View allAll Photos Tagged George
Jean-Antoine Houdon, George Washington, 1788-92, marble, 6′ 2″ high (State Capitol, Richmond, Virginia)
Happy Families
// These five beings have been there with me since I was a child. I saw them on my shelf and thought it would make a great photo and it's very nostalgic. George is the newbie, top left. I want to have a big collection of porcelain dolls and old barbie dolls. I want to keep these buddies until I have my own children so they can have them because believe it or not - everything is sentimental to me, including these guys.
Frame 2/3
George Garton of Sussex CCC bowling against Glamorgan CCC at the SSE SWALEC Stadium in Cardiff last Friday. How he didn't fall over I don't know.
Jean-Antoine Houdon, George Washington, 1788-92, marble, 6′ 2″ high (State Capitol, Richmond, Virginia)
I was standing on a street corner in downtown Toronto with a group of commuters waiting for a streetcar home at the end of the day. He was next to me and I noticed his St. Marten cap perched above a friendly face. He made eye contact and I told him I liked the hat because St. Marten is a beautiful place. He broke into a smile. “It sure is” he said. “I just got back from a visit there. A beautiful climate, very friendly people, and great food.” I told him my wife and I took our first Caribbean holiday to St. Marten quite a few years ago and greatly enjoyed it too. He told me he was lucky enough to spend a month because he has a friend who is living there. I introduced myself and we shook hands. Meet George.
One thing led to another as we waited for the streetcar and I learned that George is a retired electrician who spent his career doing industrial electrician work – mainly on power plants. When I commented that being an electrician is a great trade he said “It was good to me. I have worked in California, Australia, and Canada.” George is now retired and said he is doing as much travel as he can. “Now is the time, right?” When he told me he is 79 I said that surprised me as he didn’t look 79 to me. I commented that he is only 9 years ahead of me at 70. He quipped “I’ll take your nine years. You look good.” We were acting out the ritual familiar to people our age: complimenting each other on how young we look. We both chuckled at the unspoken fact that neither of us looks 30.
George was wonderfully open and good-natured. He told me he was born and raised in Guyana in South America and came to Canada at age 22. He had some electrician experience in Guyana but realized he needed papers in Canada and attended Ryerson Polytechnic School which is now a university where I take courses myself. When he learned I am a retired social worker he told me that his wife was a social worker employed in the justice system. He told me she died two years ago and I expressed my condolences. Sadness flickered over his face but was quickly brushed aside in exchange for his relaxed, warm smile.
George commented on my camera and I explained if we weren’t waiting for a streetcar, I would be asking him to be part of my Human Family photo project. He said he’d be happy to and invited me to take the portrait since traffic was heavy and there was not yet a streetcar in sight. I took him up on the offer and suggested we escape the crowd and walk around the corner to use a papered-over plywood wall as a simple background. As so often happens, George commented that it was a pretty dingy wall but I asked him to trust me and he did. The photos were rushed as I pictured our both missing the streetcar but when we returned to the crowd at the corner the streetcar was still a block away, impeded by heavy pre rush-hour traffic.
We continued to chat and stood next to each other on the crowded car after boarding and continued the conversation. We were at very close range in a crowd but I was still noticing the warmth in George’s face so I took a couple of quick portraits in the crowd as we talked. George was reflecting on how much Toronto has changed over the years (real estate prices, subway fares, and wages) and I agreed. When I invited him to share a few words for the project he thought for a moment and said “It’s all about people, isn’t it? Too many people spend their lives chasing money instead of enjoying people. I think they miss the whole point of life.” Ten minutes later it was time for him to transfer to the subway and for me to continue east so we parted company with a warm handshake.
Thank you George for making our wait for the streetcar so much more enjoyable. I’m sure we enjoyed it a lot more than the people surrounding us who were lost in thought or frustration at the length of the wait. Time passes quickly when you’re having fun. Thanks also for participating in my photo project.
This is my 373rd submission to The Human Family Group on Flickr.
You can view more street portraits and stories by visiting The Human Family.
Cabinet card photograph taken sometime during the 1990's. The following is written on the back:
"George Powell"
George Street, looking north from Martin Place, Sydney
Dated: No date
Digital ID: 4481_a026_000408
Rights: www.records.nsw.gov.au/about-us/rights-and-permissions
We'd love to hear from you if you use our photos.
This image is part of our "Moments in Time" blog series where we ask you to help us date the photos or identify the location where the photo was taken. If you can help with this image please head over to the post at our Archives Outside blog. We have included the larger version here on Flickr to help show more detail.
Many other photos in our collection are available to view and browse on our website using Photo Investigator.
George McCrae
- Rock Your Baby (3'14)
- Rock Your Baby (Part 2) (2'05)
RCA Records / Deutschland 1974
ex vinyl-collection MTP
George Perez, born June 9, 1954, is a writer and illustrator of comic books known for his work on various titles, including The Avengers, Teen Titans, and Wonder Woman.
Source: Wikipedia
Photo taken April 28, 2012 at the Calgary Comic and Entertainment Expo, BMO Centre, Calgary, Alberta, Canada.
The George Washington Bridge (known informally as the GWB) is a
suspension bridge over the Hudson River, connecting the Washington
Heights neighborhood in the borough of Manhattan in New York City to
Fort Lee in New Jersey. The bridge carries Interstate 95, U.S. Route
1, U.S. Route 9, and U.S. Route 46 over it. It is considered one of
the world's busiest bridge in terms of vehicle traffic; In 2004, the
bridge carried 108,404,000 vehicles, with current AADT estimates of
nearly 300,000 vehicles daily. It is currently the fourth largest
suspension bridge in the U.S.
from wikipedia
From: Crown Studios' New South Wales officers and men of the Australian Imperial Force (A.I.F.) and the Australian Naval Forces : portrait collection, 1919
Date of Birth: 5.1.[no year]
Date of Enlistment: [no year]
Trade or Calling:
Born in or near what Town: Wallarabba NSW
Address prior to Enlistment: Wallarabba NSW
Rank, Number, Battalion, Distinctions:
Casualties and where:
Name & Address of Next of Kin: Mr J. Killner Wallarabba NSW
Name and last address of Father: John Killner
acmssearch.sl.nsw.gov.au/search/itemDetailPaged.cgi?itemI...
Dutch postcard by P.F. Cladder, Amsterdam, no. 49-62 kk. Photo: HABÉ Film.
George Formby (1904–1961) was Britain's most popular film comedian between 1934 and 1945, and one of the highest-paid stars. He appeared in 21 hit films, cut over 230 records, and entertained an estimated three million Allied Servicemen during World War II. His trademark was the ukulele - along with his buck-toothed grin.
George Formby was born in Wigan, Lancashire, as George Hoy Booth , the eldest of seven children. His father, George Formby Senior (real name James Booth), was a famous stage actor and comedian. He never wanted any of his family to enter show business and so George, Jr., was apprenticed as a jockey when he was seven and rode his first professional race at ten. On the death of his father in 1921, Formby abandoned his career as a jockey and started his own music hall career using his father's material. In 1924 he married dancer Beryl Ingham, who managed his career until her death in 1960. He allegedly took up the ukulele, for which he was later famous, as a hobby; he first played it on stage for a bet. In film and on stage, he generally adopted the character of an honest, good-hearted but accident-prone innocent who used the phrases: "It's turned out nice again!" as an opening line; "Ooh, mother!" when escaping from trouble; and a timid "Never touched me!" after losing a fistfight. What made him stand out, however, was his unique and often mimicked musical style. He sang comic songs, full of double entendre, to his own accompaniment on the ukelele. Some of his songs were considered too rude for broadcasting. His 1937 song, With my little stick of Blackpool Rock was banned by the BBC because of the lyrics, but Formby's cheerful, innocent demeanor and nasal, high-pitched Lancashire accent neutralized the shock value of the lyrics.
George Formby appeared in a sole silent film, By the Shortest of Heads (1915, Bert Haldane), and in 1934 he made his first sound film Boots! Boots! (1934, Bert Tracy). The film was successful and he signed a contract to make a further 11 with Associated Talking Pictures, which earned him a then-astronomical income of £100,000 per year. In his films he played essentially gormless incompetents, aspiring to various kinds of professional success (as cyclist or jockey) and even more improbably to a middle-class girlfriend, usually in the clutches of some caddish type with a moustache. Invariably he scored on both counts, in such films as No Limit (1935, Monty Banks), Keep Fit (1937, Anthony Kimmins), and Trouble Brewing (1939, Anthony Kimmins). Between 1934 and 1945 Formby was the top comedian in British cinema, and at the height of his film popularity, Let George Do It (1940, Marcel Varnel) with Phyllis Calvert, was exported to America.. This espionage comedy is still regarded as probably his best. He is a member of a concert party, who takes the wrong ship by mistake during a blackout, and finds himself in Norway (mistaking Bergen for Blackpool) as a secret agent. A dream sequence in which he punches Hitler on the nose and addresses him as a ”windbag" is one of the most enduring moments in film comedy. In the post-war years, the Formbys toured Australia and New Zealand, Scandinavia and Canada, and in 1951 George took the West End by storm in the new musical Zip Goes A Million. A weak heart led to his official retirement in 1952 although he had since occasionally appeared on the stage and in pantomimes. His final heart attack occurred at the home of his fiancée, Patricia Howson, 36. The announcement of their engagement was a surprise to many, coming as it did just two months after the death of Beryl. An estimated 100,000 mourners lined the route as his coffin was driven to the cemetary.
Sources: Brian McFarlane (Encyclopedia of British Film), Wikipedia, BBC On This Day, The George Formby Society, and IMDb.
26 de fevereiro - Rio de Janeiro - Ministro do Esporte, George Hilton durante evento teste de Rugby em cadeiras de rodas. Foto: Ivo Lima/ME
Olga Georges-Picot (January 6, 1944 - June 19, 1997) was a French actress.
Born in Shanghai, China, she was the daughter of Guillaume Georges-Picot, the French Ambassador to China, and a Russian mother. Olga studied acting at the Actor’s Studio in Paris. Her acting career covered many diverse French and English films and television roles. She was featured in Playboy Magazine’s Sex in the Cinema and also on the front cover of the periodical Adam.
She played important roles in three classic mainstream films: Denise, the OAS mole, in The Day of the Jackal (1973); Countess Alexandrovna in Woody Allen’s Love and Death (1975); and Julie Anderson in Basil Dearden’s The Man Who Haunted Himself (1970). Her break-through role in the movies was as Catrine in the Alain Resnais’ film Je t'aime, je t'aime (1968). Earlier that year, she had appeared in the French television movie Thibaud the Crusader (1968).
Biographical information on her life and career leading to her apparent suicide on Thursday, 19 June 1997 is very limited and often incomplete. However, apparently Olga suffered from severe depression for unknown or unpublished reasons. Her bouts with depression apparently led to her suicide jump from the 5th floor of an apartment building that overlooked the river Seine, in Paris, France. (Wikipedia)
George has got to nine years of age and has now decided to sneak up on the back of the settee and watch the world go by !
Panasonic Lumix G3 ~ f4.2 @ 67MM , on camera flash, 1/160, iso 160 ~ lens ~ 45-200 Lumix f3.5
The large triple lancet windows in the Chancel of the former Saint George's Presbyterian Church were presented by Lady Margaret McCulloch, second wife of Sir James McCulloch, fifth Premier of Victoria and one of the original founders of the church. Made by Melbourne stained glass manufacturers Ferguson and Urie for the church in 1880, they are perhaps the most beautiful of all the stained glass windows in the church. They are very rich in colour, are quite ornate and would have been very costly to install. The inscription reads: "Presented by Lady McCulloch in Memory of the Loved and Dead."
The centre lancet window picture depicts "Jesus as the Good Shepherd" with a lamb in his arms. The image of Jesus clutching a lamb is commonly found in windows such as these. The image refers to a passage in John's Gospel in the New Testament, wherein Jesus describes himself as the good shepherd. The image of the Good Shepherd is designed to remind parishioners of Jesus' love for all his sheep, even the black ones, and the value that each person has for him. He stands benevolently with his shepherds' crook, clutching the white lamb in the crook of his arm. The lamb's eves are closed and it looks comfortably at peace next to Jesus' breast. At his feet the passages of Mark 10: 13 -14 are referenced: "People were bringing little children to Jesus for him to place his hands on them, but the disciples rebuked them. When Jesus saw this, he was indignant. He said to them, 'Let the little children come to me, and do not hinder them, for the kingdom of God belongs to such as these'."
The outer windows both have a cartouche beautifully depicting a cherubic child of indiscriminate sex with cascading tresses about their face. Such images of children praying were typical in all forms of media during the Victorian era and represent the late Nineteenth Century ideal of piety instilled from a young age. No doubt these two images were meant to instill such thoughts in the children of the congregation, and remind their parents of their parental duty in a Presbyterian household. Both cartouches are flanked above and below by a red quatrefoil with a blue frame, containing green rose boughs and a central white Tudor Rose, representing purity, innocence and yet again, piety. There are also blue quatrefoils with a red frame, containing green rose boughs and a central red, five petal Tudor Rose, representing the five wounds of Jesus Christ from the crucifixion.
The left lancet window depicts a child praying in bed. Beneath is referenced the Biblical passage of Samuel 3 -10: "The Lord came and stood there, calling as at the other times, 'Samuel! Samuel!' Then Samuel said, 'Speak, for your servant is listening'." The child in the cartouche may represent the child Samuel, who looks suitably wide eyed and awe struck to have heard the voice of the Lord as he listens attentively.
The right lancet window depicts Samuel upon his knees praying with his eyes cast upwards. It is based upon "The Infant Samuel" oil painting by Sir Joshua Reynolds painted circa 1776'' which is today held in the collection of the Tate Gallery in London. Whether an intentional design or just a quirk of luck, the child actually looks directly into the face of Jesus in the middle pane. This particular image of Samuel has been reproduced many times in many different medias since the late 1700s. Perhaps more interestingly, "The Infant Samuel" by Sir Joshua Reynolds was used in the first Australian Christmas stamp in 1957, which was a purple four pence stamp, designed and engraved by Mr. Donald Cameron. Beneath the image of Samuel is referenced the Biblical passage of Timothy 3 -15: "and how from infancy you have known the Holy Scriptures, which are able to make you wise for salvation through faith in Christ Jesus".
Lady Margaret McCulloch (née Boak Inglis) (1827 - 1904), was born at Kirkintilloch, Dunbartonshire. The daughter of William Inglis of Wallflat, Dumbartonshire, she was Sir James McCulloch's second wife. She met Sir James by way of her father, who was an associate of Sir James. Sir James McCulloch (1819 - 1893), was a politician and the fifth Premier of Victoria between 1863 and 1868. was born in Born at Glasgow, Scotland, the son of George McCulloch, he grew up in a staunch Presbyterian household. He entered the mercantile house of J. & A. Dennistoun upon the completion of his education. James married Susan Renwick daughter of the Reverend James Renwick a dissenting minister of the Free Church, of Muirton, Forfarshire, Montrose, in 1841. She died at Montrose four years later. As a junior partner James decided to leave Britain and its sad memories, and arrived in Melbourne in 1853 to open a branch of J. & A. Dennistoun with Mr. Robert Sellar. When the branch closed nine years later, McCulloch, Sellar & Co. was formed in connection with Leishman, Inglis & Co. of Leith. Between 1856 and 1857 and again between 1862 and 1863 James was the president of the Melbourne Chamber of Commerce. In addition he was also a local director of the London Chartered Bank. In his last two years in Glasgow he had been collector of the Trades House, an influential educational and charitable institution, and in Melbourne he supported such charities and public causes as the Benevolent Asylum, the Melbourne Hospital and the St Kilda volunteers. James became Premier of Victoria and Chief Secretary in June 1863; in May 1864 he also became the Postmaster-General. James remained in office until September 1869. He took a second wife, Margaret Boak Inglis, daughter of his associate William Inglis of Wallflat, Dumbartonshire, whom he married in Melbourne on the 17th of October 1867. James was knighted in 1870 and made a member of the Most Distinguished Order of Saint Michael and Saint George and Margaret became Lady McCulloch. The newly knighted Sir James McCulloch was Premier of Victoria again between 1870 and 1871 and yet again from 1875 to 1877. During this last period, he passed a bill abolishing all government funding to religious schools, a measure which was supported by all denominations except the Anglicans, since it freed church schools from government supervision. Sir James' government also introduced a bill to create a system of free, secular government schools, but the Catholics and Anglicans joined forces to block it. Tired and disillusioned, he resigned from Parliament in 1878. Residing in St Kilda, it is because of his enthusiasm and liberality that Sir James inspired the founders to think and act in large terms, and establish a proper Presbyterian church in St Kilda which, according to the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book became "a noble edifice of which any denomination might be proud." Sir James became one of Saint George's Presbyterian Church's first elders and trustees. Sir James left for Britain early in 1886 and lived at Garbrand Hall in Ewell, Surrey. Even though he left Australia, he still held a fondness for his beloved Saint George's Presbyterian Church in East St Kilda. In 1890 he inquired what debt still remained on the church, and upon being informed, paid off one half of the amount owing. This was in addition to the countless funds he had already put into the initial Church Building Fund. Sir James died at Garbrand Hall in 1893. He had no children with either his first or second wife. Lady Margaret never ventured back to Australia after her husband's death and lived for the most part in Chislehurst, Kent, where she died in 1904. She bequeathed the sum of £5,000.00 to establish a Sir James McCulloch tutorship in the Theological College of the Presbyterian Church in England. She also bequeathed a painting; "Christ's Lesson in Humility" by English genre painter Charles Robert Leslie (1794 - 1859), and a bust of her late husband to the Melbourne National Gallery (now the National Gallery of Victoria).
The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.
The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.
The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.
The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.
Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.
St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.
Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.
The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.
(Edited to add answer key)
I shot the same scene with eight different imaging devices. Which device shot George best?
Each photo was shot in full-auto mode and I made no adjustments to the image afterward. All I did was crop and scale each one to a size of 2048 pixels to facilitate your side-by-side comparison. Go ahead and click through to the full-size version if y'like.
To give you some idea of the detail in the image, I've also compiled a lightbox of thumbnails, clipped from the same region of the image at the file's full original resolution (and then scaled to common dimensions).
What to you think? Leave your comments in the comments. I'll post the "answer key" after these have been online for a bit.
French postcard by Agfa. Photo: Studio Harcourt.
Handsome and athletic Georges Marchal (1920-1997) was one of the main lead actors in the French cinema of the 1950s, together with Jean Marais. He starred in several costume dramas and Swashbucklers and later appeared in films of Luis Buñuel.
Georges Marchal was born as Georges Louis Lucot in Nancy, France, in 1920. In Paris, he followed secondary school, and then took classes in ballet and acrobatics. Many odd jobs followed, like courier, docker at the Les Halles market, and assistant at the Medrano circus. He enrolled in the course of Ms. Calvi, and was hired at the Théâtre du Palais-Royal for the play 'Permission de détente' (Permission to relax) by Yves Mirande. At 20, he joined the Comédie-Française to play in 'Iphigénie et Psyché' (Iphigenia and Psyche). He soon also played in boulevard comedies. His film career started with the comedy Fausse alerte/The French Way (Jacques de Baroncelli, Bernard Dalban, 1940) starring Josephine Baker, which was only released in 1945. During the Occupation days, he was noted in Lumière d'été/Summer Light (Jean Grémillon, 1943) opposite Madeleine Renaud, Vautrin/Vautrin The Thief (Pierre Billon, 1943) with Michel Simon, and after the war, in Au grand balcon/The Grand Terrace (Henri Decoin, 1949) with Pierre Fresnay, about the heroic pilots who struggled, suffered and often died to carry the mail. He became the typical Jeune Premier of the French post-war cinema and posed as a rival of Jean Marais although he didn’t reach the same level. In 1951, he assumed the title role in Il naufrago del Pacifico/Robinson Crusoe (Jeff Musso, 1951), and for Sacha Guitry, he played the young Louis XIV in the star-studded Si Versailles m'était conté/Affairs of Versailles (Sacha Guitry, 1953). In 1951, he married actress Dany Robin. They were both young, beautiful, adored, and preserved their privacy in a house of Montfort l'Amaury. They made six films together, including La Voyageuse Inattendue/The Unexpected Voyager (Jean Stelli, 1949), based on an old script by Billy Wilder, and the comedy Jupiter (Gilles Grangier, 1952). Georges’ talent as a stuntman did wonders for his parts in costume films and swashbucklers such as Messalina (Carmine Gallone, 1952) with Maria Félix, Teodora, imperatrice di Bisanzio/Theodora, Slave Empress (Riccardo Freda, 1954) with Gianna Maria Canale, and Les trois mousquetaires/The Three Musketeers (André Hunebelle, 1953) in which he featured as D'Artagnan.
The arrival of the Nouvelle Vague (New Wave) sounded like the death knell for Georges Marchal. He moved to Italy to continue his career. With his muscular body, he was an ideal hero for the Peplum films (the Italian sword and sandal epics). He appeared in a dozen of them, including Nel Segno Di Roma/Sheba and the Gladiator (Guido Brignone - and uncredited Riccardo Freda and Michelangelo Antonioni, 1958) with Anita Ekberg, Le legioni di Cleopatra/Legions of the Nile (Vittorio Cottafavi, 1959) with Linda Cristal, and Sergio Leone's first solo directorial effort, Il colosso di Rodi/The Colossus of Rhodes (Sergio Leone, 1961) with Rory Calhoun. Marchal was a close friend of Luis Buñuel and also one of his preferred actors. Marchal starred in four of his films: Cela s'appelle l'aurore/That is the Dawn (1955) with Lucia Bosé, La mort en ce jardin/Death in the Garden (1956) with Simone Signoret, Belle de jour/Beauty of the Day (1967) with Catherine Deneuve, and La voie lactee/The Milky Way (1969) with Laurent Terzieff. Other interesting films he appeared in were the anthology film Guerre secrète/The Dirty Game (Terence Young, Christian Jaque, Carlo Lizzani, Werner Klinger, 1965) with Robert Ryan, the Romanian historical epic Dacii/The Dacians (Sergiu Nicolaescu, 1967) with Pierre Brice, Faustine et le bel été/Faustine and the Beautiful Summer (Nina Companeez, 1972) and Les Enfants du placard/The Closet Children (Benoît Jacquot, 1977) with Lou Castel. During the 1970s, he focussed on television and appeared in Quentin Durward (Gilles Grangier, 1971), as Philip IV the Fair in Les rois maudits/The Accursed Kings (Claude Barma, 1972), Gaston Phébus (Bernard Borderie, 1977), and Les grandes familles/The Great Families (Edouard Molinaro, 1988) with Michel Piccoli. He played a seductive older man in three TV-films based on the legendary Claudine novels by Colette, Claudine à Paris/Claudine in Paris (1978), Claudine en ménage/Pauline Engaged (1978) and Claudine s'en va/Claudine Goes (1978), all starring Marie-Hélène Breillat and directed by Edouard Molinaro. He also played Claude Jade's father in the fine TV Mini-series L'Île aux trente cercueils/The Island of Thirty Coffins (Marcel Cravenne, 1979). He retired in 1989. His last film appearance had been as General Keller in L'Honneur d'un capitaine/A Captain’s Honour (Pierre Schoendoerffer, 1982) about the French army's behaviour in Algeria. Georges Marchal died in 1997 in Maurens, France, following a long illness. He was married to Dany Robin from 1951 till their much-publicised divorce in 1969. He remarried in 1983 to Michele Heyberger.
Sources: Hal Erickson (AllMovie), Pablo Montoya (IMDb), Ciné-Ressources, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
George Skeris, a 36-year-old man from Redondo Beach, CA, swam in the two-mile Dwight Crum Pier-to-Pier Swim, Individual Swimsuit race. Skeris ranked 70th in the M35-39 class, 601st by gender, and 919th overall, with a finishing time of 01:34:48. His race number was 287.
Manhattan Beach's International Surf Festival hosted the event on Sunday, August 6, 2023. Swimmers traverse the ocean between Hermosa Beach Pier and Manhattan Beach Pier.
VQW_2682
Regimental number - 1031
Place of birth - Bairnsdale, Victoria
School - Hindmarsh Public School
Religion - Church of England
Occupation - Farm hand
Address - ...
Marital status - Single
Age at embarkation - 19
Next of kin - Father, Harry Sandford Davis, William Street, Beverly, South Australia
Previous military service - Served in the Cadets
Enlistment date - 11 September 1914
Rank on enlistment - Private
Unit name - 16th Battalion, F Company
AWM Embarkation Roll number - 23/33/1
Embarkation details - Unit embarked from Melbourne, Victoria, on board Troopship A40 Ceramic on 22 December 1914
Rank from Nominal Roll - Private
Unit from Nominal Roll - 16th Battalion
Fate - Killed in Action 2 May 1915
Place of death or wounding - Gallipoli, Turkey
Date of death - 2 May 1915
Age at death - 18
Age at death from cemetery records - 18
Place of burial - No known grave
Commemoration details - The Lone Pine Memorial (Panel 52), Gallipoli, Turkey
The Lone Pine Memorial, situated in the Lone Pine Cemetery at Anzac, is the main Australian Memorial on Gallipoli, and one of four memorials to men of the New Zealand Expeditionary Force. Designed by Sir John Burnet, the principal architect of the Gallipoli cemeteries, it is a thick tapering pylon 14.3 metres high on a square base 12.98 metres wide. It is constructed from limestone mined at Ilgardere in Turkey.
The Memorial commemorates the 3268 Australians and 456 New Zealanders who have no known grave and the 960 Australians and 252 New Zealanders who were buried at sea after evacuation through wounds or disease. The names of New Zealanders commemorated are inscribed on stone panels mounted on the south and north sides of the pylon, while those of the Australians are listed on a long wall of panels in front of the pylon and to either side. Names are arranged by unit and rank.
The Memorial stands over the centre of the Turkish trenches and tunnels which were the scene of heavy fighting during the August offensive. Most cemeteries on Gallipoli contain relatively few marked graves, and the majority of Australians killed on Gallipoli are commemorated here.
Panel number, Roll of Honour,
Australian War Memorial - 79
Miscellaneous information from
cemetery records - Parents: Henry Sandford and Fanny DAVIS, South Esplanade, Semaphore, South Australia. Native of Victoria, Australia. 52
Family/military connections - Brother: 1032 Pte Harry Herbert DAVIS, 16th Bn, died of wounds, 5 June 1915.
Other details -
War service: Egypt, Gallipoli
Medals: 1914-15 Star, British War Medal, Victory Medal
(found on ebay)
This fresco is a 14th century example of a St George icon at Staro Nagoricane in the Republic of Macadonia (former Yugoslavia). I'd love to know when Icons showing the battle with the dragon began to be made. The oldest examples I have come upon are from the 15th century.
from Wikipedia: The Church of St. George, a Serbian Orthodox church in the village of Staro Nagoricane near Kumanovo in the Republic of Macedonia, is noteworthy both for its architecture and its frescoes. The church was first constructed in 1071, and reconstructed between 1313 and 1318 by the Serbian king Stefan Milutin. During this reconstruction period, the church's walls were painted with frescoes by Mihailo and Evtihij.
George and I had a lovely catch-up today - The Photographer's Gallery, The National Portrait Museum, and then some tea and scones!
The George Hotel, Market Place, Frome, Somerset, 29 January 2023. Rebuilt early 1750's, frontage altered early 19th Century, interior remodelled 1874.
Portait of George Müller (1805-1898) of Kroppenstaedt, Prussia, and Bristol, England, the founder of the once famous Orphanages in Ashley Down, Bristol, from George Müller of Bristol and his Witness to a Prayer-hearing God by Arthur T Pierson (c1899).
Countless Bristol orphans owed a great dept of gratitude to George Müller but, in his early years, he was far from virtuous. The spoilt son of a tax collector, he became – even before he was ten years old – a habitual thief and fraudster. He would even purloin government funds which were entrusted to his father. His father wanted him to enter the Church and sent him to the Cathedral School in Halberstadt. Later he attended a school at Nordhausen and finally the Martin Luther University of Halle-Wittenberg. But, during his adolescence, he became a compulsive gambler and drunkard. And his behaviour gradually worsened until the Christmas period of 1821 when, aged 16, he spent 24 days in prison. Yet, at the age of 20, not only was he a student at a Lutheran university but – still as decadent as ever – he was accepted as a candidate for holy orders with permission to preach.
However, after a pleasure-seeking visit to Switzerland, a change came over George Müller. He made a full confession to his father and attended a prayer meeting led by an unsophisticated tradesman called Johann Wagner. The debauched but educated George Müller was well accustomed to high-flown religious services – and they left him cold – but Wagner's lowly prayer meeting was life changing. Müller put his years of decadence behind him. He determined to live a life of active Godliness and, therafter, attended Wagner's weekly prayer meeting whenever he could.
For a while his principal preoccupation was to convert Jews to Christianity but, in 1827, he spent two months in free lodgings provided in the orphan houses in Halle established a century earlier by August Hermann Francke. While there he learnt about how Francke had, starting from a single small house, set up network of orphanages in Halle. Later the same year he was urged to serve as with the London Missionary Society, to convert Jews to Christianity. In 1928 he made the move to London. Subsequently he worked in Devon where he met and soon married Mary Groves. Whilst in Devon he also met the evangelist, Henry Craik, who became his life-long friend and helper.
In 1832 the Müllers came to Bristol where George became joint pastor of Bethesda Chapel which was then in Great George Street. In 1836 they adapted their home to care for 30 orphaned girls. More room was soon required so they purchased houses in Wilson Street, St Pauls (now demolished). They housed 130 children, but that was still nothing like enough to house the many hundreds of orphans in the Bristol area. The Müllers response in 1849 was to open the first of five purpose-built orphanages on the hill at Ashley Down. Although they soon became known as the Muller Orphanages or, more often, the Muller Homes, that was never a name favoured by Müller himself. By 1870, 2,000 children were housed on the site. George Müller never went into debt, and never made a public appeal for donations, working on the principle that, if he had faith, God would provide.
One of the principal benefactors was another strongly religious German who had settled in Bristol. Conrad Finzel was a farmer’s son born in about 1790 in a village near Frankfurt. While still in his teens he fled to Britain to avoid being drafted into Napoleon’s army. He made his way to Bristol and started work in a in a sugar refinery. By 1830 he had founded his own refinery in the city. It was very lucrative but, in 1846, it was destroyed by fire. Many would have merely thought 'What have I done to do deserve this'. But Finzel reflected more deeply.:
" 'I then asked myself'; he said some time afterwards, in terms eminently characteristic of the man, 'what Conrad Finzel had done to call for this chastening stroke from God; and after thinking for some time, the truth flashed upon me.The Almighty had punished me because I had not given to His uses as He had blessed me. He had greatly increased my store, and I had only helped the poor in the same proportion as when I had little. Thus I deserved punishment, and God sent me this affliction to remind me of my duty, so, instead of giving so and so, I said, I will give one-third of my gains, for the future. I have given them, and God has gone on blessing me.'
"He gave freely to all sorts of charitable institutions, but most freely of all to the remarkable Orphan House established on Ashley Hill, by his countryman, the Rev. George Müller. During some years it was reckoned, his gifts thereto amounted to £10,000 a year. When near his end, a friend once spoke to him of the misfortune that his death would prove to the institution. 'What has the life of George Miller, or Conrad F inrel, or any one else,' he answered, 'to do with the Orphan House? It is God's work, and God will take care of it when there is not one of us left.' In that temper Conrad Finzel lived and worked in Bristol for nearly forty years. He died at Wiesbaden, while on a visit to his native land, on the 21st of October, 1859." (The Christian Remembrancer, Volume 55, William Scott, Francis Garden, James Bowling Mozley, 1868). Paul Townsend has written more about Finzel's Refinery here.
The five houses of the orphanage were constructed to designs by John Foster & Son during the 25 years that followed 1845. At the time of their construction they were designated by numbers that reflected the order in which they were built. Only later were they assigned the names by which they are known today. Number one, now Allen House, was constructed between 1847 and 1849. Brunel House followed in 1857 and Muller House itself in 1862. The two remaining houses, Davy and Cabot were built in 1868. There's an artist's impression of how the site looked at the time here in which Muller House is front centre. And there's a recent plan of the site here – though it has Cabot and Davy houses the wrong way round!
The decade following 1865 saw many changes in George Müller's life. In 1866 his life-long friend, Henry Craik died and, early in 1870, his wife Mary also died. Later the same year his daughter Lydia married his assistant James Wright. Then late in 1871 George himself re-married. His bride was Susannah Grace Sangar, whom he had known for 25 years. Finally, in 1875 George Müller handed over full responsibility to Wright and started a programme of preaching first in Britain, Europe and America and later in countries such as Australia, China, Japan, New Zealand, Ceylon and India.
In 1894, after 23 years of marriage, Müller's second wife, Susannah died. By then George himself was 89 and was living in House Number 3 – the building that's closest in the drawing below – now known as Muller house. He preached his last sermon on 6 March, 1898 at Alma Road Chapel in Clifton and, four days later was found by his maid dead on the floor by the side of his bed. His funeral on 14 March was Bristol's largest by far. Tens of thousands of mourners lined the streets – among them thousands of the orphans who had owed their start in life to George Müller. He was buried by the side of his two wives. He had never sought money for its own sake and died a poor man with few possessions.
In 1958 the Orphanages were relocated and the buildings became the home of a succession of colleges: Bristol Technical College, Brunel Technical College, various faculties of Bristol Polytechnic and finally the Ashley Down Centre of the City of Bristol College . Some of the buildings – including Muller House itself, were converted to flats when they were no longer required by the College.