has been particularly hard hit by the financial crisis, as we are still trying to recover from the flood damage which forced us to close our doors last year. Over the past quarter, the amount of financial contributions from individuals and businesses who have been our strongest supporters has dropped significantly due to the unstable economy, but we are hoping to get a much-needed boost from our spring donation drive this year.

Since the museum presently does not have a physical location for our annual film screening during the annual donation drive, we’ve decided to get a little bit creative and try doing the annual fundraiser online this year.

We very much hope you enjoyed our first annual Free Online Fairbanks Film Festival and this special month-long presentation of Douglas Fairbanks – The Great Swashbuckler, a full-length documentary on his life and work. Produced in 2005 by Delta Entertainment with assistance from the Douglas Fairbanks Museum, the film features rare artifacts from our archives and on-camera interviews with Hollywood Forever’s Annette Lloyd, film historian Sparrow Morgan, and Douglas Fairbanks Museum curator Keri Leigh.

DVD Cover for Douglas Fairbanks - The Great Swashbuckler documentary

DVD Cover for “Douglas Fairbanks – The Great Swashbuckler” documentary

This documentary film is now out of print commercially on DVD (although used copies can still be obtained through Amazon.com, Ebay, and in the Museum Gift Shop), so our March film festival offered Fairbanks fans and silent film enthusiasts a rare opportunity to learn more about his life and legacy online here — and it was all presented for free - no admission fee at the box office!

We hope you enjoyed this month-long tribute to Douglas Fairbanks, and please don’t forget that our dedicated staff and volunteers make it all possible. Without their efforts, we would not have been able to make it through the storm (and the subsequent damage to our building), nor would we be able to continue making our collections available to the public while our doors remain temporarily closed.

Without YOU, a new library and exhibit space may not be in our future. We really do need your help now as we continue to rebuild. So please show your support for silent film, as well as your appreciation for Douglas Fairbanks and the many dedicated individuals who keep his museum going with a financial contribution today!

Your financial support helps us achieve our mission, enables us to acquire new artifacts, and to provide the very best care and conservation for our existing collections. As these items are now approaching or over 100 years of age, they need increasing amounts of attention and preservation.

You can make a donation quickly, easily, and safely through PayPal using a credit card, debit card or bank account below. Every donation, small or large – even just dropping $5.00 in our Virtual Donation Box - brings us one step closer to accomplishing our mission. That goal is establishing a permanent place in history for Douglas Fairbanks, Sr., to ensure that film historians and fans have his work, his extraordinary life and legacy to study and enjoy for many generations to come.

Make a financial gift through safe, secure Pay Pal International below:

Thank You.

(*) – Donations may not be tax-deductible.


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We continue our 2009 March donation drive and online film festival with an excerpt from the 2005 documentary film, “The Great Swashbuckler,” produced by Delta Entertainment with the assistance of the Douglas Fairbanks Museum.

Pt. 6 examines Fairbanks’ reign as Hollywood’s First King. At the peak of his popularity, Fairbanks progressed into even bigger and more daring productions such as his masterpiece, “The Thief of Bagdad” (1924). Also explores “Don Q. – Son of Zorro,” the 1925 sequel to his first Zorro film, “The Black Pirate,” (1926) a brilliant swashbuckler shot entirely in Technicolor, and his risky foray into gritty realism with 1927′s “The Gaucho.”

In this segment, film historians discuss Doug’s role as the father of action-adventure films and reveal behind-the-scenes secrets of how some of his greatest onscreen stunts were actually performed. Also explores Fairbanks’ part in founding Hollywood institutions such as Grauman’s Chinese Theatre, the Hollywood Roosevelt Hotel, the nation’s first film school at the University of Southern California, the Academy of Motion Picture Arts and Sciences, his role as the Academy’s first president, and host of the very first Oscars in 1929.

Featuring rare Fairbanks film clips, photographs and other materials from the museum’s archives. Also includes interviews with museum curator and Fairbanks biographer Keri Leigh, film historian Sparrow Morgan, and Annette Lloyd of Hollywood Forever.

90 minutes, available in 9 parts on YouTube or on DVD through the museum’s online gift shop at http://DouglasFairbanks.org

more about “Douglas Fairbanks Documentary Pt. 6 -…“, posted with vodpod

 

 

Enjoy this episode? Please support the museum during our annual donation drive. We need your help this year!

You can make a donation quickly, easily, and safely through PayPal using a credit card, debit card or bank account below. Every donation, small or large – even just dropping $5.00 in our Virtual Donation Box - brings us one step closer to accomplishing our mission. That goal is establishing a permanent place in history for Douglas Fairbanks, Sr., to ensure that film historians and fans have his work, his extraordinary life and legacy to study and enjoy for many generations to come.

Make a financial gift through safe, secure Pay Pal International below:

Thank You.

(*) – Donations may not be tax-deductible.

Read Full Post »

During our annual spring donation drive, we’re featuring a free online film festival for you to enjoy! We continue our month-long series on the life of Douglas Fairbanks with another episode from the 2005 documentary film, “The Great Swashbuckler,” produced by Delta Entertainment with the assistance of the Douglas Fairbanks Museum.

Pt. 4 continues the story of Doug and Mary Pickford’s secret romance which culminated in divorces from their respective spouses and finally, a much-anticipated wedding in 1920. Examines the fabled Pickford-Fairbanks marriage and everyday life at their world-famous Beverly Hills home, “Pickfair.” Also discusses the formation of United Artists, which Fairbanks founded in 1919 along with Pickford, Charles Chaplin and D.W. Griffith.

Featuring rare Fairbanks film clips, photographs and other materials from the museum’s archives. Also includes interviews with museum curator and Fairbanks biographer Keri Leigh, film historian Sparrow Morgan, and Annette Lloyd of Hollywood Forever.

90 minutes, available in 9 parts on YouTube or on DVD through the museum’s online gift shop at http://DouglasFairbanks.org

Enjoy this episode? Please support the museum during our annual donation drive. We need your help this year!

You can make a donation quickly, easily, and safely through PayPal using a credit card, debit card or bank account below. Every donation, small or large – even just dropping $5.00 in our Virtual Donation Box - brings us one step closer to accomplishing our mission. That goal is establishing a permanent place in history for Douglas Fairbanks, Sr., to ensure that film historians and fans have his work, his extraordinary life and legacy to study and enjoy for many generations to come.

Make a financial gift through safe, secure Pay Pal International below:

Thank You.

(*) – Donations may not be tax-deductible.

Read Full Post »

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