Jupe Culotte – The Illustrated London News – Saturday 4th March 1911
INELEGANCE: THE JUPE – COLOTTE OUT OF FAVOUR
AN UNREHEARSED EVENT: “LES COURSES D’AUTEUIL.”
The jupe – culotte does not invariably meet with favour, and, moreover, the curiosity of the crowd is apt to take active form. Hence, certain of its wearers have not found it conducive to mental comfort, however satisfactory they may find the freedom it gives to the limbs. In Madrid the skirt has proved so unpopular that, at the request of Senor Canalejas, the Governor has detailed fifty policemen to protect ladies wearing it in the streets. Our drawing is reproduced by courtesy of “L’Illustration,” of Paris, which publishes it under the title “Les Courses d’Auteuil.”
The Illustrated London News – Saturday 4th March 1911
Jupe-culotte – The Illustrated London News – Saturday 25th February 1911
THE MOST DISCUSSED DRESS IN THE WORLD: THE JUPE – CULOTTE, FAMILIARLY KNOWN AS THE HAREM – SKIRT OR THE TROUSER – SKIRT
None will deny that the jupe-culotte, as the harem-skirt is called officially, is the most discussed dress in the world. It has made its appearance in, at all events, one theatre in Paris, and on Auteuil racecourse, also in Madrid, and for a brief moment or two last week in London, where it was worn in Regent Street. Amongst the famous French dressmakers who were asked for their opinion by the “Gaulois,” which is quoted by the “Telegraph,” M. Poiret alone champions the new skirt to any extent. He believes that it will remain “the appanage of the really chic woman who has pretty ankles, and who can afford to have her shoes made by high-class bootmakers, and to wear ankle-bangles incrusted with precious stones.” Doucet’s decide that it is impossible for town wear, but, nevertheless, makes divided skirts. Doeuillet’s make it, but prefer the Greek robe with a pure aesthetic outline. Mme. Paquin cays it is not a fashion, but a fad. Laferrieres’ do not care for it; Martial and Armand describe it a fancy dress, possibly suitable for “le footing,” or “le skating,” and “le sport” in general. Mr. Redfern, agreeing that anything is permissible to women, nevertheless would have the harem-skirt worn indoors only. Worth’s consider it the logical outcome of the hobble skirt, “as if one had slit up skirt because it prevented one from walking upstairs”: otherwise they dub it folly. Moreover, they argue; “it will soon spread to Montmartre, and then it will be done for1”
The Illustrated London News – Saturday 25th February 1911
Constance Drever – The Merry Widow – The Illustrated Sporting and Dramatic News – Saturday 29th May 1909
The Dancing Girls.
Miss Constance Drever, the well-known London artist, in the title-role. Mdlle. Therese Cernay, as the Ambassadress.
THE PRODUCTION OF THE “MERRY WIDOW” (“LA VEUVE JOYEUSE”) AT THE APOLLO THEATRE, PARIS.
A French contemporary says that this long-awaited production follows 2,400 representations of the work in Germany and Austria, 3,000 in England, and 3,500 in America.
The Illustrated Sporting and Dramatic News – Saturday 29th May 1909
The Gaiety Theatre – The Illustrated London News – 2nd January 1869
The Gaiety Theatre, Strand.
The successful opening of the new Gaiety Theatre, on Monday week, has been reported in our dramatic chronicle. This theatre, as our London readers know, has been built under the superintendence of Mr. C. J. Phipps, architect, on the site of the Strand Music-Hall and of some adjoining properties, which give it a frontage on the Strand, Exeter-street, Catherine-street, and Wellington-street. The Strand front of the music-hall remains almost as formerly. A few modifications, however, have necessarily been made on the ground story by the formation of the approach to the stalls and boxes of the theatre. The rooms over this entrance and the new building along the Strand and Catherine-street will form a restaurant, entirely distinct from the theatre, but with a corridor of access from every tier of the theatre. The entrance in the Strand leads by a few steps to the level of the stalls, and by a spacious staircase to the balcony or grand tier and the upper boxes. Another entrance, also on this level, is in Exeter-street, on the other side of the stalls, which, though designed specially as a private entrance for the Royal family, is available as an exit-way case of sudden panic, there being a stone staircase from the entrance to the highest floor of the theatre, with communication on every level. There is also a corridor running under the back of the pit, solely for the use of the stalls’ occupants, so as to get from side to side without crossing the audience. The entrances to pit and gallery are in Catherine-street, and the stage entrance is in Wellington-street. The auditorium includes a balcony, the front forming a semicircle of 24ft., opening out by arms of a contrary flexure a width of 43ft. to the proscenium column. Behind this is a tier of private boxes, as at the Adelphi, upper boxes, and a gallery above. The columns supporting the various tiers are carried up to a sufficient height above the gallery, and from the cap spring a series of pointed arches, supporting cornice and coved ceiling. The proscenium pillars are all of stone. The dimensions of the interior are – 54 ft. height from centre of pit to ceiling; 45 ft. depth from curtain to front of upper circle, and 36 ft. from curtain to front of balcony tier; 30 ft. width of proscenium; 41 ft. depth of stage, and 64 ft. width of stage between walls. There is room to seat 2000 persons. The floors of the boxes and corridors are of concrete upon iron joists. The stage has been constructed Mr. G. R. Tasker, clerk of the works. There is depth of some 20 ft. under it for sinking large scenes, and a height above of 50 ft. All the departments of the stage are very complete. There is a convenient green-room, and the dressing-rooms appear to be sufficiently numerous. The coloured decorations have been executed by Mr. George Gordon, who has also painted the act-drop, which a framed view of a palace on the Grand Canal, Venice. A noticeable feature of the decoration is the frieze over the proscenium, painted by Mr. H. S. Marks, 30 ft. long by ft. 6 in. deep. It represents a King and Queen of mediaeval times, with surrounding courtiers, watching mask which is being performed before them. On each side of this frieze, over the proscenium boxes, are lunettes in the arches – the one on the left represents lyric and the other epic poetry -designed by the same artist.
The Illustrated London News – Saturday 2nd January 1869
Gabrielle Ray – Illustrated London News – Christmas 1909
The Dollar Princess – The Illustrated London News – 13th November 1909
Flying Colours – Reviews – 1916
The Era – 16th September 1916
The Stage – 16th September 1916
Illustrated London News – 22nd September 1916
About
One of my main interests is a love of old pictures and postcards that give us a brief glimpse into a past and often forgotten age.
Collecting old postcard and pictures enables the viewer to glimpse a brief moment from that individual’s life; often far removed from their own either by the passage of time or social class. Social History, often described as “history from below” shows everyday people, their social structure and the interaction of different groups; like the wealthy and politicians these people helped shape and maintain society and so shape history.
Examining the images one can’t help but wonder how the individuals lived, were their lives hard compared with today and were they happy. Often the images come with little or no information that can answer these questions, one can only imagine.
With each image saved and seen by others, so that moment, that person is kept alive, our understanding is increased and so our lives are enriched.
A picture is often more descriptive than words can ever be, but how true is this, if a picture enables us to gain entry to another time, another world, will, like the view from a different window, even in the same house provide a different image?
These images allow a glimpse into another time, another era; but what preceded or followed this image? As the individuals were positioned and posed like an artist’s model is what we see truly reflective or like the slightly softened image of an aging beauty a less that truthful representation?
I am reminded of a documentary I watched several years ago regarding the returning troops from the front during the First World War. The camera images show a broken, demoralised sea of humanity, young men who having seen images that most of us hope never to witness had lost that sparkle; that zest which only youth has. But bring on the news camera and that battered returning group came to life, the smiles returned and even though muddied and bloodied their heads and bodies became erect, their arms swung in time and they demonstrated a swagger that spoke of courage, defiance and determination; an image that gave hope to the viewer.
It seems to me that even in the early days of photography all was not what it appeared and now in the advancing digital age a picture may paint a thousand words but will it be factual or fiction?
My interests And collections vary from Maids, Nuns, religious dress and the more risqué images of the French Maid. Often when searching for a particular subject the boundaries cross and as well as true Maids we find Edwardian actresses dressed as Nuns or Maids. During one of my searches I came across Gabrielle Ray dressed as a Maid, “Susan” in Lady Madcap and was instantly captivated by her.
Collecting the individual cards isn’t enough; I like to know more about the individual, which is easier when that person is an actress, although often the information is scarce
Searching for information about Miss Ray I discovered that she was one of the most photographed women of the Edwardian era and described in “Temps” as the most beautiful woman in the United Kingdom; but sadly her success, if measured by being visibly working or in the public eye was short-lived. She struggled with depression and alcohol abuse, and her health declined. In 1936, she suffered a complete mental breakdown and was institutionalized for nearly forty years; dying in 1973 at Holloway Sanatorium at the age of 90.
There are several other sites and blogs dedicated to the memory of Miss Ray and my intention is to share my small but growing collection of pictures and postcards with anyone who shares my interest. Reading about Miss Ray I was saddened that this lady, like many others before and since, after a brief moment in the sun they are soon forgotten. Hopefully as people view and enjoy this blog her memory will remain alive for a little longer.
I have started to write a short Biography about Miss Ray which I will try to update as frequently as possible. The Index page will show any updates under the Biography catagory.
I have also tried to link the various postcards and pictures to the plays in which Miss Ray appeared, however I realise, after several errors that this isn’t an easy task as many are decorative studio poses rather than production images. The individual Rotary, Philco and other publishers numbers are included with any description which should make searching for a particular card or ones from the same set easier. If I have made any glaring errors please feel free to let me know.
Thank you and I hope you enjoy my collection as much as I do.
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