ACTRESSES WHO HAVE GROWN RICH.

Evening Star, Issue 10213, 15 January 1897, Page 4

ACTRESSES WHO HAVE GROWN RICH.

The extravagance and profligacy- of the heroes and heroines' of the dramatic andoperatic professions are beloved themes af j discourse among the remnant of humani#i who still disapprove of the musical Wi histrionic arts. But like mpst other timf*worn, dog-eared theories, the exceptions Wthe rale are worthy of note. The following are a few of the women singers and actresses who will settle into a comfortable old age surrounded' with every luxury that the sybarite flesh is heir to !

Mrs Langtry owns property in the United States that is valued at £IOO,OOO.

Fanny Davenport, though still receiving a most profitable tovenUe from her professional, Wbrk; has sufficient real estate in New York and vicinity to live in easp and elegance should she desire to retire from the stage. !: Mme Materna, with her thrifty German instincts, has acquired fine specimens of real estate in several of the largest Austrian cities. American dollars aided,her in accomplishing these investments. ' Sarah Bernhardt is not ho erratic in money matters as in social enterprises. She is extravagant in her purchases of works of art, but her bank account never.loses its portly outlines, and her pictures and bric-a-brac are so well selected that she could more than get her money back on a sale. Clara Louise Kellogg would have been a success on Wall street if she had not found more congenial quarters on the stage. Her fortune is now safely invested in real estate and bonds, and she' is. her own business manager in ber financial enterprises. The delights of Mdmo Patti’s castle at Craig-y-Nos do not need further exploitation. That she saved money for its purchase, as well as for various other investments in New York, France, and England, is well known. .

Although Loie Fuller is as silent about her bank account as she is about the electrical apparatus which assisted her in getting it, she. is known tb have as “ thrifty a blind *’ as John Gilpin’s wife, and to have banked thousands a month. ; Emma Eames owns fine property in Pans, and Mdme Albani has invested the income from ber dulcet tones in Canadian real estate. •

Calvd has had rare success in acquiring a large fortune early in life. Besides the beautiful property which she owns in the Provencal, in France, she has at least £20,000 in stocks and bonds. Calv6 started out “ to get rich,” and she has kept faith with herself. Lillian Bussell owns several fine houses in New York, besides a good voice, a magnificent collection of jewels and more confidence in herself than any other two women, in America.

Lotta is deemed one' of the wealthiest women in the dramatic profession.. In spite of her vast income she lives with her mother in a style that is humble rather than pretentious, and seems to get more pleasure in acquiring the root of all evil than in spending it. Ada Rehan owns the house in which she lives on West Ninety-third street, New York, and has also made profitable investments in Brooklyn real estate. Rose Coghlan has always had the reputation of living extravagantly, but as there is up to date no diminution in the style of menage , the natural inference is that she has a sufficient bank account to meet expenses without cutting into the capital. Yvette Guilbert has beckoned prosperity with her black-gloved arms until w.ealth has poured in upon her, and her income from her bank account has become greater than her stage revenue.

Clare Morris has exchanged her frantic stage realism for a fine residence on the Hudson, where she lives in all the splendor of the velvet-gowned heroines she has so long portrayed. Agnes Booth has invested her money in Now York, and is able to live nicely without acting, should she so elect. Mme Modjeska owns property at intervals all the way from California to Poland, while Fanny Rice has left all her spare cash in valuable Boston real estate.

Thus it will be seen that the women with whom we are most familiar as stage celebrities are “ bloated bondholders ” in the zenith of their career, and that they are in their declining days more often met os hostesses in fine suburban residences than as inmates of charitable institutions or pensioners on the bounty of disapproving relatives. The actress who is poor would probably be poor in any other walk of life. And, in spite of the foregomg statistics, actresses are proverbially warm-hearted and generous.—Exchange.