View allAll Photos Tagged Adolphe
Accession Number: 1977:0638:0015
Maker: Adolphe Neyt (1830 - 1893)
Title: Photomicrograph of a flea
Date: ca. 1865
Medium: albumen print
Dimensions: 19.8 x 15.0 cm.
George Eastman House Collection
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From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
"Then there is something irresistible in the bright glitter of his eyes, in. his cheerful gait, and his fascinating manners; While English mendicant is coarse, ungainly, dirty, rude of speech, unartist-like in his appearance, out of tune when he sings, vulgar in all his deeds, and often bears the stamp of a hopeless drunkard. This perhaps explains how it is that Italians, sons of peasants, agricultural labourers, and others who might lead respectable lives in their own country, prefer to come over to England where they are sometimes treated as mere beggars. They find that a beggar in England is richer than a labourer in Italy; and if he be not equally prosperous it is because he is not equally abstemious and economical. The Italian, therefore, migrates with the knowledge that he may rely on the generosity of the English, and that, if he only receives as much as many of the English poor, he may hope to save enough to buy himself a farm in his own country. They arrive, therefore, in shoals, and seeing how their presence is appreciated, do not realize the somewhat humiliating character of their avocation.
Many, on the contrary, proudly claim a right to be ranked above the mendicant class. They urge, and to a certain extent justl y, that they are of use to the community; that, as a rule, their performance, whether with the barrel-organ, the piano-organ, the harp, fiddle, or other instrument, gratifies the majority of their hearers, and propagates the love for music among the poor. The only difference, so far as the political economy of the case is concerned, between them and actors and professional singers is the fact that they impose themselves on the public by performing in the street, and have to solicit, cap in hand, their reward. Otherwise, they argue, that they simply cater for the public amusement; that if their performance is of a very inferior character to what may be heard in concert-rooms or theatres, they consequently receive very inferior pay. This is in fact but a mere question of supply and demand."
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
“But old age, and want of proper food and rest, reduces them to a lethargic condition which can scarcely be preferable to death itself. It will be noticed that they are constantly dozing, and yet are never really asleep. Some of them are unable to lie down for days. They sit on the hard stone step of the workhouse, their heads reclining on the door, and here by old custom they are left undisturbed. Indeed, the policeman of this beat displays, I am told, much commiseration for these poor refugees, and in no way molests them. When it rains, the door offers a little shelter if the wind is in a favourable direction, but as a rule the women are soon drenched, and consequently experience all the tortures of ague and rheumatism in addition to their other ailments. Under such circumstances sound sleep is an unknown luxury, hence that drowsiness from which they are never thoroughly exempt. This peculiarity has earned them the nick-name of" dosses," derived from the verb to doze, by which they are sometimes recognized. The crawlers may truly be described as persons who sleep •with one eye open.”
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
"There are, undoubtedly, many most honest, hard-working, and in every sense worthy men, who hold licences from the Watermen's Company, or from the Thames Conservancy. That these men are rough and but poorly educated is a natural consequence of their calling. N ever stationary in anyone place, it is difficult for them to secure education for their children, and regular attendance at school would be impossible unless the child left its parents altogether. Thus there is an enormous percentage of men who cannot read at all. Their domestic arrangements are, however, better than the canal bargemen. . Cramped up in little cabins, the scenes of over-crowding enacted on board canal barges, equal and even exceed in their horrors what occurs in the worse rookeries of London. Fortunately, the very nature of their occupation compels the men to enjoy plenty of fresh air and invigorating exercise, and this naturally counteracts the evil effects resulting from their occasional confinement in cabins unfit for human habitation."
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
The LNER was, by common consent, the most adventurous of the Big Four railways when it came to publicity and advertising and they certainly were being in the forefront of the avant-guarde when in 1928 they commissioned this poster. The LNER heavily marketed their Harwich ferry services, to the middle and northern Continent heavily, as they were the company's shortest sea crossing and connected in with services to Germany and Eastern Europe via Belgium and the Netherlands.
The artist Adolphe Jean-Marie Mouron (1901 - 1968), who used the pseudonym Cassandre, was one of the most noted of the French graphic designers of the day and thsi poster is typical of his bold and striking graphics. His agency, Alliance Graphique, was used by many noted clients such as Dubonnet and the Wagons-Lits company, and the posters and advertising they produced are now often high sought after by collectors. This poster cleverly blends the ship's hull with the body of the locomotive and the use of the sharp diagonal is intended to give a sense of movement.
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
“I had, for instance, an occasion of discussing with two boardmen who seemed worthy of a better position. The first had been trained as a smith, and engaged in the making of iron bedsteads. Now, however, smiths are no longer employed for this sort of work. It has been found more expedient and economical to make bedsteads with cast iron, and this change in the mode of manufacture threw many men out of employment, and notably my informant, who gradually sank to that state of misery when street life becomes the only means of existence. The other board man with whom I conversed was an old soldier, and had served nine years in the East Indies. He had shared in many glorious engagements, and was proud to relate that he had fought in Major-General Havelock's division at the relief of Lucknow. Probably his position in life would have been secured had he only received a good education; but he was not well enough read to occupy the post or undertake the business his friends were willing to offer him. He consequently dwindled down till he reached that point in life when anything that brings a few pence is heartily welcome. But the old soldier has still retained considerable energy. He is not content with carrying the boards during the day, but also seeks to make use of his evenings. He has, fortunately, often obtained a shilling a night at the Globe Theatre where he appeared as a supernumerary.”
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
Vladimir Lenin's car, modified by Adolphe Kegresse in 1922.
On display in Gorky Museum, Russia.
Beautiful chrome silver coating by Chrome Block City:
www.bricklink.com/store.asp?p=Aurimax
Thank You Auri !
D667_364
17/08/2012 : Manchester, Mosley St, Manchester Art Gallery: Life drawing of a male nude with a cane (black chalk and graphite on paper; Adolphe Valette, ca. 1910-12)
...angel flying too close to the ground...
Iva Vitić Gameiro as Myrtha
Croatian National Theater in Zagreb
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith. This chapter recounts the life story of John Day, which begins:
'Born in Lambeth, the son of a road-mender, John Day was sent out to work when scarcely more than ten years old. His father was decidedly addicted to drink, and was in the habit of taking his son on Sunday to public-houses, where drink was sold in defiance of the Licensing Act. So long as the child had a few halfpence for beer, he was in the parental eyes a good boy; but when his meagre earnings had been thus uselessly spent, his father came to the conclusion that he could not afford to keep him, and that it was high time the boy should fight his own way in the world. H e was therefore turned out of his home, and had to resort to the friendly, if cheerless shelter of railway arches; or at times he would sleep on a barge, and profited by the opportunity to wash his solitary shirt in the canal, and hang it up on the rigging of his temporary home, while he disported himself amidst the tarpaulin till it dried. At time when there was nothing to be done at the flour-mill, he obtained a little work as assistant to a neighbouring chimney-sweep; but in either employ he rarely made more than 3s.per week.'
And ends:
'He is now the happy father of a large family, he lives in a house near Lambeth Walk, where he once humbly worked in the capacity of a mere assistant. As a master sweep he has an extensive connexion. The money he earns enables him to subscribe to several benefit societies, and he is entitled to receive from them 10s. a week in sickness, while his wife will have £46 given her at his death, or he will receive £18 should she die first. Altogether he is both prosperous and respected throughout the neighbourhood, where he ardently advocates the cause of total abstinence, and is well known as the temperance sweep.'
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
May 15, 2012 - We made a short trip to Luxembourg while visiting Germany. This is a view towards the Adolphe bridge across the valley.
Vladimir Lenin's car, modified by Adolphe Kegresse in 1922.
On display in Gorky Museum, Russia.
Beautiful chrome silver coating by Chrome Block City:
www.bricklink.com/store.asp?p=Aurimax
Thank You Auri !
PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
Looking up at the Adolphe Bridge, it was built between 1900 and 1903.
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
“The owner of the stall in the accompanying photograph had, however, a different story to tell concerning keys. He possessed some keys which he would gladly sell for twopence, and he reminded me that this branch of his business was subject to certain restrictions which made him at times "lose a job or two." If keys were sold and made indiscriminately, burglars, and in fact all thieves would find easy access to other people's property. Hence certain laws were enacted with the object of preventing anyone buying keys save the rightful owners of the locks they were intended to fit. A locksmith is, therefore, not allowed to make a key from an impression. Either the lock itself must be brought to him, or the locksmith must be allowed to enter the premises and fit his key into the door. Otherwise it would suffice to obtain an impression of a key on a piece of soap or wax for a thief to procure himself a similar one, and thus open the lock protecting the coveted treasure. Further, it is illegal for a locksmith to lend a bunch of his keys; and, in a word, before exercising his art to open locks he must assure himself that his services are not required for any dishonest purpose.”
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
Maker: André Adolphe-Eugène Disdéri (1819-1889)
Born: France
Active: France
Medium: albumen print
Size: 7 7/8 x 9 1/8 in
Location:
Object No. 2016.392a
Shelf: B-2
Publication:
Provenance: Photography: The First 80 Years, Christies On-Line, April 21, 2016, Lot 64
Other Collections:
Notes: numbered '7419' in ink (recto); annotated 'M de Carracciolo' in pencil (verso); titled, dated and numbered '7419' in ink on enclosed original label. André-Adolphe-Eugène Disdéri (1819 - 1889) a self-taught daguerreotypist, researched and improved upon the existing collodion-on-glass negative process, which he outlined in his first publication, Manuel Opératoire de Photographie sur Collodion Instantané, 1853. That same year, he returned to Paris and opened the largest studio in Paris, which spread across two floors. It was there that he introduced his carte-de-visite portraits which were a great financial success. For the 1855 Paris Exposition Universelle, he formed the Société du Palais de l'Industrie and obtained the rights to photograph all the products and works of art exhibited at the Exposition. Eder writes "Disdéri was considered the outstanding portrait photographer of his time in Paris. Napoleon III appointed him court photographer. In 1861, he instructed French officers in photography under orders from the minister of war. Disdéri's popularity is best shown by the fact that his character was introduced in 1861 as a star attraction on the stage of a small vaudeville theater in Paris by a realistic representation featuring his bald head and tremendous beard."
(Source: Andrew. Cahan)
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Maker: Adolphe Braun (1812-1877)
Born: France
Active: France
Medium: albumen print
Size: 6 in x 7 1/2 in
Location:
Object No. 2023.1211
Shelf: L-12
Publication:
Other Collections:
Provenance:
Notes: TBAL
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
“Thus in the photograph before us we have the calm undisturbed face of the skilled artisan, who has spent a life of tranquil, useful labour, and can enjoy his pipe in peace, while under him sits a woman whose painful expression seems to indicate a troubled existence, and a past which even drink cannot obliterate. By her side, a brawny, healthy "woman of the people," is not to be disturbed from her enjoyment of a "drop of beer" by domestic cares; and early acclimatizes her infant to the fumes of tobacco and alcohol. But in the fore-ground the camera has chronicled the most touching episode. A little girl, not too young, however, to ignore the fatal consequences of drink, has penetrated boldly into the group, as if about to reclaim some relation in danger, and drag him away from evil companionship. There is no sight to be seen in the streets of London more pathetic than this oft-repeated story the little child leading home a drunken parent. Well may those little faces early bear the stamp of the anxiety that destroys their youthfulness, and saddens all who have the heart to study such scenes. Inured to a life crowded with episodes of this description, the pot-boy stands in the back-ground with immoveable countenance, while at his side a well-to-do tradesman has an expression of sleek contentment, which renders him superior to the misery around.”
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith.
“…The" wall working" or fence working, described by Parker as a " fine property," is a system of cheap advertising. Where a portion of a wall or fence, near some public thoroughfare, can be rented or obtained gratuitously, it is covered with an array of boards, which are hung up in the morning and taken in at night. In this instance, the boards covered with thin bills are supplied to Cannon [seated on the right], who hangs them up in the morning and receives about a shilling weekly for each board. But the number of boards afford no clue to the income derived from this mode of advertising, as an indefinite number of dummies are displayed to fill up vacant spaces. The dummies are carefully selected; the advertisements they carry must be as imposing as the names of their owners are respectable. Cannon assured me that it required tact and experience to manage this sort of property. Unfortunately the dummies have been dominant of late, owing to depression in all departments of trade. The result is that the" wall worker's " property produces a return so poor as hardly to repay the pains bestowed on its management.”
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
Maker: Adolphe Dallemagne (1811-1882)
Born: France
Active: France
Medium: albumen print
Size: 6 3/8 in x 8 7/8 in
Location:
Object No. 2020.332
Shelf: D-22
Publication:
Other Collections: BNL
Provenance: fautographie
Rank: 100
Notes: Léon Auguste Adolphe Belly (1827–1877) was a French landscape painter.
Adolphe Dallemagne started out as a painter, having studied with Ingres, Cogniet and Monvoirsin, and then switched to photography. He created a series of photographs of contemporary artists, published as Galerie des Artistes Contemporains, which appeared in different painting frames from the time periods and styles of LouisXIV, Louis XV and Louis XVI, complete with a theatrical velvet curtain. A full set of these can be seen at: DALLEMAGNE-BNL
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From 'Street Life in London', 1877, by John Thomson and Adolphe Smith.
"Italian ice men constitute a distinct feature of London life, which, however, IS generally Ignored by the public at large, so far as It’s intimate details are concerned. we note in various quarters the ice-barrow surrounded by groups of eager and greedy children, but fail to realize what a vast and elaborate organization is necessary to provide this delicacy in all parts of London. Most parsons are aware that there is an Italian colony at Saffron Hill, but it is strange how few visitors ever penetrate this curious quarter…
…In little villainous-looking and dirty shops an enormous business is transacted in the sale of milk for the manufacture of halfpenny ices. This trade commences at about four in the morning. The men in varied and extraordinary desltabzlle pour into the streets, throng the milk-shops, drag their barrows out, and begin to mix and freeze the ices. Carlo Gatti has an ice depot close at hand, which opens at four in the morning, and here a motley crowd congregates with baskets, pieces of cloth, flannel, and various other contrivances for carrying away their daily supply of ice. Gradually the freezing process is terminated, and then the men, after dressing themselves in a comparatively-speaking decent manner, start off, one by one, to their respective destinations; It is a veritable exodus. The quarter, at first so noisy and full of bustle, is soon deserted, a few women only remaining to attend to the domestic affairs and to quarrel with their loquacious neighbours."
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
“At Clapham Common - where the accompanying photograph was taken - Hampstead, Greenwich, Battersea Park, etc etc, on a broiling summer's day, there is a great demand for light, refreshing drinks, and more than £ I may be taken during one day by those who have a sufficient supply of ginger-beer with them, or some friend who can bring a fresh stock in the course of the afternoon. In ordinary times, however, twenty shillings a week net profit is considered a very fair reward for selling ginger-beer in the streets. Apart from the very hot days, and the pleasure-g rounds around the metropolis, the best time and place for the sale is near the closed public-houses on a Sunday morning. The enormous number of persons who have spent their Saturday evening and wages in getting lamentably drunk, come out in the morning •with their throats parched and are glad of anything that will relieve the retributive thirst from which they suffer. Ginger-beer, under these circumstances, is particularly effective in restoring tone and mitigating the consequences of intemperance; and these are facts which readily account for the large sales effected on Sunday mornings.”
[…]
“The real "mush-fakers" are men who not only sell, but can mend and make umbrellas. Wandering from street to street, with a bundle of old umbrellas and a few necessary tools under their arm, they inquire for umbrellas to mend from house to house. When their services are accepted, they have two objects in view. First, having obtained an umbrella to mend, they prefer sitting out doing the work in the street, in front of the house. This attracts the attention of the neighbours, and the fact that they have been entrusted with work by the inhabitants of one house generally brings more custom from those who live next door. When the job is terminated, the “mush-faker " looks about him, as he enters the house, in quest of an umbrella which has passed the mending stage ; and, in exchange for the same, offers to make a slight reduction in his charge. Thus he gradually obtains a stock of very old umbrellas, and by taking the good bits from one old "mushroom” and adding it to another, he is able to make, out of two broken and torn umbrellas, a tolerably stout and serviceable gingham.
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
Portrait du saxophoniste Diego Delporte, Diplômé du Conservatoire Royal de Liège, lauréat du concours Adolphe Sax de Dinant.
Portrait of saxophonist Diego Delporte, graduated from Royal Higher Conservatory for Music of Liège (Belgium) and prize-winner of the international music competition "Adolphe Sax" of Dinant (Belgium)
one flash setup (YN568 1/2 35mm + white umbrella + white reflector + trigger YN622N)
The bridge was designed by Paul Séjourné, a Frenchman, and Paul Rodange, a Luxembourger, and was built between 1900 and 1903.
Its design was copied in the construction of Walnut Lane Bridge in Philadelphia, the United States.
The bridge was named after Grand Duke Adolphe, who reigned Luxembourg from 1890 until 1905.
en.wikipedia.org/wiki/Adolphe_Bridge
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From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
'After playing in many provincial theatres, Caney finally made his debut in London on the boards of the old Garrick, the Britannia, and the Standard. He rendered good services at these houses in the cause of the people's amusement. No consideration of bone or nerve interfered with his assaults on the pantaloon. He was irrepressible in the matter of bonneting the police; and he tumbled and danced, and fought, and shouted to the delight of his rough and ready audiences, - and, poor fellow, to his own disadvantage. His exertions to please the people who greeted his first sally with vehement applause, caused the bursting of a varicose vein in his leg, and Caney's successful career was over. There was not enough bodily strength left in him even for a pantaloon. After enduring an operation which was performed at old St Thomas's Hospital, Caney was finally pronounced to be cured, but forbidden to attempt any violent exercise.
[...]
But of all the work he undertook, that of mending chairs seems to have brought him the most constant employment. In all cases his friends are of this opinion, for they have unanimously dubbed him" Caney," and it is under this soubriquet that he is best known in the purlieus of Drury Lane. At times, however, the old spirit broke loose again, and though he never appeared on the boards of any theatre, he has often graced the streets with some of his clownish antics. At Christmas, and other holiday seasons, he sometimes resorts to the familiar hare's foot and rouge, dons a clown's suit, which is certainly the worse for wear, and follows a band of itinerant street performers, among whom his superior accomplishments and experience insure ready welcome.'
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
created for Play to Game challenge~ William Adolphe Bouguereau
Magnificent Manipulated Masterpieces
Bus stop: pxhere.com/fr/photo/1284606
Woman: www.wikiart.org/en/william-adolphe-bouguereau/far-niente-...
Woman: www.wikiart.org/en/william-adolphe-bouguereau/the-bohemia...
Woman: www.wikiart.org/en/william-adolphe-bouguereau/portrait-of...
Woman: www.wikiart.org/en/william-adolphe-bouguereau/yvonette-1867
Woman: www.wikiart.org/en/william-adolphe-bouguereau/unwinding-m...
Paint/Paint Shop Pro with the help of ddg ai
1862 by André-Adolphe-Eugène Disdéri.
She was born on 27th Feb 1836 in St. Petersburg and died on 16th March 1882 and was the wife of the noted choreographer Marius Petipa.
She joined the Imperial Bolshoi Kamenny Theatre of St. Petersburg in 1854.
Her daughter was Marie Petipa [1857-1930] who created roles in The Sleeping Beauty and The Nutcracker.
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
"The season for strawberries, the most delicious of English fruits, has ended. This delicacy was brought in numberless barrow- loads to the doors of the poorest inhabitants of London. The familiar cry, " Fine strawberries. All ripe! all ripe! " is silenced for a season by sounds less welcome. The fragrance of the ripe fruit wafted by the summer breeze from the coster's cart as it passed through the alleys, is replaced by less grateful odours - by the normal atmosphere of over crowded neighbourhoods, by the autumn taint of animal and vegetable decay, which invests the low-lying districts of London."
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
From 'Street Life in London', 1877, by John Thomson and Adolphe Smith:
‘“But it's hard to pick up money on the streets; there is so many at the same game now, that it's about all we can do to get food. Fridays and Saturdays we stands a better chance of extra custom. Fish on Fridays goes down with the Irish, and on Saturday nights we get often a better class of customers than on other days. The workmen and their wives and sweethearts are about then, and hardly know how to spend their money fast enough. After visiting the public-houses they finish up with a fish supper of the very finest sort. Although I say it, no finer can be got, not at Greenwich or anywhere else. I've got to know exactly what I am about, and always to keep things going on the barrow in a style that brings folks back again. It's no use for a man always on the same pitch going in for the cheap and-nasty; he couldn't stand a day against the competition of his neighbours. I never pick out anything that looks the least thing gone, for fear of losing the run of trade. When it's possible to work off some doubtful goods is at night, at the bar of a public house, when the men drinking are too far gone to be nice about smell or taste, so long as they gets something strong. But even that is a dangerous game to be tried on too often, so I for my part leaves it alone."’
For the full story, and other photographs and commentaries, follow this link and click through to the PDF file at the bottom of the description
This is an anonymously published postcard showing the view in Piccadilly Circus looking east towards Coventry Street with Shaftesbury Avenue on the left. This is July 1947 and the people of London are well supplied with west end entertainment, a time to forget about rationing and austerity for a little while. At the London Pavilion, the 25-year-old silent docudrama, “Nanook of the North” made by Robert J. Flaherty in 1922, played there from 21st July until 21st August. The film is now considered a masterpiece of documentary film making although some scenes were staged, it tells the story of an Eskimo/Innuit family in northern Canada and their struggle to survive. For light relief the theatre goer could go to the Palladium where Tommy Trinder starred in a Gay Musical called "Here, There and Everywhere" which ran from 2nd April until 3rd January 1948. Another Musical, this time described as a Musical Romance was playing at the Hippodrome in its third year, Ivor Novello’s “Perchance to Dream” ran from 21st April 1945 until 11th October 1948. At the Leicester Square Theatre for just one week, the British made film “So Well Remembered” was shown, starring John Mills, Martha Scott and Patricia Roc, the film was based on James Hilton’s novel about life in a northern Mill town. The last film advertised is “The Hucksters”, an American film starring Clark Gable, Deborah Kerr, Sidney Greenstreet and Adolphe Menjou, it was Deborah Kerr’s first American film which portrayed the American advertising industry. The advertisement for “Bile Beans”, just under the sign for “Votrix Vermouth” was a regular in this spot until the early 1950s. “Bile Beans” were a laxative/Tonic and came in the form of a gelatine pill, much like the old cod liver oil pills that were handed out at my primary school. The Bile Bean Manufacturing Company set up the firm of C.E. Fulford Ltd to manufacture the pills in Leeds at the turn of the century, it was run by an Australian and a Canadian who claimed that there was an Australian plant in the ingredients which did the trick, but it was later discovered that the pills contained Liquorice, Rhubarb, Cascara and Menthol. I don’t know, it probably did work. There is an advertisement on the Shaftesbury Avenue side of the London Pavilion for “Swallow Raincoats” whose catch phrase was “Fine in the Rain”. The company was based in Birmingham and from the early 1930s until the early 1990s manufactured Men’s, Women’s and Children’s raincoats. They were contracted at the end of WW2 to supply raincoats for the servicemen and women who were being demobilised, their adverts of the time state that there may be some shortages due to the contract. It looks like in 1947 they were back on track.
Best viewed with the zoom feature.