Anthony De Bosdari and Babe Plunket-Greene feature prominently in the various anecdotes concerning “Bright Young People”. Both are seen as belonging to the disreputable end of the set and while this is not exactly untrue, they have, I think, been the victims of some rather unpleasant snobbery, then and now. Bosdari becomes “the bogus Sicilian Count” and Babe “the gold-digging daughter of a bookie”. As with others we have encountered, the truth is a little more complicated. It is also proving rather hard to unravel.
Tallulah Bankhead and Tony Bosdari
Tony Bosdari (b 1899) was one of three brothers born to Maurizio De Bosardi. All three were entitled, apparently, to call themselves Count, which is, to say the least, confusing. Although much emphasis is put on their foreignness , Anthony was educated at Winchester and seems to have been the model English public schoolboy, winning prizes for Latin, editing the school magazine and, most importantly, excelling at cricket. He topped the batting averages in his final year in a side that included future England captain, Douglas Jardine (of “Bodyline” notoriety).
In the 1920s he became known as a man-about-town, a polo player of some repute and, take your pick, a “confidence trickster”,” a wheeler-dealer”, a “venture capitalist” or simply a “business man”. What is certain is that he worked for Brunswick’s UK branch and had a great impact on the “Bright Young People”, but not in the ways usually mentioned.
In 1926 he organised a demonstration of Brunswick’s “Panatrope” radio/gramophone ( fittingly,at the Cafe De Paris). This early “music centre” was considered a major leap forward in home sound-technology and was a key part of 1920s dance and cocktail party culture.
This from Gramophone, November 1926
The Café de Paris
A propos, one of our readers, Mrs. Caesar Misch, of Providence, Rhode Island, writes: “Last week I put a band record on the Panatrope, using the second stage of amplification. The windows of the music-room were open and I soon saw my chauffeur run to the front of the grounds, thinking a band was passing! The sound had to travel 125 feet back to the garage where he was working, and that through windows at the front of the house, and that with only the second stage. This seems to me a significant comment on the ‘real-ness’ of the reproductions.”
The tune is one of the hits from Blackbirds of 1928
At the same time Bosdari was putting jazz on the UK map. Said to be the “best dancer in London”, he was one of the first to pick up on Fred Elizalde’s Quinquaginta Varsity jazz band and persuaded the Savoy to book the young composer as resident band-leader – he then arranged for him to record for Brunswick. Elizalde’s work is still considered the most sophisticated and jazz-oriented of UK dance bands of the era. (see Fred Elizalde)
Bosdari also secured Society favourites Bert Ambrose’s Mayfair Hotel Orchestra for Brunswick. He would also have had a say in Brunswick UK releasing “hot” music by the likes of Red Nichols, King Oliver and Irving Mills’ above-mentioned Hotsy-Totsy Gang. Therefore the Count played a significant part in providing the soundtrack for the jazz-mad party set of the period.
Just prior to this, he had been working in Selfridge’s marketing department ( he was a friend of fellow Wykehamist, Gordon Selfridge Junior). It was Bosdari who had introduced John Logie Baird to the store in 1925, thus giving the public the first real viewings of “television”. The equipment was so provisional and ramshackle that it was not a great success but it does show a remarkable sense of foresight on Bosdari’s part. Bosdari obviously had a feeling for all things modern, he appears to have had dealings with the German film company UPA and Klangfilm, pioneers of film sound equipment.
He must have continued his association with Selfridge’s too and appears to have tried to get Brian Howard a job there as a display designer (unsurprisingly, for Howard, nothing came of it). Howard also mentions a company called First International Pictures, another Bosdari project, for whom he was to work on set design. I think this is First International Sound Pictures – but can find little information – again, nothing materialised.
However these aspects of the Count’s career have been largely buried. It is as a playboy and in particular as the lover and fiance of Tallulah Bankhead that he lives in the history books.Bosdari’s engagements, affairs and (possible) marriages are not easy to follow. He was briefly engaged to the actress Enid Stamp Taylor in 1926, was even more briefly married to Josephine Fish, an American heiress, in 1928, and then for six months until May 1929 was engaged to Tallulah. In 1931 a forthcoming marriage to the Duchess of Croy (formerly Helen Lewis, another American) was announced but whether it took place or not I can’t ascertain. Then, according to Bright Young People annals, he married Babe Plunket Greene. Countess Marguerite Bosdari is, I presume ,Babe and is on the electoral role in 1932 but I can’t find much more as yet . With so many Counts and Countesses Bosdari (even Tallulah termed herself such for a while) it gets rather confusing
Countess Bosdari 1934 (is this Babe?)
Anthony De Bosardi seems to fade into obscurity (perhaps under something of a cloud) from the mid-1930s onwards. There is some useful material at this fascinating website Levantine Heritage but there are still plenty of questions remaining (as ever). Alec Waugh, who knew him well in the 1920s, says Bosdari was interned by the Germans in World War 2. The Levantine site suggests that he then lived in either North Africa or South America. He is an intriguing figure and I’m sure there is much more to unearth.
I’ll post next on Babe Plunkett-Greene, in many ways an equally puzzling character.