Original Ina Balin Painting Movie Star Memorabilia Balin-Traube On Canvas 1960's

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.

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.

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