Jeanne Eagels — Star of stage and film.

*Jeanne Eagels, as a war orphan in the 1918 play “Daddies,” produced by David Belasco*

Okay, first, if you are under the age of 95, you might ask, who is Jeanne Eagels?

Well, she was a big Broadway and film star in the 1910s and ‘20s — in fact, one of the biggest.

And her Ossining connection is that she owned not one, but two estates here: a 30-acre estate called “Kringejan” at 1395 Kitchawan Road, and 22-acres of land and a house on Cedar Lane Road.

In fact, I’m convinced that these two photos below were taken in the front garden of Kringejan, 1395 Kitchawan Road (today’s Rt. 134):

And here’s a description of her 2nd home in Ossining, on Cedar Lane Road:

*Courtesy of the Ossining Historical Society*

In those days, Ossining was quite the place for the gentry to land – businessmen, bankers, writers and actors were snapping up farms and transforming them into elegant country estates. According to Eric Woodard and Tara Hanks in their biography Jeanne Eagels: A Life Revealed, Eagels fell in love with the Ossining area when she was making silent films at Thanhouser Studios in New Rochelle.

Hers was the classic “lift yourself up by your bootstraps” story that America values. A small-town girl comes to the big city and makes good. She starts by nabbing bit parts in around 1908, and by dint of hard work, talent and luck, reaches the top of her profession before her untimely death at the age of 39.

1924 even found her on a list with Rockefellers, Roosevelts, Guggenheims and Harrimans when the income tax payments of Manhattan’s wealthiest were made public.

But somehow, that’s not at all how she’s remembered.

She lived most of her life on that tricky front line where she was applauded for her success while at the same time condemned for it. She was raised up and then torn down time and time again. The insatiable curiosity of the press and the public transformed almost every detail of her life into something salacious.

So, let’s try to separate the fact from fiction and give this accomplished woman her due.

Jeanne Eagels was born Amelia Eugenia Eagles in Kansas City, Missouri in 1890.

The story goes that Jean Eagles [sic] ran off with the Dubinsky Brothers Stock Company at the age of 15, though she was really 18. Starting off with a few small parts (and possibly by marrying one of the Dubinsky brothers) she clawed her way to the top there. At the time, stock companies were how most people living outside cities got their entertainment in the years before film and radio. And also how many actors got their starts.

These companies were constantly touring, often doing one night stands, after which the company would sleep sitting upright on chilly trains as they overnighted to the next stop. They played all sorts of venues, from legitimate theaters to church basements to tents in the nicer weather. On the rare occasion they played more than one night in a particular town, there were limitations about where they could stay because many hotels wouldn’t rent rooms to actors due to their supposedly loose morals. (And maybe because more than one had skipped out without paying.)

*Sometimes they played in theaters, sometimes in tents . . .*

She left the Dubinsky Brothers in 1910 (and changed her name to Jeanne Eagels) to join a tour of Jumpin’ Jupiter, landing on Broadway for three weeks in March of 1911. While the show was savaged by the critics, Eagels managed to land on her feet and score a job in the chorus of The Pink Lady, a Klaw & Erlanger production.

*Jeanne Eagels is third from the left in this c. 1910 photograph.*
*Courtesy of the New York Public Library – Billy Rose Theater Division*

From here on, she’d continue to work for the most influential producers on Broadway, such as Charles Frohman, David Belasco, and the Shubert brothers.

Arguably, her most famous role was as Sadie Thompson in the play Rain. Whether you know it or not, I can guarantee you’ve heard of it somehow, or at least of the character of Sadie. Based on what was at the time considered a wicked and immoral story by Somerset Maugham (written in 1921), it’s about a prostitute named Sadie Thompson and the married missionary who falls in love with her as he tries to save her soul. It was provocative, controversial and just downright shocking.

Audiences couldn’t get enough of it.

Rain first premiered on Broadway in 1923. Lee Strasberg, the father of Method Acting, called her Sadie “One of the great performances of my theater-going experience . . . An inner, almost mystic flame engulfed Eagels and it seemed as if she had been brought up to some new dimension of being.”

(Fun fact: Gloria Swanson sold her Croton-on-Hudson estate to finance the silent picture version of Rain called Sadie Thompson, which she produced and starred in. Other actors connected to Rain in later films include Joan Crawford and Rita Hayworth. And, in 2016, the Old Globe Theater in San Diego premiered a musical version also called Rain. It’s a story that continues to fascinate.)

Anyway, Jeanne Eagels was as big a star as you could be back then. She appeared on Broadway and took her shows on the road, often selling out when she was the star. The Cleveland News ran a story about her which noted her “Lightning energy . . . Eyes snap. Voice trills. She seizes the attention.” It goes on to praise her realism and emotionalism – attributes it seems that most actresses of the time lacked.

In 1925, Eagels secretly married Ted Coy, a famed Yale football player and supposedly the inspiration for F. Scott Fitzgerald’s character of Tom Buchanan in The Great Gatsby. He is still such an icon that in 2008 Sports Illustrated voted him most likely to have won the Heisman Trophy had they had it in 1908.

Ted Coy, legendary Yale football star.

But Eagels didn’t allow marriage to slow down her career. She stayed with Rain until 1926, when she left to take on the role of Roxie Hart in the original play of Chicago. But her private life – a failing marriage, health problems, mental instability – got the better of her, and she quit that show.

It’s at this point of her career that the legend of her temperamental nature becomes the story.

Here’s an excerpt from an article in the Milwaukee Sentinel from May 6, 1928, during the tour of Her Cardboard Lover, the show she did after Rain:

Miss Eagel’s eccentricities are of long standing. Before each performance, the company and management wait anxiously to see if she will appear at all. When she does, nobody knows what she will do on the stage, and the stage manager stands ready to ring down the curtain in case of trouble.

The article goes on to describe how she simply disappeared when the show moved from Chicago to Milwaukee:

Days passed, the theatre remained dark, the company idle, the management began to tear its hair, already made gray by the erratic star. Towards the end of the week, the lady of mystery turned up with the simple explanation that “She hadn’t been feeling well.” It was too late to do anything in Milwaukee, but there was a fine advance in St. Louis. So the manager bought flowers for the star and the company took turns petting and pitying her and asking no questions.

But the newly formed Actors’ Equity Association (of which Eagels, along with her New Castle neighbor Holbrook Blinn, had been unsupportive and refused to join) brought her up on charges for behaving unprofessionally, levied a $3,600 fine equal to two weeks’ salary (or $48,000 in 2016 dollars) and banned her from appearing on the Broadway stage for a year.

In response, Eagels just went off and made films because she could. She had made some silent movies before her stage career took off, and film producers had never stopped clamoring for her.

However, her personal demons were taking over, and after missing two weeks of shooting, she was fired from MGM’s Man, Woman and Sin, a silent film in which she was co-starring with John Gilbert. (Since she’s in the final cut, it seems like most of her scenes had been shot.) It’s also around this time the gossip columns start calling her “Gin Eagels” because she was known to drink hot gin “prescribed by her doctor to relieve persistent neuralgia.” (Let’s not forget, this is all during Prohibition.)

For the last year of her life, most of her press mentions concern her health (many hospitalizations), her divorce (in lurid detail), and her films. And, of course her tragic death.

Her last project was a 1928 film called The Letter. It’s her only talkie, and she was posthumously nominated for a Best Actress Oscar Award (it went to Mary Pickford instead.)

Here’s a link to a scene. She does not look like she is at her best here.

Sadly, the story that’s mostly remembered is the tragedy of her early death, and her erratic behavior. This was helped along by a titillating biography written in 1930 by a muckraking Chicago reporter. Called The Rain Girl: The Tragic Story of Jeanne Eagels, her death was attributed to heroin addiction and alcoholism.

Eagels’ story was still bankable in 1957 when Columbia Pictures produced a highly fabricated biopic based on the Doherty book, starring Kim Novak:

Even the New York Times was not immune to capitalizing on her death. Her 1929 obituary makes sure to remind everyone of her volatility and instability. It even took the time to follow up on her cause of death, publishing an article several days later that quoted the City Toxicologist’s finding that she “died from an overdose of chloral hydrate, a nerve sedative and soporific.”

The Times would go on to cover her funeral, burial and the settlement of her estate, noting that it totaled over $88,000 (that’s $1.1 million today) and consisted of her Ossining home, nearly $12,000 in jewelry and furs, and a rare Hispano-Suiza autocar.

A 1927 Hispano-Suiza motorcar. Imagine living in Ossining when cars like that were on the road! Today this car could sell for up to $450,000

Clearly she was troubled and likely an addict of some kind, but I’m not trying to be an apologist here for unprofessional behavior. The fact of the matter is that she was a remarkably successful actress, and producers kept hiring her because she sold tickets and made money for them. Looking at her films today, it might be hard to see the appeal, but back then, she was the cat’s meow.

A still from her last picture, *The Letter*

Vera Neumann — Legendary Designer

Do you know who Vera Neumann was? Perhaps your mother or grandmother owned a Vera scarf? Or maybe you bought some Vera dish towels from Crate & Barrel or a Vera scarf from Target not too long ago? She’s an absolute legend in the world of textile design and her Printex printing plant was located right here in Ossining, at 34 State Street.

So settle in, tie a brightly hued scarf around your neck, and read on . . .

Born in 1907 in Stamford, CT, Vera was creative from the time she could hold a pencil. The story goes that her father nurtured her talent by taking her to the Metropolitan Museum of Art every Sunday as well as hiring a sign painter to give her drawing lessons. Vera went on to study at the Cooper Union and started out as a fashion illustrator and freelance painter of murals for children’s rooms. (Wouldn’t THAT have been a thing to grow up with on your wall!)

She married her husband George Neumann in the 1940s and they became the power couple of textile design. With her limitless imagination and his business acumen, they built a wildly successful and long-lived company. Their first commission was placements for the B. Altman department store, with Vera screen printing the entire run on her dining room table. After that, it was a race to keep up with demand.

The post-WWII world complicated matters, and it became difficult to source fabrics. An oft-repeated story is that Vera came across a stash of silk parachutes in an army surplus store and began screen printing her whimsical, colorful, ever-changing designs on silk and so created her iconic line of scarves.

Outgrowing one studio after another, Vera and George settled in Ossining, buying the former Smith-Robinson House at 34 State Street and fitting it out for their Printex plant. (An 1810 Georgian mansion, it’s still standing today, barely, and is one of the few remaining buildings in Ossining built with prisoner-quarried Sing Sing marble.)

34 State Street, Smith-Robinson House/Printex
Courtesy of the Westchester County Historical Society

With their living space and office right next to the plant, Vera’s reputation and creativity thrived.

Vera and George Neumann in the design studio of Printex. Photo by Gottscho-Schleisner, Inc. (1951), from the Library of Congress

The Living Room
Photo by Gottscho-Schleisner, Inc. (1951), from the Library of Congress

Look at that shiny wood floor! And that fireplace!

The printing plant
Photo by Gottscho-Schleisner, Inc. (1951), from the Library of Congress

The office suite of Printex
Photo by Gottscho-Schleisner, Inc. (1951), from the Library of Congress

How fabulous was this? River views and no commute? Wood floors and fireplaces? And just look at the Georgian decoration around those doorways! I wonder if any of it survives today?

The Printex company employed many Ossiningtonians. Dr. George Hill, their neighbor at 30 State Street, provided medical services to Printex employees. He also helped connect young people with jobs there. Local artist Donna Chambers was one of them, and the training and inspiration she received no doubt helped inspire her to become a professional artist who creates remarkable quilts and jewelry today.

And here’s just a tiny selection of Vera designs, from a 2015 exhibit at the Alexander Gray Gallery in New York:

If we were going to play six degrees of Vera Neumann, we can connect to President Harry S Truman and First Lady Bess Truman, who chose Vera’s Jack-in-the-Pulpit design (below) for the upholstery in the White House solarium.

Jack-in-the-Pulpit design – note, the shadows are part of the design. It is one of Vera’s most popular, in active use from 1952 to the mid-1980s – a remarkable run!

We can also connect to Marilyn Monroe. who famously wore nothing but a Vera in her last photo shoot (with photographer Bert Stern.) I’d love to post a Marilyn photo here, but I can’t afford the rights, so here’s a link to a photo instead.

But one of the most admirable things, I think, about Vera Neumann is that she kept her price point low enough so anyone could own a Vera. While other designers charged upwards of $25 a scarf, Vera’s averaged from $2 – 10. (Remember inflation! $25 in the 1960s is about $250 today.) “I don’t believe only the wealthy deserve good design,” she said and meant it. And her inexhaustible creativity meant that the market was never saturated with the same thing, so even these “cheaper” scarves were unique and special.

In the 1950s, as their family grew, George and Vera decided to build their dream house, reaching out to the leading architect of the day, Marcel Breuer. On their plot of land at the top of Finney Farm Road in Croton, with magnificent views of the Hudson and beyond, Breuer’s modernist design is a triumph. Still standing, and recently restored, it was on the market in 2020 for $4.2 million. Take a look here and here.

Vera and George travelled widely and collected art – Alexander Calder (who briefly lived in Croton as a child) was a close friend, and the Neumann lawn was decorated with a large Calder sculpture, a gift from the artist.

In the 1960s, the company branched out into clothing and home textiles, and sales skyrocketed. Here are a few outfits I plucked off Ebay/Pinterest:

And here are some home goods items:

Ooh, I’ll take one of each please!

Sadly George died in 1960 and Vera sold Printex in 1967, though she remained active as a designer and board member for decades.

Vera Neumann in her Ossining studio, c. 1974

She lived in her beautiful home with her dachsunds and cats, swimming daily in her indoor pool until 1981, when she moved in with her daughter in Ossining.

Vera Neumann died in 1993, designing to the end. An artist, a trendsetter, a savvy businesswoman, hers was certainly a life well-lived who brought joy to everyone who saw her designs. Check out more of her work here.

Edward Kemeys – Ossining Artist

Sometimes I think one could easily play Six Degrees of Ossining – mention any person or any place in the entire world and you could connect it back to Ossining (or Scarborough or Briarcliff) in less than six degrees.

First, for you runners out there, does this statue look familiar?

“Still Hunt” by Edward Kemeys
Central Park, NYC

If you’ve ever run a race in Central Park, you’ll be familiar with the steep hill, sometimes called “Cat Hill,” right after the Boathouse at about East 76^thStreet. It’s there, almost at the top, that you see this remarkably life-like panther crouched in the shadows on top of a rock to your left.

The story I’m about to share delighted me and I hope you’ll find it just as interesting.

But let’s set the stage first — those of you who are familiar with Ossining might know of Kemeys’ Cove. Today it’s a condo complex near the Jug Tavern and the Arcadian shopping mall. But back in the day, it was homestead of one of the first European settlers in the area. (Watch this space for a post about the pre-European people who lived here.)

Just after the Revolutionary War, William Kemeys, a wealthy shipowner from Scarborough, England left the mother country due to his lack of enthusiasm for the Church of England and the social constraints he suffered from because of that. He came to America looking for tolerance, acceptance and opportunity. Taking a brief foray up the North River (as the Hudson was called in those days), he found a delightful spot in which to settle: “There he built a long low ceilinged English House of red brick facing south on the cove and called the place Scarborough after the English town from whence he came. The house was still standing about 1870 until the property passed out of the hands of Edward Kemeys, the great grandson of William Kemeys and was demolished.”^[1]

Now, it’s this Edward Kemeys that concerns us here. Born in 1844 in Milledgeville, Georgia (“during a sojourn of his parents to the South”^[2]) to Abby Brenton Greene and William Kemeys. Abby sadly died soon after Edward’s birth, and he spent much of his childhood on the Kemeys homestead in Scarborough, with his grandparents Judge Edward Kemey and Gertrude Bleeker.

At the outbreak of the Civil War, our young Edward enlisted in the 65^th New York Volunteer Regiment, eventually attaining the rank of Captain of Artillery. Edward and the 65^th served nobly at many battles,^[3] Antietam and Gettysburg being perhaps the most well-known today.

After the war, Edward studied civil engineering and helped survey Central Park. But his heart wasn’t in it — he soon became interested in animal sculpture and went west to study animals (so the story goes) and then to London and Paris to learn how to sculpt.

Here’s a slightly more in-depth history on Kemeys and his work written by the NYC Parks Department^[4]

“Still Hunt” was by no means his only famous sculpture – if you’ve ever been to the Art Institute of Chicago, you’ve seen his handiwork — the two bronze lions at the entrance were sculpted by Kemeys.

One of a pair of lions at the entrance of the Arts Institute of Chicago
sculpted by Edward Kemeys

The Metropolitan Museum of Art in New York also has a number of his works on display – this one, called “Mutual Surprise” is one of my favorites:

“Mutual Surprise” by Edward Kemeys
The Metropolitan Museum of Art

Here’s a link to his New York Times obituary just because I like obituaries.

I still do wonder why Edward let the Kemey’s homestead go. Seems like it would be an idyllic spot for an artist.

But there you have it, from Ossining to Central Park to famous sculptor.

^[1] From a xeroxed history with no author information found at the Ossining Historical Society

^[2] From the same xeroxed history with no author information found at the Ossining Historical Society

^[3] See here for more: https://civilwarintheeast.com/us-regiments-batteries/new-york-infantry/65th-new-york/

^[4] https://www.nycgovparks.org/parks/central-park/monuments/1506

The Home of Berta and Elmer Hader, Nyack, New York

Nyack, New York — Okay, so I didn’t run by here, but I DID bike by here, so that still seems in keeping with the theme of this blog.

I had the good fortune to be one of the first riders across the new Gov. Mario M. Cuomo Bridge Bike/Walk path. (The path had officially opened the day before.)

Here’s a shot of it:

I rode from the Tarrytown side all the way over to the other side, and as I was biking through the picturesque town of Nyack, I remembered that Berta and Elmer Hader had lived here, so I needed to go find their house.

Who, I hear you asking, are Berta and Elmer Hader, and why should I care?

Well, they were popular and prolific children’s book writers and illustrators. A husband and wife team, they met in San Francisco in the teens, married, and moved to Nyack, New York, because they thought that to really make it they had to be near New York City. Over a period of some years, they built this glorious stone house perched high on the hill overlooking the Hudson. Big enough to accommodate many guests and their studio, they lived, worked and entertained here up until they died (Elmer in 1973, Berta in 1976)

Berta and Elmer Hader in their studio in Nyack, NY (Courtesy of Concordia University)

Here are some images of their work:

Here’s the cover of a book they wrote in 1944 about building their lovely stone house. (It even got a review in the New York Times):

Elmer also illustrated John Steinbeck’s first four novels – the story goes that Steinbeck saw the drawings for the book “Billy Butter” and was so impressed with it that he asked him to do the cover art for “The Grapes of Wrath.”

One of the things that strikes me about them, their work, and their house, is that it seems like they would have been magical parents. However, tragically, their only child, Hamilton, died at the age of two from meningitis. But Berta and Elmer soldiered on and brought joy to hundreds of thousands of children.

According to the research guide at the Concordia University Library, which houses an archive of their illustrations, the Haders once wrote this about their artistic philosophy:

“We write for children, not to preach, nor moralize, but to suggest that the world about them is a beautiful and pleasant place to live in, if they but take time out, to look. And perhaps in doing so, our young readers will develop an interest to save what is good of their world for others to enjoy.”

What a delightful and joyful way to approach the world, eh?

The Haders were active in their community, early supporters of the environmental movement, and committed pacifists (Elmer had served in WWI, though it’s unlikely he ever saw any action, leaving on a troopship for France as he did on November 10, 1918, the day before the Armistice.)

But I’m not going to lie – my interest in the Haders did not stem from books of theirs I read as a child. No, my interest in them comes by way of Laura Ingalls Wilder and “Little House in the Big Woods.”

That’s a whole other post unto itself, which I will take up at the proper time, but let’s just say that Berta flatted with Laura Ingalls Wilder’s daughter Rose in San Francisco in the late teens. It’s during this time that Berta met Elmer, a fellow artiste and a former vaudeville performer, and they all moved to New York to live in that epicenter of artistic poverty, Greenwich Village, in a converted stable at 31 Great Jones Street. (Well, I’m not sure Elmer lived with them there, but he was certainly in the picture by then.)

(Courtesy Google Maps Street View)

Berta married Elmer in 1919, and they moved to Nyack, New York. This is their wedding photo:

(Courtesy of Concordia University)

Berta and Elmer would spend the rest of their lives in their eyrie at 55 River Road, watching the sun rise over the Hudson, and happily writing and illustrating books together.

Protected: The Home of Berta and Elmer Hader, Nyack, New York

Ossining History on the Run

Local History Seen from a Runner's Perspective

Category: Artists