This is an appendix of press coverage I have found from 1937 to 1986. The previous page is for 1913 to 1936. It is a reference source so if you read it in one go you will find it repetitive. I have used many of these press cuttings to help sort out information on Monty and Stella's chronology and their catalogues of work. The press coverage consists of news items, interviews, commentary, pictures of artworks and also just some simple press announcements of comings and goings. If you have any additional information and news please send me a post in the comments section.

1937

Monty & Stella

1 December, The Advertiser, Adelaide

"The article reports that Stella had "luncheon with the Director of the National Gallery in Adelaide, Mr Louis McCubbin, who was a fellow student with her at the Melbourne National Gallery School under Mr. McCubbin's father". It also described how just before leaving for Australia Mr. and Mrs. Marks organised the charity film premier of 'Action for Slander' in a village near their home in the Chilterns. Hundreds of people came from London, including the stars, Clive Brook, Margaretta Scott and Ann Todd, as well as the producer, Victor Saville. "The whole village lined the street for hours".

4 December, The Herald

"Returning to Homeland" features a photograph of Monty, announced his and Stella's visit.

4 December, The Age

Announces Monty and Stella's visit to Australia arriving on the Strathaird.

11 December, Truth

"Society Sups and Sips At South" features a photograph of Monty and refers to him as "a versatile cuss" (since we was an artist and pilot before the film business). It describes a lunch where Monty and Stella were guests of honour, other guests mentioned were: Claude Webb, Waterman, Louis McCubbin and his wife, Miss Pearle, McNally and Mrs. Basil Armitage.  

17 December, The Sydney Morning Herald

"Smart Audience at 'Balalaika Premiere Last Night" features a photograph of Stella at the Theatre Royal.

20 December, Women

Features a picture of Stella's miniature of Marjorie Williamson. The caption states that "the portrait was painted in Mrs. Mark's studio in New York in 1916, before Marjorie's marriage". The article says that Stella "owes her success with miniatures, which have been constantly exhibited at the Royal Academy, to her thorough training in the technique of drawing with Bernard Hall and McCubbin in Melbourne". It mentions that "Bess Norris Tait and Will Dyson are often visitors at Mr. and Mrs. Marks' home, 'Hengrove', which is 35 miles from London". The article also mentions that "Stella was with her husband when he chose the site at Denham for the [London Films Productions] studios" and refers to their daughter, Patricia, "at present staying with her school friend, Princess Stirby*, in Romania while they are in Australia".

[*note from Anthony Pettifer: should be spelt Princess Stirbey"]

22 December, The Bulletin

"A Woman's Letter" refers to Oswald Cheeke giving a party for Monty and Stella at the request of Lord Richard Neville.

24 December, The Herald

Refers to Monty, General Manager of London Films staying in Melbourne at Menzies Hotel with Stella to visit relatives.
 

Stella

30 November, Perth newspaper? Interview

"Miniatures Fit Flats. New Vogue revives Old Art" features a photograph of Stella and reports that she passed through Fremantle with her husband on the Strathaird "today". The article comments that she has brought with her miniatures that were shown this year at The Royal Academy and that she studied under Bernard Hall at the Melbourne National Gallery school. It comments that she "made her home in New York for more than 19 years and the majority of her miniatures have found there way into private collections". "Americans have a keen appreciation of art" she said "and realise the true value of a miniature". She went on to observed the genre were becoming increasingly popular and "considered that the modern vogue for flats and small houses was partly responsible for the revival of miniatures, because large rooms or private galleries were necessary to display oils to advantage". She also said that miniature societies had to guard against tinted photographs masquerading as miniatures. The article refers to Stella being a member of the Royal Miniature Society and of the American Miniature Society and that she was offered the presidency of the latter: "I was very honored, since I had retained my British nationality, but shortly after I received the offer we left for England". The article mentions that Stella's work has been exhibited at the Royal Academy for the past three years and refers to her portrait of Princess Patricia, as well as of her daughter, Patricia.

1 December, The West Australian

"Miniature Painter. Stella Lewis Marks at Fremantle" features a photograph of Stella and is a similar article to the one on 30th November (above).

6 December, The Herald

"Woman Painter of Miniatures. Here on visit after 12 years' Absence" opens with the statement "recognized as one of the finest miniature artists in the world today, Mrs. Montagu Marks - exhibitor at the Royal Academy and painter of Royalty". The article refers to her recent invitation to be president of the American Miniature Society and that she "attributes the basis of her success to the schooling she got at the [National] Gallery here under the direction of the late Mr. Bernard Hall". It mentions the portrait miniatures of her daughter, Pat, "whom she has painted every year since she was six months old" and of 'Princess Patricia', which was shown at the Royal Academy in 1931. Stella goes on to observe that the vogue for miniatures has increased in America "as flats and small houses made big oil paintings impractical". Stella technique is described: "first she sketches the subject on paper" and only then does the actual portrait with pure water colour, never using the pencil. The article concludes that "to save eye-strain she works only one hour a day, and often switches over to oils and charcoal for relaxation". 

7 December, The Age

"Art, Fashion, Social Work. Travellers of Holidays. And Working Days Overseas" features a photograph of Stella and describes "the overseas visitors and home-coming travellers aboard R.M.S Strathaird". It leads with Stella: "one of the most interesting and distinguished passengers was the Australian born and Australian trained artist, Stella Lewis Marks, who has achieved fame in America and England." It talks about the 30 miniatures Stella has brought with to Australia for exhibitions in Sydney and Melbourne and mentions the purchase of 'Maud Allen' by the National Gallery twelve years ago. Stella praises the "excellence of the training in drawing and painting" she received as a student at the Melbourne National Gallery School under the late Bernard Hall. "I still think it is one of the best schools in the world". It comments that she started to paint miniature in 1911 and "she has found the admirable training and perfection of technique.....a splendid foundation for her miniature work". She goes on to talks of the high regards for miniatures in America: "in New York I could not paint fast enough to meet all the orders....and there miniature work is ranked at a level with [oil] portrait painting - as it should be as the same degree of skill and technique is required".  The article goes on to refer to Stella being asked to become President of the American Miniature Society and her having to declining due to her move to England.

7 December, The Argus

"The World of Women, Paints Miniatures" features a photograph of Stella and mentions that Monty and Stella will spend Christmas in Melbourne. The article refers to Stella's 15 year membership of the 'Royal Miniature Society', her membership of the 'American Miniature Society' and the fact that she was offered and had to turn down the presidency of the latter when she left for England three years ago. It refers to Stella's miniatures being "shown at the Royal Academy in 1931, 1936 and this year". It states that in 1936 the miniature of 'Marjorie Williamson' was exhibited at the Royal Academy and that this year Stella has "painted portraits of her daughter in oils and made charcoal drawings of her as a rest from the fine work on miniatures". The article then focusses on Stella's technique, her study "at Melbourne Art Gallery under the late Bernard Hall" and her feeling that "the thorough training in oil and charcoal work she received there was the best possible grounding she could have had for miniature painting. She makes a pencil sketch of her subject in 15 minutes or so, then paints directly with water colour." "No body colour is used in painting the miniature and the work is done with sweeping strokes of the brush. Mrs. Marks does not believe in using photographs as some miniature painters do."

7 December, The Sun News-Pictorial

"Social Work* Discussed by Strathaird Arrivals" refers to Stella brining to Australia "miniatures she has exhibited in the Royal Academy in 1931, 1936 and 1937. The article mentions 'Princess Patricia' and several miniatures of her daughter, Pat. It goes on to refer to her training under Bernard Hall at the Melbourne National Gallery and that "she finds the work she did in oils and charcoal there has been of great assistance to her miniature painting". The article concludes: "Mrs Marks says that she is doing more oil paintings than miniatures now to preserve her eyesight, so that she will be able to do a few each year."

[*note for Anthony Pettifer: 'social work' refers to later paragraphs unconnected to Stella]

8 December, The Sun

"Has Painted Royalty" refers to the miniature of Princess Patricia and that "the Princess treasures the miniature as her favorite portrait" and that she lent it to Stella to hang in the Royal Academy in 1931. It also refers to the annual miniatures Stella paints of her daughter, Pat, and miniature of Miss Margery [sic] Williamson that "was hung in a prominent place in the Royal Academy. The article then turns to Stella and Monty's film industry social life: it mentions a recent house party they gave with guests: Mr. and Mrs Clive Brook, Ann Todd and her husband, Victor Saville and Marguerita Scott. It also reports that Leslie Banks and his wife are "constant weekend guest". Stella is quoted, "I think it a great advantage that to the films that they now draw their casts from the ranks if legitimate stage players. Vivienne Leigh is one of my greatest friends. She is charming, and much more beautiful off the screen than on. She has great blue eyes, like saucers and long sweeping lashes. Also my friends are the Australian Merle Oberon, Charles Laughton and Eric Pommer, the German Producer. Charles Laughton is very gentle and charming and has a vital personality."

9 December, The Sun

"Artist and Her Miniatures" features a photograph of Stella and black and white images of the miniatures "for which she is famed": 'The Princess Patricia of Connaught'; Stella's daughter 'Patricia' [aged 13]; 'Miss Marilyn Kawn'; and 'Mr. Justice McKenna'.

9 December, The Sydney Morning Herald

"Returned From Europe in Strathaird. Rejected First Commission. Successful Miniature Painter." features a photograph of Stella disembarking the Strathaird and her miniature of her daughter 'Pat aged 5'. The article observes that Stella, having "achieved considerable fame as a painter of miniatures, .....reflects with some amusement that she rejected her first commission to paint a miniature". It goes on to say how she changed her mind. Monty and Penleigh Boyd, "knowing just how welcome commissions were to students, scoffed at the idea she could not do miniatures". "When they left, I got out my tiniest brushes and painted the tiniest portrait I could imagine and then accepted the commission. I was unable to refuse others, and, finally I realised that for miniatures one must have just a sound a technique as portraits in oil".  The article refers to the miniatures she has painted of her daughter, Pat, every year. It then turns to the film business and refers to Montagu Marks as General Manager of London Films. It describes a recent detail of their life in England: "at their home in the Chiltern Hills, in Buckinghamshire, Mr. and Mrs. Marks entertained the stars of the cast of 'Action for Scandal' which was shown at a theatre in Chesham for local charities the weekend before they left." The article also noted that they were travelling on Strathaird with Mrs. Arthur Kelly, wife of the *President of United Artists".     

[*note from Anthony Pettifer: he was a Vice-president of United Artists]

15 December, The Bulletin

The article says that "Mrs. Marks' most notable sitter was Lady Patricia Ramsay (before her marriage officially, Princess Victoria, but better known as Princess Pat)".

? date, unknown press cutting

"Artist and Her Miniatures" features following miniatures: 'Princess Patricia of Connaught (now Lady Ramsay)'; 'Stella's Daughter Patricia in 1934'; 'Miss Marilyn Kawn'; and 'Mr. Justice McKenna of the Supreme Court of the United States'.

Monty

4 November, The Herald

"Film Manager to Visit Australia" announces the forthcoming visit to Australia of Monty and Stella.

30 November, The News (Adelaide)

"British Films in Australia. Better Treatment To Be Sought" refers to Monty's mission to enquire into the quota system and assist the British film industry". It quotes him as saying. "If the nations of the Empire could agree to protect Empire films, the industry would be greatly assisted. I believe that in certain States there is a quota against English film, which is treated just the same as foreign footage. However, Australian-made productions count as British in the quota law of England against foreign productions. I wish the Federal Government would reciprocate, and thus help production in the Empire."

30 November, (a Perth evening newspaper)

"British Films Send Us a Quota Disciple" refers to Monty "fostering" Empire films. He said "The British Government is taking steps to protect the film industry....if the countries of the Empire would do likewise the industry would materially benefit. I believe that in certain States of Australia there is a quota against English film, treating them on a foreign footing, whereas Australian-made productions count as British, in the quota law of England, against foreign productions.....I wish the Federal Government would reciprocate. It would help production in the Empire". In the article Monty also said "there is no difference between Hollywood and Denham, as far as equipment is concerned. They had a modern studio with seven stages spread over 168 acres of land". Monty went on to state that "Alexander Korda...was the chef architect of the Film Industry in Great Britain, and London Films Productions had steadily built up one of the largest organisations in the world for the production and distribution of motion pictures". The article also refers to Monty hope to arrange the world premières in Australia of "Paradise for Two", "The Return of the Scarlett Pimpernel" and "South Riding".   

1 December, The West Australian

"British Films. Claims for a better quota" features a photograph of Monty and refers to his argument concerning Australian quotas: "In the United States there were in round figures 14,500 picture theatres, with a seating capacity of 10,000,000......In the British Empire there were 8,000 theatres with a seating capacity of5,500,000. The net box office takings from in the United States were, in a recent year, 140,000,000 pounds compared with 35,500,000 pounds in England. If the nations of the Empire could agree, as the British Government is agreeing, to protect the British film industry, the market of 8,000 would go a long way in helping the industry". The article goes on to refer to Monty pointing out that "the figures quoted show the enormous advantages the American industry has over us........War [1st World War] caused the English production to decline and simultaneously the American output increased with great rapidity. The dominant position thus obtained made it difficult for British producers to recover lost ground". Under a subheading "Spreading British Ideas" refers to Monty saying "There could be no doubt that the screen is a very important educational medium, helping in the spread of national ideas, culture ans customs". Monty goes on to quote a 1927 statement by the then President of the Board of Trade "The Cinema is today the most universal means through which national ideas and national atmosphere can be spread, and, even if these be intangible things, surely they are the most important influenced in civilisation. Everyone will admit that the strongest bonds of Empire (outside, of course, the strongest of all, the Crown), are these intangible bonds, a common outlook, the same ideals which are expressed in a common language and a common literature. Should we be content at all if we depended on a foreign literature of foreign press in this country?" Monty refers to Alexander Korda as "a man of genius, an original thinker, and a man who thought in terms of Empire not only for practical reasons, but because of present world trends. It was for this reason that he attracted to him many of the leading men in England. The government was behind him, and it was largely through his influence that the Cinematograph Films Bill was now going through the House of Commons, with all his suggestions embodied in it. He was very well informed about Australia, and was keen when it was decided the he (Mr Marks) should make the present trip. He regarded it as imperative in the public interest of the Empire that the production and distribution of films in the British Empire should be in British hands." The article states Monty as saying that London Films "recently bought* the United Artists organisation, making it one of the largest production and distribution organisation in the world........ It was partly for this reason he had come to Australia. The studios at Denham ceased work for three months.....and this had given him the opportunity of returning to Australia after many years, while Mr Korda went to America."  

[* note from Anthony Pettifer: I believe it was a merger rather than a purchase, as described in other press articles] 

2 December, The Argus

"British Films Seek Help. Quota in Australia" announces Monty's trip and the reasons for it, including his "hope to interview Government authorities in connection with quota arrangements."

2 December, The Film Weekly

"Montague [sic] Marks, Gen. Man. London Films, Visiting Aust. To Make Production Survey, and Bringing With Him First Copies of the Latest Korda Features" refers to Monty's reasons for visiting Australia and that he was welcomed at Fremantel by Eric Lamb, Western Australia Manager of UA; Stan Perry, Hoyts Resident Manager and "a host of prominent exhibitors and film executives." In addition to the three new films 'South Riding', 'Paradise for Two' and 'The Return of the Scarlett Pimpernel' the article refers to Monty bringing a special 'short' about activities at Denham, "now the largest and most up-to-date studio in Europe".

4 December, The Argus and The Sun News-Pictorial

Both newspapers announce Monty and Stella's visit and that he is on his way to Sydney where "he will discuss with Cecil Marks, General Manager of United Artists (A/asia) Limited, distributor of London Films products, the future plans of his company." The notice also refers to Stella "noted for her miniatures" and that both Stella and Monty are natives of Victoria.

4 December, The Advertiser Adelaide

6 December, The Herald

"Make Films Here. London Magnate Inquiring" refers to London Films' "closer association with United Artists" and the reasons for his visit to Australia. It refers importance of technical perfection in productions. "Mr. Marks likes the Australian films he has seen, but emphasises the need for absolute technical perfection. Exhibitors will turn down even a superb story, with a superb actress in the leading role if the technical side of the film has blemishes."  

6 December, The Sydney Morning Herald

6 December, The Advertiser, Adelaide

"Australian Premières for British Film. Three For Early Release" refers to Monty planning to premier 'South Riding', 'Paradise for Two' and 'The Return of The Scarlet Pimpernel' in Australia. It also refers to 'Divorce of Lady X' and 'The Drums' being airmailed to Australia shortly. It goes on to talk about the Technicolor* laboratory built in England "about a year ago" with the capacity to process 250,000 feet a film a week as well as the cost and scale of Denham studios. Before the Technicolor facility was built colour films from Denham studios had to send to be sent to America. Six new large films were planned for next year, including 'Lawrence of Arabia.    

[* note from Anthony Pettifer: Monty's brother, Kay Harrison, was Managing Director of Technicolor in Europe]

7 December, The Argus

Features a photograph of Monty and recounts the reasons he is visiting Australia. "He expects no difficulty in finding material for scenarios, but would be disinclined to use stories with an 'outback' theme. Monty is quoted as saying "there seems to be a conspiracy to make the typical Australian a 'hayseed'. The average Australian today is as intelligent and as sophisticated as the average man of Paris, London or New York."

7 December, The Age

"Australian Film Production" summaries Monty's views on Australian production and the reasons for his visit to Australia. He is titled as 'General Manager of Imperial Pictures' and makes clear that the decision for "his company to makes films in Australia would depend on the attitude of the Government towards the industry. His company proposed to set up a permanent studio, subject to satisfactory quotas and wages, and the engagement of skilled local technicians." He comments that it "was a great pity that outback stories were considered typical of Australian life" as that type only represented a small percentage of the population.......The Australian today is suave and sophisticated, and could hardly be distinguished from the Londoner or American." He also comments that "the most outstanding development in the film industry was the growth of color films. At present price prevented the general use of color, but eventually all films would be produced in color."

7 December, The Sun News-Pictorial

"Back Home Again" features a photograph of Alexander Korda and write about Monty: "nearly half a century ago a boy was born in South Melbourne whose parents probably planned for him a commercial career, little imagining that one day he would be handling millions as one of the biggest figures in the world's film industry." The writer describes Monty as having"a keen humorous sense and that geniality of a cosmopolitan" and that he "had the happy knack of making himself just one of us." The article refers to Monty's purchase of Denham: "there was no sign of bombastic pride in a stroke of business which even thrilled his friend. Alexander Korda. With the same sang froid he told me how he sat at his office window and watched the tiny wisp of smoke which told of a fire that was to cost his firm many thousands."

7 December, The Herald

"Film Prospects" comments on Monty critical view: "Should we build a local film industry on the foundations of picturesque 'frontier' themes, as America did, or should we skip that period and step into the suave, sophisticated phase?"

7 December, The Sun

"New Film Coy. [sic] In Australia?" has similar content to 'The Age' article of the same day (above).

7 December, (unknown press cutting Melbourne)

"Film Chief Will Investigate Australian Production" features a picture of Monty and similar content to 'The Age' article on the same day (above).

9 December, The Sydney Morning Herald

"Alexander Korda. May Make Film in Australia" refers to Monty saying Korda would probably make a film in Australia in the near future. "He had already made films in India and South Africa, and was now very anxious to make one here".  He wanted the picture to be "a sincere portrayal of the country". Monty went on to say "it has been heartbreaking to hear people in Australia saying that American pictures are better than British....They simply do not realise what they are saying. The British industry today is turning out films as good as any in the world". The article also referred to leading American studios coming over to make films there (Britain).

9 December The Film Weekly

"Korda's Still Further Advance by His Link-up With United Artists. His Australian-born Manager Impressively Reviews the Completeness and Perfection of Denham Studios" features a photograph of Monty and refers to details supplied by him on the state of the United Artists deal. It states that Korda and Samuel Goldwyn would be "the formost members of U-A", that "all terms had been agreed" and that "finalisation merely awaits certain more or less formal British and American legal investigations". "Among other things, the association will permit the inter-change of stars, greatly increasing the already world-established strength of London Films Productions Ltd." The article goes on to talk about the purpose of Monty's visit, the possibility of making a film in Australia, but that "the production would have to be something of a widely-embracing character - a picture showing Australia to Australians and the rest of the world and commanding the patronage of London and New York." It mentions the three new films Monty hoped to premier in Australia and the successful films already produced by London Films, including the South African production, 'Sanders of the River', and the Indian production, 'Elephant Boy'." It goes on to describe Denham Studios. "A studio can be merely a building equipped with stages and sound. Mr. Marks emphasises this truth, with a view to illustrating the difference as regards Denham Studios. These reflect, in every respect, the masterful, artistic personality of Korda - the efficiency of the staff, the technical excellence, and everything else that enters into the creation of the perfected product". The fact that "expense represents nothing to Korda" and that "his art is more to him than money" is remarked on. Monty is quoted as commenting "I'm afraid that he will never die rich." The article also has biographical information on Monty: he first left Australia when he was 17 year old; two of his youthful studies "are still in the National Art Gallery (Melbourne)"; his enlistment in the Royal Flying Corps.; his interest in the pictorial side of films and how, on a visit to Britain, he asked R. Hatfield "if there was anyone with whom he might be brought in touch with"; how Hatfield responded "Korda is the only man - the most vital and imaginative man in England. He stands head and shoulders above everybody else. I'll introduce you."; and how when Monty first met Korda they "remained together till 4 o'clock in the following morning". 

10 December, The Sun

"Challenge to View Our Latest Film" highlights the response of Clarence Badger of National Studios Pagewood and Ken Hall of Cinesound for Monty to view recent Australian film productions: "it is obvious that Mr. Marks is unfamiliar with recent trends in motion picture production in Australia. Australian studios, during the last five years, has done splendid work in bringing the real Australia to the screen". "I shall be glad to make a private screening of 'Luggers and Lovers'  available that he may see our latest efforts....". "I accept Mr. Hall's offer" said Mr. Marks today. "As an Australian, I am keenly interested in pictures produced here."

14 December, The Exhibitor's Monthly

"Lon. Films Gen. Mgr. on Local Survey. Montagu Marks Confirms U.A.-Korda Deal: Pounds Sterling 200,000 Establishes 50/50 Setup" features a photograph of Monty in at his office in Denham Studios and refers to his visit "as the personal representative of Alexander Korda". It covers many of the same points as in the 9th December 'Film Weekly' article (above). It mentions that Monty has "two drawings of his own and a miniature of his wife's exhibited in his home town Art Gallery" [The National Gallery in Melbourne]; that "after serving in the RFC during the war he found it difficult to settle down to his palette again"; that "he went into the export business in America instead"; that he met Dr Kalmus of Technicolor. "who introduced him socially to film circles"; and that "Bob Hatfield eventually introduced him to Korda, the two men took to each other, and in 1933 Marks joined Korda's organization".  Monty is quoted as saying "A most amazing man. He [Korda] is a fine scholar -reads Greek and Latin and speaks seven or eight languages fluently. England's greatest intellectuals are his intimate friends." Monty then makes a very direct appeal for some Australian exhibitors to reconsider the quality perception of British Films: "Well, speaking about exhibitors, of whom I should speak to you - and may speak straight to them as one Aussie to others - the complex that exists in some quarters about English pictures is all bunk. Perhaps it arises from the fact that this market has had too many pictures that were made exclusively for England. But here's the point: slate a picture by all means if it is bad, but not because it is English. America, France, Sweden and Italy all make bad pictures, and good ones, too. So does England. The producer in every country is after the finest creative and technical brains he can grab, without regard to nationality, and without regard to expense. You should get rid of that complex; it's unfair to England's bigger producers, if it applies to them at all......What do you think Sam Goldwyn has associated himself with Korda for? Because Goldwyn realises that Korda is as good a producer as he is, and that is saying something, since Goldwyn and Zanuck are generally regarded as the two outstanding American producers of today." The article goes on to refer to the latest developments on the English quota legislation, of which Monty had just been informed there were many amendments. "Quota legislation is like a motor car. If you can drive it, it will take you across Australia, but if you can't, it will smash you up. It all depends on the way it is handled." The article comments "Montagu Marks, it will be seen from all this, has absorbed the ideals, ideas and driving force of Korda, without losing his Australian simplicity of personality and conversation. There is not the slightest trace of bunk about him." Towards the end of the article Monty reinforces his argument to the exhibitors be refer to at least four new London Film productions being made in Technicolor and to the stars: "In the important matter of star value, we are catering more strongly for that essential need of exhibitors than ever before in the history of our organization. Among those popular names that will head the cast lists of London Films productions during 1938 are Merle Oberon, Robert Donat, Raymond Massey, .... Binnie Barnes, Edmund Lowe, Jack Hulbert, Leslie Banks, Flora Ronson and Sabu, the sensational child star of 'Elephant Boy'."  

15 December, The Sun

"Film Man Is Convinced. 'Luggers and Lovers' A 'Good Job'" describes how Monty turned to Ken Hall after his private viewing of 'Luggers and Lovers' "and with a handshake said "A damned good job". He added "its miles ahead of 'Dad and Dave'". "If Australian producers can make films with the same honesty with which Mr. Hall made this one, they have nothing to fear." On Mr. Hall regretting that the film's star, Elaine Hammill, had since gone to England Monty replied "that the loss of stars did not matter, as one could always get actors, but "you must keep your producers and directors".

20 December, Daily Telegraph

Features a picture of Monty dancing with Miss Margaret Adams, who played the leading feminine role in 'Balalaika'. 

22 December, The Sun

23 December, The Film Weekly

"Montague (sic) Marks Entertained by the Council of the British Film Industry" features a picture of Monty with Ralph Smth, Gordon Ellis, Ernest Turnbull, E.G. Blanshard, A.J. Williamson, S.Y. Greisman and Gordon Williams and refers to his meeting with the 'British Film Industry Association of Australia and New Zealand' at 'The Millions Club' in Sydney. "It was the first time in Australia that every major film producing organization in England was represented": Associated British Film Distributors Ltd., Associated Talking Pictures Ltd., Grosvenor Sound Films Ltd., Phoenix Films Productions Ltd., Associated Film Picture Corporation, Mayflower Picture Corporation, British and Dominions Film Corporation Ltd., British Dominion Films Ltd., British Lion Film Corporation Ltd., British Empire Films Ltd., Capitol Films Ltd., Herbert Wilcox Films Ltd., Gainsborough Pictures Ltd. Gaumont British Picture Corporation Ltd., Jack Buchanan Productions Ltd. and London Film Productions Ltd." 

23 December, The Labor Daily

"Film Man to Leave For Melbourne" refers to Monty and Stella having Christmas in Melbourne with friends and relatives.

December, Cinesound Review News (a film news reel)

Month?, (a Melbourne newspaper)

"Putting English Films on The Market. Quality Propaganda. Some Box-Office Figures" quotes Monty, "Supposing a law were passed that no American films could be shown in British countries, English studios 'could not make a do of it'. English films must therefore be established all over the world. We cannot compete with America in the general type of picture; we can compete with America only in a technically perfect production. Secondly, we can compete by making pictures essentially British or English in sentiment. London Films has a name for a 'Rolls-Royce' product. Its films are propaganda for English ideals, English manners, English craftsmanship and technique." The article refers to London Films launching this 'propaganda' first with 'The Private Life of Henry the Eighth', which cost 96,000 pounds to make and yielded a box office of 600,000 pounds. It refers 'The Scarlett Pimpernel' as the most successful British film to date, costing 135,000 pounds with a gross return of 2,000,000 pounds. It also refers to 'The Ghost Goes West' yielding 900,000 pounds and 'Sanders of The River' yielding 800,000 pounds. It states that "Things to Come" will show a loss from 60,000 to 70,000 pounds. It also references "subsequent films, such as 'Rembrandt', 'Fire over England' and 'Knight Without Armour' as expensive productions that have done much to establish quality prestige for English productions."  

Month? (a Melbourne newspaper?) 

"An Artist Takes to Business" refersto Monty as a National Gallery art student "nearly 30 years ago" adding "to the gaiety of the old Aspendale chalet by writing a complete musical comedy in one sunny morning by the beach, with himself as the comedian and young Oriel in one of those also-ran parts. All of those years rolled back with a zip! like a spring blind, and there, at Menzies Hotel yesterday, was the same art student, now Mr. Montague [sic] Marks, general manager of London Films Ltd. (by gosh Monty! Did you people make the 'Man Who Could Work Miracles'? - the finest comedy I ever saw on screen). For "Monty" Marks is a Melbourne boy, who ranged far afield and achieved strange success. An artist in London and New York, then with the Royal Flying Corps in France and a business man after the war - an artist and an aviator in a concern to sell riveting machines!" Monty is quoted "for after the war I simply could not bring myself to paint - it was a 'cissy' job! So I took the offer of $50 a week to help sell machinery, and a year later they sent my to Yokohama, where I landed $1,800,000 dollars worth of orders and earned 50,000 pounds in commission. Yes, I earned it; but they said it would be ridiculous to pay me so much, because if a greenhorn salesman like me could land such orders what could a real American go-getter get? So they compromised on the commission - but I did not do too badly out of it."

1938

Monty & Stella

4 February, The Argus, The Sun News-Pictorial and The Age

Announcements that Stella left Menzies Hotel to join Monty in Sydney and will will leave for New Zealand by the Monterey "today". Mrs. Marks is expected back in Melbourne on 22 February.

16 March, The Ceylon Observer

Features as photograph of Monty and Stella with the caption, "Mr. Montagu Marks, General Manager of London Films Productions Ltd. and Mrs. Marks photographed today with Mr. A Gardiner, Managing Director of Ceylon Theatres Ltd, (right) and Mr. A. Thambiaiyah. Mrs. Marks is a famous miniature portrait painter.

Stella

3 January, Woman

Features a photograph of Stella by Dorothy Wilding which she gave her mother for Christmas.

22 January, The Age

"A Charming Personality" features Stella's 1934 portrait of her daughter, Patricia, and a photograph of Stella by Dorothy Wilding. The article introduces her as "the wife of the general manager for London Imperial Pictures" and then goes on to say "she is a talented artist, of whom Australia can be proud. For although she has not been here for twelve years this is her native country, and it was at the Melbourne Gallery that she received her training in drawing and painting under Bernard Hall." It describes how Stella started to paint miniatures by taking on a commission that Penleigh Boyd did not wish to undertake and how subsequently her work met with "unqualified success" in America. "So much so, in fact, that she was asked to become president of the American Society of Miniature Painters - a unique distinction for a British subject. She had to refuse the honor, for almost immediately she left with her husband for England". It notes she has also been a member of the Royal Miniature Society for eighteen years and that her miniatures are "wonderfully executed, and notable for their light and brilliance". The article also mentions one of Stella's most treasured possessions is the series of miniatures she has painted of her daughter every year since she was six months old and concludes by mentioning 'Hengrove', Stella's home in the Chilterns, and the joy its garden gives her.    

22 January, The Argus (Melbourne)

"Famous Miniature Painter Mrs. Marks in Melbourne" states that "an interesting visitor in Melbourne at present is Mrs. Montagu Marks, the attractive wife of the general manager of London Films. An Australian by birth, she has a claim to fame in her own right, for she is regarded as one of the foremost miniature painters in the world". The article does on to state that Stella's study at the National Gallery under the late Bernard Hall; that "she began painting miniatures just before the war"; that "she returned to Australia in 1914, held exhibitions in in Perth and Melbourne; and that in 1914 she left for New York were she lived for 19 years". It refers to her miniatures having "a great reputation in the United States as they have among art connoisseurs in England and other countries". Stella is quoted as saying "I was excited to find...in the National Gallery two of the finest Richard Cosway miniatures ever painted": 'Lady Elizabeth Foster' and 'Madame du Barry'. "I would sooner have those two Cosways than half the Wallace collection of miniatures".  They were from the Pierpont Morgan collection and the Felton Bequest bought them at Christies last year. "Other fine miniatures in our National Gallery, which impressed her, were a portrait by Humphrey, called 'Mary', and a delightful one of by Samuel Coates of 'Miss Brougham', and some splendid examples of Augustin's work. Mrs. Marks is herself represented by a charming study of 'Maud Allan'". "The vogue for miniature painting will always exist", Mrs. Marks, considers. "It is a most beautiful form of art and one which does not require a large gallery to show it to advantage". The article refers to Stella's technique: "a good miniature most have all the drawing, composition and knowledge that go to making a large portrait". The beauty of a miniature is the transparency of color.... and to achieve that the Artist must be swift and direct in her work".  The article refers to the 150th Anniversary Celebrations and that the Director of the Sydney Art Gallery, Mr. Will Ashton, persuaded Stella to lend four of her miniatures to be exhibited as part of these celebrations. It also refers to her being asked to become President of the American Miniature Society and concludes that "with her husband, who travels backwards and forwards between Melbourne and Sydney on business, she is making Menzies Hotel her headquarters until they sail on the Orion on March 1 to return to London. Until three years ago they had been living in the United States. Now they have a lovely home in the Chiltern Hills, England."

29 January, The Leader

'A Melbourne Letter' by Viola, features Stella's miniatures of 'Princess Patricia' and of the artist's daughter, Patricia, aged five, as well as a photograph of Stella by Dorothy Wilding. The 'letter' comments warmly on Stella's love for Australia: "Mrs. Marks is the right kind of Australian. She has traveled widely in America, in England and on the Continent, yet still retains her love for her own country. And, whilst acknowledging the beauties and advantages - one can perhaps say - of other countries her heart still seems to be here". It refers to her as the wife of Montagu Marks, general manager of London Films Productions, and to her exclusive membership of both the Royal Miniature Society and the America Society of Miniature Painters. It comments that she was the only non-American to be invited to be President of the latter, but that she had to decline owing to her move to England. The letter then talks about Stella's miniature of 'Princess Patricia' and the series she has of her daughter since being a baby. Commenting on this work the author writes "I marvel at their beauty. The brilliance, the light, their exquisite coloring!.....It is fascinating to see Patricia as a small babe, as a dear little girl ...... lovingly clasping a doll with wide blue eyes, and later as a school girl, so obviously full of enthusiasm for the future". The letter concludes with comment about Mr. and Mrs. Marks' home in England, Hengrove, at the beautiful garden. Showing the author some photographs of Hengrove, Stella "pointed out certain trees and shrubs for which she has a special affection, for she is an enthusiastic gardener".        

7 February, Woman

"Australia Has Produced Masters" features a photograph of Stella in her room at Menzies Hotel painting a miniature of a girl . The girl she is described as wearing "a green frock - a splendid contrast to her red gold hair and amber brown eyes, ideal according to the artist". And the article refers to Stella's "little case, which is also her easel" (shown in the photograph). "This wooden case, although somewhat debilitated, has a particular interest....It was made - as a surprise - by members of the Studebaker family... for whom she painted a number of miniatures". The article comments that the "famous miniature painter" has "some very definite views about her home country". She is quoted as saying "for its population we have produced some wonderful artists, painters especially...... If one could predict who would be considered a master in the future I would say that George W. Lambert and Mr. Streeton deserve that classification." The article continues that Stella has bought a number of scenic exhibition pieces by Harold Herbert, which she will take back to be hung at Hengrove, her home in the Chilterns.  It mentions Stella's views on the lack of a purpose built gallery in Melbourne and that the Cosway miniatures, recently bought by the National Gallery, are two of the best in the world. She last had seen them at the Metropolitan Museum of Art in New York. 

9 February, The New Zealand Herald

"A Noted Artist. Mrs. Montague (sic) Marks. Painter of Miniatures. International Reputation." the article refers to Stella as an Australian by birth; "one of the foremost miniature painters in the world"; and the wife of the general manager of London Film Productions. It says she started painting miniatures before the start of the Great War and returned to Australia in 1914, holding exhibitions in Perth and Melbourne. It states "her miniatures have as great a reputation in the United States as they have amongst art connoisseurs in England and other countries". It goes on to talk of Stella's "swift and direct" water colour technique. 

10 February, The Argus

"Refinement of Diplomacy" by Oriel refers to Stella's bridge playing with Lord Richard Nevill.

11 February, The Dominion

"Noted Artist. Painter of Miniatures" refers to Stella as "one of the foremost miniature painters in the world" arriving in New Zealand by 'the Monterey'. It gives a brief biography of her career to date and quotes her: "the vogue for miniature painting will always exist. It is one of the most beautiful forms of art and one that does not require a larger gallery to show it to advantage.""A good miniature must have all the drawing composition and knowledge that goes to make up a large portrait. It is in fact a portrait in water colour.....The beauty is in the transparency of colour....and to achieve that the artist has to be swift and direct in her work."

12 February, The Wanganui Chronicle

The article is similar to that of the New Zealand Herald on 9 February (above)

26 February, The Age

"Mrs. Marks' Miniature for Gallery" announces that the Felton Bequest has purchased Stella's miniature, 'Mr. Justice McKenna'. It comments that "Australians are so often inclined to overlook the work of their compatriots that it is good to know that Mrs. Marks' miniatures are as much appreciated here as in America and England."

26 February, The Argus

"Miniature Bought" announces the Felton Bequest's purchase of Stella's miniature, 'Mr. Justice McKenna of the Supreme Court Washington D.C.'

16 March, The Ceylon Observer

"Portrait of Princess Pat" announces that Stella, "one of the worlds greatest miniature-painters, accompanied by her husband, the General Manager of London Imperial Pictures [sic], arrives in Colombo today by the Orient liner Orion." The article refers to the miniature of Princess Patricia and that "the Princess, herself an artist was the 31, and she treasures the miniature as her favourite portrait. In 1931 she lent it to Mrs. Marks to hang in the Royal Academy". Stella is quoted "I have been painting miniatures since 1912, when I left Melbourne. My daughter is at school in Ascot, and I have painted her every year since a few months old." The article concludes that she is carrying with her miniatures, including those exhibited this year* at the Royal Academy. Mrs. Marks has to hold exhibitions twice a day on board the Orion to her fellow passengers."

[* note from Anthony Pettifer: I assume 1937 not 1938]

Monty

1 January, Smith's Weekly

"Australian Film-Mogul" refers to many American film chiefs visiting Australia but that Monty was one of the first English film principles to make the journey. Adding the unique fact that he is Australian born. It comments that his "outstanding career is evidence of what Australians can do on the other side of the world". "As General Manager of London Films he has one of the biggest motion-picture jobs in the industry today."

1 January, The Photoplayer and Talkies

"British Film Executives" features a picture of Monty seated at the centre of film executives similar to that shown in the 23 December, The Film Weekly.

7 January, The Sun

Announces that Montagu Marks, General Manager of London Film Productions, arrived in Melbourne today as is staying at the Hotel Australia.

7 January, The Exhibitor's Monthly

"Did You Read The News Last Month" features a picture of Monty seated at the centre of film executives similar to that shown in the 23 December, The Film Weekly.

12 January, The Sun

"Five London Films in West End Shows" refers to Monty's announcement that five London Film Productions: 'South Riding', 'Paradise for Two', 'The Divorce of Lady X', 'The Squeaker' and 'The Return of the Scarlet Pimpernel' are being shown concurrently in West End cinema's, which he considers a record.

13 January, The Argus, The Sun News-Pictorial and The Herald

Announces that Monty and Mr. Cecil Marks will arrive in Melbourne today to attend the first screening in Australia of 'Paradise For Two'. 

13 January, The Age

Announces Monty and Mr. Cecil Marks will arrive in Melbourne today.

13 January

The Sun News-Pictorial and The Herald

20 January, The Film Weekly

"Important U.-A Melb. Openings at the Regent and the Athenaeum" features a picture of Mrs. W. Hampton, Mr. Cecil Marks (General Manager of U.-A) Miss Nancy Lewis, and Mr. and Mrs. Montagu Marks. The article references the Melbourne release of David Selznick's 'A Star is Born' and the Australian première of Alexander Korda's 'Paradise for Two'. It comments that "the enthusiasm with which both public and press have received it ['Paradise For Two'] argues well for its box office success"  

30 January, Truth

Features a photograph of Monty and announces his visit to Brisbane. The piece also states that he "has two pictures hung in the Melbourne Art Gallery".

31 January, The Courier-Mail

Announces Monty's visit to Brisbane.

1 February, The Telegraph

"Film Chief Here To Study Local Possibilities For British Pictures" features a photograph of Monty and refers to the purpose of his visit to Australia. It also describes Monty views that "his company seeks to produce films of essentially British and Empire spirit." The article reports that "whether his company produces films in Australia or establishes a permanent studio will depend on the attitude of the Australian Government for quotas, and the conditions under which labour is procurable." It goes on to mention his wife "the former Miss Stella Lewis, of Melbourne, well known miniature painter."

2 February, The Courier-Mail

"Real Australia In Film. Plans of British Producer" features a photograph of Monty and refers to him hoping to make an Australian film "that would show the real Australia with its culture and natural beauty."

2 February, The Telegraph

"Australia Should Have Sunday Shows Says London Film Executive. Suggests Government Subsidy For Local Films. All Colour Films Soon" features as photograph of Monty and a long interview. It reports on Monty's arguments about Sunday evening shows similar to those in the 23rd February Sun article (below). It goes on to describe Monty's views on the sort of films that could be subsidised by a 20% levy on Sunday films: "he would not subsidise films of the mushroom type, such as sometimes are made to provide quota contributions; the films must be of a worth-while type that would find a market abroad as well as in Australia." He is quoted as saying "Entertainment is one thing Australia could sell to the rest of the world. Australia cannot sell manufactured articles in Germany, America and other countries across the seas in competition with local manufacturers, but she could sell entertainment in the form of film productions if the industry were placed on a proper basis. Australia takes millions of feet of film entertainment from America every year but does not sell an inch of film to America." The article goes to say "Ken Hall is an Australian producer whom Mr. Marks picks as outstanding." Regarding Australians' perception of British Films and their preference for American Films, Monty is reported as thinking that this "was born out of the early practice of English film producers to introduce an exaggerated English accent which was a laughable thing to Australian audiences. He, however, was happy to note that the prejudice was being broken down and the Australian public was appreciating the very fine British productions that were [now] coming to this country." The interview the refers to the "bigger productions" of London Films such as 'Night without Armour' and 'Things to Come', "which had each cost 300,000 pounds to produce". It goes on to quote Monty's optimistic view of the British industry: "I think the future of the British film industry is assured for two reasons. In the first place, the British Government is very keen to establish the film industry in England because it recognises that with the newspaper and radio it can be a big vehicle for propaganda in the interests of Great Britain and the British Empire. The second reason is the high educational value of films." The interview continues with Monty disagreeing with Andrew Buchanan's book, 'Film Making from Script to Screen', that "British films are a slavish imitation of production modelled on the American pattern". Monty is quoted as saying, "The story is the most important thing of the film and if we can weave into that story the atmosphere of the open spaces we do it. Pictures in which we did with great success were 'Elephant Boy', 'Sanders of the River' and 'The Man Who Could Make Miracles'. On the other hand our pictures 'Henry VIII' and 'The Scarlet Pimpernel' were not done in any country from the point of view of scenery and they were most successful because the stories appealed to the general theatre-going public." Monty went on to state that "colour is the film of the future. There will be nothing but colour productions in the near future". Monty concludes that London Film Productions to be "seen in Australia this year" would include 'Conquest of the Air', 'Divorce of Lady X', 'The Drum', 'Paradise for Two', 'Action for Slander' and 'South Riding'."   

3 February, The Film Weekly

"Montague [sic] Marks For Brisbane" announces Monty's visit to Brisbane by air.

7 February, Auckland Star

"British Films. Reciprocity Need. Combating Competition. Where America Gained." features a photograph of Monty and says that he arrived this morning by the Monterey on his first trip to New Zealand. The article outlines Monty's historical analysis of how America has gained its dominant position. It opens, "the need for Empire-wide reciprocity in the production and exhibition of films as a bulwark against foreign competition was stressed by Mr. Montague [sic] Marks". It goes on to directly quote him, "those who regard the cinema as a cheap form of popular entertainment see no necessity for worrying about the national integrity of the screen. Yet those same people would be the first to clamour if the Press were to pass under the control of foreign interests". The article then points out that in America there are 14,500 theatres, but approximately only 8,000 in the whole of the Empire, with a seating capacity of less the half America's. "Box office returns in America for a year totalled 140,000,000 pounds, while for the same period England netted 35,000,000 pounds". Monty comments that "the British film industry welcomes American competition, but first must be assured of Empire production. Before the war, the film production of Europe and America was a matter of equal progress. Each continent was developing along individual lines and the British films were so flourishing that 25% of those released in English theatres in 1914 were home-made". The article goes on to state that due to the outbreak of the war English (and European) production came to a standstill. For the next two year, before America joined the war, Hollywood and New York became "the centre of the film universe, a position which has remained to this day to a large extent". After the war British films were back on a rising tide but, the advent of the talkies, an American invention, gave America another two year advantage. Finally, Monty describes the impact of the quota system: "the year 1928 was a year of double import for the British industry. That year the Film Quota Act came into effect. On the one hand British motion pictures reached international fame - on the other the motion picture in England descended to the wretched level of the 'quota quickie'. This fungus growth has been largely responsible for the present slow up in English film production". Monty goes on to point out "that diffidence on the part of foreign film renters had not had a good effect." The article concludes that the new Chromatograph Films Bill, introduce in Parliament last November, would ensure quota films of a higher standard. "If a film failed to comply with the minimum cost clause of 15,000 pounds it could not count as quota. Monty quotes a sentiment, expressed by Mr. Stanley, president of the Board of Trade, in the House of Commons: "I want the world to be able to see British Films true to British life, accepting British standards and spreading British ideals*." 

[*note from Anthony Pettifer: a very direct statement about the soft power and propaganda power of film]             

8 February, The New Zealand Herald

"British Films. Executive's Visit. Dominion Production. A Possibility This Year" mentions Monty and Stella being met off the Monterey in Auckland by Mr. B. Allen of United Artists (Australasia) and that they will "leave for Wellington today". The rest of the article is similar to that from 12 February, Hawke's Bay Herald-Tribune (see below).

9 February, New Zealand Free Lance

"Survey of Field. Film Personality's Visit" features a photograph of Monty and refers to the business reasons for his visit to Australasia and that "whether his company produces films in the Australasian territory or establishes a permanent studio will depend on the attitude of the Governments for quotas, and the conditions under which labour is procurable.". The article ends by mentioning Stella, "a well-known painter of miniatures".  

12 February, The Evening Post

"British Films And Work of Korda. Mr. Marks's Tribute" features a photograph of Monty and reports on his business reasons for his "extended tour of the Antipodes". It reports on Monty "has no script for an Australian or New Zealand film, and is without any preconceived ideas as to the best kind of film which could be produced in the Commonwealth or Dominion. He is, however, opposed to the use of the proverbial outback character. The modern New Zealander can be as sophisticated as the European." "Alexander Korda always says there is one story - Adam and Eve. Obviously this story was to be found as much in Auckland and Wellington as anywhere else." The article goes on to reference the three latest films that Monty has brought with him (the reels had been flown to Marseilles for him to collect on route) and that he hopes to "present one here - in other words give it a world première." The article concludes with Monty recounting Kords's earlier the successes, 'Henry The Eighth', 'Sanders of the River', 'The Scarlet Pimpernel' and 'The Ghost Goes West'. "Unhesitatingly he declares that the Denham Studies, directed by Korda, to be the best in England". "Denham Studios reflect the masterful artistic personality of Korda...  Expense represent nothing to Korda. From year to year his work has brought him gold medals. But an infinitely greater pleasure is derived by him being satisfied with the pictures he produces. He lives for his work."     

12 February, Hawke's Bay Herald-Tribune

"Film May Be Produced in N.Z. This Year" reports on the business reasons for Monty' visit and that "he [also] intends visiting Christchurch and Dunedin".  "During his visit [he] will take particular note of conditions in the film industry throughout the Dominion." Referencing London Films' earlier productions in Africa and India, Monty said "there was every possibility of a picture being produced either in New Zealand or Australia or possibly in both countries this year.....There were many stories of New Zealand which had a world-wide interest......It was not his intention to film New Zealand's geysers or thermal regions - they could be left to the guide books, but it would be Mr. Marks purpose to get the "feel" of the country. His impressions would be conveyed to his colleagues when he returned to England." The article goes on to report on Monty's view about the differences between Australian and New Zealand audiences: that London Films have box office success in New Zealand but not Australia. "We have a high regard for the intelligence of the New Zealand people because they appreciate the same type of films that we do ourselves." "The same could not be said of the Australians. Films of the type appreciated in England and New Zealand were regarded as 'high brow' [in Australia]. Monty continues he is "at a loss to explain the Australian attitude. The Australian exhibitor was very luke-warm to towards the British product for reasons which, at best, seem obscure. The same pictures are received very well in the United States, and the Australians as a rule were only too willing to show their appreciation of films that had been successful in America." The article concludes with Monty's comments about Korda: "Although a Hungarian by birth, he had become thoroughly saturated with the Empire viewpoint, and, like all other British film producers, he was greatly concerned at the influence of American companies. He thought British theatres should be in a position to control what came into them." "It was Mr. Korda who saved the industry in Great Britain.....the Cinematography Film Act introduced in to the House of Representatives [sic] was largely his work.....and, if the bill was passed, no picture which counted for quota would cost less than 15,000 pounds. This stipulation would prevent the production of films that were technically bad - one of the chief criticisms levelled at the production of some of the mushroom companies of the past."   

12 February, Wanganui Herald

"British Films. Reciprocity Need. Combating Competition. Where America Gained." carries the same article as the 7 February Auckland Star.

12 February, Wanganui Chronicle

"Town Talk. Nails and Pictures" refers to a couple of detailed facts about Denham Studies. Monty is quoted, "we employ 500 carpenters at Denham Studios and they use over a ton of nails daily". He also is stated "that the studios at Denham had cost, when equipped, over 1,000,000 pounds, and the electric light plant cost 100,000 pounds."

12 February, The Christchurch Star-Sun

"British Film Industry. Reciprocity Issue. Effect Of Quota Act. American Competition" features a photograph of Oliver Stanley and carries the same article as the 7 February Auckland Star.

12 February, The Argus Weekend Magazine (article by Montague Marks)

"The Truth About British Films" is a full page article written by Monty and featuring a photograph with the caption, "Attending a preview in London. Left to right :- Mr. Montague Marks, Ann Todd, Margaretta Scott, and the famous director, Victor Saville", and a photograph of Korda with the caption, "England's greatest film producer - Alexander Korda. He put every penny he had into producing 'The Private Life of Henry VIII' and achieved unexpected fame."

Since this is written by Monty I quote it in full.

[note from Anthony Pettifer: Monty's pre-World War II ideas may seem alien to a modern reader, but I believe they should be viewed in the context of the time they were written. His explicit references to controlling media and not letting it get into the wrong hands is no less relevant today then yesterday. Monty knew full well the power of the new media of cinema and, in a dangerous time, was determined to harness it in the service of what, in his view, was fair and decent.]

"Why The Empire Must Come to the Rescue" by Montagu Marks, the Melbourne artist, who is now general manager of London Films. Ltd.

At the end of Monty's article is the following biographical detail: "Mr. Montagu Marks is a Melbourne* man and a former student of the National Art Gallery. After living as an Artist in New York he joined the Royal Air Force* and on demobilisation he became a business executive in the United States. That work led him to the Far East, but the combination of artistic talent and commercial training brought him inevitably to the film industry of Great Britain, where he had the good fortune immediately to be associated with Alexander Korda, the Hungarian art critic and journalist, who was destined to become the greatest cinema producer in the British Empire. With Mr. Korda as producer, and Mr. Marks as general manager, London Films Limited, the largest producer of films in England, has made some magnificent pictures, including 'Catherine the Great', 'Henry VIII', 'Rembrandt', 'Fire Over England' and the latest Technicolor film, 'Wings of the Morning'. In this article Mr. Marks, colleague at the National Art Gallery of Mr. Louis McCubbin, now Director of the Adelaide Art Gallery, and the late Mr. Penliegh Boyd, gives an inside view of the film industry in Great Britain."

[*note from Anthony Pettifer: Monty was born in Perth and during WWI the Royal Air Force was the Royal Flying Corp.]

14 February, The Dominion*

"Propaganda Of The Film. Maker's Responsibilities. English Executive in Dominion" describes Monty as "one of the most important men behind the cameras in the British Moving Picture Industry". It details the business reasons for Monty's visit and then goes on to deeper thoughts: "Mr. Marks is a strong believer in the propaganda power of the screen and the responsibility of producers to their nation's interests and to their own ethical creeds. In this they were like the editors of newspapers, with their own standards of proper conduct such as editors had, he said, except that what each film producer published had a far greater circulation then any newspaper. In fact some of the greatest producers, including Korda and Daryl Zanuck, had been journalists. The film could be a highly concentrated form of propaganda. The reader of a newspaper had the option of choosing what in the paper he would read......but the patron of a moving-picture theatre took his seat in a darkened hall and had to read all his "paper" from front to back. The film had none of the authority of the newspaper, but it had something much more subtle, the power to sway emotions." In a paragraph headed "Propaganda in Entertainment" Monty illustrates "the manner in which propaganda crept into films, sometimes purposefully some accidentally. Mr. Marks referred to one of his own company's latest productions, 'The Return of the Scarlet Pimpernel'. It concludes with a toast, "To England and Freedom". That associated two ideas in the minds of the audience." Monty goes on to comment on the "subtle propaganda" created by negative characterization of Englishmen in some American pictures, which depict "a despicable, highly affected Englishman of a type unknown to the English." ""When we make a picture we do not make the Americans seem bad," Mr Marks said. "We must hang together, America and England." "If the Fascist nations become supreme they would covet such places as Australia and New Zealand rather than crowded England."" Monty went on to make an argument of how "Empire" films could benefit New Zealand's tourism.  He suggests that it was the novels and entertainment literature that attracted "the attention of people to a country rather than the advertisements and folders in a hotel vestibule, and so it was the entertaining films such as 'Man of Aran' and 'Elephant Boy' that filled people with thoughts of distant countries rather than the travelogues". "The strongest propaganda in the world is entertainment". In conversation Monty suggested that New Zealand should allow films to be shown on Sundays and collect a percentage of the revenue. "Suppose at the end of a year or two years New Zealand had 100,000 pounds and it said to producers all over the world 'We offer 100,000 pounds to the best picture made in New Zealand in the centenary year, 1940'...." The article continued with Monty's comments on distribution (theatre ownership): ""I am not sure we do not need a chain of theatres throughout the British Empire - Canada, Australia, India and New Zealand" said Mr. Marks when he was asked if he had reached any conclusions as the result of his tour. "It would possibly be an ideal thing if a British company controlled a theatre in each town and could say what pictures were to be shown in it. It need not exclude the product of other nations." "What would be said if all the newspapers were controlled by a foreign newspaper owner of anti-British tendencies?". The article concludes with Monty commenting that the negotiations that had been ongoing in American between Korda and the other Unites Artists shareholders had ceased.  

[*note from Anthony Pettifer: an encapsulation of Monty's thoughts as the world was rapidly become a more dangerous place.]             

14 February, The Press

"Empire Market For Films. Aims of Industry in Britain. Distribution Network Being Considered. Visiting Associate of Alexander Korda."  refers to Montagu Marks' "distress at the domination of foreign interests in the film market in New Zealand, and a doubt whether at present English films were being given "a fair break" in the Dominions." The interview reports that "the interests he represents were considering a the establishment of a distribution network to cover England, Canada, South Africa, India, Australia and New Zealand." Monty views on the British film industry and propaganda are then quoted verbatim from his 12 February, The Argus Weekend Magazine article (see above).  The interview went on to report how Monty emphasised London Films approach: "The first thing that counted...was what went on the screen, no matter what the cost. The guiding and creative genius was Korda. who worked to his own sincere conception of what a film ought to be - not pandering to crude tastes merely for the sake of the box office. The box office was necessary: without it films could never be produced. But Korda was willing to take risks for the sake of his own creative vision. Korda's position was unique. In six years he had built up one of the largest producing and distribution companies in the world. No chapter of screen history was so fascinating as that which told the rise of London Films."  

14 February, The Times Palmerston North, N.Z.

"New Zealand Theatres Excellent. Visit of English Authority" reports on an interview with Monty and on the business reasons for his visit. It said that "arrangement had been made to screen his pictures throughout New Zealand through Amalgamated Theatres Ltd. Commenting on New Zealand Theatres Monty is quoted, "They are excellent. In England we tend to build cheaper theatres, seating about 1,000 people, and to have more of them. All the public wants is a comfortable seat and a good picture. In England most theatres open right onto the pavement. We have no spacious foyers in our theatres like you have here. The article concludes that "Mr. Marks sails from Auckland on February 15 for India* [sic], on his return to England."

[*note from Anthony Pettifer: Monty first returned to Australia] 

15 February, The Dominion

"Film Executives Visit. Mr. M. Marks Welcomed at by the 33 Club" reports that Mr. L . Quinn, General Manager of J.C. Williamson Theatre Corporation, said "how pleased the film industry was to welcome such a high executive as Mr. Marks. The club had been formed to bring both sides of the industry together." The article continues that Sir Benjamin Fuller welcomed Monty on behalf of the theatre side and joked that they would only approve films costing over 100,000 pounds. Mr. E. Ruttledge, Vice-President of the club said "he had been amazed that Mr. Marks, who was interested mainly in production, should also have such an inside knowledge of the other two sections of the industry." Mr. Marks responded "I was amazed to find you had such a successful club here - its typical of New Zealand to do the impossible." He also remarked that per capita London Films box office receipts in New Zealand were equal to England. "He felt the Empire should give British pictures preference or at least an even break - New Zealand did so but Australia unfortunately did not. I do not think we in England realise the tremendous possibilities in New Zealand." 

17 February, The Film Weekly

Announces that Monty arrived in Auckland and was met by New Zealand Manager of United Artists, B. Allen.

17 February, The New Zealand Observer

"Korda, Human Dynamo. Montague [sic] Marks Tells of Korda's Genius and Compelling Personality" features a photograph of Montagu Marks with the caption, "He is an Australian and proud of it" and Alexander Korda with the caption, "He swears in Hungarian and English". The article reveals some interesting comments by Monty about working with Korda. Monty "confesses that the real beauty of ...[time]... spent in the far places of the world is that it gives him an opportunity to get away from Alexander Korda for a while. Not that Mr. Marks and "Alex" as he calls him, are not best of friends, but he has been working with Korda unremittingly for the past four years. Korda is a human dynamo, and human dynamos are rather fatiguing things to work with." The article goes on to explain that Monty "looks after the business side of London Films, but as Korda is actually Managing Director, and the business side of his colossal schemes has an embarrassingly vital effect on the welfare of the company Mr. Marks and Mr. Korda work hand in glove, as it were." "Korda is 'terrific'", says Mr. Marks, "the biggest man in the film industry in Great Britain, he does not hesitate to be rude - the prerogative of big men." "Periodically when his plans are not working out too well, he has terrific rows with anyone who happens to be within range, swears luridly in very bad English or Hungarian, tears his hair, and then when he get what he wants, becomes in a second a very charming gentleman again."  ".... the 'Korda touch' in some many London Films productions, is indeed, Mr. Marks explains, the direct result of the impact of Korda's genius."  The article goes on reportMonty illustrating this point by describing the process that made 'Elephant Boy' so successful. "Robert Flahertly, who is as brilliant documentary photographer, went out to India and returned with thousands of feet of elephants. Zoltan Korda.....also went out to India, returning with still more elephants. Executives spent days in projection rooms viewing it all and endeavouring to reduce it to a coherent story. Day after day they looked at elephants, until Mr. Marks, for one dreamed of big elephants and little Indian boys. Then Korda came to the rescue, went through thousands of feet of film, cutting, grafting, adding here and there, until in am amazingly short space of time, there emerged the fine picture that was 'Elephant Boy.'"    

23 February, The Sun

"Sydney Sundays Are Boring. Cinema Proposed Cure" describes an interview with Monty where he suggests that cinema's should be open on Sunday with part of the takings going towards the creation of a fund to subsidise Australian film productions. He is quoted as saying "Everywhere is that same puritan Sunday - something that you would not find in cities overseas. I don't know how you stand it." He goes on to comment that when 5pm to 8pm Sunday showings were proposed in London "there was a loud protest, but the scheme went through and now there are talkie programmes every Sunday with 15% of the proceeds set aside for various charities authorised by the London County Council. Here in Australia I would suggest a 20% deduction, the money to go to the Federal Government for subsidising Australian productions. In this country are many worthwhile organizations struggling to make pictures against tremendous odds. Here is a logical solution of their difficulties. I know that you people want a brighter Sunday - I have spoken to them about it. In this way you would not only bring greater happiness but also perform a national service. Thousands are on the beach every Sunday. Others play golf or go driving. I dozens of ways the day is given up to pleasure. Surely pictures could do additional harm, but must help to overcome boredom". The interview goes on to report on Monty's suggestion that "when Australia makes a trade agreement with the United States it should insist on that country taking at least 1,000,000 pounds of Australian films annually since the American film industry tool at least 2,000,000 pounds annually from Australian audiences. A more reciprocal arrangement would give an incentive to Australian production and a new industry opened up.

25 February, Daily Telegraph

"Evil Days For British Film Folk. Thousand Attend Commons Debate" reports on the quota issue between Britain and Australia with amendments that, in an attempt to help jobs in Britain, would disadvantage Australia. Monty is quoted as trying to reassure Australia: "Up to the present Australian or Empire film has counted as quota against foreign film in England. I am quite positive that there will be no laws passed in England that will discriminate against Empire film."  

2 March, The Advertiser, Adelaide

"Future of British Films. Industry Discredited by Shoddy Films." reports on Monty's statement that "many of the commonest and shoddiest of British Films were bought by American interests and distributed in the Dominions for the purpose of damaging the British film industry." The article continues that 'amendments to British film legislation recently announced would, he thought, prevent this practice from continuing. Under the existing law, he said, picture houses were obliged to screen 25% of British films. To keep within the quota, American distributors bought cheap British films at 1 pound a foot and exhibited them in the mornings while theatres were being cleaned. Afterwards these films were exported overseas.". Monty concluded that ".... whatever failures there had been in the past, there was none that a single good film could not correct."

March (exact day unknown), (unknown Press Cutting)

"Film Quota Bill. Australia Will Benefit" reports that Monty, "who will leave on his return to England on Tuesday", will recommend financial assistance to the production of films in Australia. It goes on to quote his very direct views on the misuse of the quota system and the recently passed legislation to correct it: "It is utterly impossible to expect to produce in Australia any films to compete on the overseas market at a cost of only a few thousand pounds, which has hitherto been the case in Australia. The effect of the new British amending legislation affecting film quotas will be to stimulate production in Australia and other parts of the Empire of high grade films. The old quota system introduced in 1927 provided that the footage of foreign film had to be compensated to 25% by films made in the Empire, and to comply with this quota American capital and artists established themselves in England. They produced a class of film often shown to charwomen before 9 a.m. by exhibitors merely to comply with the act. These films when sent abroad as British products naturally caused tremendous revulsion of public opinion against British films, which nearly wrecked the industry. Amending legislation which has been passed provides that films made for the quota must be made by British nationals or people representing Great Britain. Now I can give assurance that this will prevent American exploitation of the industry and force British producers to seek to amalgamate forces with Australian producers to comply with the new quota legislation." The article concludes, "Mr. Marks deplores the stagnation on Sundays in so many centres where films could pleasantly and profitably exhibited on that day to enable the Australian film industry to be subsidised. He suggest that, just as in England, where Sunday cinemas are permitted upon contribution of 15% to charity, so in Australia the could provide a percentage to aid Australian film."

March (exact day unknown), (unknown Press Cutting)

"Proposal For Film Bank. Would Aid Industry. UK Expert's Idea" reports on Monty's idea for "the establishment of a film bank to provide capital for the production of world-class films in Australia." "Mr. Marks who is returning to London after a visit to Australian capitals, claims that unless Australian producers can afford to spend 75,000 pounds or even 100,000 pounds on one picture, this country can never hope to consolidate itself on the world market." His suggestion is summarised as follows: "That to provide sufficient money to make pictures of that class. a Government Film Bank should be established; That the bank should obtain funds from the receipt of 20% of gross box office returns from Sunday night picture programmes throughout Australia; That it should make loans of up to 80% of the total cost of production to approved producing organisations; That the Government, having established the film industry on a sound basis, should engineer reciprocal arrangements with American and British distributors for the exchange of films, even on a basis as low as 80-20." Monty pointed out that this would subsidise the Australian industry at no cost to Australian taxpayers and "actually at the expense of overseas interests." He suggested that "the maximum net box office return for one film in Australia was about 8,000 pounds, and a film made for that sum would not be suitable for overseas distribution." He went on to suggest "a board of experts, either from England or Australia, to investigate applications for loans from three angles - story, cast, and budget." Periodical reports on the progress of production would be made. The income from the film would be assigned to the bank until the advance and interest had been paid, and further proceeds would go to make the company self-supporting." Monty pointed out that "one of the aims of the new Film Bill in England was to prevent the importation of second rate American executives and played-out American "stars" to produce low-grade pictures in England.....He believed that Australian producers would not find it necessary to import players and technicians once they had been given a start by Federal aid. Referring to his statement that his company might make films in Australia, Mr. Marks said that he would send a number of key men here, but it would make arrangements with an Australian company for actual production, and would thus help the Australian industry."    

5 March, The Mirror

"Where Are The Gilgies? Perth Boy Asks. After 25 Years." The article is a take on Monty's early life in Perth and his dreams. It features a photograph of Monty with the caption "Montague [sic] Marks......his dreams came true. The simple delight which comes from visiting the old home town is bringing to him a sublime thrill and, although the swamps where the gilgies once lived are gone for ever, the man of today looks with pride upon the great buildings which make the city today, standing as they do, monuments to confidence and unrelaxing progress. With the dreamy expression of the artist, Montague [sic] Marks remarked "I will be sorry to leave; there is poetry in Perth."" The article opens with how sad Monty is that he could not find the gilgies in the swamps he remembers from his boyhood. It goes on to say he was a dreamer and other boys found him "different". To fit in he would pretend to hunt for crabs with a spear "but he was never known to hoist from the waters an impaled crab painfully struggling to escape its boyish captor's weapon. Montague [sic] Marks never could bear the thought of causing pain, for he has all the artist's abhorrence of inflicting suffering, especially on wild things, whether they were birds, animals or fish." The article talks about his wanderlust and "like, artists in olden times, he worked his way around the world, painting his way from place to place.......and New York finally griped him.""Putting his brush and palette aside.....he soon found himself a leader in commerce. His New York success drew him to England, and in the Empire's capital he became General Manager of London Films Productions Ltd. and is today one of the big factors in the world of British film production." "The boy who dreamed of first being an artist then dreamed of being a business leader - a dream which came true. He is still dreaming, now of establishing the film industry in his native country on a sound basis - a basis so sound that on it will rise a super-structure which will command world attention for Australian products." Monty is quoted, "Hurl doubts to the wind; this doctrine of "can't" does not embrace the creed on which a nation is built. Do not heed those that tell you there can never be an Australian film industry, for their prototypes in earlier times said there could never be a steel industry and some even said there would never be a gold industry in Western Australia. Take courage from Australia's achievements of the past and go forward with confidence to establish a film industry as part of the industrial activities of Australia." The article then reports that "companion on his upward climb to commercial fame is his younger brother Nate* who 25 years ago left the 'Daily News' office to move forward to bigger places of population and with his brother to give proof that little old Perth produces the kind of boy that can win fame and honour in matching his natural abilities with the greatest intellects in big city centres of the world." The article concludes "and so Monte [sic] Marks, the man of today, whose career is being crowned with dazzling success is getting quiet, simple thrills revisiting or reconstructing the scenes of the happiest days of his life, his early boyhood in old Perth."

[*note from Anthony Pettifer: 'Nate', Nathan Marks, who changed his name to Kay Harrison (after his mother's maiden name, Harris) was Managing Director of Technicolor Europe.] 

? (unknown date), The Sunday Times (Perth)

"London Film Executive Was Schooled in Perth. Cane Marks Still." reports on a very personal interview by Monty. It states he went to Highgate Hill school. "He left school aged 12 carrying with him a scar - which retains to this day - by a master breaking his can on his hand." Monty is quoted, "I was never much good at spelling, and our master.....promised the class a cut for each and every mistake. I made 21!" The article continues that "on leaving school he worked with Phil Goatcher, a scenic artist, hoping to receive a training in painting, but his heart was broken by having to clean out paint pots and sticky brushes instead of doing the work in which he was so keenly interested." The it reports that aged 13 his parents moved to Southern Cross "to join the frantic search for gold and that it was there that Mr. Marks witnessed a scene which he intends to incorporate in a future film. They arrived in the town just before the pipeline was put through." Monty is quoted, "I remember the tremendous excitement that ran through the town as the pipe gang approached. The women locked themselves in their hessian tents and we saw the men swarming into the town like a small army. And believe me, they were tough!" The article concludes "until he was 16, Mr. Marks remained in Southern Cross, cradling for gold but with little success. He then left for Melbourne to once again pursue his art studies."

9 August, The Sun News Pictorial

"Our Own Pictures" by Jonathan Swift features a photograph of Ken Hall and reports on his and Mr. Norman B. Rydge, managing director of Cinesound, asking for nothing more "than that fair comparison with Hollywood's best should be made about their biggest effort, 'The Broken Melody'." It concludes with a criticism of Monty for not bringing British Productions to Australia or his promised world premières.  In a somewhat snide remark it ends "might I suggest that he receives a reminder about these things in case he has mislaid his diary?"*

[*note from Anthony Pettifer: I still need to dig into the facts, but I strongly suspect that London Film Productions' financial woes, the quota issue and increasing geopolitical instability prevented Monty's ability to follow up, however much in his heart he wished to. Also I am still trying to discover when he actually left London Films Productions and under what circumstances. In December he announced his association with Fairbanks International.]

4 December, London Evening Standard

"New Company Plans Three Super Films" reports that the aim of new 'Fairbanks International' production company "whose formation was announced in the Evening Standard yesterday, will be to produce only super films in England and America." Three films planned for the 1939 season where: 'The Californian', 'The Tenth Women', an episode in the life of Byron, and a remake of 'The Three Musketeers', which Douglas Fairbanks Snr. will direct, but not act in. The article states that, "the new company has been formed by Mr. Fairbanks and Sir Adrian Baillie, MP. Associated with them are Mr. John Hay Whitney and Mr. David O. Selznick, of the Selznick-Whitney group, which is providing American capital, Mr. Montague [sic] Marks and Mr. George Archibald. The company has 500,000 pounds* at its disposal."

[*note from Anthony Pettifer: December 19th 1938, Time reported the deal was $2,500,000 from American, English and Swiss backers and the films would be distributed by Unites Artists]

1941

Stella

1 November, Daily Telegraph and Morning Post, 'London day-by-day'

"P.M.'s Youngest Daughter" features a black and white photograph of a portrait miniature of Mary Churchill. The article reports "it was given to Mr. and Mrs. Churchill by members of the family when she was leaving home to join the A.T.S. The artist Stella Marks, tells me that Mrs. Churchill rang her up to say how delighted she and the Prime Minister were with it."

1943

Stella

1 July, The Scotsman, Glasgow Herald and Edinburgh Evening News

1948

Stella

14 December, The Times

"Reopening of the Royal Exchange" features a photograph of Queen Elizabeth "visiting the exhibition of the Royal Society of Portrait Painters". Stella's oil portrait of the actress, 'Elena Miramova', is shown top right.

1949

Stella

16 June, The Australian Post Magazine (front cover)

1950

2 October, The Londoner's Diary

"Portrait of a Princess" reports "Princess Elizabeth has a the new miniature portrait of her husband......that makes a pair with another, of herself, that was painted two years ago." The article reveals that Prince Philip sat for his portrait while on leave at the time of Princess Anne's birth and that Stella "went to Clarence House four times"

1951

Stella

January, Woman's Journal (article on Royal Portrait Painters)

5 January, The Age

1953

Stella

5 March, The Daily Mirror and Women's Illustrated

Features a reproduction of an oil painting of H.R.H. Prince Charles "specially painted for Women's Illustrated by Stella Marks,"

month?, Woman's Pictorial

Month?, Women and Woman's Journal

1956

Stella

5 February, The Sunday Times (front page)

1958

Monty

? January, The Daily Express

Reports that Monty has quote, "just done a portrait of Lieut - Commander Michael Parker. Parker a fellow Australian flew off to America Tuesday. It is a very frank portrait. As frank as Annigoni's of Prince Philip."

4 February, The Daily Express

"Not as a Playboy" features a photograph of Monty alongside his oil portrait of Michael Parker and reports that "Monty wanted to paint his friend as he really is - not as a playboy, but as a stern manager of affairs."

? Unknown date and year, unknown press cutting

"Atmospheric quality in Artists Work" by 'D.R.' reviews 40 works of Monty's exhibited at the Brown Thomas Little Theatre "from Connemara landscapes to a view of the industrial Ruhr.....If the traditional mood of the Kerry and Galway locale is not always captured as satisfactorily as one would wish, there is much to admire in the atmospheric qualities of such paintings as 'Calm Before Storm', 'Sunday Morning' and 'Snow on Neisen. The study of a motion picture director - the only one treating a human subject - with a green hat, large cigar and loud tycoonish look is splendidly in character and there is a stark and ominous aura emanating from a few works in which the elements are the inspiration."

1964

Stella

19 November, The Daily Express

20 November, The Times

Features a black and white photograph of a portrait miniature of HRH Prince Andrew "painted for the Queen at Buckingham Palace by Mrs. Stella L. Marks."

1965

Stella

29 November, The Daily Telegraph

1966

Stella

19 October, The Daily Telegraph featured 'miniature within a miniature' of Sir Winston Churchill

1967

Stella

13 November, The Daily Telegraph

1970

Stella

25 April, Woman's Weekly

November, Field Magazine

1977

Stella's TV Coverage

Stella features in the BBC arts program Aquarius as "today's foremost miniature portrait painter". (I wish I could get a copy of this program. It no longer appears in the BBC archive) 

1979

Stella

Announcements that Stella awarded an MVO (Member of the Victorian Order)

1985

Stella's Obituaries

November, The Times, The Telegraph

1986

Journal of the International Churchill Society, Summer 1986