In all of the photographs, Cecil expertly plays the part of the focused and serious make-up artist, allowing the “star” to be the true center of attention.
Cecil Holland working his magic on the eyes of Joan Crawford for 1928′s Our Dancing Daughters.
Joan Crawford
Drawing the circle around the eye of Pete the dog for the Our Gang films.
Holland applies final touches to the war wounds on the face of Lewis Stone for Grand Hotel, under the watchful eye of director Edmund Goulding. Stone uttered the movie’s unforgettable closing line: “Grand Hotel. People come. People go. Nothing ever happens.” Stone was a contract player at MGM from its inception in 1924 until his death in 1953 — the longest-known uninterrupted association of an actor and a studio.
Lewis Stone
Turning Boris Karloff Asian (and sinister) for The Mask of Fu Manchu.
Boris Karloff
Also from 1932 is a picture of Holland using a magnifying loupe to check out the just-finished maquillage of Jean Harlow at her most “platinum,” while she sits in a barber’s chair dressed in a polka dot wrapper and Spring-O-Lator-style pumps. I love this picture. It’s set in what is clearly Cecil’s “office.” On the wall is a picture of him with wife Norma and their son, a copy of Holland’s 1925 composite pic and a bevy of framed portraits of him in character make-up. Center stage is the photograph of Holland as Jesus, which is flanked by smaller pictures of Cecil’s parents (I wouldn’t touch the symbolism of that with a 10 foot long tube of lipstick). But, all of the reminders of his former career don’t seem like a desperate attempt at hanging on to the glory days. They were visual substitutes for Holland saying to those who sat in his make-up chair: “Hey. Relax. I’m just like you. I understand what it’s like to be an actor. So, sit back and don’t worry; I’ll make you look your best.”
Jean Harlow under the Master’s gaze
Shaw Goes Hollywood
As mentioned earlier, one of the most stunning discoveries while deciphering the names on the hat was that of George Bernard Shaw. In 1933, world-renowned playwright and Nobel laureate Shaw visited the United States for the only time in his life. Accompanied by his wife, Charlotte, Shaw was on a year long cruise around the world and got off his ship, The Empress of Britain, in San Francisco and went down the coast to spend a night at William Randolph Hearst’s fabled estate, San Simeon. On the morning of March 28, Hearst instructed his pilot to fly the Shaws down to the Santa Monica airport in Hearst’s private plane. The pilot was bedeviled by thick, low coastal fog, and knowing that he’d never find the airport, made an emergency landing on the sands of Malibu beach. Unperturbed, the Shaws hitchhiked a ride from a passing UCLA student who dropped them off at the airport, where they were met by Louis B. Mayer and a phalanx of his underlings.
George Bernard Shaw with Marion Davies, Louis B. Mayer and Clark Gable. Why is nobody having a good time at this lunch?
Once at MGM in nearby Culver City, the Shaws were given an exuberant tour of the lot by Cecil Holland. Louis B. Mayer chose Holland because, like Shaw, he was a Brit, and he assumed the regional connection would make for a smooth hour. The hour must have been just fine, because Shaw did sign The Hollywood Hat. But the rest of the three hour visit seems to have gone south. Shaw insulted many of those he encountered — reporters, actors, and judging by the dour pictures of the luncheon itself, Shaw zinged most, if not all, of his companions at the lunch hosted by Marion Davies in her 16 room “bungalow” dressing room — including Davies, Mayer, Charlie Chaplin, Clark Gable and John Barrymore, to whom Shaw refused an autograph. Shaw was definitely Mr. Nastypants that day before heading back to his ship. For the next week, the Los Angeles newspapers’ chatter and gossip columns were filled with civic umbrage and the provincial equivalent of “who does he think he is?” Shaw certainly knew how to make an impression.
Marion Davies
John Barrymore
Change Partners
After a decade at MGM, Holland was ready for a change. He was almost 50 (do I hear the phrase “mid-life crisis” in the house?), and almost certainly tired of all of the administrative duties that came with being the head of the Make-Up Department. Cecil loved doing make-up and teaching make-up, not filling out forms about make-up. MGM’s success was also Holland’s success. He stood at the absolute pinnacle of his profession, and decided to cash in while giving himself new challenges. Cecil did what almost no one in the film business did in 1935; he gave up a sure-thing contract in the middle of The Great Depression and went on to free-lance with a series of short-term, and no doubt lucrative assignments.
In 1935, Holland first went to newly-formed 20th Century Fox, the latest hot studio in town, and unpacked his make-up box. Among the stars he worked on was Shirley Temple, then the biggest draw in the movies. And, while there, he got lots more signatures on The Hollywood Hat from folks who sat in his chair — among them, Alice Faye, Will Rogers, and Cesar Romero.
Will Rogers
Alice Faye
This appears to be where the hat was finally “filled up.” You can tell because many of the signatures he only could have gotten at 20th are small and appear in those leftover areas of the hat between big signatures. The one late addition to the hat — at least four years later — is actor George Montgomery, who signed the hat twice, including once where the hatband used to be. Born George Montgomery Letz, he didn’t go by “George Montgomery” until 1940, when he was put under contract by 20th. Both Montgomery and Holland shared painting and sculpting as hobbies, and I suspect they bonded over these mutual interests, enough for Holland to pull the hat out of the closet and have George be the last to sign it.
George Montgomery
Continued >
Very helpful article. I HAVE A HAT JUST LIKE THIS! However, my hat has those who have played in cowboy movies. I wonder if there was a certain method to obtaining signatures on both hats, perhaps by genre?!?
Didn’t you notice that all the handwriting looks the same?
What an interesting article and what a fantastic piece of memorabilia. I wonder if someone like AC Lyles of Paramount would know about this hat? He has worked for the studio for over 80 years. I would be interested in knowning how much you paid for it.
Great story. I think George Bernard Shaw visited Hollywood for more than 3 hours….I’m pretty sure that I read he spent some time at Pickfair — where he signed Mary Pickford’s autograph book.
Thanks for the compliment. In my research, I came across a number of confusing references to George Bernard Shaw visiting Pickfair and signing Mary Pickford’s autograph book. Apparently, he never visited Pickfair, but he did sign Pickford’s autograph book when she was in England and went to visit him.
I just LOVE this story !! and i will share it with my movie buff friends back home in New England. The Hollywood Studio Museum on Highland once had in their collection a drum cover that included signatures of performers who participated in Cecil B. DeMille’s Lux radio program. it was a “who’s -who” in Hollywood. My wife Laurie was a volunteer at the barn. Every time I’d go visit here, I’d run over to the drum and marvel at the signatures. Sad to say, there was a fire at the barn and the signatures went up in flames.
I am directing and co-producing a feature documentary on actress-activist Marsha Hunt. I wonder if she signed the hat? I’ll have to ask her. thanks again for your wonderful story take good care of that hat!! ..
THANK YOU for this wonderful story I’m going to share it with my movie buff friends back home in New England. This is such an important piece of Hollywood history!! At one time, the Hollywood Studio Museum had a large drum cover of sorts – that everyone who was on Cecil B. DeMille’s LUX radio show signed. I LOVED looking at all the famous people who signed it. Unfortunately, there was a fire at the barn, and the signatures were lost forever. . Congrats on your piece of Hollywood History! I’m directing and producing a feature documentary on actress – activist Marsha Hunt ( “Marsha Hunt’s Sweet Adversity”) I wonder if she signed the hat?? I’ll have to ask her.. thanks again!! roger c. memos
so sorry for the double click. AND HERE IS MY CORRECT WEBSITE ADDRESS. for Marsha Hunt documentary thanks again! roger
That was such an interesting and well-written article! So happy I serendipitously stumbled upon it! I’m related to one of the signers (Grace Moore, my great-aunt) and am a serious student of silent films and, more specifically, Hollywood itself during the silent/early-talkie era. How fortunate you are to have become the caretaker of this marvelous relic! That is what we antique collectors are, you know…”caretakers” who shepherd these valued treasures until they find their next caretaker.
The one thing missing from your wonderful article is the “back story” on how you came upon it and how you came to own it. Was it random, or had you heard about it in advance of the auction? I dont’ suppose it’s anyone’s business, but was it outrageously expensive or did you get a “deal”? And as one of the other commenters asked, it’d be interesting to know how it ended up in an auction house, and whether Cecil’s daughter had sold it herself or if she had somehow lost track of it and was thrilled to rediscover it? Maybe all of this is for your next installment. In any case, I thoroughly enjoyed your article and look forward to your future postings. Thank you, Gregory Moore NYC
What a great article. We should never forget the pioneers. Cecil was one of them. They all paved the way for all of us today working in the industry today with or without winning awards. God Bless Them.
A great, thoroughly researched piece of history! But for collectors, a large part of the interest is about the acquisition itself. What were the circumstances of the discovery, the bidding process, if other similar items were also part of the lot, and of course, the final cost. For those of us searching for old Hollywood autographs, such information would be interesting to know about. But that is one absolutely stunning slice of history! The only problem might be how to display it fully enough to reveal all the signatures without undue handling of the item.
JOE!!!!!!! This is the find of a lifetime!!!! I will treasure this almost as much as you are treasuring the hat!!!! I will send this to many friends who’ll really savor this wonderful story, so lovingly told. I miss you.
x
Vicky
This article just hit so close to my heart for a couple of reasons. I used to collect autographs myself as a young girl as I lived near MGM. Right after highschool my first job was as a messenger girl at MGM. Later in life I became a member of the Makeup Artists and Hairstylist Union, Local 706. at MGM and worked with 2nd, and 3rd generations of artists that Cecil Holland trained. Reading his history just make me relive all that wonder life. Thank you Joe , great job.
I’d like to how such a cherished piece ended in an auction and not with Holland’s family. It’s a really great article. Wish it mentioned the last leg of the hat’s journey.
Bob Schiffer, long time head of make-up at Disney studios, once asked me if I’d ever heard of Cecil Holland. I said yes, but that I didn’t know much about him. “He taught me make-up”, Bob said.
This is such a wonderful article about one of our founding members, and a make-up artist who is still an icon. You’ve done a remarkable job researching and uncovering so many facts and details, so valuable to our history. Make-up Artists and Hair Stylists Guild, IATSE Local 706 celebrates its 75th anniversary this year and I’m going to do my best to make sure every one of our members gets an opportunity to read this. Thank you so much – it’s a wonderful article.
Excellent! Old pal, you can sure research and you can sure write.
But am I the only one who wants to know – so, what did you PAY for the hat??
Fabulous article. Why you’re a better sleuth than Nick Charles.
What a fantastic part of history…
Thanks for the share. : )
WOW! I LOVED this article, Joe! I know it really took a lot of research and the result is truly a joy to read. What a great part of Hollywood history to uncover!
This is amazing! Wonderful article and what an amazing find!
Fantastic research into a fascinating artefact of early Hollywood. A great piece of detective work, and a most entertaining piece of writing. Excellent photography showing the autographs so clearly (no surprises, Kevin!). Thank you for sharing.
This is without question one of the very best articles I have ever read about early Hollywood–and I have read many over the last 40 years! It is very well-written, and I truly enjoyed the opportunity to learn more about one of the little-known aspects of filmmaking–makeup. I would love to see you write a biography of Holland, and/or a study of 100 years of Hollywood make-up. These are both subjects ripe for study and publication, perhaps by McFarland & Company, the publisher of my book about film director Robert Siodmak. I strongly encourage you to pursue this subject further!
What a wonderful example of forensic research. Kudos to you, Joe!
This is a delightful article, wonderfully executed and covering an irresistible subject. Thank you for sharing the hat, the signatures and best of all, the theories as to how it came to be!
This was fascinating! Such a creative way to get autographs and you told such a great story of The Hollywood Hat. What a wonderful item to find!
This story is terrifically entertaining with a mystery of the “undeciphered” thrown in. I’ll be checking back to see if anyone can come up with the names. Wild Guess: (Undeciphered #3 – James Arness?) “The Farmer’s Daughter” was filmed in 1947.