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Images and details of the Renault 5 were published on 10 December 1971, the car's formal launch following on 28 January 1972.
The Renault 5 was styled by Michel Boué, who designed the car in his spare time, outside of his normal duties. When Renault executives learned of Boué's work, they were so impressed by his concept they immediately authorized a formal development programme. The R5 featured a steeply sloping rear hatchback and front dashboard. Boué had wanted the tail-lights to go all the way up from the bumper into the C-pillar, in the fashion of the much later Fiat Punto and Volvo 850 Estate / Wagon, but the lights remained at a more conventional level. The 5 narrowly missed out on the 1973 European Car of the Year award, which was instead given to the Audi 80.
Boué died of cancer in 1971, just months before the car he designed was launched.
The R5 borrowed mechanicals from the Renault 4, using a longitudinally-mounted engine driving the front wheels with torsion bar suspension. OHV engines were borrowed from the Renault 4 and Renault 8: there was a choice, at launch, between 782 cc and 956 cc according to price level. A "5TS/5LS" with the 1,289 cc engine from the Renault 12 was added from April 1974. As on the Renault 4, entry level Renault 5s had their engine size increased to 845 cc in 1976 and at the top of the range later models had the engine size expanded to 1,397 cc.
It was one of the first modern superminis, which capitalised on the new hatchback design, developed by Renault in the mid 1960s on its larger R16. It was launched a year after the booted version of the Fiat 127, and during the same year that the 127 became available with a hatchback. Within five years, a number of rival manufacturers - namely Ford, General Motors and Volkswagen - had launched a similar car.
Although the mechanical components came from earlier models, body construction involved floor sections welded together with the other body panels, resulting in a monocoque structure. The approach had by now become mainstream among many European automakers, but represented an advance on the mechanically similar Renault 4 and Renault 6 both of which used a separate platform. The monocoque structure reduced the car's weight, but required investment in new production processes.
The GTL version, added in 1976, featured a 1289cc engine tuned for economy rather than performance. The 5 GTL was distinguished from earlier versions by thick polyester protection panels along the sides.
The Renault 5 was targeted at cost conscious customers, and the entry level "L" version came with the same 782 cc power plant as the cheaper Renault 4 and drum brakes on all four wheels. Importantly, in 1972 it was priced in France at below 10,000 francs. However, for many export markets the entry level version was excluded from the range and front wheel disc brakes were offered on the more powerful 956 cc "Renault 5TL" along with such attractions under the bonnet/hood and an alternator, and in the cabin reclining back rests for the front seats. From outside the "TL" was differentiated from the "L" by a thin chrome strip below the doors.
Early production R5s used a dashboard-mounted gearshift, linked by a rod which ran over the top of the engine to a single bend where the rod turned downwards and linked into the gearbox, which was positioned directly in front of the engine. A floor-mounted lever employing a cable linkage replaced this arrangement in 1973. An automatic version, with the larger 1,289 cc engine, was added in early 1978. At the time, the automatic usually represented just under five percent of overall Renault 5 production. Door handles were formed by a cut-out in the door panel and B-pillar. The R5 was one of the first cars produced with plastic (polyester and glass fibre) bumpers, which came from a specialist Renault factory at Dreux. These covered a larger area of potential contact than conventional car bumpers of the time and survived low speed parking shunts without permanently distorting. This helped the car gain a reputation as an "outstanding city car", and bumpers of this type subsequently became an industry standard.
The R5's engine was set well back in the engine bay, behind the gearbox, allowing the stowage of the spare wheel under the bonnet/hood, an arrangement that freed more space for passengers and luggage within the cabin. The passenger compartment "is remarkably spacious" in comparison to other modern, small European cars. The Renault 5 body's drag coefficient was only 0.37 (with most European cars going up to 0.45).
Other versions of the first generation included the four-door saloon version called the Renault 7 and built by FASA-Renault of Spain, where virtually all examples were sold. A five-door R5 was added to the range in 1979, making it one of the first cars of its size to feature four passenger doors. The three-speed Automatic, which received equipment similar to the R5 GTL but with a 1,289 cc (55 bhp) engine, a vinyl roof, and the TS' front seats, also became available with five-door bodywork. In March 1981 the automatic received a somewhat more powerful 1.4 litre engine, which paradoxically increased both performance and fuel economy at all speeds.
This photo will be published in the 2010 Yale University "Multi-Faith Calendar"
“Life is a great surprise. I do not see why death should not be an even greater one.”
Vladimir Nabokov
history of event
Dia de los Muertos at Hollywood Forever cemetery was originally envisioned for the purpose of providing an authentic venue, in which this ancient tradition could be genuinely observed, celebrated and preserved. Tyler Cassity and Deisy Marquez conceived this festival of life as a platform which would synthesize creativity for the means of remembering the departed spirits of our lives. This event has provided a gateway for those who wish to re-acquaint themselves with their deeply rooted traditions and profoundly engage with one of the most devotional celebrations for the continuous cycle of life.
At the heart of this sacred event are the meticulously individually crafted altars and spiritual shrines. These dazzling private tributes and offerings which provide a linkage between ancient traditions and modern customs chronicle the perpetual relation between faith, family and history. Representing and understanding the vitality of this ancient custom, Celine Mares conceptualized the necessity of incorporating this enigmatic mystical custom to thrive within the realms of the Forever cemetery.
Interwoven into this effective visionary ensemble lies the creative commitments of dedicated program directors, who have continuously maintained and strengthened the core foundation of this uniquely inspired event through providing a linkage and emerging bond with the many culturally mindful artisans from our diverse community.
In the spirit of the goddess Mictecacihuatl, known as the “Lady of the Dead,” and Samhain, the Celtic day feast of the dead, Hollywood Forever has engrained and developed a much desired and appreciated emotionally driven chord with its surrounding community. On the eve of the 8 th year anniversary of this benevolent observance Tyler, Daisy, Celine and the program directors continue along with countless committed volunteers and artisans to call upon the living to engage and summons the spirits of our lives who shaped, inspired and left their prints engraved in our souls. By providing our community with a genuine setting to learn the importance and significance of this celebration, the original objectives of the founders have been realized and internationally recognized by “tens” of thousands of new and returning faithful visitors who have been continuously welcomed as guests and interactive participants to this annual and growing community based festivity.
Hennepin Avenue is pretty cool.
This picture was published in the arts section of themacweekly, along with my cooresponding article on the show:
www.themacweekly.com/articles/20061120/the_arts/10923
By Aaron Brown
Contributing Writer
Photographer
“This is the biggest venue we’ve ever played at in Minnesota. I feel like, we’re getting closer, you know? I’m glad we’re taking this step together. Not like Milwaukee; fuck Milwaukee, she doesn’t mean anything to me! I’m not lookin’ ahead to marriage or anything, I just wanted to say, I like the direction this is going, I have a good feeling about this.”
Indeed, lead singer Ryan Miller and his band Guster lit up Minneapolis two weeks ago, playing to a large crowd of over 2000 at the State Theatre. The band is currently in the midst of an enormous tour in support of their new album, Ganging Up on the Sun.
Ryan Miller, Adam Gardner, and Brian “Thunder God” Rosenworcel met at Tufts University over fifteen years ago and independently produced their first CD “Parachutes.” Their early work is reminiscent of those stereotypical collegiate floormates down the hall that jam on weekends; upbeat guitars, intelligent lyrics and furiously audacious bongo drums helped define their act. The trio continued to refine their sound over the next couple years, signing with a major label in 1999 and achieving national recognition with Lost and Gone Forever, an album that signaled a change in direction for the band’s music, including their first use of electric guitars and drum kits. While many fans were disappointed about the new, “mainstream” sound of the band and their departure from the acoustic-guitar-and-bongo-drums vibe, singles “Amsterdam” and “Careful” from 2003’s Keep it Together received moderate airplay and garnered national attention. Ganging Up on the Sun continues this trend; their latest album reflects their distance from the collegiate scene, and it builds on themes of growing up, dealing with responsibilities and adulthood.
Miller’s gag about playing in a large venue explains a lot about how the band reacts to their successful transformation from teenage jam band to nationally credible band, recently exemplified by Guster’s involvement with the television show The OC and a Nissan commercial. Despite their fame, the band still maintains their humor and wit, and the set list Friday combined elements of their newer, “rock-band” sound (such as the recent single “Satellite”) with classic Guster songs “Either Way” and “Great Escape.”
Perhaps most revealing was the final encore, in which Guster returned to an applauding crowd to demand that everyone “be entirely silent” as the band finished with a one-mic acoustic version of “Jesus on the Radio.” In spite of co-lead singer Adam Gardner’s bout with pneumonia, Ryan’s admittance that “We’ve never tried this in such a large venue,” and the subsequent uneasy hush of the audience, the band pulled off the folksy, banjo-led ballad with astonishingly clear harmonies and the wild approval of the audience. While somewhat of an anticlimactic ending, the acoustic finish solidified the status of a group caught somewhere between “that college band” playing in Harvard Square in front of friends and “that up-and-coming indie band” playing in the State Theatre in front of the Twin Cities. Say what you want about the band becoming too mainstream, these guys can still pull out the stops and bring back the quirky, acoustic roots that brought them success, even in front of a large audience.
In short, while Guster may not be “your” band anymore, and while they aren’t quite as young as they used to be, the band and their music have aged well, and they continue to entertain fans with onstage spontaneity and ever-changing music.
The Postcard
A postcard published by J. Beagles of London E.C. The photography was by W. & D. Downey.
The firm of J. Beagles & Co. was started by John Beagles (1844-1909). The company produced a variety of postcards including an extensive catalogue of celebrity (stage and screen) portrait postcards. After Beagle’s death, the business continued under its original name until it closed in 1939.
The card was posted on Tuesday the 8th. September 1903 to:
Miss Beryl Turner,
'Dunstead',
Langley Mill,
Nr. Nottingham.
The message on the divided back of the card was as follows:
"You forgot to give me
your Brighton address,
and therefore I send
these home.
J.G.N."
Sir Johnston Forbes-Robertson
Sir Johnston Forbes-Robertson (16th. January 1853 – 6th. November 1937) was an English actor and theatre manager.
He was considered the finest Hamlet of the Victorian era and one of the finest actors of his time, despite his dislike of the job and his lifelong belief that he was temperamentally unsuited to acting.
Forbes-Robertson's Early Years
Born in London, Johnston was the eldest of the eleven children of John Forbes-Robertson, a theatre critic and journalist from Aberdeen, and his wife Frances.
One of his sisters, Frances (1866–1956), and three of his brothers, Ian Forbes-Robertson (1859–1936), Norman Forbes-Robertson (1858–1932) and John Kelt (Eric Forbes-Robertson) (1865–1935), also became actors.
He was educated at Charterhouse School. Originally intending to become an artist, he trained for three years at the Royal Academy. He began a theatrical career out of a desire to be self-supporting, when the dramatist William Gorman Wills, who had seen him in private theatricals, offered him a role in his play 'Mary Queen of Scots'.
His many performances led him into, among other things, travel to the U.S., and work with Sir Henry Irving. He was hailed as one of the most individual and refined of English actors.
Johnston was a personal friend of the Duke of Sutherland and his family, and often stayed with them at Trentham Hall; he is known to have recommended to them various writers and musicians in dire need of assistance.
Forbes-Robertson first came to prominence playing second leads to Henry Irving before making his mark in the role of Hamlet. One of his early successes was in W. S. Gilbert's 'Dan'l Druce, Blacksmith'.
In 1882, he starred with Lottie Venne and Marion Terry in G. W. Godfrey's comedy 'The Parvenu' at the Court Theatre.
George Bernard Shaw wrote the part of Caesar in 'Caesar and Cleopatra' for him. Shaw stated:
"I wrote 'Caesar and Cleopatra' for Forbes-Robertson,
because he is the classic actor of our day, and had
a right to require such a service from me.
Forbes-Robertson is the only actor I know who can
find out the feeling of a speech from its cadence.
His art meets the dramatist’s art directly, picking it
up for completion and expression without
explanations or imitations … Without him 'Caesar
and Cleopatra' would not have been written".
Forbes-Robertson's other notable roles were Romeo, Othello, Leontes in 'The Winter's Tale', and the leading role in 'The Passing of the Third Floor Back'; performed on Broadway in 1908.
Forbes-Robertson's Later Years
Johnston did not play Hamlet until he was 44 years old, but after his success in the part he continued playing it until 1916, including a surviving silent film (1913).
In a theatre review of Forbes-Robertson’s performance in Hamlet published in The Saturday Review (2nd. October 1897) George Bernard Shaw wrote:
"Nothing half so charming has been seen
by this generation. It will bear seeing again
and again. … His intellect is the organ of his
passion.
His eternal self-criticism is alive and thrilling
as it can possibly be. Mr. Forbes-Robertson’s
own performance has a continuous charm,
interest and variety, which are the result not
only of his well-known grace and
accomplishment as an actor, but of a genuine
delight — the rarest thing on our stage —
in Shakespeare’s art, and a natural familiarity
with the plane of his imagination".
Forbes-Robertson The Artist
Forbes-Robertson was also a talented artist who painted a portrait of his mentor Samuel Phelps that currently hangs in the Garrick Club in London.
Forbes-Robertson - Relationships and Marriage
Forbes-Robertson acted in plays with the actress Mary Anderson in the 1880's. He became smitten with her, and asked her hand in marriage. She kindly turned him down, though they remained friends.
Later he and actress Beatrice Campbell enjoyed a brief affair during the time she starred with him in a series of Shakespearean plays in the mid-1890's.
In 1900, at the age of 47, he married American-born actress Gertrude Elliott (1874–1950), sister of Maxine Elliott, with whom he had four daughters.
Daughters of Forbes-Robertson and Gertrude Elliott
Their first daughter was Maxine Forbes-Robertson, known as 'Blossom', who married the aircraft designer F. G. Miles and became a director and designer of the Miles Aircraft company.
Their second daughter Jean Forbes-Robertson became an accomplished actress.
Their third daughter was Chloe Forbes-Robertson (1909–1947), an artist.
Diana Forbes-Robertson (1914–1988), their fourth daughter, was a writer who later wrote a biography of her aunt Maxine Elliott.
Knighthood
Johnston Forbes-Robertson was knighted in 1913 at the age of 60, at which point he retired briefly from acting.
American Farewell Tours
Johnston returned to the stage, however, for his first farewell tour of the US in 1914–1915. It began in with a three month run in New York, then travelled the country using eight railroad freight cars to carry the sets, costumes and props for eight shows.
There were also two passenger cars for the actors and personnel. His last appearance was at the Sanders Theatre in Boston with a performance of 'Hamlet'.
A second US farewell tour followed; it travelled to 122 towns, beginning in Detroit in October 1915, with four plays. The tour travelled to Chicago, Indianapolis, St. Louis, Kansas City, Salt Lake City, and San Francisco — where he learned of the birth of his fourth daughter, Diana.
At this point they decided to reduce the itinerary to only three plays, by eliminating 'Caesar and Cleopatra' from the repertoire. In his autobiography he describes how, on one early morning, the set, including the sphinx, was piled onto a beach and set on fire.
The tour continued into Canada. His last performance as both Hamlet and as an actor, was in 1916 at the Sheldon Lecture Theatre of the University of Harvard, the stage of which had been made to replicate the stage of the Elizabethan Fortune Theatre especially for the Forbes-Robertson’s performance.
Forbes-Robertson's Literary Works
Johnston's literary works include 'The Life and Life-Work of Samuel Phelps' (actor and theatre manager) as well as his own autobiography 'A Player Under Three Reigns' (1925).
Death of Forbes-Robertson
On the 6th. November 1937 Forbes-Robertson died at St. Margaret's Bay, near Dover, Kent, and was cremated at Golders Green Crematorium, London on the 9th. November. Memorial services were held at St. Martin-in-the-Fields, Westminster, London.
A statue of Forbes-Robertson by Brenda Putnam (1932) can be found at the Folger Shakespeare Library in Washington D.C.
Miss Gertrude Elliott
Gertrude Elliott (December 14th. 1874 — December 24th. 1950), later Lady Forbes-Robertson, was an American stage actress, part of an extended family of theatre professionals including her husband, Sir Johnston Forbes-Robertson, and her elder sister, Maxine Elliott.
Gertrude Elliott - The Early Years
May Gertrude Dermott was born in Rockland, Maine, a daughter of Thomas and Adelaide Hall Dermott. Her father was a sea captain born in Ireland, and her mother had been a schoolteacher.
Her older sister Maxine left the household for New York City at 16, and Gertrude soon followed. Both of them began using the surname "Elliott" as young women.
The Career of Gertrude Elliott
Elliott's career on stage began in 1894, with a role in Oscar Wilde's 'A Woman of No Importance', in a company that was touring New York state.
Both Elliotts joined a company in San Francisco that toured Australia in 1896. The company was run by Nat C. Goodwin, an actor who soon married Maxine Elliott.
Their company went to London in 1899, and the next year Gertrude was hired into the company of Johnston Forbes-Robertson; Gertrude Elliott and Forbes-Robertson married at the end of 1900, and continued to work together for much of their careers. She was, literally, Ophelia to his Hamlet, Desdemona to his Othello, and Cleopatra to his Caesar.
Away from the stage, Gertrude Elliott starred with her husband in a silent film version of 'Hamlet' in 1913, directed by their friend J. H. Ryley. She also appeared in a 1917 silent film, 'Masks and Faces'.
Gertrude Elliott was a co-founder and president of the Actresses' Franchise League.
Gertrude Elliott and the Great War
During World War I she managed the 'Shakespeare Hut' in Bloomsbury, a project of the YMCA for entertaining and raising morale among war workers.
In 1923, New Zealand gave Gertrude Elliott an award for her work with ANZAC troops during the war.
Personal life of Gertrude Elliott
Gertrude Elliott married English actor Johnston Forbes-Robertson in 1900. They had four daughters, including aircraft designer Maxine (Blossom) Miles, writer Diana Forbes-Robertson, and actress Jean Forbes-Robertson.
Johnston was knighted in 1913, making Gertrude 'Lady Forbes-Robertson' from that time. She was widowed when her husband died in 1937, and Gertrude died in 1950, aged 76 years. Her grandchildren include actress Joanna Van Gyseghem.
There is a plaque marking the birthplace of the Elliott sisters in the Trackside Station in Rockland, Maine.
Jane Arbor
So what else happened on the day that the card was posted?
Well, the 8th. September 1903 marked the birth in Yeovil of Eileen Norah Murphy. Eileen was a British writer who under the pseudonym Jane Arbor wrote 57 romances for Mills & Boon between 1948 and 1985.
Jane wrote primarily doctor-nurse and foreign romances. Many of her doctor-nurse romances have been re-edited with different titles which include medical terms.
Jane lived in Preston, Sussex.
The Death of Jane Arbor
Jane died on the 4th. February 1994 aged 90 in Worthing, West Sussex.
The Wheeling Intelligencer published on Wednesday, July 15th, 1908:
An historic landmark, probably one of the most important remaining in West Virginia, has been removed. The demolition of the Betty Zane cabin, located on Market alley, between Main and Market streets, was completed yesterday, negotiations for the purchase of the place by the local chapter of the Daughters and Sons of the Revolution having fallen flat.
Offers to Mr Feinler were far below the value of the ground occupied by the historic old cabin. It is understood that a number of offers were made by private parties who hoped to secure the property and sell it to the City or state for a large sum.
Many public spirited citizens of Wheeling extensively discussed the advisability of purchasing the property and presenting it to the city to be retained and preserved as a memorial of Wheeling’s early days and the stirring times of Indian warfares. Their offer for the property, however, is said to have been, far below its real value.
Work is soon to he started on a handsome new brick structure that is to replace the old relic.
The famous old building will not be lost to history, however, as M.r Feinler has artfully stored away the logs and in fact every visage of the structure. Many additional relics, bearing out the theory that it was without doubt the original Betty Zane cabin or “powder house,” were discovered when the workmen were excavating in the crude foundations.
Mr. Feinler will begin work on the new building as soon as practicable. It will be a three-story brick structure. The first floor will be used as a business house, and the second and third for flats. The plans will be prepared by Architect Leiner. The brickwork contract has been awarded to Contractor Hamilton and the woodwork will be done by McDonald Brothers.
**************************
On Saturday, May 18th, 1946, the Intelligencer further reported:
Wheeling’s early history is inseparably tied up with Betty Zane’s girlish heroics and one Andrew Christian Maximilian Hess, is seeing to it that the remaining vestige of her sojourn here are preserved for posterity.
When it became known that the logs from the original Betty Zane cabin, which stood for years and years in the Stone & Thomas alley, were stored in an old residence in North Wheeling; a house that was to be razed for the building materials it contained, Andrew bought them and turned them over to Oglebay Park.
The timbers are about 18 inches wide and four inches thick and are excellently preserved, being of walnut. Just what disposition of them will be made at the park is not determined at this time, but they will likely be utilized in a special Betty Zane room for one of the buildings on Oglebay’s blueprints for the future. There are too few of the Zane logs to reconstruct a complete cabin. During the years, some of the cabin’s original logs were used for making gavels for various organizations.
**************************
In the July 2, 1976, Bicentennial edition of the Wheeling News-Register/Intelligencer, the newspaper reported:
"The cabin, located in Stone's Alley, was dismantled about 1910, the logs stored by Mrs. Gibson Caldwell, later by Andrew C. M. Hess. They were presented to Oglebay Park when Wilson Lodge was built and today are an integral part of the Betty Zane room there."
**************************
- Photograph from the collections of the Ohio County Public Library Archives.
➤ Visit the Library's Wheeling History website
The photos on the Ohio County Public Library's Flickr site may be freely used by non-commercial entities for educational and/or research purposes as long as credit is given to the "Ohio County Public Library, Wheeling WV." These photos may not be reproduced in any format for profit or other presentation without the permission of The Ohio County Public Library.
➤ Contact the Ohio County Public Library to request permission for use or publication of materials.
The Postcard
A postally unused Philco Series postcard with photography by Claude Harris Ltd.
On the back of the card the publishers have printed: 'Invest in Government Securities'.
The card was posted on Friday the 25th. July 1919 to:
Miss E. Hallam,
43, Oakfield Street,
Altrincham.
The message on the back of the card was as follows:
"Wishing you a very, very
happy birthday and many
more of them.
Love from
Phyllis".
Philco
The Philco Publishing Co. of 1-6 Holborn Place, London were active between 1905 to 1934. They published many different types of artist-signed cards and photo-based view-cards.
They are noted for three large sets representing Faith, Hope, and Charity.
Most of their cards were printed in Germany, although a set of real photo birthday greeting cards were manufactured in Italy.
Miss Gladys Cooper
Gladys Cooper's most noticeable characteristic is that she rarely if ever smiled when being photographed. In some publicity shots she actually looks quite annoyed.
Dame Gladys Constance Cooper, (18th. December 1888 – 17th. November 1971) was an English actress whose career spanned seven decades on stage, in films and on television.
Beginning as a teenager in Edwardian musical comedy and pantomime, she was starring in dramatic roles and silent films before the First World War.
She also became a manager of the Playhouse Theatre from 1917 to 1933, where she played many roles. From the early 1920's, Cooper was winning praise in plays by W. Somerset Maugham and others.
In the 1930's, she was starring both in the West End and on Broadway. Moving to Hollywood in 1940, Cooper found success in a variety of character roles; she was nominated for three Academy Awards, the last one as Mrs. Higgins in 'My Fair Lady' (1964). Throughout the 1950's and 1960's, she mixed her stage and film careers, continuing to star on stage until her last year.
Gladys Cooper - The Early Years
Cooper was born at 23 Ennersdale Road, Hither Green, Lewisham, London, the eldest of the three daughters of Charles William Frederick Cooper and Mabel Barnett.
Gladys Cooper spent most of her childhood in Chiswick, where her family moved when she was an infant.
Gladys made her stage debut in 1905 touring with Seymour Hicks in his musical 'Bluebell in Fairyland'. The young beauty was also a popular photographic model.
In 1906, she appeared as Lady Swan in London in 'The Belle of Mayfair', and then in the pantomime 'Babes in the Wood' as Mavis. The following year she became a chorus girl at the Gaiety Theatre, creating the small role of Eva in 'The Girls of Gottenberg'. That Christmas, she was Molly in 'Babes in the Wood'.
In 1908, she appeared in the musical 'Havana', followed the next year by 'Our Miss Gibbs', in which she played Lady Connie. She was then on tour again with Hicks, in 'Papa's Wife', before playing Sadie von Tromp in the hit operetta 'The Dollar Princess' at Daly's Theatre in 1909.
In 1911, she appeared in a production of 'The Importance of Being Earnest' and in 'Man and Superman'. Among several other plays, the next year she was Muriel Pym in 'Milestones' at the Royalty Theatre. A highlight of 1913 was Dora in 'Diplomacy' at Wyndham's Theatre. That year she also played the title role in 'The Pursuit of Pamela' at the Royalty.
In 1913 Cooper appeared in her first film, 'The Eleventh Commandment', going on to make several more silent films during the Great War and shortly afterwards. She continued full-time stage work, however, including appearances as Lady Agatha Lazenby in 'The Admirable Crichton' in 1916, and Clara de Foenix in 'Trelawny of the Wells'.
In addition, in 1917, Cooper became co-manager, with Frank Curzon, of the Playhouse Theatre, taking over sole control from 1927 until she left in 1933. During these years, she starred several times in 'My Lady's Dress'. She appeared in W. Somerset Maugham's 'Home and Beauty' in 1919, repeated Dora at His Majesty's Theatre in 1920 and elsewhere thereafter, and played numerous roles at the Playhouse Theatre.
Gladys Cooper - The Later Years
It was not until 1922, however, now in her mid thirties, that she found major critical success, in Arthur Wing Pinero's 'The Second Mrs. Tanqueray'. Early in her stage career, she was criticised for being too stiff. Aldous Huxley dismissed her performance in 'Home and Beauty', writing:
"She is too impassive, too statuesque,
playing all the time as if she were Galatea,
newly unpetrified and still unused to the
ways of the living world."
Evidently, her acting improved during this period, as Maugham praised her for:
"Turning herself from an indifferent actress
to an extremely competent one through her
common sense and industriousness".
For both the 1923 and 1924 Christmas shows at the Adelphi Theatre, Cooper played the title character in 'Peter Pan', while also playing several other roles at that theatre during those two years. She appeared in Maugham's 'The Letter' in London and on tour in 1927 and 1928, in 'Excelsior' in 1928, and in Maugham's 'The Sacred Flame' in 1929, also in London and on tour.
Among other roles, Cooper was Clemency Warlock in 'Cynara' (1930), Wanda Heriot in 'The Pelican' (1931), Lucy Haydon in 'Dr Pygmalion' (1932), Carola in 'The Firebird' (1932), Jane Claydon in 'The Rats of Norway' (1933), Mariella Linden in 'The Shining Hour' in 1934 and 1935, in London and New York City and on tour (at the same time making her first "talkie" film, 'The Iron Duke'), also playing Desdemona and Lady Macbeth on Broadway in 1935.
She was Dorothy Hilton in 'Call it a Day', again in both London and New York, from 1935 to 1936. A highlight of 1937 was Laura Lorimer in 'Goodbye to Yesterday' in London and on tour. In 1938, she played Tiny Fox-Collier in 'Spring Meeting' in New York, Montreal and Britain, as well as several Shakespeare roles and Fran Dodsworth in 'Dodsworth'. She repeated 'Spring Meeting' in 1939.
Cooper turned to film full-time in 1940, finding success in Hollywood in a variety of character roles, and was frequently cast as a disapproving, aristocratic society woman, although she sometimes played lively, approachable types, as she did in 'Rebecca' (1940).
She was nominated three times for an Academy Award for Best Supporting Actress for her performances as Bette Davis's domineering mother in 'Now, Voyager' (1942), a sceptical nun in 'The Song of Bernadette' (1943), and Rex Harrison's mother, Mrs. Higgins, in 'My Fair Lady' (1964).
In 1945, after playing the role of Clarissa Scott in the film 'The Valley of Decision' for Metro-Goldwyn-Mayer, she was given a contract with the studio. Her credits there included both dramatic and comedy films, including 'The Green Years' (1946), 'The Cockeyed Miracle' (1946) and 'The Secret Garden' (1949).
Other notable film roles were 'The Man Who Loved Redheads' (1955), 'Separate Tables' (1958) and 'The Happiest Millionaire' (1967) as Aunt Mary Drexel, singing "There Are Those".
Her only stage roles in the 1940's were Mrs. Parrilow in 'The Morning Star' in Philadelphia and New York (1942), and Melanie Aspen in 'The Indifferent Shepherd' in Great Britain (1948).
She returned to theatre (between films) more often in the 1950's and 1960's, playing in London and on tour in such roles as Edith Fenton in 'The Hat Trick' (1950); Felicity, Countess of Marshwood, in 'Relative Values' (1951 and 1953); Grace Smith in 'A Question of Fact' (1953); Lady Yarmouth in 'The Night of the Ball' (1954); Mrs. St. Maugham in 'The Chalk Garden' (1955–56), Dame Mildred in 'The Bright One' (1958); Mrs. Vincent in 'Look on Tempests' (1960); Mrs. Gantry (Bobby) in 'The Bird of Time' (1961); Mrs. Moore in a stage adaptation of 'A Passage to India' (1962); Mrs Tabret in 'The Sacred Flame' (1966 and 1967); Prue Salter in 'Let's All Go Down the Strand' (1967); Emma Littlewood in 'Out of the Question' (1968); Lydia in 'His, Hers and Theirs' (1969); and others.
She received two nominations for the Tony Award for Best Actress in a Play, for her roles in 'The Chalk Garden' and 'A Passage to India'.
She also had various television roles in the 1950's and '60's. These included, among others, three episodes of 'The Twilight Zone'. In the first, titled "Nothing in the Dark" (1962), she played an old lady who refuses to leave her flat for fear of meeting 'Death'. A young policeman (Robert Redford) is shot at her doorstep and persuades her to let him inside.
Her second appearance was in "Passage on the Lady Anne", which aired on the 9th. May 1963.
Her final episode was the 1964 "Night Call", where she portrayed a difficult, lonely old lady who is besieged by late-night phone calls. Cooper starred in the 1964–65 series 'The Rogues' with David Niven, Charles Boyer, Gig Young, Robert Coote, John Williams and Larry Hagman. The series lasted a single season of thirty episodes, most of which featured Cooper as the matriarch of a crime family.
In 1967, at the age of 79, she was appointed a Dame Commander of the Order of the British Empire (DBE). Her last major success on the stage was at the age of 82, in 1970–71 in the role of Mrs. St. Maugham in Enid Bagnold's 'The Chalk Garden', a role she had created on Broadway and in the West End in 1955–56.
Marriages of Gladys Cooper
Cooper was married three times. Her husbands were:
- Captain Herbert Buckmaster (1908–1921). The couple had two children: Joan (1910–2005), who was married to the actor Robert Morley, and John Rodney (1915–83).
- Sir Neville Pearson (1927–36). Sir Neville and Lady Pearson had one daughter, Sally Pearson, aka Sally Cooper, who was married (1961–86) to actor Robert Hardy.
- Philip Merivale (1937–1946), a fellow actor. The couple lived for many years in Santa Monica, California as permanent resident aliens. He died at age 59 from a heart ailment. Her stepson from this marriage was John Merivale.
Death of Gladys Cooper
Gladys lived mostly in England in her final years, and died from pneumonia at the age of 82 in Henley-on-Thames, Oxfordshire.
Woodrow Wilson
So what else happened on the day that Phyllis posted the card?
Well, on the 25th. July 1919, in Paris, delegates to the peace conference formally approved the establishment of a Commission on the League of Nations. United States president Woodrow Wilson insisted on chairing the commission.
The League's task was simple - to ensure that war never broke out again. In this respect the League was a total failure.
Alain Prost McLaren Tag MP4/2B F1 at Druids. I have always lived locally to Silverstone, but Brands to me was just incredible, the sight and sound of 1000bhp Turbo F1 cars around the Hilly "Natural Bowl"circuit, i will never forget, you could feel the noise and power, great era.
All of photographs published here are copyright © Anthony Fosh All Rights Reserved. They may not be reproduced and/or used in any form of publication, print or the Internet without my written permission.
I got one of my photos published in this magazine: Landscape Trades .
It's in April's edition and it will be available online in May =)
I'm really proud and excited about it :)
Big thanks to Melissa Steep (art director).
This is my first actual book which was printed in 1000 copies on high quality photo paper. The size is 17x24 cm.
The Postcard
A postally unused postcard that was photographed and published by A. Yallop of Great Yarmouth. They state on the back of the card that it was 'Printed Abroad'.
St. Nicholas
The Norman-era Minster Church of St Nicholas in Great Yarmouth is England's largest parish church. It was founded in 1101 by Herbert de Losinga, the first Bishop of Norwich. Since its construction, it has been Great Yarmouth's parish church.
It is cruciform, with a central tower, which may preserve a part of the original structure. Gradual alterations effectively changed the form of the building. Its nave is 26 feet (7.9 m) wide, and the church's total length is 236 feet (72 m).
These days the church is not only used for religious services, but is also a hub for various other regional and civic events, including concerts by choirs, orchestras and other musical ensembles, art exhibitions and, during festivals and fayres, the church opens permitting stalls and traders inside.
Great Yarmouth
Great Yarmouth is a seaside resort and minster town in Norfolk straddling the River Yare, 20 miles (30 km) east of Norwich. A population of 38,693 in the 2011 Census made it Norfolk's third most populous place.
Its fishing industry, mainly for herring, fell steeply after the mid-20th. century, and has all but vanished. North Sea oil from the 1960's brought an oil-rig supply industry that now services offshore natural gas rigs. More recent offshore wind power and other renewable energy have created further support services.
Yarmouth has been a seaside resort since 1760, and a gateway from the Norfolk Broads to the North Sea. Tourism was boosted when a railway opened in 1844, which gave visitors easier, cheaper access and triggered some settlement.
Wellington Pier opened in 1854 and Britannia Pier in 1858. Through the 20th. century, Yarmouth was a booming resort, with a promenade, pubs, trams, fish-and-chip shops and theatres.
There is also the Pleasure Beach, the Sea Life Centre, the Hippodrome Circus and the Time and Tide Museum, as well as a surviving Victorian seaside Winter Garden in cast iron and glass.
Great Yarmouth in the Past
The town was the site of a bridge disaster and drowning tragedy on the 2nd. May 1845, when a suspension bridge crowded with children collapsed killing 79. They had gathered to watch a clown in a barrel being pulled by geese down the river. As he passed under the bridge the weight shifted, causing the chains on the south side to snap, tipping over the bridge deck.
Great Yarmouth had an electric tramway system from 1902 to 1933. From the 1880's until the Great War, the town was a regular destination for Bass Excursions, when 15 trains would take 8000–9000 employees of Bass's Burton brewery on an annual trip to the seaside.
During the Great War, Great Yarmouth suffered the first aerial bombardment in the UK, by Zeppelin L3 on the 19th. January 1915. That same year on the 15th. August, Ernest Jehan became the first and only man to sink a steel submarine with a sail-rigged Q-ship, off the coast of Great Yarmouth.
Great Yarmouth was bombarded by the German Navy on the 24th. April 1916. The town also suffered Luftwaffe bombing during World War II because it was the last significant place Germans could drop bombs before returning home.
Nevertheless despite war damage, much is left of the old town, including the original 2,000-metre (1.2 mi) protective medieval wall, of which two-thirds has survived. Of the 18 towers, 11 are left.
On the South Quay is a 17th.-century Merchant's House, as well as Tudor, Georgian and Victorian buildings. Behind South Quay is a maze of alleys and lanes known as 'The Rows'. Originally there were 145. Despite bombing, several have remained.
Great Yarmouth was badly affected by the North Sea flood of 1953. More recent flooding has also been a problem, with four floods in 2006, the worst being in September. Torrential rain caused drains to block and an Anglian Water pumping station to break down. This caused flash flooding in which 90 properties were flooded up to a depth of 5 ft (1.5 m).
Great Yarmouth Sights and Amenities
The Tollhouse with its dungeons, dating from the late 13th. century, is one of Britain's oldest former jails and oldest civic buildings. Major sections of the medieval town walls survive around the parish cemetery and in parts of the old town.
Great Yarmouth Minster (The Minster Church of St Nicholas, founded in the 12th. century as an act of penance) stands in Church Plain, just off the market place. It is the third-largest parish church in England, after Beverley Minster in East Yorkshire and Christchurch Priory in Dorset.
Church Plain also has the 17th.-century timber-framed house, in which Anna Sewell (1820–1878), author of Black Beauty, was born.
The market place, one of the largest in England, has been operating since the 13th. century. It is also home to the town's shopping sector and the famous Yarmouth chip stalls. The smaller area south of the market is used as a performance area for community events.
The Scroby Sands Wind Farm of 30 generators is within sight of the seafront. Also visible are grey seals during their breeding season. The country's only full-time circus, the Hippodrome Circus, is just off the seafront.
The Two Piers
Great Yarmouth has two piers, Britannia Pier (which is Grade II listed) and Wellington Pier. The theatre building on the latter was demolished in 2005 and reopened in 2008 as a family entertainment centre, including a ten-pin bowling alley overlooking the beach.
Britannia Pier holds the Britannia Theatre, which during the summer has featured acts such as Jim Davidson, the comedian Jethro, Basil Brush, Cannon and Ball, Chubby Brown, the Chuckle Brothers and the Searchers. It is one of the few end-of-the pier theatres surviving in England.
The Winter Gardens
The Grade II listed Winter Gardens building sits next to the Wellington Pier. The cast iron, framed glass structure was shipped by barge from Torquay in 1903, purportedly without the loss of a single pane of glass. Over the years, it has been used as ballroom, roller skating rink and beer garden.
In the 1990's it was converted into a nightclub by Jim Davidson, and has since been used as a family leisure venue. It is currently (2020) closed. In the meantime it has been named by the Victorian Society as a heritage building at risk of disrepair.
The Marine Parade
Great Yarmouth's seafront, known as 'The Golden Mile' attracts millions of visitors each year to its sandy beaches, indoor and outdoor attractions and amusement arcades.
Great Yarmouth's Marine Parade has twelve Amusement Arcades within 2 square miles.Their names draw heavily on Las Vegas and include: The Flamingo, Circus Circus, The Golden Nugget, The Mint, The Silver Slipper, The Showboat, Magic City, Quicksilver and The Gold Rush.
In addition to the two piers, tourist attractions on Marine Parade include Joyland, Pirates' Cove Adventure Golf, Yesterday's World, the Marina Centre, Retroskate, the Arnold Palmer Putting Green, the Sea Life Centre, Merrivale Model Village and the Pleasure Beach and Gardens.
The Venetian Waterways
In August 2019, the Venetian Waterways and gardens re-opened. The waterways, running parallel to the main beach, were a feature constructed as a work-creation scheme in 1926–1928, consisting of canals and formal gardens, with rowing boats, pedalos and gondolas.
The waterways had been allowed to silt up, decay and become abandoned. With a grant from the Heritage Lottery Fund of £1.7 m and the labour of volunteers, the flowerbeds have been restored with 20,000 plants, and the 1920's cafe has been restored. That and the boat hire are being run by a social enterprise.
The Nelson Monument
The South Denes area is home to the Grade I listed Norfolk Naval Pillar, known locally as the Britannia Monument or Nelson's Monument. This tribute to Nelson was completed in 1819, 24 years before the completion of Nelson's Column in London. The monument, designed by William Wilkins, shows Britannia standing atop a globe holding an olive branch in her right hand and a trident in her left.
There is a popular assumption in the town that the statue of Britannia was supposed to face out to sea but now faces inland due to a mistake during construction, although it is thought she is meant to face Nelson's birthplace at Burnham Thorpe.
The monument was originally planned to mark Nelson's victory at the Battle of the Nile, but fund-raising was not completed until after his death, and it was instead dedicated to England's greatest naval hero. It is currently surrounded by an industrial estate but there are plans to improve the area.
Charles Dickens
Charles Dickens used Great Yarmouth as a key location in his novel David Copperfield and described the town as 'The finest place in the universe'. The author stayed at the Royal Hotel on the Marine Parade while writing the novel.
Great Yarmouth Museums
The Norfolk Nelson Museum on South Quay houses the Ben Burgess collection of Nelson memorabilia and is the only dedicated Nelson museum in Britain, other than one in Monmouth. Its several galleries look at Nelson's life and personality, and at what life was like for men who sailed under him.
The Time and Tide Museum in Blackfriars Road was nominated in the UK Museums Awards in 2005. It was built as part of a regeneration of the south of the town in 2003. Its location in an old herring smokery harks back to the town's status as a major fishing port.
Sections of the historic town wall stand opposite the museum, next to the Great Yarmouth Potteries, part of which is housed in another former smoke house. The town wall is among the most complete medieval town walls in the country, with 11 of the 18 original turrets still standing.
Other museums in the town include the National Trust's Elizabethan House, the Great Yarmouth Row Houses, managed by English Heritage, and the privately owned Blitz and Pieces, based on the Home Front during World War II.
The Westland Wessex Crash
On the 13th. October 2014, a memorial stone was unveiled to commemorate the deaths of thirteen people in the 1981 Bristow Helicopters Westland Wessex crash.
G-ASWI was a Westland Wessex 60 operating between Bacton Gas Terminal, in Norfolk, and Amoco gas platforms in the North Sea. On the 13th. August 1981 the helicopter lost power to the main rotor gearbox, going out of control. The flight was carrying 11 gas workers from the Leman gas field to Bacton. All passengers, pilot and cabin attendant on board were lost.
At 15:41, returning from the Leman field to the landing site at Bacton, the commander, Ben Breach, sent a distress message reporting that he was ditching due to engine failure. Radar lost the aircraft three seconds later.
A Royal Air Force Search and Rescue Westland Sea King left RAF Coltishall at 15:47, sighting floating wreckage from G-ASWI at 15:57.
Efforts to recover the wreck were delayed, meaning that the wreck was beyond recovery by the time salvage operations started. There was insufficient evidence to explain either the loss of power or loss of control that caused the aircraft to crash. The inquest into the deaths of those on board recorded an open verdict.
The Kaiser Permanente Center for Total Health is looking forward to a day of service. Martin Luther King, Jr. Monument, Washington, DC USA
Published in Weekend Flashback: 1/17-1/20 | We Love DC
A collaboration of drawings by my friend Alice Pattullo and myself. They were made into a small self-published zine, and a set of 3 posters (digitally printed onto cartridge paper)
OBITUARY.; Madam Eliza B. Jumel.
New York TImes
Published: July 18, 1865
A single sentence in this morning's TIMES serves to awaken many memories of the past, and revive remembrances of men and parties long since crumbled or forgotten. Thus it reads: "Died, on Sunday morning, July 16, at her late residence, Washington Heights, madam ELIZA B. JUMEL, in the 92d year of her age."
Madam JUMEL, whose death is chronicled above, was a very singular person, about whose name twined many marvelous stories, and with whose history the greatest men of colonial and Revolutionary days were intimately connected. According to one historian, she was born of an English, mother, Mrs. CAPET, in the cabin of a French frigate, which in the year of our Lord 1769 was carrying troops to the West Indies from La Brest. The mother died as the child drew the first breath of life. Somewhat embarrassed by the tender charge, the Captain concluded to keep her, but afterward, when driven into Newport, R.I., harbor, he placed her in the custody of an elderly lady named THOMPSON, who agreed to take good care of her. Mrs. THOMPSON was a good woman, and many clergymen visited her comparatively humble dwelling, so that the early years of the little one were passed amid good influences.
Many of His Britannic Majesty's officers dwelt in Newport. Among them was a certain Col. P. CROIX, whose personal appearance is reported to have been most taking -- whose position in society was excellent. The Colonel met Miss CAPET when she was about seventeen years of age, and fell in love with her pretty face and pleasant figure. She reciprocated the tender passion, which eventuated in an elopement, the indiscreet but entirely happy pair proceeding to New-York, where the lady lodged at a "handsome wooden structure," but recently standing where now rests the north wing of STEWART's marble palace.
Brought at once into contact with the best people in the city, the lady became a cultured woman of the world, fond of its pleasures, versed in its intrigues, interested in the cabals of politicians, and espousing with ardor one side or the other of the continual military emeutes with which the latter days of the eighteenth century were so cursed in New-York City. She was present at the opening of the first session of Congress at Philadelphia, in September, 1774, and at the inauguration of WASHINGTON as President, she created a decided impression by her beauty and general air of savoir faire. She was about twenty years of age then, and very elegant in person and distinguished in bearing. Mme. JUMEL first met AARON BURR when he ranked as a Captain in the army, and was greatly impressed by his power and expression. She was even then intimate with BENEDICT ARNOLD, whose wife she fancied her best friend, and with PATRICK HENRY, in whose breast of reserve she started a dangerous fire of love and passion; but, forgetful of those noted men, and of the scores who bent willingly before her shrine, she wrote thus of the man who, in after years, was destined to be her lord, if not her master. She says:
"Capt. AARON BURR, in the hey-day of his youth, as he now was, appeared to me the perfection of manhood personified. He was beneath the common size of men, only five feet and a half high, but his figure and form had been fashioned in the models of the graces. Petite as he comparatively was, he had a martial appearance, and displayed in all his movements those accomplishments which are only acquired in the camp and embellished in the boudior of the graces. In a word, he was a combined model of Mars and Apollo. His eye was of the deepest black, and sparkled with an incomprehensible brilliancy when he smiled; but if enraged, its power was absolutely terrific. Into whatever female society he chanced, by the fortune of war or by the vicissitudes of private life to be cast, he conquered all hearts without an effort; and, until he became deeply involved in the cares of State, and the vexations incident to the political arena, I do not believe a female capable of the gentle emotions of love ever looked upon him without loving him. Wherever he went he was petted and caressed by our sex, and hundreds vied with each other in a continuous struggle to offer him some testimonial of their adulation. And yet, with all this popularity in the polite circles, he never took advantage of his position, and I do not believe that any female ever had cause to complain of his seductive wiles, perfidy or injustice."
The casual meeting between the two took place at the rooms of Lady STIRLING, and resulted in Miss CAPET's acceptance of an invitation to accompany Capt. BURR that evening to the theatre. On the way to the house, BURR asked permission to stop for a friend, and so doing he brought into the carriage and introduced to Miss CAPET as his friend the afterward celebrated MARGARET MONCRIEF. A desperate flirtation followed, but beyond that nothing of any moment occurred between them, and he soon after was called away, so that for years they did not meet.
Continuing her gay career, Miss CAPET met and knew intimately the great leaders of the Revolutionary struggle. THOMAS JEFFERSON was a frequent visitor at her house, and a friendship formed between them which ceased only with his death, in 1826. Old BEN FRANKLIN called her his "Fairy Queen," and was on terms of such intimacy with her as permitted him to salute her lips in the presence of friends. Gen. KNOX was likewise a worshipper before her, and LAFAYETTE was greatly charmed. That such a woman as this should have gone through escapades and adventures is but natural; that she should take pleasure and pride in bringing men of loftiest position to her feet is quite understandable; that her reputation should materially suffer by the scandal of her rivals and the jealous tattlings of her female friends is what one would expect; but that she should finally accept the hand of, and marry, a quiet, hard-working, adventurous trader, is a vagary difficult of explanation. She did it, however. In the early days of this century she was wooed and won by a Frenchman named STEPHEN JUMEL, who, landing here poor, made an immense fortune in the wine trade. He became noted for his wealth, liberality and kind-hearted benevolence, and singular foresight in business matters. Of him our worthy but eccentric fellow-citizen, GRANT THORBURN, said:
"STEPHEN JUMEL, a Frenchman, was among our early merchant princes. One morning, about 10 o'clock, in the year 1806, this gentleman, in company with WILLIAM BAYARD, HARMON LE ROY, ARCHIBALD GRACIE, Gen. CLARKSON, and some dozen others, was reading and discussing the news just arrived from Liverpool in the extraordinary short passage of seven weeks. The matter mostly concerned NAPOLEON I. and the battle of Wagram. While thus engaged, a carman's horse backed his cart into the Whitehall-slip. The cart was got out, but the horse was drowned, and every one began pitying the poor carman's ill-luck. JUMEL instantly arose, and placing a ten-dollar bill between his thumb and finger, and holding it aloft while it fluttered in the breeze, and with his hat in the other hand he walked through the length and breadth of the crowd, exclaiming, "How much you pity the poor man? I pity him ten dollars. How much you pity him?" By this ingenious and noble coup he collected in a few moments about seventy dollars, which he gave over at once to the unfortunate and fortunate carman. This has since been imitated often, but of its originality with him there can be no question."
Shortly after this marriage, the downfall of the great NAPOLEON occurred, and the pacification of Europe was secured. This seemed a favorable opportunity for the wealthy Frenchman, who had long since retired from active business, to take his beautiful and accomplished wife to the centre of continental splendor. They went to Paris, purchased a magnificent establishment, and under the social patronage of LAFAYETTE and his contemporaries, Madame JUMEL became as noted in the salons of the French capital as in the parlors of the western metropolis. Her wit and talent placed her in the very van of the frequenters of the court, and while she never failed to make continual conquests, we are not of those who believe the slanderers of her reputation. Gaiety is not always guilt, frivolity not always the exponent of heartlessness, and despite Madame JUMEL's wonderful gaiety and never-ceasing frivolty, she was deep and shrewd and able enough to maintain her position against the combined attacks of those who envied her.
Her life of prodigious prodigality made sad inroads upon her husband's fortune, and he became low spirited. She rallied him, but investigation demonstrated the comparative wreck of his estate, and she failed to arouse him to the necessary exertion. Self-reliant, bold, independent and clear-sighted, she broke up their establishment in Paris and returned alone to New-York in 1822. Resolved to mend what she had broken, she retired to an estate of her own on the island, and devoted herself to the recuperation of her husband's fortune with such signal success that when, in 1828, at the age of sixty-four, he returned to this country, he found himself possessed of means at once abundant and satisfactory. They lived happily together until his death, which resulted in his seventieth year, from an accidental fall.
At this time Col. BURR was practicing law, with great success, in New-York. His legal position was in the front rank: triumph succeeded triumph and although old in years, he seemed but in the prime of life. There was talk of cholera in the city, and Madame JUMEL, who had large interests in real estate determined upon a carriage tour in the country siring, however, to take legal advice on some matters before leaving, she determined to consult Col. BURR, whose preeminence in real estate law was universally conceded. It was a long time since she had seen him. Years had changed them both; oceans and events had separated them; marriage and its consequences had turned the thoughts of each in other directions; and now, when the one was an old man and the other a well-advanced woman, they were to meet. He was perfect in all the subtleties of social life; she was the exponent, ne plus ultra, of fashionable life. The one could not hope to blind, mislead, or seduce the other. His office was at No. 23 Nassau-street, and she drove thither to consult him. Never forgetful of eye, or feature, or figure, he recognized her in a moment, and, as PARTON in his Life of Aaron Burr, says:
"He received her in his courtliest manner, complimented her with admirable tact, listened with soft deference to her statement. He was the ideal man of business -- confidential, self-possessed, polite -- giving his client the flattering impression that the faculties of his whole soul were concentrated upon the affair in hand. She was charmed, yet feared him. He took the papers, named the day when his opinion would be ready and handed her to her carriage with winning grace. At seventy-eight years of age, he was still straight, active, agile, fascinating.
On the appointed day she sent to his office a relative, a student of law, to receive his opinion. This young gentleman, timid and inexperienced, had an immense opinion of BURR's talents; had heard all good and all evil of him; supposed him to be, at least, the acutest of possible men. He went. BURR behaved to him in a manner so exquisitely pleasing, that, to this hour, he has the liveliest recollection of the scene. No topic was introduced but such as were familiar and interesting to young men. His manners were such as this age of slangy familiarity cannot so much as imagine. The young gentleman went home to Madame JUMEL only to extol and glorify him.
Madame and her party began their journey, revisiting Ballston, whither, in former times, she had been wont to go in a chariot drawn by eight horses; visiting Saratoga, then in the beginning of its celebrity, where, in exactly ten minutes after her arrival, the decisive lady bought a house and all it contained. Returning to New-York to find that her mansion had been despoiled by robbers in her absence, she lived for a while in the city. Col. BURR called upon the young gentleman who had been Madame's messenger, and, after their acquaintance had ripened, said to him, "Come into my office; I can teach you more in one year than you can learn in ten, in an ordinary way." The proposition being submitted to Madame JUMEL, she, anxious for the young man's advancement, gladly and gratefully consented. He entered the office. BURR kept him close at his books. He did teach him more in a year than he could have learned in ten in an ordinary way. BURR lived then in Jersey City. His office swarmed with applicants for aid, and he seemed to have quite lost the power of refusing. In no other respects, bodily or mental, did he exhibit signs of decrepitude.
Some months passed on without his again meeting Madame JUMEL. At the suggestion of the student, who felt exceedingly grateful to BURR for the solicitude with which he assisted his studies, Madame JUMEL invited Col. BURR to dinner. It was a grand banquet, at which he displayed all the charms of his manner and shone to conspicuous advantage. On handing to dinner the giver of the feast, he said: "I give you my hand, Madame; my heart has long been yours." This was supposed to be merely a compliment and was little remarked at the time. Col. BURR called upon the lady; called frequently; became ever warmer in his attentions; proposed, at length, and was refused. He still plied his suit, however, and obtained at lost, not the lady's consent, but an undecided no. Improving his advantage on the instant, he said, in a jocular manner, that he should bring out a clergyman to Fort Washington on a certain day, and there he would once more solicit her hand.
He was as good as his word. At the time appointed, he drove out in his gig to the lady's country residence, accompanied by Dr. BOGART, the very clergy, man who, just fifty years before, had married him to the mother of his THEODOSIA. The lady was embarrassed, and still refused. But then the scandal! And, after all, why not? Her estate needed a vigilant guardian, and the old house was lonely. After much hesitation, she at length consented to be dressed and to receive her visitors. And she was married. The ceremony was witnessed only by the members of Madame JUMEL's family and by the eight servants of the household, who peered eagerly in at the doors and windows. The ceremony over, Mrs. BURR ordered supper. Some bins of M. JUMEL'L wine cellar, that had not been opened for half a century, were laid under contribution. The little party was a very merry one. The parson, in particular, it is remembered, was in the highest spirits, overflowing with humor and anecdote. Except for Col. BURR's great age, (which was not apparent,) the match seemed not an unwise one. The lurking fear he had had of being a poor and homeless old man was put to rest. She had a companion who had been ever agreeable, and her estate a steward than whom no one living was supposed to be more competent.
As a remarkable circumstance connected with this marriage, it may be just mentionen that there was a woman in New-York who had aspired to the band of Col. BURR and who, when she heard of his union with another, wrung her hands and shed tears. A feeling of that nature can seldom, since the creation of man, have been excited by the marriage of a man on the verge of fourscore.
A few days after the wedding, the 'happy pair' paid a visit to Connecticut, of which State a nephew of Col. BURR's was then Governor. They were received with attention. At Hartford, BURR advised his wife to sell out her shares in the bridge over the Connecticut at that place and invest the proceeds in real estate. She ordered them sold. The stock was in demand and the shares brought several thousand dollars. The purchaser offered to pay her the money, but she said, "No; pay it to my husband." To him, accordingly, it was paid, and he had it sewed up in his pocket, a prodigious bulk, and brought it to New-York and deposited it in his own bank to his own credit.
Texas was then beginning to attract the tide of emigration which, a few years later, set so strongly thither. BURR had always token a great interest in that country. Persons with whom he had been variously connected in life had a scheme on foot for settling a large colony of Germans on a tract of land in Texas. A brig had been chartered and the project was in a state of forwardness, when the possession of a sum of money enabled BURR to buy shares in the enterprise. The greater part of the money which he had brought from Hartford was invested in this way. It proved a total loss. The time had not yet come for emigration to Texas. The Germans became discouraged and separated, and, to complete the failure of the scheme, the title of the lands, in the confusion of the times, proved defective. Meanwhile, Madame, who was a remarkable thrifty woman, with a talent for the management of property, wondered that her husband made no allusion to the subject of the investment, for the Texas speculation had not been mentioned to her. She caused him to be questioned on the subject. He begged to intimate to the lady's messenger that it was no affair of her's and he requested him to remind the lady that she now had a husband to manage her affairs and one who would manage them.
Coolness between the husband and wife was the result of this colloquy. Then came remonstrances. Then estrangement. BURR got into the habit of remaining in his office in the city. Then, partial reconciliation. Full of schemes and spebulations to the last, without retaining any of his former ability to act successfully, he lost more money, and more, and more. The patience of the lady was exhausted. She filed a complain accusing him of infidelity and praying that he might have no more control or authority over her affairs. The accusation is now known to have been groundless; nor, indeed, at the time was it seriously believed. It was used merely as the most convenient legal mode of depriving him of control over her property. At first, he answered the complaint vigorously, but afterward he allowed it to go by default and the proceedings were carried no further. A few short weeks of happiness, followed by a few alternate months of alternate estrangment and reconciliation, and this union, that begun not inauspiciously, was, in effect, though never in law, dissolved."
Since then Madame JUMEL, who has never resumed her late husband's name, has resided in her home at Washington Heights, comparatively alone. She knew but few, and cored not to extend her list of friends. She died on Sunday, possessed of considerable property, which her grand-children will doubtless inherit. Her funeral will be to-day.
Published in Elegant Magazine Liquid Dreams Issue! And made cover =)
Model: Anita Mwiruki
Makeup, Hair, Body paint: Liz Kiss
I like to take pictures and to present them - now there's an interview, introducing me, sorry to say: in German language - but the photos there don't need any translation, isn't it? www.happyphoton.de/2009/10/08/interview-dietmar-fritze/ + but because I've been asked, what is your favorite photographer: here is, what I've written on INGE MORATH
+
Published by Franklin Watts in 1978. Verse by Nanette Newman
First published in Germany in 1907 with these same illustrations - this is the first edition in English.
After working on Time Out for ten issues i finally have one of my shots on the cover.
For this we hired a model and makeup artist and it was thought up by our art director.
My job was easy really. Just the one light needed and shot in our meeting room.
Owned By: Dave Sneade of Huntingtown, MD.
Photographed @ the 2016 19th Annual Goodguys PPG Nationals in Columbus, Ohio.
Playing Now: The Long Goodbye - Brooks & Dunn
COPYRIGHT NOTICE: © 2016 - 2017 Mark O'Grady Digital Studio\MOSpeed Images. All photographs displayed with the Mark O'Grady Digital Studio/MOSpeed Images logo(s) are protected by Canadian, United States of America and International copyright laws unless stated otherwise. The photos on this website are not stock and may not be used for manipulations, references, blogs, journals, share sites, etc. They are intended for the private use of the viewer and may not be published or reposted in any form without the prior consent of its owner Mark O’Grady/MOSpeed Images LLC.
The Postcard
A postally unused Sovereign Series postcard. The card was published by Prescott Pickup & Co. Ltd. of Allscott, Telford, Salop, England. On the back of the card they state:
'A series of 60 postcards.
Illustrated souvenir album
£3'.
The series features images of the Royal Wedding of Prince Charles and Lady Diana Spencer on the 29th. July 1981, and also various scenes both prior and subsequent to the event.
The card was printed in England.
Diana looks alone in her thoughts - she appears to be thinking:
'What am I doing here at
this stuffy formal occasion?'
The Wedding of Prince Charles and Lady Diana Spencer
The wedding of Prince Charles and Lady Diana Spencer took place on Wednesday 29th. July 1981 at St Paul's Cathedral in London. The groom was the heir to the British throne, and the bride was a member of the Spencer family.
The ceremony was a traditional Church of England wedding service. The Dean of St Paul's Cathedral Alan Webster presided at the service, and the Archbishop of Canterbury Robert Runcie conducted the marriage.
Notable figures in attendance included many members of other royal families, republican heads of state, and members of the bride's and groom's families. After the ceremony, the couple made the traditional appearance on the balcony of Buckingham Palace.
The United Kingdom had a national holiday on that day to mark the wedding. The ceremony featured many ceremonial aspects, including use of the state carriages and roles for the Foot Guards and Household Cavalry.
Their marriage was widely billed as a 'Fairytale Wedding' and the 'Wedding of the Century'. It was watched by an estimated global TV audience of 750 million people.
Events were held around the Commonwealth to mark the wedding. Many street parties were held throughout the United Kingdom to celebrate the occasion.
The couple separated in 1992, and divorced in 1996 after fifteen years of marriage.
The Tragic Death of Diana, Princess of Wales
Diana, Princess of Wales died after a high-speed car crash at the age of 36 on the 31st. August 1997 at the Pitié-Salpêtrière Hospital in Paris.
When Diana married Charles, she was a naïve yet hopeful young woman seeking true love. But by the time she died, Diana was jaded, bitter, and impossibly scarred by her disastrous marriage and being hounded by the media.
Twenty years after Princess Diana's funeral, people recall the iconic moments, from the sea of flowers and mementos left outside Kensington Palace to the heart-breaking image of Prince William and Prince Harry walking behind their mother's casket.
Diana’s younger brother Charles, the ninth Earl Spencer, held nothing back during his funeral oration. Funeral attendees may have been expecting a tearful remembrance of Diana’s life. Instead, they felt the full brunt of her brother’s fury at those he felt were responsible for her death.
In paying tribute to his sister, the 9th Earl Spencer reportedly angered the Queen and created a rift in the royal family that has only begun to heal in recent years with the births of Prince George and Princess Charlotte.
What Charles Spencer said in Westminster Abbey is as follows:
Charles Spencer's Funeral Speech
'I stand before you today, the representative of a family in grief in a country in mourning before a world in shock.
We are all united not only in our desire to pay our respects to Diana but rather in our need to do so.
For such was her extraordinary appeal that the tens of millions of people taking part in this service all over the world via television and radio who never actually met her, feel that they too lost someone close to them in the early hours of Sunday morning. It is a more remarkable tribute to Diana than I can ever hope to offer her today.
Diana was the very essence of compassion, of duty, of style, of beauty. All over the world she was a symbol of selfless humanity. All over the world, a standard bearer for the rights of the truly downtrodden, a very British girl who transcended nationality. Someone with a natural nobility who was classless and who proved in the last year that she needed no royal title to continue to generate her particular brand of magic.
Today is our chance to say thank you for the way you brightened our lives, even though God granted you but half a life. We will all feel cheated always that you were taken from us so young, and yet we must learn to be grateful that you came along at all. Only now that you are gone do we truly appreciate what we are now without, and we want you to know that life without you is very, very difficult.
We have all despaired at our loss over the past week and only the strength of the message you gave us through your years of giving has afforded us the strength to move forward.
There is a temptation to rush to canonise your memory, there is no need to do so. You stand tall enough as a human being of unique qualities not to need to be seen as a saint. Indeed to sanctify your memory would be to miss out on the very core of your being, your wonderfully mischievous sense of humour with a laugh that bent you double.
Your joy for life transmitted where ever you took your smile and the sparkle in those unforgettable eyes. Your boundless energy which you could barely contain.
But your greatest gift was your intuition, and it was a gift you used wisely. This is what underpinned all your other wonderful attributes and if we look to analyse what it was about you that had such a wide appeal, we find it in your instinctive feel for what was really important in all our lives.
Without your God-given sensitivity we would be immersed in greater ignorance at the anguish of AIDS and H.I.V. sufferers, the plight of the homeless, the isolation of lepers, the random destruction of landmines.
Diana explained to me once that it was her innermost feelings of suffering that made it possible for her to connect with her constituency of the rejected. And here we come to another truth about her. For all the status, the glamour, the applause, Diana remained throughout a very insecure person at heart, almost childlike in her desire to do good for others so she could release herself from deep feelings of unworthiness of which her eating disorders were merely a symptom.
The world sensed this part of her character and cherished her for her vulnerability whilst admiring her for her honesty.
The last time I saw Diana was on July the 1st., her birthday in London, when typically she was not taking time to celebrate her special day with friends but was guest of honour at a special charity fund-raising evening. She sparkled of course, but I would rather cherish the days I spent with her in March when she came to visit me and my children in our home in South Africa. I am proud of the fact apart from when she was on display meeting President Mandela we managed to contrive to stop the ever-present paparazzi from getting a single picture of her -- that meant a lot to her.
These were days I will always treasure. It was as if we had been transported back to our childhood when we spent such an enormous amount of time together -- the two youngest in the family.
Fundamentally she had not changed at all from the big sister who mothered me as a baby, fought with me at school and endured those long train journeys between our parents' homes with me at weekends.
It is a tribute to her level-headedness and strength that despite the most bizarre-like life imaginable after her childhood, she remained intact, true to herself.
There is no doubt that she was looking for a new direction in her life at this time. She talked endlessly of getting away from England, mainly because of the treatment that she received at the hands of the newspapers. I don't think she ever understood why her genuinely good intentions were sneered at by the media, why there appeared to be a permanent quest on their behalf to bring her down. It is baffling. My own and only explanation is that genuine goodness is threatening to those at the opposite end of the moral spectrum. It is a point to remember that of all the ironies about Diana, perhaps the greatest was this -- a girl given the name of the ancient goddess of hunting was, in the end, the most hunted person of the modern age.
She would want us today to pledge ourselves to protecting her beloved boys William and Harry from a similar fate and I do this here Diana on your behalf. We will not allow them to suffer the anguish that used regularly to drive you to tearful despair.
And beyond that, on behalf of your mother and sisters, I pledge that we, your blood family, will do all we can to continue the imaginative and loving way in which you were steering these two exceptional young men so that their souls are not simply immersed by duty and tradition, but can sing openly as you planned.
We fully respect the heritage into which they have both been born and will always respect and encourage them in their royal role. But we, like you, recognise the need for them to experience as many different aspects of life as possible to arm them spiritually and emotionally for the years ahead. I know you would have expected nothing less from us.
William and Harry, we all cared desperately for you today. We are all chewed up with the sadness at the loss of a woman who was not even our mother. How great your suffering is, we cannot even imagine.
I would like to end by thanking God for the small mercies he has shown us at this dreadful time. For taking Diana at her most beautiful and radiant and when she had joy in her private life. Above all we give thanks for the life of a woman I am so proud to be able to call my sister, the unique, the complex, the extraordinary and irreplaceable Diana whose beauty, both internal and external, will never be extinguished from our minds'.
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Opening-act di The Flaming Lips il 30 gennaio 2017 all’Alcatraz di Milano, Georgia.
Georgia Barnes operates as GEoRGiA. The small “o” and “i” might be significant - they spell “oi”, as in “oi!” Listening to her hard, harsh synthscapes is a bit like being screamed awake by someone with an urgent need to communicate something very important. Apologies for featuring another solo electronicist in this column so soon after Noah and Laura Clock, but it would appear that lone females are the new four-piece rock band. If it’s radical sonics and the shock of the new you’re after, don’t be expecting them to be delivered by a quartet of scruffy blokes in jeans and leather jackets bearing guitar, bass and drums.
Georgia Barnes - Drums
Hinako Omori - Keys | Synths | Programming