Mabel Ballin — Blue Book of the Screen (1923) 🇺🇸

Mabel Ballin’s first public appearance was not in a theater, but upon the platform of a Salvation Army hall, where, at the tender age of six, she played upon a tambourine.

She had been reared by a grandmother, whose life was devoted to missionary work in tenements, as resident superintendent.

Mabel Ballin was born in a Spruce street house at Philadelphia. Her mother survived but two years thereafter, and the little one became the ward of her grandparent,who was endowed with early Victorian characteristics. Work among the worst element of Philadelphia was never ceasing; visitors from the outside world were few. It was in this atmosphere of endeavor that Mabel Ballin was raised.

When she was older she was troubled to discover that the family exchequer was feeble. She had been forced to make her own hats and various articles of wear. Therefore she willingly became apprentice to a dressmaker.

A wealthy customer became fond of the girl and paid her tuition in a school of industrial art, where the pupil attended evenings to learn illustrating.

At seventeen she became a surreptitious theater attendant, and all thought of an art career vanished. She secretly interviewed theatrical managements and, finding no encouragement, went to New York in answer to an advertisement during her grandmother’s absence.

She there found a “bit” in a musical comedy called Bankers and Brokers. After this engagement she met Hugo Ballin, a young artist who had achieved considerable fame. This began a friendship which culminated into something more beautiful later. The young actress went away with Frank Daniels’ company, appearing in Sergeant Brue, The Tattooed Man and The Hoyden.

Robert W. Chambers, the novelist, became interested in the growing friendship between maid and man, and became a matchmaker. It was in Mr. Chambers’ Connecticut home that the two were married in brown October.

The war came on and, as the market for paintings sagged, Mr. Ballin accepted an offer as art director for one of the leading studios. Mrs. Ballin determined to uphold her end of the finances and went to work for Vitagraph, again the actress.

She worked for eighteen directors, when Mr. Ballin formed his own producing organization. Since then she has acted only for hubby. Some of their productions have been Pagan Love, East Lynne, “The Journey’s End,” Jane Eyre, “Married People” and Thackeray’s “Vanity Fair.”

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It may be noted from her dressing table that Mabel Ballin uses very little makeup. Her natural beauty makes it unnecessary.

Portrait by James Robert Diamond

Collection: The Blue Book of the Screen (1923)