Haïti, illustrated by Ch. Roussel
Haïti‘ by Vincent Scotto, published by Salabert (Paris, 1934) and illustrated by Ch. Roussel

Last night I watched the movie Zouzou directed by Marc Allegret in 1934. Jean and Zouzou are two orphans adopted by a sideshow talker. He presents them in the circus as freaky twins because Jean is white and Zouzou is black. Very strange indeed.

baker gabin
Josephine Baker as Zouzou and Jean Gabin as Jean.

As adults, Jean (Jean Gabin) becomes a sailor and Zouzou (Josephine Baker) a laundress. Zouzou has an unrequited love for Jean who is only able to love her as a sister. A few intrigues later Zouzou, who is a talented singer and dancer, starts to work in a music hall. And this leads us to the climax of the film when Josephine Baker sings Haïti. Scantily clad in some feathers she sits on a swing in a gilded bird cage like an exotic bird, ending the song with an elegant stage dive.

Bizarrely, for the cover of the sheet music the illustrator selected another scene from the film. Was the scene in the cage too risqué? You can judge for yourself or just enjoy the talented Miss Baker.

The Dolly Sisters: Art Deco Gold Diggers

Gold Diggers illustrated by Boullaire
Gold Diggers‘, a foxtrot by Raoul Moretti, published by Salabert (Paris, 1923) and illustrated by Boullaire

Gold Diggers is an appropriate title for the foxtrot danced by the Dolly Sisters. They surely knew something about gold digging, not as in ‘gold mining in Klondike’ but as in sweet-talking sugar daddies. The Dolly Sisters were hot during the jazz age and everybody wanted to be seen with them, even royalty.

The Dolly Sisters in their flamboyant costumes

Jenny and Rosie Deutsch had immigrated from their native Hungary to America where they began performing on stage at an early age. They were identical twins and they accentuated this by synchronising their movements and by wearing identical costumes. The Dolly Sisters soon became famous both in Europe and in the States. They had a penchant for plumes, jewellery, money, and older men but above all for gambling.

dollies gypsy
The Dolly Sisters in gypsy costume.

The best known of their sugar daddies was Harry Selfridge, who founded the first ‘shopping is fun’ department store in Oxford Street, London: Selfridges. In his later life he became so besotted by the Dolly Sisters that he catered for their every wish. He bought them diamonds, flew over their favourite food and sat next to them at the gambling table, his wallet wide open. This would eventually hasten the downfall of Harry Selfridge: he lost his entire fortune and his beloved department store.

The Dolly Sisters’ exuberant partying lifestyle came abruptly to an end when Jenny was injured in a car accident. She never recovered from it and sadly hanged herself in 1941. Rosie retired from public life and also tried to take her own live. She passed away in 1977.

The Dolly Sisters were wildly famous during their heyday, but it was not an enduring fame. Now this is interesting. We still know Greta Garbo, Maurice Chevalier or Charlie Chaplin, but not the Dolly Sisters. Maybe long-lasting fame has to do with persistence and talent. The Dolly Sisters’ career span was rather short. As for their talent we can get a glimpse of that in a recently published YouTube fragment. They are performing in a pantomime of a traditional children’s tale Babes in the Woods, although not in their usual identical costumes.

In an iconographic way the Dolly Sisters simply breathed Art Deco. Their ornate costumes and lavish acts are the quintessential image of the Roaring Twenties as can be seen in some of our Dolly Sisters sheet music covers.

Dolly Sisters, illustrated by de Valerio
Dolly Sisters‘, foxtrot by Samuel Pokrass, published by Salabert in Paris (1927), illustrated by de Valerio
Charleston Dolly, illustrated by Jack Roberts
Charleston Dolly‘, by Howard Mc Knight. Published by Lucien Brulé (Paris, 1926) and illustrated by Jack Roberts
dolly sisters maurice chevalier
Three covers illustrated by Loris with Maurice Chevalier between Jenny and Rosie. ‘Steppin’ in Society‘ (1926), ‘Sweet Georgia Brown‘ (1926), and ‘Waitin’ For The Moon‘ (1925), all published by Francis-Day, Paris.

Furthermore statuettes, porcelain figurines and boudoir dolls accompanied the Dolly Sisters’ rage and success. In 2012 a bronze and ivory statuette of the twins by Chiparus sold for almost 350.000 € .

Large bronze and ivory statuette of the Dolly Sisters, by Demetre Chiparus
figurine dolly sisters
Goldscheider figure group, the Dolly Sisters, 1925


Boudoir dolls of the Dolly Sisters, courtesy of Frau Wulf, http://frauwulf.blogspot.be

The twins also inspired László Moholy-Nagy for his modernist photomontage Olly & Dolly Sisters. Moholy-Nagy transforms their normally cheerful disposition by a vast emptiness using light, monochromatic colours and simple geometric shapes.

Laszlo Moholy-Nagy olly & dolly sisters
Olly & Dolly Sisters by László Moholy-Nagy, circa 1925, Gelatin silver print (The J. Paul Getty Museum, Los Angeles)

Terribly Drunk

Un Pochard à la Cambronne‘, a monologue by Lucien Delormel (Paris, s.d.), illustrated by Candido de Faria

The drawing of a drunken man by Faria is more realistic than the complete oeuvre of Emile Zola. The poor devil is so soaked that he can’t control his bowel movements any more. And to make matters worse, his pants have seen better days. Faria took the title of the monologue quite literally: un pochard means a drunk, a dipsomaniac. A la Cambronne can be translated as ‘in the manner of Cambronne’. Pierre Cambronne was a French general who allegedly replied ‘Merde !’ when he had to surrender in Waterloo. So the expression ‘à la Cambronne’ became a euphemism for merde.

Drunk as shit, I suppose…