Minnie Tittell Brune was born in 1875 and died in 1974. She was an American actress, little known in her own country, but a major figure in the history of the Australian stage. The peak of her career coincided with an Antipodean tour from 1904 to 1909. She was brought to Australia by J. C. Williamson, A sepia postard whowing a seatedwoman in elaborate costume. She is American actress Minnie Tittle Brunechatham-holmes family collection, tittell brune, actress, theatre

GEORGE PETHARD COLLECTION INCLUDING REFERENCES TO TARAXALE BREWING COMPANTY PTY LTD 6 x black and white photos of Promote Victoria mission / photos include aerial view of Boston, Heinz factory, 1957 Universal Pictures Company including American actress Lana Turner from the film The Lady Takes a Flyer / photos are inside a yellow paper brochure with a Boston seal on the front showing the history of Boston.photograph, person, george a pethard, george pethard / taraxale brewing company pty ltd / heinz factory / universal pictures company including american actress lana turne /

Softcoverpen "For Una with best wishes from Hugo Vickers. March 1992"biography, american actress, walsh st library

The Tivoli Theatre was an open air theatre located behind the ANA building on View Street in Bendigo which began operating in 1910. This pamphlet features portraits of popular silent film actors of the day such as Paul Capellani noted French star and Miss Florence Turner American actress alongside tobacco slogans such as 'For Aroma, Sweetness and Flavour.' The 'Seasons Greetings' message from the Tivoli Theatre is limited to the front page which features illustrations of a fairy, Father Christmas and various Australian characters.Fold out, double sided, two colour printed brochure promoting Perfection Tobacco and the Tivoli Theatre Bendigo. Features photographs of a variety of actors and characters endorsing the tobacco.Xmas 1912 / With the Compliments of the Season / From Tivoli Theatre, Bendigomaking a nation exhibition, city of greater bendigo commerce, city of greater bendigo leisure

The pupils of Falconer Street Central School No.3918 in North Fitzroy rehearse with conductress Miss Ida Park for their performance at the Temperance Hall, Russell Street Melbourne with proceeds going to the Lord Mayor’s Fund. The house on the right of the photograph is Jubilee House, 126 Michael Street North Fitzroy and is extant. Photographer notations on slide: Choir At Fitzroy State School 1933 B5 While this photograph appears not to have been published, a photograph taken from a different angle of the same event was published in The Age 21 July 1933. SCHOOL CHILDREN SING IN THE OPEN AIR. “A choir of children at North Fitzroy practise their songs for a Pantomime, to be given in the Temperance Hall for the Lord Mayor's Fund on Wednesday next. On the extreme left is the conductress of the Choir (Miss Ida Park).” Reference: http://nla.gov.au/nla.news-article204368572 Research by project volunteer, Fiona Collyer: Children of The Falconer Street Central School Choral Society, trained by conductress Miss Ida Park, along with dance and gymnastics pupils of Misses Dorothy Gibb and Inez Ellis, performed in the “Cinderella” pantomime at the Temperance Hall in Russell Street, Melbourne on 26 July, 1933. The proceeds went to the Lord Mayor’s Fund. Conductress Miss Ida Park (1904- 1952) lived in the North Fitzroy and Clifton Hill area all her life. She was immersed in the music world of Melbourne and was a member of the Musical Society of Victoria. Ida graduated from Melbourne University Conservatorium with a Bachelor of Music degree in 1929 before departing for London where she studied piano and organ at the Royal Academy of Music. Ida returned to Melbourne in 1931, and billed as “The Gifted Young Australian Pianist”, held pianoforte recitals of classical music at Assembly Hall, Collins Street. She also played the organ for services at St Paul’s Independent Church in Delbridge Street, North Fitzroy and later St Luke’s, North Fitzroy. Ida conducted the children of the Falconer Street Central School Choral Society as they competed in the State School Choral Championships and the 85 children of the Fitzroy City Centenary Choir who sang at Melbourne’s Centenary celebrations of 1934/35. In 1945, Ida married Charles Hazeldine, a tenor and returned digger who had served in two world wars. The pair performed together in many concerts over the years. Tragically, both Ida and Charles were badly injured when struck by a car while crossing Queens Parade Clifton Hill in June 1952, with Ida dying from head injuries at St Vincent’s Hospital soon after. She was 48 years old. Charles wrote on Ida’s death notice - “Called home.” The choir were pupils of Falconer Street Central School No. 3918 in North Fitzroy which was built in 1915 to provide upper primary education for grades 5 to 8 for the area. In 1957 it became Fitzroy High School. In 1992, the Kennett Government swept to power, embarking on a program of fiscal austerity and privatisation of government services. 390 government schools were closed, with the land proposed to be sold to developers. 7000 teachers were sacked: 10% of Victoria’s public school teachers. Auxiliary school staff also lost their jobs. Amongst the first to close was Fitzroy High School. Fearful that the land would be sold, hundreds of students, parents, teachers and local residents occupied the building around-the-clock in four hour shifts and overnight for 14 months, sleeping on gym mats in the principal’s office and administrators’ wing. The blockade was lifted when a arrangement was reached to allow Kangan Batman TAFE to use the school from 1993 until 1998. With the election of the Bracks Government in 1999, and construction of new buildings, Fitzroy High School was reopened in 2004 after a 12 year battle. Temperance Hall, at 172 Russell Street, where the children performed “Cinderella”, was built in 1872 by the Melbourne Total Abstinence Society as a venue for lectures, meetings and alcohol-free community concerts and events. From 1934, Temperance Hall was fitted out as a cinema and renamed the Imperial Theatre, showing popular Hollywood films, before closing in 1939 for renovations and reopening as the Savoy Theatre, Melbourne’s first “Continental” talkies cinema. At this time, Australian cinema programming was dominated by American and British films. The lessees, Continental Film Art Theatre began negotiating for theatre properties in Melbourne, Sydney, Adelaide, Brisbane, Perth and Auckland to screen foreign language films, hoping to present the finest productions from France, Germany, Holland and Italy. At the cost of £6000, the theatre was fitted with the latest Mirrophonic sound and projection system and enlarged to seat 800 patrons with luxurious, ultra modern fittings and furnishings in a colour palette of rust and beige. Instead of usherettes, General Manager Peter Dawson, hoping to bring a sophisticated European atmosphere to the theatre, employed attractive, multilingual “Continental hostesses” to assist guests (not patrons) and answer queries relating to the films. Collectively the hostesses spoke English, French, Dutch, German, Russian and Italian. The Age 20 May 1939- “Atmosphere is a very important part of the theatre's scheme. Ushers in the ordinary sense will not be employed; hostesses will look upon patrons as guests. They will be dressed in full evening dress, and the only indication that they are not guests is the little medallion pinned to their evening dress, on which their names are inscribed.” The hostesses were dressed in evening gowns of olive-green velvet, the full skirts embroidered with gold loops, wine velvet bolero jackets and long white kid gloves with silvery tiaras in their hair. For guests worried that they may not understand the plot, the management assured patrons that- “By means of superimposed English translations on the bottom of the screen, the dialogue is perfectly understandable and the whole witty story can be followed with ease.” The Gala opening of the Savoy Theatre, on 31 May 1939 was attended by a “who’s who” of Melbourne Society, the women wearing beautiful gowns, headdresses and furs. Amongst the guests were former premier Sir Stanley Argyle and Lady Argyle, former Lord Mayor Sir Harold Gengoult-Smith and his wife Cynthia, Field Marshall Thomas Blamey and Lady Blamey and Miss Jessie Brookes. The Vice Consul for France, Monsieur Frank Puaux and his wife attended, Madame Puaux dressed in a black satin gown and a musquash fur cape. She was presented with a beautiful bouquet of scarlet carnations and lily of the valley tied with the tricolour of France. In his speech Monsieur Puaux stated that “from the cultural, linguistic and artistic points of view it was excellent that the Australian public should have an opportunity to see foreign film in the original language.” “Letty” writing in Table Talk magazine described the atmosphere of “Continental” gaiety that had permeated Melbourne - “The Letters of Letty”, Table Talk 8 June 1939 “The “foreign influence” is definitely obtruding itself into the even tenor of Melbourne life these days…. but in the pleasantest manner possible! Included in the great number of Continental people who have recently made their homes here, we have stars of the Russian ballet settling in our midst…. and now… we have been presented with our own Continental picture theatre in the attractive shape of The Savoy, which opened its doors on Wednesday night for the exclusive release of foreign films. One could hardly recognise the old Temperance Hall in its adaptation to the smart, comfortable and thoroughly-intriguing Savoy Theatre. Where once this rather draughty old building stood in Russell Street there now greets us an unmistakable “Continental” edifice, living up to its exterior by sustaining within its walls its overseas’ atmosphere. Indeed, one feels as though one has crossed the threshold into a European city, stepping out of the unmistakably Australian street that is Russell into The Savoy lounge to be greeted by polite “messieurs” from the attractive, Continental-looking usherettes and to gaze upon a film as delightfully French in story and presentation as “La Kermesse Heroique.” But successful though “La Kermesse Heroique” proved on its initial presentation inside the theatre, the debut was no more triumphal than that made by the winning and pretty little French lass who had charge of the booking office outside in the foyer. With her attractive accent and Continental flair for making one “feel at home” she was undoubtedly one of the hits of the night-especially with the susceptible males, who spent very much longer in the lounge than is customary, racking their brains for excuses for making conversation with the attractive Parisienne! Those French girls certainly have a way with them!” The opening film, the 1935 French comedy “La Kermesse Heroique”, (The Heroic Sex) starring Francoise Rosay and Jean Murat (film now called “Carnival in Flanders”) was the winner of the Grand Prix du Cinema Francais as the finest picture of 1936 and described in the advertisement as “The Gay French Comedy of Laughter and Romance” The film is set during the 17th century Spanish occupation of Flanders in the Flemish town of Boom at the time of their annual festival. Hearing news of a pending visit to Boom by the commander, the Duke of Olivares and his army, and fearing rape and pillage, the boorish burgomaster feigns his own death, hoping the Spaniards will bypass the grieving town out of respect. The army arrives and the cowardly men of the town flee. The womenfolk decide on a different approach. Lead by the burgomaster’s beautiful wife Cornelia, they set out to to preserve the peace with grace and hospitality only to find the Spaniards attractive and virile, unlike their own husbands. The Sun newspaper described the film as “Mellow as a Stilton cheese, and as ripely suited to adult taste.” Preceding “La Kermesse Heroique” was a Gaumont British newsreel of King George VI and Queen Elizabeth departing for a tour of Canada and the Soviet documentary “Nine Months on a Drifting Ice Floe” During the war “Continental” films became difficult to source, so the Savoy screened Hollywood movies and held fund raisers for the war effort. After World War Two, the Savoy continued to screen “Continental” films, catering to post-war immigrants from Europe and bohemian Melburnians. In 1953, the Savoy had a wildly popular season with queues winding around the block to see Swedish summer romance “One Summer of Happiness” (Hon dansade en sommar) with its nude swimming scenes. The Chief Commonwealth Censor declined to cut the film on the grounds that although it displayed nudity, it was genuinely artistic. According to Wikipedia, film director Fred Schepisi was first exposed to European films such as “Bicycle Thieves”, “Rocco and His Brothers” and “The Wages of Fear” at the Savoy as a teenager, leading to his long career in filmmaking. In 1955, in response to the massive rise in car ownership, the Melbourne City Council recommended that parking stations be built on every block. The Savoy Theatre and adjacent buildings, which included the Golden Fleece Hotel were demolished in 1963 and replaced with Total House, a Brutalist commercial building consisting of a seven storey car park crowned by a four storey office block, shops at street level, and a basement theatre which housed the Lido Theatre Restaurant-Cabaret from 1965. The building was designed by architectural firm Bogle & Banfield Associates and named for the original tenant of the offices, French oil company, Total Oil Products P/L. The Lido Theatre Restaurant was managed by former Tivoli dancer and promoter David Hamilton McIlwraith, presenting dinner and a glamorous cabaret floor show of showgirls, (some topless) to accompany variety acts by local and international actors, singers, comedians and magicians. The interior of the Lido was opulently decorated in deep, lush green with old world gold trim and chandeliers. Handily, patrons could enter and leave via an elevator, straight from the building’s own car park! A four course gourmet dinner with show and dancing cost $8.00 in 1968. The Lido advertised in 1966 that “Every visitor to Melbourne soon discovers the brightest entertainment spot in the Southern Hemisphere with its million dollar decor, dining delights and spectacular stage productions.” Australian Jewish News - 21 April 1967 - “Superb decor and atmosphere, cuisine and service have been readily recognised as the contributing factors to the excellence of stage presentations, staging, costumes, decor and, of course, the actual choice of artists.” The bedazzling ensemble of 40 high-kicking, feathered and sequinned showgirls were advertised as the “Fabulous Lido girls and the controversial Baretop Lido Goddesses” who were described as “Statuesque Beauty as Nature intended” and “…a host of glamorous gals whose favourite shade is flesh pink.” Some of the acts who performed at the Lido were- -Broken Hill’s own - opera singer June Bronhill -1967. -Versatile singer Lovelace Watkins known as “Black Sinatra - 1967. -“Queen of the five-fingered boogie", honky-tonk and rollicking rag-time pianist, Winifred Atwell - 1967. -New Zealand pop duo, Bill and Boyd -1968. -American actress and soprano Kathryn Grayson -1968. -Denise Drysdale in “Say It With Music” -1968. -“Catwoman” Eartha Kitt -1969. -Internationally recognised female impersonator, Sydneysider Tracey Lee, (Maxwell Richie) billed as "controversial impressionist and singing personality from the famous Carousel Nightspot in Paris". -Frances Faye, American comedienne and show-tune singer and pianist-1969. -“Cry Guy” histrionic singer Johnnie Ray -1970. -Risqué revue “Oh Calcutta!” with some segments and the “four letter” words removed-1970. In 1970, under new management, the Lido was renovated with claret and gold wallpaper, midnight blue ceiling and a computerised fountain with fairy lights and relaunched by “The Tigress from Tiger Bay”, Shirley Bassey. The relaunch was short lived however, as later that year the venue became El Toro Espana, a Spanish restaurant and nightclub offering a four course meal for $4.50 while you watched the floorshow. The venue then briefly became the Red Garter Music Hall Theatre from 1972, then in 1974 the site became the 600 seat Total Theatre comprising of a cinema with a stage for live acts. There were also three bars to choose from - the Crush Bar, the Bleachers and the Snake Pit. Total Theatre had the unusual concept of a live music act, or plays, musicals and magicians followed by a film. In 1975 soprano Suzanne Steele featured, followed by the film “The Voyage” starring Sophia Loren and Richard Burton. In 1975, the Total held a rock film festival showing a Jimi Hendrix documentary, “Monterey Pop Festival”, “Pink Floyd in Pompeii” and more. In 1976, 17 year old Chrissy Amphlett, later of rock band Divinyls, played the role of Linda Lips for nine months in the Australian stage production of R-rated “sexual musical”, “Let My People Come” at the Total Theatre. The Total Theatre closed in 1979 and from 1980 to 2014 the venue became Billboard Nightclub, hosting local and international acts, including INXS, Tina Turner and John Farnham, and in 2009, 18 year old Taylor Swift. The venue is now called 170 Russell and presents hundreds of live local and international acts every year. In 2014, after being under threat of demolition, Total House was listed on the Victorian Heritage Register as “a landmark of post-World War II modernist design and…one of the earliest and best expressions of Brutalist architecture in Victoria”. References: RICHARD CROOKS ARRIVES SCHOOL AGAIN VENUE OF ROYAL VISIT (1939, May 31). The Age (Melbourne, Vic. : 1854 - 1954), p. 17. Retrieved November 21, 2025, from http://nla.gov.au/nla.news-article205629696 AMUSEMENTS. (1933, July 27). The Age (Melbourne, Vic. : 1854 - 1954), p. 12. Retrieved September 19, 2025, from http://nla.gov.au/nla.news-article204378853 https://larzra.wordpress.com/origins/ CONTINENTAL HOSTESSES, (1939, May 31). The Sun News-Pictorial (Melbourne, Vic. : 1922 - 1954; 1956), p. 27. Retrieved November 21, 2025, from http://nla.gov.au/nla.news-article278189387 The Letters of Letty (1939, June 8). Table Talk (Melbourne, Vic. : 1885 - 1939), p. 12. Retrieved October 29, 2025, from http://nla.gov.au/nla.news-article149320966 SAVOY THEATRE (1939, June 1). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved September 19, 2025, from http://nla.gov.au/nla.news-article205639035 NEW THEATRE OPENED (1939, June 1). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved September 21, 2025, from http://nla.gov.au/nla.news-article12134234 https://en.wikipedia.org/wiki/Total_House Page [?] TOUCH OF SPAIN (1970, December 18). The Australian Jewish News (Melbourne, Vic. : 1935 - 1999), p. 35. Retrieved September 23, 2025, from http://nla.gov.au/nla.news-article262493757 No title (1935, June 11). The Herald (Melbourne, Vic. : 1861 - 1954), p. 27. Retrieved September 29, 2025, from http://nla.gov.au/nla.news-article244840169 Dine, wine, and watch a stage show (1966, November 16). The Australian Women's Weekly (1933 - 1982), p. 6. Retrieved November 9, 2025, from http://nla.gov.au/nla.news-article44025050 http://jonathanbollen.net/2011/02/26/tracey-lee/ LIDO ‘ART’ (1967, April 21). The Australian Jewish News (Melbourne, Vic. : 1935 - 1999), p. 8. Retrieved November 9, 2025, from http://nla.gov.au/nla.news-article263003136 THE FABULOUS LIDO (1965, October 22). The Australian Jewish News (Melbourne, Vic. : 1935 - 1999), p. 17. Retrieved November 9, 2025, from http://nla.gov.au/nla.news-article262983995 No title (1939, May 31). The Argus (Melbourne, Vic. : 1848 - 1957), p. 6. Retrieved November 21, 2025, from http://nla.gov.au/nla.news-article12134144 #NEW THEATRE OPENED (1939, June 1). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved September 29, 2025, from http://nla.gov.au/nla.news-article12134234 https://en.wikipedia.org/wiki/Tracey_Lee_(female_impersonator) https://citycollection.melbourne.vic.gov.au/35b-40h-image-of-a-model-for-the-total-house-offices-and-car-park-on-russell-street/ https://www.theage.com.au/national/victoria/from-the-archives-1990-s-hundreds-of-school-closures-hit-victoria-20190801-p52cwj.html http://jonathanbollen.net/2011/05/29/the-lido-melbourne/Photographer notations on slide: primary schools, schools, music, education, choirs, fitzroy, cars, theatre restaurants, venues, films

Tennis champion Fred Perry backhands the ball at Kooyong, 1934 “I didn’t aspire to be a good sport, “champion” was good enough for me.” Fred Perry (1909-1995) was an English tennis champion who won eight Grand Slam titles including Wimbledon in 1934, 1935, 1936 and the Australian Open in 1934. Australian sports journalist Alan Trengove remarked, “When Perry walked out to play in his crisp white flannels and matching white blazer, thousands of female hearts missed a beat!” In 1935, Fred and Dorothy defeated Harry and Nell Hopman in the Wimbledon mixed doubles, and in 1936 they won against America. Fred started a successful sportswear brand in 1952, which continues today. Fred initially wanted a smoking pipe as the emblem as he was an enthusiastic smoker, but was talked out of it because it wouldn’t appeal to women. The familiar laurel was used instead. Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer Fiona Collyer. Photographer notations on slide: "F. Perry 1934 Action B42" Photograph taken at Kooyong, Melbourne, but used in article about Wimbledon 1934. Published: The Age 7 July 1934 p 13 Published title: "THE FINAL STAGE." Published caption: F. J. Perry (England) Trove article identifier: http://nla.gov.au/nla.news-article205525840 Research by project volunteer Fiona Collyer: Frederick John Perry, 18 May 1909 to 2 Feb 1995 Fred Perry was an English tennis and table-tennis champion. He won eight Grand Slam titles – Wimbledon Gentlemen’s Singles, US Open three times, Australian Open and French Open once each. Fred had natural hand-to eye co-ordination, solid strokes and a devastating forehand that he used soon after the ball bounced. His fierce competitiveness and unabashed confidence gave him the winning edge. Fred was born in Stockport, Cheshire in 1909. His father, Samuel, a committed socialist, was a cotton spinner who became Secretary of the Co-Operative Party and later a Labour and Co-Operative Party M.P. When Fred was nine years old the family moved to Ealing, London. In 1929, at the age of 19, Fred became the World Champion at table-tennis – a new international sport at the time. He then decided to switch from table-tennis to tennis after his father told him to stop spending so much time in the smoke-filled halls that held table-tennis events. “You look like death warmed up.” he said. In the tennis world, Fred was regarded as an upstart intruder, and was the victim of snobbery and prejudice for his working class background. Fred trained with Arsenal Football Club in defiance of the LTA (Lawn Tennis Association) which had a dim view of extra-curricular exercise. His sarcastic toff-baiting call of “very clevah” when an opponent played a good shot and his habit of vaulting over the net whenever he won a match made Fred compelling to watch. Fred’s prize for winning Wimbledon was a £25 shopping voucher and a replica trophy. There was no on-court presentation; instead it was the custom to offer congratulations in the dressing rooms. One of the defining moments of Fred’s career came on the day he won Wimbledon for the first time in 1934. He was in the bathtub after the match when he over-heard former tennis player Brame Hillyard, a committee member of the All-England Club talking to Australian runner-up Jack Crawford. “This was the one day when the best man didn’t win.” Hillyard had brought a bottle of champagne and an All-England neck-tie, which was official recognition of Fred now being a member of one of the sporting world’s most elite clubs. Instead of a formal presentation to Fred, Hillyard draped the tie unceremoniously over his seat in the dressing room, handed Jack the bottle of champagne, and left. “Instead of Fred Perry the Champ, I felt like J. Fred Muggs the Chimp!” he said. When Fred finally went professional, an official at LTA told him he would never wear the club sweater again. Fred said “I made sure he wouldn’t have to worry about that, I sent a sleeve to him as a present!” In 1935, RKO offered Fred a contract for two movies at $50,000 each, but he had to turn down the offer as it would be in breach of LTA rules and he would lose his amateur status. In 1935, Fred married American film actress Helen Vinson in Harrison, New York, waking up a registrar at five minutes to midnight to avoid being married on Friday the thirteenth – “To be on the safe side” they said. In 1936, having been world number one tennis player for three years, Fred quit amateur tennis and moved to America. He joined tennis players Ellsworth Vines and Don Budge on a professional tennis circuit, travelling around US cities and receiving a share of the gate receipts. The All-England Club removed his honorary membership and the tie that went with it – “After all the trouble they’d gone to presenting it to me.” he quipped acidly. Despite being a three-time Wimbledon champion, Fred was barred from playing on LTA affiliated courts, so when he held his pro-tour through the UK in 1937, the matches had to be played on a portable wooden court, transported around by truck to football grounds. Fred was co-owner of the Beverley Hills Tennis Club. The exclusive membership consisted of Hollywood actors, directors, writers and studio heads. At the launch of the re-branded club in 1937, Fred played a doubles match with Charlie Chaplin, Groucho Marx and Ellsworth Vines, which he won with Charlie. Watching on was a Who’s Who of Hollywood actors including Barbara Stanwyck, Joan Crawford, the Marx Brothers, Errol Flynn, and Ronald Coleman to name a few. Fred was romantically linked to Hollywood actresses Marlene Dietrich, Jean Harlow, and Bette Davis, and was engaged to British actress Mary Lawson. In 1939, he became a US citizen and in 1942 enlisted in the US Air Force. Fred wore medical gauze around his right wrist while playing to stop sweat from flowing onto the handle of his racket and to wipe sweat from his brow. He paired up with former footballer Austrian Tibby Wegner to develop an anti-perspirant device. The prototype towelling sweatbands were given free to players at tournaments and proved popular. In 1952, Fred Perry Sportswear began and the trademark slimfit white polo shirt with embroidered laurel wreath on the left breast was born. The laurel wreath was inspired by Wimbledon’s original emblem and is the ancient symbol for triumph and victory. Fred was an enthusiastic pipe smoker and wanted a pipe to be the logo, however he was persuaded that it wouldn’t appeal to women. Years after the brand started, French tennis champion and sportswear designer Rene Lacoste and Fred were interviewed together for TV. Lacoste said ”I made the shirt and you made me a great compliment doing the same thing.” Fred responded “You made the back of it longer than the front – so between us we revolutionised it, didn’t we?” After Fred retired from competition tennis in 1956, he worked as a BBC tennis commentator for TV and radio and wrote columns for British newspapers. He also coached at Beca Raton Club in Florida and was director of golf at Runaway Bay in Jamaica. In 1984, 50 years after his first title, Wimbledon erected a statue of Fred. “I never thought I’d live to see the day when a statue was put up to the son of a Labour M.P. inside the manicured grounds of Wimbledon,” he said. Fred married four times, firstly to Texan actress Helen Vinson. His final marriage to Barbara Riese in 1952 lasted until his death. They had two children, Penny and David. Fred died in the Epworth Hospital, Richmond, Melbourne after falling in his hotel bathroom while visiting for the Australian Open. His ashes are in an urn near his statue at Wimbledon. - In 1975, Fred was inducted into the International Tennis Hall of Fame. - In 2002, the Fred Perry 23 km walking route was opened in Stockport. - An English Heritage blue plaque was attached to his Ealing house where he lived in from 1919-1935. A letter to The Times… In 1932, Dr Daniel Prenn and Gottfried Von Cramm of Germany beat the formally dominant Great Britain team of Fred Perry and Bunny Austin in the Davis Cup. Prenn was not selected for the 1933 Davis Cup Team after Chancellor Adolf Hitler announced his “Aryan only” agenda for Germany’s sporting bodies. Dr Prenn, a Jew, was born in Vilnius (then part of Russia), and in 1920 his family fled to Berlin as refugees after the pogroms. On 15 April 1933, Fred Perry and Bunny Austin (a member at the Oxford Group, a Christian anti-war movement), wrote a letter of protest to the London Times: "Sir, We have read with considerable dismay the official statement which has appeared in the Press that Dr D.D. Prenn is not to represent Germany in the Davis Cup on the grounds that he is of Jewish origin. We cannot but recall the scene when, less than twelve months ago, Dr Prenn before a large crowd at Berlin won for Germany against Great Britain the semi-final round of the European Zone of the Davis Cup, and was carried from the arena amidst spontaneous and tremendous enthusiasm. We have always valued our participation in international sport, because we believed it to be a great opportunity for the promotion of better international understanding and because it was a human activity that countenanced no distinction of race, class or creed. For this reason, if for none other, we view with great misgivings any action which may well undermine all that is most valuable in international competitions. Yours faithfully, H.W. Austin, Fred Perry.” Daniel Prenn emigrated to Britain in 1935. References: Fred Perry: British tennis legend, Kevin Jefferys, Pitch Publishing, 2017 'Fred Perry: The hero from the wrong side of the tramlines', Paul Newman, tennis correspondent, The Independent, 21 November 2015 https://www.independent.co.uk/sport/tennis/fred-perry-the-hero-from-the-wrong-side-of-the-tramlines-a6743721.html. 'Fred Perry: the radical of Wimbledon', Bob Holman, Socialist Worker, 26 June 2009 https://socialistworker.co.uk/comment/fred-perry-the-radical-of-wimbledon/ 'Daniel Prenn (1904-1991) – A little-known Jewish German tennis player', newmark401, Tennis Warehouse forums, 12 May 2011 http://tt.tennis-warehouse.com/index.php?threads/daniel-prenn-1904-1991-–-a-little-known-jewish-german-tennis-player.379780/Photographer notations on slide: "F. Perry 1934 Action B42".tennis, 1930-1939

.1) General information of WW2, various campaigns, political and sports. Page 3, Three photos of well known young film actresses. Page 4, Ginger Meggs cartoon comic strip. .2) Newspaper with general information of WW2 campaigns and political items.1) Yellowing newspaper of 8 pages, small photo on front page. .2) Yellowing newspaper of 4 pages, 2 small photos on front page..1) Guinea Gold Northern Edition (America) Vol.2 No136 In the Field, Sunday April 2, 1944. .2) Guinea Gold Special New Britain Edition Vol.2 No.127. In the Field, Friday March 24, 1944.guinea gold, newspaper, 1944, sports news, politics, ww2

Maude Jeffries was an acclaimed actress who performed in USA, Britain, New Zealand and Australia from the 1890s until the early twentieth century when she married and settled in New South Wales with her husband on his property, Bowylie, Gundaroo, New South Wales. A rare bookmark produced to act also as a postcard relating to an American actress who as a British citizen settled in Australian. This bookmark sent in 1906 from Melbourne to Ballarat in Victoria demonstrates her popularity in Australia where it was estimated that over Christmas New Year 1906 over 200,000 postcards were sold in Sydney alone.Image of Miss Jeffries.Used with two Victorian postage stamps, address and Seasons Greetings inscribed to verso from Melbourne sender to Tattersalls Hotel Ballarat 1906.bookmark, postcard, maude jeffries, actress, australian, ballarat, tattersalls hotel, melbourne

Eduardo Majeroni (1840 – 20 October 1891) was an actor who toured the world with Adelaide Ristori, playing popular Italian dramas in their original language. He and his wife Giulia, a niece of Ristori, left the company in Australia and carved out a career playing the same repertoire in English translations. Giulia was an actress, and their two sons Mario and George had acting careers in America.Portrait of Eduardo Majeroniitalian, eduardo majeroni

p.284.fictionIt is the story of a little American girl, Bud, who has lost her parents and comes to stay with her relatives in a small Scottish town (clearly based on Inveraray). She progresses, thanks to her enlightened but only semi-liberated Aunt Ailie, to become a Shakespearean actress in London's West End - in spite of the negativity of the Scottish education system and the background of social and religious attitudes which regarded the theatre as unsuitable and rather sinful. It is especially interesting because it confronts the problem of the female creative artist in a society whose mores inhibit the expression of her talent.england - fiction, feminism