DATE OF THIS ** ORIGINAL ** ITEM: 1929 Ralph Waldo Emerson Barton (August 14, 1891 – May 19, 1931) was a popular American cartoonist and caricaturist of actors and other celebrities. His work was in heavy demand through the 1920s and has been considered to epitomize the era. Barton was nearly forgotten soon after his death, shortly before his fortieth birthday. Ralph Barton was born in Kansas City, Missouri on August 14, 1891, the youngest of Abraham Pool and Catherine Josephine (Wigginton) Barton's four children. His father was an attorney by profession, but around the time of Ralph's birth made a career change to publish journals on metaphysics. His mother, an accomplished portrait painter, ran an art studio. The young Barton showed his mother's aptitude for art, and by the time he was in his mid-teens he had already seen several of his cartoons and illustrations published in The Kansas City Star and the Kansas City Journal-Post. Buoyed by this success, in 1908 Ralph Barton dropped out of Kansas City's Central High School before graduation. He moved to Chicago in 1909 to attend the Art Institute of Chicago, but soon found he didn't "like Chicago or Chicago people and worst of all the art institute. I could learn twice as much at work," he confided in a letter to his mother. Returning to Kansas City within a matter of months, Barton married Marie Jennings, his first wife. While back in Kansas City, Barton resumed his work for the Star and Journal-Post to support his wife and daughter, born in 1910. His first major break came in 1912 when Barton sold an illustration to the humor magazine Puck. Encouraged, the Bartons moved to New York City, where Ralph found steady work with Puck, McCall's and other publications. His wife was not happy with life there, however, and returned to Kansas City within a few months. Barton rented studio space in New York, which he shared with another famous Missouri artist, Thomas Hart Benton, and the two became fast friends. It was Benton, in fact, who served as the subject of Barton's first caricature. In 1915, Puck magazine sent Barton to France to sketch scenes of World War I. It was then that Barton developed a great love of all things French, and throughout his life he would return to Paris to live for periods of time. In 1927, the French government awarded Barton the Legion of Honour Following Barton's caricature of Benton, he drew many of the most significant figures in New York's social and cultural scene of the time—including Henri Matisse, Pablo Picasso, Lillian Gish, Sigmund Freud, Aimee Semple McPherson, and Charlie Chaplin. Some of his most famous works were group drawings, and perhaps the most noted was a stage curtain created for a 1922 revue, depicting an "audience" of 139 faces looking back at the real theater-goers. "The effect was electrifying, and the applause was great," said another caricaturist of the era, Aline Fruhauf. Much of Barton's work from the mid-1920s onward was for The New Yorker magazine, which he joined as an advisory editor from its very beginning in 1924. He would also be a stockholder in the publication. Other prominent magazines of the era to feature his work were Collier's, Photoplay, Vanity Fair, Judge, and Harper's Bazaar. While many would be published unsigned, there was no mistaking Barton's unique style.[7] He illustrated books as well, including Anita Loos's hugely popular Gentlemen Prefer Blondes. With the urging of friend Charlie Chaplin, Barton also made one movie, Camille. The short film featured such notables as Paul Robeson, Ethel Barrymore, and Sinclair Lewis. At the height of his popularity, Barton enjoyed not only the acquaintance of the famous, but a solid and impressive income. All of this concealed a terribly unhappy life. He was beset by bipolar disorder, and each of his four marriages ended in divorce. (One of his wives was the French composer Germaine Tailleferre (1892–1983) who was a member of Les Six.) A self-portrait, painted around 1925 is inscribed "with apologies to Greco and God," and shows a drawn and unhappy figure. A year later he wrote, "The human soul would be a hideous object if it were possible to lay it bare." On May 19, 1931, in his East Midtown Manhattan penthouse apartment, Barton shot himself through the right temple. He was 39 years old. His suicide note said he had irrevocably "lost the only woman I ever loved" (the actress Carlotta Monterey had divorced Barton in 1926 and married Eugene O'Neill in 1929), and that he feared his worsening bipolar disorder was approaching insanity. He wrote: "I have had few difficulties, many friends, great successes; I have gone from wife to wife and house to house, visited great countries of the world—but I am fed up with inventing devices to fill up twenty-four hours of the day." Almost immediately, his reputation diminished; several years after his death, a caricature of George Gershwin sold for a mere $5. Ralph Barton's ashes were returned to his native Kansas City and interred in Mount Moriah Cemetery. Toward the end of the century, his work was included in several exhibitions at the National Portrait Gallery. A 1998 conference on cartooning at the Library of Congress also considered his work. Gertrude Lawrence (4 July 1898 – 6 September 1952) was an English actress, singer, dancer and musical comedy performer known for her stage appearances in the West End of London and on Broadway in New York. Lawrence was born Gertrude Alice Dagmar Klasen, Alexandra Dagmar Lawrence-Klasen, Gertrude Alexandra Dagmar Klas] or some variant (sources differ), of English and Danish extraction, in Newington, London. Her father was a basso profondo who performed under the name Arthur Lawrence. His heavy drinking led her mother Alice to leave him soon after Gertrude's birth. In 1904, her stepfather took the family to Bognor on the Sussex coast for the August bank holiday. While there, they attended a concert where audience members were invited to entertain. At her mother's urging, young Gertrude sang a song and was rewarded with a gold sovereign for her effort. It was her first public performance. In 1908, to augment the family's meagre income, Alice accepted a job in the chorus of the Christmas pantomime at Brixton Theatre. A child who could sing and dance was needed to round out the troupe, and Alice volunteered her daughter. While working in the production Alice heard of Italia Conti, who taught dance, elocution and the rudiments of acting. Gertrude auditioned for Conti, who thought the child was talented enough to warrant free lessons. Lawrence joined Italia Conti's production of Where the Rainbow Ends; (Conti's training of the cast would lead her to form the Italia Conti Academy of Theatre Arts in 1911.) Conti's training led to Lawrence's appearance in Max Reinhardt's The Miracle staged in London and Fifinella, directed by Basil Dean, for the Liverpool Repertory Theatre. At some point during this period, the child decided to adopt her father's professional surname as her own. Dean then cast her in his next production, Gerhart Hauptmann's Hannele, where she first met Noël Coward. Their meeting was the start of a close and sometimes tempestuous friendship and arguably the most important professional relationship in both their lives. Following Hannele, Lawrence reconnected with her father, who was living with a chorus girl. They agreed to let her tour with them in two successive revues, after which Arthur announced he had signed a year-long contract with a variety show in South Africa, leaving the two young women to fend for themselves. Lawrence, now aged sixteen, opted to live at the Theatrical Girls' Club in Soho rather than return to her mother and stepfather. She worked steadily with various touring companies until 1916, when she was hired by impresario André Charlot to understudy Beatrice Lillie and appear in the chorus of his latest production in London's West End. When it closed, she assumed Lillie's role on tour, then returned to London once again to understudy the star in another Charlot production, where she met dance director Francis Gordon-Howley. Although he was twenty years her senior, the two wed and soon after had a daughter Pamela, born on 28 May 1918, who was Lawrence's only child. The marriage was not a success, and Lawrence took Pamela with her to her mother's home in Clapham. The couple remained separated but did not divorce until ten years later. In 1918, either during Lawrence's pregnancy or shortly after she gave birth, she contracted lumbago. Charlot gave her two weeks to recuperate. He saw Lawrence at an opening night party at Ivor Novello's invitation two days before she was cleared to return to work by her doctor. Charlot immediately fired her. When the apparent reason for her dismissal became common knowledge among other West End theatrical producers, she was allegedly unable to find work, according to some sources. (The veracity of this information is put in doubt by a theater program for the opening performance of Charlot's revue Buzz Buzz on 20 December 1918, which clearly shows that Lawrence was in the cast at that time, and there is no evidence that she could have left the cast during its 613-performance run that ended on 13 March 1920.) In early 1919, Lawrence accepted a job singing at Murray's, a popular London nightclub, where she remained for the better part of the next two years. While performing there she met Captain Philip Astley, a member of the Household Cavalry. He became her friend, escort, and ultimately lover, and taught her how to dress and behave in high society. At the end of 1920, Lawrence left Murray's and began to ease her way back into the legitimate theater while touring in a music hall act as the partner of popular singer Walter Williams. In October 1921, Charlot asked her to replace an ailing Beatrice Lillie as star of his latest production, A to Z, opposite Jack Buchanan. In it the two introduced the song "Limehouse Blues," which went on to become one of Lawrence's signature tunes. In 1923, Noël Coward developed his first musical revue, London Calling!, specifically for Lawrence. Charlot agreed to produce it, but brought in more experienced writers and composers to work on the book and score. One of Coward's surviving songs was "Parisian Pierrot", a tune that would be identified closely with Lawrence throughout her career. The show's success led its producer to create André Charlot's London Revue of 1924, which he took to Broadway with Lawrence, Lillie, Jack Buchanan and Constance Carpenter. It was so successful it moved to a larger Broadway theater to accommodate the demand for tickets, extending its run. After it closed, the show toured the United States and Canada, although Lawrence was forced to leave the cast when she contracted double pneumonia and pleurisy and was forced to spend fourteen weeks in a Toronto hospital recuperating. Charlot's Revue of 1926, starring Lawrence, Lillie, and Jack Buchanan, opened on Broadway in late 1925. In his review, Alexander Woollcott singled out Lawrence, calling her "the personification of style and sophistication" and "the ideal star." Like its predecessor, it toured following the Broadway run. It proved to be Lawrence's last project with Charlot. In November 1926, she became the first British performer to star in an American musical on Broadway when she opened in Oh, Kay!, with music by George Gershwin, lyrics by Ira Gershwin, and a book by Guy Bolton and P.G. Wodehouse. Following a run of 256 performances, the musical opened in London’s West End, where it ran for 213 performances. When Lawrence became romantically involved with Wall Street banker Bert Taylor in 1927, Philip Astley proposed marriage, an offer Lawrence refused because she knew Astley would expect her to leave the stage and settle in rural England. The two remained close until he married actress Madeleine Carroll in 1931. When Lawrence divorced Francis Gordon-Howley, she and Taylor became engaged and remained so for two years, with each free to enjoy a social life separate from the other. In 1928, Lawrence returned to Broadway opposite Clifton Webb in Treasure Girl, a Gershwin work she was confident would be a huge hit. Anticipating a long run, she arrived in New York with her daughter Pamela, a personal maid and two cars, and settled into a flat on Park Avenue. Her instincts about the musical were wrong; audiences had difficulty accepting her as an avaricious woman who double-crosses her lover, and it ran for only 68 performances. She starred opposite Leslie Howard in Candle Light, an Austrian play adapted by Wodehouse, in 1929, and in 1930-31 she and Noël Coward triumphed in his play Private Lives, first in the UK, and later on Broadway. In 1930, Johnny Green composed his most famous song "Body and Soul" especially for Gertrude Lawrence. While working in Manhattan, Lawrence started studying with vocal coach Estelle Liebling to prepare for her performances on the Broadway stage. Lawrence continued to study with Liebling for many years. Leslie Howard Steiner (3 April 1893 – 1 June 1943) was an English actor, director, producer and writer. He wrote many stories and articles for The New York Times, The New Yorker, and Vanity Fair and was one of the biggest box-office draws and movie idols of the 1930s. Active in both Britain and Hollywood, Howard played Ashley Wilkes in Gone with the Wind (1939). He had roles in many other films, often playing the quintessential Englishman, including Berkeley Square (1933), Of Human Bondage (1934), The Scarlet Pimpernel (1934), The Petrified Forest (1936), Pygmalion (1938), Intermezzo (1939), "Pimpernel" Smith (1941), and The First of the Few (1942). He was nominated for the Academy Award for Best Actor for Berkeley Square and Pygmalion. Howard's World War II activities included acting and filmmaking. He helped to make anti-German propaganda and shore up support for the Allies—two years after his death the British Film Yearbook described Howard's work as "one of the most valuable facets of British propaganda". He was rumoured to have been involved with British or Allied Intelligence, sparking conspiracy theories regarding his death in 1943 when the Luftwaffe shot down BOAC Flight 777 over the Atlantic (off the coast of Cedeira, A Coruña), on which he was a passenger. Howard was born Leslie Howard Steiner to a British mother, Lilian (née Blumberg), and a Hungarian Jewish father, Ferdinand Steiner, in Forest Hill, London. His younger brother was actor Arthur Howard. Lilian had been raised as a Christian, but she was of partial Jewish ancestry—her paternal grandfather Ludwig Blumberg, a Jewish merchant originally from East Prussia, had married into the English upper-middle classes. He received his formal education at Alleyn's School, London. Like many others around the time of the First World War, the family anglicised its name, in this case to "Stainer", although Howard's name remained Steiner in official documents, such as his military records. He was a 21-year-old bank clerk in Dulwich when the First World War began; in September 1914 he voluntarily enlisted (under the name Leslie Howard Steiner) as a Private with the British Army's Inns of Court Officer Training Corps in London. In February 1915 he received a commission as a subaltern with the 3/1st Northamptonshire Yeomanry, with which he trained in England until 19 May 1916, when he resigned his commission and was medically discharged from the British Army with neurasthenia. In March 1920, Howard gave public notice in The London Gazette that he had changed his surname, and would thereafter be known by the name of Howard instead of Steiner Howard began his professional acting career in regional tours of Peg O' My Heart and Charley's Aunt in 1916–17 and on the London stage in 1917, but had his greatest theatrical success in the United States in Broadway theatre, in plays such as Aren't We All? (1923), Outward Bound (1924) and The Green Hat (1925). He became an undisputed Broadway star in Her Cardboard Lover (1927). After his success as time traveller Peter Standish in Berkeley Square (1929), Howard launched his Hollywood career in the film version of Outward Bound, but didn't like the experience and vowed never to return to Hollywood. However, he did return, many times—later repeating the Standish role in the 1933 film version of Berkeley Square. The stage, however, continued to be an important part of his career. Howard frequently juggled acting, producing and directing duties in the Broadway productions in which he starred. Howard was also a dramatist, and starred in the Broadway production of his own play Murray Hill (1927). He played Matt Denant in John Galsworthy's 1927 Broadway production Escape in which he first made his mark as a dramatic actor. His stage triumphs continued with The Animal Kingdom (1932) and The Petrified Forest (1934). He later repeated both roles in the film versions. Howard loved to play Shakespeare, but according to producer John Houseman he could be lazy about learning lines. He first sprang to fame playing in Romeo and Juliet (1936) in the role of the leading man. During the same period he had the misfortune to open on Broadway in Hamlet (1936) just a few weeks after John Gielgud launched a rival production of the same play that was far more successful with both critics and audiences. Howard's production, his final stage role, lasted for only 39 performances before closing. Howard was inducted into the American Theatre Hall of Fame in 1981. In 1920 Howard suggested forming a film production company, British Comedy Films Ltd., to his friend Adrian Brunel. The two eventually settled on the name Minerva Films Ltd. The company's board of directors consisted of Howard, Brunel, C. Aubrey Smith, Nigel Playfair and A. A. Milne. One of the company's investors was H. G. Wells. Although the films produced by Minerva—which were written by A. A. Milne—were well received by critics, the company was only offered £200 apiece for films it cost them £1,000 to produce and Minerva Films Ltd. was short-lived.[ Early films include four written by A. A. Milne, including The Bump, starring C. Aubrey Smith; Twice Two; Five Pounds Reward; and Bookworms, the latter two starring Howard. Some of these films survive in the archives of the British Film Institute. In British and Hollywood productions, Howard often played stiff upper lipped Englishmen. He appeared in the film version of Outward Bound (1930), though in a different role from the one he portrayed on Broadway. He had second billing under Norma Shearer in A Free Soul (1931), which also featured Lionel Barrymore and future Gone With the Wind rival Clark Gable eight years prior to their Civil War masterpiece. He starred in the film version of Berkeley Square (1933), for which he was nominated for an Academy Award for Best Actor. He played the title role in The Scarlet Pimpernel (1934), which is often considered the definitive portrayal. When Howard co-starred with Bette Davis in The Petrified Forest (1936) – having earlier co-starred with her in the film adaptation of W. Somerset Maugham's book Of Human Bondage (1934) – he reportedly insisted that Humphrey Bogart play gangster Duke Mantee, repeating his role from the stage production. This re-launched Bogart's screen career, and the two men became lifelong friends; Bogart and Lauren Bacall later named their daughter "Leslie Howard Bogart" after him.[18] In the same year Howard starred with Norma Shearer in a film version of Shakespeare's Romeo and Juliet (1936). Davis was again Howard's co-star in the romantic comedy It's Love I'm After (1937) (also co-starring Olivia de Havilland). He played Professor Henry Higgins in the film version of George Bernard Shaw's play Pygmalion (1938), with Wendy Hiller as Eliza, which earned Howard another Academy Award nomination for Best Actor. In 1939, as war approached, he played opposite Ingrid Bergman in Intermezzo; that August, Howard was determined to return to the country of his birth. He was eager to help the war effort, but lost any support for a new film, instead being obliged to relinquish £20,000 of holdings in the US before he could leave the country. Howard is perhaps best remembered for his role as Ashley Wilkes in Gone with the Wind (1939), his last American film, but he was uncomfortable with Hollywood, and returned to Britain to help with the Second World War effort. He starred in a number of Second World War films including 49th Parallel (1941), "Pimpernel" Smith (1941) and The First of the Few (1942, known in the U.S. as Spitfire), the latter two of which he also directed and co-produced. His friend and The First of the Few co-star David Niven said Howard was "...not what he seemed. He had the kind of distraught air that would make people want to mother him. Actually, he was about as naïve as General Motors. Busy little brain, always going." In 1944, after his death, British exhibitors voted him the second-most popular local star at the box office. His daughter said he was a "remarkable man". John Reginald Owen (5 August 1887 – 5 November 1972) was a British actor, known for his many roles in British and American films and television programs. Owen was born to Joseph and Frances Owen in Wheathampstead, Hertfordshire, England. He studied at the Royal Academy of Dramatic Art and made his professional debut in 1905. Sometime prior to 1911 Owen met the author Mrs. Clifford Mills. On hearing her idea of a rainbow story, persuaded her to turn it into a play, which became Where the Rainbow Ends. He co-authored the work with Mills using the pseudonym John Ramsey. That December he starred as Saint George in its first production, which opened to very good reviews. He went to the United States in 1920 and performed on Broadway. He later moved to Hollywood, where he began a lengthy film career, becoming a familiar face in many Metro-Goldwyn-Mayer productions. Owen is perhaps best known today for his performance as Ebenezer Scrooge in the 1938 film version of Charles Dickens' A Christmas Carol, a role he inherited from Lionel Barrymore, who had played the part on the radio for years. Owen was one of several actors to play both Sherlock Holmes and his companion Dr. Watson, assaying Watson in the film Sherlock Holmes (1932) starring Clive Brook as Holmes, and then Holmes in A Study in Scarlet (1933). Later in his career, Owen appeared with James Garner in the television series Maverick in the episodes "The Belcastle Brand" (1957) and "Gun-Shy" (1958) and guest starred in episodes of the series One Step Beyond, Kentucky Jones, and Bewitched. He was featured in the Walt Disney films Mary Poppins (1964) and Bedknobs and Broomsticks (1971). He had a small role in the 1962 Irwin Allen production of the Jules Verne novel Five Weeks in a Balloon. In August 1964, his mansion in Bel Air was rented to the Beatles, who were performing at the Hollywood Bowl, when no hotel would book them.
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