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1857 YEOMEN GUARD VAULTS HOUSE PARLIAMENT STAIRS PRINT Free Shipping Full page from the Illustrated London News dated 1857, an illustrated weekly newspaper weeks date as shown on top of page, the size of each page is approximately 15.5 x 11 inches (395x280). All are genuine antique prints and not modern copies, the Illustrated London News is an illustrated magazine which was first printed in 1842 and is the finest pictorial example of a historic social record of British and world events up to the present day. The ILN is known for its coverage of the following subjects the wars, ships, boats, guns, sailing, portraits, fine art, old and antique prints, wood cut, wood engravings, early photographs, Victorian life, Victorian culture, kings, queens, royalty, travels, adventures, natural history, birds, fish, mammals, fishing, hunting, shooting, fox hunting, sports including tennis, cricket, football, horse racing, politics and many more items of interest founded by Herbert Ingram may 14th 1842. |
A part page from the Illustrated times dated 1858, an periodical newspaper weeks date as shown on top of page or in title, the scan size is approx 16 x 11.5 inches (405x290). All are genuine antique prints and not modern copies, the Illustrated times is an illustrated newspaper and was in competition to the illustrated London news in the 1850s, it only lasted a decade and can be quite rare to find now. These are a historic social record of British and world events. It was known for its coverage of the following subjects the wars, ships, boats, guns, sailing, portraits, fine art, old and antique prints, wood cut, wood engravings, kings, queens, royalty, travels, adventures, natural history, birds, fish, mammals, fishing, hunting, shooting, fox hunting, sports including tennis, cricket, football, horse racing, politics and many more items of interest. |
Old Print. page of WOOD ENGRAVINGS FROM ONE OF THE FOLLOWING . THE GRAPHIC, or The illustrated London News, size is aprox 15.5 x 11 inches full page or prorata for part pages. All are original and not modern copies. THE ILLUS |
The Yeomen of the Guard, one of Gilbert & Sullivan's least satiric and most charming works, largely stars its rich, operatic score. The story, set at the Tower of London during Tudor times, is also beautifully constructed, with terrific pseudo-Shakespearean language. For such a vibrant piece, this video (part of the Opera World series of Gilbert & Sullivan works, made for the BBC in 1982) is strangely drab. The weakest element is Joel Grey as the melancholy clown Jack Point. The series mixes musical-comedy performers with opera singers, Americans with Brits. Grey's Broadway background isn't a drawback; in fact, some show-biz sparkle might have done him good. His sour, lethargic performance misses the potential for sunshine at the character's heart. Even his singing is doubtful--he has a hard time staying on key. Other actors are equally lackluster. David Hillman as Colonel Fairfax, around whom the plot's twists (and the two leading ladies) revolve, is fatally without charm. One redeeming presence is Alfred Marks as the dimwitted jailer Wilfred Shadbolt. Preposterously sure of himself, with a marvelous deadpan, this Wilfred comes to life more than anyone else on screen. For television, the operas in this series were restricted to a two-hour length. Most easily met that limit, but Yeomen underwent deep cuts. The result is both disappointing and confusing, with some major plot developments excised. And the film has been sloppily edited: dead moments mark a couple of junctures where songs, no doubt previously filmed, were snipped out. --David Olivenbaum |
 The Yeomen of the Guard, one of Gilbert & Sullivan's least satiric and most charming works, largely stars its rich, operatic score. The story, set at the Tower of London during Tudor times, is also beautifully constructed, with terrific pseudo-Shakespearean language. For such a vibrant piece, this video (part of the Opera World series of Gilbert & Sullivan works, made for the BBC in 1982) is strangely drab. The weakest element is Joel Grey as the melancholy clown Jack Point. The series mixes musical-comedy performers with opera singers, Americans with Brits. Grey's Broadway background isn't a drawback; in fact, some show-biz sparkle might have done him good. His sour, lethargic performance misses the potential for sunshine at the character's heart. Even his singing is doubtful--he has a hard time staying on key. Other actors are equally lackluster. David Hillman as Colonel Fairfax, around whom the plot's twists (and the two leading ladies) revolve, is fatally without charm. One redeeming presence is Alfred Marks as the dimwitted jailer Wilfred Shadbolt. Preposterously sure of himself, with a marvelous deadpan, this Wilfred comes to life more than anyone else on screen. For television, the operas in this series were restricted to a two-hour length. Most easily met that limit, but Yeomen underwent deep cuts. The result is both disappointing and confusing, with some major plot developments excised. And the film has been sloppily edited: dead moments mark a couple of junctures where songs, no doubt previously filmed, were snipped out. --David Olivenbaum |
Mounted Yeomen are, for the most part minor local dignitaries and as such are allowed to ride into battle. This blister contains one complete figure on horseback. All models are to 28mm scale and will need assembly and painting |
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The Yeomen of the Guard, one of Gilbert and Sullivan's least satiric and most charming works, largely stars its rich, operatic score. The story, set at the Tower of London during Tudor times, is also beautifully constructed, with terrific pseudo-Shakespearean language. For such a vibrant piece, this video (part of the Opera World series of Gilbert and Sullivan works, made for the BBC in 1982) is strangely drab. The weakest element is Joel Grey as the melancholy clown Jack Point. The series mixes musical-comedy performers with opera singers, Americans with Brits. Grey's Broadway background isn't a drawback; in fact, some show-biz sparkle might have done him good. His sour, lethargic performance misses the potential for sunshine at the character's heart. Even his singing is doubtful--he has a hard time staying on key. Other actors are equally lackluster. David Hillman as Colonel Fairfax, around whom the plot's twists (and the two leading ladies) revolve, is fatally without charm. One redeeming presence is Alfred Marks as the dimwitted jailer Wilfred Shadbolt. Preposterously sure of himself, with a marvelous deadpan, this Wilfred comes to life more than anyone else on screen. For television, the operas in this series were restricted to a two-hour length. Most easily met that limit, but Yeomen underwent deep cuts. The result is both disappointing and confusing, with some major plot developments excised. And the film has been sloppily edited: dead moments mark a couple of junctures where songs, no doubt previously filmed, were snipped out. --David Olivenbaum |
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In an examination of the effects of the Civil War on the rural Southern home front, Mark V. Wetherington looks closely at the experiences of white "plain folk"--mostly yeoman farmers and craftspeople--in the wiregrass region of southern Georgia before, during, and after the war. Although previous scholars have argued that common people in the South fought the battles of the region's elites, Wetherington contends that the plain folk in this Georgia region fought for their own self-interest. Plain folk, whose communities were outside areas in which slaves were the majority of the population, feared black emancipation would allow former slaves to move from cotton plantations to subsistence areas like their piney woods communities. Thus, they favored secession, defended their way of life by fighting in the Confederate army, and kept the antebellum patriarchy intact in their home communities. Unable by late 1864 to sustain a two-front war in Virginia and at home, surviving veterans took their fight to the local political arena, where they used paramilitary tactics and ritual violence to defeat freedpeople and their white Republican allies, preserving a white patriarchy that relied on ex-Confederate officers for a new generation of leadership. |
English Only. With complete dialogue. |
| Isabel of Northfield is a villein bound to a feudal lord, but family stories about yeomen in her bloodline fan the flames of dissatisfaction in her, causing her to dream about freedom. By the author of King of the Wood. |