View allAll Photos Tagged Howey
Steve Howey speaking at the 2023 WonderCon, for "True Lies", at the Anaheim Convention Center in Anaheim, California.
Please attribute to Gage Skidmore if used elsewhere.
Deep in the woods adjacent to the Howey Mansion. This is "a simple Georgian marble mausoleum," holding the remains of William J. Howey (1938), a daughter, Lois Valerie Howey (1941), and Mary Hastings Howey (1981).
Mingle Media TV's Red Carpet Report host Ashley Bornancin were invited to come out to cover the Friends of the Saban Community Clinic's 37th Annual Dinner Gala at the Beverly Hilton.
About the Event
“House of Lies” costars Don Cheadle and Kristen Bell hosted this year's Friends of the Saban Community Clinic 37th Annual Dinner Gala with a musical performance by The Fray and comedy by Sarah Silverman. The star-studded event honored Showtime Networks Inc. President of Entertainment David Nevins and Friends of the Saban Community Clinic Board Member Eric Siegel. Nevins and Siegel received the Friends Leadership Award and Lenny Somberg Award for their leadership and support of the Clinic’s work in improving health care access for thousands of Los Angeles families each year.
Get the Story from the Red Carpet Report Team - follow us on Twitter and Facebook at:
www.facebook.com/RedCarpetReportTV
www.youtube.com/MingleMediaTVNetwork
About Saban Community Clinic
Saban Community Clinic first opened its doors in 1967 as The Los Angeles Free Clinic. As a Federally Qualified Health Center, Saban Community Clinic serves low-income and uninsured men, women, and children, providing more than 100,000 patient visits each year. Our three health centers, located in the Los Angeles and West Hollywood areas, provide affordable access to quality medical, dental and mental health services. To make a charitable contribution, call (323) 330-1670. For appointments, call (323) 653-1990 or visitwww.sabancommunityclinic.org.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
www.flickr.com/MingleMediaTVNetwork
Follow our host Ashley on Twitter at twitter.com/AshleyBInspired
Mingle Media TV's Red Carpet Report host Ashley Bornancin were invited to come out to cover the Friends of the Saban Community Clinic's 37th Annual Dinner Gala at the Beverly Hilton.
About the Event
“House of Lies” costars Don Cheadle and Kristen Bell hosted this year's Friends of the Saban Community Clinic 37th Annual Dinner Gala with a musical performance by The Fray and comedy by Sarah Silverman. The star-studded event honored Showtime Networks Inc. President of Entertainment David Nevins and Friends of the Saban Community Clinic Board Member Eric Siegel. Nevins and Siegel received the Friends Leadership Award and Lenny Somberg Award for their leadership and support of the Clinic’s work in improving health care access for thousands of Los Angeles families each year.
Get the Story from the Red Carpet Report Team - follow us on Twitter and Facebook at:
www.facebook.com/RedCarpetReportTV
www.youtube.com/MingleMediaTVNetwork
About Saban Community Clinic
Saban Community Clinic first opened its doors in 1967 as The Los Angeles Free Clinic. As a Federally Qualified Health Center, Saban Community Clinic serves low-income and uninsured men, women, and children, providing more than 100,000 patient visits each year. Our three health centers, located in the Los Angeles and West Hollywood areas, provide affordable access to quality medical, dental and mental health services. To make a charitable contribution, call (323) 330-1670. For appointments, call (323) 653-1990 or visitwww.sabancommunityclinic.org.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
www.flickr.com/MingleMediaTVNetwork
Follow our host Ashley on Twitter at twitter.com/AshleyBInspired
An architectural gem in the Lake County community of Howey-in-the-Hills attests to Ernest Hemingway’s oft-quoted remark “The rich are different.” To wander through the 20 room mansion built in 1925 by the community’s founder, William J. Howey, and stroll over the 15 acres surrounding, brings a nostalgic feeling of how “Once upon a time".
© YT 2013.
Greater Sudbury Transit 807 (2010 Nova Bus LFS) is seen on Cedar Street at Lisgar Street, on Route 241 Howey / Moonlight / Shopping Centre.
Class 55 loco number 55022 working the 'Mid-Wales Borderer' at Howey, between Llandrindod Wells & Llandovery, on 19/07/08. 57601 was marshalled at the rear of the train.
Just buzzing around =)
Shot on an Olympus E-410.
Cropped and retouched in Photoshop.
© Katie Howey 2010
Church of St Cewydd , Disserth
Disserth Church is in the Diocese of Swansea and Brecon, in the community of Disserth and Trecoed in the county of Powys. It is located at Ordnance Survey national grid reference SO0344058360.
The church is recorded in the CPAT Historic Environment Record as number 16771 and this number should be quoted in all correspondence.
Disserth Church, CPAT copyright photo CS974923.JPG
Summary
St Cewydd's church at Disserth lies in a loop of the River Ithon less than 4km south-west of Llandrindod Wells. It is a fairly simple structure with nave and chancel in one and a west tower, but its importance lies in the fact that as Haslam notes 'it stands very much as a Victorian architect, called in for advice, might have found many of the Radnorshire churches'. The absence of 19thC restoration has left an interesting interior with box pews and decked pulpit of the early 18thC together with wall paintings and some monuments, and from an earlier age, the font and fragments of the rood screen. The churchyard is large and rectangular with some 18thC monuments, much overgrown.
Tower supposedly of c.1400, and of one build, though there is a blocked doorway on the north side; the battlements are thought to have been added within the last two hundred years or so.
No windows in body of church earlier than 16thC and wooden windows are probably later. However, the walls where not rebuilt, could be earlier, in keeping with the south doorway, and the single cell nave and chancel might be 14thC. Externally, it does appear that the tower butts up against the west wall of the nave though there are internal tower buttresses which RCAHMW thought were part of an earlier nave structure.
An in-depth analysis of the building sequence is required at Disserth.
Parts of the following description are quoted from the 1979 publication The Buildings of Wales: Powys by Richard Haslam
History
The church is dedicated to St Cewydd, one of the less commonly commemorated saints who is thought to have lived in the 6thC. The location is also suggestive of an early medieval origin, but as is normal in the rural churches of Powys there is no direct evidence of such an early beginning.
In the Taxatio of Pope Nicholas it is recorded as 'Ecclesia de Dysserch' at a value of 6 13s 4d. 'Disserthe' also appears in the Valor Ecclesiasticus, its value at 16 seeming excessive for a small parish church.
Glynne visited Disserth, probably in the mid-19thC. He thought that the tower windows had a Decorated look, and that beneath the wooden east window the wall contained a flat-arched recess. Most of the other windows were modern and of the 'worse kind' The nave was ceiled and the chancel had a coved roof with ribs, while at the west end the gallery had been built across the tower arch. No mention was made of exterior whitewash.
There was no Victorian restoration, although the roof was ceiled over by the churchwardens in 1839. Except for the section over the sanctuary, the roof timbers were re-exposed by F. E. Howard in the ?early 20thC. Restoration took place in 1979.
Architecture
Disserth church comprises a nave and chancel in one, a west tower and a south porch. The building is aligned west-south-west/east-north-east, but for descriptive purposes 'ecclesiastical east' is adopted here.
Fabrics: 'A' comprises medium to large blocks and slabs of light brown sedimentary stone; larger stones selected for quoins; some coursing. 'B' is of whitewashed masonry which appears to incorporate more rounded lumps than 'A', but more precise definition is not possible.
Roofs: slates, some newer than others; plain terracotta ridge tiles. No finials. Porch has large lozenge-shaped slates with lead flashing along the ridge. Tower has weathervane.
Drainage: none immediately obvious but there may be a filled-in trench, now bramble covered, along the north wall.
Exterior
Tower. General. Fabric A. Battered base topped by rectangular-sectioned string course. Second string course accompanied by waterspouts, just below battlemented parapet. Tower attributed to around c.1400 on the basis of ogee-headed windows, and one window reputedly contains a re-used piece of Decorated tracery. The battlements were added in the 18thC or early 19thC according to Howse.
North wall: tower stair in north-east corner revealed by swelling in wall, but only as high as belfry level. Lower string course stops at the point where the wall swell starts and there is a recess in the wall to a height of c.2.5m and some obvious infill in the plinth, indicating that there was originally an external door here. The stonework that forms this swelling abuts the nave and is evidently later in date. Above the recess is a simple slit window with single unchamfered stones for jambs - this lights the stair. Higher up the second stage are two centrally placed, belfry-like windows, one above the other, though it must be presumed that only the upper one lights the belfry. The lower is a rectangular window with a label, two two-centred arched lights with cinquefoil tracery and louvre boards. All the dressings are of creamy coloured freestone and look like 19thC/20thC renewals though there is no evidence of insertion in the masonry surround. Above is the second, larger, belfry window; it has a two-centred arch with hoodmould, two cusped lights with ogee-heads and a quatrefoil light above. If it is not possible to determine from ground level how much replacement of the dressings has occurred. Two waterspouts on upper string course.
East wall: nave roof apex rises to a level slightly lower than that of the lower of the two-light windows, and at the point where it abuts the tower is an arch of edge stones, indicative of another window. A wide slit window lights the stair just over half way up the wall face. Higher up is a standard belfry window, most of the dressings probably replaced.
South wall: main upper windows as on north wall; most if not all of the dressings renewed. Two waterspouts.
West wall: a little over 2m above ground level is a west window, identical but for the louvre boards with the belfry windows. Above this the standard square-headed and belfry windows seen in the other walls. All the dressings renewed. At base of wall are three slabs that may give access to a heating chamber.
Nave and chancel. General. Nave and chancel undifferentiated externally. Whitewashed rubble masonry, Fabric 'B'. Walls bow inwards and are sometimes plumb, sometimes not.
North wall: wall plate visible for entire length and acts as lintel to three windows. All are rectangular with wooden frames, leaded lights, and tooled blocks for jambs. Just to west of second window, the wall face is suddenly inset to a depth of about 0.15m; this patch of walling, reaching almost to the third window and down to within about 0.4m of ground level, is certainly rebuilt, and has a flatter surface. The older, bulging wall continues east of the third window, but close to the north-east corner, may again be replaced by a newer wall.
East wall: tapers upwards. A rectangular four-light window in wood, the lights with trefoil heads and sunken spandrels above; painted in maroon with red on lintel, and comparable except in its material to the window in the south wall of the chancel; attributed to the 16thC or perhaps the 17thC. Beneath the window the masonry looks like an infill but it is not clear what this signifies.
South wall: wall bulges and is very rough with wall plate projecting beyond wall top. From the east is: i) a chancel window of stone with three trefoil-headed lights under a label with sunken square stops; ii) standard two-light window in wood. Possibly the wall to the west of this is rebuilt - it tapers here more than elsewhere, and there are differences in the appearance of the masonry on either side of the window; iii) porch; and iv) a smaller two-light window in wood. Brooksby (RCAHMW) refers to a blocked priest's door: this was not seen at the time of the field visit.
West wall: tower butts up against this wall which at the south-west angle, has large well-dressed quoins.
Porch. East wall: single slit window and gravestone of 1821 set against wall.
South wall: two-centred arch with modern dressed stone for voussoirs, and cusped barge-boards, again modern. No gate.
West wall: as east wall.
Interior
Porch. General. Floor of flagstones and cobbles. Walls rendered. Roof ceiled and plastered, reportedly hiding an early timber roof.
North wall: two-centred arched doorway, with large unchamfered monolithic jambs, though to be 14thC by Haslam and perhaps a survival of the earlier church; formerly limewashed.
East wall: one small splayed window; stone bench with wooden seat, backed by old pew panels.
South wall: door reveal has socket for hinges.
West wall: as east wall.
Tower. General. Not accessible. Haslam noted that the stair doorways have chamfered jambs, the bottom one also a shouldered head and straight lintel. Also dressed stone from earlier windows used as jambs.
Nave. General. One step down from porch. Flagged floor but no obvious re-use of graveslabs; some carpet at entrance. Box pews throughout. Walls plastered and whitewashed, except for west (tower) wall which has only a coating of whitewash. 15thC roof - though Brooksby of RCAHMW thought it could be as early as the 14thC - of five and a half bays, with arch-braced collars above tie beams (perhaps inserted), apart from the second bay from the west which has a cusped, scissor truss; two tiers of deeply foiled windbraces and some panelling along the wall-plate.
North wall: the wall slopes outwards and this is more pronounced where reconstruction has occurred. Two deeply splayed windows. Two fragmentary wall paintings, a coat-of-arms to the east and panel with text to the east.
East wall: upright wall posts and rood-screen beam only.
South wall: splayed window; a high reveal for the door, considerably higher than the external arch, and its soffit more four-centred than two-centred. Just to east of the doorway is a fragmentary wall painting, and irregularities around this indicate some rebuilding of the wall.
West wall: a large voussoired, pointed tower arch, largely blocked off except for a modern doorway with a segmental head. At the angles are stepped buttresses, which RCAHMW thought might be part of earlier nave walls. No convincing evidence of the blocked window, the upper part of which is visible externally and also, reputedly inside the tower.
Chancel. General. Flagged floor, with one graveslab of 1850, perhaps in situ. Altar and sanctuary raised, and box pews on either side of the former. Walls as nave. Roof of three bays, ceiled over, .
North wall: splayed window and one mural tablet of 1752.
East wall: wall face slopes outwards; the side of the window embrasure are only slightly splayed but it has a deep sloping sill. An alcove just south of the altar, found during restoration works in 1953/54, has a cusped head and is of unknown age, though presumably medieval; and there is also a recess in the wall behind the altar. Also to the south is another wall painting. On the north side of the altar a mural tablet of 1822.
South wall: deeply splayed window; mural tablet of 1826, and a weathered 17thC slab leans against the wall.
Churchyard
Disserth churchyard is rectilinear, though with three somewhat rounded corners. It occupies level ground on the valley floor of the River Ithon which bends round the northern and western sides of the enclosure less than one hundred metres away. Despite some irregularities in the ground surface to the north of the church there are no traces of an earlier boundary.
It is still used for burials but is overgrown in places.
Boundary: this is defined by a stone wall in variable condition, though usually mortared. In places it is reinforced by a hedge and/or fence. Earth etc has been banked up against the inside of the wall, but generally there is little evidence to indicate that the interior of the yard is raised.
Monuments: these are spread across the southern part of the yard, and around the west of the church but there are none to the north. Locally dense, many are overgrown and in poor condition. A reasonable number of 18thC monuments are spread around with a few chest tombs close to the southern boundary. Modern burials lie to the west of the church.
Furniture: none.
Earthworks: none.
Ancillary features: the main entrance in the north-east has a single long wooden gate and an adjacent kissing gate. Stile in south wall. Grass paths only.
Vegetation: four yews along eastern boundary, and three others to the west and south of the church: none of great age. Northern edge of the yard covered with mixed vegetation, some of it deliberately planted.
Information courtesy of www.cpat.demon.co.uk/projects/longer/churches/radnor/1677...
Church of St Cewydd , Disserth
Disserth Church is in the Diocese of Swansea and Brecon, in the community of Disserth and Trecoed in the county of Powys. It is located at Ordnance Survey national grid reference SO0344058360.
The church is recorded in the CPAT Historic Environment Record as number 16771 and this number should be quoted in all correspondence.
Disserth Church, CPAT copyright photo CS974923.JPG
Summary
St Cewydd's church at Disserth lies in a loop of the River Ithon less than 4km south-west of Llandrindod Wells. It is a fairly simple structure with nave and chancel in one and a west tower, but its importance lies in the fact that as Haslam notes 'it stands very much as a Victorian architect, called in for advice, might have found many of the Radnorshire churches'. The absence of 19thC restoration has left an interesting interior with box pews and decked pulpit of the early 18thC together with wall paintings and some monuments, and from an earlier age, the font and fragments of the rood screen. The churchyard is large and rectangular with some 18thC monuments, much overgrown.
Tower supposedly of c.1400, and of one build, though there is a blocked doorway on the north side; the battlements are thought to have been added within the last two hundred years or so.
No windows in body of church earlier than 16thC and wooden windows are probably later. However, the walls where not rebuilt, could be earlier, in keeping with the south doorway, and the single cell nave and chancel might be 14thC. Externally, it does appear that the tower butts up against the west wall of the nave though there are internal tower buttresses which RCAHMW thought were part of an earlier nave structure.
An in-depth analysis of the building sequence is required at Disserth.
Parts of the following description are quoted from the 1979 publication The Buildings of Wales: Powys by Richard Haslam
History
The church is dedicated to St Cewydd, one of the less commonly commemorated saints who is thought to have lived in the 6thC. The location is also suggestive of an early medieval origin, but as is normal in the rural churches of Powys there is no direct evidence of such an early beginning.
In the Taxatio of Pope Nicholas it is recorded as 'Ecclesia de Dysserch' at a value of 6 13s 4d. 'Disserthe' also appears in the Valor Ecclesiasticus, its value at 16 seeming excessive for a small parish church.
Glynne visited Disserth, probably in the mid-19thC. He thought that the tower windows had a Decorated look, and that beneath the wooden east window the wall contained a flat-arched recess. Most of the other windows were modern and of the 'worse kind' The nave was ceiled and the chancel had a coved roof with ribs, while at the west end the gallery had been built across the tower arch. No mention was made of exterior whitewash.
There was no Victorian restoration, although the roof was ceiled over by the churchwardens in 1839. Except for the section over the sanctuary, the roof timbers were re-exposed by F. E. Howard in the ?early 20thC. Restoration took place in 1979.
Architecture
Disserth church comprises a nave and chancel in one, a west tower and a south porch. The building is aligned west-south-west/east-north-east, but for descriptive purposes 'ecclesiastical east' is adopted here.
Fabrics: 'A' comprises medium to large blocks and slabs of light brown sedimentary stone; larger stones selected for quoins; some coursing. 'B' is of whitewashed masonry which appears to incorporate more rounded lumps than 'A', but more precise definition is not possible.
Roofs: slates, some newer than others; plain terracotta ridge tiles. No finials. Porch has large lozenge-shaped slates with lead flashing along the ridge. Tower has weathervane.
Drainage: none immediately obvious but there may be a filled-in trench, now bramble covered, along the north wall.
Exterior
Tower. General. Fabric A. Battered base topped by rectangular-sectioned string course. Second string course accompanied by waterspouts, just below battlemented parapet. Tower attributed to around c.1400 on the basis of ogee-headed windows, and one window reputedly contains a re-used piece of Decorated tracery. The battlements were added in the 18thC or early 19thC according to Howse.
North wall: tower stair in north-east corner revealed by swelling in wall, but only as high as belfry level. Lower string course stops at the point where the wall swell starts and there is a recess in the wall to a height of c.2.5m and some obvious infill in the plinth, indicating that there was originally an external door here. The stonework that forms this swelling abuts the nave and is evidently later in date. Above the recess is a simple slit window with single unchamfered stones for jambs - this lights the stair. Higher up the second stage are two centrally placed, belfry-like windows, one above the other, though it must be presumed that only the upper one lights the belfry. The lower is a rectangular window with a label, two two-centred arched lights with cinquefoil tracery and louvre boards. All the dressings are of creamy coloured freestone and look like 19thC/20thC renewals though there is no evidence of insertion in the masonry surround. Above is the second, larger, belfry window; it has a two-centred arch with hoodmould, two cusped lights with ogee-heads and a quatrefoil light above. If it is not possible to determine from ground level how much replacement of the dressings has occurred. Two waterspouts on upper string course.
East wall: nave roof apex rises to a level slightly lower than that of the lower of the two-light windows, and at the point where it abuts the tower is an arch of edge stones, indicative of another window. A wide slit window lights the stair just over half way up the wall face. Higher up is a standard belfry window, most of the dressings probably replaced.
South wall: main upper windows as on north wall; most if not all of the dressings renewed. Two waterspouts.
West wall: a little over 2m above ground level is a west window, identical but for the louvre boards with the belfry windows. Above this the standard square-headed and belfry windows seen in the other walls. All the dressings renewed. At base of wall are three slabs that may give access to a heating chamber.
Nave and chancel. General. Nave and chancel undifferentiated externally. Whitewashed rubble masonry, Fabric 'B'. Walls bow inwards and are sometimes plumb, sometimes not.
North wall: wall plate visible for entire length and acts as lintel to three windows. All are rectangular with wooden frames, leaded lights, and tooled blocks for jambs. Just to west of second window, the wall face is suddenly inset to a depth of about 0.15m; this patch of walling, reaching almost to the third window and down to within about 0.4m of ground level, is certainly rebuilt, and has a flatter surface. The older, bulging wall continues east of the third window, but close to the north-east corner, may again be replaced by a newer wall.
East wall: tapers upwards. A rectangular four-light window in wood, the lights with trefoil heads and sunken spandrels above; painted in maroon with red on lintel, and comparable except in its material to the window in the south wall of the chancel; attributed to the 16thC or perhaps the 17thC. Beneath the window the masonry looks like an infill but it is not clear what this signifies.
South wall: wall bulges and is very rough with wall plate projecting beyond wall top. From the east is: i) a chancel window of stone with three trefoil-headed lights under a label with sunken square stops; ii) standard two-light window in wood. Possibly the wall to the west of this is rebuilt - it tapers here more than elsewhere, and there are differences in the appearance of the masonry on either side of the window; iii) porch; and iv) a smaller two-light window in wood. Brooksby (RCAHMW) refers to a blocked priest's door: this was not seen at the time of the field visit.
West wall: tower butts up against this wall which at the south-west angle, has large well-dressed quoins.
Porch. East wall: single slit window and gravestone of 1821 set against wall.
South wall: two-centred arch with modern dressed stone for voussoirs, and cusped barge-boards, again modern. No gate.
West wall: as east wall.
Interior
Porch. General. Floor of flagstones and cobbles. Walls rendered. Roof ceiled and plastered, reportedly hiding an early timber roof.
North wall: two-centred arched doorway, with large unchamfered monolithic jambs, though to be 14thC by Haslam and perhaps a survival of the earlier church; formerly limewashed.
East wall: one small splayed window; stone bench with wooden seat, backed by old pew panels.
South wall: door reveal has socket for hinges.
West wall: as east wall.
Tower. General. Not accessible. Haslam noted that the stair doorways have chamfered jambs, the bottom one also a shouldered head and straight lintel. Also dressed stone from earlier windows used as jambs.
Nave. General. One step down from porch. Flagged floor but no obvious re-use of graveslabs; some carpet at entrance. Box pews throughout. Walls plastered and whitewashed, except for west (tower) wall which has only a coating of whitewash. 15thC roof - though Brooksby of RCAHMW thought it could be as early as the 14thC - of five and a half bays, with arch-braced collars above tie beams (perhaps inserted), apart from the second bay from the west which has a cusped, scissor truss; two tiers of deeply foiled windbraces and some panelling along the wall-plate.
North wall: the wall slopes outwards and this is more pronounced where reconstruction has occurred. Two deeply splayed windows. Two fragmentary wall paintings, a coat-of-arms to the east and panel with text to the east.
East wall: upright wall posts and rood-screen beam only.
South wall: splayed window; a high reveal for the door, considerably higher than the external arch, and its soffit more four-centred than two-centred. Just to east of the doorway is a fragmentary wall painting, and irregularities around this indicate some rebuilding of the wall.
West wall: a large voussoired, pointed tower arch, largely blocked off except for a modern doorway with a segmental head. At the angles are stepped buttresses, which RCAHMW thought might be part of earlier nave walls. No convincing evidence of the blocked window, the upper part of which is visible externally and also, reputedly inside the tower.
Chancel. General. Flagged floor, with one graveslab of 1850, perhaps in situ. Altar and sanctuary raised, and box pews on either side of the former. Walls as nave. Roof of three bays, ceiled over, .
North wall: splayed window and one mural tablet of 1752.
East wall: wall face slopes outwards; the side of the window embrasure are only slightly splayed but it has a deep sloping sill. An alcove just south of the altar, found during restoration works in 1953/54, has a cusped head and is of unknown age, though presumably medieval; and there is also a recess in the wall behind the altar. Also to the south is another wall painting. On the north side of the altar a mural tablet of 1822.
South wall: deeply splayed window; mural tablet of 1826, and a weathered 17thC slab leans against the wall.
Churchyard
Disserth churchyard is rectilinear, though with three somewhat rounded corners. It occupies level ground on the valley floor of the River Ithon which bends round the northern and western sides of the enclosure less than one hundred metres away. Despite some irregularities in the ground surface to the north of the church there are no traces of an earlier boundary.
It is still used for burials but is overgrown in places.
Boundary: this is defined by a stone wall in variable condition, though usually mortared. In places it is reinforced by a hedge and/or fence. Earth etc has been banked up against the inside of the wall, but generally there is little evidence to indicate that the interior of the yard is raised.
Monuments: these are spread across the southern part of the yard, and around the west of the church but there are none to the north. Locally dense, many are overgrown and in poor condition. A reasonable number of 18thC monuments are spread around with a few chest tombs close to the southern boundary. Modern burials lie to the west of the church.
Furniture: none.
Earthworks: none.
Ancillary features: the main entrance in the north-east has a single long wooden gate and an adjacent kissing gate. Stile in south wall. Grass paths only.
Vegetation: four yews along eastern boundary, and three others to the west and south of the church: none of great age. Northern edge of the yard covered with mixed vegetation, some of it deliberately planted.
Information courtesy of www.cpat.demon.co.uk/projects/longer/churches/radnor/1677...
Church of St Cewydd , Disserth
Disserth Church is in the Diocese of Swansea and Brecon, in the community of Disserth and Trecoed in the county of Powys. It is located at Ordnance Survey national grid reference SO0344058360.
The church is recorded in the CPAT Historic Environment Record as number 16771 and this number should be quoted in all correspondence.
Disserth Church, CPAT copyright photo CS974923.JPG
Summary
St Cewydd's church at Disserth lies in a loop of the River Ithon less than 4km south-west of Llandrindod Wells. It is a fairly simple structure with nave and chancel in one and a west tower, but its importance lies in the fact that as Haslam notes 'it stands very much as a Victorian architect, called in for advice, might have found many of the Radnorshire churches'. The absence of 19thC restoration has left an interesting interior with box pews and decked pulpit of the early 18thC together with wall paintings and some monuments, and from an earlier age, the font and fragments of the rood screen. The churchyard is large and rectangular with some 18thC monuments, much overgrown.
Tower supposedly of c.1400, and of one build, though there is a blocked doorway on the north side; the battlements are thought to have been added within the last two hundred years or so.
No windows in body of church earlier than 16thC and wooden windows are probably later. However, the walls where not rebuilt, could be earlier, in keeping with the south doorway, and the single cell nave and chancel might be 14thC. Externally, it does appear that the tower butts up against the west wall of the nave though there are internal tower buttresses which RCAHMW thought were part of an earlier nave structure.
An in-depth analysis of the building sequence is required at Disserth.
Parts of the following description are quoted from the 1979 publication The Buildings of Wales: Powys by Richard Haslam
History
The church is dedicated to St Cewydd, one of the less commonly commemorated saints who is thought to have lived in the 6thC. The location is also suggestive of an early medieval origin, but as is normal in the rural churches of Powys there is no direct evidence of such an early beginning.
In the Taxatio of Pope Nicholas it is recorded as 'Ecclesia de Dysserch' at a value of 6 13s 4d. 'Disserthe' also appears in the Valor Ecclesiasticus, its value at 16 seeming excessive for a small parish church.
Glynne visited Disserth, probably in the mid-19thC. He thought that the tower windows had a Decorated look, and that beneath the wooden east window the wall contained a flat-arched recess. Most of the other windows were modern and of the 'worse kind' The nave was ceiled and the chancel had a coved roof with ribs, while at the west end the gallery had been built across the tower arch. No mention was made of exterior whitewash.
There was no Victorian restoration, although the roof was ceiled over by the churchwardens in 1839. Except for the section over the sanctuary, the roof timbers were re-exposed by F. E. Howard in the ?early 20thC. Restoration took place in 1979.
Architecture
Disserth church comprises a nave and chancel in one, a west tower and a south porch. The building is aligned west-south-west/east-north-east, but for descriptive purposes 'ecclesiastical east' is adopted here.
Fabrics: 'A' comprises medium to large blocks and slabs of light brown sedimentary stone; larger stones selected for quoins; some coursing. 'B' is of whitewashed masonry which appears to incorporate more rounded lumps than 'A', but more precise definition is not possible.
Roofs: slates, some newer than others; plain terracotta ridge tiles. No finials. Porch has large lozenge-shaped slates with lead flashing along the ridge. Tower has weathervane.
Drainage: none immediately obvious but there may be a filled-in trench, now bramble covered, along the north wall.
Exterior
Tower. General. Fabric A. Battered base topped by rectangular-sectioned string course. Second string course accompanied by waterspouts, just below battlemented parapet. Tower attributed to around c.1400 on the basis of ogee-headed windows, and one window reputedly contains a re-used piece of Decorated tracery. The battlements were added in the 18thC or early 19thC according to Howse.
North wall: tower stair in north-east corner revealed by swelling in wall, but only as high as belfry level. Lower string course stops at the point where the wall swell starts and there is a recess in the wall to a height of c.2.5m and some obvious infill in the plinth, indicating that there was originally an external door here. The stonework that forms this swelling abuts the nave and is evidently later in date. Above the recess is a simple slit window with single unchamfered stones for jambs - this lights the stair. Higher up the second stage are two centrally placed, belfry-like windows, one above the other, though it must be presumed that only the upper one lights the belfry. The lower is a rectangular window with a label, two two-centred arched lights with cinquefoil tracery and louvre boards. All the dressings are of creamy coloured freestone and look like 19thC/20thC renewals though there is no evidence of insertion in the masonry surround. Above is the second, larger, belfry window; it has a two-centred arch with hoodmould, two cusped lights with ogee-heads and a quatrefoil light above. If it is not possible to determine from ground level how much replacement of the dressings has occurred. Two waterspouts on upper string course.
East wall: nave roof apex rises to a level slightly lower than that of the lower of the two-light windows, and at the point where it abuts the tower is an arch of edge stones, indicative of another window. A wide slit window lights the stair just over half way up the wall face. Higher up is a standard belfry window, most of the dressings probably replaced.
South wall: main upper windows as on north wall; most if not all of the dressings renewed. Two waterspouts.
West wall: a little over 2m above ground level is a west window, identical but for the louvre boards with the belfry windows. Above this the standard square-headed and belfry windows seen in the other walls. All the dressings renewed. At base of wall are three slabs that may give access to a heating chamber.
Nave and chancel. General. Nave and chancel undifferentiated externally. Whitewashed rubble masonry, Fabric 'B'. Walls bow inwards and are sometimes plumb, sometimes not.
North wall: wall plate visible for entire length and acts as lintel to three windows. All are rectangular with wooden frames, leaded lights, and tooled blocks for jambs. Just to west of second window, the wall face is suddenly inset to a depth of about 0.15m; this patch of walling, reaching almost to the third window and down to within about 0.4m of ground level, is certainly rebuilt, and has a flatter surface. The older, bulging wall continues east of the third window, but close to the north-east corner, may again be replaced by a newer wall.
East wall: tapers upwards. A rectangular four-light window in wood, the lights with trefoil heads and sunken spandrels above; painted in maroon with red on lintel, and comparable except in its material to the window in the south wall of the chancel; attributed to the 16thC or perhaps the 17thC. Beneath the window the masonry looks like an infill but it is not clear what this signifies.
South wall: wall bulges and is very rough with wall plate projecting beyond wall top. From the east is: i) a chancel window of stone with three trefoil-headed lights under a label with sunken square stops; ii) standard two-light window in wood. Possibly the wall to the west of this is rebuilt - it tapers here more than elsewhere, and there are differences in the appearance of the masonry on either side of the window; iii) porch; and iv) a smaller two-light window in wood. Brooksby (RCAHMW) refers to a blocked priest's door: this was not seen at the time of the field visit.
West wall: tower butts up against this wall which at the south-west angle, has large well-dressed quoins.
Porch. East wall: single slit window and gravestone of 1821 set against wall.
South wall: two-centred arch with modern dressed stone for voussoirs, and cusped barge-boards, again modern. No gate.
West wall: as east wall.
Interior
Porch. General. Floor of flagstones and cobbles. Walls rendered. Roof ceiled and plastered, reportedly hiding an early timber roof.
North wall: two-centred arched doorway, with large unchamfered monolithic jambs, though to be 14thC by Haslam and perhaps a survival of the earlier church; formerly limewashed.
East wall: one small splayed window; stone bench with wooden seat, backed by old pew panels.
South wall: door reveal has socket for hinges.
West wall: as east wall.
Tower. General. Not accessible. Haslam noted that the stair doorways have chamfered jambs, the bottom one also a shouldered head and straight lintel. Also dressed stone from earlier windows used as jambs.
Nave. General. One step down from porch. Flagged floor but no obvious re-use of graveslabs; some carpet at entrance. Box pews throughout. Walls plastered and whitewashed, except for west (tower) wall which has only a coating of whitewash. 15thC roof - though Brooksby of RCAHMW thought it could be as early as the 14thC - of five and a half bays, with arch-braced collars above tie beams (perhaps inserted), apart from the second bay from the west which has a cusped, scissor truss; two tiers of deeply foiled windbraces and some panelling along the wall-plate.
North wall: the wall slopes outwards and this is more pronounced where reconstruction has occurred. Two deeply splayed windows. Two fragmentary wall paintings, a coat-of-arms to the east and panel with text to the east.
East wall: upright wall posts and rood-screen beam only.
South wall: splayed window; a high reveal for the door, considerably higher than the external arch, and its soffit more four-centred than two-centred. Just to east of the doorway is a fragmentary wall painting, and irregularities around this indicate some rebuilding of the wall.
West wall: a large voussoired, pointed tower arch, largely blocked off except for a modern doorway with a segmental head. At the angles are stepped buttresses, which RCAHMW thought might be part of earlier nave walls. No convincing evidence of the blocked window, the upper part of which is visible externally and also, reputedly inside the tower.
Chancel. General. Flagged floor, with one graveslab of 1850, perhaps in situ. Altar and sanctuary raised, and box pews on either side of the former. Walls as nave. Roof of three bays, ceiled over, .
North wall: splayed window and one mural tablet of 1752.
East wall: wall face slopes outwards; the side of the window embrasure are only slightly splayed but it has a deep sloping sill. An alcove just south of the altar, found during restoration works in 1953/54, has a cusped head and is of unknown age, though presumably medieval; and there is also a recess in the wall behind the altar. Also to the south is another wall painting. On the north side of the altar a mural tablet of 1822.
South wall: deeply splayed window; mural tablet of 1826, and a weathered 17thC slab leans against the wall.
Churchyard
Disserth churchyard is rectilinear, though with three somewhat rounded corners. It occupies level ground on the valley floor of the River Ithon which bends round the northern and western sides of the enclosure less than one hundred metres away. Despite some irregularities in the ground surface to the north of the church there are no traces of an earlier boundary.
It is still used for burials but is overgrown in places.
Boundary: this is defined by a stone wall in variable condition, though usually mortared. In places it is reinforced by a hedge and/or fence. Earth etc has been banked up against the inside of the wall, but generally there is little evidence to indicate that the interior of the yard is raised.
Monuments: these are spread across the southern part of the yard, and around the west of the church but there are none to the north. Locally dense, many are overgrown and in poor condition. A reasonable number of 18thC monuments are spread around with a few chest tombs close to the southern boundary. Modern burials lie to the west of the church.
Furniture: none.
Earthworks: none.
Ancillary features: the main entrance in the north-east has a single long wooden gate and an adjacent kissing gate. Stile in south wall. Grass paths only.
Vegetation: four yews along eastern boundary, and three others to the west and south of the church: none of great age. Northern edge of the yard covered with mixed vegetation, some of it deliberately planted.
Information courtesy of www.cpat.demon.co.uk/projects/longer/churches/radnor/1677...
On display during the 2013 Festivals of Speed Mission Inn event in Howey-in-the-Hills, Florida.
This picture is © Copyrighted. None of these photos may be reproduced and/or used in any form of publication, print or the internet without my written permission. Please contact me if you would like to use one of my images.
Howey-in-the-Hills, Florida
William John Howey was born on January 19, 1876 in Odin, Illinois. At age 16, he began selling insurance and by 1900 began developing land and towns for the railroad in Oklahoma.
Howey perfected his citrus farming and sales program techniques in the Winter Haven, Florida area. In 1914, Howey began buying land in Lake County for $8 to $10 per acre and sold it for $800 to $ 2,000 per acre after it was cleared and planted with 48 citrus trees per acre.
The Florida Land Boom tripled Howey's enterprises. To celebrate the completion of his 20-room, 7,200 square foot Howey Mansion in 1927, he hosted the entire New York Civic Opera Company of 100 artists, drawing a crowd of 15,000 arriving in 4,000 automobiles to the free outdoor performance.
The Mansion was built in Mediterranean Revival style at a cost of $250,000 (in 1926 non-inflated dollars), is presently in private ownership, and is listed in the National Register of Historic Places.
Howey ran unsuccessfully as a Republican Candidate for Governor in 1928 and 1932 and though his dreams were never fully realized, he was known as Florida's greatest citrus developer when he died of a heart attack in Umatilla, Florida on June 7, 1938 at the age of 62.
Grace (his wife) died at age 92 on December 18, 1981 and was placed in the third of six vaults in the family mausoleum, a small Georgian marble structure replete with filigree glass doors, and a stained glass window to diffuse the rays of the setting sun, located on the Mansion property.
-copied-
One of two locomotives ordered in 1924 by
Count Louis Zborowski, Captain Howey's
original partner, and designed by Henry Greenly.
Greenly based them on Nigel Gresley's famous
A1 class locomotives of the London & North
Eastern Railway, of which the Flying Scotsman
is a surviving example. Green Goddess and
tender cost £1,250 to build. The name of the
locomotive was apparently taken from one
of Howey's favourite plays.
She was ready long before the railway, so
Howey arranged for her to be tested on the
Ravenglass and Eskdale Railway in Cumbria
during 1925. Following this, and while the line
was under construction, Howey tried to whet
the appetite of the local people by displaying
the loco at 'Binns Garage', right next door
to the railway, in Littlestone.
She has always been seen sporting a livery
of green, and since the war has sported two
new high capacity tenders. The second of
these now belongs to Northern Chief, the first
has been re-united with Green Goddess.
Green Goddess carries a Wilcox chime whistle
and George Barlow was her driver for over
thirty years from 1947.
She currently runs in an Apple Green livery
similar to that of the former Great Northern
Railway.
The Romney Hythe & Dymchurch Railway runs 13.5miles from Hythe to Dungeness through the Romney marshes in Kent, UK.
The trains are 1/3 scale and run a 15" gauge track.
The RHDR is a fully working public railway with scheduled services, and is just like any other
railway except the scale is smaller.
GARY BENNETT TESTIMONIAL
28th July 1993
3-1 Rangers
Rangers Goalscorers, David Hagen (43), Mark Hateley 2 (65, 70)
Sunderland Goalscorer, Lee Howey (26)
Attendance 21,862
The Rangers Team
Ally Maxwell, Neil Murray, Fraser Wishart, Stuart McCall,
Steven Pressley, John Brown, Alexei Mikhailichenko, Ian Ferguson, David Hagen, Mark Hateley, Pieter Huistra
The Sunderland Team
Chamberlain, Kay, Gray, Bennett, D Ferguson, Ball, Rodgerson, Goodman, Howey, Cunnington, Armstrong
Substitutes Used, Sampson, Owers, Atkinson
Played at Roker Park
RD11838. Although the 15 inch gauge Romney, Hythe & Dymchurch Railway is mostly operated by stream locomotives, they do have a couple of main line diesel locomotives. So, for the benefit of the diesel fans, here's a shot of one of them, No.14 CAPTAIN HOWEY, soon after departing from New Romney en route for Dymchurch and Hythe.
Captain Howey was the founder of the RH&DR and, apart from the war years when it requisitioned by the War Department, he ran it from the opening in1927 until his death in 1963. The locomotive that now bears his name is a Bo-Bo diesel-mechanical and it was built in 1989 by TMA Engineering of Erdington in the West Midlands; it has a Perkins six cylinder diesel engine.
Wednesday, 12th August, 2015. Copyright © Ron Fisher.
St Clement Colegate, Colegate, Norwich
St Clement stands at the point where medieval and modern Norwich meet; to the south are Pye Bridge, Tombland and the cathedral precincts, while to the north is busy Magdalene street. Westwards stretches Colegate, leading into Coslany, the medieval Norwich- over-the-Water, the industrial heart of the city in the 18th and 19th centuries. Recent planning policies have brought residents back into Coslany, but that was too late for St Clement, which, along with half a dozen other Colegate and Coslany churches, was declared redundant as a result of the Brooke report in the late 1960s. The clock was restored as a War Memorial, and looks very fine; its placing over the bell window is a bit awkward, but at least it provides a landmark, and there isn't another quite like it.
St Clement was probably the first of the city churches on the north side of the river, and has lived through the changes that a thousand years have brought. The present church is almost entirely the work of the 15th century, although the chancel is slightly earlier. The font is an early 16th century one, with that proto-renaissance styling that makes us wonder how artistic endeavour might have flowered if the Reformation had not intervened. There is also a 1516 figure brass to Margaret Petwood in the middle of the nave, and these two features may indicate the date at which the church was finished. Apart from that, the interior is largely Victorian in character. There are 18th and 19th century memorials around the walls to the Ives and Harvey families, who supplied a number of mayors of Norwich.
At the west end are modern devotional statues, a holy water stoup and a place to light a candle, which might lead you to think that St Clement is still a working parish church. In fact, St Clement's future was secured after redundancy in curious circumstances. The lease was taken on by Jack Burton, a local Methodist minister, on behalf of the Norwich Transport Workers trade union, partly with the intention of its use as a chapel. Because of this, all the internal furnishings were retained. These, dating from the 19th century, were from a time when St Clement's congregation was almost wholly drawn from the local tenements and slums that housed industrial workers, so this was entirely appropriate. As it turned out, one man's obsession had been a lifeline, and despite a later arson attack, this was for many years the only one of Norwich's redundant churches that was freely open to the public for private prayer every day.
However, St Clement Colegate has recently found a new, unusual and rather wonderful use. In January 2017, Colin Howey wrote to me: I am the Clerk of a stonemasons' craft guild that has set up a lodge within St Clement Church. We have been based here for around two years and are in the process of training young people serving seven-year terms to become stonemasons. In the final two years of their apprenticeship they will go on their 'journey', working itinerantly abroad, just as their Master did in the early 1980s (we are connected with the German Journeymen and French Compagnon). We currently have nine apprentices training with us and will be recruiting a further forty over the next decade.
Our Master Mason is a City of London trained mason; an international Guild Master (formerly Master at Windsor Castle, Stoneleigh Abbey etc) and is one of the world's leading craftsmen. His guild - the European Guild of Master Masons - was founded in 1096 and has been in continuous existence ever since (being European in scope they survived intact by moving around when conditions - English Reformation/French Revolution etc - required it). There are only twelve Guild Masters in the world.
Upon re-founding a craft guild in Norwich, in recognition of his immense contribution to St Clement, we asked the Reverend Jack Burton to be our Prime Warden - a request he duly accepted. Being a guild in livery we undertake quarterly processions and perform our Mystery Play - Cain and Abel - in the city during Corpus Christi. We also have an Artist in Residence working with us and a guild storyteller - the 'Gleeman'.
Arthur Howey "Art" Ross (January 13, 1886 – August 5, 1964) was a Canadian ice hockey executive and defenceman in the National Hockey League and its predecessor, the National Hockey Association.
Born in Naughton, Ontario, Ross grew up in Montreal where he played junior hockey. In 1905, he joined the Brandon Elks in Manitoba and in 1907 won the Stanley Cup as a member of the Kenora Thistles. For the next season, he returned to Montreal to play for the Montreal Wanderers and again won the Stanley Cup with his new team in 1908.
The Art Ross Trophy is awarded to the National Hockey League player who leads the league in scoring points at the end of the regular season.
The Romney, Hythe and Dymchurch Railway was built in 1927-28 by model railway engineer Henry Greenly. Originally conceived by the Polish racing driver Louis Zborowski, it was funded by Anglo-Australian landowner J E P Howey, who owned the railway until his death in the 1960s. The line was designed by Greenly to be to 15" gauge but roughly 1:3 scale, and is over 13 miles long.
The railway was designed and built on something of a low budget, at least as far as its civil engineering was concerned; although Howey loved steam locomotives, he always had a reputation for being reluctant to spend on things he thought could be saved on. Out of the whole line, Hythe station probably retains the most atmosphere of the Greenly-designed 1920s concrete-and-I-beam architecture that resulted.
Mingle Media TV's Red Carpet Report host Ashley Bornancin were invited to come out to cover the Friends of the Saban Community Clinic's 37th Annual Dinner Gala at the Beverly Hilton.
About the Event
“House of Lies” costars Don Cheadle and Kristen Bell hosted this year's Friends of the Saban Community Clinic 37th Annual Dinner Gala with a musical performance by The Fray and comedy by Sarah Silverman. The star-studded event honored Showtime Networks Inc. President of Entertainment David Nevins and Friends of the Saban Community Clinic Board Member Eric Siegel. Nevins and Siegel received the Friends Leadership Award and Lenny Somberg Award for their leadership and support of the Clinic’s work in improving health care access for thousands of Los Angeles families each year.
Get the Story from the Red Carpet Report Team - follow us on Twitter and Facebook at:
www.facebook.com/RedCarpetReportTV
www.youtube.com/MingleMediaTVNetwork
About Saban Community Clinic
Saban Community Clinic first opened its doors in 1967 as The Los Angeles Free Clinic. As a Federally Qualified Health Center, Saban Community Clinic serves low-income and uninsured men, women, and children, providing more than 100,000 patient visits each year. Our three health centers, located in the Los Angeles and West Hollywood areas, provide affordable access to quality medical, dental and mental health services. To make a charitable contribution, call (323) 330-1670. For appointments, call (323) 653-1990 or visitwww.sabancommunityclinic.org.
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
www.facebook.com/minglemediatvnetwork
www.flickr.com/MingleMediaTVNetwork
Follow our host Ashley on Twitter at twitter.com/AshleyBInspired
The Yorkshire Engine Company of Sheffield
finished the job of building this loco by finally assembling the parts, accrued during a
chequered history for two new engines for the
RH&DR. Originally ordered from, and started by,
Davey Paxman then continued at New Romney
using boilers from Krauss in Munich.
Designed from drawings originated by Greenly,
completed by A.L.S Richardson and based on
Canadian Pacific practice!
The Canadian style was chosen by Howey as it
was felt that the larger cab would give the driver
better protection against some of Kent's fine
summer weather, than the British styled
locomotives. He was also a fan of and visitor to
the Canadian Pacific Railway. When the engine
emerged onto the RH&DR in 1931 she came
complete with a very 'American' Vanderbilt tender
and was named Doctor Syn, after the Dymchurch
smuggling-vicar created by Russell Thorndyke.
In 1948, having been renamed Winston Churchill after the war-time Prime Minister, she was sent to
an exhibition in Toronto, Canada. At this time she
was painted bright red, but in 1962 she received a
black coat of paint and a new tender. The original, although stylish was prone to leaking.
As an experiment Winston Churchill was converted
to an oil firing loco in 1973, but was rebuilt
conventionally in 1979. The experiments were successful, but a rise in the price of oil meant
that no savings would be made over coal.
She carries one of a pair of Crosby chime whistles
that Howey had bought in Canada, and had
impressed Nigel Gresley on a visit to the RH&DR.
Howey then presented Gresley with the second
whistle which in turn was fitted to the new LNER
express Cock o' the North.
She has just undergone (2013) an in-house Major
Overhaul, complete with new power cylinders and
a brand new tender. Her current colour is bright
red, similar to how she looked during the 1970's
Euro crank regulars enjoy the locally brewed Weitra beer behind 2095 014 to Litschau 08/06/02. Present are: 3 Brazel brothers David, Sean & Simon plus Howey, Trog & Medhurst.
German postcard by Ross Verlag, no. 3862/1, 1928-1929. Photo: Defina / First-National-Film. Colleen Moore in Synthetic Sin (William A. Seiter, 1929).
American actress Colleen Moore (1899-1988) was a star of the silent screen who appeared in about 100 films beginning in 1917. During the 1920s, she put her stamp on American social history, creating in dozens of films the image of the wide-eyed, insouciant flapper with her bobbed hair and short skirts.
Colleen Moore was born Kathleen Morrison in Port Huron, Michigan in 1899 (the date which she insisted was correct in her autobiography Silent Star, was 1902). Her father was an irrigation engineer and his job was good enough to provide the family with a middle-class environment. She was educated in parochial schools and studied piano at the Detroit Conservatory. As a child, she was fascinated with films and stars such as Marguerite Clark and Mary Pickford and kept a scrapbook of those actresses. By 1917 she was on her way to becoming a star herself. Her uncle, Walter C. Howey, was the editor of the Chicago Tribune and had helped D.W. Griffith make his films The Birth of a Nation (1915) and Intolerance: Love's Struggle Throughout the Ages (1916) more presentable to the censors. Knowing of his niece's acting aspirations, Hovey asked Griffith to help her get a start in the film industry. No sooner had she arrived in Hollywood than she found herself playing in five films that year, The Savage (Rupert Julkian, 1917) being her first. Her first starring role was as Annie in Little Orphant Annie (Colin Campbell, 1918). Colleen was on her way. She also starred in a number of B-films and in Westerns opposite Tom Mix, like The Wilderness Trail (Edward LeSaint, 1919) and The Cyclone (Clifford Smith, 1920).
The film that defined Colleen Moore as which defined her as the inventor of the 'flapper' look was Flaming Youth (John Francis Dillon, 1923), in which she played Patricia Fentriss. Her Dutch bob in the film was soon copied by hairdressers across America and her air of an emancipated young woman inspired countless imitations. The year she married the first of her four husbands, Frank McCormick, production head of First National Pictures, later part of Warner Brothers. There followed such films as The Perfect Flapper (John Francis Dillon, 1924), The Desert Flower (Irving Cummings, 1925), Ella Cinders (Alfred E. Green, 1926) and Her Wild Oat (Marshall Neilan, 1927). By 1927 she was the top box-office draw in the US, making $12,500 a week. Her second husband was a New York broker, Albert F. Scott. Moore put her money into the stock market, making very shrewd investments. She took a hiatus from acting between 1929 and 1933, just as the sound film was introduced. Her four sound pictures released in 1933 and 1934 were not financial successes. Moore then retired permanently from screen acting. Her final film role was as Hester Prynne in The Scarlet Letter (Robert G. Vignola, 1934). In 1937 she married her third husband, Homer Hargrave, again a stockbroker, and ended her film career. After she retired she wrote two books on investing and she traveled widely, frequently to China. At 83, she married her fourth husband, builder Paul Maginot. In 1988, Colleen Moore died of an undisclosed ailment in Paso Robles, California. She was 88. At the time of her death, she was writing a novel, a Hollywood murder mystery centered around a Mae West type. Tragically, approximately half of Moore's films are now considered lost. Of her most celebrated film, Flaming Youth (1923), only one reel survives.
Sources: Glenn Fowler (The New York Times), Denny Jackson (IMDb), Ed Stephan (IMDb), Wikipedia and IMDb.
Romney, Hythe & Dymchurch Railway No. 14 "Captain Howey" shunting at New Romney on 9th August 2013.
No. 14 was built by TMA Engineering in 1989 and ran unnamed for twelve years before being named after the line's founder.
After the success of sister loco B-BDH No.12 'John Southland' delivered in 1983 the RH&DR ordered a second locomotive of the same type from TMA Automation Ltd of Erdington. No.14 'Captain Howey' seen here was delivered in 1989. Both locos had a 112hp Perkins 6 cylinder diesel engines and were the mainstay of the Kent County Council schools train contract which paid the railway to bring pupils to the John Southland School in New Romney from the scattered costal communities north of the town towards Hythe. The school has since changed name to the Marsh Academy School and the loco has followed suit loosing its original name to be replaced by a new one, "J.B. Snell'.
Here B-BDH No.14 'Captain Howey' (TMA 2336/1989) is seen arriving at Burmarsh Road Halt, Dymchurch with the 10.10 New Romney to Hythe. This loco takes its name from the builder of the line Captain J.E.P Howey a millionaire with a passion for fast cars, planes and trains.