Gish Sisters, House Attendants (Chicago Tribune – 1922)

 

Gish Sisters, House Attendants (Chicago Tribune – 1922)

  • Chicago Tribune – Sunday May 21, 1922 – Page 46
  • Gish Sisters, House Attendants

Various notables of the stage acted as ushers, water boys, coat room girls, and what not at a benefit for destitute Russian artists given in New York recently by the Chauve-Souris players from the famous Bat theater in Moscow. The “house attendants” in the picture are from left to right: Nikita Balieff, founder of the Bat theater; Sam Bernard, Leon Errol, Marilyn Miller, Walter Catlett, Laurette Taylor, Al Jolson, Doris Keane, Lenore Ulric, Dorothy Gish and Lillian Gish, and Morris Gest, who brought the Chauve-Souris players to America. In the rectangle below: Ed Wynn.

Photograph from White Studio

From left to right: Nikita Balieff, founder of the Bat theater; Sam Bernard, Leon Errol, Marilyn Miller, Walter Catlett, Laurette Taylor, Al Jolson, Doris Keane, Lenore Ulric, Dorothy Gish and Lillian Gish, and Morris Gest, who brought the Chauve-Souris players to America. In the rectangle below: Ed Wynn.

Benefit for destitute Russian artists given in New York Photo from “Dorothy and Lillian Gish” by Lillian Gish. To be noted Gish sisters costumes; Lillian and Dorothy Gish are wearing the famous gowns from “Orphans of the Storm.”

From left to right: Nikita Balieff, founder of the Bat theater; Sam Bernard, Leon Errol, Marilyn Miller, Walter Catlett, Laurette Taylor, Al Jolson, Doris Keane, Lenore Ulric, Dorothy Gish and Lillian Gish, and Morris Gest, who brought the Chauve-Souris players to America. In the rectangle below: Ed Wynn.

Back to Lillian Gish Home page

Back to Lillian Gish Home page

Comments

Post a Comment

Popular posts from this blog

D.W. Griffith – An American Life (By Richard Schickel – 1984)

Image
D.W. Griffith – An American Life (By Richard Schickel – 1984) D.W. Griffith – An American Life By Richard Schickel – 1984 Griffith! Before him, the movies were a nickelodeon novelty, after him, they were an international art form and a powerful, glamorous American industry He was the first to codify the rules and techniques of screen storytelling, the first to establish the conventions by which the unique capacities of the movies for both sweeping spectacle and profound intimacy could be employed in long, complex narratives, the first to assert the director’s claim to primary authorship of a film Above all, it was Griffith who imagined the future of his medium, and with his driving energy, his taste for the grandiose and his flair for publicity, propelled that medium toward that future—only to be crushed by the very forces he had unleashed. D.w. Griffith (1875-1948) Painting; D.w. Griffith (1875-1948) Art Print for sale His story is, in huge measure, the story of how the ...
Read more

Lillian Gish and Jeanne Moreau – Vanity Fair 1983

Image
Lillian Gish and Jeanne Moreau – Vanity Fair 1983 Vanity Fair – October 1983 Lillian Gish Jeanne Moreau This is a summit meeting: a queen paying homage to an empress. Of course, Lillian Gish, far right, is no truer a blueblood than any other homespun midwesterner. But wherever she goes now, she is treated like a monarch, acknowledging standing ovations in allAmerican palaces like Radio City Music Hall. Her admirers aren’t really applauding her 101 films (she has just completed the 102nd, about a sweet old lady and her sweet old dog). They may never have seen her slim but supernally intense performances in the D. W. Griffith masterpieces or in the Victor Sjostrom classics she made in the late ’20s at MGM. Lillian-Gish-Jeanne-Moreau 60s But they sense in her the grace, the purity, the wealth of symbolism that royalty sustains. Gish’s companion here, Jeanne Moreau, radiates a similar authority; what Gish was to the cinema of the ’20s, Moreau was to the cinema of the ’60s. ...
Read more

LEADING LADIES – 1976 (Electa Clark) PDF Download

Image
  LEADING LADIES – 1976 (Electa Clark) PDF Download “Humanity marches on into the new and glorious 20th century!” exults a daily paper in its first issue of 1901. “Come, oh century, child of hope!” begins a long poem on page one. Another column trills, “We are 20th century women … with the dower of privilege and responsibility which enriches women in this wonderful era!” Lillian Gish had a similar effect on millions who saw her in the movies. She was not only talented, she had a unique quality: pure, ethereal, elusive. As if she acted in whispers. As if in her hands, the definite blurred into the indefinite. It was drama critic George Jean Nathan who described her as being “behind a veil of silver chiffon.” He courted Lillian for years, but she eluded marriage. Horse drawn float declares National American Woman Suffrage Association’s support for Bristow-Mondell amendment 1920s Lillian Gish Actress ‘La Boheme’ Oversized DBW Photo by Kenneth Alexander Leading ladies an affectionate l...
Read more