PETER BASCH PHOTOGRAPHY
PROVENANCE: The image offered in this listing comes directly from the personal archived library of PETER BASCH who was a celebrity and artistic nude Playboy photographer during the 1940s through the 1970s. Mr. Basch was a master in glamour and nude fine art photography having authored many books on the subject. In addition to photographer signed and/or stamped photographic images, we are only offering 100% guaranteed original camera images (B&W negatives and color transparencies) which have been stored away since he produced his first work. Many of the original camera film images (negatives and transparencies) have never been seen before and are one of a kind. Others have been published in the world's top celebrity and men's magazines. The rediscovery of the mastery of Peter Basch will reveal his respect and passion for photographing the world's top celebrities and most beautiful women such as BETTIE PAGE, JAYNE MANSFIELD, GRACE KELLY, SOPHIA LOREN, MARLON BRANDO, JANE FONDA, BRIGITTE BARDOT, ANITA EKBERG, FEDERICO FELLINI, URSULA ANDRESS, and many more. Please see a bio and additional notes on Peter Basch below.
DESCRIPTION: A vintage circa December 1970 original 35mm camera negative of comic writer and former president and chairman of MARVEL COMICS, STAN LEE. The portrait was taken in the offices of Marvel Comics by the photographer PETER BASCH and comes from his personal archive.
A shallow notch trimmed in the lower perforation by the photographer identifies this as one of the strongest portraits from the shoot.
This is the original negative (film) that was in the camera at the time of the photo shoot and is therefore the only one of its kind in existence. (Please note this listing is for an original camera negative, not a photograph. The scan is of its positive view.)
RIGHTS: The PETER BASCH FAMILY TRUST is the sole and exclusive copyright owner of the listed image(s). No rights are included in this offering.
WE ARE OFFERING ADDITIONAL ORIGINAL CAMERA NEGATIVES, TRANSPARENCIES AND PHOTOGRAPHIC PRINTS FROM THE BASCH ARCHIVE IN OUR STORE: http://stores.ebay.com/greatclassics
- SIZE: 35mm
- TONE: B&W
- CONDITION: Fine.
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CONDITION GRADING
Excellent: Very nearly pristine, with no more than trivial flaws.
Very Fine: One or two minor defects and only the slightest handling wear.
Fine: Minor flaws, with slight handling or surface flaws.
Very Good: Slight scuffing, rippling, minor surface impressions.
Good: Visibly used with small areas of wear, which may include surface impressions and spotting.
Fair: Visibly damaged with extensive wear.
SHIPPING TERMS - I ship all items using, what I call, triple protection packing. The photos are inserted into a display bag with a white board, then packed in between thick packaging boards and lastly wrapped with plastic film for weather protection before being placed into the shipping envelope.
- The shipping cost for U.S. shipments includes USPS "Delivery Confirmation" tracking.
- I am happy to combine multiple wins at no additional cost. Please wait for me to issue the invoice before making payment.
PAYMENT TERMS - Please pay within three (3) days of purchase.
- I reserve the right to re-list the item(s) if payment is not received within seven (7) days.
- California residents - please wait for me to adjust the invoice to include California Sales Tax of 7.5% and 9% for Los Angeles residents.
CUSTOMER SERVICE - I will respond to all inquiries within 24 hours.
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PETER BASCH (1921-2004) was a German/American glamour photographer who captured thousands of images of the most prominent stars of the 50s and 60s. Peter Basch was born in Berlin, Germany, the only child of Felix Basch and Grete Basch-Freund, both prominent theater and film personalities of the German-speaking world. In 1933 the family came to New York due to fears of rising anti-Jewish sentiment and laws in Germany. The family had US citizenship because Felix's father, Arthur Basch, was a wine trader who lived in San Francisco. After moving back to Germany, Arthur Basch kept his American citizenship, and passed it to his children and, thence, to his grandchildren. When the Basch family arrived in New York in 1933, they opened a restaurant on Central Park South in the Navarro Hotel. The restaurant, Gretel's Viennese, became a hangout for the Austrian expatriate community. Peter Basch had his first job there as a waiter. While in New York, Basch attended the De Witt Clinton High School. The family moved to Los Angeles to assist in Basch's father's career, during which time Basch went to school in England. Upon returning to the United States, Basch joined the Army. He was mobilized in the US Army Air Forces' First Motion Picture Unit, where he worked as a script boy. After the war, he started attending UCLA and started taking photographs of young starlets working with other photographers and film studios. His mother asked him to join her back in New York after she and his father decided that Basch should be a photographer and they obtained a photography studio for their son. For over twenty years, Peter Basch had a successful career as a magazine photographer. He was known for his images of celebrities, artists, dancers, actors, starlets, and glamour-girls in America and Europe. His photos appeared in many major magazines such as Life, Look and Playboy.The Peter Basch Collection includes iconic images of all the major midcentury stars, from Europe and America. These masterful images are a window onto a time we cannot forget, when movie stars stepped out of the studio’s control, and we began to see these larger-than-life performers as full, three-dimensional personalities. Basch’s images capture the heart and spirit of these glamorous performers. Taking pictures in natural light, out in the world, we see these stars as full human beings, not the carefully made-up, studio-approved icons of oldfashioned Hollywood. Basch was able to capture the moments of a human being’s spirit, their mercurial reactions, all the facets that made these magnetic individuals the stars they were. Basch authored and co-authored a number of books containing his photographs including: Candid Photography (1958 with Peter Gowland Basch and Don Ornitz Basch) Peter Basch's Glamour Photography (A Fawcett How-To Book) (1958) Peter Basch photographs beauties of the world (1958) Camera in Rome (1963 with Nathan and Simon Basch) Peter Basch Photographs 100 Famous Beauties (1965) The nude as form & figure (1966) Put a Girl in Your Pocket: The Artful Camera of Peter Basch (1969) Peter Basch's Guide to Figure Photography (1975 with Jack Rey)
Thoughts on Peter Basch by his daughter: "My Father, Peter Basch, saw. He looked and he saw. He taught me to see. He taught me to listen and hear. We used to play a game when I was little. He’d say, Michele, look at the street then look at me, what did you see? I would list the cars, red, black, navy; people, fat, tall, thin; children, parents; trees and plants. He would add the detail. A blue car with New York plates, a black car with New Jersey plates. The people were not just tall or small, thin or fat, they wore coats or sweaters, they laughed or were sad. The trees had leaves, were close together, the green was dark, vivid, the sun playing with the shadow.
My Father saw. He captured in his mind and on film the unexpected moment in time, the interaction between two people, the look, the thought, the breath that punctuated the decision.
My Father was one of the great romantics. He had a true love and appreciation of beauty in its purest form. We would talk about BEAUTY and her differences: natural, Hollywood, young, old and the beauty of communication, interaction, the Beauty of the moment. He recorded the breath in time on film: two ladies in Paris reading the paper, a Dachshund looking around the corner, a chair in front of the Eiffel Tower. My Father saw the thought and seized it for posterity.
My Father understood the language light speaks to shadow. He showed me how the sun plays with dark. His favorite moment was at Sunrise when the shadows were long and soft. He saw every hue from white to black and everything in between. He understood the language, taught and published books on Light and Shadow, Form and Figure.
I traveled through Europe with my Father. I was his assistant! And proud of it! I was the camera person! Changed the film, made sure the lens was clean, stood in during special poses, helped in the dark room, retouched to refine and perfect. I loved watching him talk and listen. He listened to Jane Fonda, Ursula Andress, Brigit Bardot, Fellini, Mastroiani and so many more. He listened and recorded the answer, the thought, that moment of indecision, realization and Seduction."
Film Assignments:
8½ - Fellini
Jules et Jim - Truffaut
Bijoutiers du Clair de Lune - Vadim
The Vice and the Virtue - Vadim
Fearless Vampire Killers - Polanski
Yesterday, Today and Tomorrow - De Sica
Une Femme Est Une Femme Goddard
Fear - Rosselini
Cartouche - De Broca
Giant - Stevens
Anne Frank - Stevens
Guys and Dolls - Mankiewicz
Horse Soldiers - Ford
Majority of One - Leroy
Walk on the Wild Side - Dmytryk
Wild in the Streets - Spear
Leonidas - Matte
The Day the Fish Came Out - Cocayannis
The Pawnbroker - Lumet
La Verite - Clouzot
La Loi Sacree - Pabst
Baby Doll - Kazan
Summertime - Lean
The 13 Most Beautiful Girls - Warhol
The Three Sisters - Bogart
Francis of Assissi - Curtiz
The Swimmer Perry
Cape Fear
The Man Who Had Power Over Women
The Spy With The Cold Nose
Winnetou
Mata Hari
Exhibitions:
2002 Jewish Museum - Vienna Austria “Vom Grossvater vertrieben”
2002 LEICA Gallery, NYC Portrait of Al Hirschfeld
2001 National Portrait Gallery -- London Dame Elizabeth (Taylor)
2001 Fahey-Klein Gallery, LA Group Show/Great Directors
2001 Museum/City of New York, Al Hirschfeld Exhibit
2000 Museum of Modern Art, NY, Brigitte Bardot
1999 Vienna, Austria – “übersee”
1999 Stadt Museum, Munich, Germany “TWEN” exhibit
1997 Museum of the Moving Image – Grace Kelly
1996 Staley Wise Gallery, NY “Shooting Stars” – one man show
1980s Museum of Modern Art, NY, Sophia Loren LA County Museum "Masters of Starlight" (subsequently traveled to Tokyo & Kyoto, Japan) Stadt Museum, Munich, Germany “AKT” (nudes)
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STAN LEE BIO
Stan Lee (born Stanley Martin Lieber; December 28, 1922), is an American comic book writer, editor, publisher, media producer, and former president and chairman of Marvel Comics.
In collaboration with several artists, most notably Jack Kirby and Steve Ditko, he co-created Spider-Man, the Hulk, theX-Men, the Fantastic Four, Iron Man, Thor, and many other fictional characters, introducing complex, naturalisticcharacters and a thoroughly shared universe into superhero comic books. In addition, he headed the first major successful challenge to the industry's censorship organization, the Comics Code Authority, and forced it to reform its policies. Lee subsequently led the expansion of Marvel Comics from a small division of a publishing house to a largemultimedia corporation.
He was inducted into the comic book industry's The Will Eisner Award Hall of Fame in 1994 and the Jack Kirby Hall of Fame in 1995.
Stanley Martin Lieber was born in New York City on December 28, 1922, in the apartment of his Romanian-born Jewishimmigrant parents, Celia (née Solomon) and Jack Lieber, at the corner of West 98th Street and West End Avenue inManhattan.[1][2] His father, trained as a dress cutter, worked only sporadically after the Great Depression,[1] and the family moved further uptown to Fort Washington Avenue,[3] in Washington Heights, Manhattan. When Lee was nearly 9, his only sibling, brother Larry Lieber, was born.[4] He said in 2006 that as a child he was influenced by books and movies, particularly those with Errol Flynn playing heroic roles.[5] By the time Lee was in his teens, the family was living in a one-bedroom apartment at 1720 University Avenue in The Bronx. Lee described it as "a third-floor apartment facing out back", with him and his brother sharing a bedroom and his parents using a foldout couch.[4]
Lee attended DeWitt Clinton High School in The Bronx.[6] In his youth, Lee enjoyed writing, and entertained dreams of one day writing The Great American Novel.[7] He has said that in his youth he worked such part-time jobs as writingobituaries for a news service and press releases for the National Tuberculosis Center; delivering sandwiches for the Jack May pharmacy to offices in Rockefeller Center; working as an office boy for a trouser manufacturer; ushering at the Rivoli Theater on Broadway;[citation needed] and selling subscriptions to the New York Herald Tribune newspaper. He graduated high school early, at age 16½ in 1939, and joined the WPA Federal Theatre Project.[8]
With the help of his uncle Robbie Solomon,[9][10] Lee became an assistant in 1939 at the new Timely Comics division ofpulp magazine and comic-book publisher Martin Goodman's company.[10] Timely, by the 1960s, would evolve into Marvel Comics. Lee, whose cousin Jean[11] was Goodman's wife, was formally hired by Timely editor Joe Simon.[10]
His duties were prosaic at first. "In those days [the artists] dipped the pen in ink, [so] I had to make sure the inkwells were filled", Lee recalled in 2009. "I went down and got them their lunch, I did proofreading, I erased the pencils from the finished pages for them".[12] Marshaling his childhood ambition to be a writer, young Stanley Lieber made his comic-book debut with the text filler "Captain America Foils the Traitor's Revenge" in Captain America Comics No. 3 (May 1941), using the pseudonym "Stan Lee", which years later he would adopt as his legal name. Lee later explained in his autobiography and numerous other sources that he had intended to save his given name for more literary work. This initial story also introduced Captain America's trademark ricocheting shield-toss, which immediately became one of the character's signatures.[13]
He graduated from writing filler to actual comics with a backup feature, "'Headline' Hunter, Foreign Correspondent", two issues later. Lee's first superhero co-creation was the Destroyer, in Mystic Comics No. 6 (Aug 1941). Other characters he created during this period fans and historians call the Golden Age of comics include Jack Frost, debuting in USA ComicsNo. 1 (Aug. 1941), and Father Time, debuting in Captain America Comics No. 6 (Aug. 1941).[14]
When Simon and his creative partner Jack Kirby left late in 1941, following a dispute with Goodman, the 30-year-old publisher installed Lee, just under 19 years old, as interim editor.[15] The youngster showed a knack for the business that led him to remain as the comic-book division's editor-in-chief, as well as art director for much of that time, until 1972, when he would succeed Goodman as publisher.[16][17]
Lee entered the United States Army in early 1942 and served stateside in the Signal Corps, writing manuals, training films, and slogans, and occasionally cartooning. His military classification, he says, was "playwright"; he adds that only nine men in the U.S. Army were given that title.[18] Vincent Fago, editor of Timely's "animation comics" section, which put out humor and funny animal comics, filled in until Lee returned from his World War II military service in 1945. Lee then lived in the rented top floor of a brownstone in the East 90s in Manhattan.[19]
He married Joan Clayton Boocock on December 5, 1947,[20] and in 1949, the couple bought a two-story, three-bedroom home at 1084 West Broadway in Woodmere, New York, on Long Island, living there through 1952.[21] By this time, the couple had daughter Joan Celia "J.C." Lee, born in 1950; another child, Jan Lee, died three days after delivery in 1953.[22] Lee by this time had bought a home at 226 Richards Lane in the Long Island town of Hewlett Harbor, New York, where he and his family lived from 1952 to 1980,[23] including the 1960s period when Lee and his artist collaborators would revolutionize comic books.
In the mid-1950s, by which time the company was now generally known as Atlas Comics, Lee wrote stories in a variety of genres including romance, Westerns, humor, science fiction, medieval adventure, horror and suspense. By the end of the decade, Lee had become dissatisfied with his career and considered quitting the field.[24][25]
In the late 1950s, DC Comics editor Julius Schwartz revived the superhero archetype and experienced a significant success with its updated version of the Flash, and later with super-team the Justice League of America. In response, publisher Martin Goodman assigned Lee to create a new superhero team. Lee's wife urged him to experiment with stories he preferred, since he was planning on changing careers and had nothing to lose.[24][25]
Lee acted on that advice, giving his superheroes a flawed humanity, a change from the ideal archetypes that were typically written for preteens. Before this, most superheroes were idealistically perfect people with no serious, lasting problems.[26] Lee introduced complex, naturalistic characters[27] who could have bad tempers, fits of melancholy, vanity; they bickered amongst themselves, worried about paying their bills and impressing girlfriends, got bored or even were sometimes physically ill.
The first superhero group Lee and artist Jack Kirby created was the Fantastic Four. The team's immediate popularity led Lee and Marvel's illustrators to produce a cavalcade of new titles. With Kirby primarily, Lee created the Hulk, Iron Man,Thor and the X-Men; with Bill Everett, Daredevil; and with Steve Ditko, Doctor Strange and Marvel's most successful character, Spider-Man, all of whom lived in a thoroughly shared universe.[28]
Comics historian Peter Sanderson wrote that in the 1960s:
DC was the equivalent of the big Hollywood studios: After the brilliance of DC's reinvention of the superhero ... in the late 1950s and early 1960s, it had run into a creative drought by the decade's end. There was a new audience for comics now, and it wasn't just the little kids that traditionally had read the books. The Marvel of the 1960s was in its own way the counterpart of the French New Wave.... Marvel was pioneering new methods of comics storytelling and characterization, addressing more serious themes, and in the process keeping and attracting readers in their teens and beyond. Moreover, among this new generation of readers were people who wanted to write or draw comics themselves, within the new style that Marvel had pioneered, and push the creative envelope still further.[29]
Stan Lee's Marvel revolution extended beyond the characters and storylines to the way in which comic books engaged the readership and built a sense of community between fans and creators.[30] Lee introduced the practice of including a credit panel on the splash page of each story, naming not just the writer and penciller but also the inker and letterer. Regular news about Marvel staff members and upcoming storylines was presented on the Bullpen Bulletins page, which (like the letter columns that appeared in each title) was written in a friendly, chatty style.
Throughout the 1960s, Lee scripted, art-directed and edited most of Marvel's series, moderated the letters pages, wrote a monthly column called "Stan's Soapbox," and wrote endless promotional copy, often signing off with his trademark phrase "Excelsior!" (which is also the New York state motto). To maintain his taxing workload, yet still meet deadlines, he used a system that was used previously by various comic-book studios, but due to Lee's success with it, became known as the "Marvel Method" or "Marvel style" of comic-book creation. Typically, Lee would brainstorm a story with the artist and then prepare a brief synopsis rather than a full script. Based on the synopsis, the artist would fill the allotted number of pages by determining and drawing the panel-to-panel storytelling. After the artist turned in penciled pages, Lee would write the word balloons and captions, and then oversee the lettering and coloring. In effect, the artists were co-plotters, whose collaborative first drafts Lee built upon.
Because of this system, the exact division of creative credits on Lee's comics has been disputed, especially in cases of comics drawn by Kirby and Ditko. Lee shares co-creator credit with Kirby and Ditko on, respectively, the Fantastic Four and Spider-Man feature film series.
In 1971, Lee indirectly helped reform the Comics Code.[31] The US Department of Health, Education and Welfare had asked Lee to write a comic-book story about the dangers of drugs and Lee conceived a three-issue subplot in The Amazing Spider-Man #96–98 (cover-dated May–July 1971), in which Peter Parker's best friend becomes addicted to pills. The Comics Code Authority refused to grant its seal because the stories depicted drug use; the anti-drug context was considered irrelevant. With Goodman's cooperation and confident that the original government request would give him credibility, Lee had the story published without the seal. The comics sold well and Marvel won praise for its socially conscious efforts. The CCA subsequently loosened the Code to permit negative depictions of drugs, among other new freedoms.[32]
Lee also supported using comic books to provide some measure of social commentary about the real world, often dealing with racism and bigotry. "Stan's Soapbox", besides promoting an upcoming comic book project, also addressed issues of discrimination, intolerance, or prejudice.[33][34]
In later years, Lee became a figurehead and public face for Marvel Comics. He made appearances at comic book conventions around America, lecturing at colleges and participating in panel discussions. He owned a vacation home on Cutler Lane in Remsenburg, New York[35] and, from 1975 to 1980, a two-bedroom condominium on the 14th floor of 220 East 63rd Street in Manhattan.[36] He moved to California in 1981 to develop Marvel's TV and movie properties. He has been an executive producer for, and has made cameo appearances in, Marvel film adaptations and other movies. He and his wife bought a home in West Hollywood, California previously owned by comedian Jack Benny's radio announcer,Don Wilson.[37] Lee was briefly president of the entire company, but soon stepped down to become publisher instead, finding that being president was too much about numbers and finance and not enough about the creative process he enjoyed.[38]
Peter Paul and Lee began to start a new Internet-based superhero creation, production and marketing studio, Stan Lee Media, in 1998. It grew to 165 people and went public, but near the end of 2000, investigators discovered illegal stock manipulation by Paul and corporate officer Stephan Gordon.[39] Stan Lee Media filed for Chapter 11 bankruptcy protection in February 2001.[40] Paul was extradited to the U.S. from Brazil, and pleaded guilty to violating SEC Rule 10b-5 in connection with trading of his stock in Stan Lee Media.[41][42] Lee was never implicated in the scheme.
In the 2000s, Lee did his first work for DC Comics, launching the Just Imagine... series, in which Lee reimagined the DC superheroes Superman, Batman, Wonder Woman, Green Lantern and the Flash.[43]
In 2001, Lee, Gill Champion and Arthur Lieberman formed POW! (Purveyors of Wonder) Entertainment to develop film, television and video game properties. Lee created the risqué animated superhero series Stripperella for Spike TV. In 2004 he announced a superhero program that would feature Ringo Starr, the former Beatle, as the lead character.[44]Additionally, in August of that year, Lee announced the launch of Stan Lee's Sunday Comics,[45] hosted byKomikwerks.com, where monthly subscribers could read a new, updated comic and "Stan's Soapbox" every Sunday. The column has not been updated since February 15, 2005.
In 2006, Marvel commemorated Lee's 65 years with the company by publishing a series of one-shot comics starring Lee himself meeting and interacting with many of his co-creations, including Spider-Man, Doctor Strange, the Thing, Silver Surfer and Doctor Doom. These comics also featured short pieces by such comics creators as Joss Whedon and Fred Hembeck, as well as reprints of classic Lee-written adventures.[citation needed]
On March 15, 2007, Stan Lee Media's new president, Jim Nesfield, filed a lawsuit against Marvel Entertainment for $5 billion, claiming that the company is co-owner of the characters that Lee created for Marvel.[46] On June 9, 2007, Stan Lee Media sued Lee; his newer company, POW! Entertainment; POW! subsidiary QED Entertainment; and other former Stan Lee Media staff at POW![47]
At the 2007 Comic-Con International, Marvel Legends introduced a Stan Lee action figure. The body beneath the figure's removable cloth wardrobe is a re-used mold of a previously released Spider-Man action figure, with minor changes.[48]
In 2008, Lee wrote humorous captions for the political fumetti book Stan Lee Presents Election Daze: What Are They Really Saying?.[49] In April of that year, at the New York Comic Con, Viz Media announced that Lee and Hiroyuki Takeiwere collaborating on the manga Karakuridôji Ultimo, from parent company Shueisha.[50] That same month, Brighton Partners and Rainmaker Animation announced a partnership POW! to produce a CGI film series, Legion of 5.[51] That same month, Virgin Comics announced Lee would create a line of superhero comics for that company.[52] He is also working on a TV adaptation of the novel Hero.[53] He wrote the foreword to the 2010 non-fiction e-book memoirSkyscraperman by skyscraper fire-safety advocate Dan Goodwin, who had climbed skyscrapers dressed as Spider-Man.[54]
In 2009, he and the Japanese company Bones produced its first manga feature, Heroman, serialized in Square Enix'sMonthly Sh?nen Gangan; the feature was adapted to anime in April 2010.[55][56]
In October 2010, Lee's SLG Entertainment partnered with Guardian Media Entertainment on The Guardian Project to create superhero mascots for the National Hockey League.[57]
In August 2011, Lee announced his support for the Eagle Initiative, a program to find new talent in the comic book field.[58]
In 2011, Lee was writing a live-action musical, The Yin and Yang Battle of Tao.[59] In October, Lee announced he would partner with 1821 Comics on a multimedia imprint for children, Stan Lee’s Kids Universe, a move he said addressed the lack of comic books targeted for children; and that he was collaborating with the company on its futuristic graphic novelRomeo & Juliet: The War, by writer Max Work and artist Skan Srisuwan.[60][61]
In April 2012, Lee announced his partnership with Regina Carpinelli, the founder and CEO of Comikaze Expo.[62]Comikaze Expo, Los Angeles' largest comic book convention, was rebranded as Stan Lee's Comikaze Presented by POW! Entertainment.[63]
At the 2012 San Diego Comic-Con International, Lee announced his new YouTube channel, Stan Lee's World of Heroes, which airs several programs created by Lee and other creators, including Mark Hamill, Peter David, Adrianne Curry andBonnie Burton.[64][65][66][67]
The Stan Lee Foundation was founded in 2010 to focus on literacy, education and the arts. Its stated goals include supporting programs and ideas that improve access to literacy resources, as well as promoting diversity, national literacy, culture and the arts.[68]
Stan Lee has donated portions of his personal effects to the University of Wyoming at various times, between 1981 and 2001.[69]
• Lee has received several awards for his work, including being inducted into the comic book industry's The Will Eisner Award Hall of Fame in 1994 and the Jack Kirby Hall of Fame in 1995.[citation needed]
• On November 17, 2008, Stan Lee was awarded the National Medal of Arts.[33][70]
• The County of Los Angeles declared October 2, 2009 Stan Lee Day.[71]
• The City of Long Beach declared October 2, 2009 Stan Lee Day.[71]
• Lee won the Comic-Con Icon Award 2009 at Scream Awards.[72]
• Lee received the 2,428th star on the Hollywood Walk of Fame on January 4, 2011.[73]
On January 21, 2012, Lee received the Vanguard Award from the Producers Guild of America.[74]
Courtesy of Wikipedia
