Hand-painted, 4" x 3¼" glass slide from "The Return of Draw Egan," a short Western directed by William S. Hart. Featuring Hart in the title role and Margery Wilson (as Marguery Wilson) as the love interest, it was produced by Triangle Productions and Kay-Bee, and released Oct. 1, 1916, by S.A. Lynch Enterprises, Inc.

The original "trailers," painted glass slides were inserted into movie projectors and shown on the silver screen to promote coming attractions.

One of Hart's many bad-man-turned-good films, "The Return of Draw Egan" is the story of a villain who is mistaken for a lawman and is thusly appointed Sheriff of the town of Yellow Dog. Given respectability, Egan (Hart) embraces the law and cleans up the town.

Also appearing in the film are Louise Glaum, Robert McKim, J.P. Lockney, Dorothy Benham, Hector Dion, J.H. Gilmour, Florence La Badie, George Marlo, Samuel N. Niblack and Robert Vaughn (II).

The original movie cowboy, Hart was born Dec. 6, 1864 in Newburgh, New York. He made his last film ("Tumbleweeds") in 1925, moved to Newhall in 1927 and died there on June 23, 1946.

More information about Hart here.

About "The Return of Draw Egan"

From Koszarski (1980:53): Produced by Triangle/Kay-Bee under the supervision of Thomas H. Ince; distributed by Triangle; in production April 29-May 24, 1916; released October 15, 1916; © as a reissue by Tri-Stone Pictures, May 25, 1924; production cost, $13,307.65; also known as "The Fugitive;" five reels.

Directed by William S. Hart; story and screenplay by C. Gardner Sullivan; photographed by Joe August; art director, Robert Brunton; assistant director, Cliff Smith.

CAST: William S. Hart ("Draw" Egan/William Blake); Louise Glaum (Poppy); Margery Wilson (Myrtle Buckton); Robert McKim (Arizona Joe); J.P. Lockney (Mat Buckton).

SYNOPSIS: With a price of a thousand dollars on his head, "Draw" Egan, captain of a band of outlaws, escapes with Arizona Joe from a burning cabin in which he is cornered. They separate. The impression goes forth that "Draw" Egan is slain.

Yellow Dog is a town wherein the bad element has been running things with a high hand. The reformers under Mat Buckton cast about for a fearless man to rule the community. When "Draw" Egan shows up on the horizon he attracts the attention of Mat Buckton, who persuades him to take the position of sheriff. "Draw" takes him up.

Yellow Dog soon shows the effect of his iron rule. Law and order prevail. Arizona Joe shows up about this time and pretends to be a fearless desperado. He discovers "Draw" Egan's position in the community and hears from his former chief that no mischief will be tolerated. Spurred on to make trouble by Poppy, the dance-hall queen, Arizona Joe defies "Draw" Egan and the latter fails to check him, for he has fallen in love with Myrtle Buckton. Finally the terrible fear of "Draw" Egan which had up to this time checked the bad men of the community, is dissipated. Word is passed to the community by Arizona Joe that certain leaders of the respectable must leave town. "Draw" Egan accepts Arizona Joe's defie, permits the exposure of his past, arranges a duel with him at sunset, and without firing a shot while his opponent drives away at him with his gun, "Draw" frightens him out of town. He then surrenders himself up for punishment, but the community forgives his past, and appoints him sheriff to the delight of Myrtle Buckton. ["Return of Draw Egan" pressbook, 1916.]

REVIEW: "Draw" Egan is an outlaw, and one apparently without other preparation for a place in the civilized world than his daring, his physical strength and his skill in handling deadly weapons. Chance favors him at a time when his desperate career reaches the inevitable end. An incident ... reveals his command over the fear forces in men to a leading citizen ... who is in search of a man to act as sheriff ... he accepts the position as an escape from the very forces he is thereafter bound to maintain. ... The outlaw's sense of duty is not established by the responsibilities of his new position in life, but through the sentimental side of his character: he falls in love with the daughter of his benefactor. ... [There] is a powerful appeal to compassion of the intelligent kind, a commiseration that reasons from experience and from knowledge of human nature. [Louis Reeves Harrison, Moving Picture World, September 30, 1916.]