MASSIVE LEE MARVIN PHOTO SALE! Please be sure to scroll to the bottom to see ALL images and information required for purchase.
Readers of Lee Marvin Point Blank are well aware of the great photos found within its pages, so now here’s a photo sale to own ALL of my own original 8×10 film-related images for yourself! I have made every attempt to upload as many images as possible, but several dozen are still not able to be shown due to length and size of the blog entry. If a specific image is requested let me know and I’ll do what I can to send it privately.
What this is: All the images listed below are being sold in bulk. It is being sold solely on this website and not via Ebay or other venues for a variety of reasons. All images are ORIGINAL 8x10s put out to promote a given project for film or TV promotion and are in condition from mint to very good. An amazing feat considering most of these photos are several decades old! Descriptions in blue are links to previous blog entries in which the image has been posted with greater clarity. To viewer larger versions of each image simply click on the  image.
How this works: Any and all interested parties need merely reply to this blog entry at the bottom of the page. PAYPAL is the preferred method of payment but may accept check, money order, or Western Union all with seller’s approval. The reply will NOT be seen publicly as I am the only one who can approve the reply and I will keep all messages private and will also respond in private. Any and all questions, offers or comments will be responded to privately. All serious offers will gladly be considered but keep in mind I have set a necessary reserve price that I won’t be making public.
So, feel free to peruse the images below and make me an offer if interested. I’ll respond in kind. Thanks for looking and greatly look forward to doing business with you. Enjoy!
FILMS: U.S.S. TEAKETTLE (film debut): 3
HANGMAN’S KNOT (1952): 2
GUN FURY (1953): 1
THE BIG HEAT (1953): 1
SHACK OUT ON 101 (1955): 4
ATTACK! (1956): 1
DONAVAN’S REEF P.R (1963): 1
SGT. RYKER (1963): 2
THE KILLERS (1964): 3
SHIP OF FOOLS(1965): 3
CAT BALLOU (1965): 1
POINT BLANK (1967): 4
MONTE WALSH (1970): 1
PRIME CUT (1972): 1
SPIKES/ICEMAN(1974-73): 1
SPIKES GANG: (1974) 1
BIG RED ONE (1980): 2
DEATH HUNT (1981): 5
GORKY PARK (1983): 2
DELTA FORCE(1986): 1
MARINE AWARD (1963): 2
1971 PR PIC: 1
MICHELE TRIOLA (Approx. 1960): 2
NEWSPAPER PALIMONY PIX: The newspaper I used to work for had a morgue file on the palimony suit with a bunch of pix of Lee and his wife Pam during the trial that the paper let me have for good. They are of varying sizes and include captions. I’d say about 3 dozen in all mostly in sepia tone (but not all) on velox paper as camera-ready images.
FRAGMENTED IMAGES: From newspapers, mostly the 70s & 80s numbering about 2 dozen with captions.

Four studio 8×10 portraits of Lee Marvin from the 60s and 70s.

Extremely rare separated contact sheet of Lee Marvin with Gary Cooper on the set of Marvin’s first film, U.S.S. TEAKETTLE (aka YOU’RE IN THE NAVY NOW). Images can be blown up larger and framed, of course.

Two extremely rare onset photos from Lee Marvin’s first film, U.S.S. TEAKETTLE (aka YOU’RE IN THE NAVY NOW). Top photo, Marvin is on the far right with headphones around his neck. Bottom photo Marvin is running second from left. Also pictured is Millard Mitchell, Jack Warden and Harvey Lembeck.

Photo set from SHACK OUT ON 101 with Terry Moore, Kennan Wynn, Whit Bissel & Jess Barker.

Photo set from SHIP OF FOOLS with Vivien Leigh.

Photo set from THE PROFESSIONALS with Woody Strode, Robert Ryan & Burt Lancaster.

Photo set from POINT BLANK with Angie Dickinson, Carroll O’Connor & Sharon Acker.

Photo set from SHOUT AT THE DEVIL with Pam Marvin.

2 Photo set from THE GREAT SCOUT & CATHOUSE THURSDAY with Elizabeth Ashley & Kay Lenz.

Photo set from AVALANCHE EXPRESS with Robert Shaw, Linda Evans, Mike Connors, Joe Namath, Maximilian Schell & Horst Bucholtz.

Photo set from GORKY PARK with William Hurt and Ian Bannen.

Photo set from THE DIRTY DOZEN: THE NEXT MISSION with Ernest Borgnine, Richard Jaeckel, Larry Wilcox, Ken Wahl, Sonny Landham, Jeff Harding, Michael Paliotti, Jay Benedict, Sam Douglas, Gavan O’Herlihy, Rolf Saxon, Ricco Ross & Stephen Hattersley.

Some but not all of the Velox images used by newspapers during the 1979 “palimony” suit that made headlines for months.

Two separate contact sheets of Michele Triola’s semi-nude modeling days before she met Lee Marvin. Probably the late 50s or early 60s. Images can be blown up larger and framed, of course.

A contact sheet of photos taken on the set of MONTE WALSH of Lee Marvin and Jeanne Moreau, as well as separate images of Ina Balin from THE COMANCHEROS on the same sheet. Images can blown up larger and framed, of course.

Smaller newspaper images from his various films kept on file for the celebrity columns in the 60s-80s. Each measure approx, 3×5, very much like a wallet size photo. Some have captions as shown above.





L.A. Herald-Examiner article covering Lee Marvin’s 1965 drunk driving arrest.

Biographers have to make choices in terms of what to leave in and what to leave out, and in writing Lee Marvin Point Blank, one of the toughest choices concerned Lee Marvin’s drinking, especially when it came to drunk driving. Like the author, readers may find it fun at first, but after awhile it leaves a bad taste in one’s mouth. I cut back considerably, keeping in mind what would be enough to make the point that Marvin had a problem versus turning off the reader, entirely.
Lee’s agent, Meyer Mishkin, and his lawyer, Lou Goldman, did what they could to keep the public from knowing but some times, it boiled over into the mainstream press. Mishkin showed me the court order dated December 30, 1965: “To Lee Marvin — Order of probation. The records of this department show that you are a negligent driver and that you have violated the traffic laws and have been involved in an accident. Therefore, as provided in section 14103 of the Vehicle code, you are herby notified that you are being placed on probation by this department. This order is effective January 3, 1966 to July 2. You must obey the provisions of the vehicle code of California and all traffic regulations. You must send all licenses in your possession to this department for probation.”
Another newspaper showed a full version of the photo taken at the time…

The full image of actor Lee Marvin shown in handcuffs and being interviewed for local TV at the time of his drunk driving arrest.

According first wife, Betty Marvin: “He could be totally out of control. Once, I was devastated. He was driving down some back road near MGM and he hit some guy [Robert Hathaway] on a motorcycle. You know the story? He accused the guy on the bike of deliberately getting in his path so he could get a part in a movie. Lee thought the guy planned the whole thing.”

Not known to the general public was such stories as the following, also told by Betty Marvin: “I’ll tell you one day that was absolutely shocking to me. We had been to the beach. It was a beautiful warm day. We had been swimming and we came back. He said, ‘It’s such a beautiful day, let’s put the top down and go to the Luau Bar and have a rum drink.’ I said, ‘Oh, okay.’ We get dressed and we invited our neighbors, who were quite conservative. He was Paul Fix the character actor, and his wife Beverly. Lee called them: ‘C’mon Uncle Paul. We’re just going to go the Luau and have a rum on me.’ I’m thinking, ‘One rum, uh-huh.’ Bright sunny day. We go in and immediately he has two or three strong drinks and a few appetizers. I’m thinking we better get home because the babies are coming home from school or whatever. We have to go. I will never forget it. It was about 4:30 or 5 in the afternoon. We are at the intersection of Wilshire and Westwood Blvd. Traffic is crazy. Of course Lee insisted on driving. ‘Sweetheart let me drive.’ ‘No, I’m driving!” Beverly and Paul are in the back and we’re driving in this big convertible and we had the top down. Of course he runs right block past Westwood Blvd. He gets out of the car. Here’s this woman sitting in her seat. She’d just been hit like this. [Slaps her hand]. He said to her, “Start your car and drive away from here or I’ll kill you!’ She is just beside herself. She drives on, you know the cops are coming. We drive away. He says, ‘I don’t want to talk about it. That’s it.’ The phone rings the next morning. Of course, he has hit the executive secretary to the head of the studio at MGM, I think it was. That’s who he hits. He’s ready to sue him, right? They had to quickly settle that. I must say, Meyer had his work cut out for him.”





The recent High Holidays of Rosh Hoshanah and Yom Kippur brought to mind one of my favorite interviews for Lee Marvin Point Blank, and that was Lee Marvin’s career long agent, Meyer Mishkin. The two men made an interesting contrast, most of which went into the bulk of the book. However, Mishkin’s background, which he spoke of at length to me in the day we spent together, was truncated in the text for obvious reasons. Here now, for the first time, is the late Meyer Mishkin discussing just that. You’ll note how amazingly similar it was to MANY first generation Eastern European Jews……

A rare image of Meyer Mishkin actually sitting at his desk as he preferred to stand next to it most of the time.

A rare image of Meyer Mishkin actually sitting at his desk as he preferred to stand next to it most of the time.

DWAYNE: Your background’s are so dissimilar, was that ever a conflict?
MEYER: That really didn’t matter to us. My parents came from Russia. My grandfather came in steerage to NY saved up $10 a week to bring my grandmother. They and my parents came over & lived on the lower east side. I wasn’t born in hospital but in my parents’ bedroom. My grandfather was a cobbler who worked in the basement, woke at 4 am, had a snort of vodka, went to shul and then went to work. I went to P.S. 147. I sometimes stopped off at saloon to get Sammy Cahn who played piano in his father’s saloon. From P.S. 147 went to Townsend Harris Hall, which was a special prep school for CCNY. In 1929 I remember my father coming home one day and I was student, just graduating from Townsend Harris Hall…I was at CCNY already and I met him on the street. He was what they call a ‘collarmacher.’ He was a tailor, he made the suit collars. I said “what’s wrong?” He said, “They closed the factory,” where he was working. Then, a short time later, I came home one day, my mother…I say, “Why are you crying?” She said, “They raised the rent from $27-a-month to $29-a-month. Where are we gonna get it?” Okay, so two years at CCNY, I went looking for a job. I worked first in summer at the Trenchant Marine Pump Co. I delivered stuff, $8 dollars a week. Then, I worked at the Liberty Dental, delivering false teeth for $11-a-week. The Liberty Dental closed up. Couldn’t run the place, Then I went looking for a job and I was sent to Fox Movietone News. That’s how it started. I came in, sitting there were adults. Mustached men for a $12 a week job…. I was 17.
D: You obviously weren’t intimidated if you went for the job.
M: No. Then this lady came. asked my name and stuff. You know how you sometimes see a glint in somebody’s eye? She asked me questions and then she said, “You know you got to be a high school graduate.” I said, “I am a high school graduate.” I thought if I would say, “I’m a junior at CCNY,” she wouldn’t believe it. She took me into see a man named Ken Murray, not the actor. I met him and he questioned me. Then he just turned to the young woman, Edna Barrington, and he said, “Okay,” and I got a job, $12 bucks a week.
D: Which was a fortune in those days.
M: Yeah. When I was a kid on the Lower East Side, I used to go to the Golden Rule Movie House on Rivington Street. Two for a nickel. We went on Saturday morning. You stood outside and you said, “I got two, who’s got three?” because if one went in, it was a nickel. They let two in for a nickel. So you tried to get in two on the nickel. I started as a move fan just like Lee Marvin. Before you went in, you went to a place called Cheap Havers. For a penny you got stuff that you could eat in the movies. I was seeing movies when I was a little kid, same as Lee.

Fellow childhood movie fans Meyer Mishkin and Lee Marvin on the set of THE DIRTY DOZEN. Mishkin advising his client, "Lee, don't be a schmuck."

Fellow childhood movie fans Meyer Mishkin and Lee Marvin on the set of THE DIRTY DOZEN. Mishkin advising his client, “Lee, don’t be a schmuck.”

D: So you were basically giving yourself your own education.
M: I even sat once at the reception desk at Fox. Right next to us was a lab. It was sound engineers. I listened day after day. I hear ‘Four score and seven years ago, our forefathers brought forth..’ you know, Lincoln’s Gettysburg Address. I thought, Why are they doing this?” Finally, I got up enough courage and I asked one of the engineers, “Why do you keep playing Lincoln’s Gettysburg Address over nd over again? He said, “We’re trying to get rid of the sibilant ‘S’ on our soundtrack.” I was learning something. I was watching screen tests being filmed and learning from them.
D: Did you ever give Lee Marvin advice on characterization?
M: There were times but it was done as we talked, that was all. I didn’t go ‘Hey, you gotta do dis!’
D: I’m sure it wasn’t. I’m sure it wasn’t heavy-handed.
M: It was one of those things where we talked. As a matter of fact, we’ll go outside in a few minutes, and I’ll show you where Lee and I used to sit.
D: I would dearly love to see that. [pause recorder to go outside] Oh, gorgeous yard, too!
M: [conducts walking tour]. You’re in the country. This tree has been growing like this all these years.
D: Wow, it spreading out everywhere, all over the yard.
M: As my mother said when she here the first time and she sat over there in one of these chairs. She’s looking around and she said in Yiddish, “He has his own woods!”