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Description:
THIS IS AN AUTHENTICALLY AUTOGRAPHED PHOTO BY COLLEEN MOORE.. THIS IS A 3" X 4" BLACK AND WHITE PHOTO SIGNED BY COLLEEN MOORE. The year of Colleen's birth is a matter of debate; the actress herself often claimed to have been born in 1902, though most modern historians claim the year was actually 1900, based upon Social Security and DMV records. However, these records would have been based upon information supplied by the applicant and would not have been subject to cross-checking. Her stepson Homer Hargrave Jr. has said his father told him she was born the same year as is biological mother, which was 1898. The lion's share of documentation points to 1899 as the actual year of birth; this documentation being the 1900 and 1910 census information for her family, her First Communion records,[1] and school records from Santa Clara University for her brother, Cleeve Morrison, which cite a birth year for him of 1902. Cleeve was always said to be about 2 years younger then his sister. However, no birth record exists, and until baptismal records for Port Huron, St. Clair County, Michigan, can be located, the subject will remain open for debate. In any case, she was born Kathleen Morrison, oldest child of Charles R. Morrison and Agnes Morrison. For the first years of her life they remained in Port Huron, Michigan, at first living with Moore's grandmother Marry Kelly (often spelled Kelley) and with one or several of Moore's aunts.[2] By 1905 the family moved to Hillsdale, Michigan and remained there for over two years. Following that the family had relocated to Atlanta, Georgia; this was by 1908. They are listed at three different addresses during their stay (From the Atlanta-Fulton Public Library city directories): 301 Capitol Avenue -1908; 41 Linden Avenue - 1909; 240 N. Jackson Street - 1910. They lived briefly--probably less than a year--in Warren, Pennsylvania, and by 1911 they had settled down in Tampa, Florida. Two great passions of young Moore's were dolls and movies; both would play a great role in her life in later years. She and her brother began their own stock company, reputedly performing on a stage created from a piano packing crate. She admired the faces she saw on the silver screen and on the magazine covers. She had resolved at a young age that she would be a star... not just an actress, but a star. Her aunts, who doted on her, indulged her other great passion and often bought her miniature furniture on their many trips, with which she furnished the first of a succession of doll houses. The family summered in Chicago, where Moore enjoyed baseball and the company of her Aunt Lib (Elizabeth, who changed her name to "Liberty"... Lib for short) and her uncle Walter Howey. Howey was an important newspaper editor in the publishing empire of William Randolph Hearst, and he was the inspiration for Walter Burns, the fictional Chicago newspaper editor in the play and the film The Front Page.[3] At the time, Chicago was the center of the motion picture industry in America. The Essanay Studios was within easy walking distance of Northwestern L, which ran right past the Howey residence (they lived at at least two addresses between 1910 and 1916: 4161 Sheridan and 4942 Sheridan). In interviews later in her silent film career, she would claim that she had appeared in the background of several Essanay films, often just a single face in a crowd. One story has it she had gotten into the Essanay studios and waited in line to be an extra with Helen Ferguson: in an interview with Kevin Brownlow many years later Helen told a story that substantially confirmed many details of claim, though it is not certain if she was referring to Moore's stints as a background extra (if she really was one) or to her film test there prior to her departure for Hollywood in November 1916. Either way, the story has it that Aunt Lib intervened on Kathleen's behalf, convincing Walter to wrangle a contract for young Kathleen from D.W. Griffith to perform at his [[Triangle Pictures Corporation|Triangle-Fine Arts} studio in Hollywood. The contract would only be good with the proviso that she pass a film test to see if her eyes (one brown, one blue) would photograph close enough in darkness as not to be a distraction. Her eyes passed the test, and so she left for Hollywood with her grandmother as chaperon and her mother along as well. [edit] Career Moore made her first credited film appearance in 1917 in The Bad Boy for Triangle Fine Arts, and for the next few years appeared in small, supporting roles[4] gradually attracting the attention of the public. There is a persistent rumor that she appeared in the 1916 film Prince of Graustark in the role of "the maid." Those who have seen the film say the actress in that part bears a striking resemblance to Colleen. However, the part is uncredited, and while Colleen spend her summers in Chicago where the film was made, there is no definite proof yet that she played the part. The Bad Boy was released on Feburary 18th. It featured Robert Harron, Richard Cummings, Josephine Crowell, and Mildred Harris (who would later become Charles Chaplin's first wife). Two months later it was followed by An Old Fashioned Young Man, again with Robert Harron. Colleen's third film was Hands Up! filmed in part in the vicinity of the Seven Oaks (a popular location for productions that required dramatic vistas). This was her first true western. The film's scenario was written by Wilfred Lucas from a story by Al Jennings, the famous outlaw who had been freed from jail by presidential pardon by Theodore Roosevelt in 1907. Monte Blue was in the cast and noticed Moore could not mount her horse, though horseback riding was required for the part (during casting for the part she neglected to mention she did not know how to ride.) Blue gave her a quick lesson essentially consisting of how to mount the horse and how to hold on for deal life. He also suggested she go out and get lessons. In a climatic scene she was locked in a closet and was able to scream her head off for the camera. The May 3rd, 1917 the Chicago Daily Tribune said: "Colleen Moore con
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