Three ALSs by the adolescent Elizabeth Taylor to National Velvet director Clarence Brown, all signed "Elizabeth," circa 1944–1945. The remarkable letters outline the charming relationship between the actress and the director of her first starring role, beginning with a letter of apology for some youthful indiscretions on the set of National Velvet, followed by a grateful letter for his skillful work on the film, and concluding with a gleeful postcard from a Wisconsin fishing trip. Includes:
ALS in pencil, signed "Sincerely, Elizabeth," four pages on a 5 x 4 folding personal stationery card, no date but circa 1944, during the production of National Velvet. In full (spelling and grammar retained): "I'm sorry I said what I did, this morning, that I didn't like my green & yello dress, I know now, that I shouldn't say whether I like anything or not. I'm sorry too, that I spoke to you while you were talking to Miss Revere. Mommy has told me it was wrong. I only did it, because I was in a hurry to talk to you before the hairdresser got me. I though you'd understand, but I promise I'll never do it again. I know I'm not a star Mr. Brown, it was just our joke when Mr. Boil put the star on my dressingroom, but I tore it up to-day and I don't want the red carpit anymore, please, don't think, I think I'm a star the way you said it this morning, makes me never want to be one…P.S. Please excuse the pencil & the way I've jumbled up the pages, but I'm in bed and I couldn't go to sleep until I wrote this."
ALS signed twice, "Love, Elizabeth," three pages on a 5 x 4 folding personal stationery card, December 6, 1944. In full: "You know when we were up in Monterey, we bought this blue cashmere sweater for you for an end of the picture preasent, but somehow the picture just never seemed to finish properly, and we never said good-by. But I kept the sweater for you—and now I'de like to give it to you for a thank-you preasent for making me good in 'Velvet' and making 'National Velvet' such a wonderful picture. When everybody keeps telling me how good I am in Velvet I know it is because you made me that way, because you are such a wonderful director. And I appreciate everything you have done for me and 'Velvet'…P.S. I like the way you keep doing it over until we get it right, until it feels just right. Oh thank you thank you Mr. Brown for everything." In closing, Taylor sketches two horses at the bottom of the page.
ALS signed "Love, Elizabeth Taylor," one page on a 5.5 x 3.5 postcard depicting a scenic drive near Minocqua, Wisconsin, postmarked August 13, 1945. In full: "It is so beautiful up here in Wisconsin and we're having the most wonderful vacation. We're catching more fish, and I'm catching great big ones. Wait untill I tell you about them." In overall fine condition.
Accompanied by an ALS by her mother, signed "Sarah Taylor," three pages, 6.25 x 9.5, personal letterhead, December 6, 1944, also to Clarence Brown. In part: "I must tell you how grateful we are to you…For weeks we have been hearing the most wonderful reports of 'National Velvet.' Everyone agrees it is the best picture they have ever seen—on any screen—any year, etc. Naturally we are happy about it. There is only one thing to mar the thrill & happiness of it all—and you know what that is. Oh, please Mr. Brown, if you could only forgive us—if we could only feel in our hearts that you are our friends—You don't know how unhappy Elizabeth & I have been about it all…We were so 'on the spot' from every direction…and we thought we were doing the right thing…I don't know how true it is but we have heard from several sources that the studio is trying to get 'Peter Pan' for Elizabeth (in Technicolor). If they do we would so like to have you do it. That's all we can think of. Would you do it Mr. Brown? We can hardly wait to see 'National Velvet'—and we hope that in the joy & happiness you feel over the great triumph of your picture you will find it in your heart to forgive us—so that we may feel happy too."
