Fine antique double weight photo of Hazel Forbes (November 26, 1910 – November 19, 1980) by Alfred Cheney Johnston (April 8, 1885 – April 17, 1971),stamped on the reverse. Photographed circa 1935 dressed in horse riding gear. She was an American dancer and actress from Gettysburg, South Dakota. Her true surname was Froidevaux.
Her professional career began at one of the Atlantic City, New Jersey beauty pageants where she won honors as Miss Long Island. Forbes was 16 when she was chosen Miss United States in the Paris International Beauty Pageant of 1926. She became a showgirl in New York City at the age of 17 in 1927. She was hired away from Florenz Ziegfeld and his Ziegfeld Follies by Broadway theatre producer Earl Carroll. This was for a January 1929 production at his Earl Carroll Theatre. Carroll tempted Forbes with a substantial offer for a new dance review. Ziegfeld eventually won the struggle and Forbes starred in Whoopee and other shows, in support of Eddie Cantor.
Forbes married automobile salesman, Harry Judson, in 1928. In 1931 she wed Paul O. Richmond in Kennedyville, Maryland. They were happy together but Richmond died suddenly in 1932. He left Forbes a fortune estimated at $3,000,000 from his toothpaste and hair shampoo interests.
After Richmond's death Forbes went to Hollywood and made Bachelor Bait and Down To Their Last Yacht, both films from 1934. She received a series of threatening letters which dissuaded her from continuing in motion pictures. She donated her salary as a movie extra to charity because of the money she was willed by Richmond.
She met entertainer Harry Richman and married him in March 1938, in Palm Springs, California. Playboy Richman was well known for his earlier romances with Clara Bow, Dorothy Darrell, showgirl Edith Roark, Virginia Biddle, Lina Basquette, Peggy Hopkins Joyce, and Lenore Ulric. He and Forbes shared a sumptuous home in Beechurst, Long Island. Shortly after their wedding Forbes contracted pneumonia and was saved, in part, through the use of the drug sulfanilimide. The couple considered adopting a baby.
By 1942 Forbes was divorced from Richman and was being wooed by millionaire Max Bamberger. She died in 1980 in Los Angeles, California. She is buried in the Great Mausoleum at Forest Lawn Memorial-Park in Glendale, California.
Alfred Cheney Johnston (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.
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.
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.
Housed in a contemporary frame and has been conserved under conservation glass by Pure & Applied conservation framers of London.
Overall size with frame: 42 x 35 cm approx