Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Today however we have headed east of Cavendish Mews, down through St James’, around Trafalgar Square and up Charing Cross Road, where, near the corner of Great Newport Street, Lettice is visiting A. H. Mayhew’s*, a bookshop in the heart of London’s specialist and antiquarian bookseller district, patronised by her father, Viscount Wrexham. It is here that Lettice hopes to find the perfect present for her oldest and dearest childhood chum, Gerald Bruton. Gerald is also a member of the aristocracy who has tried to gain some independence from his family by designing gowns from a shop in Grosvenor Street. It will soon be his birthday, and Lettice is treating him to an evening at the Café Royal** in Regent Street. However, she also wants something less ephemeral than a glittering evening out to dinner for Gerald to look back on in the years ahead as he turns twenty-five. Knowing how much he loves books, but also knowing that any profits his fledgling atelier makes must be re-invested in his business rather than indulging in books, Lettice has settled upon acquiring a beautiful and unusual volume for him from amongst the many tomes housed in Mr. Mayhew’s bookshop.

 

As Lettice lingers out the front of Mr. Mayhew’s, enjoying the luxury of peering through his tall plate glass windows that proudly bear his name and advertise that he does purchase libraries of old books, knowing that whether she is lucky enough to spot the perfect gift in the window display or not, somewhere amidst the full shelves inside, there will be a wonderful book for Gerald. She releases a shuddering sigh from deep within her chest as she remembers the last time she peered through these self-same windows in October of 1923 when the book she hoped to find was to give to Selwyn as a birthday gift in an effort to further solidify her commitment to him in his eyes. Her plan was to give him the book she bought – a copy of a volume of John Nash’s*** architectural drawings including his designs for the Royal Pavilion built for the Prince Regent in Brighton, Marble Arch, Buckingham Palace – at private dinner that he had arranged for the two of them at the Savoy****. However, from there everything had gone awry. When Lettice arrived at the Savoy and was shown to the table for two Selwyn had reserved for them, she was confronted not with the smiling face of her beau, but the haughty and cruel spectre of his mother, the Duchess of Walmsford, Lady Zinnia. Lady Zinnia, and Selwyn’s Uncle Bertrand had been attempting to marry him off to his cousin, 1923 debutante Pamela Fox-Chavers. Lady Zinnia had, up until that moment been snubbing Lettice, so Selwyn and Lettice arranged for Lettice to attend as many London Season events that year as possible where Selwyn and Pamela were also in attendance so that Lettice and Selwyn could spend time together, and at the same time make their intentions so well known that Lady Zinnia wouldn’t be able to avoid Lettice any longer. What the pair hadn’t calculated for in their plans was that Lady Zinnia is a woman who likes intrigue and revenge, and the revenge she launched upon Lettice that evening at the Savoy was bitterly harsh and painful. With a cold and calculating smile Lady Zinna announced that she had packed Selwyn off to Durban in South Africa for a year. She made a pact with her son: if he went away for a year, a year during which he agreed neither to see, nor correspond with Lettice, if he comes back and doesn’t feel the same way about her as he did when he left, he agreed that he will marry Pamela, just as Bertrand and Lady Zinnia planned. If however, he still feels the same way about Lettice when he returns, Lady Zinnia agreed that she would concede and will allow him to marry her. The volumes in Mr. Mayhew’s window begin to shimmer and blur as tears begin to sting Lettice’s eyes and impair her vision.

 

“Still.” Lettice breathes bitterly as she allows her head to lower as she closes her eyes. “Still, I cannot think of Selwyn without wanting to cry.” she thinks. “What is wrong with me? Come on. Pull yourself together, girl. Don’t let Lady Zinnia win.”

 

She sniffs and sighs deeply, taking a few deep breaths as she slowly regains her composure. After a few minutes of standing in front of the shop’s window, appearing to all the passers-by to be just another keen window shopper, Lettice finally feels composed enough to enter the shop.

 

“You won’t get the better of me, Lady Zinnia,” she mutters through barred teeth. “And you won’t destroy my love of books, nor my love for my best friend.”

 

She walks up to the recessed door of the bookshop which she pushes open. A cheerful bell dings loudly above her head, announcing her presence. As the door closes behind her, it shuts out the general cacophony of noisy automobiles, chugging busses and passing shoppers’ conversations. The shop envelops her in a cozy muffled silence produced by the presence of so many shelves fully laden with the volumes of the past. She inhales deeply and savours the smell of dusty old books and pipe smoke, which comfort and assure her that she has come to a safe place that will assuage her damaged heart. The walls are lined with floor to ceiling shelves, all full of books: thousands of volumes on so many subjects. Summer sunlight pours through the tall shop windows facing out to the street, highlighting the worn Persian and Turkish carpets whose hues, once so bright, vivid and exotic, have softened with exposure to the sunlight and any number of pairs of boots and shoes of customers, who like Lettice, searched Mayhew’s shelves for the perfect book to take away with them. Dust motes, something Lettice always associates with her father’s library in Wiltshire, dance blithely through beams of sunlight before disappearing without a trace into the shadows.

 

Lettice makes her way through the shop, wandering along its narrow aisles, reaching up to touch various Moroccan leather spines embossed with gilt lettering of titles and authors, until she nears the middle of the shop, where sitting at his desk before a small coal fire, smoking his pipe, sits the bespectacled proprietor, Mr. Mayhew, in his usual uniform of jacket, vest and bowtie, carefully cataloguing volumes he has acquired from a recent country house contents auction***** he attended in Buckinghamshire, his pipe hanging from his mouth, occasionally emitting puffs of acrid grey smoke as he works. The portly, balding gentleman is so wrapped up in his work that he does not notice Lettice as she walks up to his desk.

 

“Mr. Mayhew., how do you do” Lettice says, clearing her throat, her clipped tones slicing through the thick silence of the shop.

 

“Ahh,” Mr. Mayhew sighs with delight, puffing out another small cloud of pipe smoke as he realises who is standing before him. Removing the pipe from his mouth, he peers over the top of his gold rimmed spectacles. “Why if it isn’t my favourite Wiltshire reader herself.” He takes one final pleasurable puff of his pipe before reaching behind him and putting it aside on the pipe rack sitting precariously on the little coal fire’s narrow mantle shelf.

 

“I’m almost certain that you say that to every reader whom you know well, Mr. Mayhew.” Lettice rolls her eyes and smiles indulgently.

 

“Not every reader I know well come from Wiltshire though, Miss Chetwynd” the old man remarks with a chuckle, lifting himself out of the comfort of the well worn chair behind his desk, wiping his hands down the front of his thick black barathea vest.

 

“You’re just like my Aunt Egg, complimentary, but with an air of mystery.”

 

“There is no mystery to me, Miss Chetwynd.” He reaches out and takes Lettice’s dainty glove clad hand and squeezes it. “I am like,” He chuckles lightly. “An open book as it were.” He sweeps his free hand expansively around him, indicating to all the tomes lining the shelves that hedge his cluttered workspace. “I will pay a compliment to any customer who takes the time to enter my shop, appreciate my books, and speak to me with politeness: especially when they are as pretty as you, Miss Chetwynd.” He lifts her hand to his lips and kisses it.

 

“Oh, Mr. Mayhew!” Lettice laughs. “You speak such sweet, honeyed words.”

 

He gasps. “I do hope, Miss Chetwynd, that you don’t consider me to be as duplicitous as Richard III.” the old man says, picking up on Lettice’s literary Shakesperean reference******.

 

“Never, Mr. Mayhew!” Lettice exclaims

 

“Very good, Miss Chetwynd,” Mr. Mayhew replies. “I would hate for you to misjudge my motivations. I didn’t establish my little bookshop simply to make money. What a ludicrous idea that any shopkeeper would set up his establishment just to make money, when he can take equal measure of profit and pleasure from his endeavours. I have a great love of books, Miss Chetwynd, as I know you do too, my dear, both the written word and the engraving,” He waves his hands expansively at the floor to ceiling bookshelves around him, filled with hundreds of volumes on all manner of subjects. “As well you know.”

 

“Indeed Mr. Mayhew. I enjoy nothing more than spending time in my father’s library at Glynes, where more than one of your own volumes sits on his shelves.”

 

“And how is His Lordship, Miss Chetwynd? I sent him a beautiful 1811 calfskin vellum******* edition of Voltaire a few weeks ago with some lovely hand tinted engravings, a marbleised cover and colourful gilt bindings.”

 

“He is well, thank you Mr. Mayhew. I saw him just a few weeks ago, although it was only a fleeting visit, so he didn’t show me your volume of Voltaire.”

 

“A fleeting visit, Miss Chetwynd?” Mr. Mayhew queries. “What a pity you didn’t tarry longer with His Lordship. You must have him show you the Voltaire next time you go home to stay, Miss Chetwynd. Really it is rather lovely. It came to me after being sold at the second Stowe House Great Sale******** in 1921. I wanted to make sure it went to the right home, and I could think of no-one better than your father to be its custodian.”

 

“I have no doubt that it is, Mr. Mayhew. However, this time I went to Wiltshire not for pleasure, but to meet a gentleman who wishes to have a room redecorated as a surprise for his wife.”

 

“So, your interior design business is going well then, Miss Chetwynd?” Mr. Mayhew queries.

 

“It is indeed, Mr. Mayhew,” Lettice affirms. “Perhaps more successful than I had ever dreamed.”

 

“Well, that is splendid news, Miss Chetwynd.” Mr. Mayhew purrs rubbing his hands together. “And will you be accepting this gentleman’s commission.”

 

“Perhaps against my better judgement, I am, Mr. Mayhew.” Lettice admits.

 

“Against your better judgement, Miss Chetwynd?”

 

“Well,” Lettice sighs. “The lady for whom this gentleman wants the room designed is his wife, and she is currently redecorating many other parts of the house. I am concerned that she won’t appreciate an interloper like me coming in and enforcing my designs upon her home. However, Mr. Gifford, the gentleman, assured me that if his wife doesn’t like it, he will accept any and all blame. So, in spite of my misgivings, I have accepted. Like Richard III, Mr. Gifford wooed me with his honeyed words.” Lettice sighs again. “In addition, he is the godson of Henry Tipping********* who has promised me a favourable review in Country Life********** if Mrs. Gifford likes the room.”

 

“Splendid! Splendid!” Mr. Mayhew says comfortingly. “We all have doubts and misgivings sometimes, Miss Chetwynd, however it sounds like a reasonable gamble.”

 

“I do hope you are right, Mr. Mayhew.”

 

“Now, what is it that I can entice you to add to your bookshelves today, Miss Chetwynd?” Mr. Mayhew steps out from behind his cluttered desk and speaks as he moves. “Something to help inspire you with this fraught new commission, perhaps?”

 

“Oh, that is a lovely idea, Mr. Mayhew.” Lettice replies. “However, it isn’t me that I’ve come looking for a book for.”

 

“Then to what do I owe the pleasure, Miss Chetwynd?”

 

“I want something for my friend, Mr. Bruton, Mr. Mayhew.”

 

“The costumier?” Mr. Mayhew queries.

 

“The couturier.” Lettice corrects the bookseller.

 

“Of course, Miss Chetwynd.”

 

“He turns twenty-five next week, and I would like to find him a beautiful book on fashion for him to enjoy.”

 

“Oh.” Mr. Mayhew utters with a mixture of disappointment and concern. “Well, I’m afraid that I don’t have anything contemporary, Miss Chetwynd.”

 

“Oh, I don’t want something contemporary, Mr. Mayhew.” Lettice assures him. “Rather I want something that is beautifully illustrated that he might enjoy.”

 

“Well, in that case, Miss Chetwynd, I may have some things that might suit your friend Mr. Bruton. I just hope that I shan’t disappoint you, my dear Miss Chetwynd.” Mr. Mayhew returns her smile.

 

“You never disappoint me, Mr. Mayhew.” Lettice counters. “But you never cease to surprise me, either.” she adds with the heavy implication that she hopes he can find for her the perfect birthday present for Gerald.

 

As if she has uttered magic words to strike the old bookseller into action, Mr. Mayhew’s face animates. “Then let Mayhew’s not let you down today, Miss Chetwynd.”

 

Mr. Mayhew picks up his spectacles and puts them on the bridge of his nose again before looking around him, squinting as he considers what buried treasures are hidden amidst the tomes on the shelves in the darkened, cosy interior of his bookshop. As a proprietor who knows his stock well – almost like one would know a family – he says, “I think I might have just the thing. Please, take a seat, Miss Chetwynd.” He indicates to the chair on the opposite side of the desk to his own. “If I may beg your indulgence, I won’t be too long.”

 

“You may, Mr. Mayhew.” Lettice replies.

 

The bookseller makes a small bow before he bustles off, disappearing amidst the bookshelves.

 

Lettice initially perches herself on the edge of the rather hard Arts and Crafts wooden seat and peruses Mr. Mayhew’s cluttered desk which is piled with old leather volumes, some of which speak of times long ago with their worn covers and aged pages. Then she spies a book of beautiful rose prints standing open on top of the ornate mahogany bookshelf to the left of the fireplace. Standing up, she walks over to it and gently begins turning the pages, admiring the beautiful engraved*********** illustrations.

 

“That’s a very fine copy of Redouté’s*********** Roses from the 1820s with beautiful stipple engravings************. You have exquisite taste, Miss Chetwynd.” Mr. Mayhew says as he returns with several volumes in his arms.

 

“Then it is my mother who has good taste, Mr. Mayhew.” Lettice replies. “I was just admiring it because I know my mother has a copy of this book in the morning room at Glynes. I think my father is a little jealous of her having it.”

 

“I would be too, Miss Chetwynd.” the old bookseller remarks as he slips the volumes with a soft thud atop the other closed books on his desk. “Now! Here we are!” Mr. Mayhew indicates to the books he has come back with. “Hopefully there is something here that Mr. Bruton will like.”

 

Lettice returns to her seat, whilst Mr. Mayhew also returns to his behind the desk. He hands her a large but slender volume with a rust coloured cover. Lettice reads on its cover in bold black printed typeface that it is a catalogue of ladies’ shoes from historical times to the present.

 

“It’s from the early 1810s, Miss Chetwynd.” Mr. Mayhew says proudly. “Around the time our beloved Miss Auten penned Sense and Sensibility, so even though it speaks of history in the title, the volume itself has become a part of history.”

 

Lettice murmurs her own delight as she turns the pages and looks at beautiful engravings of dainty shoes with fine court heels: each illustration clearly showing even the finest of details of each shoe. The illustrations are arranged in colours and dates, with three slippers illustrated on every page. “Delightful!” Lettice opines.

 

“Then there is this.” Mr. Mayhew holds out another volume, this time with an aquamarine coloured cover.

 

“Revue des Chapeaux,” Lettice reads.

 

“Published during the war, this book’s pages review in brilliant pictorial detail, millinery styles between 1913 and 1917.” Mr. Mayhew says with a sigh. “The photographs really are quite stylish, as is the presentation.”

 

Lettice turns the pages, admiring the images showing each hat usually contained, but occasionally stretching out of, a circle. The black and white photographs have been partially tinted before being printed to draw attention to some of the elegant ruffles and soft fabric roses of each hat. Lettice chuckles to herself as she spies a royal blue hat with a brim significantly smaller than some of the voluminous hats her mother wore before the war, the hat’s crown dominated by a bunch of pink hyacinths. “I used to have a hat similar to this.” Lettice muses, patting her own green cloche hat self-consciously as she does, as if distracted enough to believe that she is still wearing the old fashioned pre-war hat with its whimsical bouquet of flowers sticking from it.

 

“Did you indeed, Miss Chetwynd?” Mr. Mayhew purrs.

 

“Yes.” Lettice replies, suddenly snapping out of her reverie. “I think this one, however lovely, is perhaps not quite to Gerald’s taste.”

 

“Very well Miss Chetwynd.” the bookseller says obsequiously, withdrawing the offending volume. “As you wish.” He then fumbles a little as he takes a rather thin catalogue from beneath a much larger volume. He looks carefully at Lettice before asking, “You won’t be offended by a German volume, will you?”

 

Lettice laughs. “Good heavens, no, Mr, Mayhew! You sell my father antiquarian versions of Gothe*************! As his daughter, how could I possibly be offended?”

 

“No, of course not, Miss Chetwynd. Well,” Mr. Mayhew says rather awkwardly. “Will Mr. Bruton take offence?”

 

“I doubt it, Mr. Mayhew.” Lettice replies.

 

“That’s good, because in the years of anti-German sentiment of the war, after the Lusitania’s sinking**************, I had to hide this beautiful catalogue, along with quite a number of other books which I have only just recently started returning to my post-war shelves.”

 

Lettice takes the Victorian catalogue from Mr. Mayhew’s hands and opens it.

 

“It is a catalogue of coats, furs and blouses from 1898 from a Berlin manufacturer.”

 

She flips through the fine pages beautifully illustrated with chromolithographs***************. Ladies with synched waists and protruding bosoms thanks to the influence of S-bend corsets**************** wearing feather and flower adorned hats and bonnets, show off fur tippets*****************, automobiling coats and jackets with leg-o’-mutton sleeves******************. “Beautiful!” Lettice murmurs with admiration, running her hand over one mode of a woman in a coat of deep violet with fur lapels.

 

“I thought you might like that one, Miss Chetwynd.” Mr. Mayhew says proudly. “Of course, I only show this to a very small selection of privileged clients whom I think may be interested in it.”

 

“Well thank you, Mr, Mayhew.” Lettice replies with satisfaction. “I’m most grateful you did. I think this will do nicely for Gerald.”

 

“But wait, Miss Chetwynd. I do have one more volume to show you.” He holds up a very large buff coloured volume before handing it to Lettice. “It’s not marked, but this is a volume of Art Nouveau jewellery from Paris.”

 

Lettice gasps as she turns the pages of the volume in her lap as the sinuous, feminine lines of art nouveau appear in image after image in the shape of combs and pins, necklaces, cufflinks, brooches, cravat pins, hairpins, bracelets, hatpins and tiaras: fabulous creations made of gold, silver and platinum, studded with precious and semi-precious stones. Mr. Mayhew smiles and nods as he looks at Lettice’s transfixed face.

 

“For all his love of modernity, Gerald does have a rather silly soft spot for Art Nouveau.” Lettice utters.

 

“Then might I recommend that volume, Miss Chetwynd?”

 

“Mr. Mayhew, yet again you never cease to amaze me with what you have within your shop. I think you have just found me, the perfect birthday gift for Gerald.”

 

“Splendid, Miss Chetwynd! Splendid!” Mr. Mayhew claps. “I’ll return the others then.”

 

As he begins gather up the books, Lettice adds, “I’ll take the German catalogue too.” She smiles. “It seems a shame for it to remain hidden away. I’ll give it to Gerald for Christmas!”

 

“Very good, Miss Chetwynd.” the old bookseller acknowledges.

 

As he returns from having put the other two volumes back on the shelves from where they came, Mr. Mayhew asks Lettice, “By the way, Miss Chetwynd, I meant to ask you how your young aspiring architect liked the volume of John Nash’s architectural drawings you bought him?”

 

Lettice’s face, so bright and flushed with colour, suddenly drains and falls.

 

“Oh dear!” Mr, Mayhew gasps, putting his pudgy fingers to his mouth. “Did I just drop a social briquette, my dear Miss Chetwynd?”

 

Quickly recovering herself, Lettice blusters with false joviality, “No! No, Mr. Mayhew! Not at all!”

 

“However?” the old man asks, indicating for Lettice to go on with her unspoken statement.

 

“Well,” Lettice continues. “It’s just, I don’t actually know whether he liked it or not.” Remembering the book wrapped up gaily in bright paper and decorated with a satin ribbon left abandoned on her seat at the Savoy, she continues, “Things didn’t quite eventuate the way we’d planned for my friend’s birthday. He had to leave England quite unexpectedly, and I didn’t see him that night.” She pauses. “He… he’s gone to Durban for a year or so.”

 

“Oh.” Mr. Mayhew exclaims, shocked by her statement, knowing what he does about Lettice’s attachment to Selwyn. “But he will be back, Miss Chetwynd?” He returns to his seat behind the desk and reaches for his pipe. Striking a match, he lights it and puffs away with concern on it as he looks to Lettice.

 

Lettice doesn’t reply straight away, watching the bookseller looking her earnestly in the face, awaiting a response. “I hope so.” When Mr. Mayhew’s face falls, she quickly adds, “Of course! Of course he will return, Mr. Mayhew! Of course!” She cannot countenance losing her steely resolve and breaking down in tears in Mr. Mayhew’s bookshop.

 

Sensing Lettice’s unhappiness and awkwardness, Mr. Mayhew quickly pipes up, “Well, you can give it to him when he returns, Miss Chetwynd.” He begins fumbling through the pile of books he had been cataloguing before Lettice’s arrival. “That’s the good thing about books,” he says as he rifles through the marbleised volumes with leather spines. “Unlike cakes and chocolate, they will keep.”

 

“Yes,” Lettice breathes, sighing with relief at Mr. Mayhew’s perceptiveness and kindness. “You’re quite right.”

 

“Aha!” Mr. Mayhew withdraws a volume from the pile. “Here it is.” He hands it to Lettice. “Have you ever read this?”

 

“Jane Eyre.” Lettice reads from the gilded letters on the spine. “No, Mr. Mayhew. I don’t think I’ve ever read anything by the Brontë sisters.”

 

“Tut-tut, Miss Chetwynd!” Mr. Mayhew admonishes her teasingly. “You don’t know what literary treasures you have been missing out on all these years of your young life. Start with Miss Eyre. Take it from me as a gift.” He smiles.

 

“Oh, but Mr. Mayhew!” Lettice exclaims.

 

“Take it!” he sweeps her protestations aside. “I have plenty of other volumes of it on my shelves. It was just part of this lot, and I wanted it for the seven 1811 volumes of The History of Charles Grandison*******************.”

 

“But Mr. Mayhew…”

 

“You’ll be doing me a favour, Miss Chetwynd.” he assures her. “Really you will.”

 

Lettice turns the pretty volume over in her hands.

 

“Besides, I think you may just find Miss Eyre to be a little bit of an inspiration for you, Miss Chetwynd.”

 

“How so, Mr, Mayhew?”

 

“Well, Jane Eyre came to know a lot about the vicissitudes of life.”

 

*A. H. Mayhew was once one of many bookshops located in London’s Charring Cross Road, an area still famous today for its bookshops, perhaps most famously written about by American authoress Helene Hanff who wrote ’84, Charing Cross Road’, which later became a play and then a 1987 film starring Anne Bancroft and Anthony Hopkins. Number 56. Charing Cross Road was the home of Mayhew’s second-hand and rare bookshop. Closed after the war, their premises is now the home of Any Amount of Books bookshop.

 

**The Café Royal in Regent Street, Piccadilly was originally conceived and set up in 1865 by Daniel Nicholas Thévenon, who was a French wine merchant. He had to flee France due to bankruptcy, arriving in Britain in 1863 with his wife, Célestine, and just five pounds in cash. He changed his name to Daniel Nicols and under his management - and later that of his wife - the Café Royal flourished and was considered at one point to have the greatest wine cellar in the world. By the 1890s the Café Royal had become the place to see and be seen at. It remained as such into the Twenty-First Century when it finally closed its doors in 2008. Renovated over the subsequent four years, the Café Royal reopened as a luxury five star hotel.

 

***John Nash (18 January 1752 – 13 May 1835) was one of the foremost British architects of the Georgian and Regency eras, during which he was responsible for the design, in the neoclassical and picturesque styles, of many important areas of London. His designs were financed by the Prince Regent and by the era's most successful property developer, James Burton. Nash also collaborated extensively with Burton's son, Decimus Burton.

 

****The Savoy Hotel is a luxury hotel located in the Strand in the City of Westminster in central London. Built by the impresario Richard D'Oyly Carte with profits from his Gilbert and Sullivan opera productions, it opened on 6 August 1889. It was the first in the Savoy group of hotels and restaurants owned by Carte's family for over a century. The Savoy was the first hotel in Britain to introduce electric lights throughout the building, electric lifts, bathrooms in most of the lavishly furnished rooms, constant hot and cold running water and many other innovations. Carte hired César Ritz as manager and Auguste Escoffier as chef de cuisine; they established an unprecedented standard of quality in hotel service, entertainment and elegant dining, attracting royalty and other rich and powerful guests and diners. The hotel became Carte's most successful venture. Its bands, Savoy Orpheans and the Savoy Havana Band, became famous. Winston Churchill often took his cabinet to lunch at the hotel. The hotel is now managed by Fairmont Hotels and Resorts. It has been called "London's most famous hotel". It has two hundred and sixty seven guest rooms and panoramic views of the River Thames across Savoy Place and the Thames Embankment. The hotel is a Grade II listed building.

 

*****British and Irish country house contents auctions are usually held on site at the country house, and have been used to raise funds for their owners, usually before selling the house and estate. Such auctions include the sale of high quality antique paintings, furniture, objets d'art, tapestries, books, and other household items. Whilst auctions of estates was nothing new, by 1924 when this story is set, the sun was already setting on the glory days of the country house, and landed gentry who were asset rich but cash poor began selling off properties and their contents to pay for increased rates of income tax and death duties.

 

******In Shakespeare’s Richard III, after killing her first husband, Richard pursues Lady Anne, charming her and wearing her down until the mourning widow finally agrees to may him, only to discover that his charms are all a farce, and that in reality, he despises her, and thinks of her as mothing more than a trophy won, and to them be discarded. She opines to Queen Elizabeth:

“Even in so short a space, my woman's heart

Grossly grew captive to his honey words

And proved the subject of my own soul's curse,

Which ever since hath kept my eyes from rest;

For never yet one hour in his bed

Have I enjoy'd the golden dew of sleep,

But have been waked by his timorous dreams.”

 

*******Vellum is prepared animal skin or membrane, typically used as writing material. It is often distinguished from parchment, either by being made from calfskin, or simply by being of a higher quality. Vellum is prepared for writing and printing on single pages, scrolls, and codices.

 

********Stowe House is a grade I listed country house in Stowe, Buckinghamshire, England. It is the home of the private Stowe School and is owned by the Stowe House Preservation Trust. Over the years, it has been restored and maintained as one of the finest country houses in the UK. Stowe House is regularly open to the public. The house is the result of four main periods of development. Between 1677 and 1683, the architect William Cleare was commissioned by Sir Richard Temple to build the central block of the house. This building was four floors high, including the basement and attics and thirteen bays in length. From the 1720s to 1733, under Viscount Cobham, additions to the house included the Ionic North colonnaded portico by Sir John Vanburgh, as well as the re-building of the north, east and west fronts. The exterior of the house has not been significantly changed since 1779, although in the first decade of the Nineteenth Century, the Egyptian Hall was added beneath the North Portico as a secondary entrance. The house contained not one but three major libraries. Held by the aristocratic Grenville-Temple family since 1677, Reverend Luis C.F.T. Morgan-Grenville inherited Stowe House from his brother Richard G. Morgan-Grenville who died fighting at Ploegsteert Wood during the Great War in 1914. The Reverend sold Stowe House and most of its contents in 1921. The second Great Sale in October 1921, in which 3,700 lots were sold by Jackson-Stop Auctioneers.

 

*********Henry Tipping (1855 – 1933) was a French-born British writer on country houses and gardens, garden designer in his own right, and Architectural Editor of the British periodical Country Life for seventeen years between 1907 and 1910 and 1916 and 1933. After his appointment to that position in 1907, he became recognised as one of the leading authorities on the history, architecture, furnishings and gardens of country houses in Britain. In 1927, he became a member of the first committee of the Gardens of England and Wales Scheme, later known as the National Gardens Scheme.

 

**********Country Life is a British weekly perfect-bound glossy magazine that is a quintessential English magazine founded in 1897, providing readers with a weekly dose of architecture, gardens and interiors. It was based in London at 110 Southwark Street until March 2016, when it became based in Farnborough, Hampshire. The frontispiece of each issue usually features a portrait photograph of a young woman of society, or, on occasion, a man of society.

 

************Pierre-Joseph Redouté (1759 – 1840), was a painter and botanist from Belgium, known for his watercolours of roses, lilies and other flowers at the Château de Malmaison, many of which were published as large coloured stipple engravings. He was nicknamed "the Raphael of flowers" and has been called the greatest botanical illustrator of all time

 

************Stipple engraving is a technique perfected by Pierre Joseph Redouté which helped him reproduce his botanical illustrations. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of colour. Because the ink rested on the paper in miniscule dots, it did not obscure the “light” of the paper beneath the colour. After the complicated printing process was complete, the prints were hand finished in watercolour to conform to the models Redouté provided.

 

*************Johann Wolfgang von Goethe (1749 – 1832) was a German polymath and writer, who is widely regarded as the greatest and most influential writer in the German language. His work has had a profound and wide-ranging influence on Western literary, political, and philosophical thought from the late Eighteenth Century to the present day. Goethe was a German poet, playwright, novelist, scientist, statesman, theatre director, and critic. His works include plays, poetry and aesthetic criticism, as well as treatises on botany, anatomy, and colour.

 

*************Following the torpedoing and subsequent sinking of the British Cunard passenger liner RSM Lusitania by a German submarine (U-boat) in 1915, resulting in the loss of 1,195 deaths including many women and children, there was a wave of anti-German sentiment throughout Britain. Mobs of angry people stormed through the streets of British cities, hurling bricks through the windows of shops and restaurants with German sounding names, stealing merchandise in some cases, setting fires in others. Hotels refused rooms to people with Germanic names like Muller or Schultz, even when they could produce documents proving their British citizenship. Homes were ransacked and people driven from them, cars were vandalised, music by Mozart, Strauss and other German composers banned, German books destroyed, bottles of German Mosel smashed and according to more than one report of the day – a few mentally deficient patriots did their bit for the cause by chasing poor dachshunds down the street kicking them, or killing them!

 

***************Chromolithography is a method for making multi-colour prints. This type of colour printing stemmed from the process of lithography, and includes all types of lithography that are printed in colour. When chromolithography is used to reproduce photographs, the term photochrome is frequently used.

 

****************Created by a specific style of corset popular between the turn of the Twentieth Century and the outbreak of the Great War, the S-bend is characterized by a rounded, forward leaning torso with hips pushed back. This shape earned the silhouette its name; in profile, it looks similar to a tilted letter S.

 

*****************A tippet is a piece of clothing worn over the shoulders in the shape of a scarf or cape. Tippets evolved in the fourteenth century from long sleeves and typically had one end hanging down to the knees. By the 1920s, tippets were usually made of fox, mink or other types of fur.

 

******************A leg-o’-mutton sleeve (also known in French as the gigot sleeve) was initially named due to its unusual shape: formed from a voluminous gathering of fabric at the upper arm that tapers to a tight fit from the elbow to the wrist. First seen in fashionable dress in the 1820s, the sleeve became popular between approximately 1825 and 1833 – but by the time Queen Victoria ascended to the throne in 1837, the overblown sleeves had completely disappeared in favour of a more subdued style. The trend returned in the 1890s, with sleeves growing in size – much to the ridicule of the media – until 1906 when the mode once again changed.

 

*******************The History of Sir Charles Grandison, commonly called Sir Charles Grandison, is an epistolary novel by English writer Samuel Richardson first published in February 1753. The book was a response to Henry Fielding's The History of Tom Jones, a Foundling, which parodied the morals presented in Richardson's previous novels.

 

This dark, cosy and slightly cluttered bookshop may appear real to you, but it is in fact made up of pieces from my 1:12 miniatures collection.

 

Fun things to look for in this tableau include:

 

All the books that you see lining the shelves of Mr. Mayhew’s bookshop are 1:12 size miniatures made by the British miniature artisan Ken Blythe. So too are all the books you see both open and closed on Mr. Mayhew’s desk. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. Therefore, it is a pleasure to give you a glimpse inside five of the books he has made. To give you an idea of the work that has gone into this volume and the others, the books contain dozens of double sided pages of images and writing. What might amaze you even more is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. For example, published in 1917, “Revue des Chapeaux” (the book at the front on the right) reviews in brilliant pictorial detail, millinery styles between 1913 and 1917. The pages shown in my photo may be seen photographed from the actual book and uploaded to Flickr in these two links: here ( www.flickr.com/photos/taffeta/7062767671/in/album-7215762... ) and here ( www.flickr.com/photos/taffeta/7062758273/in/album-7215762... ). The other books are also real books, including the catalogue of historical ladies’ shoes from 1812, the French book of Art Nouveau jewellery and metalwork design, the jacket catalogue from a Berlin manufacturer and the copy of Les Roses (1824) by Pierre-Joseph Redouté in the background to the upper left-hand corner of the photograph. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago. His legacy will live on with me and in my photography which I hope will please his daughter. I hope that you enjoy this peek at just a few of hundreds of his books that I own, and that it makes you smile with its sheer whimsy!

 

Also on the desk beneath the books are some old papers and a desk calendar which I acquired from Kathleen Knight’s Dollhouse Shop in the United Kingdom.

 

The Chippendale desk itself is made by Bespaq, and it has a mahogany stain and the design is taken from a real Chippendale desk. Its surface is covered in red dioxide red dioxide leather with a gilt trim. Bespaq is a high-end miniature furniture maker with high attention to detail and quality.

 

The photos you can see in the background, all of which are all real photos, are produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are from various suppliers, but all are metal.

 

The aspidistra in the blue jardiniere that can just be seen to the right of the fireplace in the background, the pipe and pipe stand, and the map also came from Kathleen Knight’s Dollhouse Shop in the United Kingdom.

 

The gold flocked Edwardian wallpaper is beautiful hand impressed paper given to me by a friend, which inspired the whole “Cavendish Mews – Lettice Chetwynd” series.

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Lettice recently visited her family home, Glynes, in Wiltshire after fleeing London in a moment of deep despair. Lettice’s beau, Selwyn Spencely, son of the Duke of Walmsford, had organised a romantic dinner at the Savoy* for he and Lettice to celebrate his birthday. However, when Lettice arrived, she was confronted not with the smiling face of her beau, but the haughty and cruel spectre of his mother, the Duchess of Walmsford, Lady Zinnia. Lady Zinnia, and Selwyn’s Uncle Bertrand had been attempting to marry him off to his cousin, 1923 debutante Pamela Fox-Chavers. Lady Zinnia had, up until that moment been snubbing Lettice, so Selwyn and Lettice arranged for Lettice to attend as many London Season events as possible where Selwyn and Pamela were also in attendance so that Lettice and Selwyn could spend time together, and at the same time make their intentions so well known that Lady Zinnia wouldn’t be able to avoid Lettice any longer. Zinnia is a woman who likes intrigue and revenge, and the revenge she launched upon Lettice that evening at the Savoy was bitterly harsh and painful. With a cold and calculating smile Lady Zinna announced that she had packed Selwyn off to Durban in South Africa for a year. She made a pact with her son: if he went away for a year, a year during which he agreed neither to see, nor correspond with Lettice, if he comes back and doesn’t feel the same way about her as he did when he left, he agreed that he will marry Pamela, just as Bertrand and Lady Zinnia planned. If however, he still feels the same way about Lettice when he returns, Lady Zinnia agreed that she would concede and will allow him to marry her.

 

Leaving London by train that very evening, Lettice returned home to Glynes, where she stayed for a week, moving numbly about the familiar rooms of the grand Georgian country house, reading books from her father’s library distractedly to pass the time, whilst her father fed her, her favourite Scottish shortbreads in a vain effort to cheer her up. However, rather than assuage her broken heart, her father’s ministrations only served to make matters worse as she grew even more morose. It was from the most unlikely of candidates, her mother Lady Sadie, with whom Lettice has always had a fraught relationship, that Lettice received the best advice, which was to stop feeling sorry for herself and get on with her life: keep designing interiors, keep shopping and most importantly, keep attending social functions where there are plenty of press photographers. “You may not be permitted to write to Selwyn,” Lady Sadie said wisely. ‘But Zinnia said nothing about the newspapers not writing about your plight or your feelings on your behest. Let them tell Selwyn that you still love him and are waiting for him. They get the London papers in Durban just as much as they get them here, and Zinnia won’t be able to stop a lovesick and homesick young man flipping to the society pages as he seeks solace in the faces of familiar names and faces, and thus seeing you and reading your words of commitment to him that you share through the newspaper men. Tell them that you are waiting patiently for Selwyn’s return.”

 

Since then, Lettice has been trying to follow her mother’s advice and has thrown herself into the merry dance of London’s social round of dinners, dances and balls in the lead up to the festive season. Carefully heeding another piece of her mother’s advice, she has avoided being seen on the arm of any eligible young men, and just as Lady Sadie predicted, the press has been lapping up the story of Lettice’s broken heart as she shuns the advances of other young men whilst she awaits Selwyn’s eventual return from Durban, publishing the details in all their tabloids with fervour.

 

Today we are not at Cavendish Mews. Instead, we are just a short distance away in Knightsbridge on London’s busy shopping thoroughfare of the Brompton Road, where amidst the throng of London’s middle-class housewives and upper-class ladies shopping for amusement, Lettice is trying to throw herself enthusiastically into Christmas shopping with her best friend, Margot Channon, visiting Harrods**. The usually busy footpath outside the enormous department store with its famous terracotta façade seems even busier today as the crowds are swelled by visitors who have come in from the outer suburbs of London and elsewhere around England to join Lettice and Margot and do a spot of their own Christmas shopping. Around them, the vociferous collective chatter of shoppers mixes with the sound of noisy automobiles, chugging double decker busses and the occasional clop of horses hooves as they all trundle along the Brompton Road.

 

The two smartly dressed ladies enter London’s most expensive and grand department store, and following Lettice’s lead, they make their way upstairs to the toy department on Harrod’s top floor. The pair meander between tables laden with mountains of boxed dolls, teddy bears, toy tea sets and dolls’ house furnishings, jostling for space with excited children in toy heaven escorted by their frazzled nannies, or in a few cases, their distracted parents. Fleets of child sized tricycles, rocking horses, railway engines and pedal automobiles stand in line before the counters, their doll and teddy bear passengers awaiting their child drivers. Dolls houses with peaked roofs and beautiful gingerbreading stand open, displaying their tastefully decorated interiors for every passing girl to look at, admire and envy, whilst stacks of the latest sporting toys and equipment are ogled and pawed at by little boys. The air is punctuated with laughter, squeals of delight and the occasional sharp slap and harsh words of admonishment when a child does more than just look at what is on display.

 

“Even the most well-bred children become little monsters at Christmas time.” mutters Margot irritably as two giggling children in smart coats and hats tear past her, their hurried footsteps absorbed into the thick plush of patterned Art Nouveau carpet beneath their feet. “Not that I was of course. My nanny would have been dismissed immediately if I behaved in public the way some of these children are.”

 

Lettice doesn’t reply, but walks alongside her friend, looking absently at a selection of brightly decorated smiling golliwogs sitting on a three-tier display stand.

 

“You know what, Lettice darling?” Margot asks, picking up on a thread of conversation the two friends had begun as they looked through the windows of Harrods along the Brompton Road a few minutes before.

 

“What Margot?” Lettice asks rather distractedly as her gaze moves from the golliwogs to several plush toy poodles standing in front of a wonderful, fully rigged wooden sailboat.

 

“I may not be a great fan of Sadie,” Margot admits. “She’s difficult, exacting and far too critical of you as her daughter.”

 

Margot looks thoughtfully at Lettice, who appears somewhat diminished as she walks alongside her best friend, almost swimming in her familiar powder blue three-quarter length coat, her pale and wan face lacking its usual colour as she peers out from above her thick arctic fox fur stole wrapped around her. Even her smart hat, another millinery creation from her wonderful Putney discovery Harriet Milford, appears bigger on her today, and Margot notices that Lettice’s blonde hair, freshly set in soft Marcelle waves*** around her face, appears lacklustre in spite of her visit to the coiffeur.

 

“But,” Lettice asks, tentatively, pausing and looking at her friend dressed in a smart russet outfit of a three quarter length coat and matching hat, accessorised by a beautiful red squirrel stole.

 

“But what, Lettice darling?”

 

“Your sentence Margot. Don’t be coy, or worse obtuse,” Lettice tuts, looking her friend squarely in the face. “You may not be a fan of Sadie, but?”

 

“Well,” Margot says with a guilty lilt. “For once I jolly well agree with your mother.”

 

“You do?”

 

“I do!” admits Margot. “I think she was right to pack you off back here to London. It’s the only place you will get your shine back.” Margot pauses before adding. “You are looking a little peaky, my dear, if you will forgive me for saying.”

 

“I will, Margot darling. It’s a rare occurrence for Mater to ever insist I return to London.” Lettice snorts as they continue to slowly traverse the aisle lined with every conceivable toy and populated with a mass of wriggling and writhing excitable children. “Usually, it’s the other way around! Why must I come back to this big, horrible city when everything I could possibly need is right on my doorstep in dull old Wiltshire.”

 

“Moping about Glynes for too long would just have exacerbated your feelings of sadness.” Margot goes on. “Especially with your dear Pappa pandering to you.”

 

“Have you been talking to Mater about me?” Lettice asks in surprise, stopping in her tracks.

 

“No!” laughs Margot, looking back at her friend’s surprised face. “What a preposterous idea! We don’t even like one another! Why on earth would you ask that?”

 

“You’ll laugh when I tell you this,” explains Lettice. “But she intimated the exact same thing to me whilst I was staying down at Glynes.”

 

True to Lettice’s prediction, Margot does laugh. “Well, Sadie may lack empathy, but when it comes to matchmaking, it seems that she does have some common sense and knowledge.”

 

“So, you don’t think I’m foolish for doing what Mater suggested?”

 

“For getting on with things, or trying to at any rate?” Margot asks. “Good heavens, no! Why? Who has been saying you’re foolish for coming back to London?”

 

“When I arrived home, Cilla telephoned me and invited me to dine at the Langbourne Club****.”

 

“Humph!” opines Margot. “You’d think with her newly minted American millionaire husband, Cilla could find a new club to be a member of: somewhere more fitting than Fishmonger Hall Street to entertain you over luncheon.”

 

“Oh I don’t know,” Lettice brightens for a moment. “I rather enjoyed having tea and cucumber sandwiches surrounded by the working women of London.”

 

“Cilla would be wise to bury the fact that at one stage she and her mother were in such an impecunious position that she took up a secretarial course and worked in the city office of banker, just to keep the wolves away from the door.” mutters Margot bitterly. “Which she lied to all of us, her friends, about by saying it was a social experiment to aid her understanding of the conditions of working women in the city so she could help improve them.”

 

“Now, don’t be cruel, Margot.” Lettice chides her best friend mildly. “It doesn’t suit you.”

 

“But it’s true! Cilla lied to us all. I thought we were all friends.”

 

“We are, Margot darling.”

 

“But she lied to us, Lettice.”

 

“Only to save face, Margot darling. You know what that’s like. We all do.” Lettice soothes. “Anyway, you’re hardly a one to talk of impecunious circumstances when you think of some of the financial scraps you and Dickie have been in since you were married.” She cocks a knowing eyebrow. “We all know that he might be the future Marquess of Taunton, but he hasn’t a bean.”

 

“That’s besides the point, Lettice darling!” deflects Margot. “Anyway, what did Cilla have to say whilst you were luncheoning on soggy cucumber sandwiches and lukewarm milky tea with views of the Pool of London*****?”

 

“She thinks I’m silly to keep designing interiors and shopping and worse still for attending social functions, especially those where there are lots of photographers and reporters, whom she has noticed me talking to at length.”

 

“That’s because Cilla is a foolish girl who only ever reads silly romance novels and the social pages of the newspapers.” snaps Margot. “Now that she has her wealthy husband, and her future is secure, she thinks of little else.”

 

“I must confess,” Lettice admits guiltily. “I mean, I wasn’t really in the mood for her chatter anyway, but it was most awfully trying, listening to her prattle on about how wonderful life is, now that she’s Mrs. Georgie Carter.”

 

“It just goes to show you how thoughtless she is to talk like that around you when she knows of your heartbreak every bit as much as I do. It’s heartless and unthinking!”

 

“Never mind Margot darling. It’s done now. There’s no need to get cross over it.”

 

Seeming not to hear her friend, Margot continues, “She is just as self-obsessed as the heroines in those ridiculous romances she reads.” She casts her eyes up to the ornate white painted plaster cornicing above. “I’m glad I managed to introduce some alternatives to your reading repertoire.”

 

“Oh yes,” Lettice sparks up momentarily again. “I did enjoy ‘Whose Body?’******. Miss Sayers’ character of Lord Peter Wimsey is simply wonderful!”

 

“I’m glad you enjoyed it, Lettice darling!” purrs Margot with delight, seeing a welcome spark in her friend’s blue eyes and a tentative smile on her pale lips. “And to see you enthusiastic about something for a change. In spite of your most valiant efforts to be gay and put on a brave face, I cannot help but notice how farouche******* you have been since you came back from Wiltshire. Now, thinking of Glynes, I think Sadie’s suggestion that we get you in front of as many flashing camera bulbs and reporters desperate to report on your perceived ill-fated wait for Selwyn was pure genius!”

 

“Margot!”

 

“I know! I don’t imagine you ever thought you’d hear me say that about Sadie, but she genuinely is right. If you can’t communicate with Selwyn because Lady Zinnia forbids it, then let the newspapers do it for you. If they report on your pining for him, he’ll find out about it soon enough. Even if he doesn’t read the society pages, other people of his acquaintance in Durban will, and they will pop any mention of him in front of his very nose. You and I both know that when our names or pictures appear, everyone clamours to ask us whether we’ve seen ourselves in the society pages.”

 

“As if we hadn’t.” scoffs Lettice, rolling her eyes.

 

“As if we hadn’t.” agrees Margot with an affirmative nod. “No! Ignore silly Cilla, her judgement and her feeble ideas. Let’s do what your mother suggests and keep you out and about.” Margot looks rather nervously at a display of rather ghoulish looking French bisque dolls stacked to her left. “Thinking of which, why did you want to come to Harrod’s toy department anyway? Being surrounded by all these children,” A piercing scream from a little boy or girl pierces the air, making Margot cringe. “Really is most disturbing.”

 

“Well, it is getting towards Christmas, and I don’t have anything for my nice and nephew.” Lettice admits. “I’ve been too preoccupied with, well with other things, as you know.” she adds guiltily.

 

“You don’t have to justify your distractedness to me, Lettice, darling!” Margot links arms comfortingly with her best friend. “You know perfectly well that I understand and support you.”

 

“Thank you Margot, you really are a brick.” Sighs Lettice.

 

“That’s more like my Lettice of old.” Margot smiles. “Now, do you have any idea what your niece and nephew want from Father Christmas this year? The sooner we are out of here, the better as far as I’m concerned.”

 

“Do you think you’ll feel any differently about children, once you have your own, Margot darling?”

 

“Now don’t you start!” Margot snaps as she points a glove clad finger warningly at her friend.

 

“What did I say, Margot darling?”

 

“Oh, nothing.” Margot replies, deflating as quickly as she arced up. “I’m sorry, Lettice darling. Forgive me?”

 

“Of course, dear Margot, but whatever has happened to make you snap like that?”

 

“It’s just my awful mother-in-law the Marchioness is all.”

 

“Is she pressing you about starting a family again?”

 

“Again?” Margot laughs scornfully. “She never stops, even to draw breath. She tells me at every opportunity,”

 

“Which thankfully isn’t too many.” Lettice grasps her friend’s hands with her own glove encased ones.

 

“Thankfully no.” Margot agrees. “She tells me constantly that it’s my duty as a wife, and a Channon, to ensure the succession of the title by producing an heir. It isn’t as if,” She lowers her voice to a barely perceptible whisper as she moves her head close to Lettice’s. “Dickie and I haven’t been trying. We have. It just doesn’t seem to be happening. Unlike the Marchioness perceives, I’m not a clock that runs smoothly day in and day out.”

 

“Of course you aren’t, Margot darling.” Lettice assures her friend as tears start to well up in Margot’s eyes. “It will all happen, when time intends.”

 

A young girl nearby reaches up towards a teddy bear, and when she cannot reach it, her face turns from pale pink to red and then purple as she bellows loudly in protest with tears cascading down her fat cheeks.

 

“And when I do, I intend to give it to our nanny to take care of until it is at least of age.” Margot replies with disgust as she stares with open hostility at the crying child as a nanny in a grey cape and pillbox hat sweeps her up in her arms. “Filthy little beasts that children are.”

 

Lettice laughs at the combination of her best friend’s remark and look of repugnance.

 

“Come along Margot darling. Let’s keep going.”

 

Lettice comes to a halt before a glass fronted counter laden with such an array of wonderful toys and garlanded with festive tinsel******** that you can barely see it beneath all the festive cheer. Teddy bears of differing sizes jostle for space with a marvellous faerie tale castle upon which stand several painted lead and wooden soldiers. Two beautifully painted lead knights prepare to joust before its drawbridge entrance. Stacks of colourful bricks showing letters of the alphabet stand next to rocking wooden toys, whilst various games perch between them all.

 

“What are you thinking of?” Margot asks, looking at all the toys, before reaching out and giving a little model railway engine with red and grey livery and shiny brass workings a gentle nudge that projects it slightly further along the edge of the counter.

 

“Well,” Lettice begins. “I bought Harrold some jousting knights for Christmas last year. Lally said that between she and Charles posing as Father Christmas, Pappa and me, he ended up with a very fine collection.”

 

“So you think you might like to add to it?” Margot ventures as she gingerly picks up a knight in silver armour on horseback wearing cobalt blue livery.

 

“No,” Lettice says in a rather distracted fashion as she glances across the counter. “I don’t think I will this year. He has enough lead soldiers and knights.”

 

“Does any boy have enough lead soldiers and knights?” Margot laughs in rhetorical reply as she replaces the knight back onto the glassy surface of the counter.

 

“No, you’re right, dear Margot. But I was thinking I might buy him this.”

 

Lettice picks up a brightly decorated game box before her and holds it out to her best friend.

 

“The Wonderful Game of Oz*********,” Margot reads aloud, scruitinising the cover which features Dorothy, the Scarecrow, the Cowardly Lion and the Tin Man on it, with the Emerald City sparkling in the background.

 

“I bought Harrold ‘The Wonderful Wizard of Oz’********** and ‘The Land of Oz’ for his birthday, and Lally said that he just devoured them. He adored all the characters. I thought that now Annabelle is a bit older, brother and sister could probably play this companionably together, at least for a little while, and give Lally and Nanny a small amount of respite.”

 

“That sounds promising, Lettice darling.”

 

“I thought so.”

 

“May I help you, ladies?” asks a young male assistant who has slipped up silently to the counter as Lettice and Margot have been chatting.

 

“Aside from clearing the department of every single child under the age of eighteen,” Margot remarks, handing the clean shaven young man in Harrods livery the game box. “You might wrap this up for us.”

 

“Very good, madam.” he replies obsequiously.

 

“And don’t stray too far,” Margot adds. “We aren’t quite done yet.”

 

“Of course, madam,” the shop assistant agrees with a differential nod before retreating to wrap the box.

 

“Thank you,” Lettice says to her friend.

 

“And for your niece?” Margot asks.

 

“Well, after I gave her a big teddy bear like this one, last year,” Lettice tugs on the paw of a beautiful big buff coloured mohair bear. “I have heard nothing from Annabelle but how very much she wants me to give her a bear this year.” She picks up a pretty toffee coloured bear with black glass eyes and a sweet face with a vermilion bow about his neck. “So I think that’s an easy choice.”

 

Margot considers the bear in her friend’s hands. “He is sweet.” she remarks.

 

“Yes, he does have a rather lovely face.” Lettice agrees. “Oh, and ever since she discovered Rupert Bear*********** in her father’s ‘Daily Express’ she has been obsessed by him.” She picks up a pretty and colourful box decorated with Rupert bear rambling across the idyllic English countryside towards his home in Nutwood. “So perhaps this as well.”

 

“My goodness Lettice!” remarks Margot. “I don’t think I’ve ever seen you so decisive when it comes to shopping before.”

 

“Well,” admits Lettice, glancing awkwardly around her. “I must confess that being surrounded by all these noisy and rambunctious children is rather unnerving.”

 

“I couldn’t agree more.” replies Margot with a shudder.

 

“I don’t mind my own niece and nephew, in small doses, but all these excitable children really are too, too tiresome.”

 

“We’ll get these packaged up then, and we’ll go and take tea in the Georgian Restaurant************. Then we can talk more privately, and without a single child in sight, about your plans to keep Selwyn close to your heart, even if he is far away. What do you say, Lettice darling?”

 

“I think that sounds perfect, Margot darling!” Lettice sighs, smiling genuinely at her dear friend.

 

*The Savoy Hotel is a luxury hotel located in the Strand in the City of Westminster in central London. Built by the impresario Richard D'Oyly Carte with profits from his Gilbert and Sullivan opera productions, it opened on 6 August 1889. It was the first in the Savoy group of hotels and restaurants owned by Carte's family for over a century. The Savoy was the first hotel in Britain to introduce electric lights throughout the building, electric lifts, bathrooms in most of the lavishly furnished rooms, constant hot and cold running water and many other innovations. Carte hired César Ritz as manager and Auguste Escoffier as chef de cuisine; they established an unprecedented standard of quality in hotel service, entertainment and elegant dining, attracting royalty and other rich and powerful guests and diners. The hotel became Carte's most successful venture. Its bands, Savoy Orpheans and the Savoy Havana Band, became famous. Winston Churchill often took his cabinet to lunch at the hotel. The hotel is now managed by Fairmont Hotels and Resorts. It has been called "London's most famous hotel". It has two hundred and sixty seven guest rooms and panoramic views of the River Thames across Savoy Place and the Thames Embankment. The hotel is a Grade II listed building.

 

**Harrods is a department store located on Brompton Road in Knightsbridge, London. It is owned by Harrods Ltd. In 1824, at the age of twenty-five, Charles Henry Harrod established a business at 228 Borough High Street in Southwark. He ran this business, variously listed as a draper, mercer, and a haberdasher, until at least 1831. His first grocery business appears to be as 'Harrod & Co. Grocers' at 163 Upper Whitecross Street, Clerkenwell, in 1832. In 1834, in London's East End, he established a wholesale grocery in Stepney at 4 Cable Street with a special interest in tea. Attempting to capitalise on trade during the Great Exhibition of 1851 in nearby Hyde Park, in 1849 Harrod took over a small shop in the district of Brompton, on the site of the current store. Beginning in a single room employing two assistants and a messenger boy, Harrod's son Charles Digby Harrod built the business into a thriving retail operation selling medicines, perfumes, stationery, fruits and vegetables. Harrods rapidly expanded, acquired the adjoining buildings, and employed one hundred people by 1881. However, the store's booming fortunes were reversed in early December 1883, when it burnt to the ground. Remarkably, Charles Harrod fulfilled all of his commitments to his customers to make Christmas deliveries that year—and made a record profit in the process. Begun in 1894, the present building with its famous terracotta façade was completed to the design of architect Charles William Stephens. The same year Harrods extended credit for the first time to its best customers, among them Oscar Wilde, Lillie Langtry, Ellen Terry, Charlie Chaplin, Noël Coward, Gertrude Lawrence, Laurence Olivier and Vivien Leigh, Sigmund Freud, A. A. Milne, and many members of the British Royal Family. Beatrix Potter frequented the store from the age of seventeen. First published in 1902, her children’s book, ‘The Tale of Peter Rabbit’, was soon on sale in Harrods, accompanied by the world's first licensed character, a Peter Rabbit soft toy (Peter and toys of other Potter characters appeared in Harrods catalogues from 1910). In 1921, Milne bought the 18-inch Alpha Farnell teddy bear from the store for his son Christopher Robin Milne who would name it Edward, then Winnie, becoming the basis for Winnie-the-Pooh. On 16 November 1898, Harrods debuted England's first "moving staircase" (escalator) in their Brompton Road stores; the device was actually a woven leather conveyor belt-like unit with a mahogany and "silver plate-glass" balustrade. Nervous customers were offered brandy at the top to revive them after their 'ordeal'.

 

***Marcelling is a hair styling technique in which hot curling tongs are used to induce a curl into the hair. Its appearance was similar to that of a finger wave but it is created using a different method. Marcelled hair was a popular style for women's hair in the 1920s, often in conjunction with a bob cut. For those women who had longer hair, it was common to tie the hair at the nape of the neck and pin it above the ear with a stylish hair pin or flower. One famous wearer was American entertainer, Josephine Baker.

 

****Langbourne Club on Fishmonger Hall Street, provided a place where women who worked in the city could lunch and meet. Less luxurious than some of the West End clubs for women, it still offered companionship and comfort, particularly for single women working in offices who lived in bedsits and boarding houses. The club was entered from Fishmonger Hall Street, a narrow lane leading out of Upper Thames Street just west of London Bridge. Next door was the great facade of Fishmongers' Hall. Progressively, members of the Langbourne Club were allowed to invite their male friends to luncheon. There were organisations within the club which dealt with dances, musical and dramatic societies.

 

*****The Pool of London is a stretch of the River Thames from London Bridge to below Limehouse.

 

******Whose Body? is a 1923 mystery novel by English crime writer and poet Dorothy L. Sayers. It was her debut novel, and the book in which she introduced the character of Lord Peter Wimsey.

 

*******Farouche is an old fashioned term for someone who is sullen or shy when in company.

 

********One of the most famous Christmas decorations that people love to use at Christmas is tinsel. You might think that using it is an old tradition and that people in Britain have been adorning their houses with tinsel for a very long time. However that is not actually true. Tinsel is in fact believed to be quite a modern tradition. Whilst the idea of tinsel dates back to Germany in 1610 when wealthy people used real strands of silver to adorn their Christmas trees (also a German invention). Silver was very expensive though, so being able to do this was a sign that you were wealthy. Even though silver looked beautiful and sparkly to begin with, it tarnished quite quickly, meaning it would lose its lovely, bright appearance. Therefore it was swapped for other materials like copper and tin. These metals were also cheaper, so it meant that more people could use them. However, when the Great War started in 1914, metals like copper were needed for the war. Because of this, they couldn't be used for Christmas decorations as much, so a substitute was needed. It was swapped for aluminium, but this was a fire hazard, so it was switched for lead, but that turned out to be poisonous.

 

*********’The Wonderful Game of Oz’ was just one of the many pieces of promotional merchandise that was produced after the great success of the Oz series of books written by L. Frank Baum. Based on the books and characters, the game board and pieces are based on the John. R. Neil book illustrations. John. R. Neil illustrated all the Oz books except ‘The Wonderful Wizard of Oz’ which was illustrated by W. W. Denslow. In the game, you make your way through Oz, from Munchkinland to the Emarald City. It was published by Parker Brothers in Salem Massachusetts in 1921.

 

**********‘The Wonderful Wizard of Oz’ is based on whimsical stories he told his children, Lyman Frank Baum’s book is known as the first American faerie tale. Following the adventures of Kansas girl Dorothy Gale and her friends the Scarecrow, Tin Man and Cowardly Lion across the Land of Oz, ‘The Wonderful Wizard of Oz’ was just the first of fourteen Oz books written by L. Frank Baum. Originally published somewhat reluctantly, the book is now one of the best-known stories in American literature and has been widely translated into any number of languages. It led not only to further books but to successful Broadway shows, silent films and of course the MGM movie musical, ‘The Wizard of Oz’ in 1939 starring Judy Garland as Dorothy.

 

***********Rupert Bear is a British children's comic strip character and franchise created by artist Mary Tourtel and first appearing in the ‘Daily Express’ newspaper on the 8th of November 1920. Rupert's initial purpose was to win sales from the rival ‘Daily Mail’ and ‘Daily Mirror’. In 1935, the stories were taken over by Alfred Bestall, who was previously an illustrator for Punch and other glossy magazines. Alfred proved to be successful in the field of children's literature and worked on Rupert stories and artwork into his nineties. More recently, various other artists and writers have continued the series. About fifty million copies have been sold worldwide. Rupert is a bear who lives with his parents in a house in Nutwood, a fictional idyllic English village. He is drawn wearing a red jumper and bright yellow checked trousers, with matching yellow scarf. Originally depicted as a brown bear, his colour soon changed to white to save on printing costs, though he remained brown on the covers of the annuals.

 

************The Georgian Restaurant is a stalwart of Harrods Department Store, originally located on the top floor. Harry Gordon Selfridge was the founder of cafes and restaurants in department stores. His idea was that a restaurant or café dedicated strictly to the female clientele of a department store made the establishment a safe place where ladies could shop and socialise “unmolested”. Moreover, restaurants such as Harrods Georgian Restaurant served as a haven for ladies, tired of shopping, to stop and take light refreshments, before then continuing on with their shopping expedition, thus spending more money within the store. It worked wonderfully for Selfridges on Oxford Street and the idea was quickly taken up and replicated in all the major department stores of London.

 

This festive toyshop full of a wonderful array of toys may seem real to you, but it is in fact made up entirely of pieces from my 1:12 miniatures collection.

 

Fun things to look for in this tableau include:

 

The toys on the countertop come from various different suppliers. The teddy bears, the coloured blocks with letters on them, the dualling medieval knights on horseback, the rocking toy, the rocking horse, the little steam railway engine, the castle and the soldiers on them all came from Kathleen Knight’s Dolls House Shop in the United Kingdom. ‘The Wonderful Game of Oz’, ‘Father Tuck’s Plays in Fairyland’ and the ‘Teddy Bear Game’ are all 1:12 artisan miniature made by Little Things Dollhouse Miniatures in Lancashire. ‘Father Tuck’s Plays in Fairyland’ even has authentic cut outs found in the original box inside! The box with Rupert the bear on it comes from Mick and Marie’s Miniatures in the United Kingdom.

 

On the shelves in the background, the teddy bears, toy soldiers Noah’s Ark and animals, dolls, wooden pull toys and drum all come from Kathleen Knight’s Doll House Shop in the United Kingdom. The little wooden trains and carriages I have acquired from various miniatures stockists over many years. The ‘Blow Football’ game is a 1:12 artisan miniature made by Little Things Dollhouse Miniatures in Lancashire.

 

The garlands on both the counter and the shelves behind come from Mick and Marie’s Miniatures in the United Kingdom.

 

The wood and glass display cabinet buried beneath the toys and Christmas garlanding I obtained from a seller of 1:12 miniatures on E-Bay.

offer up.

Offered in the US from model year 1997 to 2001, the Catera was a badge-engineered Opel Omega made in Rüsselsheim, Germany.

 

The advertisements for it featured supermodel Cindy Crawford speaking to an animated duck-like character anmed 'Ziggy', who lasted maybe 2 years.

 

It wasn't derided as much as GM's earlier, badge-engineered Cadillac Cimarron was, a car that was easily recognized that it had the same body as the economy Chevrolet Cavalier except with Caddy end caps. But the Catera wasn't a great seller, either, finishing its run of 5 years as a single-run model.

 

The one depicted has apparently survived and looks to be in very good condition.

Size 7.5 ogs prolly gone for 300

9/10 size 7 ogs

10/10 air reversals, also have BN black Kendalls otw

Street shoes only

Offers of treats didn't have the same result this time around... call it a case of pre-Doodlebops hysteria or something. Still, it was a worthy attempt... and you can really imagine little T screaming "Cheeeeeeese!" here. April 9, 2009.

French postcard by Editions P.I., Paris, offered by Les Carbones Korès "Carboplane", no. 796.

 

During our trip to Italy, the French actress Françoise Arnoul passed away after a long illness in Paris on 20 July 2021. In the early 1950s, the cute and pretty actress was presented as the new French sex symbol. Soon she was overshadowed by the spectacular Brigitte Bardot, but Arnoul had enough talent and range to forge a decent film career for herself. Françoise Arnoul was 90.

 

Françoise Arnoul was born as Françoise Annette Marie Mathilde Gautsch in Constantine, France (now Algeria), in 1931. Her father was a general in the army, Charles Gautsch; her mother was a former stage actress, Jeanne Gradwohl, who worked before her marriage under the name of Jeanne Henry. Françoise grew up in Rabat and Casablanca, and after WWII she returned to Paris. Her mother proved to be valuable support when her daughter expressed a desire to take courses in drama. She attended the drama classes of Andree Bauer-Thérond, and made her film debut as an extra in Rendez-vous de Juillet/Rendezvous in July (Jacques Becker, 1949). Her first bigger role was in L'Épave/Sin and Desire (Willy Rozier, 1949) in which she had some undressed scenes. It made her a star overnight. She was touted as the newest French sex symbol in films like Nous irons à Paris/We Will All Go to Paris (Jean Boyer, 1950) opposite nice and attractive Philippe Lemaire. In the morally rigid 1950s, she played sexy and sensuous characters, that were also often troubled and destructive. She was the perverse femme fatale in films like the Georges Siménon adaptation Le Fruit défendu/Forbidden Fruit (Henri Verneuil, 1952) in which she seduces a country doctor played by Fernandel, La Rage au corps/Tempest in the Flesh (Ralph Habib, 1953) in which she is the unfaithful wife of Raymond Pellegrin, and especially in the wildly successful Film Noir La Chatte/The Cat (Henri Decoin, 1958) in which she played a black leather-clad resistance fighter during World War II. Arnoul made of her questioning scene by the Nazis an erotic extravaganza as she slowly removes her stockings under the officer's lecherous eyes.

 

The unusually pretty and petite Françoise Arnoul proved her talent and range in such highly regarded films as Michelangelo Antonioni’s episode film I Vinti/The Vanquished (1953), the wonderful Fernandel comedy Le Mouton à cinq pattes/The Sheep Has Five Legs (Henri Verneuil, 1954), and Jean Cocteau's Le Testament d'Orphee/The Testament of Orpheus (1960). In Jean Renoir's classic French Cancan/French Can-Can (1955), she played Nini, a young laundress from Montmartre, who conquers the Moulin Rouge with her sexy dance. In 1964, during the shooting of Compartiment tueurs/The Sleeping Car Murder (Costa-Gavras, 1965), she met director Bernard Paul who would become her life partner. From 1956 till 1960, she had been married to publicity agent Georges Cravenne, the future father of the César and Mollière awards. In the following years, she focussed on assisting Paul with his first films. Together with Marina Vlady, they founded in 1968 the production company Francina, which would produce films like Dernière sortie avant Roissy/Last Exit Before Roissy (Bernard Paul, 1977). Paul died in 1980. His loss affected Francoise dearly and she had difficulty regaining a foothold in the cinema. During the 1970s, her film career had tapered off, but she appeared in Raul Ruiz’ Diálogos de exiliados/Dialogues of the Exiled (1975) and Violette & François (Jacques Rouffio, 1977) as the mother of Violette (Isabelle Adjani). She also had some success as a television actress. In the late 1990s, Françoise Arnoul returned on the screen in character roles in such films as Temps de Chien/Dog Days (Jean Marboeuf, 1996), Post coitum animal triste/Smell of Geraniums (Brigitte Roüan, 1997) and Merci pour le geste/Thanks for the Gesture (Claude Faraldo, 2000). She published her autobiography entitled 'Animal doué de Bonheur' (Animal Endowed with Happiness) in 1995. In 1997, she was the president of the jury of the Caméra d'Or at the Cannes Film Festival. Françoise Arnoul remained active as a TV actress. In his bio at Les Gens de Cinéma, Yvan Foucart wrote: "The young vamp has given way to a blooming woman whose wonderful face radiates serenity. She kept her beautiful smile, her eyes still have the same sparkle and she kept an admirably slim silhouette. (...) So, dear Francoise, you understand why we can not forget you. And why we are still in love with you." At the age of 90, Françoise Arnoul passed away after a long illness in Paris on 20 July 2021.

 

Sources: Yvan Foucart (Les Gens de Cinéma - French), Sandra Brennan (AllMovie), AlloCiné (French), Wikipedia, and IMDb.

 

And, please check out our blog European Film Star Postcards.

Size 9

  

sadboi

Rolls Royce Phantom V (1959-68) Engine 6230cc V8 OHV Production 832

ROLLS ROYCE SET

www.flickr.com/photos/45676495@N05/sets/72157623690651737...

 

The Phantom was the top of the Rolls Royce range, on a huge 12 foot wheelbase and weighing 2.5 tons with 20 foot bumper to bumper. Powered by a 6230cc Rolls Royce V8 engine coupled to a four speed automatic gearbox, with power steering and dual circuit drum. Most were chauffeur driven and many went to heads of state. Including H.M. the Queen.

 

John Lennons car was a 1965 example, delivered 3rd June 1965, originally registered FJB 111 C and finished in black.. And it was in this form that the Fab Four drove to Buckingham Palace to receive their MBEs. In December 1965 John had a Sterno Radio Telephone fitted, and in 1966 the rear seat was modified to convert to a double bed, A custom interior/exterior sound system was installed along with a "loud hailer.", along with Sony television; telephone and a portable refrigerator. By February 1966 the car ws matt black, including its radiator and chrome trim. But in April 1967, Lennon took the car to J.P. Fallon Limited, a coachworks company located in Chertsey, Surrey to explore the possibility of having his car painted psychedelic, the artist Steve Weaver's pattern of scroll and flowers was chosen and the cost of the work was £ 2000 with Warner receiving £ 290.

The newly painted car drew awe and outrage in different circles. The Beatles used the car from 1966-69. In 1970 John and Yoko had the car shipped to the United States. And when available was loaned to other pop stars, the Rolling Stones, the Moody Blues, and Bob Dylan all used it at various times. The car eventually being put into storage. In 1977 Lennon was having problems with the US Inland Revenue, and the couple did a deal whereby the car would go to the Cooper-Hewitt Museum in New York City, a part of the Smithsonian Institute, for a $225,000 tax credit. After a short period on display the car returned to storage as the Museum could not afford the insurance to display it. In June 1985 the Museum took the decision to offer the car at auction. with Sothebys at an estimate of 200 to 300,000 US dollars, but it realised $2,299,000 (U.S.) and was purchased by Mr. Jim Pattison’s Ripley International Inc., of South Carolina for exhibition at Ripley’s "Believe It Or Not" museum. The purchase of the Phantom V through Sotheby’s resulted it being listed as the most expensive car in the world and installed with the South Carolina license plates LENNON. The Phantom V was then loaned to Expo ‘86 in Vancouver (Chairman: Mr. Jim Pattison) for exhibition. The American title was transferred from Ripley International Inc. to Jim Pattison Industries Ltd., in Canada. 1987, Mr. Pattison presented the car as a gift to Her Majesty in Right of the Province of British Columbia and displayed in the Transportation Museum of British Columbia at Cloverdale (near Vancouver). Then, in 1993, the car was transferred from the Transportation Museum and sent to the Royal British Columbia Museum in Victoria, British Columbia. Here the car would be kept for secure storage, displayed only for fund-raising and occasional use. The car was serviced and maintained by Bristol Motors of Victoria. .

 

Please visit the Flag Counter by clicking on the link below to record a visit from your country. So far 50 countries (last new country South Korea and 32 US states last new State Michigan)

s04.flagcounter.com/more/VIv

 

Many Thanks for a spiflicating 24.9 Million views

 

Shot 04:06:2014 in Malaga Motor Museum REF: 102-098

 

Lovely Bob Hair Style Ideas ... Bob hairstyles are highly versatile and offer a timeless elegance combined with an incredible ...

Les Pardines, Els Cortals, Encamp, Vall d'Orient, Andorra, Pyrenees - (c) Lutz Meyer

 

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I revisited this magnificent nature reserve today 10th August 2018, many visitors to our city miss its glorious offerings, thinking all we have to offer is the beach front at the main boulevard , its a pity as this reserve is a short drive from the main tourist area and has its own charm, attraction and wealth of nature on offer, I love it .

 

Donmouth Local Nature Reserve is a beach site in the historic Old Aberdeen part of the City where the River Don meets the sea.

 

A great place to see seals and a range of interesting birds. The beach area has changed over time as the river has changed its course. There are lots of interesting plants in the dunes and beach area. Bird hide is an excellent shelter from which to watch the wildlife. The paths run across King Street to the Brig 'o Balgownie., the original bridge in to the City from the North, then down the other side of the river to the sea.

 

The site was designated a Local Nature Reserve in 1992

 

Paths are good although wheelchair access to the beach would be difficult as the boardwalk can get covered with sand.

 

There is plenty of free car parking on the Beach Esplanade and at the car park in Donmouth Road. There are cycle racks on Beach Esplanade

 

Bridge Of Don has five spans of dressed granite, and rounded cutwaters that carry up to road level to form pedestrian refuges. The spans are 75 feet (23 m), with a rise of 25 feet (7.6 m).

 

It was widened in 1958-59, from 24 feet (7.3 m), to 66 feet (20 m) by the construction of a new concrete bridge adjacent to the old one.

 

It now carries four lanes of the A956 road, and is the last bridge on the River Don before it meets the sea. The bridge is just downstream from a substantial island in the river. Around the area of the bridge is the Donmouth Local Nature Reserve, designated as a LNR in 1992.

Near to the bridge are a number of World War II era coastal defences, including a pill box.

Mudflats

Mudflats are formed when fine particles carried downstream by the river are deposited as it slows down before entering the sea, and to a lesser extent by fine particles washed in by the tide. The sand spit at the mouth of the Don provides shelter from the wind and waves allowing this material to build up. The mud flats are a very rich and fertile environment. Despite their rather barren appearance they support a surprisingly diverse invertebrate fauna which includes; worms, molluscs and crustacea. These invertebrates are vitally important to wildfowl and wading birds within the estuary.

 

Salt marsh

Along the upper shore of the south bank saltmarsh has developed. This habitat would once have been much more extensive prior to the tipping of domestic and other refuse in the area and the formation in 1727 of an artificial embankment to prevent flooding of the river into the Links. This habitat is now reduced to a narrow strip of vegetation along the river margins upstream from the Powis Burn.

 

The species composition of the salt marsh varies according to the salinity of the water i.e. the proximity to the sea. Close to the Powis Burn this habitat is dominated by reed sweet-grass (Glyceria maxima) with reed canary-grass (Phalaris arundinacea), sea club-rush (Scirpus maritimus), spike-rush (Eleocharis palustris), hemlock water-dropwort (Oenanthe crocata) and common scurvygrass (Chochlearia officinalis).

Further inland reed sweet-grass continues to dominate but hemlock water-dropwort is more abundant with meadowsweet (Filipendula ulmaria) and valarian (Valariana officinalis),

 

Sand dunes

Sand dunes are found in the more exposed parts of the estuary at the river mouth. Again, this habitat was once much more extensive in this locality with dune grasslands stretching from Aberdeen Beach inland as far as King Street, southwards from the estuary of the Dee, northwards to the Sands of Forvie and beyond. Many of the dunes formed part of Seaton Tip, and following tipping the area was grassed over. Other areas have been formally landscaped to form golf courses or planted with native trees in 2010 to create a new woodland area.

 

Some remnants of the natural dune flora can be seen in the 'roughs' on the Kings Links golf course and near the mouth of the river.

 

Above the high water mark, fore dunes with thick clumps of the pioneer grass species including sea lyme grass (Elymus arenarius) and marram grass (Ammophila arenaria) occur. Few other species are able to cope with the shifting sand. The largest area of these young dunes is to the north and west of the headland. Further inland where the dunes are sheltered from the actions of the wind and waves, and soils are more developed, more stable dunes are present supporting a more diverse grassland habitat.

 

Strand line plants which are able to tolerate occasional coverage by sea water include sea rocket (Cakile maritima), frosted orache (Atriplex laciniata), sea sandwort (Honkenya peploides) and knotgrass (Polygonum aviculare). Bur-reed (Sparganium sp.) has been recorded; presumably washed down by the river.

 

Marram grass (Ammophila arenaria) and sea lyme grass (Elymus arenarius) dominate the fore dunes. The latter species is not native to this area but appeared in 1802. It is thought to have been unintentionally introduced into the area by fishing boats. For a number of years it remained uncommon but from 1870 onwards it spread rapidly along the coastline (Marren, 1982).

 

In the more stable dunes red fescue (Festuca rubra), sand sedge (Carex arenaria), yellow rattle (Rhinanthus minor), wild pansy (Viola tricolour), harebell (Campanula rotundifolia), bird's-foot-trefoil (Lotus corniculatus) and lesser meadow-rue (Thalictrum minus) are abundant. Small amounts of kidney vetch (Anthyllis vulneraria), valerian (Valeriana officinalis) and spring vetch (Vicia lathyroides) are present.

 

Scattered willows (Salix sp.) and sycamore (Acer pseudoplantanus) have seeded into this area. Gorse (Ulex europaeus) scrub has colonised the dunes in some areas and appears to be spreading.

 

Scrub

This habitat is almost entirely artificial with only the gorse scrub on the inner dunes being a semi-natural habitat. Alder and willow were planted along the south bank of the river in about 1970 and these shrubs are now generally well established. Further shrub planting on the south bank was carried out in 1990.

 

Willow (Salix sp.) and alder (Alnus glutinosa) were planted in the 1970's along the south bank of the River Don eastwards of the Bridge of Don. The trees to the west of this strip are doing considerably better than those to the east. More recent planting was carried out in 1990 with hawthorn (Crataegus monogyna), blackthorn (Prunus spinosa) elder (Sambucus nigra), goat willow (Salix caprea) and alder.

 

Underneath the scrub neutral grassland is present with cocksfoot (Dactylis glomerata), false oat-grass (Arrhenatherum elatius), cow parsley (Anthriscus sylvestris), sweet cicely (Myrrhis odorata), hedge woundwort (Stachys sylvatica) and hedge bindweed (Calystegia sepium).

 

Grassland

Much of the grassland within the reserve is formed on imported soil and is intensively managed. This includes grassland on the north and south sides of the Esplanade. Daffodils are present in the grassland on the north side of the road. On the north bank to the east of the Bridge of Don is rank grassland on a steep south-facing slope. This is unmanaged and contains some patches of scrub.

 

Rough grassland is present on the headland. This area has been modified by tipping, with rubble to the east and with grass cuttings to the west. The grassland contains a mixture of neutral grassland, dune grassland, ruderal, and introduced garden species. This area attracts flocks of seed eating birds in late summer and autumn.

 

Improved grassland is present on the headland and along the south bank of the estuary downstream from the bridge of Don. Much of this vegetation has developed on imported soil and contains a high proportion of ruderal species and garden escapes. On the headland, broadleaved dock (Rumex obtusifolius), nettle (Urtica dioica), coltsfoot (Tussilago farfara), spear thistle (Cirsium vulgare), cow parsley (Anthriscus sylvestris), hemlock (Conium maculatum) and hogweed (Heracleum sphondylium) are abundant. Sweet cicely (Chaerophyllum bulbosum) is widespread and in late summer fills the air with the scent of aniseed.

 

To the south of the Esplanade the grassland is managed with an annual cut.. The grassland does flood to form pools. Early in the year cuckoo flower (Cardamine pratensis) is common, meadow foxtail (Alopecuris pratensis)is known to occur around the margins of these pools.

 

Woodland

Semi-mature woodland is present on the steep sided south bank of the river upstream from the Bridge of Don. Most of this woodland has been planted in the mid 1930's though some older oak and elm trees are present. These may be relicts of former woodland cover. The woodland in the reserve is part of a strip of woodland along the River Don corridor which continues upstream from the Brig 'o' Balgownie.

 

Woodland is present on the south bank upstream from the Bridge of Don.

 

Much of the woodland consists of even aged stands with willow (Salix sp.), sycamore (Acer pseudoplatanus), ash (Fraxinus excelsior), beech (Fagus sylvatica) and alder (AInus glutinosa). At the top of the slope mature oak (Quercus sp.) and elm (Ulmus glabra) are present. The ground flora contains tufted hair-grass (Deschampsia caespitosa), red campion (Silene dioica), ramsons (Allium ursinum) and lady fern (Athyrium felix-femina) .In a few areas dense shading is caused by the trees and in these areas the ground flora is poor.

 

On the north bank scattered trees are present, mainly willow and sycamore with some scrub.

Cry in the Wilderness

 

By Arthur Broomhall

  

Late in 1969 the Broomhall family - a mom, dad, four kids, dog, with tent trailer and canoe, reacted to an advertisement in BC Outdoors about Alexis Lake. Always ready for another adventure in wilderness, what the ad promised appealed to all. It offered an image of a serviced campsite (ice available), three other lakes accessible to canoes by portage, good fly fishing, and, no outboard motors allowed! Having experienced, by that time, many summer holidays in the Cariboo, our family had already fallen in love with the remoteness and quiet of BC’s Central Interior. This ad triggered a desire for even more - next season – but in the unfamiliar Chilcotin Country!

  

In 1970 the main road west from Williams Lake, Highway 24, was not paved, except for the ‘Sheep Creek Hill’ up from the Fraser River Bridge to the Chilcotin plateau. This part of the road, with its many switchbacks, was on the northeast face of the hill, always thawing out more slowly in the spring than more sun-exposed parts. To correct the inevitable slumping that came with every spring thaw, the Highways Department put in culverts for drainage in the critical places and paved that stretch.

 

Otherwise the road west to Bella Coola was mostly gravel or hard mud. In some places the gravel was like very coarse river bottom, in others, deep ruts added to drivers’ misery. It was hard on ‘regular’ automobiles, especially those pulling trailers. This, we were often told by disparaging locals, was truck country! For us, driving those one hundred miles from Williams Lake was always a challenge, but arrival at serene and beautiful Alexis Lake was the ultimate reward.

 

What we found that first visit was not quite all the advertisement promised. In some respects it was even more. We were expecting wilderness, but the character of it was so much more pristine, unspoilt, with more wildlife than anything we experienced before. Although we were supplied with drinking water, we later found the lake water clean enough to drink. We learned the ad’s statement of ‘no motors’ was not backed up with regulations, but the absence of boat ramps made it virtually impossible for large boats with motors to be launched. And, as far as having ice for our food storage, it was not going to be available in subsequent seasons.

 

One could hear the silence, the animals, and the wind in the trees. The swimming and fishing was good. It was dry belt, and what rain came in summer was in heavy showers, with thunder and lightning. Exploring was always a bit spooky, because the odds were great that we would never encounter anyone else. This also meant that we expected to run into big game – deer and bears. We found the country so wide open, if one wandered off a known, marked trail, it was easy to get lost. Away from camp there were few natural boundaries or landmarks to indicate where ‘home’ might be. And, in that the climate in this high country could change very quickly from the sublime to harsh, it was a bush country to be respected.

 

Happy with that first adventure, it was an easy family decision to return again. Thoughts of doing more than ‘just camping’ came into our family discussions. We searched out a lakeshore property we wanted for our own. In 1971 there were, perhaps, ten properties with cabins on the east shore of the lake. We filed our papers with the government’s Land Branch for a lot we had selected, and were kept on tenterhooks while the approval process wound its way through the bureaucracy. Approval took a long time coming and finally came through late in 1972. The lease required a habitable cabin to be built upon the land within three years. Earlier, in the summer of that year, already confident that the property would be ours, we camped on it, tidied up, and staked out its four corners. By the end of the 1973 summer season, as we departed, our property was fenced to keep out the cattle and, within, was a sealed-up, but unfinished frame cabin.

 

In the twenty-eight years since (I write this in year 2001), as property owners, we have learned much about the land, climate, and vicissitudes of settling in wilderness. Our lake is near the summit of the Alexis Creek watershed. It is at about 3,500 ft. above sea level, enough to offer cool nights after the hottest of summer days. The surrounding land is mainly high plateau, with a few gently rounded peaks that extend upward another thousand feet or so. A few rocky, volcanic outcroppings dot the terrain here and there. In recent times, it has mainly been forested land, covered by scrubby, overcrowded pine trees, white spruces in wet areas, some aspens, and here and some small stands of ancient Douglas firs. Many areas have been opened up for cattle pastures and growing hay. Logging and free-range cattle ranching have been the region’s mainstay for about a century.

 

About 65 years ago, a rancher downstream sought and obtained a water license on Alexis Creek to allow for irrigation and other water use on the lower reaches. Included in the license was provision for a small earth-filled dam and valve at Alexis Lake’s outlet. Once the dam and control were in place the lake effectively became a reservoir for the ranch’s water requirements. If the creek were ever to dry up, the license permitted water to be drawn from the lake.

 

It has been said, apart from some testing, the water control system on the dam was never used. Apparently, the normal summer flow of water down the creek was always sufficient for the needs of the ranch. It is possible the existence of the dam evened out seasonal water fluctu-ations. In high water seasons, lake water rises between two to three feet higher than pre-dam levels. This has been enough to kill off many spruce trees in low spots. And, over the years the beaver population has always caused the lake levels to fluctuate even more. Their dam building activity at the lake outlet continues to be a nuisance.

 

In 1986, the water license was abandoned. Despite that license, people seeking waterfront property upstream before and after 1986 were granted (indeed, encouraged to obtain) leases (and in a few cases obtained land in fee simple) by government – all subject to that license. So when the water license ended, riparian rights in a sense transferred from the ranch, downstream, to upstream and lakeshore property holders. The latter, we, in effect, became the water’s stakeholders.

 

A wake-up call faced Alexis Lake property owners when liabilities for the dam structure and valve no longer were the responsibility of the ranch. The abandonment of the license conferred those liabilities somewhere, but where? Faced with repairing a deteriorating dam mainly because of the road access it provided to the east lakeshore properties, the government’s Highways Department suggested the dam be removed and be replaced by a bridge. It would, they said, be less costly than having to replace the old dam with a new one built to standards required by the Environment Department.

 

Faced with the uncertainties of cost, and how a reduced water level might affect the shoreline or, for that matter, property values, many, perhaps most, owners objected strenuously to the removal of the dam. Also having to face this conundrum, government eventually settled upon having the Highways Dept. patch up the old dam and punch through a culvert. We were assured this would preserve existing water levels. Surprisingly, this arrangement has worked – but it still leaves us wondering about the future!

 

By the mid 80’s, logging companies were well into clear-cutting the Chilcotin. In 1970 it did not occur to us that it was only a matter of time before their operations would catch up to the plateau 70 miles west of the Fraser River. The impact of the hundreds of loaded logging trucks we encountered on our drives in and out did not register upon us for quite a while. For the kids counting trucks became a game. But, ominously, the effects of the logging became visible. We were not mistaken any longer – large swaths of denuded hills were appearing everywhere.

 

Off the main road our climb up to the plateau was at first through thick forest, mostly Douglas Firs in the lower elevations, but further up this changed to pine forest. There were large grassy openings here and there - well populated by free ranging cattle. Around Alexis Lake most of the forest was of poor quality. Either very dense, the native pines were so crowded they stretched tall and thin, reaching for available light, or they were undernourished from poor soil – possibly both. Most took fifty years or more to grow less than 25 feet. To our less than practised eye, they were good for little more than fence rails and posts.

 

During the time we were busy with building and finishing off our cabin, we took breaks to explore the territory around us. By hiking and driving around we saw the construction of a major logging road not half a mile from the north end of the lake, (now called the ‘4600’) and from it saw the approach of clear-cut logging. We watched, each year, as more and more of the once endless, far-as-the-eye-could-see forest was decimated.

 

From talking to Ministry of Forests people, we learned of loggers’ plans for our immediate area – round-the-clock, highly automated cutting, bundling, and removal of trees – with cleanup (slash burning) in the fall when the forest fire season had passed. We received assurances private property would not be trespassed, and a fringe of trees would be left standing around the shores of the lake. We were not told about the 24 hour-a-day noise.

 

The forestry department staff made a point of telling us about the natural disasters, too, and their role in cleaning up after them. They pointed out the forest on the east side of Alexis Lake had been badly scorched in a forest fire in the early 40’s. At that time many older, large trees survived, but most living trees are scarred at ground level. Much of the remaining area was left open with little undergrowth – good for nothing but cottage development, they said.

 

They told of pine beetle scourges that infected the Chilcotin. Little is known about such infestations, why they arise or how they are best controlled. In some areas older trees were attacked while younger ones somehow remain unaffected, in other areas it was the opposite. A year or two after pine beetle grubs get into tree bark, the trees die and become a fire hazard. In nature, wildfires eventually take care of this. From the fertile ashes of an old forest, a healthier generation of trees grows.

 

In the Chilcotin, however, where, like everywhere else, the human population is growing slowly but inexorably, vast areas of dead forest have become a menace for ranches and people with cottages. It is a country where summer lightning starts forest fires. It has been decreed (by environment and forestry departments of government) that it is better to be rid of pine beetle damaged trees than it is to allow them simply to fall and rot or be incinerated. And, in that bug diseased trees, if recovered for processing within a year or two of dying, have commercial value, cutting licenses required ‘conditions’. Loggers found themselves bound to take out bad wood with the good. This imposition gave the lumber industry another argument in favor of using the ‘most modern’ clear-cutting logging techniques.

 

Today, the old forests in the Alexis Creek district have largely disappeared; little remains of what we encountered when we first arrived. In addition to the many stands of trees that became diseased, other natural events contributed to the forest decline. It has been said that as forest cover disappears, damage from thunderstorms and wind is more severe. Simply put, vast cleared-off areas leave built-up properties and unprotected stands of trees on the periphery of these cleared-off areas much more vulnerable to the elements.

 

As if to add insult to our injury, in the early 90’s, one particularly bad summer storm, a tornado, devastated a two to three mile strip of forest, perhaps 300 acres, along the crest of land paralleling the west shore of the lake. This precipitated a need for a further cleanup, and the logging crew that eventually arrived removed many more trees than just the blow-downs.

 

If there has been an upside from all this, it is the improvement to the roads in and out of the territory. The main highway is now paved, and the roads into the bush have been upgraded to standards that are safe for logging activity – which, in turn, has been good for our access. Tree removal and road straightening, more gravel, ditches, culverts, and better drying out, have made it easier to get about on these bush roads.

 

A true account of that access, however, would never be complete without mention of what one sees when driving through. For many years, now, the countryside has been an eyesore, looking more like a moonscape. Replanting has slowly changed that; the hills are greening up. But, like before, once done, there has been a noticeable absence of follow-through. Replanted trees now need thinning. Without this, the forest will revert into another in ‘decadent’ state and become susceptible again to insect infestations.

 

At the higher elevations of the Alexis Creek drainage, on the plateau, the land is relatively flat. Besides many lakes, there are hundreds of large and small bogs, creating wetlands with their own distinctive environments. The disappearance of the forests, generally, is causing much of this to dry out. Stands of trees adjacent to these wetlands, now more accessible, have been among the last to be opened up for timber removal. These are not large, profitable cut-blocks, and we wonder why this timber must be removed.

 

After witnessing (with varying degrees of consternation or horror) the highly automated round-the-clock forest cutting we could not fail to notice harmful environmental effects. A tree supporting many great blue heron nests (near Lake Two) simply disappeared, as did the blue herons. After rainstorms the lakes soon became silt-ridden (brown). Nearby clear-cuts, the follow-up slash burning, and even the building of the logging road, caused further soil erosion.

 

In that virtually no mature forest remains, the existing wetlands around us are bound to suffer from dry seasons. When I say ‘suffer’, I mean the chains of animal and plant life will be adversely affected. In turn, the aquifer, underground water, like everywhere else in the world suffering from clear-cut logging, will sink lower – and we, humans, will face difficulties like never before. Despite recent high water levels in the lake, some neighbors reported their wells drying up. Thus, there is no doubt what patches of forest that have been left standing must remain.

 

The collective “we” of property owners and campers at Alexis Lake, by receiving much deep joy and pleasure from the area’s unique serenity, have taken up the cause of preserving it from further adversity. But we cannot ignore the array of forces that simply don’t regard the fragility of an environment an issue that demands such commitment. Unfortunately, the ENVIRONMENT has no single advocate, and our government will never be a champion of it. The government sees land - and what’s in, on, or under it, as something it has a duty to exploit – to extract revenue from. It actually encourages business to bid for the use of land, and sees its role as one of sorting out competing interests over it, where they occur.

 

The Alexis Lake community already has established a somewhat substantial economy, given the private investment in property and improvements – and despite its remoteness. This economy benefits not only from the assessed values of the properties, or from cottagers’ continuing need for goods and services, but also from itinerant campers and other tourists who come up to enjoy the many remote forestry campsites. But despite the tax revenues, and infusion of outside money, many ‘locals’, who live year-round nearby, dismiss our claims that the region benefits more from our presence than if we had not settled there.

 

Throughout Canada loons have become a wilderness bellwether. If we hear the sound of loons at Alexis, we know all is well. If Ontarians hear them - the same may not be true. The press of human population upon ‘lake country’ in Ontario is so great that many families of loons have been driven away. Whether it is motorboats constantly disturbing their nesting sites, absence of feed, lowering water levels, or mercury pollution, or a combination of all these things, something is destroying that environment.

 

The notion of closing Alexis Lake to internal combustion motorboats was not a new one when it arose years ago. When our family saw the ad in 1969 (although having no ‘official’ validity) we knew someone cared, and also that it was consistent with the growing movement in BC for closing lakes to boats having outboard motors. The impetus was always one of having to protect pristine environments from noise, fouled water, and the disturbance of wildlife. And it was a foregone conclusion that without motorboats lakes were safer for swimmers.

 

At first, in the mid 70’s closing ‘our’ lake to motorboats became an obsession with a few, but as the issue was discussed among neighbors, it received growing support. A campaign developed. Many had a part to play. What was interesting was the ‘opposition’; it appeared unexpectedly from among the ranks of government officials. They declared they had a duty to balance our interests with those in opposition. Before they could do this, they said, they wanted evidence to substantiate our claims that loons were disturbed by the wakes of motorboats and would be driven away.

 

It did not matter how hard we argued that anyone knowing something about loons’ would know that their nests, right at water level, were little more than rafts of moss and lakeshore debris. This made them vulnerable to destruction by wave action. Common sense, we argued, had to prevail, and some environmental principles had to be developed for all ‘small lakes’ before the loons here and elsewhere were gone. First, we offered, motorboats should simply not be allowed on lakes with less than (say) 10 miles of shoreline, or (say) 1000 acres of surface water. Second, all such lakes, indeed watersheds, needed mandated ‘green spaces’ (no logging) for at least 500 meters back from watercourses – the riverbanks or lakeshores.

Officialdom didn’t take kindly to being lectured about principles. They wanted to make judgments without having them questioned. They had little else of consequence to offer - other than a desire to get on with their work - principles notwithstanding. Such officials often make the mistake of assuming that people in dispute over environment issues will be satisfied with compromises, or by becoming subject to regulation, rather than by a ‘correct’ decision that will leave people divided.

 

So, we wonder just how any official, put in a position of having to discuss, promote, or negotiate alternatives, can ever really serve as an unbiased advocate for the environment. We have yet to meet people working for government, even those in ‘Environment’, who, despite evidence of pollution, are really free to declare: ‘motorboats, operating in small BC lakes, are instruments of environmental destruction and will, henceforward, be banned’.

 

Fortunately our group of property owners, brandishing a strong consensus, were successful with their own efforts in closing the lake to internal combustion outboard motors. Their lengthy letter writing and lobbying efforts paid off. Government, at the receiving end of this constant harangue, eventually changed its focus. An official somewhere summoned up the courage to declare the case for motorboats was less compelling than the case against them.

 

We became empowered! That achievement made many of us wonder what more we could do. Today we maintain a careful watch over events that could be harmful to our interests. Just as there should be no procrastination over obvious carelessness, such as a discovery of a cow’s carcass floating in the lake, or of dead animals abandoned in the trap line (incidents which we learned about in the late 70’s), we must communicate quickly with one another about matters that arise which may be cause for concern - like the recent proposal for an airstrip adjacent to our lake.

 

Privately some of us harbor lofty expectations. We wish for the return of blue herons after their disappearance. (We saw just one last summer – after many years of wondering if they would ever return!). We yearn for more visits from the rare pelicans, hoping that they might acquire the confidence to nest in our waters. We wish to experience again the diving ‘swoosh’ of the peregrine falcon as it preys on small ducks – not for the duck’s sake, but for the balance in nature this represents. And year after year, despite the terrible depredations in the ospreys’ winter habitat in Central America, we celebrate their return to nest in a favoured refuge nearby.

 

As I write, the incumbent provincial government is facing an election. It is hard not to be cynical about the sudden priority it has given to improving its own ‘green’ image. It is clear Greenpeace (and other agencies) have succeeded in embarrassing it - and the lumber industry – for their lack of action over what have been broadcast about as unacceptable logging practices.

 

Politicians have awakened to the fact (probably too late for re-election in year 2001) that they must win more votes. They declared a three-year moratorium on hunting grizzly bears, and agreed in principle with Greenpeace’s proposal for protecting a large part of the Central Coast from clear-cut logging. Within the latter decision, stands of 1,000-year-old coastal rain forest trees, and the rare white Kermode (‘Spirit’) bears that live among them, will be spared forever. About the moratorium, feelings run high among the supporters of hunting. Maybe this will cost votes.

 

Speaking of politicians, laws and bears, odds are stacked against recreational property owners’ interests when their environment is threatened - for laws have been enacted by governments in such a hodgepodge fashion. One would think and hope the ‘senior government’s’ interest, as expressed by the federal Canadian Environment Assessment Act, would have enough status to attract legal testing in Canada, and to provide real environmental guidelines. There is a similar statute in the United States – which receives constant testing. In a recent enactment case concerning powered boats (April 2000), the US National Parks Service brought into effect ‘new restrictions that ban the use of Jet Skis in 66 parks, including Olympic National Park’. Although a limited step, it was challenged, but, on appeal, found within the National Parks’ mandate.

 

We learn from the stated purposes of the Canadian Act (which includes ‘opportunity for public participation in the environmental assessment process’) that most ‘participation’ winds up at the discretion of provincial or local authority, and is hardly ever exercised.

 

In the example of a recent application by a business for an airstrip, at Alexis Lake, (to which many of us objected) it was necessary for the applicant to have the Federal Department of Transport notified about the particulars. Fed-Transport’s main interest in such matters lies in public safety. So any concerns about environmental damage were transferred to BC authorities to review. Ultimately, they were dismissed as minimal. The latter’s focus, in this case, was (or remains) on the economics of land use and development.

 

Mixed government jurisdictions have caused no end of problems. Closing Alexis Lake to motorboats took twenty years to accomplish. Strident arguments from the opposition at first concerned ‘peoples’ rights’ - like with tobacco products, outboard motors, they had never been deemed illegal and were for sale everywhere. The argument went: as there were no restrictions on the purchase of motors, customers ought to be free to use them, with no restrictions. It was an argument compelling enough to bring the proceedings to a halt, not once but several times.

 

Provincial and federal authorities were wary about having this argument tested. However, as precedents (from settlements in other lake-closing cases) were finally factored in, especially where lakes served as drinking water reservoirs, pollution based concerns at last received some official recognition as a valid reason for closing lakes to motors.

 

Now, to the mention of bears... Most of us at the lake have no desire to encounter bears during walk-abouts. The Johnsons, during the years they lived full-time at Alexis Lake, had many encounters, and even disposed of one or two troublesome bears. I don’t know if we should be thankful Alexis Lake bears are ‘just’ black bears. Their numbers are increasing and we see their sign everywhere. It is likely what attracts them is the smell of food, so as the human presence in the wilderness increases, it is doubly important to dispose of waste properly, and to clean our barbecues! And, large dogs are useful to have around for insurance!

 

They say grizzly bears don’t live with us anymore. In the late ‘70’s when logging began in earnest, an elderly rancher, Paxton, whose entire life was spent in the Alexis Creek region, declared that with the arrival of ‘big’ logging there would be no more grizzlies. He talked about the last one killed in the territory, near his home at Spain Lake, in the late 60’s. It was a monster bear which, following the hunt, received recognition as a trophy animal. Despite Paxton’ prophecy, 30 years or so later, in the fall of 2000, horseback riding tourists in the Nazko high country – not far from us – reported a pair of grizzlies gambolling about in a meadow. So, maybe, they will appear close by again. How this will be received remains to be seen!

  

THE END

4350 words

 

The original shot is offered by Martian Haemoglobin x....For Act III ....Many thanks;)))...

 

www.flickr.com/photos/martianhaemoglobin/

   

How time will heal

Make me forget

You promised me

Time will heal

Make me forget

You promised me

Love will save us all

And time will heal

You promised me...

How love will save

Make me forget

You promised me

Love will save

Make me forget

You promised me

Time will heal us all

And love will save

You promised me...

I trusted you

I wanted your words

Believed in you

I needed your words

Time will heal

make me forget

And love will save us all

You promised me another wish

Another way

You promised me another dream

Another day

You promised me another time

You promised me another life

You promised me..

So I swallowed the shame and I waited

I buried the blame and I waited

Choked back years of memories...

I pushed down the pain and I waited

Trying to forget...

You promised me another wish

Another way

You promised me another dream

Another day

You promised me another time

You promised me...

Another lie

Oh you promised me...

You promised me... You promised me...

And I waited... And I waited... And I waited...

And I'm still waiting...

  

www.deezer.com/listen-953727 - The Cure - The Promise

ZooParc Overloon, nestled in the province of North Brabant, the Netherlands, offers visitors a truly adventurous zoological experience by inviting them on an "expedition" through various themed areas. Unlike a traditional zoo, the park is designed to encourage exploration, with visitors traversing different expedition areas like Boulders Beach, the Outback, Jangalee, and Ngorongoro. This design philosophy aims to create a dynamic and engaging environment where guests can discover over 60 different animal species, many of which are part of vital European breeding programs. The park's well-organized, spacious layout and lush greenery provide a tranquil, natural-feeling home for its animal residents.

 

The park's unique expedition concept is highlighted by its numerous walk-through enclosures, offering rare and exciting close encounters with the animals. Visitors can literally walk among playful species, such as the Ring-tailed Lemurs in their dedicated habitat and kangaroos in the Outback area, making for unforgettable family moments. Beyond the direct animal contact, the park features thrilling adventure trails and multiple playgrounds, ensuring that children of all ages have an interactive and stimulating experience. Keeper talks and feeding presentations further enrich the visit, providing educational insights into the animals' behavior and conservation needs from the dedicated staff.

 

ZooParc Overloon is deeply committed to the global effort of species conservation, participating actively in the European Association of Zoos and Aquaria (EAZA) and its vital management programs (EEPs). The park manages EEPs for species like the white-faced lemur and the Von der Decken’s Tok, focusing on creating a healthy reserve population for species ranging from "vulnerable" to "extinct in the wild." This commitment to protection and preservation is a core mission, guiding their collection plan and ensuring the zoo serves as a modern center for research, education, and the active safeguarding of nature.

 

The year 2025 is particularly momentous for the park as it celebrates its 25th anniversary, having first opened its gates to the public on April 21, 2000. This significant milestone is being celebrated in a grand fashion with the opening of its largest construction project to date: the new, two-hectare expedition area named Ngyuwe. Opening in the summer of 2025, Ngyuwe will transport visitors into the heart of tropical Africa, encompassing regions like the Ivory Coast and the Congo, and highlighting both the beauty and the threats facing this critical ecosystem.

 

The new Ngyuwe area is more than just an expansion; it is a major part of the park's anniversary celebration and future vision. It will introduce approximately 17 new animal species to the park, including the Drill, a highly endangered monkey species not previously seen in any other Dutch zoo, alongside bush pigs and pygmy hippos. Ngyuwe will also feature a strong educational focus, teaching visitors about important conservation challenges such as bushmeat and illegal trade, giving both children and adults practical suggestions on how they can contribute to wildlife conservation.

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Today however we are to the west of London, in nearby Buckinghamshire, at Dorrington House, a smart Jacobean manor house of the late 1600s built for a wealthy merchant, situated in High Wycombe, where Lettice’s elder sister, Lalage (known to everyone in the family by the diminutive Lally), resides with her husband Charles Lanchenbury and their three children, Harrold, Annabelle and baby Piers. Situated within walking distance of the market town’s main square, the elegant red brick house with its high-pitched roof and white painted sash windows still feels private considering its close proximity to the centre of the town thanks to an elegant and restrained garden surrounding it, which is enclosed by a high red brick wall.

 

Lettice is nursing a broken heart. Lettice’s beau, Selwyn Spencely, son of the Duke of Walmsford, had organised a romantic dinner at the Savoy* for he and Lettice to celebrate his birthday. However, when Lettice arrived, she was confronted not with the smiling face of her beau, but the haughty and cruel spectre of his mother, the Duchess of Walmsford, Lady Zinnia. Lady Zinnia, and Selwyn’s Uncle Bertrand had been attempting to marry him off to his cousin, 1923 debutante Pamela Fox-Chavers. Lady Zinnia had, up until that moment been snubbing Lettice, so Selwyn and Lettice arranged for Lettice to attend as many London Season events as possible where Selwyn and Pamela were also in attendance so that Lettice and Selwyn could spend time together, and at the same time make their intentions so well known that Lady Zinnia wouldn’t be able to avoid Lettice any longer. Zinnia is a woman who likes intrigue and revenge, and the revenge she launched upon Lettice that evening at the Savoy was bitterly harsh and painful. With a cold and calculating smile Lady Zinna announced that she had packed Selwyn off to Durban in South Africa for a year. She made a pact with her son: if he went away for a year, a year during which he agreed neither to see, nor correspond with Lettice, if he comes back and doesn’t feel the same way about her as he did when he left, he agreed that he will marry Pamela, just as Bertrand and Lady Zinnia planned. If however, he still feels the same way about Lettice when he returns, Lady Zinnia agreed that she would concede and will allow him to marry her.

 

Leaving London by train that very evening, Lettice returned home to Glynes, where she stayed for a week, moving numbly about the familiar rooms of the grand Georgian country house, reading books from her father’s library distractedly to pass the time, whilst her father fed her, her favourite Scottish shortbreads in a vain effort to cheer her up. However, rather than assuage her broken heart, her father’s ministrations only served to make matters worse as she grew even more morose. It was from the most unlikely of candidates, her mother Lady Sadie, with whom Lettice has always had a fraught relationship, that Lettice received the best advice, which was to stop feeling sorry for herself and get on with her life: keep designing interiors, keep shopping and most importantly, keep attending social functions where there are plenty of press photographers. “You may not be permitted to write to Selwyn,” Lady Sadie said wisely. ‘But Zinnia said nothing about the newspapers not writing about your plight or your feelings on your behest. Let them tell Selwyn that you still love him and are waiting for him. They get the London papers in Durban just as much as they get them here, and Zinnia won’t be able to stop a lovesick and homesick young man flipping to the society pages as he seeks solace in the faces of familiar names and faces, and thus seeing you and reading your words of commitment to him that you share through the newspaper men. Tell them that you are waiting patiently for Selwyn’s return.”

 

Since then, Lettice has been trying to follow her mother’s advice and has thrown herself into the merry dance of London’s social round of dinners, dances and balls in the lead up to the festive season. However, even she could only keep this up for so long, and was welcomed home with open and loving arms by her family for Christmas and the New Year. On New Year’s Eve, Lally, sitting next to Lettice, suggested that she spend a few extra weeks resting and recuperating with her in Buckinghamshire before returning to London and trying to get on with her life. Lettice happily agreed, and since arriving at Dorrington House with her sister and brother-in-law, she has enjoyed being quiet, spending quality time with her niece and nephews in the nursery, strolling the gardens with her sister or simply curling up in a window seat and reading.

 

This morning we find ourselves in one of Dorrington House’s ten guest bedrooms: a pretty and cosy one overlooking the elegant rear garden in which Lettice has been accommodated since her arrival from Glynes. Lettice lies beneath the beautifully embroidered satin comforter, luxuriating in the joy of being allowed to have breakfast in bed at her sister’s house. If she were at home in Glynes, there is no way known that her mother would let her take her breakfast in her boudoir, never mind in bed, since Lettice is unmarried and therefore undeserving of such a privilege**. She sighs contentedly as she listens to the blackbirds and robins chirping in the greenery beyond the sash window of her comfortably appointed room. In the hearth a fire, lit for her by one of Lally’s lower house maids long before Lettice was awake, crackles cheerfully, its heat warming the room enough that Lettice may sit up against a nest of her pillows and have her bare arms exposed without feeling cold. In the distance she can hear the clock on the landing ticking away the minutes and hours of the day, and still further away the muffled sound of a childish squeal indicates that Lettice’s nephew and niece are awake and playing in the day nursery with their nanny. Lettice sighs again and stretches her legs beneath the covers, her left foot connecting with the wooden breakfast tray placed at the foot of the bed by Lally’s cook, Mrs. Sawyer, nudging it slightly, causing the breakfast china and the ornate Indian silver teapot on it to rattle in protest at being pushed out of the way. She picks up a current copy of Vogue that has been sent to her from London and silently peruses the latest frocks from Paris whilst she contemplates reaching down and taking up her breakfast tray to put on her lap to commence her breakfast, but just the thought of doing so seems like too much of an effort. So, she casts a desultory gaze over the newest designs by Jeanne Lanvin*** instead and dreams about dancing with Selwyn arrayed in such a gown.

 

As she admires a robe de style**** design in black with embroidered red poppies, Lettice’s morning daydreams are interrupted by a gentle tapping at her door.

 

Quickly tossing the copy of Vogue aside, Lettice snatches up her pale pink bed jacket trimmed in marabou feathers from the other side of the large bed, and drapes it across her bare shoulders and arms as the tapping begins for a second time. “Yes?” she asks as calmly as possible.

 

The door opens and Lally pokes her head around it. “It’s only me, Tice darling. May I come in?”

 

“Lally!” Lettice exclaims as she shuffles herself into a more upright position against the nest of pillows behind her. “Yes, of course! Do, do come in, darling.”

 

“Thank you.” Lally replies quietly, slipping into her sister’s room and closing the door behind her.

 

Lally looks around what she and Charles call the ‘Chinese Bedroom’ because of all the Eighteenth Century chinoiserie furnishings filling it, still unused to the best guest bedroom in the house being occupied. Traces of her little sister lie about everywhere. Her travelling set of brushes and a mirror sit on the dressing table’s surface, along with bottles of Lettice’s favourite perfumes and a selection of her cosmetics. A blue hatbox sits against the Chinese dressing screen with the hat Lettice wore to the wedding of Mary, Princess Royal***** to Viscount Lascelles in 1922 sitting atop it. Her peacock blue embroidered robe hangs from the end of the screen, whilst a row of dainty shoes sit just behind it, the latter obviously organised into neat order by one of the housemaids, since Lettice is not known for the organisation of her own wardrobe. The room is filled with the comforting fug of sleep intermixed with the scent of woodsmoke and roses brought in especially for Lettice from the Dorrington House greenhouse. And there, on the left side of the bed is Lettice, draped in her delicate bedjacket, her golden tresses spilling freely across the pillows behind her.

 

“I hope you don’t mind me popping in like this.” Lally says a little defensively. “Oh, you haven’t touched your breakfast.” She observes the undisturbed pot of tea, hard boiled egg, triangle of toast, square of butter from the home farm and orange from the Dorrington House orangery******. “Is everything alright?”

 

“Oh it’s fine, Lally, and yes,” Lettice lurches towards the breakfast tray, dragging it across the orange and yellow embroidered flowers of the counterpane towards her. “Breakfast is perfect. I was just about to start. I was just so engrossed in my latest copy of Vogue.”

 

“I see.” Lally purrs with a satisfied smile. “I see you received your post this morning then.”

 

“Yes, thank you Lally.” Lettice indicates with an open hand to the two copies of Vogue as well as a card sent down from London sitting atop a silver salver next to a silver letter opener near the raised mound of her feet beneath the covers.

 

“I received some post this morning too.” Lally admits, holding up a postcard featuring an idealised photographic scene of a couple in a donkey cart.

 

“Not a postcard from Charles, opining about me having breakfast abed, surely? He and Lord Lachenbury only left for India a few days ago.”

 

“Oh!” Lally says, laughing as she looks at the postcard. “No! No, Charles and Lord Lachenbury will still be en route abord the P&O*******. No, it will be ages before the arrive in Bombay.”

 

“Then what is it?” Lettice enquires.

 

“It’s an invitation for the two of us to attend a luncheon party at Mrs. Alsop’s down at Shalstone Cottage.”

 

“That sounds rather dull. A cottage? Who is Mrs. Alsop, Lally?”

 

“Head of the local branch of the WI********.” Lally pulls a face. “She’s a dreadful gossip, and rather a bore, I’m afraid. I can say you’re indisposed if you like, but as treasurer of the WI, I had better go.”

 

“Well,” Lettice says with a sigh, reaching down to the silver salver near the foot of the bed and snatching up the card from atop its envelope. “Even if I didn’t want to come, I’d go to support you, Lally. However, you may have to pass on my excuses anyway.” She holds the card out to her elder sister.

 

“What is it, Tice?”

 

“It’s from Aunt Egg.” Lettice wags the card in her sister’s direction. “Read it.”

 

Approaching the bed, Lally accepts the card from her sister. She smiles and snorts in amusement as she stares at the stylised gilt decorated Art Nouveau card featuring a woman in a long russet coloured tea gown facing away from the viewer, her old fashioned upswept hairstyle with its topknot clearly a feature of the design. “God bless Aunt Egg. Anyone would think she was living in 1904 not 1924.”

 

“I know.” agrees Lettice with a smile as she starts buttering her toast, the crisp scrape of her knife against the slice cutting through the air.

 

“She’s going to leave you all her jewellery, you know, Tice.” Lally says with a knowing look.

 

“Oh!” Lettice scoffs, waving her sister’s remark away dismissively with a wave of her hand. “She teases all of us with her flippant remarks about her jewellery. No, she plays her hand close to her chest.”

 

“But you’re the most like her, Tice: the most artistic. I’m just like all the other Chetwynd cousins – a rather pedestrian country squire’s wife who attends luncheons at the behest of the head of the WI – unlike you, who has her own successful interior design business and socialises with a smart and select London set.”

 

“Read the card, Lally.” Lettice hisses as she takes a bite of her toast.

 

Lally reads aloud, “’Dearest Lettice, I’m sorry to write like this, but I really can’t have you lolling about at Dorrington House, being pandered to, and mollycoddled by Lally.’” Lally drops her arms, the card still clenched tightly in her right hand. She stares wide eyes in astonishment at their aunt’s statement. “Mollycoddling! What a cheek, Aunt Egg!”

 

“Well,” Lettice indicates down to the breakfast tray across her lap as she gulps down a slice of toast. “Charles would doubtless agree with her. Let’s be honest, Lally, that whilst I have adored staying here with you, being feted, and waited upon hand and foot, you are pandering to me.”

 

“Well…” mutters Lally, blushing as she speaks.

 

“Keep reading.” Lettice insists as she takes up the silver teapot and pours hot tea into her dainty blue sprigged china teacup.

 

Lally takes up the card again. “Let’s see, where was I? Oh yes, ‘being pandered to, and mollycoddled by Lally. It’s time you stopped hiding away in the bucolic bosom of Buckinghamshire’,” Lally pauses again. “Aunt Egg does have a way with words, doesn’t she?” She sniggers and shakes her head.

 

“Keep reading!” Lettice insists.

 

“’And come home to London, where I will admit, you are missed by your Embassy Club coterie of friends. Only last week I heard from Cilla Carter Minnie Palmerston, and Margot Channon three times, asking when you were coming home. I simply must insist that you come back post haste. However, like me, I know you are a woman of your own will,’” Lally looks across at her sister as she sips her tea in bed. “She’s right there. The two of you are by far the most stubborn of the women in the Chetwynd family.”

 

“Keep reading, Lally!”

 

“’So, well aware of the fact that you won’t return solely upon my request, I have had to make arrangements to compel you out of your broken hearted stupor in the stultifying countryside and thrust you back into the beating heart of London society. I’ve managed to wrangle an invitation for you, and Dicke and Margot Channon, to attend one of Sir John and Lady Caxton’s amusing Friday to Monday long weekend parties at Gossington along with a host other notable Bright Young Things********. It will do you good to be with some people of your own age.’” Lally drops her arms again. “People your own age?” she blusters. “Does Aunt Egg suddenly think me ninety, rather than thirty five?”

 

“You know how she is, dear Lally.” She’s just trying to create a compelling reason for me to leave you and go back to London as she bids. Don’t take it personally.” Lettice implores as she takes another dainty bite of her toast. “Keep reading.”

 

“’The Channons will be expecting dinner at Cavendish Mews on Monday evening to discuss arrangements. Apparently, Dickie has enough money for petrol for the motor to be able to drive three of you up to Gossington! Will wonders never cease? Please wire, if indeed you can find a telegraph office in the wilds of Buckinghamshire, what train you will be arriving on at Victoria Station and I will arrange to collect you. With love, Aunt Egg.’”

 

“So you see, Lally darling, I’ll have to arrange a journey back to London.” Lettice says apologetically. “Perhaps you can drop me at High Wycombe railway station on your way to luncheon this afternoon, and then send Tipden back to fetch me after he drops you off at Mrs. Whatsit’s.”

 

“Mrs. Alsop.” Lally reiterates.

 

“Exactly!” Lettice sighs. “Quite right! By the time he’s back I’ll have sent a wire.”

 

“Well of course, Tipden and my car are at your disposal, Lettice darling,” Lally says in a disappointed voice. “But it really is too beastly of Aunt Egg to charge in and spoil our plans like this. I was arranging for us to visit Lady Verney********* at Claydon House********** in Aylesbury Vale whilst you were stopping with me. Oh well!” She sighs and raises her hands in despair. “I shall simply have to telephone her and cancel.”

 

“I’m sure you could still visit Lady Verney, even without me, Lally darling.”

 

“You’d like Lady Varney. She’s been a campaigner for girls’ education for decades now, and is really quite intelligent and independent.”

 

“Oh that is a pity, but I’m afraid it can’t be helped, Lally. An invitation from the Caxtons cannot be refused.”

 

“And who are Sir John and Lady Caxton?” Lally queries. “I don’t think I know them.”

 

“Oh, Sir John and Lady Gladys are very well known amongst the smarter bohemian set of London society for their amusing weekend parties at their Scottish country estate and enjoyable literary evenings in their Belgravia townhouse. Lady Gladys is a successful authoress in her own right and writes under the nom de plume of Madeline St John, so they attract a mixture of witty writers and artists mostly.”

 

“Oh!” Lally gasps. “So that’s who it is!”

 

“Who, Lally?”

 

“Aunt Egg mentioned to me when we were at Glynes over Christmas and New Year, that she was arranging something for you with a lady novelist. It must be this, Lady Gladys.”

 

“I suppose the artistic connection is how Aunt Egg knows the Caxtons, although, I didn’t actually know that they were acquainted.”

 

“Well she must be more than acquainted with them if Aunt Egg could,” Lally scans the message on the card in her aunt’s spidery cursive handwriting. “Wrangle you an invitation, Tice darling.” Lally sighs disappointedly before snatching the half eaten slice of toast off her sister’s plate and takes a large bite from it. After swallowing her mouthful she continues, “I don’t see why, if she has organised an invitation for Dickie and Margot Channon, why she couldn’t have arranged one for me. She knows Charles has set sail for India and that I’ll be alone without you.”

 

“You’re hardly alone, Lally darling. What about Mrs. Alsop?” Lettice says with a cheeky grin as she takes back what is left of her triangle of toast.

 

“Oh, ha-ha!” replies Lally sarcastically.

 

“But in all seriousness Lally, you aren’t alone here. There are Nettie Fisher and Alice Newsome, and all those other lovely friends of yours who have been so hospitable to me since I arrived. They are all quite wonderful.”

 

“I suppose.” Lally replies deflatedly.

 

“Well, this is all rather thrilling!” Lettice says excitedly, pushing aside her breakfast tray and throwing back the covers with a sudden surge of gusto. “The Caxtons are quite eccentric characters, especially Lady Gladys, and from what I’ve read of them, they are refreshingly different and amusing. Thus, there is never a shortage of guests for their Friday to Monday house parties, and invitations to Gossington are a highly desirable, yet all too rare commodity. Margot will be beside herself!”

 

“Well then, however sad it is, I shall bid you a fond farewell, dear Tice.”

 

Lettice climbs out of bed and embraces her sister lovingly, inhaling her familiar scent of Yardley’s English Lavender. “Don’t worry, Lally darling.” She kisses her affectionately on the left cheek. “I’ll come back down again as soon as this weekend with the Caxtons is over.”

 

“I bet you won’t, Tice!” Lally retorts resignedly. She holds her sister at arm’s length, taking in the sudden vitality that has put a sparkle back into her eyes and roses into her cheeks. “This will be the beginning of a welcome distraction for you.” Then she adds sadly, “And one that is far better than any remedy I can provide you with. Best you follow Aunt Egg’s instructions and go back to London.”

 

“Oh thank you, Lally Darling!” Lettice cries joyfully, throwing her hands around her elder sister’s neck and clinging tightly to her. “You are a brick!”

 

“Yes, you’ll get all of Aunt Egg’s jewellery, Tice darling. You are her favourite by far.”

 

*The Savoy Hotel is a luxury hotel located in the Strand in the City of Westminster in central London. Built by the impresario Richard D'Oyly Carte with profits from his Gilbert and Sullivan opera productions, it opened on 6 August 1889. It was the first in the Savoy group of hotels and restaurants owned by Carte's family for over a century. The Savoy was the first hotel in Britain to introduce electric lights throughout the building, electric lifts, bathrooms in most of the lavishly furnished rooms, constant hot and cold running water and many other innovations. Carte hired César Ritz as manager and Auguste Escoffier as chef de cuisine; they established an unprecedented standard of quality in hotel service, entertainment and elegant dining, attracting royalty and other rich and powerful guests and diners. The hotel became Carte's most successful venture. Its bands, Savoy Orpheans and the Savoy Havana Band, became famous. Winston Churchill often took his cabinet to lunch at the hotel. The hotel is now managed by Fairmont Hotels and Resorts. It has been called "London's most famous hotel". It has two hundred and sixty seven guest rooms and panoramic views of the River Thames across Savoy Place and the Thames Embankment. The hotel is a Grade II listed building.

 

**Before the Second World War, if you were a married Lady, it was customary for you to have your breakfast in bed, because you supposedly don't have to socialise to find a husband. Unmarried women were expected to dine with the men at the breakfast table, especially on the occasion where an unmarried lady was a guest at a house party, as it gave her exposure to the unmarried men in a more relaxed atmosphere and without the need for a chaperone.

 

***The House of Lanvin was named after its founder Jeanne Lanvin in 1889. Jeanne Lanvin was born in 1867 and opened her first millinery shop in rue du Marche Saint Honore in 1885. Jeanne made clothes for her daughter, Marie-Blanche de Polignac, which began to attract the attention of a number of wealthy people, who requested copies for their own children. Soon, she was making dresses for their mothers, which were included in the clientele of her new boutique on the rue du Faubourg Saint-Honoré. In 1909, Jeanne Lanvin joined the Syndicat de la Couture, which marked her formal status as a couturière. The Lanvin logo was inspired by a photograph taken for Jeanne Lanvin as she attended a ball with her daughter wearing matching outfits in 1907. From 1923, the Lanvin empire included a dye factory in Nanterre. In the 1920s, Lanvin opened shops devoted to home decor, menswear, furs and lingerie, but her most significant expansion was the creation of Lanvin Parfums SA in 1924. "My Sin", an animalic-aldehyde based on heliotrope, was introduced in 1925, and is widely considered a unique fragrance. It would be followed by her signature fragrance, Arpège, in 1927, said to have been inspired by the sound of her daughter's practising her scales on the piano.

 

****The ‘robe de style’ was introduced by French couturier Jeanne Lanvin around 1915. It consisted of a basque bodice with a broad neckline and an oval bouffant skirt supported by built in wire hoops. Reminiscent of the Spanish infanta-style dresses of the Seventeenth Century and the panniered robe à la française of the Eighteenth Century they were made of fabric in a solid colour, particularly a deep shade of robin’s egg blue which became known as Lanvin blue, and were ornamented with concentrated bursts of embroidery, ribbons or ornamental silk flowers.

 

*****Mary, Princess Royal and Countess of Harewood (1897 – 1965), was the only daughter of King George V and Queen Mary. She was the sister of Kings Edward VIII and George VI, and aunt of Queen Elizabeth II. She married Viscount Lascelles on the 28th of February 1922 in a ceremony held at Westminster Abbey. The bride was only 24 years old, whilst the groom was 39. There is much conjecture that the marriage was an unhappy one, but their children dispute this and say it was a very happy marriage based upon mutual respect. The wedding was filmed by Pathé News and was the first royal wedding to be featured in fashion magazines, including Vogue.

 

******An orangery or orangerie was a room or a dedicated building on the grounds of fashionable residences of Northern Europe from the Seventeenth to the Nineteenth Centuries where orange and other fruit trees were protected during the winter, as a very large form of greenhouse or conservatory.

 

*******In 1837, the Peninsular Steam Navigation Company first secured a Government contract for the regular carriage of mail between Falmouth and the Peninsular ports as far as Gibraltar. The company, established in 1835 by the London shipbroking partnership of Brodie McGhie Willcox (1786-1861) and Arthur Anderson (1792-1868) and the Dublin Ship owner, Captain Richard Bourne (1880-1851) had begun a regular steamer service for passengers and cargo between London, Spain and Portugal using the 206 ton paddle steamer William Fawcett. The growing inclination of early Twentieth Century shipping enterprises to merge their interests, and group themselves together, did not go unnoticed at P&O, which made its first major foray in this direction in 1910 with the acquisition of Wilhelm Lund’s Blue Anchor Line. By 1913, with a paid-up capital of some five and half million pounds and over sixty ships in service, several more under construction and numerous harbour craft and tugs to administer to the needs of this great fleet all counted, the P&O Company owned over 500,000 tons of shipping. In addition to the principal mail routes, through Suez to Bombay and Ceylon, where they divided then for Calcutta, Yokohama and Sydney, there was now the ‘P&O Branch Line’ service via the Cape to Australia and various feeder routes. The whole complex organisation was serviced by over 200 agencies stationed at ports throughout the world. At the end of 1918, the Group was further strengthened by its acquisition of a controlling shareholding in the Orient Line and in 1920, the General Steam Navigation Company, the oldest established sea-going steamship undertaking, was taken over. In 1923 the Strick Line was acquired too and P&O became, for a time, the largest shipping company in the world. With the 1920s being the golden age of steamship travel, P&O was the line to cruise with. P&O had grown into a group of separate operating companies whose shipping interests touched almost every part of the globe. By March 2006, P&O had grown to become one of the largest port operators in the world and together with P&O Ferries, P&O Ferrymasters, P&O Maritime Services, P&O Cold Logistics and its British property interests, the company was, itself, acquired by DP World for three point three billion pounds.

 

*******The Women's Institute (WI) is a community-based organization for women in the United Kingdom, Canada, South Africa and New Zealand. The movement was founded in Stoney Creek, Ontario, Canada, by Erland and Janet Lee with Adelaide Hoodless being the first speaker in 1897. It was based on the British concept of Women's Guilds, created by Rev Archibald Charteris in 1887 and originally confined to the Church of Scotland. From Canada the organization spread back to the motherland, throughout the British Empire and Commonwealth, and thence to other countries. Many WIs belong to the Associated Country Women of the World organization. Each individual WI is a separate charitable organisation, run by and for its own members with a constitution agreed at national level but the possibility of local bye-laws. WIs are grouped into Federations, roughly corresponding to counties or islands, which each have a local office and one or more paid staff.

 

********The Bright Young Things, or Bright Young People, was a nickname given by the tabloid press to a group of Bohemian young aristocrats and socialites in 1920s London.

 

*********Lady Margaret Maria Verney, was an English-born Welsh educationist. Verney was the daughter of Lady Sarah Elizabeth Amherst and her husband John Hay-Williams, 2nd Baronet Williams of Bodelwyddan. On the death of her father in 1859, she inherited his house "Rhianfa", on Anglesey, which she retained as a family home. In 1868 she married Sir Edmund Hope Verney, MP, then merely Captain Verney. She became a leading campaigner for girls' education in Britain. In 1894 she became a member of the Statutory Council of the University of Wales, holding the position until 1922.

 

**********Claydon House is a country house in the Aylesbury Vale, Buckinghamshire, England, near the village of Middle Claydon. It was built between 1757 and 1771 and is now owned by the National Trust. Claydon has been the ancestral home of the Verney family since 1620. The present Verney family, are the descendants of Sir Harry Calvert, 2nd Baronet who inherited the house in 1827. He was very tenuously related to the Verneys only through marriage. However, he adopted the name Verney on inheriting. The house was given to the National Trust in 1956 by Sir Ralph Verney, 5th Baronet. His son, Sir Edmund Verney, 6th Baronet, a former High Sheriff of Buckinghamshire, lived in the house until 2019.

 

This cosy boudoir may look real to you, but it is in fact made up of pieces from my 1:12 miniatures collection.

 

Fun things to look for in this tableau include:

 

The mahogany stained breakfast tray came from an English stockist of 1:12 artisan miniatures whom I found on E-Bay. On its surface the crockery, serviettes with their napkin rings came from Kathleen Knight’s Dolls House Shop in the United Kingdom. The teapot also came from Kathleen Knight’s Dolls House Shop. It is sterling silver, hallmarked Birmingham 1910 and has a removable lid, so it was probably a commissioned piece of Edwardian whimsy for someone wealthy, be they an adult or child. The cutlery came from an online stockist of miniatures. The orange comes from Beautifully Handmade Miniatures in Kettering. The egg cup come from Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces. The egg in the egg cup is amongst some of the smallest miniatures I own, and came from Beautifully Handmade Miniatures in Kettering. The square of butter in the glass dish has been made in England by hand from clay by former chef turned miniature artisan, Frances Knight. Her work is incredibly detailed and realistic, and she says that she draws her inspiration from her years as a chef and her imagination.

 

The two copies of Vogue, the Art Nouveau style card and the addressed and postmarked envelope on the silver tray are 1:12 size miniatures made by the British miniature artisan Ken Blythe. Ken Blythe was famous in miniature collectors’ circles mostly for the miniature books that he made: all being authentically replicated 1:12 scale miniatures of real volumes. I have quite a large representation of Ken Blythe’s work in my collection. However, he did not make books exclusively. He also made other small pieces like the card and envelope. To create something so authentic to the original in such detail and so clearly, really does make these miniature artisan pieces. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago and through his estate courtesy of the generosity of his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.

 

The small silver letter salver is a 1:12 artisan miniature piece of sterling silver. The artist is unknown. Being made of silver, it is very heavy for its size. The sterling silver letter opener is made by the Little Green Workshop in England who specialise in high end, high quality miniatures.

 

Lettice’s comforter is in fact a piece of beautiful vintage embroidered sari silk from the 1970s, laid over a box to give the appearance of the corner of a bed. I even put my fingers under the covers to give the impression of a body as you can see in the bottom right-hand corner of the image, where the comforter is raised slightly.

 

Lettice’s elegant straw hat sitting on the French blue hatbox in the background is decorated with an oyster satin ribbon, three feathers and an ornamental flower. The maker for this hat is unknown, but I acquitted it through Doreen Jeffries’ Small Wonders Miniatures in the United Kingdom. 1:12 size miniature hats made to such exacting standards of quality and realism as this one is are often far more expensive than real hats are. When you think that it would sit comfortably on the tip of your index finger, yet it could cost in excess of $150.00 or £100.00, it is an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable.

 

The blue hatbox in the background on which the hat sits is a 1:12 artisan miniature and made of blue kid leather which is so soft to the touch, and small metal handles, clasps and ornamentation. It has been purposely worn around their edges to give it age. It also comes from Doreen Jeffries’ Small Wonders Miniatures in England.

 

The Chinese screen is made of black japanned wood and features hand painted soapstone panels, so it is very heavy. I picked it up at an auction some twenty years ago.

 

The dressing table featuring fine marquetry banding appears to have been made by the same unknown artisan who made the round table. This piece I acquired from Kathleen Knight’s Dolls House Shop. The brush on its surface is part of a set painted by miniature artisan Victoria Fasken, and was also acquired from Kathleen Knight’s Dolls House Shop. The vase on the dressing table surface is a 1950s Limoges piece. The vase is stamped with a small green Limoges mark to the bottom. I found this treasure in an overcrowded cabinet at the Mill Markets in Geelong. The pink roses it contains came from beautifully Handmade Miniatures in Kettering.

 

The Chippendale style chair pushed into the dressing table is a very special piece. It came from the Petite Elite Miniature Museum, later rededicated as the Carol and Barry Kaye Museum of Miniatures, which ran between 1992 and 2012 on Los Angeles’ bustling Wiltshire Boulevard. It is part of a dining table setting for six. One of the chairs still has a sticker under its cushion identifying which room of which dollhouse it came. The Petite Elite Miniature Museum specialised in exquisite and high end 1:12 miniatures. The furnishings are taken from a real Chippendale design.

different trees on a mountain.

The American West. Utah's Grand Desert Landscape.

 

I help aspiring and established photographers get noticed so they can earn an income from photography or increase sales. My blog, Photographer’s Business Notebook is a wealth of information as is my Mark Paulda’s YouTube Channel. I also offer a variety of books, mentor services and online classes at Mark Paulda Photography Mentor

 

All images are available as Museum Quality Photographic Prints and Commercial Licensing. Feel free to contact me with any and all inquiries.

 

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en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

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The Manhattan Beach Pier is a pier located in Manhattan Beach, California, on the coast of the Pacific Ocean. The pier is 928 feet (283 m) long and located at the end of Manhattan Beach Boulevard.[4] An octagonal Mediterranean-style building sits at the end of the pier and houses the Roundhouse Marine Studies Lab & Aquarium. Surfers can be seen below the pier and sometimes weave in and out of the mussel-covered pilings. The pier is popular with locals, tourists, photographers, and artists and for fishing. It offers sunsets and vantage points from the shore and hillside.

 

History

Pre-history

In 1897, the Potencia Company was incorporated to develop land in the area and proposed a seaside resort with wharves and piers.[1] The area was named Potencia, but the city of Manhattan was incorporated in 1912 with the word "Beach" being added in 1927.[1] The name was chosen by land developer John Merrill[disambiguation needed], a native of New York.[1]

 

A pier is believed to have been one of the first features built when the Manhattan Beach community was developed.[5] Two wooden piers were built in 1901, one at Center Street (later renamed Manhattan Beach Boulevard[6]) and one at Marine Avenue called Peck's Pier and Pavilion.[2]

 

The Center Street Pier was 900 feet (270 m) long and pylons were made by fastening three railroad rails together and driving them into the ocean floor.[5] It supported a narrow wooden deck and wave motor to generate power for the Strand lighting system, but sources disagree about whether the system worked.[1][2][5] Part of the wave motor may still be buried in the sands at the shore end of the present pier.[2] This "old iron pier", as it was called, was destroyed by a major storm in 1913.[5]

 

Current pier

 

The pier from Manhattan Beach Boulevard

Lack of money, lawsuits, storms, World War I and debates about when and where to build another pier delayed Manhattan Beach from having a pier completed until 1920.[1][5] Engineer A.L. Harris developed the concept of the circular end for less exposure and damage to the pilings by the waves.[1] The pier was completed and dedicated on July 5, 1920.[1][2] The next version built was a cement pier with a rounded end and it was 928 feet (283 m) long.[5] Octagonal house that now holds a lunch restaurant was completed in 1922.[5] In 1928, a 200-foot (61 m) wooden extension was added but it was destroyed in a storm in 1940.[5] In 1991 the pier was restored to its 1920s appearance with a dedication ceremony in 1992.[5]

 

In 1928 the pier was extended out 200 feet (at no cost to the city) when a Captain Larsen of Redondo Beach offered to pay for an extension in exchange for the rights to run a shoreboat between the pier and his barge Georgina.[1] On January 9, 1940, 90 feet (27 m) of the extension were ripped away during a winter storm. The extension was never repaired and the remaining section was swept away in February 1941.[1]

 

In 1946 the pier and adjoining beach were deeded over from the city of Manhattan Beach to the state.[1] During the next four decades the pier would remain a focus of beachfront activity, but Mother Nature and old age took their toll and by the 1980s the pier was in sad shape and in need of renovation.[1]

 

Restoration took place in the early 1990s with a focus on retention of the old time appearance, much like Pier 7 in San Francisco.[1] The original pier had to be fixed as old age and decay required extensive repair, and in fact made it unsafe by the late 1980s (when a jogger was injured by falling concrete).[1]

 

In 1995, the pier was declared a state historic landmark.[3][7] It is the oldest standing concrete pier on the West Coast.[7][8] It is managed by the County of Los Angeles, Department of Beaches and Harbors.[1] Correction: The Pier is managed by the City of Manhattan Beach Public Works

 

Attractions

Roundhouse Marine Studies Lab & Aquarium

The Roundhouse Marine Studies Lab and Aquarium is located at the end of the pier, and is free to the public. The Aquarium includes a shark tank, tide pool touch tank with animals common to Southern California, tanks with lobsters, and baby sharks as well as brightly colored, non-native fish and invertebrates.[2] The aquarium is open Saturdays & Sundays 10 a.m. to sunset and Monday through Friday 3 p.m. to sunset and group and education tours offered.[2]

 

The octagonal building includes a Spanish tile roof and large gooseneck reflectors to improve lighting.[1]

 

Fishing

According to Pierfishing.com the sandy beach area yields the normal surf species; barred surfperch, croakers, small rays and guitarfish (shovelnose shark). The pier is especially known for its magnificent barred surfperch fishing. At times, anglers catch hundreds of them within an hour of time, using mainly small jigs and sandcrabs. The area around the pilings yield pileperch, walleye surfperch, silver surfperch, and other common pier species. Mid-pier, casting away from the pier, yields small tom cod (white croaker) and herring (queenfish), jacksmelt, yellowfin croaker and an occasional halibut. Action at the end of the pier is improved by the surrounding artificial reef which is located about 65 feet (20 m) from the end. Fish at the deepest water end include bonito, Pacific mackerel, jack mackerel, barracuda, an occasional white seabass or even yellowtail, and reef visitors like kelp bass, sand bass and sculpin (scorpionfish).[1] The resident species in Santa Monica Bay may be dangerous to eat, but those that migrate in and out of the bay are considered safe to eat.[1] A variety of baits are utilized.

 

Surfing

The pier played a significant role in the history of surfing. The pier was a popular spot for Southern California surfers in the 1940s, the early days of modern surfing. Dale Velzy, the first commercial surfboard shaper, started his business building and repairing boards under the pier before renting a nearby storefront in 1949, starting what is considered the first surf shop.[9]

 

In film

It is used in

 

Point Break (1991) - Keanu Reeves buys his surfboard from a shop located on the pier.

Starsky & Hutch (2004) - Starsky (Ben Stiller), can be seen stretching under the pier.

Tequila Sunrise (1988) - Mel Gibson's character lives on the beach near the pier.

 

en.wikipedia.org/wiki/Manhattan_Beach_Pier

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Pasha Hawaii offers container and roll-on/roll-off (Ro/Ro) service for automobiles, buses, trucks, and/or other large and oversize rolling stock in the Mainland/Hawaii trade. A combination container/roll-on/roll-off ("ConRo") vessel, the Marjorie C is the only one of its type to ply the Mainland/Hawaii trade lane.

 

The 26,000-ton vessel was engineered from a proven design by Grimaldi in Croatia at Uljanik Shipyard and is the largest ever built at VT Halter in Pascagoula, Mississippi.

 

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Headland is a civil parish in the Borough of Hartlepool, County Durham, England. The parish covers the old part of Hartlepool and nearby villages.

 

History

The Heugh Battery, one of three constructed to protect the port of Hartlepool in 1860, is located in the area along with a museum.

 

The area made national headlines in July 1994 in connection with the murder of Rosie Palmer, a local toddler.

 

On 19 March 2002 the Time Team searched for an Anglo-Saxon monastery.

 

Dominating the skyline is the impressive architectural structure that is St Hilda’s Church. Remnant of Hartlepool’s Saxon heritage and undoubtedly the crowning glory of the Headland, this church is a must-see attraction. After her stay in Hartlepool, the Abbess of the church progressed along the coast to Whitby and this spiritual journey can be explored through ‘The Way of St Hild’ walking trail.

 

A great way to explore the historic Headland is by finding and following the Headland Story Trail. The trail features 18 different information boards, each telling a story of the areas fascinating heritage from tales of shipwreck to the legend of the Hartlepool monkey. A truly interactive and fun walking experience!

 

Other landmarks of note include the impressive Town Wall, dating from the 14th century. This grade I listed, scheduled ancient monument still guards the Headland, and was originally built to keep out the twin threats of raiding Scots and the rigours of the North Sea.

 

The Borough Hall is another striking building and dates back to 1865. This gorgeous entertainment venue hosts an action-packed events programme so be sure to keep an eye out for all upcoming events here.

 

Dive into the town’s military history at The Heugh Battery Museum – this restored coastal defence battery protected the town throughout both World Wars. An enchanting historical sight with the original barrack room, underground magazines, coastal artillery and observation tower, the exhibits tell the story of those who lost their lives and the brave men who defended the area. Refresh with a light bite or sweet treat at the Poppy Café, located within the museum.

 

Visit the Headland War Memorial to see the magnificent ‘Winged Victory’ – a stunning statue that tributes those who lost their lives during the two world wars.

 

At the very north of the Headland you will find Spion Kop Cemetery – this historic cemetery supports a species-rich dune grassland and offers fantastic views of the coastline.

 

Every summer Headland Carnival attracts lively visitors to the area. Packed with thrilling rides, amusing games and live entertainment this week of jam-packed fun is great for all the family.

 

Hartlepool is a seaside and port town in County Durham, England. It is governed by a unitary authority borough named after the town. The borough is part of the devolved Tees Valley area. With an estimated population of 87,995, it is the second-largest settlement (after Darlington) in County Durham.

 

The old town was founded in the 7th century, around the monastery of Hartlepool Abbey on a headland. As the village grew into a town in the Middle Ages, its harbour served as the County Palatine of Durham's official port. The new town of West Hartlepool was created in 1835 after a new port was built and railway links from the South Durham coal fields (to the west) and from Stockton-on-Tees (to the south) were created. A parliamentary constituency covering both the old town and West Hartlepool was created in 1867 called The Hartlepools. The two towns were formally merged into a single borough called Hartlepool in 1967. Following the merger, the name of the constituency was changed from The Hartlepools to just Hartlepool in 1974. The modern town centre and main railway station are both at what was West Hartlepool; the old town is now generally known as the Headland.

 

Industrialisation in northern England and the start of a shipbuilding industry in the later part of the 19th century meant it was a target for the Imperial German Navy at the beginning of the First World War. A bombardment of 1,150 shells on 16 December 1914 resulted in the death of 117 people in the town. A severe decline in heavy industries and shipbuilding following the Second World War caused periods of high unemployment until the 1990s when major investment projects and the redevelopment of the docks area into a marina saw a rise in the town's prospects. The town also has a seaside resort called Seaton Carew.

 

History

The place name derives from Old English heort ("hart"), referring to stags seen, and pōl (pool), a pool of drinking water which they were known to use. Records of the place-name from early sources confirm this:

 

649: Heretu, or Hereteu.

1017: Herterpol, or Hertelpolle.

1182: Hierdepol.

 

Town on the heugh

A Northumbrian settlement developed in the 7th century around an abbey founded in 640 by Saint Aidan (an Irish and Christian priest) upon a headland overlooking a natural harbour and the North Sea. The monastery became powerful under St Hilda, who served as its abbess from 649 to 657. The 8th-century Northumbrian chronicler Bede referred to the spot on which today's town is sited as "the place where deer come to drink", and in this period the Headland was named by the Angles as Heruteu (Stag Island). Archaeological evidence has been found below the current high tide mark that indicates that an ancient post-glacial forest by the sea existed in the area at the time.

 

The Abbey fell into decline in the early 8th century, and it was probably destroyed during a sea raid by Vikings on the settlement in the 9th century. In March 2000, the archaeological investigation television programme Time Team located the foundations of the lost monastery in the grounds of St Hilda's Church. In the early 11th century, the name had evolved into Herterpol.

 

Hartness

Normans and for centuries known as the Jewel of Herterpol.

During the Norman Conquest, the De Brus family gained over-lordship of the land surrounding Hartlepool. William the Conqueror subsequently ordered the construction of Durham Castle, and the villages under their rule were mentioned in records in 1153 when Robert de Brus, 1st Lord of Annandale became Lord of Hartness. The town's first charter was received before 1185, for which it gained its first mayor, an annual two-week fair and a weekly market. The Norman Conquest affected the settlement's name to form the Middle English Hart-le-pool ("The Pool of the Stags").

 

By the Middle Ages, Hartlepool was growing into an important (though still small) market town. One of the reasons for its escalating wealth was that its harbour was serving as the official port of the County Palatine of Durham. The main industry of the town at this time was fishing, and Hartlepool in this period established itself as one of the primary ports upon England's Eastern coast.

 

In 1306, Robert the Bruce was crowned King of Scotland, and became the last Lord of Hartness. Angered, King Edward I confiscated the title to Hartlepool, and began to improve the town's military defences in expectation of war. In 1315, before they were completed, a Scottish army under Sir James Douglas attacked, captured and looted the town.

 

In the late 15th century, a pier was constructed to assist in the harbour's workload.

 

Garrison

Hartlepool was once again militarily occupied by a Scottish incursion, this time in alliance with the Parliamentary Army during the English Civil War, which after 18 months was relieved by an English Parliamentarian garrison.

 

In 1795, Hartlepool artillery emplacements and defences were constructed in the town as a defensive measure against the threat of French attack from seaborne Napoleonic forces. During the Crimean War, two coastal batteries were constructed close together in the town to guard against the threat of seaborne attacks from the Imperial Russian Navy. They were entitled the Lighthouse Battery (1855) and the Heugh Battery (1859).

 

Hartlepool in the 18th century became known as a town with medicinal springs, particularly the Chalybeate Spa near the Westgate. The poet Thomas Gray visited the town in July 1765 to "take the waters", and wrote to his friend William Mason:

 

I have been for two days to taste the water, and do assure you that nothing could be salter and bitterer and nastier and better for you... I am delighted with the place; there are the finest walks and rocks and caverns.

 

A few weeks later, he wrote in greater detail to James Brown:

 

The rocks, the sea and the weather there more than made up to me the want of bread and the want of water, two capital defects, but of which I learned from the inhabitants not to be sensible. They live on the refuse of their own fish-market, with a few potatoes, and a reasonable quantity of Geneva [gin] six days in the week, and I have nowhere seen a taller, more robust or healthy race: every house full of ruddy broad-faced children. Nobody dies but of drowning or old-age: nobody poor but from drunkenness or mere laziness.

 

Town by the strand

By the early nineteenth century, Hartlepool was still a small town of around 900 people, with a declining port. In 1823, the council and Board of Trade decided that the town needed new industry, so the decision was made to propose a new railway to make Hartlepool a coal port, shipping out minerals from the Durham coalfield. It was in this endeavour that Isambard Kingdom Brunel visited the town in December 1831, and wrote: "A curiously isolated old fishing town – a remarkably fine race of men. Went to the top of the church tower for a view."

 

But the plan faced local competition from new docks. 25 kilometres (16 mi) to the north, the Marquis of Londonderry had approved the creation of the new Seaham Harbour (opened 31 July 1831), while to the south the Clarence Railway connected Stockton-on-Tees and Billingham to a new port at Port Clarence (opened 1833). Further south again, in 1831 the Stockton and Darlington Railway had extended into the new port of Middlesbrough.

 

The council agreed the formation of the Hartlepool Dock and Railway Company (HD&RCo) to extend the existing port by developing new docks, and link to both local collieries and the developing railway network in the south. In 1833, it was agreed that Christopher Tennant of Yarm establish the HD&RCo, having previously opened the Clarence Railway (CR). Tennant's plan was that the HD&RCo would fund the creation of a new railway, the Stockton and Hartlepool Railway, which would take over the loss-making CR and extended it north to the new dock, thereby linking to the Durham coalfield.

 

After Tennant died, in 1839, the running of the HD&RCo was taken over by Stockton-on-Tees solicitor, Ralph Ward Jackson. But Jackson became frustrated at the planning restrictions placed on the old Hartlepool dock and surrounding area for access, so bought land which was mainly sand dunes to the south-west, and established West Hartlepool. Because Jackson was so successful at shipping coal from West Hartlepool through his West Hartlepool Dock and Railway Company and, as technology developed, ships grew in size and scale, the new town would eventually dwarf the old town.

 

The 8-acre (3.2-hectare) West Hartlepool Harbour and Dock opened on 1 June 1847. On 1 June 1852, the 14-acre (5.7-hectare) Jackson Dock opened on the same day that a railway opened connecting West Hartlepool to Leeds, Manchester and Liverpool. This allowed the shipping of coal and wool products eastwards, and the shipping of fresh fish and raw fleeces westwards, enabling another growth spurt in the town. This in turn resulted in the opening of the Swainson Dock on 3 June 1856, named after Ward Jackson's father-in-law. In 1878, the William Gray & Co shipyard in West Hartlepool achieved the distinction of launching the largest tonnage of any shipyard in the world, a feat to be repeated on a number of occasions. By 1881, old Hartlepool's population had grown from 993 to 12,361, but West Hartlepool had a population of 28,000.

 

Ward Jackson Park

Ward Jackson helped to plan the layout of West Hartlepool and was responsible for the first public buildings. He was also involved in the education and the welfare of the inhabitants. In the end, he was a victim of his own ambition to promote the town: accusations of shady financial dealings, and years of legal battles, left him in near-poverty. He spent the last few years of his life in London, far away from the town he had created.

 

World Wars

In Hartlepool near Heugh Battery, a plaque in Redheugh Gardens War Memorial "marks the place where the first ...(German shell) struck... (and) the first soldier was killed on British soil by enemy action in the Great War 1914–1918."

The area became heavily industrialised with an ironworks (established in 1838) and shipyards in the docks (established in the 1870s). By 1913, no fewer than 43 ship-owning companies were located in the town, with the responsibility for 236 ships. This made it a key target for Germany in the First World War. One of the first German offensives against Britain was a raid and bombardment by the Imperial German Navy on the morning of 16 December 1914,

 

Hartlepool was hit with a total of 1150 shells, killing 117 people. Two coastal defence batteries at Hartlepool returned fire, launching 143 shells, and damaging three German ships: SMS Seydlitz, SMS Moltke and SMS Blücher. The Hartlepool engagement lasted roughly 50 minutes, and the coastal artillery defence was supported by the Royal Navy in the form of four destroyers, two light cruisers and a submarine, none of which had any significant impact on the German attackers.

 

Private Theophilus Jones of the 18th Battalion Durham Light Infantry, who fell as a result of this bombardment, is sometimes described as the first military casualty on British soil by enemy fire. This event (the death of the first soldiers on British soil) is commemorated by the 1921 Redheugh Gardens War Memorial together with a plaque unveiled on the same day (seven years and one day after the East Coast Raid) at the spot on the Headland (the memorial by Philip Bennison illustrates four soldiers on one of four cartouches and the plaque, donated by a member of the public, refers to the 'first soldier' but gives no name). A living history group, the Hartlepool Military Heritage Memorial Society, portray men of that unit for educational and memorial purposes.

 

Hartlepudlians voluntarily subscribed more money per head to the war effort than any other town in Britain.

 

On 4 January 1922, a fire starting in a timber yard left 80 people homeless and caused over £1,000,000 of damage. Hartlepool suffered badly in the Great Depression of the 1930s and endured high unemployment.

 

Unemployment decreased during the Second World War, with shipbuilding and steel-making industries enjoying a renaissance. Most of its output for the war effort were "Empire Ships". German bombers raided the town 43 times, though, compared to the previous war, civilian losses were lighter with 26 deaths recorded by Hartlepool Municipal Borough[19] and 49 by West Hartlepool Borough. During the Second World War, RAF Greatham (also known as RAF West Hartlepool) was located on the South British Steel Corporation Works.

 

The merge

In 1891, the two towns had a combined population of 64,000. By 1900, the two Hartlepools were, together, one of the three busiest ports in England.

 

The modern town represents a joining of "Old Hartlepool", locally known as the "Headland", and West Hartlepool. As already mentioned, what was West Hartlepool became the larger town and both were formally unified in 1967. Today the term "West Hartlepool" is rarely heard outside the context of sport, but one of the town's Rugby Union teams still retains the name.

 

The name of the town's professional football club reflected both boroughs; when it was formed in 1908, following the success of West Hartlepool in winning the FA Amateur Cup in 1905, it was called "Hartlepools United" in the hope of attracting support from both towns. When the boroughs combined in 1967, the club renamed itself "Hartlepool" before re-renaming itself Hartlepool United in the 1970s. Many fans of the club still refer to the team as "Pools"

 

Fall out

After the war, industry went into a severe decline. Blanchland, the last ship to be constructed in Hartlepool, left the slips in 1961. In 1967, Betty James wrote how "if I had the luck to live anywhere in the North East [of England]...I would live near Hartlepool. If I had the luck". There was a boost to the retail sector in 1970 when Middleton Grange Shopping Centre was opened by Princess Anne, with over 130 new shops including Marks & Spencer and Woolworths.

 

Before the shopping centre was opened, the old town centre was located around Lynn Street, but most of the shops and the market had moved to a new shopping centre by 1974. Most of Lynn Street had by then been demolished to make way for a new housing estate. Only the north end of the street remains, now called Lynn Street North. This is where the Hartlepool Borough Council depot was based (alongside the Focus DIY store) until it moved to the marina in August 2006.

 

In 1977, the British Steel Corporation announced the closure of its Hartlepool steelworks with the loss of 1500 jobs. In the 1980s, the area was afflicted with extremely high levels of unemployment, at its peak consisting of 30 per cent of the town's working-age population, the highest in the United Kingdom. 630 jobs at British Steel were lost in 1983, and a total of 10,000 jobs were lost from the town in the economic de-industrialization of England's former Northern manufacturing heartlands. Between 1983 and 1999, the town lacked a cinema and areas of it became afflicted with the societal hallmarks of endemic economic poverty: urban decay, high crime levels, drug and alcohol dependency being prevalent.

 

Rise and the future

Docks near the centre were redeveloped and reopened by Queen Elizabeth II in 1993 as a marina with the accompanying National Museum of the Royal Navy opened in 1994, then known as the Hartlepool Historic Quay.

 

A development corporation is under consultation until August 2022 to organise projects, with the town's fund given to the town and other funds. Plans would be (if the corporation is formed) focused on the railway station, waterfront (including the Royal Navy Museum and a new leisure centre) and Church Street. Northern School of Art also has funds for a TV and film studios.

 

Governance

There is one main tier of local government covering Hartlepool, at unitary authority level: Hartlepool Borough Council. There is a civil parish covering Headland, which forms an additional tier of local government for that area; most of the rest of the urban area is an unparished area. The borough council is a constituent member of the Tees Valley Combined Authority, led by the directly elected Tees Valley Mayor. The borough council is based at the Civic Centre on Victoria Road.

 

Hartlepool was historically a township in the ancient parish of Hart. Hartlepool was also an ancient borough, having been granted a charter by King John in 1200. The borough was reformed to become a municipal borough in 1850. The council built Hartlepool Borough Hall to serve as its headquarters, being completed in 1866.

 

West Hartlepool was laid out on land outside Hartlepool's historic borough boundaries, in the neighbouring parish of Stranton. A body of improvement commissioners was established to administer the new town in 1854. The commissioners were superseded in 1887, when West Hartlepool was also incorporated as a municipal borough. The new borough council built itself a headquarters at the Municipal Buildings on Church Square, which was completed in 1889. An events venue and public hall on Raby Road called West Hartlepool Town Hall was subsequently completed in 1897. In 1902 West Hartlepool was elevated to become a county borough, making it independent from Durham County Council. The old Hartlepool Borough Council amalgamated with West Hartlepool Borough Council in 1967 to form a county borough called Hartlepool.

 

In 1974 the borough was enlarged to take in eight neighbouring parishes, and was transferred to the new county of Cleveland. Cleveland was abolished in 1996 following the Banham Review, which gave unitary authority status to its four districts, including Hartlepool. The borough was restored to County Durham for ceremonial purposes under the Lieutenancies Act 1997, but as a unitary authority it is independent from Durham County Council.

 

Emergency services

Hartlepool falls within the jurisdiction of Cleveland Fire Brigade and Cleveland Police. Before 1974, it was under the jurisdiction of the Durham Constabulary and Durham Fire Brigade. Hartlepool has two fire stations: a full-time station at Stranton and a retained station on the Headland.

 

Economy

Hartlepool's economy has historically been linked with the maritime industry, something which is still at the heart of local business. Hartlepool Dock is owned and run by PD Ports. Engineering related jobs employ around 1700 people. Tata Steel Europe employ around 350 people in the manufacture of steel tubes, predominantly for the oil industry. South of the town on the banks of the Tees, Able UK operates the Teesside Environmental Reclamation and Recycling Centre (TERRC), a large scale marine recycling facility and dry dock. Adjacent to the east of TERRC is the Hartlepool nuclear power station, an advanced gas-cooled reactor (AGR) type nuclear power plant opened in the 1980s. It is the single largest employer in the town, employing 1 per cent of the town's working age people.

 

The chemicals industry is important to the local economy. Companies include Huntsman Corporation, who produce titanium dioxide for use in paints, Omya, Baker Hughes and Frutarom.

 

Tourism was worth £48 million to the town in 2009; this figure excludes the impact of the Tall Ships 2010. Hartlepool's historic links to the maritime industry are centred on the Maritime Experience, and the supporting exhibits PS Wingfield Castle and HMS Trincomalee.

 

Camerons Brewery was founded in 1852 and currently employs around 145 people. It is one of the largest breweries in the UK. Following a series of take-overs, it came under the control of the Castle Eden Brewery in 2001 who merged the two breweries, closing down the Castle Eden plant. It brews a range of cask and bottled beers, including Strongarm, a 4% abv bitter. The brewery is heavily engaged in contract brewing such beers as Kronenbourg 1664, John Smith's and Foster's.

 

Orchid Drinks of Hartlepool were formed in 1992 after a management buy out of the soft drinks arm of Camerons. They manufactured Purdey's and Amé. Following a £67 million takeover by Britvic, the site was closed down in 2009.

 

Middleton Grange Shopping Centre is the main shopping location. 2800 people are employed in retail. The ten major retail companies in the town are Tesco, Morrisons, Asda, Next, Argos, Marks & Spencer, Aldi, Boots and Matalan. Aside from the local sports clubs, other local entertainment venues include a VUE Cinema and Mecca Bingo.

 

Companies that have moved operations to the town for the offshore wind farm include Siemens and Van Oord.

 

Culture and community

Festivals and Fairs

Since November 2014 the Headland has hosted the annual Wintertide Festival, which is a weekend long event that starts with a community parade on the Friday and culminating in a finale performance and fireworks display on the Sunday.

 

Tall Ships' Races

On 28 June 2006 Hartlepool celebrated after winning its bid to host The Tall Ships' Races. The town welcomed up to 125 tall ships in 2010, after being chosen by race organiser Sail Training International to be the finishing point for the race. Hartlepool greeted the ships, which sailed from Kristiansand in Norway on the second and final leg of the race. Hartlepool also hosted the race in July 2023.

 

Museums, art galleries and libraries

Hartlepool Art Gallery is located in Church Square within Christ Church, a restored Victorian church, built in 1854 and designed by the architect Edward Buckton Lamb (1806–1869). The gallery's temporary exhibitions change frequently and feature works from local artists and the permanent Fine Art Collection, which was established by Sir William Gray. The gallery also houses the Hartlepool tourist information centre.

 

The Heugh Battery Museum is located on the Headland. It was one of three batteries erected to protect Hartlepool's port in 1860. The battery was closed in 1956 and is now in the care of the Heugh Gun Battery Trust and home to an artillery collection.

 

Hartlepool is home to a National Museum of the Royal Navy (more specifically the NMRN Hartlepool). Previously known simply as The Historic Quay and Hartlepool's Maritime Experience, the museum is a re-creation of an 18th-century seaport with the exhibition centre-piece being a sailing frigate, HMS Trincomalee. The complex also includes the Museum of Hartlepool.

 

Willows was the Hartlepool mansion of the influential Sir William Gray of William Gray & Company and he gifted it to the town in 1920, after which it was converted to be the town's first museum and art gallery. Fondly known locally as "The Gray" it was closed as a museum in 1994 and now houses the local authority's culture department.

 

There are six libraries in Hartlepool, the primary one being the Community Hub Central Library. Others are Throston Grange Library, Community Hub North Library, Seaton Carew Library, Owton Manor Library and Headland Branch Library.

 

Sea

Hartlepool has been a major seaport virtually since it was founded, and has a long fishing heritage. During the industrial revolution massive new docks were created on the southern side of the channel running below the Headland, which gave rise to the town of West Hartlepool.

 

Now owned by PD Ports, the docks are still in use today and still capable of handling large vessels. However, a large portion of the former dockland was converted into a marina capable of berthing 500 vessels. Hartlepool Marina is home to a wide variety of pleasure and working craft, with passage to and from the sea through a lock.

 

Hartlepool also has a permanent RNLI lifeboat station.

 

Education

Secondary

Hartlepool has five secondary schools:

 

Dyke House Academy

English Martyrs School and Sixth Form College

High Tunstall College of Science

Manor Community Academy

St Hild's Church of England School

The town had planned to receive funding from central government to improve school buildings and facilities as a part of the Building Schools for the Future programme, but this was cancelled because of government spending cuts.

 

College

Hartlepool College of Further Education is an educational establishment located in the centre of the town, and existed in various forms for over a century. Its former 1960s campus was replaced by a £52million custom-designed building, it was approved in principle in July 2008, opened in September 2011.

 

Hartlepool also has Hartlepool Sixth Form College. It was a former grammar and comprehensive school, the college provides a number of AS and A2 Level student courses. The English Martyrs School and Sixth Form College also offers AS, A2 and other BTEC qualification to 16- to 18-year-olds from Hartlepool and beyond.

 

A campus of The Northern School of Art is a specialist art and design college and higher education, located adjacent to the art gallery on Church Square. The college has a further site in Middlesbrough that facilitates further education.

 

Territorial Army

Situated in the New Armoury Centre, Easington Road are the following units.

 

Royal Marines Reserve

90 (North Riding) Signal Squadron

 

Religion

They are multiple Church of England and Roman Catholic Churches in the town. St Hilda's Church is a notable church of the town, it was built on Hartlepool Abbey and sits upon a high point of the Headland. The churches of the Church of England's St Paul and Roman Catholic's St Joseph are next to each other on St Paul's Road. Nasir Mosque on Brougham Terrace is the sole purpose-built mosque in the town.

 

Sport

Football

Hartlepool United is the town's professional football club and they play at Victoria Park. The club's most notable moment was in 2005 when, with 8 minutes left in the 2005 Football League One play-off final, the team conceded a penalty, allowing Sheffield Wednesday to equalise and eventually beat Hartlepool to a place in the Championship. The club currently play in the National League.

 

Supporters of the club bear the nickname of Monkey Hangers. This is based upon a legend that during the Napoleonic wars a monkey, which had been a ship's mascot, was taken for a French spy and hanged. Hartlepool has also produced football presenter Jeff Stelling, who has a renowned partnership with Chris Kamara who was born in nearby Middlesbrough. Jeff Stelling is a keen supporter of Hartlepool and often refers to them when presenting Sky Sports News. It is also the birthplace and childhood home of Pete Donaldson, one of the co-hosts of the Football Ramble podcast as well as co-host of the Abroad in Japan podcast, and a prominent radio DJ.

 

The town also has a semi-professional football club called FC Hartlepool who play in Northern League Division Two.

 

Rugby union

Hartlepool is something of an anomaly in England having historically maintained a disproportionate number of clubs in a town of only c.90,000 inhabitants. These include(d) West Hartlepool, Hartlepool Rovers, Hartlepool Athletic RFC, Hartlepool Boys Brigade Old Boys RFC (BBOB), Seaton Carew RUFC (formerly Hartlepool Grammar School Old Boys), West Hartlepool Technical Day School Old Boys RUFC (TDSOB or Tech) and Hartlepool Old Boys' RFC (Hartlepool). Starting in 1904 clubs within eight miles (thirteen kilometres) of the headland were eligible to compete for the Pyman Cup which has been contested regularly since and that the Hartlepool & District Union continue to organise.

 

Perhaps the best known club outside the town is West Hartlepool R.F.C. who in 1992 achieved promotion to what is now the Premiership competing in 1992–93, 1994–95, 1995–96 and 1996–97 seasons. This success came at a price as soon after West was then hit by bankruptcy and controversially sold their Brierton Lane stadium and pitch to former sponsor Yuills Homes. There then followed a succession of relegations before the club stabilised in the Durham/Northumberland leagues. West and Rovers continue to play one another in a popular Boxing Day fixture which traditionally draws a large crowd.

 

Hartlepool Rovers, formed in 1879, who played at the Old Friarage in the Headland area of Hartlepool before moving to West View Road. In the 1890s Rovers supplied numerous county, divisional and international players. The club itself hosted many high-profile matches including the inaugural Barbarians F.C. match in 1890, the New Zealand Maoris in 1888 and the legendary All Blacks who played against a combined Hartlepool Club team in 1905. In the 1911–12 season, Hartlepool Rovers broke the world record for the number of points scored in a season racking up 860 points including 122 tries, 87 conversions, five penalties and eleven drop goals.

 

Although they ceased competing in the RFU leagues in 2008–09, West Hartlepool TDSOB (Tech) continues to support town and County rugby with several of the town's other clubs having played at Grayfields when their own pitches were unavailable. Grayfields has also hosted a number of Durham County cup finals as well as County Under 16, Under 18 and Under 20 age group games.

 

Olympics

Boxing

At the 2012 Summer Olympics, 21-year-old Savannah Marshall, who attended English Martyrs School and Sixth Form College in the town of Hartlepool, competed in the Women's boxing tournament of the 2012 Olympic Games. She was defeated 12–6 by Marina Volnova of Kazakhstan in her opening, quarter-final bout. Savannah Marshall is now a professional boxer, currently unbeaten as a pro and on 31 October 2020 in her 9th professional fight Marshall became the WBO female middleweight champion with a TKO victory over opponent Hannah Rankin at Wembley Arena.

 

Swimming

In August 2012 Jemma Lowe, a British record holder who attended High Tunstall College of Science in the town of Hartlepool, competed in the 2012 Olympic Games. She finished sixth in the 200-metre butterfly final with a time of 58.06 seconds. She was also a member of the eighth-place British team in the 400m Medley relay.

 

Monkeys

Hartlepool is known for allegedly executing a monkey during the Napoleonic Wars. According to legend, fishermen from Hartlepool watched a French warship founder off the coast, and the only survivor was a monkey, which was dressed in French military uniform, presumably to amuse the officers on the ship. The fishermen assumed that this must be what Frenchmen looked like and, after a brief trial, summarily executed the monkey.

 

Historians have pointed to the prior existence of a Scottish folk song called "And the Boddamers hung the Monkey-O". It describes how a monkey survived a shipwreck off the village of Boddam near Peterhead in Aberdeenshire. Because the villagers could only claim salvage rights if there were no survivors from the wreck, they allegedly hanged the monkey. There is also an English folk song detailing the later event called, appropriately enough, "The Hartlepool Monkey". In the English version the monkey is hanged as a French spy.

 

"Monkey hanger" and Chimp Choker are common terms of (semi-friendly) abuse aimed at "Poolies", often from footballing rivals Darlington. The mascot of Hartlepool United F.C. is H'Angus the monkey. The man in the monkey costume, Stuart Drummond, stood for the post of mayor in 2002 as H'angus the monkey, and campaigned on a platform which included free bananas for schoolchildren. To widespread surprise, he won, becoming the first directly elected mayor of Hartlepool, winning 7,400 votes with a 52% share of the vote and a turnout of 30%. He was re-elected by a landslide in 2005, winning 16,912 on a turnout of 51% – 10,000 votes more than his nearest rival, the Labour Party candidate.

 

The monkey legend is also linked with two of the town's sports clubs, Hartlepool Rovers RFC, which uses the hanging monkey as the club logo. Hartlepool (Old Boys) RFC use a hanging monkey kicking a rugby ball as their tie crest.

 

Notable residents

Michael Brown, former Premier League footballer

Edward Clarke, artist

Brian Clough, football manager who lived in the Fens estate in town while manager of Hartlepools United

John Darwin, convicted fraudster who faked his own death

Pete Donaldson, London radio DJ and podcast host

Janick Gers, guitarist from British heavy metal band Iron Maiden

Courtney Hadwin, singer

Jack Howe, former England international footballer

Liam Howe, music producer and songwriter for several artists and member of the band Sneaker Pimps

Saxon Huxley, WWE NXT UK wrestler

Andy Linighan, former Arsenal footballer who scored the winning goal in the 1993 FA Cup Final

Savannah Marshall, professional boxer

Stephanie Aird, comedian and television personality

Jim Parker, composer

Guy Pearce, film actor who lived in the town when he was younger as his mother was from the town

Narbi Price, artist

Jack Rowell, coached the England international rugby team and led them to the semi-final of the 1995 Rugby World Cup

Wayne Sleep, dancer and actor who spent his childhood in the town.

Reg Smythe, cartoonist who created Andy Capp

Jeremy Spencer, guitarist who was in the original Fleetwood Mac line-up

Jeff Stelling, TV presenter, famous for hosting Gillette Soccer Saturday

David Eagle, Folk singer and stand-up comedian,

Local media

Hartlepool Life - local free newspaper

Hartlepool Mail – local newspaper

BBC Radio Tees – BBC local radio station

Radio Hartlepool – Community radio station serving the town

Hartlepool Post – on-line publication

Local television news programmes are BBC Look North and ITV News Tyne Tees.

 

Town twinning

Hartlepool is twinned with:

France Sète, France

Germany Hückelhoven, Germany (since 1973)

United States Muskegon, Michigan

Malta Sliema, Malta

FOR SALE $45K or best offer

  

LSU Maverick Max

 

power steering

Stage 5 Elka shocks

Custom Paint Job, color matched every piece possible

8" Custom CATVOS lift w/turner level 2 axles

4" Portal Lift

24" Rockstar II Wheels

42" BKT Tires

6x6 Transmission (for gear reduction)

Custom front and rear bumpers, front has color matched KFI 4500lbs winch

Custom Tiger Emblem Headlights

Tiger Eye Painted on Roof

Custom Seats with Tiger Emblem stitched in

Light Bar front and Rear

 

Custom Audio Top and Bass Box by All Terrain Audio

All Wetsounds speakers, eq, amp, wetwire, custom digital sound processor tuned by owner of Wetsounds ~ 120 decibel

 

6 Wetsounds amps

1 EQ w/Loudspeaker mic

PS8 (digital sound processor)

1 -XXX 12" sub in triple ported box

1 - SS10-B (10" subwoofer in ssv box)

2 - rev410 (dual 10" speaker with projection horn)

4 - rev10 (10" speaker)

2 - rev8 (8" speaker)

4 - 808 (8" speaker)

8 - xs65 (6.5" speaker)

 

4 - 2150 amp Stinger Batteries

1 - Stinger SPS70 (70 amp power supply booster/charger built in)

 

Bike has never been in mud, was built as is with no miles off showroom floor.

French postcard by Editions P.I,, offered by Les Carbones Korès Carboplane, no. 1092 A. Photo: Marcel Bougureau.

 

French singer, composer and film actor Gilbert Bécaud (1927-2001) was known as Monsieur 100,000 Volts for his energetic performances. For nearly fifty years France hummed the melodies of this charming music hall star, dark blue suited, white shirted, and always wearing his lucky tie - blue with white polka dots.

 

Gilbert Bécaud was born François Gilbert Silly in 1927, in Toulon, France. François had a relatively happy upbringing, despite the fact that his father abandoned the family while François was still in early childhood. Madame Silly’s new partner, Louis Bécaud, raised François, Jean and Odette as his own children, although he was never able to marry their mother (her first husband steadfastly refusing to consent to a divorce). François learned to play the piano when he was five, and by the age of nine, he went to the Conservatoire de Nice. In 1942, he left this school to join the French Resistance during World War II. In 1947 he made his first film appearance in an uncredited bit part as a pianist in La kermesse rouge/The Scarlet Bazaar (Paul Mesnier, 1947). He began songwriting in 1948, after meeting Maurice Vidalin, who inspired him to write his early compositions. He began writing for Marie Bizet; Bizet, Bécaud and Vidalin became a successful trio, and their partnership lasted until 1950. While touring as a pianist with singer Jacques Pills, Bécaud met Édith Piaf, Pills’ wife at the time. At her suggestion, he began singing songs like Mes Mains and Les Croix in 1953. Piaf also suggested his stage name. Gilbert Bécaud made his stage debut in the Olympia in Paris in 1954 and headlined in 1955, attracting 6,000 on his first night, three times the capacity. His hits in the later part of the decade included La Corrida (1956), Le Jour où la Pluie Viendra (1957) and C'est Merveilleux L'amour (1958). He began acting in the same period, starting with Le Pays D'où Je Viens/The Country I Come From (Marcel Carné, 1956) opposite Françoise Arnoul. The multi-talented Bécaud was also responsible for writing the film’s soundtrack. Other films in which he appeared were Casino de Paris (Claude Barma, 1957) with Vittorio De Sica and Caterina Valente, and the comedy Croquemitoufle (Claude Barma, 1958). In 1960, he won a Grand Prix du Disque and composed L'enfant à L'étoile, a Christmas cantata. That same year, Let It Be Me, an English version of Je t’ai dans la peau, which he had once written for Edith Piaf, became a hit for the Everly Brothers, followed, over the years, by Bob Dylan, Nina Simone, Elvis Presley, Willie Nelson, Jerry Butler, Sam & Dave, and James Brown.

 

In 1961, Gilbert Bécaud wrote and recorded Et Maintenant, one of the biggest selling singles in French history. Translated as What Now My Love, the song became a hit by Shirley Bassey, Sonny & Cher, Elvis Presley, Judy Garland, Andy Williams and Frank Sinatra. After writing the opera L'opéra d'Aran, Bécaud toured Europe and continued recording a string of pop music hits, including Nathalie (1964) and Tu le Regretteras (1965), his controversial song for Charles de Gaulle.He also co-wrote Love on the Rocks with Neil Diamond, which was featured on the soundtrack of The Jazz Singer (Richard Fleischer, 1980) and was an international hit. In addition, he co-wrote September Morn with Neil Diamond. Marlene Dietrich recorded his Marie, Marie and performed it in her stage shows. Focusing more on touring than recording into the 1970s, Bécaud also appeared in films like Un homme libre/A Free Man (Roberto Muller, 1972) with Olga Georges-Picot, and Toute une vie/And Now My Love (Claude Lelouch, 1973) with Marthe Keller and André Dussollier. In 1973 he finally took time off , citing exhaustion. The following year, he was named Chevalier in the Légion d'honneur. Then he scored a hit all over Europe with A Little Love And Understanding (1975). Later in the century, he began writing with Pierre Grosz and then Neil Diamond, also co-penning the successful Broadway musical Madame Roza (1986), based on the novel La vie devant soi (Madame Rosa) by Emile Ajar. The 1990’s saw a slowdown of Bécaud's activity, releasing various compilations and touring occasionally. In 1993 he took an extended sabbatical, intending to get his health back in order. (Bécaud's heavy smoking habit was still placing a great strain on his voice). He did one more acting performance on television in the popular crime series Navarro (1995) starring Roger Hanin, but Bécaud really returned from his extended sabbatical in 1996, going back into the studio to work on a new album Ensemble.The Paris Olympia, where he had debuted, was his favourite venue. In 1997 Becaud was present for the re-opening of the Olympia after its reconstruction. With a series of concerts at the Olympia, he celebrated his 70th birthday. Refusing to slip quietly into retirement, Bécaud returned to the media spotlight in 1999, releasing a new album entitled Faut faire avec…., and making a live comeback at the Olympia - for the 33rd time! Despite the fact that the singer was suffering from lung cancer, he nevertheless managed to pull out all the stops, giving a series of vibrant, energetic shows which went down extremely well with his fans. In 2001 Gilbert Bécaud died on his houseboat on the Seine, aged 74, and he was interred in the Père Lachaise cemetery in Paris. He had been married twice: to Monique Nicolas (they had three children), and to Kitty St John (two children). His eldest son, Gaya Bécaud, released his father’s last record after his death.

 

Sources: Wikipedia, RFI Musique and IMDb.

 

And please check out our blog European Film Star Postcards.

London Transport services offered by bus, tube and tram alongside Southern Region electric.