After all it had only just been decided to ask for a second WPC, and it was probable that the Scottish Office would consider there was no reason for a Sergeant with only one Constable to supervise. Chief Constable Georgeson intimated that Betty Orpin was now 51 years of age and would be expected to retire at 55, but that provision existed to postpone such retirement until the age of It would be another 6 years and 8 months before Betty would eligible for a pension, when she reached 25 years' service.
That would see her aged 58 and four months, so she would only be able to continue for another 20 months after that anyway. He had obviously broached the subject but perhaps not the question of promotion with the officer before committing himself and her on paper. Orpin's age is, say, 40 years and the Department are then of the opinion that she should serve for a longer period before the increase in rank is authorised.
As it transpired the Scottish Home Department in Edinburgh did not have a problem with increasing the female establishment, especially since the extra WPC post was to replace a civilian clerkess post, so the difference in expenditure was minimal. In a letter of 12 September , while approving the change, the Department regretted to report that the Secretary of State:. The matter did not rest there however and - by exactly what means is not known - it was finally approved that Betty would be promoted.
She finally became a Sergeant - and a substantive Sergeant at that! On 15 October Chief Constable Georgeson gave Sergeant Orpin official written notification that he was postponing her compulsory retirement on account of age:. In fact Betty Orpin seems to have decided that serving until she was 60 years of age was just a bit too much. On 13 December she intimated her intention to retire from the Police with effect from 2 February As to the significance of that particular date, the arithmetic of pensionable service in her case, given her W.
Of course, as was pointed out earlier, only half of W. This meant, in her case, one year and three months, so the revised pensionable service was:. She therefore retired as soon as she reached 25 years reckonable service and was thus entitled to a Police pension. When she retired she was 58 years and 4 months old, which was precisely the age which had been stated by the Chief Constable in seeking to have her promoted to Sergeant. He informed her that he had been directed by the Police Committee to:.
The Committee's appreciation is being duly recorded in their minutes. The fact that such a personal letter was sent to Betty really does indicate the level of esteem in which she was held within - and without - the Force. Chief Constable John Georgeson had been a member of the Caithness Force himself since he joined it as a Constable in He had been promoted to Sergeant in and then direct to Chief Constable in The only intermediate rank in the force at that time was Inspector, of which the Force had two He had therefore worked along with Betty for her entire career, apart from his service in the Air Force from June to August His career was also coming to an end - as he would retire in May when the Force would merge with Orkney and Shetland although he would continue to draw a Police pension for the almost unheard of period of 30 years, until his death in Mr Georgeson also decided that he would provide his tribute on paper, writing to Betty in January You have given the Force and the public a service which is never likely to be equalled by any other person, as you have devoted your life to your work and have never failed us at any time.
The 'John O'Groats Journal' newspaper also committed the community's appreciation in an article published in the issue of 19 January Sergeant Orpin had experience in the Metropolitan Police in the early pre-war days, joining the Force from the Metropolitan Nursing Service. Following the death of her husband in the Merchant Navy during the war, she returned to Wick and for two years was employed in the office of the Procurator Fiscal. She joined the Caithness Constabulary in A highly efficient, courteous officer, she will be greatly by her colleagues whose good wishes, along with those of the community are extended to her for the future.
While that may at first sight appear both sexist and patronising, it must be remembered that this relates to another, now distant, time when very different attitudes prevailed. It is in fact a tremendous tribute to her in an era when many male officers considered females were useful only for typing and making the tea. It is recorded, and this information undoubtedly came from the Force itself, that her service had included:. She was a specialist in work with aliens; was an expert driver and was the office administration officer.
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Judging by that list of talents and skills, it was certainly no wonder that the Force would miss her, and would definitely be unable to replace her. Indeed Betty was a legend! She was then aged 77 years, and had been retired from the Police for no less than 19 years. She was laid to rest in Wick Cemetery three days later. Le Ville de Tunis est un paquebot mixte frigorifique construit en par l'arsenal de Lorient.
Use the collection link above to view this collection as a slideshow - Then once there, click the "Slideshow" Button Top Right Hand Side. Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery lifted from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction.
These paintings reinvigorated the American art scene and altered the history of modern art. Roy showed artistic and musical ability early on: He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own.
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In February , Lichtenstein was drafted, and he was sent to Europe in As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor.
In June , he married Isabel Wilson Sarisky —80 , who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition.
In the late s and early s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy.
In the s, commercial art was considered beneath contempt by the art world; in the early s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Well before finding his signature mode of expression in , Lichtenstein called attention to the artifice of conventions and taste that permeated art and society.
Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints.
Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in , followed by representation with the John Heller Gallery from to To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career.
Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds.
None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. In June , Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds.
The dots became a trademark device forever identified with Lichtenstein and Pop Art. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by TheEngagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, The show sold out and made Lichtenstein notorious.
Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in ; in , he resigned from his teaching position at Douglass to concentrate exclusively on his work.
Participating in one such project—the American Supermarket show in at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka b. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject.
Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: The search for new forms and sources was even more emphatic after , when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence.
During the fertile decade of the s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns.
The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms.
He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the early s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the s and s, he had completed four murals; between and , he created five. Lichtenstein created three major series in the s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone book, delve again into the perceptual ambiguities of reflections from windows and mirrors.
The Nudes reprise the theme of women in a romance-comic mode, which Lichtenstein had introduced in the s and amplified in lush Surrealist-inspired beach scenes in the s. He also used the series to investigate mixing chiaroscuro which he devised with dots and shading with flat areas of color. Configurations of land, water, mountains and air found in Song dynasty paintings and scrolls are simulated by softly drifting fields of graduated dots. In August , Lichtenstein fell ill with pneumonia. He died unexpectedly of complications from the disease on September 29, , at the age of 73, in New York City.
The programme was based on the American show Jukebox Jury,[1] itself an offshoot of a long-running radio series. Throughout its run the series featured celebrity showbusiness guests on a rotating weekly panel judging the hit potential of recent releases. By the programme attracted 12m viewers weekly on Saturday nights.
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Juke Box Jury took a format where a guest panel reviewed new record releases in a 25 minute programme, extended to an hour for some Christmas shows. Most weeks the performers of one of the records would be hidden behind a screen and emerge to "surprise" the panel after they had given their verdict. Each recording normally consisted of between seven and nine records, the number broadcast would be trimmed to fit the programme timing according to the Jurors comments. Recording took place at the BBC a week before it was aired, in front of an audience which would be shown during the programme.
Originally on Monday evenings, the BBC show was moved to early Saturday evenings starting on 3 September due to its immediate popularity. However, the panel of judges changed from week to week and mainly featured current stars from music, television and film. The panel normally comprised two male and two female guests, many of whom appeared more than once.
Katie Boyle was a frequent Juror, as was Cilla Black, who appeared nine times. By October Juke Box Jury had reached a weekly audience of 9 million viewers. On 7 December , the panel was the four Beatles,[12][13] while George Harrison and Ringo Starr both appeared separately later, as did their manager Brian Epstein, who was twice a panellist.
John Lennon had already appeared on 29 June ,[14][15] Then on 4 July the five members of the Rolling Stones formed the panel, the only time there were more than four Jurors on the programme. We just trashed every record they played. By early , Juke Box Jury had a weekly audience of over 12 million viewers,[3] while the Beatles appearance on 7 December garnered an audience of 23 million,[3] and news of the Rolling Stones' appearance the following June garnered 10, applications to the BBC for tickets for the recording.
The attraction of the programme deftly crossed generational boundaries - younger viewers revelling in the appearance of their current pop stars, while older adults identified with the often anti-pop sentiments of the panellists from a non-musical or older background,[4] confirming 'adult and youthful prejudices at the same time'. In January , the Sunday tabloid newspaper, News of the World, in a series of attacks on the new hippy sub-culture and LSD, castigated David Jacobs in one article for playing the Mothers of Invention single "It Can't Happen Here" on a Juke Box Jury broadcast in November as it was 'recorded on a trip', and also blamed two of the jury for voting it a hit.
In fact, by the time of the article, the BBC had already cut seven minutes from the 7 January programme because of drug references in one of that week's chosen songs, "The Addicted Man" by The Game, which had resulted in universal disapproval by the Jurors during an extended discussion. On 4 August The Seekers became only the third band to appear as Jurors in the series. The programme had by this time seen a drop in ratings, and from 27 September , Juke Box Jury was moved from its prime place in the Saturday evening schedules and transmitted on early Wednesday evenings, replaced in the key Saturday slot by Dee Time.
Due to the BBC's policy on retention of programmes in the s, the tapes of Juke Box Jury sessions were wiped and re-used. Only two complete programmes are supposed to still exist in video form,[26] although transcripts also exist of the Beatles appearances - both solo and together. In , during a year-long drive to find lost archive material, the BBC announced that an audio recording of the Beatles appearance in December had re-surfaced,[27] a tape taken directly from the television broadcast.
The programme's producer Russell Turner then replaced the theme with another instrumental, "Hit and Miss", performed by The John Barry Seven Plus Four, which remained the title music from Juke Box Jury has a history of being parodied, the format has been used a number of times for other programmes:. He impersonated David Jacobs and the panellists.
The Lost Years, which was released in Finnish television ran its own version of Juke Box Jury called Levyraati. The film was scripted by Milton Subotsky, who was one of the earliest guests on the programme. In the Rolling Stones recorded an advert for the breakfast cereal Rice Krispies, which used themes from the programme including a jukebox, studio audience scenes and both the 'Hit' button and the 'Hit' signs that the audience jury used.
The Late Show programme, "Classical Juke Box Jury" was a spoof of Juke Box Jury, in which a panel of three people with a background in classical music voted on different versions of Beethoven's 9th Symphony by a variety of conductors. An incomplete list of the guest panellists. Each week had four guest 'Jurors', plus one surprise artist chosen from among the records played that week.
David Jacobs was host throughout the series , with Pete Murray standing in on a number of occasions. Ingram became Australia's final recipient of the Victoria Cross during the First World War following his actions during an attack on the village of Montbrehain in France. Leading a platoon during the engagement, he instigated several charges against a number of German strong points that eventuated in the seizure of ten machine guns and sixty-two prisoners, as well as inflicting high casualties.
Born in the Victorian town of Bendigo, Ingram was apprenticed as a carpenter and joiner upon leaving school. Joining the militia at the age of fourteen, he later settled in Melbourne where he worked as a building contractor. He was decorated with the Military Medal following his actions as a member of a bombing section during an attack on Bapaume. Commissioned as a second lieutenant in June , Ingram returned to Australia in where he was discharged soon after. Re-settling in Melbourne, he was employed as a foreman for a building contractor company.
Enlisting for service in the Second World War, he was allotted to the Royal Australian Engineers and achieved the rank of captain before being placed on the Retired List in Ingram died in at the age of Joining the militia at this time, he was attached to No. Initially posted for service on the newly captured German territory of New Guinea,[3] he returned to Australia 6 December ,[4] and was discharged on 19 January with the rank of corporal. That same day, he enlisted in the Australian Imperial Force and was allotted to the 16th Reinforcements of the 24th Battalion as a private.
On the night of 15—16 March ,[6] Ingram took part in the battalion's attack on the village of Bapaume during the German withdrawal to the Hindenburg Line. Making effective use of their grenades, the unit was able to hold off the German attack. Later during the assault, the German forces returned in large numbers, forcing the bombing section to retreat. Ingram, in conjunction with two others, covered the party's withdrawal which thus minimised casualties. Promoted to temporary sergeant on 18 March,[3] Ingram fell ill in April and was hospitalised in Britain until June when he was deemed fit to return to his battalion.
He was hospitalised once again in September after dislocating his knee, and upon returning to his unit on 10 October he was made company sergeant major. Three days later, however, he was once again admitted to hospital suffering from an illness, and as such was unable to assume his duties as an officer until 12 July when he returned to the battalion. On 4 October , the 24th Battalion took part in the attack that captured the Beaurevoir sector in France, and was, therefore, expecting to have a rest the following day when the unit was unexpectedly ordered to take part in another attack.
The assault was to commence at At the designated time, the two infantry battalions commenced the attack under the cover of an artillery barrage. The advance was heavily counter-attacked by German machine gun and artillery fire, but the Australians managed to continue despite the late arrival of the tanks. After a fierce fight, the platoon succeeded in capturing nine machine guns and killing all forty-two Germans who had occupied the line; Ingram accounting for at least eighteen of them himself.
A full length portrait of a man in military uniform wearing medals.
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His hand is resting atop a small table. Soon after, the company came under heavy fire from an old quarry occupied by over one hundred German soldiers who possessed as many as forty machine guns. Severe casualties were sustained as they began to advance for attack, including the company commander who fell seriously wounded.
Taking command of the attack, Ingram rallied the men and rushed forward. Jumping into the quarry, he charged the first post himself, shooting six German soldiers and capturing a machine gun. While his men were clearing up the remaining German positions, Ingram scouted ahead in search of machine gun nests in the village. He soon located one positioned in a house, which had been firing through the cellar ventilator. He fired several more shots into the cellar before rushing to the head of the cellar stairs.
The battle for Montbrehain raged until The casualties of the 24th Battalion had been so high that two companies of the 27th Battalion had to be attached for support;[3] the 24th Battalion left the frontline for the last time on 6 October. The full citation for Ingram's Victoria Cross appeared in a supplement to the London Gazette on 6 January , it read: For most conspicuous bravery and initiative during the attack on Montbrehain, East of Peronne, on 5th October, When early in the advance his platoon was held up by a strong point, Lt.
Ingram, without hesitation, dashed out and rushed the post at the head of his men, capturing nine machine guns and killing 42 enemy after stubborn resistance. Later, when the company had suffered severe casualties from enemy posts, and many leaders had fallen, he at once took control of the situation, rallied his men under intense fire, and led them forward. He himself rushed the first post, shot six of the enemy, and captured a machine gun, thus overcoming serious resistance. On two subsequent occasions he again displayed great dash and resource in the capture of enemy posts, inflicting many casualties and taking 62 prisoners.
Throughout the whole day he showed the most inspiring example of courage and leadership, and freely exposed himself regardless of danger. Ingram was promoted to lieutenant on 24 October,[2] and was training away from the frontline with his battalion when the Armistice was signed on 11 November ; thus ending the war. Ingram is front row, second from left. Following his discharge, Ingram re-settled in Melbourne and gained employment as a general foreman with E. In , Ingram's marriage with his wife Jane was dissolved upon his instigation on the grounds of desertion on her behalf.
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Following the completion of Melbourne's Shrine of Remembrance in , Ingram was chosen as a member of its permanent guard. There had been two hundred and fifty applications for the position, of which only fourteen were appointed; Ingram being one of the earliest. Two years later, he joined the Australian contingent of Victoria Cross recipients who attended the parade in London's Hyde Park to commemorate the centenary of the institution of the Victoria Cross.
On 30 June , Ingram died of coronary vascular disease at his home in Hastings, Victoria, and was buried at Frankston Cemetery. He is commemorated by a street name in Canberra. The purchaser of the medals is unknown, but indicated that the Victoria Cross would be donated to the Australian War Memorial in Canberra.
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When it comes to the story of Yugoslav artist Leslie Senty, 38, of Kings Gross, Sydney, we're not sure where to begin. As we first found Leslie pushed to the background by admiring groups around his in-lay mural "Neptune's Feast" at a builders' exhibition in Sydney recently, we'll start there. To create this lively modern work, he spent hours — making his master drawings and then laboriously cutting and fitting together pieces of different types of Australian wood veneers. Samples of the full-scale in-lays which he designs for doors interior and exterior , cock-tail cabinets, and tables were also displayed.
All the inlays are fire-proofed and water- proofed to last, says the artist, for " years. Exhibited also were some of his ingenious folding furniture designs — 28 are on the market — and futuristic interior plans for homes and offices. One of these features a fine photo-camera system for opening a safe hidden in the office wall. By peering into a photograph a secret camera of himself on the desk, the executive automatically sets in motion the electric device to open the safe. Describing his escape from Yugoslavia, the artist said he and his wife, Edith also an artist , had planned it for years — training their two children, from the time they could walk, to master long weekend hikes.
We were driven 60 miles, then walked 27 miles to the Italian border. Leslie Senty's biggest satisfaction in creating "Neptune's Feat"? I do not have to include — what yon call it — a plug for the Party. No , originally numbered D , was the first of the more powerful locomotives 1, b. Scotland received 22 of these locomotives as new, most going to Eastfield shed in Glasgow. As they were intended for mixed traffic duties, they were fitted with boilers to supply steam to carriage heating systems. Class 27 locomotives withdrawal commenced in , and all were out of service by the end of No was withdrawn in July from Eastfield Depot.
Mk35, was built by Airspeed at Christchurch. Mk35 by Brooklands Aviation. With the closure of this unit, the aircraft was once again put into storage until 28th February , when it was allocated to the 2nd Tactical Airforce and entered service with the TT flight of the Armament Practice Section at Schleswigland, northwest Germany. Camouflaged, and with dummy machine guns attached to the nose, it became one of the stars of Squadron and the later Mosquito Squadron, both made at Bovingdon.
With its filming career over, RS was bought for the Strathallan Museum in September , and flown there on 8th November Pickard during the attack on Amiens prison in Initially joined by RR near its Hawarden base for a formation photo session, twenty five and a half hours flying time saw RS delivered to Kermit's museum in Florida. Martin's Lane, central London, built as one of London's largest and most luxurious "family" variety theatres. Their ambition was to build the largest and finest music hall, described as the "people's palace of entertainment" of its age. At the time of construction, it was the only theatre in Europe that provided lifts for taking patrons to the upper levels of the house, and was the first theatre in England to have a triple revolve installed on its stage.
After being used for variety shows, musical comedies, and stage plays for many years, then as a cinema screening films in the Cinerama format between and , the Sadler's Wells Opera Company moved into the building in The Sadler's Wells company changed its name to the English National Opera in and today it is used primarily for opera as well as being the London home of the English National Ballet.
English Heritage, in its description of the theatre when it was given listed status in notes that it is "exuberant Free Baroque ambitious design, the Edwardian "Theatre de Luxe of London" with richly decorated interiors and a vast and grandiose auditorium. Great, semi-circular, blocked architrave proscenium arch with cartouche- trophy keystone. The inaugural performance was a variety bill on 24 December , but it "was a total failure and closed down completely only two years after opening in and remained closed until December of when it was reopened and at last became successful.
The theatre changed its name from the London Coliseum to the Coliseum Theatre between and when a run of performances of the musical comedy White Horse Inn began on 8 April Additionally, Arthur Lewis notes that: In the musical Annie Get Your Gun was staged at the Coliseum and had a staggeringly successful run for the time, of 1, performances and three continuous years which was the longest run in theatrical history. But this exceptional period did at last come to an end in when the production of The Bells Are Ringing failed to enthrall anyone.
The Coliseum hosted both the and Royal Variety Performances and is also the London base for performances by English National Ballet, which perform regular seasons throughout the year when not on tour. While its wing space is limited due to the constricted site on which the theatre was built, as Lloyd notes, "the stage of the London Coliseum was also on a vast scale; 55 feet wide by 92 feet deep". The stage is not raked. It has the widest proscenium arch in London and was one of the first to have electric lighting. It was built with a triple revolving stage, although this was rarely used.
The Coliseum was designed to seat 2, people on four levels. Prior to Sadler's Wells Opera Company taking over the Coliseum in , the house was "fully restored, redecorated, and a large orchestra pit installed On 21 August , with a production of Don Giovanni" opera appeared at the Coliseum.
Another extensive renovation took place between and Periodically, the Coliseum was used to show films and, when the "'Talkies' arrived at the Coliseum in , films were run at the Theatre for a year. The greatest sensation at this time was the showing of King Kong which ran at the Coliseum for months with 10, people seeing the film at the Theatre every day. However, after a lackluster period of poorly received musicals came to an end, in June the theatre was leased by MGM for use as a cinema during the period that the Empire, Leicester Square was closed for rebuilding.
The initial presentation, from 6 June, was a revival of Gone With the Wind which ran for 3 months. Conversion to three-strip projection which used three projectors was undertaken, and an 80ft wide, 30ft tall deeply curved screen was installed. With fewer films made in the format, it later became difficult to programme the theatre.
It resorted to revivals of old 70mm movies before opening The Comedians on January 18 a 70mm Panavision blow up. This ran until 22 May when Cinerama pulled out and the theatre reverted to live use. Almirante Brown was built by Odero in Genoa Italy , laid down 27 November , launched on 11 August , and completed 11 July Her total displacement was 6, tons. The ship was broadly similar to the Italian Trento class but was armed with three twin 7.
Another important difference was the repositioning of the boilers, which gave the ship a single funnel. As completed the ship had a short funnel but it was subsequently raised. During the Second World War the ship finally received the catapult which had been included in the original design. The catapult and crane were carried on the centreline between the funnel and mainmast, with two Grumman floatplanes. When built six twin mm anti-aircraft guns were mounted at forecastle deck level but these were later replaced by twin mm Bofors guns.
It saw over 27 years service prior to withdrawal in October and was scrapped at Kingsbury in All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer.
All rights reserved — Copyright Don Gatehouse. At the time of my visit "Peak" class locomotives DD were noted as under construction with D also very close to completion. It was initially allocated to Derby spending its entire almost 27 years of service working from Midland mainline depots becoming around March when allocated to Holbeck Leeds.
Scanned from the original format monochrome negative; photographed by John Turner. Coaches tend to be overlooked when it comes to preservation and its good to see this East Kent example has survived. Here it is seen on display at the Dover Transport Museum on July 27th We are looking for your help in identifying unknown people in our White House Photographs collection.
If you have any information about this photograph, please post a comment, including any relevant sources, for the catalogers at the John F. Office of the Naval Aide to the President. Scope and Content Note: A double room in this hotel cost This set of images celebrates the achievements of the Naval Yard at High Walker.
The Yard was established by Sir W.
The size of the Elswick yard and its location above Newcastle Swing Bridge meant that by the early twentieth century it had become unsuitable for building large warships. Shipbuilding operations started at the Naval Yard in and by the end of the First World War all shipbuilding at Elswick had ceased. Between and the yard completed 37 warships, 29 merchant ships and 30 tankers. In April , though, it was placed on a care and maintenance basis.
In May , however, the yard re-opened and went on to play an important role in the Second World War. During the War the yard delivered 72 ships including a battleship, a monitor, 4 aircraft-carriers, 3 cruisers, 22 destroyers, 15 submarines and numerous landing craft. After the War the Naval Yard was busy with merchant shipping. From onwards the Yard also started building warships again, including the County-class destroyer HMS Glamorgan, launched in Difficult times lay ahead, though, and in the shipyards on the Tyne were merged to form Swan Hunter and Tyne Shipbuilders. Copyright We're happy for you to share these digital images within the spirit of The Commons.
Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives twmuseums. Crewe Works shunters No stabled out of steam on a Sunday, with the firewood on the running board ready to light the fire for work on Monday morning.
Lancashire and Yorkshire Railway Class 27, designed by John Aspinall with built between and , has been rebuilt with a Belpaire firebox and extended smokebox and round topped boiler. This unit is an unmodified example of diesel technology, complete with Allis-Chalmers electrical components and EMC-GM Series Diesel engines that were the first of that type in New England railroad service.
It was withdrawn from Carlisle Traction Maintenance Depot on 22nd January , arriving at Crewe works the following day where it was broken up in spring The three doll balanced bracket with a tubular main stem carries left to right Bolton East Junction signal box's up main starting signal with Burnden Junction signal box 2 signal up main distant and Bolton East Junction signal box's up main shunt ahead signal below it, and Bolton East Junction signal box's up main starting to up goods signal with Burnden Junction signal box's Up Goods fixed distant below it, and replaced a two doll balanced bracket carried on a wooden post.
USS Valley Forge, a 27,ton Ticonderoga class aircraft carrier, was built at Philadelphia, Pennsylvania, paid for by a special war bond drive in that city. Commissioned in November , she transferred to the Pacific Fleet in the following year. Valley Forge made a cruise to Australia and the Far East early in and then steamed the rest of the way around the World. In May , she again deployed to the Western Pacific. She was the only U. For the next three years, Valley Forge was heavily engaged in Korean War operations, making four separate combat tours. During this time, in October , she was redesignated CVA With her flight deck essentially unchanged from its World War II design, Valley Forge was increasingly unable to handle the new high-performance, heavier jet aircraft of the post-Korean War era and, in January , she was reclassified an anti-submarine warfare ASW support carrier with the designation CVS Operating in the Atlantic, she served in this role for seven years.
Carrying a force of helicopter-born Marines, she was stationed in the Pacific for the rest of her career, making five more Far Eastern deployments. The last three of these, in , were largely spent on combat operations off Vietnam.
Screenshots
The attached referred to in the caption is part of a file compiled by Dennis O'Brien on various subjects, one being the concrete operations and the batching plant. This photograph was digitised with the assistance of a grant from the Shire of Wyndham East Kimberley, generous donations and time from dedicated volunteers - See KHS Profile. Conversion work was completing in June The Skybolt project was cancelled on 19th December In she was converted to a B. In March , her delivery to Abingdon, to be a maintenance airframe, proved to be her last flight.
She was scrapped in May However, the nose was saved and bought by Vulcan fan Colin Mears in , who sold it to another fan - Paul Hartley - in There had been a plan for XH's nose to carry out crew escape and rescue trainer for XH, however in late she moved to Bournemouth Hurn Airport instead, with Channel Express sponsoring her restoration before her sale to the Bournemouth Aviation Museum in March A finely carved headstone devoted to the Rynn family and located in the Eastern cemetery at St.
The material appears to be limestone. Unusually, the entire front surface of the headstone has been ground down recently to accommodate a new inscription. Built by Republic Aircraft, the F was designed as a supersonic, single-seat, fighter-bomber able to carry nuclear weapons and heavy bomb loads over great distances at high speeds.
It made its first flight on October 12, The first FD flew on 9 June The initial contract for 59 FDs was increased to nearly by the end of Ultimately, FDs were built. The FD variant was an all-weather fighter-bomber version, fitted with monopulse and Doppler radar for night or bad weather operations. This radar was capable of terrain avoidance commands. The original weapons bay, designed for nuclear stores, was sealed and fitted with additional fuel tanks.
Bombs were carried on multiple weapons racks on the centerline of the fuselage, and on wing pylons. The aircraft was fitted with a retractable in-flight refueling probe. During the Vietnam War, F units operated from bases in Thailand. The FD was the major production version of the Thunderchief series. It was an all-weather version of the day-only FB.
This was optimized in both air-to-ground and air-to-air modes and was capable of performing both low-level and high-altitude missions. The aircraft was equipped with a General Electric FC-5 flight control system that operated in conjunction with the RA radar to provide the FD with full all-weather capability. The radar installation also incorporated a terrain guidance mode permitting the pilot to descend through bad weather in unfamiliar territory and to hug the ground, avoiding detection.
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