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French postcard by Editions du Globe, Paris, no. 361. Photo: Sam Lévin.
Glamorous French beauty Nicole Maurey (1926) appeared in 65 film and television productions between 1944 and 1997. She flirted with Hollywood stardom in the 1950’s, co-starring with Bing Crosby in Little Boy Lost (1953) and Danny Kaye in Me and the Colonel (1958). She probably remains most noted as Charlton Heston's leading lady in Secret of the Incas (1954), often cited as the primary inspiration for Raiders of the Lost Ark (1981).
Nicole A. Maurey was born in Bois-Colombes, a northwestern suburb of Paris, in 1926. Her father was an architect, her mother housewife. She had one sister. Besides going to school, she took ballet lessons. She entered as a ‘small rat’ at the Paris Opera, but her family preferred a career in the theatre. So she took drama lessons at the Cours d'Art Dramatique from Maurice Escandre. Nicole played her first film role in Blondine (1944, Henri Mahé) opposite Georges Marchal. Other films were Le cavalier noir/The black knight (1945, Gilles Grangier) with Georges Guétary, and La bataille du feu/ The Battle of fire (1949, Maurice de Canonge). In 1950 she married the young actor Jacques L. Gallo whom she had met on the Paris metro. An important film on her résumé is Journal d'un curé de campagne/Diary of a Country Priest (1951) directed by Robert Bresson. It tells the story of an inexperienced and frail priest (Claude Laydu), who has just arrived in his first parish, a village in northern France, where he is not welcome. He tries to fulfill his duties even as he fights a mysterious stomach ailment. The film won eight international awards, including the Grand Prize at the Venice International Film Festival, and the Prix Louis Delluc. It was a financial success in France and established Bresson's international reputation as a major film director. Film critic Andre Bazin wrote an entire essay on the film, calling it a masterpiece "because of its power to stir the emotions, rather than the intelligence." The film also had considerable influences on Martin Scorsese's Taxi Driver. Two years later Maurey appeared in the American drama Little Boy Lost (1953, George Seaton) about a war correspondent (Bing Crosby) stationed in Paris during World War II and once married to a French girl (Maurey) who was murdered by the Nazis. Following the war, he returns to France trying to find their son, whom he lost during a bombing raid but has been told is living in an orphanage in Paris. Filmed on location in Paris, Little Boy Lost received the Golden Globe Award for Best Film Promoting International Understanding and was also entered into the 1954 Cannes Film Festival. Maurey was then Charlton Heston's leading lady in Secret of the Incas (1954, Jerry Hopper), often cited as the primary inspiration for Raiders of the Lost Ark (1981). Secret of the Incas was filmed by Paramount Pictures on location in Peru at Cuzco and Machu Picchu, the first time that a Hollywood studio filmed at this archeological site. Five hundred native Indians were used as extras in the film, which also featured the Peruvian singer Yma Sumac. The film caused a surge in tourism to Peru in 1954. The film is often cited as a direct inspiration for the Indiana Jones films, with many of the scenes in Secret of the Incas bearing a striking resemblance in tone and structure to scenes in Raiders of the Lost Ark. Heston and Maurey reprised their roles in 1954 in a Lux Radio Theater version of Secret of the Incas.
In the following decade, Nicole Maurey worked as well in France as internationally. In France she was one of the many stars in the historical drama Si Versailles m'était conté/Royal Affairs in Versailles (1954, Sacha Guitry), which portrayed the personalities who lived in the Royal Palace, the Chateau of Versailles. The following year, she also appeared in Guitry’s historical epic Napoléon (1955, Sacha Guitry) that follows the life of Napoleon from his early life in Corsica to his death at Saint Helena. Other French films were the crime film Section des disparus/The Missing Section (1956, Pierre Chenal) with Maurice Ronet, and the crime comedy Action immédiate/To Catch a Spy (1957, Maurice Labro), starring Henri Vidal. In Great Britain she appeared in the comedy The Constant Husband (1955, Sidney Gilliat) starring Rex Harrison. Then she co-starred in the American war film The Bold and the Brave (1956, Lewis R. Foster), which traces the destinies of three American soldiers (Wendell Corey, Mickey Rooney, and Don Taylor) stationed in Italy during World War II. Other international films were the thriller The Weapon (1957, Val Guest) with Lizabeth Scott, the war comedy Me and the Colonel (1958, Peter Glenville) starring Danny Kaye and Curd Jürgens, the crime film The Scapegoat (1959, Robert Hamer) with Alec Guinness and Bette Davis, and the western The Jayhawkers! (1959, Melvin Frank). In 1960 she divorced Jacques L. Gallo. Maurey reunited with Bing Crosby in the comedy High Time (1960, Blake Edwards), about a middle-aged widower who goes back to college, enters the world of a new generation of postwar youth and falls for professor Maurey. She settled in England and appeared pleasantly in a variety of films but without much fanfare. One of her best known British films is the science-fiction classic The Day of the Triffids (1962, Steve Sekely) based on the novel by John Wyndham. Triffids are plants with a deadly sting that are able to uproot themselves, walk and even communicate. Craig Butler at AllMovie: “Although it takes entirely too many liberties with the excellent novel upon which it is based, The Day of the Triffids is generally an entertaining sci-fi romp. It has many of the classic (some might say clichéd) elements often associated with the genre - an alien invasion, stalwart hero, rag-tag band of allies, and a race against time to save the entire planet.” In 1965 she was back in France for the comedy thriller Pleins feux sur Stanislas/Killer Spy (1965, Jean-Charles Dudrumet), starring Jean Marais. Later, she moved into television appearing in different made-for-TV movies and mini-series, like the hit series La demoiselle d'Avignon/The Maid of Avignon (1972, Michel Wyn) starring Marthe Keller. Her final film was the British-French historical drama Chanel Solitaire (1981, George Kaczender) starring Marie-France Pisier as legendary couturier Coco Chanel. On television Nicole Maurey was last seen in the drama Le grand Batre/The great Batre (1997, Laurent Carcélès) starring Marie-Christine Barrault and Jean-Claude Drouot.
Sources: Hal Erickson (IMDb), Gary Brumburgh (IMDb), Craig Butler (AllMovie), Nicole Mayey.voila.net, Glamour Girls of the Silver Screen, Wikipedia and IMDb.
It is not easy to take images of women in the rural parts of Middle Eastern Countries and Oman is similar.
Here, however, I sat talking to her and her husband, drinking coffee and just simply communicating for a long while.
Her facemask is metallic and designed to protect a woman's features from the sun.
She showed me great kindness and even gave me bracelets for my two granddaughters. A priceless, sobering experience!
These episodes make my journeys travelling alone worthwhile. If I was part of a group, or even with my wife or family, it would be unlikely that contacts and invitations to have coffee & dates, or even stay for a day or so, would be made. I don't see the grand Cities or the contrived displays of culture etc for the tourist trade, but I feel I do see and experience life with the real people of Oman.
to see many more of my best Omani images visit :-
www.flickr.com/photos/flavius200/albums
I also belong to the British Omani Society in London.
My article and photography are published in their 2015 Review.
You can access it here :- www.britishomani.org/annual-review
Press on the ‘2015 Review’, pan down, the article is on pages 12/15.
It’s very easy and safe, even I can do it!
A red powder(called vermilion) applied on the forehead of Hindu women symbolising their marriage.Sindur (vermilion) blood-red powder, usually smeared on the forehead and at the parting of the hair (sithi) of Hindu married women. This is part of the marriage ritual and is inherited from ancient tribal cultures. It was inconceivable in many tribal communities that a marriage would take place without the use of vermilion as a ceremonial seal to the wedlock. According to the practice in some communities, marriages are solemnised by putting vermilion on the forehead and sithi of the bride as the priest prays to god for happiness of the couple.
This image has a signed model release.
For more photos like this one.click MY SITE subirbasak.orgfree.com.....
Все счастливые семьи похожи друг на друга, каждая несчастливая семья несчастлива по-своему.
The fellow that sold these two tintypes on Ebay claimed that they depict a married couple. mrwaterslide asked if he had any more information and the seller said that the two tintypes had been housed in paper sleeves, but that the sleeves had deteriorated and he had discarded them. The photos came from "New England," and he thought the gentleman had been a sea captain.
One of the joys of Ebay is the stories that sellers tell (i.e., make-up) about the photographs they are trying to peddle. There's one shyster out of Chicago who posts
the same set of photographs every week or so. Heck, maybe he keeps posting them because no one ever buys them. More likely is that he has an unlimited supply. The photographs are cheap (undoubtedly) reproductions of cabinet cards, depicting Geronimo and Wild Bill Hickok and Calamity Jane and that sort of folk. The seller always says the same thing about the photos: he doesn't know if they're authentic, but he found them at a flea market, and they could be the real deal, "You be the judge." Any photograph with even a passing (and sometimes not even a passing) resemblance to Mark Twain, or Abraham Lincoln, or Jesse James comes with the suggestion, if not the vehement assertion, that yes, this just might be the true gen, The Holy Grail.
Those hoaxes mrwaterslide usually can sniff out. But as to this pair of photographs, and the allegation that these two were a married couple, is mrwaterslide a Believer?
As the fellow said in The Man Who Shot Liberty Valance: "This is the west, sir. When the legend becomes fact, print the legend." Of course, this is New England, sir, but the sentiment stays the same---if these two weren't married, then they shoulda been, and on mrwaterslide's photostream, they are now.
There is a bit, just a bit, of internal evidence to contemplate. The two tintypes are the same size, and that blank background is the same in both. A nice twist is the triangle of darkness that's top right in his photo, and top left in hers. That would make for an interesting touch in a custom mat, and cause the two photos to incline towards each other, if they were framed together (mrwaterslide has a dream of framing them together).
In memory (the tintypes have been living under a glass table top in the junk room, which is literally so full of junk (frames and photographs and junk junk) that it is now almost impenetrable, so they didn't get looked at a lot), the photograph of the girl lived in mrwaterslide's head as someone willful and pissed, a combustion of seething anger at having been yoked to this stern lecherous old toad. Well, it's not quite that bad. She seems willful and self-possessed. Is He standing back there with the photographer while the tintype is taken? She would have to present in a certain way if Hubby was in the room.
Let's get down to the nitty-gritty. Did they share a bedroom, or did she have a room down the hall, and, of a night, did he come padding down the hallway in his nightshirt and barefeet? Can't you imagine her, lying in bed, waiting for the sound, the house creaking in the wind, the windowpanes chattering in their dried-out frames.
Look at her, that wild Medusa-mane, that jet-choker, those eyes that assault the lens. She must have lived for the days (or weeks, or forever, please Lord, let it be forever) when he went out to sea, when she could galvant around town and spend Daddy's money. Did she flirt with the grocer (or the banker: who was at the top of the tier in small-town, mid-nineteenth century New England society?)? Was she pious in church?
What was a young girl thinking when she married an old codger, back in them days?
Was she calculating the odds? Who put her up to it? Did she think it up, did she seduce him into seducing her (it happens). Did her parents know that his first wife was dead and that he was in the market. Did her Daddy drive the bargain.
Of course, the real story is, as they say (warning, cliche ahead) Gone With The Wind.
Oh yeah, that quote. It's the most famous first line in all of fiction (The Bible being, of course, fact). From Tolstoy, but then, you knew that, and you knew that it's from Anna Karenina. Beginning writers often rebel against the verity of the line, but there it is, and, really, resistence is futile. What Tolstoy (or was it God) said, was this:
Happy families are all alike; every unhappy family is unhappy in its own way.
The semi-circular shelves at either end of this fireplace surround in the Flavel mansion are a whimsical touch. Victorian interiors are stereotyped as having been quite over-furnished by our standards. I can see how these shelves would have contributed to the clutter. They cry out for statuary, small bell jars full or seashells or vases with an ever-changing display of flowers or greenery.
Flavel House History
The Flavel House Museum was the home of Captain George Flavel (1823-1893), one of Astoria’s most influential citizens in the late 1800s. Captain Flavel was a noted bar pilot on the Columbia River and a prominent businessman.
His Queen Anne style house was designed by German-born architect Carl W. Leick and was completed in the spring of 1886 as his retirement home.
The Captain lived here for seven years with his wife Mary Christina Boelling (1839-1928) and his two grown daughters, Nellie and Katie. The couple’s son, George Conrad Flavel, never lived in his parent’s new residence as he was already married and living in a house of his own.
The house remained in the family until 1934 when George and Mary’s great-granddaughter, Patricia Jean Flavel, gave the property to the city as a memorial to her family.
In 1936 there was talk of tearing the house down and establishing an outdoor community park on the property. However, the city had financial difficulties and decided to return the property to Patricia Flavel. That same year the residence and grounds were deeded to Clatsop County with the understanding that both would be kept in good repair and used for public purposes.
From 1937 through World War II, the Public Health Department, the Red Cross, and the local Welfare Commission all had offices in the house.
In 1951, there was once again the talk of tearing the house down, this time to make way for a parking lot for the County Courthouse.
Concerned citizens organized to save the home, and the Flavel House was made into a local history museum managed by the Clatsop County Historical Society while still under the ownership of the County.
Eventually, the County transferred full ownership of the property to the Historical Society.
About the Interior
The Flavel House is approximately 11,600 square feet and consists of two and a half stories, a single story rear kitchen, a four-story tower, and a full basement.
The interior woodwork around the doors, windows, and stair-cases are Eastlake-influenced in design. The Douglas Fir doors, moldings, and wainscoting were faux wood-grained by a master craftsman to look like exotic hardwoods such as mahogany and burl rosewood. The wood likely came from a mill in Portland or San Francisco and was shipped to Astoria by steamer.
Six fireplaces grace the home and feature different imported tiles from around the world, elaborate hand-carved mantels, and a patterned metal firebox designed to burn coal.
The fourteen-foot high ceilings on the first floor and the twelve-foot high ceilings on the second floor are embellished with plaster medallions and plaster crown moldings.
The house was very modern with wall-to-wall carpet-ing, gaslighting, indoor plumbing, and a central heating system.
The First Floor is comprised of the public rooms such as the grand entrance hall, the formal parlor, the music room (the scene of musical recitals by the Flavel daughters), the library (the heart of the house), the dining room, and the conservatory. The butler’s pantry, the kitchen, and the mudroom make up the housekeeping area.
The Second Floor features the main bathroom, five bedchambers, and a small room used as a sewing room or storage room.
The Attic Floor is a large, unfinished area with two small plain bedrooms used by the Flavel’s domestic help.
The tower gave the Captain a broad view of Astoria and the Columbia River to keep an eye on the local ship traffic.
The Basement of the house originally had a dirt floor and contained a large wood-burning furnace.
About the Exterior
The Flavel House rests on park-like grounds covering an entire city block. It has been listed on the National Register of Historic Places since 1951.
The Queen Anne architectural style, popular from 1880 to 1910, can be seen in the house’s steeply pitched roof, patterned shingles, and cut-away bay windows.
Other characteristics of the Queen Anne style are the octagonal-shaped tower, the one-story wrap-around porch, and its asymmetrical facade.
Decorative elements of the Stick and Italianate styles are also apparent in the vertical stickwork, the bracketed eaves, and the hooded moldings above the windows and doors.
Outlining the roof and verandas of the house is the original wrought-iron cresting.
About the Carriage House
The Carriage House was built on the south-west corner of the property in 1887. It served as the place where the family kept their carriage, sleigh, and small buggies.
It also had three temporary holding stalls for their horses, a tack room, and a hayloft upstairs.
In the mid-1890s, the Carriage House was home to the family’s hired caretaker, Alex Murray.
In time, automobiles, including the Flavel’s Studebaker sedan, found a home in the Carriage House, and the family’s driver kept a room upstairs.
Today the Carriage House functions as the Visitor Center, museum store, and exhibit hall for the Flavel House Museum and the administrative offices of the Clatsop County Historical Society.
Yesterday I had the honour of photographing the private wedding ceremony of one my neighbours. Although it was only the four of us (the bride, groom, myself and another witness who also happens to be the bride's brother/my best friend) it was a lovely day which I'm sure we'll all cherish for the rest of our lives.
Gene's dress is borrowed from an old cheap kmart porcelain doll that I had sitting around, and with a few tucks here and there it 'fits' for this photo shoot. I had been mulling over June for bridal photo shoots for Gene, and did not have a bridal gown...and this came to light in my 'stash'...
After years of dating I am proud to say this redhead and I are officially married. Peace out responsibilities, we'll see you in two weeks.
i will be posting photos from our vacation in chronological order … but i have to post this one FIRST. sure ;-)
Fur Traders
The large Native American population at the Flat River made this area important to fur traders. French & American traders came to this area to trade in the winter, returning to Mackinac Island & Detroit in the summers.
The LaFramboise Post was the earliest known post near the Flat River. Joseph LaFramboise traded on the Grand River as early as 1783. He establised a post here in 1796, the same year that he married Magdelaine Marcotte, a Franch-Indian woman. After Joseph was killed in 1806, his wife (known as Madame LaFramboise continued his business, becoming Michigan's first businesswoman. She worked as an independent trader until 1818, when she became an agent for the powerful Mackinac based American Fur Company owned by John Jacob Astor. The Company records show her to have earned as much as $10,000 a year. The precise location of this post is unknown. In 1821, Madame LaFramboise retired to her home on Mackinac Island.
Seventeen-year-old Daniel arrived in 1829 to begin trading. In 1831, he built a log trading post which he operated until 1846. John Hooker purchased & continued to operate the Marsac Post from 1846 until the Indians relocated to Oceana County in 1857. Hooker was also an Indian Enumerator. His job was to take a census of the Indians each year so that the annual treaty payments paid out in Grand Rapids were fair to all.
Timeline
1783
Joseph LaFramboise begins trading in Grand River Valley
1796
LaFramboise built trading post near Lowell
1806
LaFramboise killed, his wife Magdelaine takes over business
1821
Madame LaFramboise retires to Mackinac Island
1822
Rix Robinson takes over in Grand River area for the
John Jacob Astor Fur Company
1829
Daniel Marsac begins trading in Lowell
1831
Marsac builds a permanent trading post in Lowell, married Jenute an Odawa woman
1847
Marsac leaves Lowell, John Hooker takes over post
1857
Odawa leave Lowell, Hooker closes trading post
This is a photograph I scanned in of my Wife's Mother - Elizabeth Craigie Baird - (b 1907 Hull - d 1995 Cardiff) - in her late teens or very early 20's as she was 22 when she was married.
The scene is of her gutting fish but we're undecided as to where it was taken. It could be in Milford Haven or in Hull.
It was in a sorry state when handed to me with several large creases, rips, and 'sellotaped' tears running through the centre / diagonally, and at both the centre top and bottom of the 'photo. Add to this the hundreds of scratches / blemishes / pieces missing etc.
I set about repairing the image and removing the 'defects' etc. and emphasising my Mother-in-Law. It's not perfect by a long way, but I'm in my Wife's 'Good Books' for attempting it ! ;-)
Click on the RHS 'arrow' to see the repaired image ...
Just married
Photo and retouch : kenny huynh
Contact number : 0983862301
Yahoo: kennythai_di_aven
Skype: dev.vn.nhat.huynh
FB: facebook.com/kennyhuynh86