Very Rare 8" x 10" painting still stapled to the original wood canvas frame.
See photos for condition.
Photos and history courtesy of Jaxsprats Unique Collectibles www.jaxsprats.com
and Wordpress http://jaxspratsuniquecollectibles.wordpress.com/
Ina Balin the actress & humanitarian who owned 1961-63 Balin-Taube Gallery was an artist herself
Other Art and History
The Ina Balin painting below is selling for $719.99 - $1,019.99 her paintings have sold for upwards of $1000.00.
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UP FOR YOUR CONSIDERATION
IS A
RARE & ORIGINAL
SIGNED INA BALIN CIRCUS CLOWN PORTRAIT OIL PAINTING
Balin was also a
published photographer and was the co-owner of the Balin-Traube Art
Gallery in New York, which operated on East 74th Street for three years
in the early 1960′s.
IT’S A BEAUTIFUL PIECE THAT WILL DEFINETELY BE A FOCAL PIECE TO YOUR CURRENT COLLECTION.
Brooklyn-native
actress Ina Balin (née Rosenberg) was born on November 12, 1937, into a
Jewish family of entertainers. Her father, Sam Rosenberg, was a
dancer/singer/comedian who worked the Borscht Belt. He later quit show
business to join his family’s furrier business. Her mother was a
Hungarian-born professional dancer who escaped a troubled family life by
marrying at age 15. Sam was her third husband at age 21. They divorced
when Ina and her brother Richard were still quite young and the children
were placed in boarding schools (she at the Montessori Children’s
Village in Bucks County, Pennsylvania) until their mother married a
fourth time to shoe magnet Harold Balin. He later adopted the two
children.
Ina
always wanted to be an actress and her mother encouraged her to take
ballet lessons while young. Her first big break occurred in New York at
age 15 when she appeared on Perry Como’s 1950s TV show. She went on to
attend New York University majoring in theater and also studied with
Actors Studio exponents Lonny Chapman and Curt Conway while gathering
additional experience on the summer stock stage. She made an auspicious
Broadway debut in a female lead with “Compulsion” in 1957. Two years
later the dark-haired, olive-skinned beauty won a Theatre World Award
for her outstanding performance in the Broadway comedy “A Majority of
One” starring Gertrude Berg.
Producer
Carlo Ponti saw her Broadway performance in “Compulsion” and requested
her for a prime role in his film The Black Orchid (1958). Starring
Ponti’s wife, Sophia Loren, and Anthony Quinn, Ina received impressive
notices as Quinn’s sensitive, grownup daughter. Considered one of 20th
Century Fox’s most promising new talents, she received a special
“International Star of Tomorrow” Golden Globe for this early work. A
major career disappointment occurred when the film version of Compulsion
(1959) was made and Ina’s ethnic role of Ruth Goldenberg was
transformed into a non-ethnic part (Ruth Evans) that wound up starring
Diane Varsi. Ina was given an unbilled part in the movie. The sting of
that studio transgression was somewhat softened when she was nominated
for a Golden Globe Award for “Best Supporting Actress” for her intensive
performance in the Paul Newman/Joanne Woodward soaper From the Terrace
(1960) as Newman’s love interest. Due to her strong exotic features, she
found herself confined by the studio in her casting and she eventually
felt compelled to leave.
A
soft, slender, but intent-looking actress who could play various types
of ethnicities (Jewish, Italian, Mexican, Spanish, Greek, et al.), she
had a lovely, quiet glow to her, but could easily display the fiery
temperament of an Anna Magnani when called upon. In the 1960s, however,
she was overshadowed by a number of her leading men in their respective
showcases. There was little room for any actor to generate interest upon
themselves when playing opposite the likes of an Elvis Presley, Jerry
Lewis and/or John Wayne. In other situations, her roles were merely
decorative, less showy, or proved less integral to the main plot, such
as her secondary role as Martha in The Greatest Story Ever Told (1965).
While Ina maintained a fine balance of TV roles ranging from the
dramatic (“Bonanza,” “Mannix,” “Quincy,” “Voyage to the Bottom of the
Sea”) to the humorous (“The Dick Van Dyke Show,” “Get Smart”), the one
big acting role that could have set her apart from the others never
materialized. Subsequent pictures such as the cult film The
Projectionist (1971) and The Don Is Dead (1973) and her assorted
appearances in several TV-movies failed to advance her status in
Hollywood.
