Camille Clifford (Camilla Antoinette Clifford, 1885-1971), Belgian-born, Scandinavian/American-raised, English theatrical celebrity, as a Gibson Girl. In 1906 she married the Hon. Henry Lyndhurst Bruce (1881-1914) and retired from the stage.
(photo: W. & D. Downey, London, 1904/05; postcard no. 467C in the Rotary Photographic Series, published in London by The Rotary Photographic Co Ltd, 1904/05)
Isobel Elsom (1893-1981), English actress, as she appeared as Doris in After the Girl, a ‘revusical comedy’ by Paul Rubens and Percy Greenbank, which opened at the Gaiety Theatre, London, on 7 February 1914.
(photo: Foulsham & Banfield, London, 1914; postcard published by The Rotary Photographic Co Ltd, in its Rotary Photographic Series, no. 6927A, London, 1914)
a postcard photograph of Harry Brayne (1864-1947), English actor and well-known pantomime dame, signed on 19 January 1907 while he was playing Cook in the pantomime Dick Whittington and His Famous Cat, at the Theatre Royal, Nottingham, which opened on 26 December 1906. Other members of the cast included Madelaine Du Val in the title role, and Gladys Huxley as Alice.
(photo: ‘RY,’ United Kingdom, circa 1906; postcard published about 1906 by The Rotary Photographic Co Ltd, London, Rotary Photographic Series, no. 4205 A)
Harry Brayne (Henry Francis Burkett Brayne) was born in the Lambeth district of London on 4 September 1864, and began his theatrical career about 1890. He was married twice; first to Esther E. Cornwell (1871-1914) in 1893 and second to Edith Annie Daniels in 1919. Harry Brayne died in London in 1947.
Marie Studholme (1872-1930), Constance Collier (1878-1955) and Hetty Hamer (active 1890-1910), English actresses, as ‘The Three Graces’ among the ‘Living Pictures,’ first presented at the Empire Theatre, Leicester Square, London, on Monday evening, 5 February 1894.
(photo: W. & D. Downey, London, 1894; published as a postcard by The Rotary Photographic Co Ltd., Rotary Photographic Series, no. 351 B, London, about 1902)
‘An addition to the Empire programme was made last night, when a series of ”Living Pictures” was presented. The back of the stage was focussed down to a large gilt frame, in which the pictures were set, the figures of the various subjects being embodied by several ladies. The first, ”Courtship,” showed a pretty couple (Misses Sheppard and Deroy), dressed in the Directoire style, leading over a rustic bride, amid the freshness of the Springtime. The next with ”Night,” in which Miss Hetty Hamer and Miss [Constance] Collier, two white-draped figures crowned with electric stars, were reclining amid Doré-like surroundings of jagged, tapering peaks against a mystic blue background. ”Duet” was a piece of marble statuary delicately tinted with changing lights that swept over the motionless figures (Madame Fionde and Miss Blowey). ”A Funny Song” was as glowing in colour as if fresh from the brush of the painter, and the expression of the three figures (Senorita Candida and Messrs [William] Lewington and [C.] Perkins) was admirable. One of the prettiest dealt with the old subject, ”Loves me! Loves me not,” in the familiar way, but in a bright Italian atmosphere, and with the blue sea as a background, the perfect taste of the accessories increasing the personal charm of the performers, Miss Marie Studholme and Miss Barker. Miss Deroy made a fascinating picture as a girl ascending an old staircase (the warm colours of her dress blending in complete harmony with the oaken wainscotting), and bidding a sweet ”Good-night.” Miss Hetty Hamer was another bright figure in ”Pets,” a Greek girl feeding pigeons in a corner of some secret grove. ”The Billet-doux” was placed in the powder and patches days, a young beau indulging in a moment’s flirtation with the maid, who is about to take his missive to her mistress (the Misses Belton and Hill). ”Springtime” was a poetic conception of the ”Sweetness of the year.” So charming was the grace of the young girl (Miss Hinde), dreamily resting among the branches of a pink-blossomed almond tree, that the audience vainly tried to interrupt the progress of the series in order to gaze again at the dainty sight. ”Charity,” in which Senorita Candida and Miss Deroy appear, is a somewhat conventional subject, representing a benevolent patrician offering her fur cloak to a homeless wanderer as shelter against the falling snow. ”The Three Graces” needs no further explanation, when it is said that the Misses Hetty Hamer, Collier, and Marie Studholme formed the trio. The series was concluded by a study in bronze, ”The Defence of the Flag,” portraying a vigorous patriotic group; but several of the favourites had to be repeated before the audience was satisfied. Excellent alike in conception, mouthing, and representation, the ”Living Pictures” at the Empire will prove a strong attraction.”
(The Standard, London, Tuesday, 6 February 1894, p. 3c)
‘Tableaux Vivants at the EMPIRE. A noticeable addition has been made to the programme at the EMPIRE Theatre, which promises to crown the house for some time. Never behindhand when anything savouring of novelty is I the air, the management have now introduced a series of ”Living Pictures,” produced in the style which has long been familiar to pleasure-seekers in France, Germany, and Russia. Similar representations have, of course, been given in London, but of the EMPIRE tableaux there is only this to be said: they are as well done, as richly and effectively mounted as is possible, with no suggestion of tinsel or tawdriness. The dramatis personæ are the Misses Hetty Hamer, Marie Studholme, Sheppard, Deroy, Collier, Blowey, Madame Fionde, Señorita Candida, and Messrs. Lewington and Perkins. The ”Living Pictures” meet with a good reception nightly, and it will be a pity of they do not remain in the programme for a long time to come.’
(The Graphic, London, Saturday, 10 February 1894, p. 151b//c)
Whereas Mesdames Studhome, Collier and Hamer were then actresses or members of the chorus at the Gaiety and Prince of Wales’s Theatres in London, all the others mentioned in connection with the ‘Living Pictures’ were ballet dancers or pantomimists employed at the Empire Theatre, Leicester Square. All were then under contract to the impresario George Edwardes.
H. Robert Averell (1885-1913), English actor and singer, as he appeared on tour in the United Kingdom during 1908 in the role of Prince Otto in George Dance’s The Girls of Gottenberg company. The part was first played by George Grossmith junior in the original production of The Girls of Gottenberg at the Gaiety Theatre, London (15 May 1907).
(photo: Foulsham & Banfield, London, 1908; postcard published by The Rotary Photographic Co Ltd, London, in the Rotary Photographic Series, no. 2356 B)
The promising young actor known as H. Robert Averell (and sometimes as Robert Averell) was born Walter Averell Lind Goldschmidt in Kensington, London, on 4 May 1885. He was the son of Walter Otto Goldschmidt (1854-1929) and his first wife, Mary Julia (née Daniell, 1859-?), who were married in 1884 and acrimoniously separated ten years later. Averell was therefore the grandson of Jenny Lind (1820-1887), the celebrated soprano known ‘The Swedish Nightingale,’ his father being her eldest child by her husband, the German-born musician, Otto Moritz David Goldschmidt (1829-1907).
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‘Mr Robert Averell, a promising young English actor, died suddenly recently from the after effects of a chill. Only a few days previous Mr Averell, who made his name on the metropolitan stage as Hubert in The Girl in the Taxi, was playing in Oh, I Say at the London Criterion. A grandson of Jenny Lind, the famous Swedish diva, he was an old Westminster schoolboy and a ward in Chancery, and, consent to his adopting the stage as a career being practically impossible to obtain, he made his way to South Africa, where although under age he managed to join the Cape Mounted Rifles. Then he joined a travelling theatrical company which was often unable to proceed for lack of funds and the privations he then met with unquestionably hastened his end.’
(The New Zealand Observer, Auckland, Saturday, 13 December 1913, p. 14a)
In 1910 Averell was declared bankrupt, ‘his failure being attributed to his having lived in excess of his income.’ (The Times, London, Saturday, 14 May 1910, p. 17d) This reverse did not interfere with his career, however, and he went on to appear in several West End productions including Our Little Cinderella, a play with music (Playhouse Theatre, London, 20 December 1910), with his kinsman Cyril Maude (1862-1951) in the leading role; and The Girl in the Taxi, the musical play produced at the Lyric Theatre, London, on 5 September 1912. Averell’s last appearance was in the Parisian farce, Oh! I Say!, produced at the Criterion Theatre, London, on 28 May 1913. During the run he became ill and died suddenly in October that year, when his part was taken over by Ronald Squire who went on to become a well-known character actor.
Footlight Notes 