View allAll Photos Tagged Tanqueray
The perfect G&T: Gordon Export (Bombay Sapphire, Sipsmith or Tanqueray will do too as long as it is 40% ABV), lemon or lime zest, ice and Fever Tree tonic. It's mother's ruin yes, but it's also possibly the best/ most liked drink in the world.
two particularly good and one particularly bad summer creation of gin:
- TANQUERAY SEVILLA: I have already praised him before as exceptionally good, refreshing, subtle orange note, pleasant smell, the usual strict taste for alcohol is not there - top mark!
- MALFY, the Italian: when the cork is opened, a pleasant blood-orange note flows towards it - but that's it with the glory. The taste test almost causes nausea - pure chemistry! My grandpa would have said: this is dresser lacquer! I wouldn't even use it for that, a case for the sink...
Now I've photographed it I may be tempted to open this tonight!!!
Hope it tastes as good as it looks.
Must get back into doing these as I really struggled to get the bottle anywhere near lined up correctly, so much so as the bottle is the best in this one but the label is slightly out.
Practise makes perfect so onwards and upwards.
Matilda told such Dreadful Lies,
It made one Gasp and Stretch one's Eyes;
Her Aunt, who, from her Earliest Youth,
Had kept a Strict Regard for Truth,
Attempted to Believe Matilda:
The effort very nearly killed her,
And would have done so, had not She
Discovered this Infirmity.
For once, towards the Close of Day,
Matilda, growing tired of play,
And finding she was left alone,
Went tiptoe to the Telephone
And summoned the Immediate Aid
Of London's Noble Fire-Brigade.
Within an hour the Gallant Band
Were pouring in on every hand,
From Putney, Hackney Downs, and Bow.
With Courage high and Hearts a-glow,
They galloped, roaring through the Town,
'Matilda's House is Burning Down!'
Inspired by British Cheers and Loud
Proceeding from the Frenzied Crowd,
They ran their ladders through a score
Of windows on the Ball Room Floor;
And took Peculiar Pains to Souse
The Pictures up and down the House,
Until Matilda's Aunt succeeded
In showing them they were not needed;
And even then she had to pay
To get the Men to go away,
It happened that a few Weeks later
Her Aunt was off to the Theatre
To see that Interesting Play
The Second Mrs. Tanqueray.
She had refused to take her Niece
To hear this Entertaining Piece:
A Deprivation Just and Wise
To Punish her for Telling Lies.
That Night a Fire did break out--
You should have heard Matilda Shout!
You should have heard her Scream and Bawl,
And throw the window up and call
To People passing in the Street--
(The rapidly increasing Heat
Encouraging her to obtain
Their confidence) -- but all in vain!
For every time she shouted 'Fire!'
They only answered 'Little Liar!'
And therefore when her Aunt returned,
Matilda, and the House, were Burned.
5/30 - Bits of Bottles
Two Tanqueray gin bottles ... green was London Dry and clear was Sevilla. Both came to me empty from the local pub.
MATILDA
Who told Lies, and was Burned to Death
Matilda told such Dreadful Lies,
It made one Gasp and Stretch one's Eyes;
Her Aunt, who, from her Earliest Youth,
Had kept a Strict Regard for Truth,
Attempted to Believe Matilda:
The effort very nearly killed her,
And would have done so, had not She
Discovered this Infirmity.
For once, towards the Close of Day,
Matilda, growing tired of play,
And finding she was left alone,
Went tiptoe to the Telephone
And summoned the Immediate Aid
Of London's Noble Fire-Brigade.
Within an hour the Gallant Band
Were pouring in on every hand,
From Putney, Hackney Downs, and Bow.
With Courage high and Hearts a-glow,
They galloped, roaring through the Town,
"Matilda's House is Burning Down!"
Inspired by British Cheers and Loud
Proceeding from the Frenzied Crowd,
They ran their ladders through a score
Of windows on the Ball Room Floor;
And took Peculiar Pains to Souse
The Pictures up and down the House,
Until Matilda's Aunt succeeded
In showing them they were not needed;
And even then she had to pay
To get the Men to go away!
It happened that a few Weeks later
Her Aunt was off to the Theatre
To see that Interesting Play
The Second Mrs. Tanqueray.
She had refused to take her Niece
To hear this Entertaining Piece:
A Deprivation Just and Wise
To Punish her for Telling Lies.
That Night a Fire did break out—
You should have heard Matilda Shout!
You should have heard her Scream and Bawl,
And throw the window up and call
To People passing in the Street—
(The rapidly increasing Heat
Encouraging her to obtain
Their confidence)—but all in vain!
For every time she shouted "Fire!"
They only answered "Little Liar!"
And therefore when her Aunt returned,
Matilda, and the House, were Burned.
19 Feb 09 - Back at home after returning from AMC makeover.
IMG_0762-1
Strobist Info: Godox AD200 with a Softbox Umbrella Camera Left and behind the subject. Table top white V-Flat forward and camera right.
This is All Betz Are Off, a cocktail created by Jim Betz and published in the NoMad Cocktail Book in 2015 (possibly created at Eleven Madison Park, unverified). This is a gin old-fashioned. It's rare to see an old-fashioned made with a non-aged spirit, but this one seems to pull it off. Instead of focusing on vanilla, maple, and other barrel-aged whiskey-ish flavors, this cocktail thrusts itself in a savory direction primarily by using black pepper syrup and celery bitters. Gin provides a backbone of botanicals to give the drink depth behind the savory flavors. A little bit of grapefruit bitters highlights some of the gin's citrus botanicals as well as giving a little counterbalance to the black pepper and celery. This drink has most of the DNA of a typical old-fashioned, but its light and savory flavor profile makes this drink more of an aperitif than an post-meal nightcap. It's an unexpected drink, but worth a try if you're feeling adventurous.
2 oz London dry gin (Betz uses Tanqueray 10)
0.25 oz black pepper syrup (see note)
4 dashes Bitter Truth celery bitters
2 dashes Bitter Truth grapefruit bitters
Combine all of the ingredients into mixing glass. Add ice and stir until arctic cold. Strain into a chilled rocks glass over a single large ice cube. Garnish with a lemon peel.
Note: NoMad employs an iSi whipper to do a rapid pressurized infusion. This is a great technique, but most people don't own one of these. You can still make this syrup, the key is to taste as you go and decide when it's done. Combine demerara simple syrup and FRESHLY ground black pepper at a 4:1 ratio and let it steep. Taste every hour until it seems quite potent. Strain through a coffee filter, bottle, and refrigerate.
To do the rapid infusion method, combine the demerara syrup and FRESHLY ground black pepper at a 4:1 ratio in the iSi whipper (do not go over the internal fill marker). Charge it with two nitrous oxide (N2O) chargers. Let it sit for exactly five minutes. Carefully vent off the pressure over a sink with a bowl to catch any liquid that might come out. Tap the whipper on the counter to loosen any black pepper near the venting valve and vent the pressure again for good measure. With an abundance of caution (speaking from experience), unscrew the whipper and all it to rest until no more audible bubbling occurs. Strain through a coffee filter, bottle, and refrigerate.
© Chase Hoffman Photography. All rights reserved.
Lucky 200 film soaked in Tanqueray Gin for an hour, then left to dry for a few weeks. shot with my Holga 120CFN.
My favorite dry martini - 1/4 tsp dry vermouth (preferably Noilly Prat), 2 oz Hendrick's gin, shaken brutally over 5 ice cubes. Add a nice, fat, martini olive or two - Ah!
(I'll have to take another picture -of another favorite Martini, although this one is still #1!!! Alternate recipe is: 2 1/4 oz Tanqueray 10, 1/4 oz Noilly Prat French vermouth, Stirred carefully for 15 seconds. Pour over one or two Martini olives. Gently twist a lemon peel over the drink to allow one drop of fresh lemon oil onto the surface and discard the peel. )
This is the Beach House Gimlet, a cocktail created by Shannon Ponche for Death & Co in New York City in 2020 and published in Death & Co Welcome Home in 2021. As you might have guessed, this is variation on the classic gimlet, but it's doing something vary clever with its additions. The base has been split with Green Chile Vodka from St. George which uses a variety of green chiles that bring beautiful vegetal flavors without much heat. There's even a bit of cilantro note. There's also a small but mighty teaspoon of Giffard Crème de Banane liqueur with adds some tropical fruitiness that meshes seamlessly with the green chile vodka. Along with the gin and a dash of absinthe, the chiles and banana flavor harmonize in a way reminiscent of afro-caribbean cuisine (think fried plantains and a scotch bonnet dipping sauce). Cocktails like these get me so excited because they are made from easy to find ingredients but combine into a completely new experience.
1.25 oz gin (D&C use Tanqueray)
0.75 oz St. George Green Chile Vodka
0.75 oz fresh lime juice
0.5 oz cane sugar syrup
1 tsp Giffard Crème de Banane liqueur
1 dash absinthe
Combine all of the ingredients into a shaker tin. Add ice and shake vigorously until arctic cold. Double-strain into a chilled coupe glass. No garnish.
© Chase Hoffman Photography. All rights reserved.
Tanqueray at a restaurant in Southbank, Melbourne,
Panasonic S5 | Panasonic Lumix 50mm f1.8 | Lightroom
The Postcard
A postally unused postcard published by The Philco Publishing Co., with photography by Biograph. The card has a divided back.
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.
Mrs. Patrick Campbell
Mrs Patrick Campbell (9th. February 1865 – 9th. April 1940), born Beatrice Rose Stella Tanner in Kensington and known informally as 'Mrs Pat', was an English stage actress.
Her parents were John Tanner (1829–1895) and Maria Luigia Giovanna née Romanini (1836–1908), daughter of Count Angelo Romanini. She studied for a short time at the Guildhall School of Music.
Mrs. Patrick Campbell's First Marriage
In 1884 she eloped with Patrick Campbell, while pregnant with their child, Alan 'Beo' Urquhart. Their second child, Stella, was born in 1886. Sergeant Patrick Campbell died in the Boer War in 1900.
Mrs. Patrick Campbell's Stage Career
Beatrice Tanner made her professional stage debut in 1888 at the Alexandra Theatre, Liverpool. In March 1890, she appeared in London at the Adelphi, where she later played again in 1891–93.
She became successful after starring in Sir Arthur Wing Pinero's play, 'The Second Mrs Tanqueray', in 1893, at St. James's Theatre where she also appeared in 1894 in 'The Masqueraders'.
As Kate Cloud in 'John-a-Dreams', produced by Beerbohm Tree at the Haymarket in 1894, she had another success, and again as Agnes in 'The Notorious Mrs. Ebbsmith' at the Garrick (1895).
Among Mrs. Pat's other notable performances were those in 'Fédora' (1895), 'Little Eyolf' (1896), and her rôles in Shakespeare with Forbes-Robertson at the Lyceum in London's West End, taking the part of Juliet in 'Romeo and Juliet', Ophelia in 'Hamlet', and Lady Macbeth (1895–98) in 'Macbeth'.
Once established as a major star, Campbell assisted in the early careers of some noted actors, including Gerald Du Maurier and George Arliss.
In 1900, 'Mrs Pat', having become her own Manager/Director, made her debut performance on Broadway in 'Heimat' by Hermann Sudermann, a marked success.
Subsequent appearances in New York and on tour in the US established her as a major theatrical presence there. Campbell regularly performed on the New York stage until 1933.
Other performances included roles in 'The Joy of Living' (1902), 'Pelléas et Mélisande' (1904; as Mélisande to the Pelléas of her friend Sarah Bernhardt), 'Hedda Gabler' (1907), 'Electra' (1908), 'The Thunderbolt' (1908), and 'Bella Donna' (1911).
In 1914, she played Eliza Doolittle in the original West End production of 'Pygmalion' which George Bernard Shaw had expressly written for her.
Although forty-nine years old when she originated the role opposite the Henry Higgins of Sir Herbert Beerbohm Tree, she triumphed and took the play to New York and on tour in 1915 with the much younger Philip Merivale playing Higgins. She successfully played Eliza again in a 1920 London revival of the play.
Mrs. Patrick Campbell's Second Marriage
In 1914, Campbell married George Cornwallis-West, a writer and soldier previously married to Jennie Jerome, the mother of Sir Winston Churchill.
Notwithstanding her second marriage, she still continued to use the stage name 'Mrs. Patrick Campbell'.
Further Stage Performances
A couple of 'Mrs Pat's later significant performances were as the title rôle in the 1922 West End production of Henrik Ibsen's play 'Hedda Gabler' and Mrs. Alving in the 'Ibsen Centennial' (1928) staging of 'Ghosts' (with John Gielgud as her son Oswald).
Her last major stage role was in the Broadway production of Ivor Novello's play 'A Party' where she portrayed the cigar-smoking, pekingese-wielding actress 'Mrs. MacDonald' - a clear takeoff on her own well known persona - and made off with the best reviews.
Mrs. Patrick Campbell's Film Career
In her later years, Campbell made notable appearances in films, including 'One More River' (1934), 'Riptide' (1934), and 'Crime and Punishment' (1935).
Her tendency, however, to reject roles that could have vitally helped her career in later years caused Alexander Woollcott to declare:
"...She was like a sinking ship
firing on the rescuers".
George Bernard Shaw
In the late 1890's Campbell first became aware of George Bernard Shaw - the famous and feared dramatic critic for The Saturday Review - who lavishly praised her better performances and thoroughly criticised her lesser efforts.
Shaw had already used her as inspiration for some of his plays before their first meeting in 1897 when he unsuccessfully tried to persuade 'Mrs Pat' to play the role of Judith Anderson in the first production of his play 'The Devil's Disciple'.
Not until 1912, when they began negotiations for the London production of 'Pygmalion', did Shaw develop an infatuation for 'Mrs Pat' that resulted in a passionate, yet unconsummated, love affair of mutual fascination and a legendary exchange of letters.
It was Campbell who broke off the relationship even though Shaw was about to direct her in 'Pygmalion'. They remained friends in spite of the break-up and her subsequent marriage to George Cornwallis-West, but Shaw never again allowed her to originate any of the roles he had written with her in mind.
When Anthony Asquith was preparing to produce the 1938 film of 'Pygmalion', Shaw suggested Campbell for the rôle of Mrs Higgins, but she declined.
In later years, Shaw refused to allow the impoverished Campbell to publish or sell any of their letters except in heavily edited form, for fear of upsetting his wife Charlotte Payne-Townshend and the possible harm that the letters might cause to his public image. Most of the letters were not published until 1952, two years after Shaw's death.
The Wit of Mrs. Patrick Campbell
Campbell was infamous for her sharp wit. Her best-known remark, uttered upon hearing about a male homosexual relationship, was:
"My dear, I don't care what
they do, so long as they don't
do it in the street and frighten
the horses."
At a dinner in the United States, she was seated next to a scientist who talked incessantly to her about ants. "They even have their own police force and army", he enthused. "No navy?" she replied.
Death of Mrs. Patrick Campbell
Mrs. Pat died on the 9th. April 1940 in Pau, France, aged 75, of pneumonia. Her death was one of the few deaths of a personal nature that George Bernard Shaw ever noted in his private diaries.
Italian postcard. G.B. Falci, Milano, No. 23. Fotomonio. Pina Menichelli in La seconda moglie (Amleto Palermi, 1922). The man is Alfredo Menichelli, Pina Menichelli's younger brother, who plays Captain Ardale who once ruined Paula (Pina Menichelli), now the well-to-do second Mrs. Tanqueray. The man from her past returns as the lover of her stepdaughter...
Fascinating and enigmatic Pina Menichelli (1890-1984) was the most bizarre Italian diva of the silent era. With her contorted postures and disdainful expression, she impersonated the striking femme fatale.
www.youtube.com/watch?v=A8TwNEDo6kY
Meet you downstairs in the bar and heard
Your rolled up sleeves and your skull t-shirt
You say what did you do with him today?
And sniff me out like I was Tanqueray
Cause you're my fella, my guy
Hand me your stella and fly
By the time I'm out the door
You're tear men down like Roger Moore
I cheated myself
Like I knew I would
I told ya, I was trouble
You know that I'm no good
Upstairs in bed, with my ex boy
He's in the place, but I can't get joy
Thinking on you in the final throes, this is when my buzzer goes
Run out to meet your chips and pitter
You say we married, 'cause you're not bitter
There'll be none of him no more
[You Know I’m No Good lyrics on www.metrolyrics.com]
I cried for you on the kitchen floor
I cheated myself
Like I knew I would
I told ya, I was trouble
You know that I'm no good
Sweet reunion, Jamaica and Spain
We're like how we were again
I'm in the tub you on the sink
Lick your lips as I soak my feet
Then you know this little carpet burn
My stomach drop yeah and my guts churn
You shrug and it's the worst
Who truly stuck the knife in first
I cheated myself like I knew I would
I told ya I was trouble, you know that I'm no good
I cheated myself, like I knew I would
I told ya I was trouble, you know that I'm no good
EMY WINEHOUSE
Nicole Salgar is a multi-media visual artist from Miami, FL. Influenced by her Latin roots and passion for horror, sci-fi and folk art, Nicole has traveled to Cuba, Europe, South America and along the east coast collaborating on mural projects with local communities. Often using muralism as a meditative and healing practice, she invites viewers to challenge their perspectives and assumptions which may arise from her ambiguous motifs. Nicole finds that experimentation is the key to creation and without it, nothing truly effective has the chance to reveal itself. Through her creative business NS/CB, she’s worked with a variety of clients including Starbucks, Tanqueray, Lulu Lemon, Steven Madden and Bacardi.
SHINE 2021 Mural Festival
DSCF5222
The Postcard
A postcard that was published by the Rotary Photo Co. Ltd. of London E. C. The card was printed in Great Britain. On the back of the card the publishers have printed:
"This is a hand-painted study
from a Real Photograph of a
British Beauty, Miss Gladys
Cooper".
The card was posted in Coventry, although the date of posting is not legible. We do know however that the card was posted prior to the 3rd. June 1918, because the back bears a green half-penny stamp. On this day the rate was raised to one penny in order to help pay for the Great War.
The card was sent to:
Miss M. Rainbow,
5, King Edward Road,
Coventry.
The pencilled message on the divided back of the card was as follows:
"Dear Mary,
Wishing you very many
happy returns of the day.
I remain yours sincerely
M. Viner,
2, Fairfax Street
Local".
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.
The Postcard
A postcard that was published by Rotary Photo of London E. C.
The card was posted in Coventry on Sunday the 28th. February 1915 to:
Miss M. Rainbow,
75, King Edward Road,
Coventry.
The pencilled message on the divided back of the card was as follows:
"Dear Mary,
Just a P.C. to wish you
luck on your birthday.
May you live to see
many more and happier
ones.
Sorry I am late.
Best love from
Lily".
Miss Gladys Cooper
The model in the photograph is 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.
Trench Raids in the Great War
So what else happened on the day that Lily posted the card to Mary?
Well, on the 28th. February 1915, Canadian troops launched the first trench raid of the Great War. By the end of the conflict Canadian troops were regarded as experts at this manoeuvre.
Rupert Brooke
Also on that day, British poet Rupert Brooke sailed with the British Mediterranean Expeditionary Force. During the campaign he developed sepsis from an infected mosquito bite, which ended with his death in a hospital ship off Skyros.
His collection 1914 & Other Poems, including the sonnet "The Soldier", was published posthumously in May.
Zero Mostel
The 28th. February also marked the birth in NYC of Zero Mostel, American film and stage actor, best known for playing Tevye in the Broadway production of 'Fiddler on the Roof' and the lead role in Mel Brooks' 'The Producers'.
Zero died in 1977.
The Postcard
A postcard that was published by Rotary Photo of London E. C. The card was printed in Great Britain. On the back they state:
"This is a hand-painted
real photograph".
The card was posted in Blackpool on Monday the 31st. July 1916 to:
Miss Dora Mallinson,
Gawthorpe Green,
Kirkheaton,
Nr. Huddersfield.
The message on the divided back of the card was as follows:
"c/o Mrs. Bright,
No. 62, Central Drive,
Blackpool.
Dear Dora,
We have arrived here
safely and are having
very hot weather so
far.
There are crowds of
people here.
Can't say much about
it yet.
With love from
Annie".
Miss Gladys Cooper
The model in the photograph is 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.
The Battle of the Somme
So what else happened on the day that Annie posted the card to Dora?
Well, on the 31st. July 1916, after a month's fighting, German losses had increased to 160,000 while Anglo-French casualties had risen to more than 200,000 men.
Brian Inglis
The day also marked the birth in Dublin of the Irish journalist Brian Inglis, best known as the news presenter for TV news program All Our Yesterdays. Brian died in 1993.
The Postcard
A postally unused postcard that was published by B. B. Ltd. of London. The card, which has a divided back, was manufactured in Great Britain.
Miss Gladys Cooper
The model in the photograph is 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.
The holiday is over.
The kids have gone.
The weather purely sucks.
It's quiet and maybe a little lonely.
Time for a martini break.
Back to work tomorrow so I can go home.
...for me anyway. Tanqueray, Tanqueray Rangpur Lime, Bombay Sapphire, and now this one, No. Ten.
Tonic water is chillin' in the fridge...
OLYMPUS OM-D EM-5 Mk II
M.Zuiko 12-40 f/2.8
Vintage Filter
Cropped SOOC jpeg
:: strobist info ::
580ex @ 1/8 on boom camera left - shoot through umbrella
550ex @ 1/8 right of subject
Lucky 200 film soaked in Tanqueray Gin for an hour, then left to dry for a few weeks. shot with my Holga 120CFN.
We could call it "alco-bokeh" — but let's just not. Cheers to a great weekend. Now let's start a new week.
This was sort of an accident I made the best of...I had filled the empty Gin bottle with water and set it in the freezer to cool so it would frost up for the photo I wanted, but completely forgot about it! Next day I opened my freezer only to find an exploded bottle and chunks of glass scattered all over....so I picked it all up, set up the shot as seen for a long exposure and waved a led torch covered with a green acrylic gel around and voila', my personal best light painting result!
The Cocktail Aficionados @ China Tang: who can name these guys gets a complimentary glass of water (with lemon and ice)... Ask for a "Monk Sober": •2 Sprigs fresh lavender
•10 Lavender syrup
•25 Tanqueray No. 10
•30 Green Chartreuse
•30 Lemon juice
Muddle lavender sprigs with syrup. Combine ingredients and shake with cubed ice. Fine strain into a Champagne flute with a lavender and lime peel garnish.
My favourite Drink - testshot with my new lens - the image stabilizer is amazing, this was shot at 1/30 handheld at 200mm !
The Postcard
A postcard published by Rotary Photo of London E.C. showing Gladys Cooper with her daughter Joan.
The photography was by Bassano. On the back of the card it states:
'This is a real photograph
of a British Beauty'.
The card was posted in Stourbridge on Thursday the 2nd. October 1913 to:
Mrs. F.W. Bowyer,
Row Farm,
Winkfield Row,
Bracknell,
Berks.
The message on the divided back of the card was as follows:
"1.10.13.
Love Lane,
Stourbridge.
Dear May,
I am so pleased to hear
you have a little son.
We all send our heartiest
congratulations to you &
your husband, and trust
all is going well.
With love from
Hilda Thomson".
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.
-- The 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.
Geoffrey Raynor
So what else happened on the day that Hilda posted the card?
Well, the 2nd. October 1913 marked the birth of Geoffrey Vincent Raynor FRS. He was an English metallurgist and university academic.
Raynor was educated at Nottingham High School before studying Chemistry at Keble College, Oxford, obtaining a first-class degree in 1936.
He then worked as a research assistant at the University of Oxford, and carried out metallurgical research for the Ministry of Supply and Ministry of Aircraft Production during the Second World War.
In 1945, he moved to the University of Birmingham as a research fellow, with the course that he taught in structural and theoretical metallurgy becoming the forerunner for the development of metallurgical teaching all over the world.
He was made Reader of Theoretical Metallurgy in 1947 and Professor of Metal Physics in 1949. He was the Feeney Professor of Physical Metallurgy from 1955 to 1969, and was also head of the Department of Physical Metallurgy and Science of Materials during this latter period.
-- The Death of Geoffrey Raynor
Geoffrey died on the 20th. October 1983.
The Times said of him that his research gained 'International acclaim' and that he had:
"Played a leading part in the
development of the chemistry
of alloy phases, with his
contributions to the subject
likely to be included in the
teaching of metallurgy and to
be of practical value for many
decades'.
The Postcard
A postally unused postcard published by Rotary Photo of London E.C. On the divided back of the card they state:
'This is a hand-painted real
photograph of a British Beauty,
Miss Gladys Cooper and daughter
Joan".
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.
The Postcard
A postally unused postcard published by Rotary Photo of London E.C. The photography was by Bassano.
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. There is a plaque on the front façade of the house. Gladys was 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.
-- The 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.
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.