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Stuarts Coaches MCV EvoRa bodied Volvo B8RLE SD74KSF is seen here heading out of Glasgow Buchanan Bus Station working the 240X to Lanark.
LSV380 is a Volvo B10M-62/Plaxton Premiere Interurban new to Stagecoach Western as R103LSO (103) in 1997. It later became 52425 in the national Stagecoach fleet numbering system before joining the Stuarts fleet in 2013.
One of Stuart Palmer's ubiquitous Daimler / Leyland Fleetlines is seen here at Dunstable's Downside terminus awaiting departure time for Luton via Houghton Regis in July 1993. The bus carries an advert for the then newly opened Sainsburys Superstore at Boscombe Road which had recently been built on the front part of the former Bedford Trucks plant.
Scanned from an acquired, un-copyrighted slide.
British postcard in the Colourgraph Series, London, no. C. 237. Photo: George Mannell.
Scottish actor John Stuart (1898-1979) was a very popular leading man in British silent films in the 1920s. He appeared in two films directed by Alfred Hitchcock.
John Stuart was born John Alfred Louden Croall in Edinburgh, Scotland in 1898. He began his stage and screen career directly after World War I service in The Black Watch. He made his film debut in the drama The Lights of Home (Fred Paul, 1920). Other silent films were the drama If Four Walls Told (Fred Paul, 1922) starring Lillian Hall-Davis, the comedy The School for Scandal (Bertram Phillips, 1923) with Queenie Thomas, and the comedy We Women (W.P. Kellino, 1925). Stuart was a very popular leading man in British silent films, though it's hard to gauge that popularity since many of his best films of the 1920s, such as A Sporting Double (1923), Constant Hot Water (1924) and Tower of London (1926), are either inaccessible or nonexistent. He appeared in a silent film directed by Alfred Hitchcock. The Pleasure Garden (1925) was Hitchcock’s directorial debut. Based on a novel by Oliver Sandys, the film is about two chorus girls at the Pleasure Garden Theatre in London and their troubled relationships. Glamorous American star Virginia Valli played the lead. The film was shot in Italy and Germany in 1925 and shown to the British press in March 1926. But it was not officially released in the UK until 1927, after Hitchcock's film The Lodger: A Story of the London Fog became a massive hit in February 1927. Stuart worked several times with director Maurice Elvey. Very popular was their World War I drama Mademoiselle from Armentieres (Maurice Elvey, 1926), featuring Estelle Brody. The film opened in London in September 1926 and was still playing in cinemas around the country until well into 1927. It was reportedly the most profitable British film of 1926 and made an instant star of Brody. The two stars were reunited in the drama Hindle Wakes (Maurice Elvey, 1927), which skilful use of location is considered to give the film a documentary realism feel very unusual in British films of the period. Brody and Stuart co-starred again in Mademoiselle Parley Voo (Maurice Elvey, 1928), a sequel to their earlier hit Mademoiselle from Armentieres (1926), and equally successful. Both films refer to the popular First World War song Mademoiselle from Armentières.
John Stuart’s first sound film, Kitty (Victor Saville 1929) was another successful production. Kitty was initially planned and filmed as a silent, but on its original completion Saville decided to reshoot the latter part with sound. As no suitable facilities were yet available in Britain, Saville, Estelle Brody and Stuart travelled to New York to shoot the new sequences at RKO Studios. The film was released in the form of a silent which switched to sound after the half-way point. Stuart’s next film, Atlantic (1929) was one of the first British films made with the soundtrack optically recorded on the film (sound-on-film). Atlantic was directed and produced by Ewald André Dupont. Three versions were made, an English and a German language version, Atlantik, which were shot simultaneously, and later a French version was made. In England, Atlantic was released in both sound and silent prints. The film was originally made as Titanic but after lawsuits it was renamed Atlantic. The White Star Line, which owned the RMS Titanic, was still in operation at the time. The final scene of the film was filmed as a shot of the liner sinking but it was cut at the last minute as it was feared it would upset Titanic survivors. Then Stuart worked for a second time with Alfred Hitchcock, although indirectly. Elstree Calling (1930) is a lavish musical film revue directed by Andre Charlot, Jack Hulbert, Paul Murray, and Hitchcock at Elstree Studios. It was Britain's answer to the Hollywood revues, such as Paramount on Parade (1930) and Hollywood Review of 1929. Stuart was not appearing in the segments directed by Hitchcock. They really worked together again on Number Seventeen (Alfred Hitchcock, 1932), in which Stuart played the lead. The film is about a group of criminals who committed a jewel robbery and put their money in an old house over a railway leading to the English Channel, the film's title being derived from the house's street number. An outsider stumbles onto this plot and intervenes with the help of a neighbour, a police officer's daughter. On its initial release, audiences reacted to Number Seventeen with confusion and disappointment. Stuart then played Sir Henry Baskerville in the mystery The Hound of the Baskervilles (Gareth Gundrey, 1932), based on the novel by Arthur Conan Doyle and scripted by Edgar Wallace. He was the co-star of Brigitte Helm in The Mistress of Atlantis (Georg Wilhelm Pabst, 1932), the English language version of the German-French adventure and fantasy film L'Atlantide/Die Herrin von Atlantis (Georg Wilhelm Pabst, 1932) based on the novel L'Atlantide by Pierre Benoît.
John Stuart starred with Benita Hume in the drama Men of Steel (George King, 1932). It was made at Nettlefold Studios under the so-called quota quickie system for distribution by United Artists. In 1927, The Cinematograph Films Act was designed to stimulate the declining British film industry. It introduced a requirement for British cinemas to show a quota of British films, for a duration of 10 years. The result of the act was the 'quota quickie', a low-cost, poor-quality film commissioned by American distributors operating in the UK purely to satisfy the quota requirements. During the 1930s Stuart appeared in a lot of these films. memorable are the drama The Lost Chord (Maurice Elvey, 1933) with Elizabeth Allan and Jack Hawkins, the comedy This Week of Grace Chord (Maurice Elvey, 1933) starring Gracie Fields and Henry Kendall, and Anglo-Italian aviation drama The Blue Squadron (George King, 1934) with Esmond Knight. Stuart co-starred with Fritz Kortner and Nils Asther in Abdul the Damned (Karl Grune, 1935), set in the Ottoman Empire in the years before the First World War where the Sultan and the Young Turks battle for power. He also worked often with director George Pearson, like in the thriller The Secret Voice (1936), and appeared in several parts of the long-running Old Mother Riley series. During the war years, Stuart’s parts became smaller or better said, he matured into character parts. He played a supporting part in the thriller Headline (John Harlow, 1944) with David Farrar as a crime reporter who searches for a mystery woman (Anne Crawford) who has witnessed a murder. Another example is the Gainsborough melodrama Madonna of the Seven Moons (Arthur Crabtree, 1945) starring Phyllis Calvert, Stewart Granger and Patricia Roc. In 1946 readers of the Daily Mail voted the film their third most popular British movie from 1939 to 1945. During the following decades he played government officials and police inspectors in B-films like the mystery The Ringer (Guy Hamilton, 1952) starring Herbert Lom, and the Science-fiction film Four Sided Triangle (Terence Fisher, 1953). Memorable are the war film Sink the Bismarck! (Lewis Gilbert, 1960) with Kenneth More, the Science-fiction film Village of the Damned (Wolf Rilla, 1960), and the suspense film Paranoiac (Freddie Francis, 1963) from Hammer Films and starring Janette Scott and Oliver Reed. Stuart now only played bit roles. His last part was a cameo in Superman (Richard Donner, 1978). In 1979, John Stuart died in London at the age of 81. He is buried in Brompton Cemetery, London. An accomplished writer, John Stuart penned his autobiography, Caught in the Act, in 1971. His son Jonathan Croall is writing a book about the screen idols of the 1920s, including John Stuart.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
FSV 864 is a Bova Futura FHD120-365 new to Smith & Sons of Coupar Angus as SP08AET in April 2008. It joined the Stuarts fleet in July 2013 and was reregistered to FSV 864 as shown here.
YJ14 BCU is an Optare Solo M900/B30F new to Stuarts of Carluke in March 2014. It is seen here in Biggar working the service to Lanark.
6500 VU is a Mercedes-Benz Vario O816D/Plaxton Cheetah
new to Steel of Addingham in September 2008. It is now in the Stuart's of Carluke fleet with fleet names applied on its previous owners livery.
The gym is a male fitness model's office, and with this images, Stuart Wilsworth makes that place a more handsome place for a work out.
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Mount Stuart House on the east coast of the Isle of Bute, Scotland, is a Gothic Revival country house and the ancestral home of the Marquesses of Bute. It was designed by Sir Robert Rowand Anderson for the 3rd Marquess of Bute in the late 1870s, replacing an earlier house by Alexander McGill, which burnt down in 1877. The house is a Category A listed building.
The house is the seat of the Stuarts of Bute, derived from the hereditary office "Steward of Bute" held since 1157. The family are direct male-line descendants of John Stewart, the illegitimate son of King Robert II of Scotland, the first Stuart King, by his mistress, Moira Leitch. By virtue of this descent, they are also descendants of Robert the Bruce, whose daughter Marjorie was mother of Robert II by her marriage to Walter Stewart, 6th High Steward of Scotland.
Stuarts of Bournemouth DAF MB200 Plaxton Paramount 3200 ANA 445Y at the Millennium Dome on 25th May, 2000. It was new to Shearings.
Not seen much these days in machine shops. The shaping machine. This little model was built from a kit of rough castings and bar stock supplied by Stuart Models. Lots of practice dove-tailing the slides on the milling machine and by some magical fluke I got them just right. Not a very common model but to my mind ideal to drive from a model steam engine. I had great enjoyment making this. Tricky but satisfying. One day I will have a go at making a quick return linkage for it, just like it's much larger cousins.
Kerr Stuart No. 12 ‘Joan’ built 1927 for a sugar cane company in Antigua. Entered service at the Welshpool and Llanfair Railway in 1977. This photograph from a slide taken in 1982 seen here having a drink before hauling the train I was on. She’s a beauty, not so sure about the flared jeans.
Dawn breaks over the boardwalk in downtown Stuart, Florida. The city pier and the Roosevelt Bridge are visisble.
Stuarts (Hyde) MCW Metrobus EWF469V was new to South Yorkshire PTE but arrived from Stevenson's.
It is seen in Manchester City Centre with one of the former PTE fleets native examples in the mid nineties.
YJ09 OUV is an Optare Solo M780SE purchased new by SPT in August 2009 for the Irvine's of Law fleet for service 243. It then passed to Whitelaw's of Stonehouse when Irvine's ceased operating. It has since moved to the Stuart's of Carluke fleet and is seen here working SPT service 181 (Airdrie-Upperton).
Bain News Service,, publisher.
Stuart Walker
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.28271
Call Number: LC-B2- 4831-15