#suez studio portraits

[internatlvelvet]

Loretta Young

[silent-era-of-cinema]

Bessie Love (born Juanita Horton; September 10, 1898 – April 26, 1986) was an American-British actress who achieved prominence playing innocent, young girls and wholesome leading ladies in silent and early sound films. Her acting career spanned eight decades—from silent film to sound film, including theatre, radio, and television—and her performance in The Broadway Melody (1929) earned her a nomination for the Academy Award for Best Actress.

Love was born Juanita Horton in Midland, Texas, to John Cross Horton and Emma Jane Horton ( Savage). Her father was a cowboy and bartender, while her mother worked in and managed restaurants. She attended school in Midland until she was in the eighth grade, when her family moved to Arizona, New Mexico, and then to California, where they settled in Hollywood. When in Hollywood, her father became a chiropractor, and her mother worked at the Jantzen's Knitwear and Bathing Suits factory.

In June 1915, while a student at Los Angeles High School, Horton went to the set of a film to meet with actor Tom Mix, who had recommended that she visit him if she wanted to "get into pictures". However, when Mix was unavailable, she was advised to meet with pioneering film director D. W. Griffith, who put her under personal contract. When it was decided that her given name was too long for theater marquees and too difficult to pronounce, Griffith's associate Frank Woods gave Horton the stage name Bessie Love: "Bessie, because any child can pronounce it. And Love, because we want everyone to love her!" Love dropped out of high school to pursue her film career, but she completed her diploma in 1919.

Griffith gave her a small role in his Intolerance (1916). Although Intolerance was her first performance to be filmed, it was her ninth film to be released. The first films Love made were with Griffith's Fine Arts company, yet Intolerance was the only film that he formally directed.

Her "first role of importance" —in the second of her films to be released—was in The Flying Torpedo (1916). She later appeared opposite William S. Hart in The Aryan and with Douglas Fairbanks in The Good Bad-Man, Reggie Mixes In, and The Mystery of the Leaping Fish (all 1916). This string of appearances and supporting roles led to her first starring role, in A Sister of Six (1916). In her early career, she was likened to Mary Pickford, and was called "Our Mary" by Griffith.

As her roles got larger, her popularity gradually grew. In early 1918, Love left Fine Arts for a better contract with Pathé.[ After the Pathé films were unsuccessful, she signed a nine-film contract with Vitagraph later that year, all of which were directed by David Smith. Her performances often received positive reviews, but her films often were shown at smaller movie theaters, which impacted the growth of her career.

Upon the completion of her Vitagraph contract, Love became a free agent. She took an active role in the management of her career, and was represented by Gerald C. Duffy, the former editor of Picture-Play Magazine.

Love sought roles that were different from the little girls she had portrayed earlier in her career when under contract to studios. She played Asian women in The Vermilion Pencil (1922) and The Purple Dawn (1923); a drug-addicted mother in Human Wreckage (1923); a woman accused of murder in The Woman on the Jury (1924); an underworld flapper in Those Who Dance (1924); and versions of her real-life self in Night Life in Hollywood (1922), Souls for Sale (1923), and Mary of the Movies (1923).

As a film star, she was expected to entertain studio executives at parties, so she learned to sing, dance, and play the ukulele. She gradually honed these skills and later performed them onscreen and on the stage. Because of her performance in The King on Main Street (1925), Love is credited with being the first person to dance the Charleston on film, popularizing it in the United States. Her technique was documented in instructional guides, including a series of photographs by Edward Steichen. She subsequently performed the dance the following year in The Song and Dance Man.

In 1925, she starred in The Lost World, a science fiction adventure based on the novel of the same name by Sir Arthur Conan Doyle. In 1927, she appeared in the successful Dress Parade, and was so impressed by her experiences on location that she wrote the unpublished novel Military Mary. A year later, she starred in The Matinee Idol, a romantic comedy directed by a young Frank Capra. Despite these successes, Love's career was on the decline. She lived frugally so that she could afford lessons in singing and dancing.

Love toured with a musical revue for sixteen weeks, which was so physically demanding that she broke a rib. The experience she gained on the vaudeville stage singing and dancing in three performances a day prepared her for the introduction of sound films. She appeared in the successful sound musical short film The Swell Head in early 1928, and was signed to MGM later that year.

In 1929, she appeared in her first feature-length sound film, the musical The Broadway Melody. Her performance earned her a nomination for the Academy Award for Best Actress, and the success of the film resulted in a five-year contract with MGM and an increase in her weekly salary from US$500 to $3,000 (equivalent to $45,000 in 2019)—$1,000 more than her male co-star Charles King.

She appeared in several other early musicals, including 1929's The Hollywood Revue of 1929 and 1930's Chasing Rainbows, Good News, and They Learned About Women. Her success in these musicals earned her the title "the screen's first musical comedy star."

However, the popularity of musical films waned, again putting her career in decline. Love is quoted as saying of her career: "I guess I'm through. They don't seem to want me any more." She shifted focus to her personal life, marrying in December 1929.

She semi-retired from films, and traveled with a musical revue that included clips from her films The Broadway Melody, The Hollywood Revue, and Chasing Rainbows. While on tour, she learned she was pregnant with her daughter, who was born in 1932. Love stopped her stage work to raise her daughter. In 1935, Love moved to England, briefly returning to the United States in 1936 to obtain a divorce.

During World War II in Britain, when it was difficult to find employment as an actress, Love worked as the script supervisor on the film drama San Demetrio London (1943). She also worked for the American Red Cross.

After the war, Love began acting again, this time primarily in the theater and on BBC Radio as a member of their Drama Repertory Company; she also played small roles in British films, often as an American tourist. Stage work included such productions as Love in Idleness (1944) and Born Yesterday (1947). She wrote and performed in The Homecoming, a semiautobiographical play, which opened in Perth, Scotland in 1958. Film work included The Barefoot Contessa (1954) with Humphrey Bogart, and Ealing Studios' Nowhere to Go (1958), and she had supporting roles in The Greengage Summer (1961) starring Kenneth More, the James Bond thriller On Her Majesty's Secret Service (1969), and John Schlesinger's Sunday Bloody Sunday (1971). In addition to playing the mother of Vanessa Redgrave's titular character in Isadora (1968), Love also served as dialect coach to the actress.

When television became popular, Love appeared in dozens of episodes of British television shows in the 1950s, '60s, and '70s. In October 1963, she became the subject of This Is Your Life when host Eamonn Andrews surprised her at the stage door of Never Too Late after its London opening. Guests included London Scrapbook director Derrick De Marney, her Forget Me Not (1922) co-star Gareth Hughes, actor Percy Marmont, her friend and Those Who Dance (1924) co-star Blanche Sweet, and her daughter Patricia.

Love appeared in John Osborne's play West of Suez (1971), and as "Aunt Pittypat" in a large-scale musical version of Gone with the Wind (1972). She also played Maud Cunard in the TV miniseries Edward & Mrs. Simpson in 1978. Her film work continued in the 1980s with roles in Ragtime (1981), Reds (1981), Lady Chatterley's Lover (1981), and—her final film—The Hunger (1983).

Love married agent William Hawks at St. James' Episcopal Church in South Pasadena, California on December 27, 1929. Mary Astor (Hawks's sister-in-law), Carmel Myers, and Norma Shearer were among her bridesmaids, with Irving Thalberg and Hawks's brother Howard serving as ushers. Following their wedding, the couple lived at the Havenhurst Apartments in Hollywood, and their only child, Patricia, was born in 1932. Four years later, the couple divorced.

Love moved to England with her daughter in 1935, a year before her divorce was final. Her life in England kept her out of the eye of her American fans, which resulted in the American press erroneously reporting her as dead multiple times. Love became a British subject in the late 1960s.

Love was a Christian Scientist.

After several years of declining health, Love died at the Mount Vernon Hospital in Northwood, London from natural causes on April 26, 1986. Her ashes are interred at Breakspear Crematorium in Ruislip, Hillingdon, England.

Cartoonist Alex Gard created a caricature of Love for Sardi's, the famed restaurant in Manhattan's Theater District. It is now part of the Billy Rose Theatre Division of the New York Public Library for the Performing Arts. Portraits of Love are also in the collections of the Smithsonian National Portrait Gallery in Washington, D.C. and the National Portrait Gallery in London.

Love periodically was interviewed by film historians, and was featured in the television documentary series The Hollywood Greats (1978) and Hollywood: A Celebration of the American Silent Film (1980), both about early filmmaking in Hollywood. She also loaned materials from her personal collection to museums. In 1962, she began contributing articles about her experiences to The Christian Science Monitor. In 1977, she published an autobiography entitled From Hollywood with Love.

For her contributions to the motion picture industry, Love was honored with a star on the Hollywood Walk of Fame in 1960 at 6777 Hollywood Boulevard.

[thisdayinwwi]

Jul 20 1919 in WWI

Pictures of some of the Aboriginal serviceman of the 11th Australian Light Horse Regiment who returned to Australia on the Troopship HMT Morvada #OnThisDay Jul 20 1919

AWM P00889.003 “ Studio portrait of 57247 Trooper (Tpr) Horace Thomas Dalton, 11th Light Horse Regiment. Tpr Dalton, of Dunwich, Qld, enlisted on 16 May 1918, and embarked for service overseas aboard HMAT Port Sydney (A15) from Sydney on 17 August 1918. After disembarking in Suez, Egypt, Tpr Dalton underwent training at the Australian Light Horse Remount Unit at Moascar, and was later hospitalised due to an ear infection. He returned to Australia on 20 July 1919. ”

AWM P00889.004 “ Studio portrait of 2436 Private (Pte) Harry C Murray, 11th Light Horse Regiment. Pte Murray of Taroom, Qld, worked as a stock and station hand prior to enlisting on 2 June 1917. He embarked for service overseas with the 11th Light Horse Regiment, 20th Reinforcements aboard HMAT Ulysses (A38) from Sydney on 19 December 1917. After undergoing training at the Australian Light Horse Remount Unit at Moascar, Pte Murray joined the 11th Light Horse Regiment at Belah, Palestine, on 9 March 1918. He returned to Australia on 20 July 1919. ”

AWM P00889.015 “ Portrait of 2428 Trooper (Tpr) Frank Fisher, an Aboriginal serviceman who was born at Claremont, Qld, but at the time of his enlistment was living with his second wife Esme, and three children from his first marriage, at the Barambah Settlement, Qld (renamed Cherbourg Aboriginal Settlement in 1931). Tpr Fisher enlisted in Brisbane on 16 August 1917 in the 28 Reinforcements to 11th Light Horse Regiment and embarked in Sydney on the troopship Ulysses (A38) on 19 December 1917. After landing at Suez he was transferred to the 4th Light Horse Training Regiment at Moascar, Egypt, and eventually to the 11th Light Horse Regiment on 13 April 1918. Tpr Fisher returned to Australia on the troopship Morvada sailing from Kantara on 20 July 1919. “

[PRG 1511/6] Troopship H. T. 'Morvada' arriving at Outer Harbor on 23 August 1919, with members of the 11th Light Horse (including Bert Penna, 5th Reinforcements) on board. The ship left Egypt on 20 July 1919.

The 11th Light Horse Regiment was a mounted infantry regiment of the Australian Army during the First World War. The regiment was raised in August 1914, and assigned to the 4th Light Horse Brigade. The regiment fought against the forces of the Ottoman Empire, in Egypt, at Gallipoli, on the Sinai Peninsula, and in Palestine and Jordan.

[wolfsonian]

Much Ado about Mummies

By Rochelle Pienn, Wolfsonian Sharf Associate Librarian

This week, Universal Studios plans to release a new incarnation of the hit movie The Mummy. The concept of a resurrected man turned zombie monster has been scaring paying theater audiences through several separate film franchises since 1932. My favorite version stars Rachel Weisz, who plays a late Egyptologist’s plucky daughter working in the Cairo Museum’s archives. It’s 1926, and the lovely librarian soon encounters a great evil….

Copyright Universal Studios

In the real, present-day Wolfsonian library, The Jean S. and Frederic A. Sharf Collection contains an antique photograph album compiled by a young, vivacious New York socialite who witnesses an unprecedented mass of mummies.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

By 1901, Miss Katherine “Kate” Batcheller, daughter of New York State Assembly member Judge George Sherman Batcheller, already enjoys a privileged upper-class education and social status at the age of twenty-one years old. Kate travels with her father, whose post as American Representative in the Court of First Instance in Cairo by President McKinley is followed by President Teddy Roosevelt’s decision to appoint him to the Supreme Court of Appeals in Alexandria, Egypt in 1902.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

Earlier on her trip, Kate visits Tromsø, Norway, where she photographs polar bear skins, reindeer, and Laplanders.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

She also captures a glimpse of the S.S. America out to sea with the Baldwin-Ziegler North Pole expedition (which predates Ziegler’s later attempt by two years).

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

In July, Kate’s ship passes the German Kaiser’s yacht in the Norwegian fjords, where she opportunistically snaps some shots of the emperor on the gangway.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

While taking in Berlin sights, Kate sees a few fast cars.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

Kate arrives at the Port of Suez. In a nearby Arab village she meets Muslims on a religious pilgrimage making their way across the desert.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

Kate and her father pass through the ancient city of Philae during the construction of the Aswan Low Dam in 1902.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

Kate’s canine pal reunites with the family, per her cryptic caption. Perhaps the puppy was wary of ancient curses.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

Spearheaded by the Egyptian government, the colossal project of transporting and properly housing antiquities from the pyramids reaches an apex of activity in the spring of 1902.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

These startling snapshots capture the terrifying pile of uprooted pharaohs and their sentineling sarcophagi.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

A month later, the family finds itself at a more contemporary tomb: Admiral Sampson’s funeral in Washington includes the President of the United States as part of the procession. Sampson’s legacy features a resounding victory at the Battle of Santiago de Cuba during the Spanish–American War.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

At the graveyard Kate takes a photograph of this famous Augustus Saint-Gaudens statue. Colloquially known as “Grief,” the ghostly memorial guards the plot of suicide victim Marian Adams.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

After a stop at home in Sarasota Springs, Kate and her father are soon back at sea. Miss Batcheller seizes an historical moment on deck with this quintessential portrait of President Teddy Roosevelt.

The Wolfsonian–FIU, Gift of Jean S. and Frederic A. Sharf

To see more of Katherine Batcheller’s exciting tour around the world, visit The Wolfsonian–FIU Library.

[arthisour-blog]

Antonio Beato (1825 – 1906), also known as Antoine Beato, was a British and Italian photographer. He is noted for his genre works, portraits, views of the architecture and landscapes of Egypt and the other locations in the Mediterranean region. He was the younger brother of photographer Felice Beato, with whom he sometimes worked.

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Little is known of Antonio Beato’s origins but he was probably born in Venetian territory after 1832, and later became a naturalised British citizen. His brother, at least, was born in Venice, but the family may have moved to Corfu, which had been a Venetian possession until 1814 when it was acquired by Britain.

Because of the existence of a number of photographs signed “Felice Antonio Beato” and “Felice A. Beato”, it was long assumed that there was one photographer who somehow managed to photograph at the same time in places as distant as Egypt and Japan. But in 1983 it was shown by Italo Zannier (Bennett 1996, 38) that “Felice Antonio Beato” represented two brothers, Felice Beato and Antonio Beato, who sometimes worked together, sharing a signature. The confusion arising from the signatures continues to cause problems in identifying which of the two photographers was the creator of a given image. Antonio often used the French version of his given name, going by Antoine Beato. It is presumed that he did so because he mainly worked in Egypt, which had a large French-speaking population.

In 1853 or 1854 Antonio’s brother and James Robertson formed a photographic partnership called “Robertson & Beato”. Antonio joined them on photographic expeditions to Malta in 1854 or 1856 and to Greece and Jerusalem in 1857. A number of the firm’s photographs produced in the 1850s are signed “Robertson, Beato and Co.” and it is believed that the “and Co.” refers to Antonio.

In late 1854 or early 1855 James Robertson married the Beato brothers’ sister, Leonilda Maria Matilda Beato. They had three daughters, Catherine Grace (born in 1856), Edith Marcon Vergence (born in 1859) and Helen Beatruc (born in 1861).

In July 1858 Antonio joined Felice in Calcutta. Felice had been in India since the beginning of the year photographing the aftermath of the Indian Rebellion of 1857. Antonio also photographed in India until December 1859 when he left Calcutta, probably for health reasons, and headed for Malta by way of Suez.

Antonio Beato went to Cairo in 1860 where he spent two years before moving to Luxor where he opened a photographic studio in 1862 and began producing tourist images of the people and architectural sites of the area. In the late 1860s, Beato was in partnership with Hippolyte Arnoux.

In 1864, at a time when his brother Felice was living and photographing in Japan, Antonio photographed members of Ikeda Nagaoki’s Japanese mission who were visiting Egypt on their way to France.

Antonio Beato died in Luxor in 1906. His widow published a notice of his death while offering a house and equipment for sale. A Freemason, he was member af a masonic Lodge in Beirut and later joined the Bulwer Lodge Nr. 1068 in Cairo and was co-petitioner for the foundation of the Grecia Lodge Nr. 1105 in the Egyptian capital.

Antonio Beato was originally published on HiSoUR Art Collection

[arthisour-blog]

Hippolyte Arnoux was a French photographer and publisher. During the 1860s, he documented the excavation of the Suez Canal and published the resulting photographs as Album du Canal de Suez. At the same time, he occasionally worked with the Port Said photographic studio, Adelphoi Zangaki. In the late 1860s, Arnoux was a partner of Antonio Beato.

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Hippolyte Arnoux was originally published on HiSoUR Art Collection