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Jean Howard
Jean Howard
Jean Howard
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Jean Howard (born Ernestine Hill; October 13, 1910 – March 20, 2000)[1] was an American actress and professional photographer.[2] She was born in Longview, Texas and died in Beverly Hills, California.

Key Information

Early years

[edit]

Howard was born Ernestine Hill on October 13, 1910, in Longview, Texas. Her father left her mother shortly thereafter and she lived with her mother. Her mother died when Ernestine was 13 years old. She then joined her father and stepmother in Dallas, from where her father traveled as a salesman.[3]

When she was a teenager, she accompanied her nephew to a photographic studio to have his portrait taken. Paul Mahoney, the photographer, took her photograph, which led to his becoming her teacher and mentor. "Young, eager, and frustrated," Howard changed her name to Ernestine Mahoney and began participating in beauty contests and fashion shows.[4] Her father paid her expenses while Mahoney taught her. Howard acted in local theatrical productions before she went to Hollywood in the late 1920s and became a part of the Studio Club, a group for women who hoped to act in films.[4]

Career

[edit]

Howard's time as a Goldwyn Girl began when she responded to an advertisement. Her film debut came in Whoopee! (1930). Florenz Ziegfeld Jr. selected Howard as one of four women from that film to appear in his upcoming musical production, Smiles, but she had to go to Dallas after her father died in an automobile accident. Ziegfeld gave her a role in the 1931 edition of the Ziegfeld Follies, billing her as Jean Howard. She next appeared in Ziegfeld's Hot-Cha (1932).[4]

A contract with MGM resulted in Howard's appearing in The Prizefighter and the Lady and Broadway to Hollywood, Dancing Lady (all 1933). She also appeared in Break of Hearts (1935), The Final Hour (1936),[5] and Claudia (1943).[4]

Howard studied photography at the Los Angeles Art Center. She appeared on Broadway in the productions: The Age of Innocence with Franchot Tone and Evensong.

Howard and Cole Porter in early 1954

She often used her camera to capture moments from Hollywood during the 1940s and 1950s. She photographed parties, gatherings, sports tournaments, etc., shooting Tyrone Power, Gene Tierney, Richard Burton, Cole Porter, Judy Garland, Grace Kelly, Hedy Lamarr, Jennifer Jones, Deborah Kerr, Geraldine Page, Ethel Barrymore, Laurence Olivier, Marilyn Monroe, James Dean, Ali Kahn, Van Johnson, Marti Stevens, Charles K. Feldman and Vivien Leigh. Two books of her photographs were published, Jean Howard's Hollywood: A Photo Memoir (1989) and Travels With Cole Porter (1991).[6]

Personal life and death

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Howard married Hollywood talent agent Charles K. Feldman on August 25, 1934, in Harrison, New York,[7] and they divorced in 1948. The couple continued to regularly live together until her travels to Europe with Cole Porter in the mid-1950s. She conceived with Feldman once, but lost the pregnancy and never had children.[8] She married Tony Santoro, a musician from Italy, in 1973.[4]

Howard died on March 20, 2000, in her Beverly Hills, California, home.[5] She was buried in Hollywood Forever Cemetery.[9]

References

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Sources

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Jean Howard

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Jean Howard (October 13, 1910 – March 20, 2000) was an American actress, photographer, and prominent Hollywood socialite renowned for her candid photographs capturing the glamour of the of cinema. Born Ernestine Hill in , and raised in , Howard moved to Hollywood in the late 1920s with her father's support for beauty contests and fashion shows. She began her career as a on Broadway and transitioned to film as a contract player with (MGM) in the 1930s, appearing in supporting roles in movies such as (1933) and Hollywood Party (1934). In 1934, she married prominent talent agent , becoming a celebrated hostess whose Beverly Hills home—purchased in 1942 for $18,000—hosted luminaries like , , and . By the 1940s, after studying , Howard shifted focus to capturing informal portraits of Hollywood's elite, earning acclaim as the "house photographer" for magazines like and Vogue. Her work documented intimate moments with stars including , , and , offering rare behind-the-scenes glimpses into the era's social scene. The couple divorced in 1948, but Howard continued her dual legacy in entertainment until her death from natural causes at her Beverly Hills residence. In 1989, she published Jean Howard's Hollywood: A Photo Memoir, a bestselling collection blending her images with personal anecdotes that preserved the allure of mid-20th-century Tinseltown. Her extensive archive of photographs and papers, donated to the American Heritage Center at the , remains a vital resource for studying Hollywood .

Early life

Childhood and family background

Jean Howard was born Ernestine Hill on October 13, 1910, in Longview, Texas, into a middle-class family. Her parents divorced shortly after her birth, after which she lived primarily with her mother and experienced frequent relocations within Texas, including to Post in Garza County for a drier climate to alleviate her severe childhood asthma. Her mother's death in 1923 left 13-year-old Ernestine facing significant emotional hardships, leading to her relocation to to reside with her father, R. B. Hill—a businessman, country preacher, and local —and her stepmother. This arrangement proved unhappy, marked by strained family dynamics in her father's household. Raised in the conservative environment of , Ernestine received limited formal education, totaling less than a year of schooling amid her health struggles and family upheavals. These early challenges as a young woman in the South—encompassing parental divorce, maternal loss, chronic illness, and domestic instability—shaped her resilient character, though specific nascent artistic inclinations from this period remain undocumented beyond a budding fascination with glamour. Her father played a pivotal role in igniting her Hollywood aspirations by arranging a visit to in the late .

Entry into entertainment

In the late 1920s, a trip to Hollywood with her father and his companion profoundly inspired Ernestine Hill, then a teenager, to pursue a career in entertainment, as she later described the city as "no less than heaven on earth." Following her mother's death and amid family hardships in , she relocated to to live with her father and stepmother, where she sought opportunities in the industry. There, at age 16, she visited the studio of local photographer Paul Mahoney, who had discovered several young talents including ; he photographed her, encouraged her modeling aspirations, and provided early mentorship that connected her to entertainment circles. She adopted his surname professionally for modeling gigs. Under his guidance, she gained confidence in front of the lens and began networking informally through Dallas social events tied to scene. By 1930, with Mahoney's support, Hill moved to Hollywood and checked into the Studio Club, a residence for aspiring starlets, where she immersed herself in the city's vibrant social milieu. Upon arrival, she adopted the stage name Jean Howard—drawn from a woman she admired who was her father's mistress—to better suit her ambitions in the film world. Her early days involved attending parties and gatherings at studios and clubs, where she built connections with performers and insiders before securing formal opportunities, leveraging Mahoney's introductions to navigate the competitive environment.

Career

Acting roles

Jean Howard began her performing career on Broadway in 1930, appearing as an extra in the musical Whoopee!, which marked her entry into the entertainment world as a young showgirl. She soon transitioned to additional stage roles, including appearances in the Ziegfeld Follies of 1931 as a chorus girl and guest performer. These early Broadway opportunities, leveraging her striking beauty and poise, positioned her within the glamorous circles of New York theater before she relocated to Hollywood. In Hollywood, Howard signed a contract with () in 1930, leading to a series of supporting and uncredited roles that highlighted her as a glamorous presence rather than a lead actress. Notable films included (1933), where she appeared alongside and Max Baer in a romantic drama centered on ; (1933), a musical comedy featuring and , in which Howard played a minor chorus girl; and Break of Hearts (1935), a tale of love and ambition starring and , with Howard in a small part. Her roles typically embodied elegant, peripheral female characters, reflecting the era's archetype of the beautiful ingenue in the studio system. Howard's marriage to Hollywood talent agent on August 25, 1934, significantly influenced her trajectory, as Feldman did not encourage further pursuits in film despite his industry connections. The union, which lasted until their 1948 divorce but maintained a close friendship thereafter, shifted her focus toward high-society life as Mrs. Feldman, hosting elite gatherings and embracing the role of a prominent . This pivot contributed to the brevity of her on-screen career, spanning roughly the early 1930s and continuing sporadically into the mid-1940s, including one of her later credited roles as Julia Naughton in the family drama Claudia (1943) with and Robert Young, and a role in Bermuda Mystery (1944). Overall, Howard's tenure, though limited to bit parts, afforded her access to Hollywood's inner elite without achieving stardom.

Transition to photography

In the mid-1940s, as her acting opportunities diminished, Jean Howard began turning to , drawing on her status as a with unparalleled access to the industry's elite to capture informal moments at high-society events, and increasingly focused on it following her 1948 divorce from agent . This shift allowed her to channel her observational skills from years as an and hostess into a new creative pursuit, photographing friends and acquaintances during parties and private gatherings in her personal circle. Howard acquired her first camera in the mid-1940s and developed her skills through self-directed practice, later enrolling in classes at the Art Center School in on the recommendation of a friend. Graphologist Hilde Berle played a pivotal role in encouraging her to pursue formal training, recognizing Howard's potential in the medium. A key turning point came as her opportunities diminished amid industry shifts and her advancing age in the late , leading Howard to embrace as a sustainable and personally rewarding artistic outlet, bolstered by early professional validation from peers.

Photographic works and style

Jean Howard's photographic works from the to the focused on candid portraits and event documentation, providing an insider's view of Hollywood's social and cultural milieu during the industry's . Her images captured the daily lives and interactions of the era's elite, emphasizing unguarded moments amid the glamour of Tinseltown. Key subjects in her portfolio included intimate portraits of prominent figures such as , , , and , often photographed in relaxed settings like her Beverly Hills home or during travels. She also documented social events, including high-profile parties at the Trocadero nightclub, garden gatherings hosted by , and celebrity soirées featuring stars like , , , , and . These works extended to broader Hollywood scenes, such as informal group shots at sports tournaments and elite social assemblies that defined the 1940s and 1950s lifestyle. Howard's style emphasized informal, intimate black-and-white photography that highlighted both the allure and human vulnerability of her subjects, diverging from the posed, studio-lit portraits common in promotional imagery. She relied on available light to create natural compositions, fostering spontaneous captures that conveyed authenticity and emotional depth, as seen in her 1954 backyard portrait of James Dean shortly before his film East of Eden. This approach allowed her to reveal celebrities at ease, blending glamour with candid revelation. Her career as a photographer gained momentum through freelance assignments for magazines like and Vogue, enabling her to build an extensive personal archive of thousands of images that traced Hollywood's evolution and gradual decline into the 1960s. This body of work not only preserved the era's vibrancy but also subtly chronicled its shifting dynamics amid cultural changes.

Personal life

Marriages and relationships

Jean Howard's first marriage was to Hollywood agent and , whom she met in the early 1930s when he was a rising and talent representative. Feldman began courting her by sending flowers after spotting her at a dance at , and despite competition from suitors like , Howard fell in love with his charisma and chose to pursue the relationship. Their wedding took place in a midnight ceremony on August 25, 1934, in , following a trip to that highlighted the tensions with Mayer, who had previously proposed to Howard and later attempted to sabotage Feldman's career out of jealousy. The couple settled in Beverly Hills, where they became central figures in Hollywood's social scene, hosting lavish parties for stars and industry leaders that blended Feldman's professional network with Howard's growing circle of friends. Feldman's role as her agent provided early acting opportunities, including contracts, though their marriage was marked by frequent arguments and jealousy, straining Howard's career ambitions as she increasingly focused on supporting his ventures. Near the end of their union, Howard became pregnant but miscarried after Feldman expressed opposition to having a child, an event that deepened their rift and contributed to the marriage's dissolution. They divorced in 1948, having filed in 1946, yet maintained a close, platonic friendship, frequently sharing their Beverly Hills home when she was in and vacationing together until Feldman's death in 1968; Howard never had children from this or any other relationship. In her later years, Howard formed close friendships with Hollywood luminaries such as Tyrone Power, Humphrey Bogart, and Greta Garbo, relationships that enriched her social life and provided subjects for her photography without evolving into confirmed romances. She met her second husband, Italian musician Tony Santoro, in 1964 at a nightclub in Capri during a Mediterranean cruise, sparking a companionship that developed over time. Following Feldman's death, they lived together primarily in Capri and Rome for several years before marrying in 1973, with Santoro—twenty years her junior—offering low-key support as a devoted partner who handled domestic tasks like cooking and haircuts, allowing Howard to focus on her photographic retrospectives and publications amid their quiet life in Beverly Hills after returning to California. This marriage provided stable, affectionate stability in contrast to her earlier turbulent union, intersecting with her professional resurgence as she documented Hollywood's glamour.

Later years and death

Following the death of in 1968, Jean Howard withdrew from the active social whirl of Hollywood, dividing her time between , , and while focusing on her and photographic archive. With Tony Santoro, whom she had met in 1964, the couple lived together primarily abroad before marrying in 1973 and eventually settling in her longtime Beverly Hills home on Drive upon their return from . In her later decades, Howard organized her extensive collection of photographs—many stored in shoeboxes—which culminated in the 1989 publication of her memoir Jean Howard's Hollywood: A Photo Memoir, a project she described as the happiest moment of her life. Vision problems had led her to stop photography around 1976, though she briefly resumed in the early 1990s at the encouragement of a friend. By the 1990s, she reflected on her career in interviews, expressing regret over not photographing President John F. Kennedy during a 1961 White House visit and considering an autobiography focused on her years with Feldman. She and Santoro continued hosting intimate gatherings at their Beverly Hills residence until her health declined in her final years, marking a shift toward quieter solitude. Howard died on March 20, 2000, at her Beverly Hills home at the age of 89. She was buried at in . Santoro, her sole immediate survivor, noted the profound companionship they shared in the years following her death announcements. Obituaries in major publications praised her as a quintessential Hollywood figure, a turned legendary hostess and photographer whose work captured the era's glamour.

Legacy

Publications and exhibitions

In the late 1980s, Jean Howard gained significant recognition as a through the publication of her Jean Howard's Hollywood: A Photo in 1989, which compiled over 300 of her candid duotone photographs capturing the social life of Hollywood's elite from to the . The book interweaves these images—featuring stars like , , and in relaxed, off-screen moments—with Howard's personal anecdotes, offering an intimate glimpse into the glamour and camaraderie of Tinseltown's golden era. Published by Harry N. Abrams, Inc., the volume highlighted her transition from actress to chronicler, blending visual storytelling with nostalgic narratives drawn from her experiences as a , MGM contract player, and wife of agent Charles Feldman. Following this success, Howard released Travels with Cole Porter in 1991, a companion volume focusing on her close friendship with the composer and the lavish European and Middle Eastern tours they shared in 1955 and 1956. Also published by Harry N. Abrams, Inc., the book features more than 300 rare photographs documenting their journeys through sites like the , Greek islands, and , alongside Howard's recollections of Porter's wit, extravagance, and creative world. Her writing style in both memoirs employs a conversational, memoiristic tone, seamlessly integrating photographic evidence with vivid memories to evoke the personalities and settings of her subjects, from Hollywood parties to international escapades. Howard's photographs from these publications have been publicly displayed in exhibitions that underscore her enduring legacy in capturing mid-20th-century . In 2023, the American Heritage Center at the mounted a solo exhibition titled Jean Howard's Hollywood: The Excitement, the Glamour and the Good Times, showcasing selections of her iconic portraits of figures like , , and , which drew praise for revealing the human side of Hollywood stardom. This display, running through September 2023, highlighted the archival significance of her work while echoing the intimate, elite-focused themes central to her books.

Archival collections and influence

Following her death in 2000, the Jean Howard Trust donated her extensive collection of personal and professional materials to the American Heritage Center (AHC) at the on October 24, 2000, with additional materials received from Catherine Phillips in 2017. The archive comprises 32.22 cubic feet (54 boxes) plus 36.3 GB of , encompassing thousands of photographic negatives, prints, and contact sheets from her decades-long career, alongside biographical files, correspondence, personal snapshots, subject files on Hollywood figures, and such as invitations and scripts. These materials document intimate moments in Golden Age Hollywood, including portraits of icons like , , and , often captured at private parties and social events. The collection is fully open to researchers, with no access restrictions, and supports scholarly inquiries into mid-20th-century , , and from the 1930s to the 1980s. Digital reproductions of select photographs are available through the AHC's online portal, facilitating broader academic and public access. Since its arrival, the archive has been utilized for exhibitions and publications that highlight Howard's role as an insider chronicler, with her images reproduced in outlets like Life and Vogue during her lifetime and continuing to inform historical analyses today. Howard's legacy endures as a pivotal documentarian of Hollywood's , her candid style influencing subsequent photographers who sought to capture unposed life amid the era's glamour and intrigue. Scholars frequently analyze her work in studies of Hollywood , praising her unique access—gained through marriages to influential figures like agent Charles Feldman—which allowed intimate portrayals that revealed the human side of stardom, as explored in texts on mid-century American entertainment culture. Her photographs have shaped understandings of as both public spectacle and private vulnerability, inspiring modern visual chroniclers of fame. Posthumously, Howard's contributions have been honored through institutional recognition, including a 2023 exhibition at the AHC titled “Jean Howard's Hollywood: The excitement, the glamour and the good times,” which showcased over 50 of her prints and drew attention to her enduring impact on preserving Hollywood's visual heritage. Her archive continues to appear in contemporary media and books on history, such as analyses of Marilyn Monroe's persona, underscoring her role in archiving the era for future generations.
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