Vamps and Ingenues. Here's a glamour parade of the Virginal and the Wicked, the Good and the Bad (but no Uglies), each capt... (Total: 8 Items)

Description

Vamps and Ingenues. Here's a glamour parade of the Virginal and the Wicked, the Good and the Bad (but no Uglies), each captured in all her pulchritude at the New York studio of noted portrait photographer Edward Thayer Monroe. The vamp line-up includes a profile of Mae Busch, best-remembered as Von Stroheim's fake princess mistress in Foolish Wives (1922) and Oliver Hardy's lethal-looking spouse in Sons of the Desert (1933). (Directors prized Ms. Busch for her expertise at "crockery throwing.") Then get ready for Mary Nolan, aka Imogene WIlson, ex-Ziegfeld Follies blonde beauty, who cavorted with Lon Chaney amidst the jungle depravity of West of Zanzibar (1928). (Her real-life nickname was "Bubbles.") Then come two portraits - one profile, one full-face - of Nita Naldi, who aroused the lusts of John Barrymore in Dr. Jekyll and Mr. Hyde (1920) and Rudolph Valentino in Blood and Sand (1922). (Sound and Naldi's New York accent ended her cinema slinking.) As for the ingenues...well, there's Colleen Moore, who played Little Orphan Annie (1918) and was 1927's Top Box office star. (She had one blue eye and one green eye.) Then behold Dennie Moore, in a portrait from the 1926 Broadway play Hush Money. (She's best-remembered as the gossipy manicurist in 1939's The Women). Shirley Mason, silent star who played the title role in Curlytop (1924), poses coyly on profile. (Her real name: Leonie Flugrath.) Finally there's May McAvoy, remembered as Esther in Ben Hur: A Tale of the Christ (1926) and Al Jolson's leading lady in Hollywood's first "Talkie," The Jazz Singer (1927). (Cecil B. DeMille had tried to squash May's career when she refused to appear semi-naked in one of his films.) The Busch, Nolan, Mason and McAvoy portraits are 11" x 14", and the Colleen Moore, Dennie Moore and both Naldi's are 9" x 12". Photographer Edward Thayer Monroe's name is stamped on the back of each portrait and, in the case of Busch, Nolan and Denni

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