Ziegfeld Follies (1907–1931),

 

 Ziegfeld Follies (1907–1931), 

The Ziegfield Follies is the equivalent of the Folies Bergères, but in New York, this cabaret has seen many actors and dancers, called the Ziegfeld Girls, who will sometimes become stars. The story of this cabaret was adapted to the cinema in 1936 with the film "The Great Ziegfeld" which won several Oscars [...]

Les Ziegfield Follies c’est l’équivalent des Folies Bergères mais à New York, ce cabaret a vu passer de nombreux acteurs et danseuses, appelées les Ziegfeld Girls, qui deviendront parfois par la suite des stars. L’histoire de ce cabaret a été adapté au cinéma en 1936 avec le film « Le Grand Ziegfeld » qui remportât plusieurs oscars […]

Ziegfeld Girls were the chorus girls and showgirls from Florenz Ziegfeld's theatrical Broadway revue spectaculars known as the Ziegfeld Follies (1907–1931), in New York City, which were based on the Folies Bergère of Paris.

Description

Sheet music cover for "Shine on Harvest Moon" with Ruth Etting of the Ziegfeld Follies

These showgirls followed on the heels of the Florodora girls, who had started to "loosen the corset" of the Gibson Girl in the early years of the 20th century. These beauties, decked out in Erté designs, gained many young male admirers and became objects of popular adoration. All of the showgirls looked very similar, both in appearance and in stature. They danced in complete synchronization, and were the only act that was uniform in the Ziegfeld Follies. Many were persuaded to leave the show to marry, some to men of substantial wealth. The Ziegfeld Ball in New York City continued as a social event of the season for years after the last production of the Follies.

In 1897, Ziegfeld married Anna Held, one of his Ziegfeld girls, by common-law. They never legally were married, but lived together long enough to be legally considered so. In 1913, Held divorced from Ziegfeld because of his infidelities with Lillian Lorraine, another Ziegfeld girl. Held died soon after. Following that, Ziegfeld married yet another Ziegfeld girl, future film star Billie Burke. Although Ziegfeld had several affairs, Burke claimed that Lorraine was the only one that made her jealous.[1] Ziegfeld remained married to Burke (and in love with Lorraine) until his death in 1932.

List of Ziegfeld girls

Anastasia Reilly, 1923

Over the years, the Ziegfeld girls included many future stars such as Fanny Brice, Marion Davies, Paulette Goddard, Joan Blondell, Olive Thomas, Jeanne Eagels, Barbara Stanwyck, Billie Dove, Lilian Bond, Louise Brooks, Nita Naldi, Julanne Johnston, Mae Murray, Dorothy Mackaill, Odette Myrtil, Lilyan Tashman, Claire Dodd, Cecile Arnold, Dolores Costello, Dorothy Sebastian, Juliette Compton, Mary Nolan, Iris Adrian, Annette Bade. Other Ziegfeld girls went onto societal and business successes such as Peggy Hopkins Joyce, Helen Gallagher, Anastasia Reilly,[2] Sybil Carmen, and Irene Hayes. Other Ziegfeld girls included Leone Sousa, Monica Van Munster,[3] Mildred Chris Kennedy,[4] Irene Amelia Melfi, Dorothy Hale, and Helen Morgan.

Mona Louise Parsons was a Ziegfeld girl who was later a member of the Dutch resistance during the Second World War.

Declined members

Dolores Costello as a Ziegfeld girl, ca. 1923

Although many future stars started out as Ziegfeld girls, many others were turned down by Florenz Ziegfeld to appear in his revue. Norma Shearer (in 1919 and 1920), Alice Faye (in 1927), Joan Crawford (in 1924), Gypsy Rose Lee (in 1927), Lucille Ball (in 1927 and 1931), Phyllis Haver (in 1915), Eleanor Powell (in 1927), Ruby Keeler (in 1924), Hedda Hopper (in 1913), and June Havoc (in 1927 and 1931) were among the many hopefuls that the master showman discarded after auditions. In 1957, the then-current members were featured as mystery guests on the television panel show What's My Line?[5]

Last survivors

The survivors of the chorus lines of the last century are The Rockettes of Radio City Music Hall. Doris Eaton Travis became the last surviving Ziegfeld Girl after the death of Dorothy Raphaelson in 2005.[6] Travis died on May 11, 2010 at the age of 106.[7]

Ziegfeld Follies showgirls MODELS INTRODUCED IN HOLLYWOOD 1920`S

Ziegfeld Follies showgirls 

MODELS INTRODUCED IN HOLLYWOOD 1920`S

Alfred Cheney Johnston (known as "Cheney" to his friends and associates) (April 8, 1885 – April 17, 1971) was a New York City-based photographer known for his portraits of Ziegfeld Follies showgirls as well as of actors and actresses from the worlds of stage and film
Biography
Johnston was born into an affluent New York banking family, which subsequently moved to Mount Vernon, New York. Initially he studied painting and illustration at the National Academy of Design in New York, but after graduating in 1908 (and marrying fellow student Doris Gernon the next year), his subsequent efforts to earn a living as a portrait painter did not meet with success. Instead, reportedly at the suggestion of longtime family friend and famed illustrator Charles Dana Gibson, he started to employ the camera previously used to record his painting subjects as his basic creative medium.

In approximately 1917, Johnston was hired by famed New York City live-theater showman and producer Florenz Ziegfeld as a contracted photographer, and was affiliated with the Ziegfeld Follies for the next fifteen years or so. He also maintained his own highly successful personal commercial photo studio at various locations around New York City as well, photographing everything from aspiring actresses and society matrons to a wide range of upscale retail commercial products—mostly men's and women's fashions—for magazine ads. He photographed several hundred actresses and showgirls (mainly in New York City, and whether they were part of the Follies or not) during that time period. Alfred Cheney Johnston died in a car crash near his home in Connecticut on April 17, 1971, three years after the death of his longtime wife, Doris. They had no children.

The photographer

For his indoor studio work, Johnston often employed a large "Century"-brand view camera that produced 11x14-inch glass-plate negatives, so a standard Johnston 11x14 photographic print was actually just a "contact print" from the negative and not enlarged at all. This size of negative afforded extremely fine image detail. (However, Johnston also is confirmed to have shot with a Graflex camera in 3-1/4 x 4-1/4-inch roll-film format; an unknown brand of 8x10 view camera; and a Zeiss Ikon camera in 120 [2-1/4 x 2-1/4-inch] film format.)

Johnston's "standard" work, of course, was used by Flo Ziegfeld for the normal advertising and promotional purposes for the Follies, and mainly consisted of individual or small-group shots of the Follies showgirls in their extravagant stage costumes. However, after Johnston's death in 1971, a huge treasure trove of extremely artistic full-nude and semi-nude full-figure studio photos (and their accompanying glass-plate negatives) was found stored at the farm near Oxford, Connecticut, where he'd lived since 1940. Most of these images (some named, mostly anonymous) were, in fact, showgirls from the Ziegfeld Follies, but such daring, unretouched full-frontal images would certainly have had no public-publication possibilities in the 1920s-1930s, so it is speculated that these were either simply his own personal artistic work, and/or done at the behest of Flo Ziegfeld for that showman's personal enjoyment.

The only book known to have been published by Alfred Cheney Johnston during his lifetime devoted to his nudes/glamour photography is the 1937 spiral-bound softcover "Enchanting Beauty", which contains 94 black-and-white photos (mostly about 7x9 inches, centered on a 9x12-inch page, although a number are cropped circular or in other designs). Unusually (compared to virtually all other examples of his work seen today on the Web or other sources, which were shot in an indoor studio in front of a flat-black or illustrated tapestry background cloth), 37 of these photos were taken outdoors along a stream or in flower-dappled fields, etc. All the shots in the book are "airbrushed" in the pubic area, to keep them legal with respect to the publishing standards of the day.

The stock-market crash of 1929 and ensuing Great Depression—combined with several unsuccessful seasons of stage productions and a variety of messy lawsuits—devastated Flo Ziegfeld's finances, and he died in July 1932. This heavily impacted Alfred Cheney Johnston's career, and likely led to his relocation to Connecticut at the end of the decade. Although he briefly operated two successive commercial photo studios there in the late 1940s/early 1950s, neither was apparently successful. It is believed that he did also continue his nude/glamour portrait work in a large converted barn/studio on his property, working with a new generation of "post-Ziegfeld" female models and stubbornly continuing to use his massive 11x14-inch view camera.

Legacy

In 1960, Johnston donated a set of 245 large prints of his work to the Library of Congress in Washington, D.C. (largely nude and semi-nude Follies showgirls, performers from various Ziegfeld shows including Fanny Brice, Billie Burke, Ruby Keeler, the Dolly Sisters, Ina Claire, Helen Morgan, Marilyn Miller, Grace Moore, Ann Pennington, Belle Baker and Ruth Etting, some well-known actors and actresses of the 1920s/1930s including Mary Pickford, Gloria Swanson, Tyrone Power, John Barrymore, Pearl White, Barbara La Marr, Orson Welles, Clara Bow, Ethel Barrymore, Claudette Colbert, Corinne Griffith, Clara Kimball Young, Theda Bara, Mabel Normand, Helen Hayes, Norma Shearer, Anita Stewart, Lillian Gish, Dorothy Gish, Marie Prevost, Tallulah Bankhead, Mary Miles Minter, Hope Hampton, and a number of product-advertisement photos). Apparently five of them have "gone missing" over the years, although the Library still has 240 images in its Prints and Photographs division (Lot 8782).

Many years later, a considerable number of original Johnston-printed (and sometimes autographed) photographic prints and many original negatives were purchased at several auctions by at least four different American collectors/entrepreneurs. Nowadays, both original 11x14-inch ACJ prints and more recent reprints from Johnston's original negatives have commanded significant prices in both on-line auctions and at photo galleries.