Author: Kendra

Drawing Vivien Leigh

By Kendra + December 6, 2015

An interview with Spanish artist Alejandro Mogollo Diez by Tanguy Deville

You must have seen, lately, his wonderful portraits of glamorous ladies pop up on different sites on the internet. Queen Madonna herself retweeted the latest portrait he has drawn of her…But what interests us, here, is that Alejandro Mogollo Diez is a great admirer of Vivien Leigh. He is following our page from his hometown, Sevilla (Spain). And he has put his art in action to celebrate our favorite star’s beauty.

We wanted to know more about him, so we sent him some questions and he answered very generously and even let us present some new drawings, in exclusivity… Fiddle dee dee.

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Alejandro, can you tell us more about you?

I was born in Seville, Spain, in 1966. Since I was a child I was obsessed with drawing and painting. So much so that, although it was something my parents didn’t think was easy to make a living off, they encouraged it because I had such a passion for it. I studied Fine Arts specializing in Graphic Design here in Seville. When I finished college I got a scholarship at Cornell University, Ithaca, New York, and studied there for a year. When I came back from the States I began working as a graphic designer and art director in a publicity studio, and I’ve been working there ever since. My illustration work is something I’ve been developing these last years. But only on personal projects and on subjects of high interest to me, like my recent contribution with a series of illustrations to the Encyclopedia Madonnica published by Matthew Rettenmund.*

* Matthew Rettenmund is a writer, editor and blogger who lives in NYC with his Shih Tzus, his Madonna collection and his emotional baggage. His book, “Encyclopedia Madonnica”, is considered the bible on all things Madonna, covering every aspect of the star’s life and career and presenting never before seen and rare images with fresh interviews…

Can you tell us more about these personal projects and why you have started to share and post your drawings on the internet?

Although my job is fulfilling and requires creativity on my part, I sometimes miss the shear pleasure of drawing. The illustration software is so sophisticated now (Adobe Illustrator) that it allows me to create images very close to the organic ones, giving it a distinctive touch, close to airbrush. The process, though digital, remains the same, beginning with the blank canvas, but replacing the pencil or brush with the mouse. In those personal projects I wanted to blend my two passions, graphic art and movies. So I started doing these movie portraits that I shared only with friends, just for fun. Then I started sharing them online. One of the first blogs I followed was Boy Culture, run by Matthew Rettenmund. Because I’m a fellow Madonna fan like him, I once sent him an illustration I did of her and he loved it.

You seem to be a great fan of movies and of the star system? How did your passion start?

I have four sisters and a brother and, since my parents were movie fanatics themselves, we were all exposed to classic cinema from a very young age. Also, unlike today, many of these classics were actually shown on TV on a regular basis. The first memory I have of my obsession with movies happened one afternoon when I came back home from school. I was probably 7 or 8 years old and they were showing Gentlemen Prefer Blondes. I was instantly awestruck with Marilyn Monroe, although I didn’t know who she was at the time. Imagine a little kid who hated outdoor activities and sports suddenly encountering this film. The whole look of this movie appealed to me big time. Like Alice in Wonderland, I wanted to cross the TV screen to escape to that world of wonder, fantasy and glamour. I belonged to that world.

As I grew older I started to get interested in the moviemaking process. As a teen I read everything from essays to biographies of movie directors to learn about the craft and about its history. I also played with the process myself and did some short films in Super 8. I loved all the european “auteurs” like Truffaut, Visconti, Fellini, and mainly Bergman, my favorite, but at the same time I was fascinated by the golden age of Hollywood and its stars. I remember my father complained I spent my whole monthly pay buying books about old movie stars and started drawing them compulsively. I understood his concern, not only is art a hard sale, but also who would be interested in portraits of old movie stars, right? He preferred I stick to landscapes and still lives, which I hated.

I consider myself a movie buff. Don’t ask me about my favorite movie because there are too many. To give you a hint: All about Eve, The Apartment, Brief encounter, La Nuit Américaine, Adam’s Rib, The Godfather, Blade Runner… the list would be endless. If we talk about today’s cinema there are plenty of directors I’m excited about, like Pedro Almodóvar, Michael Haneke, David Fincher… Although I love the moviemaking process and I’m interested in how a movie is made, I still enjoy movies first and foremost like a little kid, completely immersed in that world. Like Alice.

How did you first discover Vivien Leigh?

It’s kind of a funny story actually. In 1980 there was a rerelease of GWTW in Spain. I was 14 years old and had never seen the movie or even acknowledged its importance. I had bought this movie magazine that featured the famous Laszlo Willinger photo of Vivien (the one in Kendra’s book cover) to announce the rerelease. My older brother insisted I should see that movie, he thought I’d love it and pointed out at the photo to say how beautiful the lead actress was. Most beautiful woman ever, he declared. I went to see the movie with my sister and her then boyfriend but it was sold out. I was pissed off but didn’t think any more about it. Only that everyone around me kept talking about the movie, and my brother kept insisting I’d try again and bragging about Viv’s beauty and talent. I started developing a grudge about the whole thing and arguing she wasn’t that beautiful. “She looks like a bad witch“ I ended up saying, surely to get back at him for not leaving me alone. I said I knew if someone was beautiful or not, and he wasn’t the judge of that, and he was completely wrong with Vivien. Yeah, I was a stupid brat.

Finally, a couple of days later I went to see it on the big screen, and boy, it changed my life. I had never experienced such a thrill at the movies, and Vivien was everything my brother and the rest had said and even more. I was in love. I came back home completely enthralled. When my brother asked me how it went I couldn’t hold it any longer, forgetting my pride and everything I had said, I told him he was absolutely right, Vivien Leigh was the most beautiful woman ever. To this day, my brother still laughs at me about it.

What continued your admiration and fascination with her?

Once my fascination had started, I read a biography and tried to collect as many magazine articles that featured her as possible. I also watched all of her movies (the ones available in VHS) and all her portraits. I was never really interested in the personal life of stars. Many of them just focus on the tragedies of their lives and contain a great deal of gossip. I prefer to read about their work, that’s what inspires me. The making of a movie, with its creative process and obstacles really resonates with me. A high point in that regard was the wonderful documentary about GWTW “The Making of a Legend”. Watching Vivien get the grip of the role from the screen tests to the final movie was so thrilling. It built my admiration for her as an actor.

Drawing Vivien Leigh! How would you describe the experience?

I probably started drawing her right then and there. She is a very difficult subject to convey. Her beauty is not static. Unlike Hedy Lamarr or Lana Turner, whose classic beauty can be measured in a still photo, Vivien had this sparkle that pierces the camera. You are not sure what it is but it cannot be easily grasped. So my first attempts were unsuccessful. Although it didn’t stop me for trying. That’s the reason I tried different styles throughout the years. Trying to capture what makes her special is a tough task and one that requires every skill you had and every medium. I tried watercolor, pencil, acrylics and then when I began exploring computer graphics I used every tool that the digital world allowed.

The secret of her beauty?

In terms of beauty, she is like this delicate, exotic butterfly that you are afraid to approach for fear she would fly away. Many times I have been drawing her thinking I had got it, to realize in the end that the resemblance had vanished. It is quite frustrating, but imagine the joy when you succeed!

Can you share a bit on the process behind your drawings?

I don’t like to use a single picture of her and try to copy it. I gather all the pictures I can get of the subject and try to determine what appeals to me in them. The drawing process can take a few hours or even days, depending on what I want to accomplish. I usually start composing and framing the figure roughly and then start with the face right away. The eyes are my main concern because once you get them, the rest fits into place. As it happens in my case, the illustration eventually starts to speak to me, telling me what it needs until I decide it is done. I am almost never completely satisfied with the result, so I’m not a good judge of my work. It’s only when people start praising them that I think I’ve succeeded.

But for me as an artist the most important thing of the process is that the final result be unique, not an exact replica of an existing photo or pose, but an original interpretation of the subject that has also my personal style attached to it. That way there’s this strange communion between the subject and the artist.

At the end it’s not just Vivien, it’s my Vivien.

For more of Alejandro’s work, follow him on Facebook and Instagram. You can also purchase shirts, mugs, iPhone cases, totes and prints featuring his illustrations of Vivien and other old Hollywood stars in his online shop (a great gift idea for the holidays).

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Loving Vivien Leigh and Laurence Olivier – A Fan’s Perspective

By Kendra + October 7, 2015

Today’s post is brought to you by my friend Irina N., a long-time fan of the Oliviers and at one time administrated a fan site called Vivien Leigh: A Lass Unparalleled – sadly no longer online :(. Here she talks about what continues to drive her interest in Vivien and Laurence Olivier.

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As with many other fans, my interest in Vivien Leigh and Laurence Olivier started when I first saw Gone With The Wind. I was 12 and had read the book first and was spellbound by the story and the character of Scarlett. I could not wait to see the movie, but I was also hesitant for fear of being disappointed. One night, my mom who had seen and already loved the movie rented the VHS. We started in the evening and watched it all the way through and well into the night! I was certainly not disappointed. No performance, before or since, has made such a huge impression on me as that of Vivien Leigh as Scarlett O’Hara. Of course, I also thought she was the most beautiful actress ever. I really think that had it not been for her performance, GWTW would not have become the phenomenon that it did. I didn’t find either Clark Gable or Leslie Howard or Olivia de Havilland particularly good matches for the descriptions I remembered from the book (even though I really like these actors in other movies). I pictured Rhett a little differently and Ashley, of course, handsomer and younger. Olivia de Havilland seemed too pretty and lively for Melanie.

But all of these reservations were completely swept away by the force and authenticity of Vivien Leigh’s Scarlett. She makes the movie. She is the one responsible for its enduring success and the classic it’s become. A young British newcomer, whose talent has carried the most celebrated movie though decades, whose performance in one of the most beloved and coveted roles stands the test of time without ever looking dated or unbelievable for even a second. That’s the definition of a classic performance and that’s what Vivien Leigh’s work is: classic. Her Scarlett alone is an achievement that diminishes heaps of performances by other actors. But it was just an early, albeit huge success in Vivien Leigh’s incredible career of quality rather than quantity.

Being primarily a British stage actress and having made only 19 films, eight of them after GWTW, Vivien nevertheless won two Oscars and secured a place among the very few true Hollywood legends. That is a pretty impressive success rate. Her Scarlett and Blanche DuBois are often called the greatest performances by any actress ever captured on film. There’s a phrase – “to capture one’s imagination.” This is what Vivien Leigh did to me, first through her work and then through her incredible life, which I learned about as my interest in this great actress developed.

To learn about Vivien is to be transported into London’s theatre life of the 1930s through 1960s and to be widely exposed to the history of theatre and its participants. Of course, one of the major players in British theatre as well as in Vivien Leigh’s personal life was Laurence Olivier. I find it fascinating to read about their professional partnership and especially about their genuine dedication to theatre. Their personal love story is a separate subject all on its own, in my opinion having more in common with great fictional romances like those in GWTW and Wuthering Heights than with any real-life relationship that I personally ever heard of.

Perhaps it is inevitable that all too often, Vivien Leigh’s life and achievements are framed in terms of her marriage to Laurence Olivier. There’s no doubt he was a major influence on her growth as an actress. But I’m convinced she would’ve achieved the same great success if he had no part in her life. In her early films, which had nothing to do with Olivier she gives very lively and convincing performances. She played Scarlett when she was only 25 and all credit for that is certainly hers alone. Laurence Olivier himself considered her to be very talented and got very upset when critics couldn’t get past her beauty. Alas, the British stage was often an uphill battle for Vivien Leigh, where she fought against the critics’ prejudices that she was better suited to be a beautiful Hollywood movie star than a serious English actress. I for one prefer to judge her on her merit and not on her looks. And her accomplishments on the stage were stellar if you choose to trust the words of people like Laurence Olivier, John Gielgud, Richard Burton or Orson Welles. Many have said that her Lady Macbeth and Cleopatra were among the finest they’ve ever seen. We are fortunate to have a glimpse of her Sabina, and thus can gauge two of her stage performances – Sabina and Blanche albeit captured in later productions. They’re but a small example of the versatility she displayed throughout her career as she played Shaw, Wilder, Williams, Shakespeare and finally Chekhov.

At the end of her life, despite devastating personal setbacks, frail health and an age when most actresses’ careers do indeed decline, she found enough personal strength and professional expertise to lead Old Vic tours all over the world, act in films and win a Tony in a musical. Surely, beauty alone could not have sustained such a consistent, quality-driven career, made all the more extraordinary by her circumstances. This is what amazes me about Vivien Leigh and why I have such great respect for her – this ability to get up and go about her life and work, with the same unwavering commitment to being an actress, nothing less and nothing more. She never rested on her laurels or took short cuts. It would’ve been very easy for her to settle for a comfy life as a Hollywood superstar. She instead chose to come back to war-time England and get back to her first love, which was the theatre. I believe that decision was hers just as much as it was Olivier’s.

What I think she may have perhaps taken from Olivier, is being a grounded and practical professional. It is revealing to read Olivier’s letter to Tennessee Williams in Terry Coleman’s book, where he sounds more like a detail-oriented engineer than an “inspired artist”. His approach was sensible and crafty, always centering on the audience, not some vague “self-expression”. To me, this just shows how well he knew what he was doing. I saw the Three Sisters recently, which he directed after his National Theatre production, and the whole flow of the movie and of course the acting of the ensemble are outstanding, just as you’d expect from a British theatre company. It is people like Laurence Olivier, with their technique and no-nonsense approach that helped to uphold and secure the reputation of the British theatre.

Given my high regard for both Vivien Leigh and Laurence Olivier, I find it both sad and puzzling that these two great actors are largely remembered only by their dedicated fans, rather than by the public at large, unlike, say, Marilyn Monroe or Audrey Hepburn. It might’ve been somewhat understandable had Vivien Leigh been just a well-regarded stage actress. But she was a movie star and a great beauty, one of only a handful of truly naturally beautiful actresses. I’m sure part of it has to do with simple publicity and media exposure, but I think there is also the fact that Vivien Leigh herself was always after being a serious stage actress, rather than a movie star. She steered her career and her lifestyle towards that aim, never having much interest in fame and publicity. When people recognize the name Vivien Leigh, they think of her roles rather than some image derived from her personal life. Vivien’s personality disappears behind her professional achievements, and it is up to the fans to find out more about her. She’s not an icon or a persona or a symbol. She’s just an actress.

When we think of Audrey Hepburn, we think of her own personal style. When we think of Vivien Leigh, we think of Scarlett and Blanche and for those who are aware of her theatrical triumphs – her Cleopatra, Lady Macbeth, Paola, Sabina, etc. Similarly, Laurence Olivier, having been a handsome romantic Hollywood leading man, easily went between that and Shakespeare, modern and classic plays, leading and supporting roles. There’s no persona of Laurence Olivier, but there are Hamlet, Richard, Heathcliff, Hurstwood, etc. These were real and private people who simply concentrated on doing their job well. I personally find this dedication to their profession worthy of great respect and admiration and I actually cannot think of any other famous stars who always remained primarily committed to their original choice of being an actor, rather than someone famous. It is unfortunate that people of lesser talent and accomplishment are the ones that are remembered today, just because neither Vivien Leigh nor Laurence Olivier ever cared about being legends, but simply went about their work.

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Irina has been a fan of Vivien Leigh’s for over 20 years. She maintained a comprehensive website about VL called a “Lass Unparallel’d” in the early 2000s. This website contained one of the largest online collections of VL photos at the time, which Irina mostly scanned from different books and some other printed materials. She had to take somewhat of a break from her hobby, but is very happy to return to it now and to the vibrant community of fans that have gathered around Kendra’s FB page and vivandlarry.com.

books interviews laurence olivier

Interview with Laurence Olivier author Margarida Araya

By Kendra + August 31, 2015

Richard III is one of Laurence Olivier’s most critically acclaimed films, both as an actor and director. Filmed in Spain in 1954 with interiors shot in England, it is the third film in what is now known as the Olivier Shakespeare Trilogy (out on Criterion Collection). While information about Olivier’s life in England is abundant, his time in Spain is less well-known–until now.

Here, Tanguy Deville interviews theatre historian, author, and Laurence Olivier expert Margarida Araya about her debut book, Sir Laurence Olivier in Spain.

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Tanguy Deville: Can you introduce yourself briefly and tell us how you became interested in Laurence Olivier?

Margarida Araya: I’m from Barcelona and I’m a translator and an Air Navigation Technician. I started to get really interested in Laurence Olivier (I had seen some films before) when I watched The Entertainer. It contained everything I liked: theatrical references, a looser character and a great performance. Then I started to look for information/photos of him on the Internet and discovered what a glamorous couple he and Vivien Leigh made.

TD: How did the idea of the book come about?

MA: I always love to investigate things. I started to investigate (through newspaper libraries) if LO had even been to Barcelona. Then I started to find about the shooting of Richard III near Madrid and the Oliviers’ holiday in Andalucia.

When I had compiled a lot of information I decided to create a small site to share it. I kept on investigating (travelling to Madrid and to the British Library in London) and after discovering some interesting facts I thought that they deserved to be published in a book. So I sent my proposal to different publishing houses and then a friend put me in contact with Camelot.

TD: We know a lot about the Oliviers in Italy, and in France. Their stay in Spain is less well-known; very few biographers have investigated it. Why is that?

MA: They only came to Spain on holiday once so there is much more documentation of them in Italy.

TD: How did you work on the research?

MA: My main research has been through Spanish newspaper libraries (online and physical). I travelled to Madrid to visit the zone where they shot Richard III and I contacted several towns in the zone, but just one (Torrelodones) gave me feed-back and helped me answer a couple of questions. I also went to the British Library in London where I could read Olivier’s personal diaries.

TD: Were the Oliviers big stars in Spain at the time?

MA: The Spanish press was quite disconnected from the rest of the world; they hardly knew anything about the Oliviers. They only knew them from being the stars of Hamlet and Gone With the Wind. In my book I reproduce some original interviews and they are very naive.

TD: Why did Olivier decide to film Richard III in Spain?

MA: After filming Henry V in Ireland, he looked for a location with better weather. Spain was cheap and had a lot of sun. The only problem he found was that the grass was too yellow to look like Bosworth…

TD: The Oliviers made many trips to Spain. What did they do and who did they meet there?

MA: There isn’t much information about their visits in the Spanish press. These were pre-paparazzi times! They met Lola Flores, the flamenco dancer, during the shooting of Richard III. During their holiday in Andalucia they also meet Antonio, another flamenco dancer, so we can guess they really liked flamenco! They visited several Andalucian towns and they even went to the cinema to see a Spanish movie.

TD: At the time of Richard III and later in the ’50’s, Spain started to become a great place for filming…

MA: Yes, and Olivier claimed his was the first international production to do it. After him came Orson Welles, the Samuel Bronston productions and Kubrick’s Spartacus*, for example.
(*Olivier didn’t come to Spain for the Spartacus filming. They used a body double during the battle scene.)

TD: During the writing of your book and the research did you make some interesting discoveries?

MA: I can’t tell you about the main discovery, it’s a secret! (It will surprise Spaniard readers.) But I can tell you that in many interviews LO said he had been in Spain before August 1954, and I couldn’t find any reference of this trip. One day, by chance and through a Marilyn Monroe book, I saw a photo of him standing in front of a Spanish sign. I was lucky to find the Spanish magazine that had published that photo. They even interviewed him. This visit was confirmed in his diaries.

TD: Richard III is considered to be the greatest part of Olivier’s (specially on stage). What is your opinion of that movie today?

MA: When I first saw the movie it surprised me to see it had a comical tone and I immediately fell in love with Richard. I think it’s a combination of his two previous Shakespearean films. The first part is very theatrical and then, we have the ‘Spanish’ part with a lot of real action. The cast and the rhythm are great. I’ve seen other Richard III versions but I stick with Olivier’s.

TD: After their divorce, did Larry go back in Spain? What about Vivien?

MA: Yes, Larry came back to Spain many times, with Joan Plowright, to spend different summers in the Balearic Islands. He was also in Costa Brava for two days filming Nicholas and Alexandra.
I centered my research on Larry so I can’t tell you for sure if Vivien came back to Spain, but I haven’t seen her name in any subsequent document.

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Sir Laurence Olivier en España tells us why the British actor and director Laurence Olivier (1907-1989) chose “those stunted Spanish trees and the silver grass” to shoot part of his film Richard III near Madrid in 1954. Despite its secrecy, and thanks to certain documentation such as Olivier’s personal diaries, some mysteries of the shooting are revealed. We also have access of several interviews given by Olivier and his then wife, the actress Vivien Leigh, to the Spanish press in 1954 as well as on his later visit, on holiday in Torremolinos, in 1957.

Sir Laurence Olivier en España is published by Camelot and is available in Spanish, with an English language version coming soon.

Margarida Araya also runs the Sir Laurence Olivier Stage Work website and the wonderful Sir Laurence Olivier Fan Page on Facebook.

featured photo essay vivien leigh

Summer at Tickerage Mill

By Kendra + July 17, 2015

Vivien Leigh’s country estate, Notley Abbey, was sold in 1960 pending her divorce from Laurence Olivier. While on the hunt for a new country retreat, her friend, the actor Dirk Bogarde, told her of a gorgeous Queen Ann-style house in the Sussex downs. It was too small for him, he said, but she might love it. Love it Vivien did, and she moved in with Jack Merivale in 1961.

Although Tickerage was very much a private space, Vivien occasionally allowed photographers into her country life. Thomas Wilkie and George Douglas were two such photographers. I profiled Douglas here last summer when it was announced that his archive had been discovered by Shan Lancaster and Guardian photographer Roger Bamber in Brighton. Since then, I’ve had the privilege to get to know Shan and follow the great work she and Roger are doing to raise George Douglas’ profile.

In a mutually beneficial effort to help spotlight Douglas’ wonderful work, and because everyone likes pretty pictures, here is the full set of Douglas’ shoot of Vivien Leigh as found (thus far) in the George Douglas Archive. (Getty Images are also licensing some of Douglas’ color photos from this shoot via the Popperfoto collection.)

“Good news of Tickerage every week, which I long to see again.” – Vivien Leigh to Radie Harris, February 6, 1962

“Tickerage Mill was just as romantic a setting as Notley, if on a smaller scale. The lake close to the house provided for her the essential ingredient of water always present, and she assured me that she was comforted by the knowledge that it was there, even when obscured by the mist of autumn, the winter fogs. There was also a miniature wood filled with carpets of anemones and bluebells that she had planted, which burgeoning in the spring might have been created for Titania [the character Vivien played in A Midsummer Night’s Dream in 1937]. Like my mother, Vivien had green fingers, and in an enviously short time, the garden, which had been sadly neglected till the arrival of the new owner, took on a blossoming look of someone who knows that she is cherished.” – Godfrey Winn, 1965

“Another beautiful album of Tickerage for Vivien! It really is stunning and she is delighted with it, as I have no doubt she has told you in the letter which Jason and I have just walked up the lane to post…All is well here I think. We have had our dramas; the Cooks, who have been with Vivien for eleven years as gardener and ‘help’, upped and left and the cottage has been empty for a month. However the replacements arrived yesterday to start work to-morrow and if they are satisfactory we shall at last be able to go to the big city for a few days and catch up on some shows. We have hardly left the place for weeks. Also the poodle ran away last week and got run over for his pains poor chap. Luckily not much damage done except that he was concussed and had amnesia. He came back yesterday from the kennels in Buxted and seems fairly all right. I say ‘fairly’ because we think he still has a touch of amnesia since he forgot himself in the kitchen before lunch in a pretty substantial way.” – Jack Merivale to Arnold Weissberger, October 10, 1965

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James Abbe: Capturing the silent screen

By Kendra + June 27, 2015

This post was written for the Classic Movie History Project Blogathon co-hosted by Movies Silently, Once Upon a Screen and Silver Screenings.

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Since January, I’ve been employed as the Archivist for the estate of photographer James Abbe (I mentioned this a couple posts ago). With approximately 5,000 items including negatives, original prints, letters, scrapbooks and more, it’s a big and exciting job scanning and cataloguing this treasure trove. But we’re making headway and eventually the estate hopes to transform it into a searchable, online archive dedicated to selling prints and providing information to researchers.

James Abbe grew up in Newport News, Virginia where he became interested in photography at an early age. In the 1900s Newport News was a busy shipping town and Abbe was often found wandering the streets with his handheld fold out Kodak, capturing events of local interest. He became so prolific that he was dubbed “The boy photographer of Newport News.”

In 1917, after a successful breakthrough into professional photography for the Washington Post, Abbe moved to New York where he set up his own studio on West 67th Street. It was there that he was introduced to the film world. His first film star subject was Marguerite Clark whose screen credits included The Crucible (1914), The Seven Sisters (1915) and Uncle Tom’s Cabin (1918). He also photographed several actors who appeared on the New York stage before making a break in films, including Fred Astaire (and his sister/dancing partner Adele), Talulah Bankhead and Mae West.

As National Portrait Gallery curator Terence Pepper has noted, Abbe’s “most enduring relationship in the film world” was with Lillian Gish and her sister Dorothy. Indeed, many original prints of the sisters taken separately in New York, London, and Paris during the 1920s have surfaced in the archive. He first photographed Lillian in his New York studio for the 1917 D.W. Griffith film Broken Blossoms in which Gish played Lucy, the poor girl in London’s gritty East Wend who falls in love with a Chinese man. Abbe’s sittings with Gish led to a working relationship with director D.W. Griffith who produced films out of his studio in Mamaroneck, New York. At Mamaroneck, Abbe worked as a portrait photographer or stills photographer (sometimes both) on several of Griffith’s films.

In 1920, Abbe moved on to Hollywood where he worked closely with Mack Sennett at Keystone Studios, and contributed photographs to several fan magazines. He even had his own feature, “The Photographer Takes the Stage,” in Motion Picture Classic, a sister publication of other popular fan magazines like Shadowland and Beauty. Several future Hollywood big shots were employed by Sennett during Abbe’s tenancy in Hollywood. Among Abbe’s future-famous subjects were Gloria Swanson, Carole Lombard and Wallace Beery. He also captured legends of their own time like Douglas Fairbanks in Robin Hood, Charlie Chaplin during The Pilgrim, and Mary Pickford for Tess of the Storm Country and Suds.

Abbe’s film photography was not limited to the United States. He was first and foremost a freelance photojournalist and as the years went on he built up a roster of big name magazines and newspapers that accepted his photographic essays and often kept his photographs on file. In London, he contributed to The London Magazine, The Tatler and The Sketch. A notable essay that we’ve come across thus far was one he did about his time spent with director Herbert Wilcox at Elstree Studios where Dorothy Gish was employed for several films during 1925-1926. In Berlin, he photographed luminaries like F.W Murnau and Emil Jannings at UFA, frequently contributing to Berliner Illustrirte Zeitung. In Moscow, his subjects included Dziga Vertov and Sergei Eisenstein.

Although the breadth of Abbe’s work spans several decades and subjects ranging from theater to ballet, politics to war photography, his involvement in filmmaking during the era of silent cinema is significant enough to warrant discussion on its own. Here, then, is a selection of film-related images scanned from the archives of James Abbe.

I’d love to know your thoughts on these photographs, and if you’re big into silent film and recognize people or dates that we have yet to identify, please let me know!

Learn more about the Abbe Archive on Facebook.

Charlie Chaplin in The Pilgrim (1922), signed by Abbe in his signature crayon

Abbe (right) with friends Douglas Fairbanks and Mary Pickford in France circa 1924. Photographer unknown.

Tom Mix wearing his trademark cowboy attire, photographed in his suite at the Aldon Hotel in Berlin, 1925. Abbe managed to get Mix to pose with theatre impresario Max Reinhardt in another photo, despite him having never heard of Mix.

Pre-Hollywood: Tallulah Bankhead photographed on her arrival in New York in 1918. She made her debut in The Squab Farm that year.

Legendary German film director Friedrich Wilhelm (F.W.) Murnau photographed at UFA studios in Berlin cira 1926

Russian actor Erast Pavlovich Garin in Gogol’s Revisor, directed by Vsevolod Meyerhold. Moscow, 1927. Abbe called Garin “A cross between John Barrymore and Harold Lloyd.”

American director D.W. Griffith photographed at his Mamaroneck studios in New York while filming Orphans of the Storm, 1919.

American film and stage actress Jeanne Eagels in David Belasco’s “Daddies,” 1919. A variant pose from this sitting was the first photograph to be published on the cover of the Saturday Evening Post.

Ivor Novello and Gladys Cooper in a still from Bonnie Prince Charlie (Charles Calvert, 1923)

Theatrical producer C.B. Cochran with British songstress Jessie Matthews, star of Rogers and Hart’s “Ever Green,” photographed on stage at the London Pavilion circa 1930. Matthews would later make a smash hit singing “Over My Shoulder” in Victor Saville’s film adaptation.

Abbe’s (3rd) wife, former Ziegfeld Folly Polly Platt (Shorrock) as an extra in the 1922 film The White Sister. The photograph was taken on location in Italy.

American actress Dorothy Gish (seated, center) and the crew of Herbert Wilcox’s London (1926) take a break during location shooting in England.

Irene Bordoni and Jack Buchanan take a smoke break on the set of their first talking picture, Paris (1929). Director Clarence Badger can be seen in the sound recording box behind them.

Portrait of American silent film star Theda Bara. Photo is undated.

Still of Richard Barthelmess and Lillian Gish in Way Down East (D.W. Griffith, 1920)

Louise Fazenda, Wallace Beery and unidentified woman in a publicity portrait for Mack Sennett’s Keystone Studios. Fazenda (left) is in costume for her 1920 film Down on the Farm.

Undated portrait of Marion Davies who was then starring in a revue at New York’s Amsterdam Roof.

The Latin Lover Rudolph Valentino and wife Natacha Rambova in a publicity portrait for their celebrated dance tour for Mineralava Clay Company, 1923.

America’s Sweetheart Mary Pickford photographed in Paris circa 1924.

Bobbie Vernon, Gloria Swanson and an unidentified Mack Sennett player. The photo has been marked up for publication alongside a three-column story on Swanson’s life in an unspecified magazine or paper.

Emil Jannings in costume as Faust, photographed at UFA studio in Berlin, 1925.

Lillian Gish in costume for her role in The White Sister. Photographed on location in Italy in 1922. Notice the grates in the pavement.

Undated portrait of American actress Constance Talmadge.

Behind the scenes on a film shoot with director Herber Wilcox and crew (likely the 1926 film London at Elstree Studios). The man in the top hat on the right appears to be Adelqui Millar (Adelqui Migliar).

American actress Betty Compson and British actor Clive Brook in The Royal Oak (Maurice Elvey, 1923)

Dorothy Gish publicity portrait for Nell Gwyn (Herbert Wilcox, 1926)