Tanqueray photos on Flickr

"Matilda" by Hilaire Belloc (1870-1953) by George Redgrave

4 6

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.

Green by Mandy Willard

8 1

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.

Liar, Liar, Pants on Fire......... by Julie Bracken

7 7

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

All Betz Are Off 3 by Chase Hoffman

3

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.

staind. by BAD EGG 混蛋

6 8

Lucky 200 film soaked in Tanqueray Gin for an hour, then left to dry for a few weeks. shot with my Holga 120CFN.

Martini by peapicker

12 6

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. )

Abellio - LT780 - LTZ1780 - Tanqueray by Waterford_Man

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County Hall

Thanks for all the views, Please check out my other photos and albums.

Preferred Choice by Ann

4 17

Week 33 / Brand Name

52 Weeks of Pix

Beach House Gimlet by Chase Hoffman

3

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.

S5 - A drink in the dark by Archiver

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Tanqueray at a restaurant in Southbank, Melbourne,

Panasonic S5 | Panasonic Lumix 50mm f1.8 | Lightroom

Mrs. Patrick Campbell by pepandtim

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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.

Pina Menichelli in La seconda moglie (1922) by Truus, Bob & Jan too!

2

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.

Tanqueray Gin, nice. #tanqueray #gin #red #green #blue #bottle #london #londongin #tanqueraygin by michael hadfield

1

You know I'm No Good by Valentina Modugno

4 35

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

4th Tanqueray and Tonic by morosus

2

Mural by Nicole Salgar, St. Petersburg, FL by Doris Bowling

3 1

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 Room Is Spinning It Must Be The Tanqueray by *Nuke*

8 5

LT450 LTZ1450 by PD3.

3

Greetings Card - So Many Joys. And Miss Gladys Cooper. by pepandtim

2 1

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.

Coming Days in 1915. And the Death of Rupert Brooke. by pepandtim

2 2

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.