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Across the road from LIme Street station is the superb St Georges hall. Many seem to walk by it as they head for Albert dock and other attractions. There is a lot to see and admire
French postcard by A.N., Paris, no. 1263. Photo: Roger Carlet.
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, 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 Cannale, 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 with Dany Robin from 1951 till their much publicised divorce in 1969. He remarried in 1983 with Michele Heyberger.
Sources: Hal Erickson (AllMovie), Pablo Montoya (IMDb), Ciné-Ressources, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
From left to right: Dennis Carroll, Tom Garling, Scott Burns and George. Just before our performance at Birch Creek Music Center in Door County Wisconsin. George is always "on." One of the best jazz drummers in the world and very gifted at impersonations.
Enjoying a nice weekend with friends up in cooling Payson. That's the Mogollon Rim far in the background.
This is my friend George from Uni. Had a great shoot with him yesterday, This is my favourite shot, The others are on my Facebook page
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John McEnroe argues a line-call with umpire George Grime during his quarter-final against Guy Forget on Court One at Wimbledon. (Photo by Adam Butler - PA Images/PA Images via Getty Images)
This postcard was probably printed and published in France, the caption is incorrect, this is Great George Street looking east towards Bridge Street which is immediately opposite on the other side of Parliament Square. This is about 1907 and the buildings on the left will soon be demolished to make way for the New Government Buildings which stretched east to west from Parliament Street to the Horse Guards Approach Road and south to north From Parliament Square to King Charles Street. On the extreme right is a partial view of the Royal Institution of Chartered Surveyors at 12 Great George Street, the building dates from 1898. The buildings in the middle right were Nos. 14, 15 and 16 with Nos. 1, 3 and 5 Little George Street out of sight, apparently they were of little architectural worth, according to Westminster Council who initiated their demolition in the latter part of 1934 to make way for Westminster House, a large modern office block which would have dwarfed the other buildings on that side of Great George Street and also Middlesex Guildhall just around the corner in Parliament Square. Although the buildings were demolished, no new building was ever built thanks largely to Middlesex County Council who wanted the site for an extension to Middlesex Guildhall. To this purpose they were able to buy the freehold for £375,000.00. After WW2, the Government in turn purchased the freehold so that the site could be part of the western enlargement of Parliament Square, which took place in 1950. So now Little George Street runs between a grassed lawn to the east and the RICS building to the west.
George, Kate's larger kitten. He is over 500 grams and about 36 cm PTP. George will be available for adoption.
Having arrived from Porthmadog double Fairlie David Lloyd George waits to uncoupled from its train at Blaenau Ffestiniog in order to run round, 16th August 2007.
This house was built by George Chisolm around 1810 on two lots. Because it follows the bend in the peninsula, it allows views of Charleston Harbor from every window. The double-tiered piazzas follow the L-shape of the building and provide access to the principal entry. The Frost family acquired the property in 1877.
From "The Buildings of Charleston: A Guide to the City's Architecture" by Jonathan H. Poston
This is the last of my historic homes shots from Charleston.
An old photograph taken in St. Georges Crescent of Liverpool Corporation Passenger Transport (LCPT) tram No. 860 showing '26 - Outer Circular via Scotland Rd - Everton Valley - Lodge Lane up Warwick St' destination blinds. I think that a large part of St. Georges Crescent was destroyed by Luftwaffe bombing in WW2.
The photograph reverse is stamped as it having been taken by M. J. O'Connor.
No. 860 was a 'Marks Bogie Car' (aka 'Gas Car' and 'Pneumonia Car') built by LCT at its Edge Lane Works going into service Dec 1935 seating 30/40 running on EMB lightweight 1 flexible axle bogies. The 'Marks Cars' had Gas adverts (as in the photo) from new, 'via' added to the destination blinds, and illuminated 'POST CAR' and 'CAR FULL' signs. Unfortunately for the driver a separate cab was not provided, the saloons having doors fitted as you entered them rather than a door on the driver platforms leaving the driver exposed to the draughts and cold (hence them being named 'Pneumonia Car'). It was withdrawn from service Jul 1953 and sold to Maden & McKee Ltd. to be broken up for scrap.
The parts of the Liverpool tramways system that had not already been withdrawn or transferred to bus operation closed in September 1957.
📷 Any photograph I post on Flickr is an original in my possession, nothing is ever copied/downloaded from another location. 📷
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If there are any errors in the above description please let me know. Thanks.
Any photograph, ephemera, etc I post on Flickr is in my possession, nothing is copied from another location. The original photographer may have taken copies from their original negative and passed them out (sold them?) so there may be other copies out there of your (and my) 'original' transport photo, although occasionally there may be 'holiday snaps' type photos where there are not any other photos exactly the same in existence.
If you wish to use this image (bearing in mind it may not be my copyright) or obtain a full size version (most of my uploads are small size) please contact me.
Vintage card, no. 1. Photo: Warner Brothers.
English actor George Sanders (1906-1972) had a career that spanned over 40 years which he divided between the UK and the US. His heavy, upper-class English accent and smooth, bass voice often led him to be cast as a sophisticated but villainous character. He had a rare heroic part in Hitchcock's Foreign Correspondent (1940). He is also remembered for his roles as Jack Favell in Rebecca (1940), Addison DeWitt in All About Eve (1950), for which he won an Oscar, and the voice of Shere Khan in Disney's The Jungle Book (1967). Sanders was married four times, including to Zsa Zsa Gabor and her sister Magda. In his final years, he suffered from severe depression and committed suicide in a Spanish hotel.
George Sanders was born in 1906 in Saint Petersburg, Russian Empire. He was the second of three children. His parents, Henry and Margaret Sanders were British. In 1917, when the Russian Revolution broke out, George was eleven years old and the family returned to England. After his education at Bedales School in Hampshire, Sanders began studying at Brighton College and later at Manchester Technical College. The studies served to prepare him to follow his father into the textile business. As a businessman, he worked first in textiles and later in tobacco. After a brief sojourn in South America, he returned to the UK. In the early 1930s, he worked in an advertising agency, where Greer Garson, an aspiring secretary and actress, suggested he become an actor. He took on a small role in the revue 'Ballyhoo'. From chorus boy, he moved to cabaret, radio and theatrical understudy. He made his film debut in Find the Lady (Roland Grillette, 1936). He quickly made a name for himself in adventure hero roles and was able to increase his popularity with memorable portrayals of villains such as in The House of the Seven Gables (1940. His elegant figure, deep voice, discreet yet mocking smile and perfect diction - at least by the standards of the time for a well-bred Briton, i.e. in no way identifiable with a region, but reflecting his membership of the upper social classes - naturally led him to roles as a seducer, often unscrupulous and rather snobbish and cynical. Sanders tried his luck in Hollywood. He made his first American film Lloyds of London (Henry King, 1936) for 20th Century Fox. He played one of the leading roles in his second feature film, Strange Cargo (Lawrence Huntington, 1936).
Alfred Hitchcock cast George Sanders in his first Hollywood films, Rebecca (1940) and The Foreign Correspondent (1940). Sanders starred in Rebecca as Jack Favell, Laurence Olivier's devious adversary. In Foreign Correspondent, he had an infinitely more sympathetic role as a clever secret agent. His physical appearance predestined him not only for portrayals of aristocrats such as in Forever Amber (Otto Preminger, John M. Sytahl, 1947) but also for roles in the popular crime film series of the time. Thus, from The Saint Strikes Back (John Farrow, 1939) onwards, he played Simon Templar (The Saint) in a film series, and with The Gay Falcon (Irving Reis, 1941), a similar series around The Falcon was started. During the Second World War, George also appeared in propaganda films, such as Confessions of a Nazi Spy (Anatole Litvak, 1939) and Man Hunt (Fritz Lang, 1941). Increasingly committed to one type of role, George Sanders said goodbye to the Falcon, leaving it to his brother Thomas Charles Sanders, who also worked as an actor under the pseudonym Tom Conway. Tom succeeded him as The Falcon in The Falcon's Brother (Stanley Logan, 1942). After the war, Sanders devoted himself more to character roles. Albert Lewin gave him his greatest roles: that of Lord Henry Wotton, friend of Dorian Gray's painter (Hurd Hatfield) in The Portrait of Dorian Gray (Albert Lewin, 1945), an American fantasy drama based on Oscar Wilde's novel, and then that of the cynical Bel-Ami in The Private Affairs of Bel Ami (Albert Lewin, 1947) after Guy de Maupassant. He particularly often played eloquent and sophisticated, yet seemingly shady characters from the British upper class - for example as the secretly married suitor of Gene Tierney in The Ghost and Mrs. Muir (Joseph L. Mankiewicz, 1947). He won the Academy Award for Best Supporting Actor for his portrayal of the sophisticated and sarcastic theatre critic Addison DeWitt in the satirical film All About Eve (Joseph L. Mankiewicz, 1950) starring Bette Davis. In England, Sanders starred alongside Robert Taylor in the literary adaptation Ivanhoe (Richard Thorpe, 1953). In 1954 he travelled to Naples where he played the male lead alongside Ingrid Bergman under Roberto Rossellini's direction in the marriage drama Journey in Italy. Back in the United States, he played an aristocratic villain in the adventure film Moonfleet (Fritz Lang, 1955).
After 1955, George Sanders began to appear regularly in television series. In the classic Science Fiction horror film The Village of the Damned (Wolf Rilla, 1960), the actor took on the role of retired physicist Gordon Zellaby. Sanders also provided the voice of Shir Khan the tiger in the original version of the Disney animated classic The Jungle Book (Wolfgang Reitherman, 1967). In the British horror film Psychomania (Don Sharp, 1973), Sanders played his last film role, a servant. George Sanders committed suicide on in 1972 in Catalonia in his hotel room in Castelldefels, south of Barcelona, by drinking a cocktail of Nembutal and vodka to ease the pain of a long illness. He was 65 and was married four times. Sanders married Susan Larson in 1940. The marriage lasted until 1949. He then married Hungarian actress Zsa Zsa Gabor in 1949. The marriage lasted until 1957. His third wife became the actress Benita Hume in 1959, to whom he was married until her death in 1967. His 1970 marriage to Zsa Zsa Gabor's older sister Magda lasted only six weeks. It was at this time that he began to indulge in alcohol. Sanders wrote an autobiography, 'Memoirs of a Professional Cad', in which he commented very ironically on the course of his life, and also summed up his marriage to Zsa-Zsa Gabor.
Sources: Wikipedia (English, German and Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
The George Ferris Mansion and carriage house are excellent examples of the popular Victorian architectural style known as Queen Anne. The design of the building came from a well known architectural firm, Barber and Klutz, located in Knoxville, Tennessee. The Ferris House is a locally prominent landmark which derives its significance from two principal areas: commerce and architecture. The historical significance of the building lies with its association with George Ferris, one of Wyoming's more prominent businessmen. He gained statewide political prominence as a member of the House in the 1873 and 1875 Territorial Legislative Assemblies and as a delegate to the Wyoming Constitutional Convention from Carbon County. By the time ground was broken in 1899 for his house overlooking Rawlins, Ferris had acquired sole ownership of the Ferris-Haggarty mine in the Grand Encampment copper mining district and was at the zenith of his financial success. Designed by an architect nationally known for opulent houses, this small mansion was intended to represent the family's ascension into the ranks of the state's wealthy elite. Ferris, however, was killed near his mine the following year, and it was left up to his widow Julia to complete the building three years later. Architecturally, the house is an excellent example of Queen Anne residential design. Completed in 1903, nearly two decades after its architectural peers in Cheyenne and Laramie, the Ferris House is perhaps the last of the great Victorian mansions built in Wyoming. (Wyoming State Historic Preservation Office)
this sculpture is at Queens University, Belfast, unveiled on the anniversary of the Good Friday Agreement.
The Actor George Formby was born in Lancashire and Famous for his comedy, playing and singing with a Ukulele and staring in films.
Formby went on to star in many films from the thirties onward and at one time was Britain' highest paid entertainer.
The sculpture here was created by Amanda Barton, and shows him leaning on a lamp-post and dressed in the motorcycle leathers of a TT racer.
1935. No Limit features Formby as an entrant in the Isle of Man annual Tourist Trophy (TT) motorcycle race.
2014 10 30 131706 IOM Douglas 1HDR
Vintage postcard, no. 12. Photo: Kalem.
George H. Melford (1877-1961) was an American stage and film actor, director, producer, and screenwriter. Often taken for granted as a director today, the stalwart Melford's name by the 1920s was, like Cecil B. DeMille's, appearing in big bold letters above the title of his films.
George H. Melford was born George Henry Knauff in Rochester, New York, in 1877 (though older sources state 1888). He was the son of German immigrant Henrietta Knauff. Melford had four sisters. Melford graduated from McGill University in Montreal, Quebec, Canada. He was an accomplished stage actor working in Cincinnati, Ohio, before joining the Kalem Company in New York City in 1909. Hired by director Sidney Olcott for character actor roles, in the fall of 1910 he was sent to work with a film crew on the West Coast. In 1911, with Robert Vignola, he co-directed Ruth Roland in his first short film, Arizona Bill based on a script he had written. From there, Melford went on to direct another 30 films for Kalem until 1915. Then he was hired by Jesse L. Lasky to direct feature-length films for Lasky's Feature Play Company. That same year, Melford became one of the founding members of the Motion Picture Directors Association. In 1916 Melford directed To Have and to Hold, a film based on the Mary Johnston novel that had been the bestselling novel in the United States for 1900. Another hit was The Sea Wolf (George Melford, 1920) based upon the 1904 novel by Jack London. The film starred Noah Beery as the brutal sea captain Wolf Larsen, sometimes referred to as "The Sea Wolf."
In 1921 George Melford directed what is probably his most famous silent film—The Sheik (George Melford, 1921), starring Rudolph Valentino as Sheik Ahmed Ben Hassan and Agnes Ayres. The film was a box-office hit and made Valentino an international star and one of the first male sex symbols of the screen. Melford directed Valentino again in the silent adventure drama Moran of the Lady Letty (George Melford, 1922) also with Dorothy Dalton. Melford remained with Lasky's company for ten years, then joined Universal Pictures, where he directed in 1929 his first talkie, The Woman I Love (George Melford, 1929). The following year, he co-directed four Spanish-language films including the acclaimed Spanish version of Dracula (George Melford, 1931), starring Carlos Villarías. Melford filmed it simultaneously with the English version on the same sets at night using a different cast and crew. Somewhat of controversy has arisen about this film. Some sources say that Melford was assigned the job because he could speak Spanish, but other sources claim that Melford could not speak a word of Spanish and had to use a translator to communicate with the actors. The issue was cleared up when actress Lupita Tovar—who was the leading lady in the film—said in an interview on the 75th anniversary DVD of the film that Melford, in fact, did not speak Spanish and had to use a translator.
George Melford's last major work as a director came in 1937 when he co-directed the 15-episode, five-hour-long adventure film Jungle Menace (Harry L. Fraser, George Melford, 1927), Columbia Pictures' first serial, starring Frank Buck and Reginald Denny. At age 60, the workaholic Melford needed to slow down and decided to give up the stressful job of directing to take on simple character actor roles. In 1946 material from this serial was re-edited into the 70-minute feature film adaptation called Jungle Terror. Melford loved the film business, and although financially independent, he never stopped working. Having directed more than 140 films, he continued to work in small character roles. In the 1940s he was part of Preston Sturges' unofficial 'stock company' of character actors, appearing in six films, including the classic screwball comedy The Miracle of Morgan's Creek (1943), written and directed by Sturges. He also made a notable appearance in the epic The Ten Commandments (Cecil B. DeMille, 1956), starring Charlton Heston and Yul Brynner. At the age of 84, he appeared in his last film, the British thriller Bluebeard's Ten Honeymoons (W. Lee Wilder, 1960) starring George Sanders. George Melford died in Hollywood in 1961, of heart failure. He is interred in Valhalla Memorial Park Cemetery in North Hollywood, Los Angeles, California. Melford was married to Louise Leroy from 1904 to 1924. He also was married to actress Diana Miller.
Sources: Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Pencil drawing.
I have often been asked here on flickr why I have an ‘obsession’ with drawing film star portraits, why not draw ordinary people, sometimes it has been asked in not a nice way, someone even described my work as kitsch the definition of which is worthless or trivial art. I taught myself to draw many years ago by drawing famous faces trying to get an exact reproduction that was immediately recognized by anyone who saw it and gradually I have also tried to capture something of the subject’s inner essence. I have drawn many ‘ordinary’ faces over the years and my sketchbooks are full of studies of ‘ordinary’ faces and figures.
I have noticed over my time on flickr that the more popular the subject the more comments it gets it’s nothing to do with the drawing itself and I know people are getting bored with me turning out one famous face after another. I do not sell my work I have a large stack of work sitting in a drawer and I end up giving most of it away. So I draw what I enjoy drawing not to please anyone else. I do not care what anyone thinks if it is worthless or trivial I will just keep on drawing what pleases me. I did go to art school when I was younger but soon left because I could not take the pretentiousness of the art world and went into graphic design instead.
I know there are many friends on flickr who do enjoy seeing my work and are always very kind about it, that is the reason why I still post my work and will carry on posting it. So many thanks to all of you, I do appreciate your input even if I don’t reply to every comment ...Take care.
George got a lot wet and a bit muddy whilst playing in the woods at lunchtime :-) When I saw this part of this wood, which is yet to succumb to the mud / snow mix, I couldn't resist taking a photo for today's shot.
"I know the night no longer, the terrible anonymity of death
A fleet of stars moors in the haven of my heart
O Hesperos, sentinel, that you may shine by the side
Of a skyblue breeze on an island which dreams
Of me anouncing the dawn from its rocky heights
My twin eyes set you sailing embraced
With my true heart's star: I know the night no longer
I know the names no longer of a world which disavows me
I read seashells, leaves, and the stars clearly
My hatred is superfluous on the roads of the sky
Unless it is the dream which watches me again
As I walked by the sea of immortality in tears
O Hesperos, under the arc of your golden fire
I know the night no longer that is a night only." ~ O.ELYTIS