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George Timothy Clooney
(Born 6 May 1961)
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George Takei at the Phoenix Comicon in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
British postcard in the. Philco Series, no. 3180 a.
George Robey (1869-1954) was an English comedian, singer and actor in musical theatre, who became known as one of the greatest music hall performers of the late 19th and early 20th centuries. As a comedian, Robey mixed everyday situations and observations with comic absurdity. Apart from his music hall acts, he was a popular Christmas pantomime performer in the English provinces, where he excelled in the dame roles. He only had modest success in the cinema.
George Robey was born as George Edward Wade in London in 1869. He came from a middle-class family. His father, Charles Wade, was a civil engineer who spent much of his career on tramline design and construction. Robey's mother, Elizabeth Mary Wade née Keene, was a housewife. After schooling in England and Germany and a series of office jobs, he made his debut on the London stage, at the age of 21, as the straight man to a comic hypnotist. He soon developed his act and appeared at the Oxford Music Hall in 1890, where he earned favourable notices singing The Simple Pimple and He'll Get It Where He's Gone to Now. In 1892, Robey appeared in his first pantomime, Whittington Up-to-date in Brighton, which brought him to a wider audience. With Robey's popularity came an eagerness to differentiate himself from his music hall rivals, and so he devised a signature costume when appearing as himself: an oversized black coat fastened from the neck down with large, wooden buttons; black, unkempt, baggy trousers and a partially bald wig with black, whispery strands of unbrushed, dirty-looking hair that poked below a large, dishevelled top-hat. He applied thick white face paint and exaggerated the redness on his cheeks and nose with bright red makeup; his eye line and eyebrows were also enhanced with thick, black grease paint. He held a short, misshaped, wooden walking stick, which was curved at the top. Robey later used the costume for his character, The Prime Minister of Mirth. The outfit helped Robey become instantly recognisable on the London music hall circuit. More provincial engagements followed in Manchester, Birmingham and Liverpool, and he soon became a mainstay of the popular Christmas pantomime scene. By the start of the new century, Robey was a big name in pantomime, and he was able to choose his roles. Pantomime enjoyed wide popularity until the 1890s, but by the time Robey had reached his peak, interest in it was on the wane. A type of character he particularly enjoyed taking on was the pantomime dame, which historically was played by comedians from the music hall. Robey was inspired by the older comedians Herbert Campbell and Dan Leno, and, although post-dating them, he rivalled their eccentricity and popularity, earning the festive entertainment a new audience. Robey's music hall act matured in the first decade of the 1900s, and he undertook several foreign tours. He starred in the Royal Command Performance in 1912 and regularly entertained before the aristocracy. Robery had made his film debut in 1900, according to IMDb. The short comedy The Rats (N.N., 1900) offered a brief glimpse of some of the greatest entertainers from the late Victorian and early Edwardian stage, Dan Leno, Herbert Campbell and George Robey. In 1913, Robey appeared in two early sound shorts: And Very Nice Too (Walter R. Boots, 1913) and Good Queen Bess (Walter R. Boots, 1913), made in the Kinoplasticon process, where the film was synchronised with phonograph records. The next year, he tried to emulate his music hall colleagues Billy Merson and Charlie Austin, who had set up Homeland Films and found success with the Squibs series of films starring Betty Balfour. Robey met filmmakers from the Burns Film Company, who engaged him in a silent short entitled George Robey Turns Anarchist, in which he played a character who fails to blow up the Houses of Parliament. George Robey's Day Off (1919) showed the comedian acting out his daily domestic routines to comic effect, but the picture failed at the box office. Producers did not know how best to apply Robey's stage talents to the film. He continued to appear sporadically in film throughout the rest of his career, never achieving more than a modest amount of success. By the First World War, music hall entertainment had fallen out of favour with audiences. Revue appealed to wartime audiences, and Robey decided to capitalise on the medium's popularity. He achieved great success in The Bing Boys Are Here (1916). He was cast as Lucius Bing opposite Violet Loraine, who played his love interest Emma. The couple duetted in the show's signature song If You Were the Only Girl (In the World), which became an international success. Robey raised money for many war charities and was appointed a CBE in 1919. From 1918, he created sketches based on his Prime Minister of Mirth character and used a costume he had designed in the 1890s as a basis for the character's attire.
George Robey starred in the revue Round in Fifty in 1922, which earned him still wider notice. He returned to the cinema a further four times during 1923. The first two films were written to showcase his pantomime talents: One Arabian Night (Sinclair Hall, 1923) was a reworking of Aladdin and co-starred Lionelle Howard and Edward O'Neill. Harlequinade (A.E. Coleby, 1923) visited the roots of pantomime. One of Robey's more notable film roles was Sancho Panza in Don Quixote (Maurice Elvey, 1923), for which he received a fee of £700 a week. The amount of time he spent working away from home led to the breakdown of his marriage, and he separated from Ethel in 1923. Except for his performances in revue and pantomime, he appeared as his Prime Minister of Mirth character in all the other entertainment media including variety, music hall and radio. In the late 1920s Robey wrote and starred in two Phonofilm sound-on-film productions, Safety First (Hugh Croise, 1928) and Mrs. Mephistopheles (Hugh Croise, 1929). In 1932 Robey appeared in his first sound film, The Temperance Fête (Graham Cutts, 1932). It was followed by Marry Me (Wilhelm Thiele, 1932), starring German actress Renate Müller, which was one of the most successful musical films of his career. The film tells the story of a sound recordist in a gramophone company who romances a colleague when she becomes the family housekeeper. Robey continued to perform in variety theatre in the inter-war years and, in 1932, he starred in Helen!, his first straight theatre role. His appearance brought him to the attention of many influential directors, including Sydney Carroll, who signed him to appear on stage as Falstaff in Henry IV, Part 1 in 1935, a role that he later repeated in Laurence Olivier's film, Henry V (1944). Robey starred opposite Fritz Kortner, and Anna May Wong in a film version of the hit musical Chu Chin Chow (Walter Forde, 1934)). The New York Times called him 'a lovable and laughable Ali Baba'. In the summer of 1938, Robey appeared in the film A Girl Must Live (Carol Reed, 1939) in which he played the role of Horace Blount. A journalist for The Times opined that Robey's performance as an elderly furrier, the love interest of both Margaret Lockwood and Lilli Palmer, was 'a perfect study in bewildered embarrassment'. During the Second World War, Robey raised money for charities and promoted recruitment into the forces. Robey starred in the film Salute John Citizen (Maurice Elvey, 1942), co-starring Edward Rigby and Stanley Holloway, about the effects that the war had on a normal British family. A further four films followed in 1943, one of which promoted war propaganda while the other two displayed the popular medium of cine-variety. By the 1950s, his health had deteriorated, and he entered semi-retirement. George Robey was knighted a few months before his death at his home in Saltdean, East Sussex, in 1954. He was 85. Robey was married Twice. In 1898, Robey married his first wife, Ethel Hayden, the Australian-born musical theatre actress. Ethel accompanied him on his tours and frequently starred alongside him. They had two children, a son Edward (1900) and a daughter Eileen. After his divorce from Ethel in 1938, he married Blanche Littler, who was more than two decades his junior.
PACIFIC OCEAN (May 30, 2014) Aviation Ordnanceman Airman Alexander Wagner, from Galva, Ill., signals the pilot of an MH-60S Seahawk from the "Island Knights" of Helicopter Sea Combat Squadron (HSC) 25 during an replenishment-at-sea between the U.S. Navy's forward-deployed aircraft carrier USS George Washington (CVN 73) and Military Sealift Command dry cargo and ammunition ship USNS Washington Chambers (T-AKE 11). George Washington and its embarked air wing, Carrier Air Wing (CVW) 5, provide a combat-ready force that protects and defends the collective maritime interest of the U.S. and its allies and partners in the Indo-Asia-Pacific region. (U.S. Navy photo by Mass Communication Specialist 3rd Chris Cavagnaro/RELEASED)
Garton Elementary School, located at 2820 E. 24th Street, is named in the honor of George Garton. He served as secretary to the Des Moines School Board for 27 years. Garton died in 1949 and is buried in Block 12 of Woodland Cemetery.
This photograph is part of a photo essay prepared for Memorial Day 2013 of the tombstones of the namesakes of public schools in Des Moines, both past and present. If you have additional information to share for this project, please send us a message via Flickr.
George Bouboulis, College of Europe student, Maria Skłodowska-Curie Promotion, presents the mobility case study at The 2012 European Summit for Government Transformation. The event was hosted by the European Centre for Government Transformation, a joint venture of the Lisbon Council, the College of Europe and Accenture.
Catalog #: SHIPS01142
Ship Name : George Washington
Hull #: CVN73
Country : USA
Ship Type : Aircraft Carrier
10 de Junho de 2015 -Ministro George Hilton, do Esporte, recebe o Prefeito de Rio Branco Marcus Alexandre e o Deputado Federal Alan Rick em seu gabinete Foto: Roberto Castro - ME
Italian postcard by Rotalcolor / Rotalfoto, no. N 228.
During the 1960s, handsome and elegant actor George Peppard (1928-1994) displayed considerable talent in such films as Breakfast at Tiffany's (1961), How the West Was Won (1962), The Carpetbaggers (1964) and The Blue Max (1966). But he is probably best known as Col. John 'Hannibal' Smith, the cigar-smoking leader of a renegade commando squad in the action series The A-Team (1983-1987).
George Peppard Jr. was born in Detroit, Michigan, in 1928. He was the son of contractor George Peppard and opera singer Vernelle Rohrer. Before his acting career began, he was a newsreader for a local radio station in Pittsburgh for a short time. After radio and television experience (with guest roles in The United States Steel Hour, Alfred Hitchcock Presents and The Alcoa Hour), Peppard made his Broadway debut in 1956, in the play 'Girls of Summer'. He made his feature film debut in the drama The Strange One (Jack Garfein, 1957). In 1958-1959, he played Roger Henderson in the play 'The Pleasure of His Company'. In the late 1950s, Peppard continued to make guest appearances in then-famous television shows and series, like Studio One, Hallmark Hall of Fame and Matinee Theatre. He also had a role in the war film Pork Chop Hill (Lewis Milestone, 1959), starring Gregory Peck. Peppard began to stand out after his role as Robert Mitchum's illegitimate son in Home from the Hill (Vincente Minnelli, 1960). He began to emerge more and more as the leading man, but the Beatnik film The Subterraneans (Ranald MacDougall, 1960) flopped and he returned to television. His good looks, elegant manner and acting skills landed Peppard his most famous film role as struggling writer Paul ‘Fred’ Varjak in the romantic comedy Breakfast at Tiffany's (Blake Edwards, 1961), alongside Audrey Hepburn. Now considered a promising young star by the studios, Peppard was cast in the epic Western How the West Was Won (Henry Hathaway, John Ford and George Marshall, 1962), the British-American war film The Victors (Carl Foreman, 1963) and the Harold Robbins adaptation The Carpetbaggers (Edward Dmytryk, 1964) in which he portrayed a character based on Howard Hughes. His future second wife Helen Davies also had a role in the latter film. In the mid-1960s, Peppard starred in major productions such as the British Spy thriller Operation Crossbow (Michael Anderson, 1965) with Sophia Loren and the thriller The Third Day (Jack Smight, 1965) with Elizabeth Ashley, who had become his second wife. He reached the peak of his popularity in the grim war film The Blue Max (John Guillermin, 1966) with Peppard as an obsessively competitive German pilot during World War I. In the latter half of the 1960s and early 1970s, Peppard seemed to lower the bar and appeared in films of a more average level, except for the war film Tobruk (Arthur Hiller, 1967) in which he co-starred with Rock Hudson. He also appeared in the Westerns Rough Night in Jericho (Arnold Laven, 1967) with Dean Martin and One More Train To Rob (Andrew McLaglen, 1971). Peppard co-starred with Joan Collins in the British Cold War thriller The Executioner (Sam Wanamaker, 1970).
In the 1970s, the film roles George Peppard took on became increasingly uninteresting and he played almost exclusively in television films. Between 1972 and 1974, Peppard starred in the seventeen-episode television series Banacek. He played a wealthy Boston playboy who solves thefts for insurance companies for a finder's fee in 90-minute whodunits. The series briefly revived Peppard's waning popularity. In 1975-1976, he starred in the television series Doctor's Hospital, but towards the end of the season, Peppard indicated he wanted to quit his role in the series. In 1977, Peppard appeared in the post-apocalypse film Damnation Alley (Jack Smight, 1977) with Jan-Michael Vincent and Dominique Sanda. Poorly received by critics and audiences, it has since achieved a cult following. With fewer interesting roles coming his way, he acted in, directed and produced the drama Five Days from Home (1979). The film, about a father escaping from prison to visit his sick son, did not become a success. He plunged back into television films like Torn Between Two Lovers (Delbert Mann, 1979) with Lee Remick and Crisis in Mid-Air (Walter Grauman, 1979). The Euro War film Contro 4 Bandiere/From Hell to Victory (Umberto Lenzi, 1979) and the Space Opera Battle Beyond the Stars (Jimmy T. Murakami, 1980), produced by Roger Corman, also did not become box office hits. He landed the role of Blake Carrington in the TV soap Dynasty but was fired after a week of filming due to creative differences with the producers. He managed to get the role of Hannibal Smith in The A-Team, alongside Mr. T, Dirk Benedict and Dwight Schultz. In the series, the A-Team was a team of renegade commandos on the run from the military for "a crime they did not commit" while serving in the Vietnam War. The A-Team members made their collective living as soldiers of fortune, but they helped only people who came to them with justified grievances. The A-Team became the number-one-rated television show in its first season. 98 episodes of the series were made and aired between 1983 and 1987. Peppard was back in the saddle, but after the series ended, he reportedly was glad it was over. He starred in a few more films and television movies, including two films in the Man Against the Mob series, for which a third was also planned. Due to Peppard's death, it remained only two parts. Furthermore, he played a role in the War film Night of the Fox (Charles Jarrott, 1990) with Michael York. Peppard's last television appearance was a guest role in the television series Matlock. The episode aired eight days before Peppard's death. It was intended as a pilot for a new series. In 1992, Peppard had a small, malignant lung tumour removed. Two years later, George Peppard was again under treatment for lung cancer. Complications from this left him with pneumonia, from which he eventually died in 1994. He was 65. His fifth wife Laura, a West Palm Beach banker, cared for him for the last 18 months of his life. He is buried alongside his parents in Northview Cemetery in Dearborn, Michigan.
Sources: Wikipedia (Dutch and English) and IMDb.
And, please check out our blog European Film Star Postcards.
15c stained glass fragments of the Garter emblem and motto "Honi soit qui mal y pense" - Sir William Bruges d1450 the first Garter King of Arms who is buried here left money in his will for the rebuilding of the chancel - Garter emblems were in the windows he provided. William also bequeathed vestments and other valuable ornaments; also provided for glazing the windows with figures of Edward III and the founder knights. (all now lost) - Church of St George Stamford Lincolnshire
George lets down the dreadlocks. Jamming at the Elm Park Church, Scranton, PA on New Year's Eve 2013.
Clark’s College was a business educational institution founded by George E. Clark in September 1880 with an emphasis on competitive examination courses for entry into civil service appointments. Their first premises opened in Chancery Lane, London and by the 1920’s they had established many branches throughout England, including Wales. The school quickly established a strong reputation and prided itself on their high standards of education and achievements of its pupils. Clark’s College was also one of the early pioneers in distance learning (correspondence courses) as well as the training of women for careers in the Civil Service during WW1 (1914-1918), both pioneering innovations at the time.
I understand the college may have closed some time during the 1970’s but was unable to confirm this. If anyone can add to this I would be grateful to know.
This is a later version of the Clark’s College badge and although it is much scarcer than the old style (round) badge it is not as finely made. The badge features the college crest and motto FINIS OPUS CORONAT (the end work crowns it all).
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References:
www.clarkscollege.co.uk/pages/history.php (History of Clark’s College).
www.flickr.com/photos/ddtmmm/4004758510/sizes/l/ (Clark’s College promotional advert, August 1914).
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Enamels: 3 (red, white & blue).
Finish: Gilt.
Material: Brass.
Fixer: Pin.
Size: 1 1/16” x 1 1/8” (27mm x 29mm).
Process: Die stamped.
Imprint: No maker’s name or mark.
George Justice speaking at the launch of the ASU Center for Political Thought & Leadership at Old Main at Arizona State University in Tempe, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
George P Bush campaigning for Texas Land Commissioner in Sweetwater, Texas Oct 2, 2013 at the Shale Show Photo by: David Valdez
Every year we search the Open House booklet seeking something different.
I have discovered Victorian churches, and am rather smitten by Gothic Revival and Victorian Stained Glass, so with the description in the book, this was going to be a must to visit.
From the City we took a cab to Paddington, the driver wasn't interested in taking us to the church, just to the nearby taxi driver's cabin.
From there we walked beside the Canal from Little Venice and into Paddington, and behind a faceless 60s housing development was this Gothic masterpiece.
We were two of only three visitors, but greeted warmly, and clearly the volunteers were rightly very proud of this living and wonderful church.
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The parish was founded in 1865, as a “church plant” from All Saints, Margaret Street, in a densely packed slum district, by Fr Richard Temple West, who was then a Curate at Margaret Street. The architect was George Edmund Street, a member of the Margaret Street congregation, and then at the height of his powers. Building started in 1867, and was complete in 1872, but a fire destroyed the brand new roof and the reconstruction took a year, so the first Mass in the new building was on St. Mary Magdalene’s Day 1873. The church was consecrated on 21st October 1878, after the decorations were finished.
Street’s design was dictated by the site, sloping steeply from north to south and also from west to east at the back and slightly from east to west at the front, and hemmed in by terraced housing. The church is immensely high, with a needle spire, which rose above the rooftops. Clerestory windows ensured that it was light. The irregular west end abutted existing buildings, and the church occupies every inch of the available site, except for a sunken area to access the vestries. The Building Act forbade building above a certain height right up against a pavement, but allowed it five feet back, so on the north side Street built a “false” aisle, five feet wide, with the arcade carrying the church to its full height. On the south side, there is a normal, wide aisle. Under the church, to provide a level platform, is a massive crypt, including vestries at the east end. Street’s artistry was to provide a double arcade to the north aisle which takes the eye away from the proximity of the outside wall and conceals a slight curve in it. He was building the Royal Courts of Justice at the same time, and there is more than a passing resemblance between St. Mary Mag’s and the Great Hall there (also a solution to a sloping site). The decorative scheme of the church is Street’s, executed by some of the leading ecclesiastical artists of the day. The windows are all by Henry Holiday and repay careful study.
Twenty years after the building of the church, Ninian Comper was commissioned to produce a fitting memorial to Fr. West and created the Chapel of St Sepulchre in the south aisle of the crypt, his first work in London. This involved altering the crypt windows (which come up to street level on the south side) and putting in new stairs. The Chapel is a chantry chapel translated from fifteenth century Germany, with every detail perfectly designed by Comper in an elaborate scheme based on the idea of St. Mary Magdalene, the penitent, becoming the first witness of the resurrection. Comper in later years came to see this work as mechanical reproduction, but it produces an exquisite effect, with a blue vault spangled with stars and a reredos crammed with figures glittering with burnished gold. The reredos contains a concealed tabernacle (possibly the first to be installed on a Church of England altar) which took the place of Comper’s favoured hanging pyx for fear of protestant rioters. The Chapel has always been troubled by penetrating damp and needed to be restored in the 1930s and 1960s. It served as the chapel for a small house of the Wantage sisters during the years that they worked in the parish.
In the 1920s fashions had changed in “advanced” Anglo-Catholic circles, and the correct style was felt to be baroque, and so alterations were made to the church by Martin Travers, the leading designer in the style. Travers created the war memorial calvary outside the church, and the Lady Chapel inside the transept porch, an exercise in Spanish baroque, as a memorial to Fr. Bleadon, the second Vicar. Comper had produced a design for this Lady altar before the Great War, but it was never executed. Travers’ most prominent work, however, was to raise the floor of the chancel and provide an elegant marble balustrade and communion rails. The work in cream and pale green marble fits well with Street’s wall decorations though the raising of the reredos to overlap the east window is regrettable. Street had given the church a low chancel screen in delicate ironwork, which was preserved and installed in the crypt. The Mary Magdalene altar was also installed in the 1920s in the south aisle, and Travers executed a charming statue of the patron saint holding a model of the church which now stands there, but which originally stood in the south porch.
In the 1960s, the community that the church served was swept away in slum clearance after wartime bombing, and the church left marooned, looking like some vast liner moored on the canal, amid the council flats of the Warwick Estate. The crypt Chapel was restored for the centenary of the church, and the north porch was walled up, but otherwise little was done to the building.
The twenty-first century has seen the first successful efforts to restore and regenerate the building after decades of decay. The vast west window was totally repaired, releaded and cleaned in 2005-6. The roof has been reslated in 2007-8, and all the rainwater goods repaired or replaced, and the clerestory windows repaired. The vestries have been refurbished with a view to opening them up for community use once they have dried out. A major feasibility study has been carried out by architects and consultants for the regeneration of the crypt in partnership with Westminster City Council and the Paddington Development Trust.
In 2015 we were fortunate to achieve Stage1 support from the Heritage Lottery Fund for the Mary Mags project and are now working on our Stage 2 bid.
George Foreman speaking at the 2016 FreedomFest at Planet Hollywood in Las Vegas, Nevada.
Please attribute to Gage Skidmore if used elsewhere.
The elegant St. George and the Dragon relief on the statue's base, executed in schiacciato (also known as bas-relief or basso rilievo) is one of the first examples of central-point perspective in sculpture.
George Stubbs ARA was an English painter, best known for his paintings of horses. Self-trained, Stubbs learnt his skills independently from other great artists of the 18th century such as Reynolds and Gainsborough.
Minneapolis, Minnesota
July 25, 2021
2021-07-25 This is licensed under the Creative Commons Attribution License. Give attribution to: Fibonacci Blue
British postcard in the Rotary Photographic Series by Rotary Photo EC., no. 125 G. Sent by mail in 1906.
George Robey (1869-1954) was an English comedian, singer and actor in musical theatre, who became known as one of the greatest music hall performers of the late 19th and early 20th centuries. As a comedian, Robey mixed everyday situations and observations with comic absurdity. Apart from his music hall acts, he was a popular Christmas pantomime performer in the English provinces, where he excelled in the dame roles. He only had modest success in the cinema.
George Robey was born as George Edward Wade in London in 1869. He came from a middle-class family. His father, Charles Wade, was a civil engineer who spent much of his career on tramline design and construction. Robey's mother, Elizabeth Mary Wade née Keene, was a housewife. After schooling in England and Germany and a series of office jobs, he made his debut on the London stage, at the age of 21, as the straight man to a comic hypnotist. He soon developed his act and appeared at the Oxford Music Hall in 1890, where he earned favourable notices singing The Simple Pimple and He'll Get It Where He's Gone to Now. In 1892, Robey appeared in his first pantomime, Whittington Up-to-date in Brighton, which brought him to a wider audience. With Robey's popularity came an eagerness to differentiate himself from his music hall rivals, and so he devised a signature costume when appearing as himself: an oversized black coat fastened from the neck down with large, wooden buttons; black, unkempt, baggy trousers and a partially bald wig with black, whispery strands of unbrushed, dirty-looking hair that poked below a large, dishevelled top-hat. He applied thick white face paint and exaggerated the redness on his cheeks and nose with bright red makeup; his eye line and eyebrows were also enhanced with thick, black grease paint. He held a short, misshaped, wooden walking stick, which was curved at the top. Robey later used the costume for his character, The Prime Minister of Mirth. The outfit helped Robey become instantly recognisable on the London music hall circuit. More provincial engagements followed in Manchester, Birmingham and Liverpool, and he soon became a mainstay of the popular Christmas pantomime scene. By the start of the new century, Robey was a big name in pantomime, and he was able to choose his roles. Pantomime enjoyed wide popularity until the 1890s, but by the time Robey had reached his peak, interest in it was on the wane. A type of character he particularly enjoyed taking on was the pantomime dame, which historically was played by comedians from the music hall. Robey was inspired by the older comedians Herbert Campbell and Dan Leno, and, although post-dating them, he rivalled their eccentricity and popularity, earning the festive entertainment a new audience. Robey's music hall act matured in the first decade of the 1900s, and he undertook several foreign tours. He starred in the Royal Command Performance in 1912 and regularly entertained before the aristocracy. Robery had made his film debut in 1900, according to IMDb. The short comedy The Rats (N.N., 1900) offered a brief glimpse of some of the greatest entertainers from the late Victorian and early Edwardian stage, Dan Leno, Herbert Campbell and George Robey. In 1913, Robey appeared in two early sound shorts: And Very Nice Too (Walter R. Boots, 1913) and Good Queen Bess (Walter R. Boots, 1913), made in the Kinoplasticon process, where the film was synchronised with phonograph records. The next year, he tried to emulate his music hall colleagues Billy Merson and Charlie Austin, who had set up Homeland Films and found success with the Squibs series of films starring Betty Balfour. Robey met filmmakers from the Burns Film Company, who engaged him in a silent short entitled George Robey Turns Anarchist, in which he played a character who fails to blow up the Houses of Parliament. George Robey's Day Off (1919) showed the comedian acting out his daily domestic routines to comic effect, but the picture failed at the box office. Producers did not know how best to apply Robey's stage talents to the film. He continued to appear sporadically in film throughout the rest of his career, never achieving more than a modest amount of success. By the First World War, music hall entertainment had fallen out of favour with audiences. Revue appealed to wartime audiences, and Robey decided to capitalise on the medium's popularity. He achieved great success in The Bing Boys Are Here (1916). He was cast as Lucius Bing opposite Violet Loraine, who played his love interest Emma. The couple duetted in the show's signature song If You Were the Only Girl (In the World), which became an international success. Robey raised money for many war charities and was appointed a CBE in 1919. From 1918, he created sketches based on his Prime Minister of Mirth character and used a costume he had designed in the 1890s as a basis for the character's attire.
George Robey starred in the revue Round in Fifty in 1922, which earned him still wider notice. He returned to the cinema a further four times during 1923. The first two films were written to showcase his pantomime talents: One Arabian Night (Sinclair Hall, 1923) was a reworking of Aladdin and co-starred Lionelle Howard and Edward O'Neill. Harlequinade (A.E. Coleby, 1923) visited the roots of pantomime. One of Robey's more notable film roles was Sancho Panza in Don Quixote (Maurice Elvey, 1923), for which he received a fee of £700 a week. The amount of time he spent working away from home led to the breakdown of his marriage, and he separated from Ethel in 1923. Except for his performances in revue and pantomime, he appeared as his Prime Minister of Mirth character in all the other entertainment media including variety, music hall and radio. In the late 1920s Robey wrote and starred in two Phonofilm sound-on-film productions, Safety First (Hugh Croise, 1928) and Mrs. Mephistopheles (Hugh Croise, 1929). In 1932 Robey appeared in his first sound film, The Temperance Fête (Graham Cutts, 1932). It was followed by Marry Me (Wilhelm Thiele, 1932), starring German actress Renate Müller, which was one of the most successful musical films of his career. The film tells the story of a sound recordist in a gramophone company who romances a colleague when she becomes the family housekeeper. Robey continued to perform in variety theatre in the inter-war years and, in 1932, he starred in Helen!, his first straight theatre role. His appearance brought him to the attention of many influential directors, including Sydney Carroll, who signed him to appear on stage as Falstaff in Henry IV, Part 1 in 1935, a role that he later repeated in Laurence Olivier's film, Henry V (1944). Robey starred opposite Fritz Kortner, and Anna May Wong in a film version of the hit musical Chu Chin Chow (Walter Forde, 1934)). The New York Times called him 'a lovable and laughable Ali Baba'. In the summer of 1938, Robey appeared in the film A Girl Must Live (Carol Reed, 1939) in which he played the role of Horace Blount. A journalist for The Times opined that Robey's performance as an elderly furrier, the love interest of both Margaret Lockwood and Lilli Palmer, was 'a perfect study in bewildered embarrassment'. During the Second World War, Robey raised money for charities and promoted recruitment into the forces. Robey starred in the film Salute John Citizen (Maurice Elvey, 1942), co-starring Edward Rigby and Stanley Holloway, about the effects that the war had on a normal British family. A further four films followed in 1943, one of which promoted war propaganda while the other two displayed the popular medium of cine-variety. By the 1950s, his health had deteriorated, and he entered semi-retirement. George Robey was knighted a few months before his death at his home in Saltdean, East Sussex, in 1954. He was 85. Robey was married Twice. In 1898, Robey married his first wife, Ethel Hayden, the Australian-born musical theatre actress. Ethel accompanied him on his tours and frequently starred alongside him. They had two children, a son Edward (1900) and a daughter Eileen. After his divorce from Ethel in 1938, he married Blanche Littler, who was more than two decades his junior.
Sources: Wikipedia and IMDb.
And please check out our blog European Film Star Postcards.
View of George Street showing commercial premises
Dated: No date
Digital ID: 4481_a026_000996
Rights: www.records.nsw.gov.au/about-us/rights-and-permissions
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Many other photos in our collection are available to view and browse on our website using Photo Investigator.
GEORGE copyright © Scott Gustke. All rghts reserved.
Photo was captured in camera, no photoshop, traditional multi exposure on film.
Looking east down the nave to the chancel, all rebuilt in 1952 after the previous building was reduced to ruins by an incendiary bomb in 1940 when scores of these were dropped on the village on the night of August 31st 1940 destroying several houses and the rectory stables. One dropped inside the organ setting fire to the church which was completely burnt out www.flickr.com/gp/52219527@N00/S6UQ8N5p00
= Church of St George, Clyst St George, Devon
salviatimosaics.blogspot.com/2014/01/st-george-church-cly...
George Burns
(Born 20 Jan. 1896 in New York City as Nathan Birnbaum; † 9 March 1996 in Beverly Hills)
Cover design by George Giusti, typography by Edward Gorey for Four existentialist theologians; a reader from the works of Jacques Maritain, Nicolas Berdyaev, Martin Buber, and Paul Tillich selected and with an introduction and biographical notes by Will Herberg.Garden City, N.Y., Doubleday, 1958. BL51 .H469