Desmond Taylor. The year Glaum arrived, Nestor was merged with the Universal Film Company. A large number of episodes in the Universal Ike series of one-reel comedies are among her body of work in 1914. Signing with Thomas Ince, her first role as a vamp, and first starring role in the new five-reel features, was as Mademoiselle Poppea in The Toast of Death (1915) opposite Harry Keenan and Herschel Mayall. It was directed by Thomas Ince at his Inceville Studio in Topanga Canyon. That same year, she appeared in the role as cabaret star Kitty Molloy in The Iron Strain, the first American film adaptation of Shakespeare's The Taming of the Shrew, a modern version in which she starred opposite Dustin Farnum, Enid Markey, and Charles K. French. Glaum played Milady de Winter in The Three Musketeers (1916). She appeared in six westerns opposite William S. Hart, including her roles as Dolly in Hell's Hinges (1916), Trixie in The Aryan (1916) and Poppy in The Return of Draw Egan (1916). She played Leila Aradella in The Wolf Woman (1916); and Marie Chaumontel in the war drama Somewhere in France (1916) opposite Howard C. Hickman. On February 27, 1915, she and director Harry J. Edwards (October 11, 1887 – May 26, 1952) were married. They were divorced on March 17, 1919. Glaum played the role as Lola Montrose in the drama A Strange Transgressor (1917). Then, totally opposite to dramatic type, she starred in the title role as a gun slinging heroine, the female equivalent to Bill Hart, in the Triangle Company's western Golden Rule Kate (1917). She played Mary Thorne in the drama The Goddess of Lost Lake (1918), which she also co-produced through her own production company, the Louise Glaum Organization. It is the story of a young woman who is a quarter Native American and decides to pretend she is a full-blooded Indian princess when she visits her father's rustic cabin after completing college in the East. Glaum then began working with J. Parker Read Jr. Productions, which she later described as J. Parker Read, Jr.'s unit as a subsidiary producing company for Thomas Ince. She signed a four-year contract, with a salary starting at $2,000 a week and increasing to $4,000, and some of the features she starred in for that company were as Mignon in Sahara (1919), a big financial success that was written especially for