Evening star. [volume], July 21, 1940, Page F-3, Image 63

About Evening star. [volume] (Washington, D.C.) 1854-1972

Image provided by: Library of Congress, Washington, DC

                
Line Forms,
Gentlemen,
On the Left
Laraine Day Told
Of Proposals
And She Waits
By th« Associated Press.
HOLLYWOOD.
A fortune teller told Laraine
Day the other day she soon will have
three proposals.
*‘I wish they'd hurry,” she frets.
"There isn't one in sight.”
The line, gentlemen, forms on the
left.
If you’re 50, with a nice smile, you
can be confident of special treat
ment. The seer described one of
these. Laraine doesn’t think she’d
be seriously interested, but:
“I’m intrigued no end.”
Laraine is 19. more than ordinarily
attractive, and in the opinions of
numerous well-versed observers is
going places in the movie business.
Two years hence she wants to be
Mrs. Somebody. She thinks 21 a
nice age to marry.
Then School Plays.
Laraine was 6 years old. living
on a ranch in Northern Utah, when
she decided on a movie career. She
can’t remember why, but it’s been
her goal ever since. She played
actress in the back yard, gave read
ings at clubs and churches. Finally,
because her family decided she and
her sisters and brothers lacked
proper educational opportunities,
they moved to Long Beach, not far
from here.
Then it was school plays and
group theaters. When she was 13,
Laraine started taking dramatic les
sons from Elias Day, bedridden ex
stage star.
“Sometimes I didn't have enough
money to spare for bus fare, so I
walked to his house,” she recounts.
“It was 8 miles round trip. I think
I've don seome of my best ’emoting’
walking back home along the
beach."
Now she acquires a sun tan on
the same beach, clad in the latest
seashore togs, and poses on occasion
for style photographers— although
she still believes dramatic ability will
take her much farther than “leg
art.”
Now on Her Way.
Her first film test didn't get her
far. She languished at two studios,
finally caught on at another for
three Westerns with George O'Brien.
Then came lean months before
M.-G.-M signed her. t
Now it appears, she's on her way.
Her dramatic portrayal of a lead in
“My Son, My Son,” won her widest
praise.
She’s still studying drama and
diction and intends to keep it up.
Between films, she keeps busy in
Long Beach and Hollywood little
theaters.
She acts in the former, directs in
the latter, but confesses she's not
finding the latter easy.
“Kids my age don’t like the idea of
a 19-year-old telling them what
to do,” she laughs. “And I don't
blame them. I know I'd never take
dictation from somebody younger,
either.”
Cagney’s Uppercut
Greeted by Yawns
Of the Onlookers
By the Associated Press.
HOLLYWOOD.
The scene called for Jimmy Cag
ney, who stands 5 feet 9 inches and
weighs 153 pounds, to punch Pat
Flaherty, 6 feet 2 and weighing 220,
and make it look like a real knock
out blow.
Flaherty, who once pitched for
the Boston Red Sox and other major
league baseball clubs, plays the part
of a bouncer and becomes involved
in an argument with Cagney in the
picture “City for Conquest.”
The camera was lined up, the dK
rector called for “action,” and Cag
. ney and his bulky foe squared off.
Flaherty obligingly “led” with his
right, leaving his chin open for an
uppercut. Cagney didn’t let the
opportunity pass. He swung from
the floor.
Flaherty’s eyelids fluttered, his
knees buckled and he sank to the
mat, while every one on the set all
but yawned at the proceedings. But
Cagney rushed over to the fallen
Flaherty, patted him on the back
and exclaimed:
“Pat, that was wonderful. Every
one knows that uppercut didn’t even
touch him. Every one, that is, ex
cept the camera.”
WOULD BE MRS. SOMEBODY—Told "by a fortune teller she was due to hear proposals of marriage
soon, Laraine Day, gentlemen, is reported in the adjoining story to be awaiting with an eager ear.
__ —A. P. Photo.
Outdoor Amusements
S. S. MOUNT VERNON—There is dancing nightly on the new
streamlined cruise vessel, leaving at 8:30 pm. for the moonlight
cruise, other scenic river trips, daily and Sunday, are made to
Mount Vernon and Marshall Hall Park at 9:30 am. and 2 pm.
S. S. POTOMAC—Nightly moonlight cruises leave the dock at Seventh
street and Maine avenue S.W. at 8:45 o'clock. Saturdays there
are two down-the-river dance jaunts, one at 8:30 and the second
at 12:30, with “name” bands supplying the music.
GLEN ECHO PARK—The full complement of amusement park at
tractions includes various rides, midway novelties, a dancing
pavilion and tree-shaded picnic grove. There is dancing nightly,
except Sundays, in the Spanish Garden Ball Room, to music
by Paul Kain, with songs by Adele Van.
SEASIDE—Amusement park at Chesapeake Beach, Md., with a mile
long boardwalk, a host of resort attractions, swimming either
in the bay or in the salt-water pool and dancing in the cool
pavilion beside the Chesapeake.
The Build-Up Lets Down
Many a Budding Genius
(Continued From First Page.)
*** ■ 1 —1 - - - a •
among studios, has grown enthusiastic in recent months about a num
ber of youngsters, Lana Turner, Laraine Day, Diane Lewis, etc. It has
invested heavily in postage to supply every American with a fetching
likeness of the girls in every American’s favorite newspaper, and even
more heavily in the mailing of life stories designed to create a feeling of
familiarity between the subjects and the public.
But, when Metro puts its big money, and sometimes even its little
money, into a project, the names at the top of the list have that old
familiar ring like Garbo or Crawford, both of which have been ringing
since the middle 20s.
Next to Miss O'Hara, who still gets splendid support from a name
male player in spite of her progress, the actresses who have come nearest
to success alone are Geraldine Fitzgerald and Martha Scott. Yet Miss
Fitzgerald, apart from one week starring vehicle (so weak we can’t re
member its name), has done her most notable work in her supporting
roles in “Dark Victory” and “Wuthering Heights,” the latter of which
might have been called “Dark Defeat” if any one had thought of it.
Miss Scott, of course, was ignored for so many months in Hollywood
before she got her role in “Our Town,” that she went back to New York
in the kind of despair which only Hollywood can beget.
With the Misses O’Hara and Fitzgerald, she seems to be the only
bit of success the build-up has had in the last year.
Young Playwright Sets a Style
In “Author, Author” Speeches.
Best speech by a playwright to which this corner has lent and ear
in decades was that of young Leo Brady upon the conclusion of his
“Calidore” at Catholic University Thursday night.
“If any one,” said Brady, “can think of anything I haven’t said In
the last three acts, I'd be glad to say it.”
But Not Without Reason
By Robbin Coons,
Associated Press Stall Writer^
HOLLYWOOD.
This isn't the season—thank you just the same—when Miss Claudette
Colbert is showing her legs.
Miss Colbert, blessed with a pair of the most attractive career stilts
in this leg-conscious town, said “no” to the leg-art boys who came around,
just as they usually do when Miss Colbert starts a new picture. "Arise
My Love” is a comedy of war adventure in which the heroine shares a
number oi love scenes (labeled*
“thrilling") with Ray Milland. For
that kind of picture, the boys fig
ured, a little gay, eye-filling leg-art
would be right in line.
But not Claudette.
“I believe legs should be shown
where there's a definite excuse for
it,” she argued. “On the other hand,
if there is no excuse, I can’t see why
a lady should advertise.”
Mitchell Leisen, her director, in
a co-operative gesture toward the
leg-art boys, thumbed through the
script, but found no excuse for cap
italizing on the Colbert shapeliness.
“If I have attractive legs,” she
said, “I’m grateful for them. They’re
distinctly an asset.” (Voice from the
sidelines: “And how!”)
But the "reasons” appear infre
quently. "Boom Town” was reason
less, in the leg-art line, but “Zaza”1
was full of reason. A little dance
number called the can-can wouldn’t
have been the can-can with the Col
bert legs concealed.
“As Zaza my legs were virtually
part of the plot," said Claudette,
“and there have been times, in
other stories, where I’ve had to wear
tights. So I wore ’em.
“But having legs to show is exact
ly like being a skilled pianist, for
example. If you’re good at that
sort of thing and every time you see
a piano you rush to it and sit down
and play, you begin to get in people’s
hair. On the other hand, if you
wait until the proper occasions, you’ll
be very much in demand. There’s
a place for everything.”
“Arise My Love,” said Miss Col-,
bert firmly, isn't one of the places.
Maybe You Would, Not Brenda Marshall
By the Associated Press.
HOLLYWOOD.
What, young lady, would you be
thinking about in the middle of an
Errol Flynn kiss?
Would you be carried away on
clouds? Maybe you would, but not
Brenda Marshall.
‘‘I was wishing,” she answered
the query, "that somebody would
yell ‘cut.’ Errol had my nose pressed
flat against his cheek and I couldn’t
breathe.”
At first blush that may not sound
like much of a recommendation for
this carefree adventurer one some
times hears called a great lover.
"It wasn’t all his fault,” Brenda
goes on. "Camera angles, not com
fort, dictate how a screen kiss is
made. But all the same I'd a lot
rather kiss Joel McCrea.”
He was the first man Brenda
kissed, professionally, in Hollywood.
She’s not over-enthusiastic even
about that, but then she just doesn’t
like love scenes. They’re the sole
things about acting that bother her.
"There’s something too personal,
too intimate about kissing,” she ex
plains, and leaves it at that.
The dark-haired actress, who
came to Hollywood from the Philip
pines via San Antonio, Tex., and
Broadway, has kissed only three men
in pictures. The third, Jeffrey Lynn,
she classifies as "a nice boy.”
Which male star would she choose
for a love scene if she had her way?
Gable?
She answers something throaty
that sounds like “ugh,” and grimaces.
Bill Holden?
"That would be too personal.” And
DANCING^
PERFECT TOUR DANCING
Fas Trot. Walti. Tanro. Rhumba, Indi
vidual inatruction and (roup practice.
10 Leaaena for (5.00
Tap daneiny for profetiloual or ao oserelw.
Capitol Dance Studio. 525 18th St. N.W. •
she accents the “would.” (Bill is
the handsome lad she recently flew
to Tucson to visit on location.)
“Get this straight,” she says
finally, “I’d really like to have a
double for these kissing parts.”
ERROL FLYNN and BRENDA MARSHALL.
—A. P. Photo.
Not'So-Tough
Jean Arthur
Is Gun Shy
But You’d Never
Guess Seeing Her
Calamity Jane
HOLLYWOOD.
Jean Arthur, as Phoebe Titus,
toughest gal in the old Arizona Ter
ritory, struts into the dingy adobe
saloon in belligerent mood. She
wears faded blue jeans, boots, flan
nel shirt and pioneer hat. In one
hand she trails a vicious bull whip
and a Sharpe's buffalo gun is
crooked in her other arm.
The picture is Columbia’s "Ari
zona,” and this scene—first studio
interior shot by the troupe after
three months under the broiling
desert sun near Tucson—represents
Lazarus Ward's gloomy drink and
game emporium, one of the old
West's great gathering places. All
morning Director Wesley Ruggles
has been rehearsing Jean, William
Holden, Porter Hall, Regis Toomey,
Colin Tapley, Byron Pougler, Syd
Saylor and Wade Crosby and he
now is getting over his first take of
the day.
Two Cowed Men.
Jean stops inside the door and
cooly appraises Crosby and Hall be
fore drawing a bead on them.
"Timmins and Longstreet! Drop
your guns!” she commands.
The two cowed men drop their
guns and reach for the ceiling.
What's ailing her, they ask.
"Plenty,” Jean snaps. "You stole
$1,100 out of my house!”
The two men deny it.
"Then you’ll wish you had,” she
warns, "because there’s going to be
two holes dug in the cemetery that
you’ll just fit. Now, if I don't start
seeing my money, I'm going to
shoot!”
The bartender is menaced back as
he starts forward to protest. Crosby
and Hall, quaking with fright, start
shelling out.
Their First Meeting.
"Count it, somebody,” Jean re
quests.
Hero Holden elbows through the
crowd to oblige. Although they’ve
been working side by side for the
past 90 days interpreting later
events in the film, this scene marks
the first script meeting of Bill and
Jean.
The take finished. Jean's finger
accidentally touches the gun's trig
ger. A pop no louder than a cap
pistol results.
"Eeek!” Jean screeches. She drops
the gun and runs from the set, fin
gers plugging her ears.
When the cameras grind, Jean is
a convincing Calamity Jane, but she
has no real taste for acting this gun
toting, swaggering feminine bully.
She’s gun shy and doesnt’ care who
knows it.
(Released be the North American News
oaper Alliance. Ine.)
Wolfert
(Continued Prom First Page.)
out the window. After that, the fun
begins.
The fun included a tricky nine
hole golf course, with a last hole
so graded that no one, not even
me, could miss holing out in one,
unless, of course, he missed the ball
entirely. Most of the holes on the
course were short, but there was
one long one and Joe always warned
his guests courteously about this and
provided them with brand-new balls
so that they would be sure to get
maximum distance off the tee. With
such a build-up, everybody always
put everything he had into the
drive, with results that were invaria
bly peculiar because, while the balls
looked like real golf balls, they were
made to collapse when hit.
The ball would collapse and flutter
and wabble off a few yards and die,
and Joe would shake his head and
say, “Boy, you sure socked that one,”
and give you another ball, also col
lapsible. The quick one caught on
by the third or fourth ball, but Babe
Ruth used up 22 before he caught
on. It seems that Babe hit a golf
ball so hard that even real ones fold
up on him sometimes and he didn’t
think anything unusual was going
on.
Servants Were Gagsters.
Joe had a bathroom with two stall
showers in it for his perspiring
golfers. One was a regulation shower
and the other was specially built for
those maniacs who like nothing bet
ter than an ice cold shower before
breakfast. This, Joe would explain,
was fitted out with a needle spray
and hooked up with an artesian
well. The guest got himself all
cleaned and dewy in the regulation
shower and then stepped over for
the needle spray. When he turned
the faucet, he found a black fluid
shooting at him from all directions.
There were two roadhouses on
the property nicer than any road
houses I ever saw, and,a room-sized
reproduction of a vaudeville theater
so faithful in all its details that it
made the boys from the old Palace
cry with homesickness. All the
servants except two were retired
vaudeville actors, and the gags Joe
couldn't think up, they did. Joe
had to have two proper servants to
keep his home looking like a house.
aelMMd hr tho North Amorictn Kivvipn
AUlsaeo. be.
Triangle Wins
Fame for
Actress
Facial Lines Mark
Lillian Bond a
Rare Beauty
By John Lear,
Associated Press BUS Writer.
HOLLYWOOD.
The eternal triangle—but not the
one you think—is bringing fame to
lovely Lillian Bond as it did t« Lily
Langtry a generation ago.
It is the triangle that forms the
beauty of her face.
It has been identified by Arthur
William Brown, the artist whose
drawings have done much to set
the standard of glamour for the
women of his time.
“One feature, and one feature
alone, forms the basis of all femi
nine beauty,”, he said in pointing
out the haunting resemblance be
tween the golden-haired Lillian and
the "Jersey Lily” she portrays on
the screen in her newest movie,
"The Westerner.”
“If a woman possesses it, she will
be beautiful after she is 60, and if
she doesn’t, her beauty will never
raise her to striking heights.
It's in the Cheekbones.
‘This badge of great—glamour,
if you like the word—is in the struc
ture of woman’s cheekbones. They
must be high and wide, tapering off
through the soft planes of the
cheeks to a round, slightly firm
chin.”
All great beauties of history were
noted for this facial contour, Mr.
Brown insisted. “Jersey Lily”
Langtry, whose beauty captured the
imagination of men all over the
world at the turn of the century, was
probably one of the most famous
“glamour girls” the world has ever
known, and the basis of her beauty
lay in her cheekbones.
Today, in Miss Bond, Hollywood
has a young actress who. Brown
feels, is qualified to portray the re
nowned Lily in “The Westerner.”
He goes even further.
Both British, Too.
“Besides her cheek-to-chin-line."
he said, “Miss Bond has a perfectly
shaped head and an exquisite neck
line.
“That ‘is real beauty. It is the
characteristic of the gentlewoman,
of refinement; something you are
born with.”
Miss Bond has more than that
facial triangle in common with Lily
Langtry. They both were British.
Miss Bond's road to success is
like that of many other young ac
tresses, only she has traveled over
it faster; from a convent to the Pic
cadilly cabaret as a dancer at 15, a
year later in New York as a show
girl for Earl Carroll, a featured part
in Dillingham's “Stepping Out,” the
leading role in the great success
“Follow Thru.” then Hollywood and
“The Housekeeper’s Daughter.”
She is 5 feet 3 inches tall and
weighs 110 pounds, has hazel eyes
and golden-brown hair, and con
fines her athletic pursuits to early
morning canters. Hers is a double
life professionally, being regarded
in London as an ingenue and it;
Hollywood as a “menace."
“ ' .... — »
Carroll Gets Role
John Carroll, young Metro-Gold
wyn-Mayer contract player, who
rose to overnight fame through his
role of a young actor in “Susan
and God,” has been loaned to Uni
versal for a leading role with Rosa
lind Russell, Brian Aherne and Vir
ginia Bruce in “Hired Wife,” now
being directed by William A. Seiter.
Carroll will appear as a Latin Ro
meo who figures in a four-sided
romantic mixup.
Mental Anguish Is His Reducing Cure
By Gladwin Hill,
Associated Press Btati Writer.
NEW YORK.
Being fat is just a state of mind,
and losing weight is mainly a men
tal process, says one of the world’s
most famous fat men. Alfred Hitch
cock, the British movie director.
Three months ago Mr. Hitchcock
weighed 292 pounds. He now weighs
250 pounds. And he hopes in a year
to be down to a neat little 180.
He has accomplished this by diet
ing—by eschewing two of his three
huge meals a day, instead of chew
ing them, and by cutting the third
meal down to a meager normal size.
But it isn’t the lack of food that
has taken 3 inches off his waistline,
he insists. It’s the mental anguish,
the constant consciousness of the
food he’s missing.
“It works,” he says, “the same
way cooks get fat. It’s mental.
People say, ‘Oh. they’re always tast
ing things . . But that Isn’t the
reason. You can't ‘taste’ a steak
you’re preparing for somebody else,
can you?”
"Hitch” is as famous for his food
as for his unusual pictures, like “The
39 Steps.” It is said that before he
was getting $800,000 for five pictures
in Hollywood, he would often bor
row a pound (then $5) and spend
it all on a lunch.
But now his breakiast is a cup of
tea. his lunch a cup of consomme
and a glass of giner ale, and his din
ner a piece of meat, vegetables, wins
and coffee. Between times he sup
presses his appetite with some trick
pills his doctor gave him.
He has tried diets before, with no
success, but this time is determined
to see it through, because he decided
ALFRED HITCHCOCK.
With hit wife and 10-year-old daughter Patricia.—A. P. Photo.
that after 40 a man has to be care
ful.
He knows that if and when he
gets down to 180 he will have to
keep on dieting to stay there, but
faces the prospect courageously,
even though he believes it will mean
surrendering his fat man's outlook
on life.
"I’ll probably be crusty . . .
grumpy . . . less benign,’’ he says.
“But the world will just have to put
up with that.”
What about his wife—a petite per
son of 106 pounds—will he seem like
the same man to her then?
"She likes me,” Hitchcock says,
"as I am.”
New Role for Rita
Rita Hayworth has been selected
to play the feminine lead in Co
lumbia's “Before I Die,” the new
Douglas Fairbanks, Jr„ starring pic
ture, which is being produced and
directed by Bon Hecht, with Fair
banks also serving as associate pro
ducer. The former authored both
the original story and the screen
play. Since being placed under ex
tended term contract by Columbia,
Miss Hayworth has been seen in
many important roles. She has
just completed the feminine lead
opposite Brian Aherne in "The Lady
in Question.” Some of her recent
pictures Include "There’s Always a
Woman,” “Juvenile Court,” “Homi
cide Bureau,” “Lone Wolf Spy
Hunt,” "Only Angels Have Wings,”
“Music in My Heart” and “Blondie
on a Budget.”
Opposite Marlene
John Wayne, rugged star of
“Stagecoach” and “The Long Voy
age Home,” has been chosen to play
opposite Marlene Dietrich in the
new Universal film, “Seven Sin
ners.” Producer Joe Pasternak and
Director Tay Garnett have made
other important additions to the
cast with the signing of Albert
Dekker, star of the recent "Doctor
Cyclops,” and Anna Lee, lovely
young British star, who will make
her debut in American motion pic
tures in the supporting feminine
lead. Previously cast for “Seven
Sinners” were Mischa Auer and
Broderick Crawford. _
LOANS
74 years of buying, selling and
lending on diamonds, jewelry, etc.
Litoral Leant at Lawaat PaasIMe Bataa.
CASH FOR OLD OOLD
(Government Ucenae)
E. NEIDENHEIMER
EatabliahaJ 1888
Ma’mffiTs? 1815 "
AUXANDBlA. VA. WASHINGTON.
THE ETERNAL TRIANGLE—That, in the matter of facial con
tours, is what marks the beauty of Lillian Bond (above) and Lily
Langtry, whom Miss Bond portrays on the screen in ‘‘The
'Westerner.” —A. P. Photo.
'Adjustment’
Is Asked,
That’s All
An Extra’s Request
Has Director
Apopletic
By Hubbard Keavy,
Associated Press Stsu Writer.
HOLLYWOOD.
By way of preface to the recount
ing of this little event in. the lend
of make-believe, let it be explained
that if an extra player is required
to perform an out-of-the-ordinary
piece of business, he gets a salary
“adjustment.” If he acts, in other
words, he gets more pay.
They were making a scene at one
of the studios in which the camera
was recording the reactions of a
group of people watching a parade.
An assistant director instructed the
men to be sure to remove their hats
when the American flag was car
ried by.
The scene went off all right and
then one of the extras took the
assistant aside and asked:
“Don’t I get an adjustment for
that additional business—saluting
the flag?”
The a. d. almost gets apoplexy
now, telling what he said to the
extra.
Not Indifference?
Dorothy Lamour and Bob Preston
were riding in a howdah, only there
wasn't any elephant and there
wasn’t any jungle. The uncom
fortable seat was supported by a
framework which was wiggled and
shaken a little too enthusiastically
by the prop men. It gave the ef
fect of an elephant ride. The
Jungle was being flashed on a
screen.
Dorothy didn't like any of it. She
had her arms around the hand
some Preston, hanging on and pre
tending to be frightened, as per
script. Preston seemed to some of
us observers to be indifferent to
the charms of Lamour, not as per
script.
8ix months ago, we thought, this
scene might have been much dif
ferent—warmer and more convinc
ing. Six months ago, Dorothy and
Bob were seeing each 'other often
off the sound stages. Now they
see each other only on the stages.
Imagine being indifferent to a
frightened Lamour, some one imag
ined out loud. Howdah you like
that?
The Eyes Get It.
This is part of the plot of "Touch
down": Twin brothers at college
try to convince one and all that
there is but one of them. One is
the student, the other the football
player.
One gets a black eye and so the
other has to have one also. But
the black-eyed twin blacks the
wrong eye of his brother. So then,
to complete the resemblance, each
must strike and supposedly blacken
the other's other eye. i Sounds con
fusing, but so was it on the set.)
Anyway, Wayne Morris playing
the twins. He was in the middle
of this eye-blackening business
when his lawyer phoned that pa
pers had been filed tn the Concilia
tion Court to attempt to bring
about a reconciliation of the es
tranged Morrises.
Friends, with whom Wayne free
ly discussed the separation, patted
him on the back and wished him
well. And then he went back be
fore the camera, punching and
being punched. One line of dia
logue. which didn't seem to fit into
the scene but which was there any
way, was:
“Dames are all alike.”
Patriotic Problem.
Limey Plews, my favorite prop
man, is having trouble again. The
stars and stripes have him on the
spot. And neither the astronomers,
the astrologers nor the librarians
of Congress can lessen his worries
any.
In 1854, to get right into the heart
of it, the United States flag had
31 stars. The stars were arranged
in rows in some flags, but says
Limey, what kind of rows? Some
had rows of six, six, seven, six and
six, while others had them in other
kinds of rows. On some flags of
that period, Limey tells me, 30 stars
were arranged in star shape, the
big one being the 31st—and Cali
fornia.
“I’m looking for flags for ‘Santa
Fe Trail,’ ” explains Limey, “and
it seemed easy at first, but nobody
agrees. I discover. A Dutchman
came to this country in 1860 and
wrote about our flags and he was
as puzzled as I am now by the
variety. There wasn’t any rule.”
Limey is going ahead, regardless.
He is having flags made with stars
in rows, stars in one large star,
stars scattered haphazardly. Just
so they total 31.
“And then what?” I wondered.
“That's up to the director—he
takes the flag he likes."
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Buckwheat_$6.75
BITUMINOUS BLUE EGG
Bard Straetore. LUht Staeke
in Siso .$7.95
75% -.$7.15 50% -.$6.75
BLUE RIDGE SMOKELESS
Ne Saeke. Beet er Gaa
Em -$8.95 80% _$7.95
Nut—$8.50 Nut 6 Sleek.$7.50
Steve (Oil Treated)- $8.75
POCAHONTAS OIL-TREATED
ill, $10.85, Steve, $10.60
Pee, $8.00
Delivered la Vasa te rear Mb. ae extra
eharae. Dae to some kata bein' entailer
than ether*, rea will receive frea *1 to
SB baca to the tea.
We handle all aiaee ef Penna. Anthra
«He Call e. far ear law arieea
WE DELIVER V* Ten and Da
Over se.oeo New Caatonera la S reare
la Baltimore and Waahlnctoa.
_ Mener-Baek Gaaraatee
We Bell All Ktndo ef Wood
World’a Ur^nt Re to Her a of Va.
BLUE RIDGE COAL CO., Inc.
Prim Tttoa Pay mYwtit