1929 Esther toured Europe in 1929, when her age was variously reported as seven or ten. An article in The Chicago Defender described her as the highest-paid child artist in the world. While touring Europe she delighted audiences including royalty. In Spain she played for King Alphonso and Queen Victoria Eugenie. In Sweden King Gustave and the Queen came to the theater especially to see her. In France, Germany, and other countries, Esther also gave private performances for the nobility and high society. Esther's travels around Europe were not entirely without fits and starts. After a dispute, Bolton was fired as the Jones family's manager and returned to the United States; Bolton blamed an Afro-French interpreter, cited in Variety as "Jacques Garnier," for the fracas; at first, Esther's return to the United States was announced. But Sidney Garner—evidently the same man first cited as "Jacques"—took over as the Joneses' manager forthwith, and the family stayed in Europe. Esther Jones first performed in France at the Moulin Rouge. In Paris, Esther was known as the "Miniature Josephine Baker." Vu, a leading illustrated weekly, devoted the entire front cover to her picture and a full page in the interior. Esther was described as singing, dancing, doing the splits and generally carrying on to the great delight of her audiences, and was dubbed as being "too cute for words". The London Sunday People in its review of Paris plays said of Esther: "Thousands flock no longer to the Moulin Rouge to see Mistinguett herself or the clever American ballet girls, or the beautiful women of the chorus, but to applaud a little mite, 10-year-old, who has won fame and wealth within the space of a few weeks. We are living in an age of speed but this amazing little child has broken every record of sudden theatrical success." In Stockholm, Sweden in August, Esther was famously refused service at an American restaurant run by Branda Tomton, an immigrant from the United States. Swedish dignitaries and officials around the country spoke up in support of Esther and objected to Tomton's discrimination, railing against American "Jim Crowism" in Sweden, forcing the restaurant to close. 1930–1934 Esther continued her success in South America. In Rio de Janeiro, Buenos Aires, São Paulo, and Montevideo she proved to be a sensation. In Rio de Janeiro, American Ambassador Morgan came to see her play and after her performance came