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. Margaret Lorraine "Margalo" Gillmore (31 May 1897 – 30 June 1986) was an English-born American actress who had a long career as a stage actress on Broadway. She also appeared in films and TV series, mostly in the 1950s and early 1960s. Gillmore was the daughter of Frank Gillmore, a founder and former president of Actors' Equity, and the actress Laura MacGillivray, and the sister of actress Ruth Gillmore. Her great-aunt was the British actor-manager Sarah Thorne, and her great-uncles were the actors Thomas Thorne and George Thorne. A fourth-generation actress on her father's side, Gillmore trained at the American Academy of Dramatic Arts. Her stage acting career stretched from The Scrap of Paper in 1917 through to Noël Coward's musical Sail Away on Broadway in 1961. She was first noticed by the critics in the 1919 play The Famous Mrs. Fair, in which she appeared with Henry Miller and Blanche Bates. In 1921 she played the tubercular patient Eileen Carmody in Eugene O'Neill's The Straw, and in 1922 she portrayed Consuelo in the United States premiere of Leonid Andreyev's He Who Gets Slapped. In 1936, she originated the role of Mary Haines in Clare Boothe Luce's play The Women, and in 1945 she originated the role of Kay Thorndike in the Pulitzer Prize-winning play State of the Union.[2] Gillmore appeared regularly with the Theatre Guild. Having appeared as an extra in a silent film for the Vitagraph Studios in 1913, aged 16, and in a short, The Home Girl in 1928, Gillmore made her sound-film debut in 1932 in Wayward, but did not appear on screen again until the 1950s in such films as Perfect Strangers (1950), Cause for Alarm! (1951), Woman's World (1954), High Society (1956) and Upstairs and Downstairs (1959). During World War II, Gillmore had a role in the traveling production of The Barretts of Wimpole Street. The production starred much of the original Broadway cast headed by leading actress Katharine Cornell, and directed by Cornell's husband Guthrie McClintic. The play entertained troops in Italy, France and England and reached within a few miles of the front in the Netherlands. The cast made a point of visiting military hospitals every day. Gillmore played Mrs. Darling in the Broadway and televised versions of Peter Pan starring Mary Martin. She was a member of the famous Algonquin Round Table. In 1964 she wrote her autobiography Four Flights Up, published by Houghton Mifflin. 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 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".
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