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. Evelyn Laye CBE (née Elsie Evelyn Lay; 10 July 1900 – 17 February 1996) was an English actress and singer. Born into a theatrical family, she made her professional début in 1915 aged fifteen and quickly established herself in musical comedy. By 1920 she was starring in leading roles in the West End at Daly's and other theatres, becoming London's highest-paid star. Her first marriage, in 1926, to the performer Sonnie Hale was brief and ended in divorce after he abandoned her for the singer Jessie Matthews. Laye made her American debut in 1929 starring in Noël Coward's musical Bitter Sweet. In the 1930s she divided her time between the West End and Broadway, and starred in American and British films. She entertained naval personnel during the Second World War. Afterwards, when fashion turned against the romantic musicals in which she had made her reputation, Laye was frequently seen on the non-musical stage, appearing both in the classics, such as The School for Scandal and in new plays, often together with her second husband, the actor Frank Lawton. She was in several long-running comedies, including The Amorous Prawn in the 1950s and No Sex Please, We're British in the 1970s. In addition she appeared in post-war musicals, both American and British. Laye was still working into her early nineties, and appeared at Carnegie Hall in New York in 1991 in a concert of Coward's music. She died in London in 1996, aged 95. Elsie Evelyn Lay (known to her family and friends as "Boo") was born in Bloomsbury, London, on 10 July 1900, the only child of Gilbert James Lay (1866–1926) and his wife Evelyn née Froud. Both parents were actors, and Gilbert Lay, whose stage name was Gilbert Laye, was also a manager; for some years he ran the Brighton Palace Pier. His wife was well known for playing principal boy in provincial pantomimes under her stage name, Evelyn Stuart. The younger Evelyn was educated at Folkestone and Brighton. Laye made her stage début at the age of three, walking on in a production at Folkestone, but she dated her theatrical career from August 1915, when she appeared at the Theatre Royal, Brighton in the melodrama Mr Wu. Her father did not wish her to follow a stage career, but she persisted. After touring in Mr Wu in the role of Hilda Gregory, Laye made her first London appearance at the East Ham Palace on 24 April 1916, aged 15, in the revue Honi Soit, in which she subsequently toured. Back in London, at the Gaiety she took over the role of Leonie Bramble in The Beauty Spot (1918); later in the year, at the same theatre, she played Madeleine Manners in Going Up, and in 1920 she had the principal female role, Bessie Brent, in a revival of the 1894 show The Shop Girl. The original score was revised for this production and Herman Darewski and Arthur Wimperis added "The Guards' Brigade", a lively march number in which Laye, dressed as a drum majorette, led a 60-piece marching band of real guardsmen. In August 1922 Laye appeared as Prologue and Helen in the opérette Phi-Phi at the London Pavilion; her co-stars were Stanley Lupino, Arthur Roberts and Clifton Webb.[7] She was then engaged for Daly's Theatre, where she consolidated her position as a top star, appearing in May 1923 in the title role in a revival of The Merry Widow, with a cast that included Carl Brisson, Derek Oldham and George Graves. The Stage commented, "Miss Evelyn Laye is most charming as the Widow, both vocally and histrionically, and her impersonation, as a whole, must be taken as the crowning point of her career to date". Remaining at Daly's after the run of The Merry Widow, Laye had what several London newspapers described as a triumph in Madame Pompadour, an adaptation of a Viennese operetta by Leo Fall. The critic J. T. Grein wrote, "Evelyn Laye casts all her contemporary rivals into the shade ... Her complete success raises her to the leadership of her genre". The piece had, for its day, an unusually long run, with 469 performances. Her next two starring roles were also at Daly's: Alice in a new production of Fall's 1909 musical The Dollar Princess, and the title role in Cleopatra (music by Oscar Straus, words by Harry Graham).[12] On one occasion during the run of the latter she wore jewels, lent by a Parisian jeweller, worth £30,000 (nearly £2m in 2022 terms). Her career at Daly's made her the most successful musical and operetta star – and the highest-paid star in any genre – in the West End. In the view of The Times, she was both careful and wise to stay for the moment in that area – "the highly costumed world of Viennese elegance and soaring melody ... rather than enter the more crowded world of revue where Jessie Matthews, Gertrude Lawrence and Beatrice Lillie were all fighting for supremacy". In January 1926 Laye made her first radio broadcasts for 2LO, the forerunner of the BBC. On 10 April of that year, she married John Robert Hale Monro, an actor whose stage name was Sonnie Hale. The marriage was not a success; within a year Laye found love letters written to Hale by Matthews, with whom he was then co-starring in C. B. Cochran's revue This Year of Grace, in which they sang the romantic duet by Noël Coward, "A Room with a View". Hale moved out and went off with Matthews. In April 1928 Laye starred in the opening production of the Piccadilly Theatre, Blue Eyes, a musical with words by Guy Bolton and Graham John and music by Jerome Kern; it ran at the Piccadilly and then at Daly's for a total of 276 performances. After that, Laye was offered the leading role, Sari Linden, in Coward's new musical, Bitter Sweet, but she was so distraught by Hale's desertion that she turned the part down because the show was to be produced by Cochran, who had first brought Hale and Matthews together. She told Coward, "I'd rather scrub floors than work for him again". Bitter Sweet, with Peggy Wood in the lead, was a considerable success in London, opening on 12 July 1929 and running until 9 May 1931. Realising her mistake in passing up the role, Laye made certain she was available to star in the Broadway production, which opened on 5 November 1929, her New York début. Coward, who directed, privately recorded that Laye "knocked spots off the wretched Peggy" in the role, and praised her "grace and charm and assurance" provoking "one of the most prolonged outbursts of cheering I have ever heard in the theatre". MThe New York Times critic wrote of "a voice sweet in quality and full in tone, an acting and singing skill equal to that of Mr Coward's composition". Another New York critic wrote that Laye was "the fairest prima donna this side of heaven". After the New York production closed, Laye played Sari in London for the final weeks of the West End run. Through the 1930s Laye divided her time between Britain and the US. In 1931 she went to Hollywood to make the film One Heavenly Night.[24] She played in two long-running London musicals, Helen (1932) and Give Me a Ring (1933). Her British films of the period included Waltz Time (1933), Princess Charming (1934) and Evensong (1934). In MGM's 1934 film The Night is Young she introduced Sigmund Romberg's song "When I Grow Too Old to Dream". In 1934, having divorced Hale, Laye married her second husband, the actor Frank Lawton. The marriage lasted until his death in 1969; they had no children. In 1935 Laye returned to the US, in a revival of Bitter Sweet in Los Angeles and then San Francisco, and appeared on Broadway in Sweet Aloes the following year. By this time, in the words of The Times, Laye "was the toast of two continents". In London Laye played Princess Anna in Paganini with Richard Tauber in the title role (1937), and in New York she played Natalie Rives in Between the Devil, co-starring with Jack Buchanan. On her return to England she made her first appearances in variety at the London Palladium in 1938, and in the same year she made her pantomime debut, as Prince Florizel in The Sleeping Beauty.
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