The Hydnangiaceae are a family of fungi in the mushroom order Agaricales. Widespread in temperate and tropical regions throughout the world, the family contains about 30 species in four genera. Species in the Hydnangiaceae form ectomycorrhizal relationships with various species of trees in both coniferous and deciduous forests.

Description
They may have fruit bodies with stipes and caps (pileate-stipiate), or gasteroid (with internal spore production, like puffballs). When pileate, the cap is smooth to scaly, sometimes striate, typically orange-brown or violet in color. The gills are widely spaced, thick, and waxy. In gasteroid forms, fruit body shape is irregular, with thin walls. Also, the peridium (the outer layer of the spore-bearing organ) is sometimes short-lasting (evanescent). Columella (the central, sterile part of the sporangium) may be absent or present, the hymenia are not gelatinized, and are formed in locules. Basidia are club-shaped (clavate), with two or four sterigmata, sometimes with accompanying cheilocystidia (cystidia on the edges of gills).

Distribution and habitat
Hydnangiaceae taxa have a widespread distribution in both temperate and tropical zones.

Ecology

Hydnangiaceae species are ectomycorrhizal, forming symbiotic relationships with various plant species, and  have an important role in forest ecosystems.

Genera
Hydnangium has hypogeal fruit bodies like truffles, with no stipe, nor a columella.
Laccaria has 'typical' mushroom-shaped (pileate-stipiate) fruit bodies.
Maccagnia is a poorly known gasteroid genus containing a single species from Italy.
Podohydnangium has subepigeal fruit bodies, with partially exposed gleba at the base and a stipe columnella.

See also
List of Agaricales families

References

Agaricales families
Taxa named by Carroll William Dodge
Taxa described in 1928

Hydnangiaceae


The China Construction Bank Corporation Macau Branch () is a bank in Macau, China. It was wholly owned by China Construction Bank (Asia), a wholly owned subsidiary of China Construction Bank, and renamed from China Construction Bank (Macau) Corporation Limited ()) after its incorporation with China Construction Bank in June 2014.  It now has 8 subbranches in Macau offering retail banking products and services, a Commercial Banking Division and a China Enterprise Division offering commercial banking products and services. It was originated from the Bank of Canton (Macau Branch) which was established in 1936.

History
1912: Bank of Canton was established in Hong Kong.
1936: Bank of Canton (Macau Branch) was established in Macau.
1945: Bank of Canton was re-established after it was seriously disrupted during the Great Depression in 1930s and the World War II in 1940s.
1988: Bank of Canton was acquired by Security Pacific National Bank and renamed to "Security Pacific Asian Bank".
1992: Security Pacific Corporation was merged with Bank of America.
1993: Security Pacific Asian Bank was renamed to "Bank of America (Asia)".
2006: China Construction Bank acquired Bank of America (Asia) from Bank of America.
2007: Bank of America (Asia) was renamed to China Construction Bank (Asia). Bank of America (Macau) was also renamed to China Construction Bank (Macau).
2014: China Construction Bank (Macau) Corporation Limited was incorporated with China Construction Bank Corporation and renamed to China Construction Bank Corporation Macau Branch.

See also

China Construction Bank
China Construction Bank (Asia)

External links
China Construction Bank (Macau)

References

Banks of Macau
China Construction Bank
Banks established in 1936
1936 establishments in Macau

China Construction Bank (Macau)


Roger Gilbert-Lecomte (18 May 1907, in Reims, France – 31 December 1943, in Paris) was a French avant-garde poet and co-founder (with René Daumal, Roger Vailland and Josef Šíma) of the artistic group and magazine Le Grand Jeu. The group, associated with surrealists, was "excommunicated" from the movement by André Breton. Gilbert-Lecomte used drugs, in particular morphine, for both artistic and sociological reasons. As was predicted in his poetry, his death was the result of an infection caused by the use of dirty hypodermic needles.
"Coma Crossing: Collected Poems", Schism Books, 2019, is the most comprehensive bilingual anthology of his poetry and "Theory of the Great Game" (Atlas Books, 2015) gives a hefty selection of his prose, along with that of René Daumal and other members of "Le Grand Jeu."

Bibliography

 Le grand jeu (nos 1, 2, et 3)
 Testament (1955)
 Sacre et massacre de l'amour (1960)
 Tétanos mystique (1972)
 Lettres à Benjamin Fondane (1985)
 Monsieur Morphée empoisonneur public (1966)
 Correspondance (1971)
 Arthur Rimbaud (1971)
 L'horrible révélation… la seule (1973)
 Œuvres complètes, 2 volumes (1974–1977)

 Caves en plein ciel (1977)
 Neuf haï kaï (1977)
 Poèmes et chroniques retrouvés (1982)
 Mes chers petits éternels (1992)
 La vie, l'amour, la mort, le vide et le vent Joseph Sima (2000)
 Le miroir noir Black Mirror: The Selected Poems of Roger Gilbert-Lecomte (Station Hill Press, 1991)
 The Book is a Ghost: Thoughts and Paroxysms for going Beyond'' (Solar▲Luxuriance, 2015)
 'Coma Crossing: Collected Poems' (Schism Books, 2019)

External links

1907 births
1943 deaths
Writers from Reims
French surrealist writers
20th-century French poets
20th-century French male writers
Drug-related deaths in France

Roger Gilbert-Lecomte


Eric Champion (born May 12, 1970) is one of the pioneers of mid 1990s Christian pop and modern rock.  In the beginning of his musical career, he was a pop singer. His music had the flair of many of his Christian pop contemporaries but with more of a Michael Jackson meets Prince vocal approach meets futuristic techno dance sounds. Although his first album was released when he was only 18 years old, one of Eric's biggest albums during his pop phase was Vertical Reality which went on to sell nearly 100,000 units.

Eric also is noted for songwriting with various artists including Rebecca St. James and Plumb.

In 1998, Champion was featured at the Atlanta Fest Christian music festival.

After the release of his eighth album Natural (his second for Brentwood Essential), Eric left the Nashville scene and moved with his new wife and child to Orlando, FL where he started working at the recording college Full Sail University.

In 2005, Eric reappeared with two new projects, a new solo EP, Unexpected and a Brit pop rock project, Rook which also included former GS Megaphone drummer Randall Shreve.

Discography

 Rook -Bad Memory EP, 2005
 Unexpected EP, 2005
 The Greatest Hits of Eric Champion, 2000
 Natural, 1998
 Transformation, 1996
 Lover's Heart (Soft Hits), 1995
 Vertical Reality, 1994
 The B/W Project, 1993 (Along with Rodney "T" Thomas) Released through Warner Alliance.
 Save The World, 1992
 Hot Christmas, 1992
 Revolution Time, 1991
 Eric Champion, 1990

References

External links

1970 births
American pop rock musicians
American male singer-songwriters
American rock songwriters
American rock singers
Living people
American performers of Christian music
Musicians from Daytona Beach, Florida
Singer-songwriters from Florida
21st-century American singer-songwriters
21st-century American male singers

Eric Champion


The Nore is a sandbank at the mouth of the Thames Estuary, England. It marks the point where the River Thames meets the North Sea In previous years, it marked the Port of London Authority's seaward limit.

Since the sandbank could be a hindrance to passing ships, in 1732 it got the world's first lightship. This became a major landmark, and was an assembly point for shipping.  By 1919 there were nine lightships. Now the job is done by a buoy.

River Thames

The Nore


Roger Eliot Fry (14 December 1866 – 9 September 1934) was an English painter and critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism. He was the first figure to raise public awareness of modern art in Britain, and emphasised the formal properties of paintings over the "associated ideas" conjured in the viewer by their representational content. He was described by the art historian Kenneth Clark as "incomparably the greatest influence on taste since Ruskin ... In so far as taste can be changed by one man, it was changed by Roger Fry". The taste Fry influenced was primarily that of the Anglophone world, and his success lay largely in alerting an educated public to a compelling version of recent artistic developments of the Parisian avant-garde.

Life
Born in London in 1866, the son of the judge Edward Fry, he grew up in a wealthy Quaker family in Highgate. His siblings included Joan Mary Fry, Agnes Fry and Margery Fry; Margery was principal of Somerville College, Oxford. Fry was educated at Clifton College and King's College, Cambridge, where he was a member of the Conversazione Society, alongside freethinking men who would shape the foundation of his interest in the arts, including John McTaggart and Goldsworthy Lowes Dickinson. After taking a first in the Natural Science tripos, he went to Paris and then Italy to study art. Eventually he specialised in landscape painting.

In 1896, he married the artist Helen Coombe and they subsequently had two children, Pamela and Julian. Helen soon became seriously mentally ill and in 1910 was committed to a mental institution, where she remained for the rest of her life. Fry took over the care of their children with the help of his sister, Joan Fry. That same year, Fry met the artists Vanessa Bell and her husband Clive Bell, and it was through them that he was introduced to the Bloomsbury Group. Vanessa's sister, the author Virginia Woolf later wrote in her biography of Fry that "He had more knowledge and experience than the rest of us put together".

In 1911, Fry began an affair with Vanessa Bell, who was recovering from a miscarriage. Fry offered her the tenderness and care she felt was lacking from her husband. They remained lifelong close friends, even though Fry's heart was broken in 1913 when Vanessa fell in love with Duncan Grant and decided to live permanently with him.

After short affairs with artists Nina Hamnett and Josette Coatmellec, Fry too found happiness with Helen Maitland Anrep. She became his emotional anchor for the rest of his life, although they never married (she too had had an unhappy first marriage, to the mosaicist Boris Anrep).

Fry died unexpectedly after a fall at his home in London. His death caused great sorrow among the members of the Bloomsbury Group, who loved him for his generosity and warmth.  Vanessa Bell decorated his coffin. Fry's ashes were placed in the vault of Kings College Chapel in Cambridge. Virginia Woolf was entrusted with writing his biography, a task she found difficult, because his family asked her to omit certain key facts, his love affair with Vanessa Bell among them.

Artistic style
As a painter Fry was experimental (his work included a few abstracts), but his best pictures were straightforward naturalistic portraits, although he did not pretend to be a professional portrait painter. In his art he explored his own sensations and gradually his own personal visions and attitudes asserted themselves. His work was considered to give pleasure,  'communicating the delight of unexpected beauty and which tempers the spectator's sense to a keener consciousness of its presence'. Fry did not consider himself a great artist, "only a serious artist with some sensibility and taste". He considered Cowdray Park his best painting: "the best thing, in a way that I have done, the most complete at any rate".

Career

In the 1900s, Fry started to teach art history at the Slade School of Fine Art, University College London.

In 1903 Fry was involved in the foundation of The Burlington Magazine, the first scholarly periodical dedicated to art history in Britain. Fry was its co-editor between 1909 and 1919 (first with Lionel Cust, then with Cust and More Adey) but his influence on it continued until his death: Fry was on the consultative committee of The Burlington since its beginnings and when he left the editorship, following a dispute with Cust and Adey regarding the editorial policy on modern art, he was able to use his influence on the committee to choose the successor he considered appropriate, Robert Rattray Tatlock. Fry wrote for The Burlington from 1903 until his death: he published over two hundred pieces on eclectic subjects – from children's drawings to bushman art. From the pages of The Burlington it is also possible to follow Fry's growing interest in Post-Impressionism.

Fry's later reputation as a critic rested upon essays he wrote on Post-Impressionist painters, and his most important theoretical statement is considered to be An essay in Aesthetics, one of a selection of Fry's writings on art extending over a period of twenty years published in 1920. In "An essay in Aesthetics", Fry argues that the response felt from examining art comes from the form of an artwork; meaning that it is the use of line, mass, colour and overall design that invokes an emotional response. His greatest gift was the ability to perceive the elements that give an artist his significance.
Fry was also a born letter writer, able to communicate his observations on art or human beings to his friends and family.

In 1906 Fry was appointed Curator of Paintings at the Metropolitan Museum of Art in New York. This was also the year in which he "discovered" the art of Paul Cézanne, the year the artist died, beginning the shift in his scholarly interests away from the Italian Old Masters and towards modern French art.

In November 1910, Fry organised the exhibition 'Manet and the Post-Impressionists' (post-impressionism being a term which Fry coined) at the Grafton Galleries, London. This exhibition was the first to prominently feature Gauguin, Cézanne, Matisse, and Van Gogh in England and brought their art to the public. Though the exhibition would eventually be widely celebrated, the sentiments at the time were much less favourable. This was due to the exhibition's selection of art that the public was unaccustomed to at the time. Fry was not immune to the backlash. Desmond MacCarthy, the secretary of the exhibition stated that "by introducing the works of Cézanne, Matisse, Seurat, Van Gogh, Gauguin and Picasso to the British public, he smashed for a long time his reputation as an art critic. Kind people called him mad, and reminded others that his wife was in an asylum. The majority declared him to be a subverter of morals and art, and a blatant self-advertiser." Yet the foreignness of "post-impressionism" would inevitably disappear and eventually the exhibition would be regarded as a critical moment for art and culture. Virginia Woolf later said, "On or about December 1910 human character changed", referring to the effect this exhibit had on the world. Fry followed it up with the Second Post-Impressionist Exhibition in 1912. It was patronised by Lady Ottoline Morrell, with whom Fry had a fleeting romantic attachment.

Fry had a house called Durbins near Guildford which included features of his own design. The house had flush toilets, central heating and dumb waiters. He employed Lottie Hope and Nellie Boxall (in 1912) as his young servants until 1916 when he could no longer maintain the house. Lottie and Nellie went to work for Leonard and Virginia Woolf on his recommendation.

In 1913 he founded the Omega Workshops, a design workshop based in London's Fitzroy Square, whose members included Vanessa Bell and Duncan Grant and other artists of the Bloomsbury Group. It was an experimental design collective in which all the work was anonymous with everything that was produced in the workshops, bold decorative homeware ranging from rugs to ceramics and furniture to clothing, bearing only the Greek letter Ω (Omega). As Fry told a journalist in 1913: 'It is time that the spirit of fun was introduced into furniture and into fabrics. We have suffered too long from the dull and the stupidly serious.' As well as high society figures such as Lady Ottoline Morrell and Maud Cunard, other clients included Virginia Woolf, George Bernard Shaw, H.G. Wells, W.B. Yeats and E.M. Forster and also Gertrude Stein, with whom Fry shared a love of contemporary art, on one of her visits to London in the 1910s. The workshops also brought together the artists Wyndham Lewis, Frederick Etchells, Edward Wadsworth and Henri Gaudier-Brzeska who would later, following a quarrel between Fry and Wyndham Lewis with the latter setting up The Rebel Art Centre in 1914 as a rival business, branch away to form the Vorticist movement. The workshops stayed open during World War I but closed in 1919. The Courtauld Gallery houses one of the most important collections of designs and decorative objects made by artists of the Omega Workshops and, in 2017, held an exhibition 'Bloomsbury Art and Design' that presented a wide-ranging selection of objects from its holdings, many of which were bequeathed to The Courtauld Institute of Art by Roger Fry. An earlier exhibition in 2009, 'Beyond Bloomsbury: Designs of the Omega Workshops 1913-19', contained the largest collection of surviving working drawings of the Omega Workshops, bequeathed to The Courtauld Gallery by Fry's daughter Pamela Diamand in 1958.

The London Artists' Association was set up in 1925 by Samuel Courtauld and John Maynard Keynes at the instigation of Roger Fry who was a friend of both men and advised them on their art collections. Fry's association with Samuel Courtauld was celebrated by him in The Burlington Magazine after Courtauld endowed a chair in History of Art at London University which Fry welcomed as an 'unexpected realisation of a long cherished hope'. In 1933, he was appointed the Slade Professor at Cambridge, a position that Fry had much desired.

In September 1926 Fry wrote a definitive essay on Seurat in The Dial. Fry also spent ten years translating, "for his own pleasure", the poems of the symbolist poet Stephane Mallarmé. Between 1929 and 1934, the BBC released a series of twelve broadcasts wherein Fry conveys his belief that art appreciation should begin with a sensibility to form as opposed to an inclination to praise art of high culture. Fry also argues that an African sculpture or a Chinese vase is just as deserving of study as a Greek sculpture.

His works can be seen in Tate Britain, the Ashmolean Museum, Leeds Art Gallery, National Portrait Gallery, Scottish National Gallery of Modern Art, Manchester Art Gallery, Somerville College, Museum of New Zealand Te Papa Tongarewa and the Courtauld Gallery who purchased the 1928 self-portrait (above) with the assistance of the Art Fund and others in 1994. The Collection of Roger Fry of paintings and decorative art objects bequeathed to the Courtauld  also contains photographs which are held in the Conway Library who are in the process of digitising their collection of primarily architectural images as part of the wider Courtauld Connects project. Lithographs produced by Fry from 1927 to 1930 are held at Tate Britain and the Museum of New Zealand Te Papa Tongarewa. The lithographs were drawn in France (except for one from Trinity College, Cambridge) and many were published in the portfolio, Ten Architectural Lithographs.

A blue plaque was unveiled in Fitzroy Square on 20 May 2010.

Gallery

Books
 Art and Commerce (1926)
 Art History as an Academic Study (1933)
 The Artist and Psycho-Analysis (1924)
 Arts of Painting and Sculpture (1932)
 Vision and Design (1920)
 Transformations (1926)
 Cézanne. A Study of His Development (1927) [First published in French, « Le développement de Cézanne », 1926]
 Henri Matisse (1930)
 Characteristics of French Art (1932)
 Reflections on British Painting (1934)
 Giovanni Bellini (1899)
 Duncan Grant (1923)
 Flemish Art (1927)
 Last Lectures (1933)
 A Sampler of Castille (1923)
 Twelve Original Woodcuts (1921)
Translations:
 Some poems of Mallarme (1936)

See also
List of Bloomsbury Group people

References

Sources
Virginia Woolf, Roger Fry: A Biography (1940)
Denys Sutton, Letters of Roger Fry (1972)
Frances Spalding, Roger Fry: Art and Life, University of California Press, (1980)
David Boyd Haycock. "A Crisis of Brilliance: Five Young British Artists and the Great War" (2009)
Christopher Reed, A Roger Fry Reader (1996)
Gal, Michalle. Aestheticism: Deep Formalism and the Emergence of Modernist Aesthetics. Peter Lang AG International Academic Publishers, 2015

External links

 Roger Fry at artcyclopedia.com
Roger Fry at Oxford Encyclopedia of Aesthetics (2nd edition)
Roger Fry' s biography in the Burlington Magazine
Roger Fry - Vision and design ,Chatto and Windus, London 1920
"Post-Impressionism", Roger Fry's lecture on the closing of the "Manet and the Post-Impressionists" exhibition at the Grafton Galleries, as published in The Fortnightly Review
"Roger Fry, Walter Sickert and Post-Impressionism at the Grafton Galleries", a reflection by Prof. Marnin Young on the 1910-1911 exhibition

1866 births
1934 deaths
Alumni of King's College, Cambridge
Bloomsbury Group
English art critics
19th-century English painters
English male painters
20th-century English painters
English Quakers
Roger
People associated with the Metropolitan Museum of Art
People educated at Clifton College
Academics of the Slade School of Fine Art
Academics of the University of Cambridge
20th-century English male artists
19th-century English male artists
Philosophers of art

Roger Fry


Craig Ellwood (April 22, 1922 – May 30, 1992) was an influential Los Angeles-based modernist architect whose career spanned the early 1950s through the mid-1970s. Although untrained as an architect, Ellwood fashioned a persona and career through equal parts of a talent for good design, self-promotion and ambition. He was recognized professionally for fusing of the formalism of Mies van der Rohe with the informal style of California modernism.

Early years
Ellwood was born Jon Nelson Burke in Clarendon, Texas. Along with many others in the 1920s, Ellwood's family moved west, following U.S. Route 66, finally settling in Los Angeles in 1937. There, Ellwood, as Johnnie Burke, attended Belmont High School, where he was class president before graduating in 1940. In 1942, Ellwood and his brother Cleve both joined the U.S. Army Air Corps. Ellwood served as a B-24 radio operator, based with Cleve in Victorville, California, until his discharge in 1946.

Career
After his discharge from the Army, Burke returned to Los Angeles and set up a company with his brother Cleve and two friends from the war, the Marzicola brothers, one of whom had a contractor's license. The four men called their firm 'Craig Ellwood' after a liquor store called Lords and Elwood located in front of their offices. Burke later legally changed his name to Ellwood.

In 1948, he joined the firm Lamport Cofer Salzman (L.C.S.) as a construction cost estimator, having acquired this skill during his work for the Craig Ellwood Company. Ellwood also studied structural engineering through UCLA extension night school for five years. He became increasingly involved in design and architecture, resulting in Ellwood's first commissions, all for residences.

Ellwood established 'Craig Ellwood Design' in 1951. There, Ellwood would provide the commissions and the vision, and it was up to USC-trained architect Robert Theron 'Pete' Peters, and later others, to provide the technical realization, drawings and the required sign-off of a licensed architect. Early projects included Case Study House 16 in 1952. The designs were well received by both the trade and potential clients, often receiving favorable coverage in influential publications like John Entenza's Arts & Architecture, often arranged for by Ellwood personally. Thus the firm received a growing stream of both residential and commercial commissions, and Ellwood's style matured to fully embrace the concepts put forth by International Style architects, particularly Mies van der Rohe.

By the late-1950s, though not a licensed architect, Ellwood was nonetheless a sought-after university lecturer, eventually giving a series of talks at Yale University, and teaching at the University of Southern California and California State Polytechnic University, Pomona's Department of Architecture.

Though Ellwood's office expanded with the size and number of his commissions, it was never a particularly profitable enterprise. It continued through the mid-1970s, with several notable projects, including the master plan for the Rand Corporation's headquarters in Santa Monica, California, a number of Xerox and IBM offices, and the trademark "bridge building" dramatically spanning an arroyo and a roadway at Art Center College of Design in Pasadena.

As published in the 1976, the Art Center building is recognized as the work of Craig Ellwood Associates, with James Tyler as design architect and Stephen Woolley as project architect. Some sources have sought to re-credit this building solely to Tyler, who had worked for John Sugden (a former associate of Mies) and was the architect of the Art Center addition, completed in 1991. The practice closed in 1977 and Ellwood retired to Italy to focus on painting and on restoring a farm house near .

Personal life
Elwood's first wife was Faith Irene Walker, known as "Bobbie". In 1949 he married actress Gloria Henry. They had three children, including designer Erin Ellwood, and divorced in 1977. He then married Anita Eubank and moved to Pergine Valdarno, Italy. After his divorce from Eubank, he and his fourth wife, Leslie Hyland Ellwood, had a daughter.

Death
Ellwood died on May 30, 1992, in Pergine Valdarno; he was 70 years old.

Significant projects
 Lappin House, Cheviot Hills, Los Angeles, California, 1948
 Hale House, Beverly Hills, California, 1949
 The New Case Study House 16 (Salzman House), Bel Air, California, 1951–53
 Courtyard Apartments, Hollywood, California, 1952–53
 Case Study House 17B (Hoffman House), Beverly Hills, California, 1954–56
 Case Study House 18 (Fields House), Beverly Hills, California, 1955–58
 Smith House, Los Angeles, California, 1955
 Hunt House, Malibu, California, 1955
 South Bay Bank, Los Angeles, California, 1956
 Carson-Roberts Office Building, West Hollywood, California, 1958–60
 Daphne House, Hillsborough, California, 1960–61
 Scientific Data Systems, various buildings and offices, El Segundo and Pomona, California, 1966–69
 Max Palevsky House, Palm Springs, California, 1968
 Charles and Gerry Bobertz Residence, San Diego, California, 1953
Art Center College of Design (Hillside Campus), Pasadena, California, 1976
Kubly House, Pasadena, CA, 1965. Built for President of Art Center College of Design, Don and Sally Kubly.

Bibliography
 Craig Ellwood Paintings, published by Converso Gallery, 2004, essay by Jeffrey Head
 "What Does Post-Modernism Mean to You?" L.A. Architect, March 1976.

References

1922 births
1992 deaths
Modernist architects from the United States
Belmont High School (Los Angeles) alumni
California State Polytechnic University, Pomona faculty
Architects from Los Angeles
20th-century American architects
People from Clarendon, Texas
Military personnel from California
United States Army Air Forces personnel of World War II

Craig Ellwood


Umetada is a Japanese style of decoration for metal work. It may have been used by silversmiths since the Muromachi period. But in the Momoyama period, a certain Umetada Myoju (1558–1631) emerged to become the founder of the manufacture of so-called "new swords," or shinto, and to rank with Kaneie and Nobuie as a great designer and maker of sword guards. Although he is said to have done metal carving for sword mounts, not a single sword guard that can safely be said to have been carved by him remains. Most of the things that do remain are works in inlay, (zogan) in copper, brass, and shakudo using designs that recall the colorful pictures of the Ogata Kōrin school. Umetada Myoju established the style and the fame of the Umetada name, which flourished greatly after his time. But he was not the first to make sword guards in the Umetada style. Both nameless craftsmen and a certain Mitsutada are known to have done this kind of work before Myoju. It seems likely that was the case with Shoami guards - Umetada guards were first produced in the Muromachi period. Those before Myoju are based on Shoami ideas and are called Ko-Umetada, or old Umetada.

See also
 katana
 saya
 Shoami
 Aesthetics
 History of decorative arts
 Toreutics
 Cloisonné

References

Japanese swords
Artworks in metal

Umetada


William Collier (1671)  was an English colonist in  Massachusetts. He came to Plymouth Colony in 1633 as one of the few London-based Merchant Adventurers, a colony investment group, to settle in New England. He was often elected as an Assistant Governor in the thirty-some years between 1634/5 and 1665. He was on the side of the government leaders in the historic 1645 dispute with liberal religious leader William Vassall. During his long life involved in public service, he served on the Council of War and served at times as a commissioner of the United Colonies, a New England colonies military alliance primarily for defense against Indian attack.

English Origins
William Collier was born in England about 1585, based on the date of his marriage. He was a purveyor grocer in England being apprenticed to William Russell, becoming a member of the Grocer's Company of London on March 3, 1627/8. He was a resident of St. Olave in Southwark (London), operating a brew-house, per William Bradford's reference to a "brew-house of Mr. Collier's in London." Records show that he was also a resident St. Mary Magdalen Parish, Bermondsey (London).

England - Merchant Adventurers
While residing in England in 1626, Collier's signature appears on an agreement with the names of fifty-eight Purchasers, the new investment group for Plymouth Colony, replacing the previous group, the Merchant Adventurers. The colony debt would be assumed by a small new group titled "the Undertakers" composed of colony leaders. The Purchasers were privileged above all others in future colony land grants, with Collier's signature on the agreement as "Mr. Wm Collyer."

In Plymouth Colony
Collier and his family came to Plymouth in 1633 on an unknown ship, possibly the ship Mary and Jane, which sailed from London in March, 1633.

He was praised by Nathaniel Morton: "This year (1633) likewise Mr. William Collier arrived with his Family in New-England, who as he had been a good Benefactor to the Colony of New-Plimouth before he came over, having been an Adventurer unto it at its first beginning; so also he approved himself a very useful instrument in that Jurisdiction after he arrived, being frequently Chosen, and for divers years serving God and the Country in the place of Magistracy, and lived a godly and holy life [sic] until old age".

On January 2, 1633/34 his name appears as one of 80 names on tax rates being assessed by the new governor, Thomas Prence.

In 1633/4 Collier was admitted a freeman. He moved to Duxbury, Massachusetts, after 1639.

Between 1634/5 and 1665 he was often elected one of the Assistants to the Governor and appeared to side with the more conservative leaders.

Collier was on the Council of War, and served at times as a commissioner of the United Colonies, a military group composed of New England Puritan colonies against the Indians.

In 1646, Collier was one of the conservative Assistants in opposition to what became known as the "Bay Colony Remonstrance" initiated supposedly by William Vassall. This was related to an incident in 1645 whereby Vassall had petitioned the Plymouth General Court asking for full religious toleration for all well-behaving men - i.e. freedom of religion. Many of the town deputies and Assistants, including senior leader Myles Standish, were in favor of the Vassall petition, but with Governor Bradford and Assistants Collier, Thomas Prence and Edward Winslow opposed. The petition could have passed, but for delaying action by Bradford giving the conservative side time to maneuver against it, which ultimately spelled its defeat.

Collier resided in Duxbury and in 1649/50 he deeded ten acres of land in Duxbury to "my kinsman William Clark", which may refer to him being a relative of his wife Jane.

On 7 June 1653, his wife Mrs. Jane Collier made a claim on behalf of her grandchild, the wife of Nathaniel Warren.

Thomas Prence, known as that "Terrour to evill doers", as written by Nathaniel Morton, was not known for being lenient towards Quakers. Two of them were Arthur and Henry Howland, brothers of Mayflower passenger and Assistant John Howland. About December 22, 1657, Collier and Capt. Josiah Winslow, sent Constable John Philips of Marshfield to a Quaker meeting at Arthur Howland's house in Marshfield, Massachusetts, to arrest the Quaker leader, Robert Huchin. But as Philips reported, he could not arrest Huchin as he was being hindered by Howland, who told the Constable "hee would have either a sword or gun in the belly of him". Ironically, ten years later Arthur Howland Jr. the son of Arthur, would marry Thomas Prence's daughter Elizabeth.

On December 2, 1661, Collier of Duxbury, Gentleman, with the consent of Mrs. Jane Collier, sold all his house and land that he was living on in Duxbury to Benjamin Bartlett, who was not to enter into possession until the death of both William and Jane Collier.

Family of William Collier
Collier married Jane Clark at St. Olave Parish in Southwark on May 16, 1611, and had thirteen children. Many of those children died young, and they only had four daughters with them in Plymouth Colony. Jane died after June 28, 1666. Her burial place is unknown.

Children of William and Jane Collier:
 Mary was baptized in Southwark (then in Surrey - now a London Borough) on February 18, 1611/2 and died on March 29, 1673. She married Thomas Prence, later long-time Plymouth Colony Governor, on April 1, 1635, in Plymouth as his second wife and had two children. She died before 1644. The first wife of Thomas Prence was Patience Brewster, daughter of Elder William Brewster.
 Hannah was baptized in Southwark on September 14, 1613, and was buried there on August 31, 1625.
 Rebecca was baptized in Southwark on January 10, 1614/5, and died in Eastham, Massachusetts, on December 29, 1698. She married Job Cole in Plymouth on May 15, 1634, and had three children. He died after 1683 and before his wife's death. His brother Daniel Cole married Rebecca's sister Ruth. Rebecca and Job were both were buried at Cove Burying Ground, Eastham, Massachusetts.
 Sarah was baptized in Southwark on April 30, 1616, and died in Plymouth, Mass. on April 26, 1691. She was buried on Burial Hill in Plymouth, Massachusetts.
She married:
1. Love Brewster, son of Pilgrim Elder William Brewster, on May 15, 1634 in Plymouth and had four children. He died in 1650.
2. Richard Parke of Cambridge after September 1, 1656.
 John (1) was baptized in Southwark on March 18, 1616/7, and buried there August 24, 1618.
 Elizabeth was baptized in Southwark on March 9, 1618/9, and died sometime after her husband's will was written, February 10, 1678/9. She married Constant Southworth, the step-son of Pilgrim William Bradford, on November 2, 1637, in Plymouth and had eight children. Her burial place is unknown.
 John (2) was baptized in Southwark on March 23, 1619/20, and buried there August 6, 1625.
 Catheren was buried in Southwark on January 13, 1621/2.
 James was baptized in Bermondsey (then in Surrey - now in Southwark Borough, London) on March 16, 1622/3 and buried in Southwark on August 24, 1624.
 Martha was baptized in Bermondsey on March 28, 1624, and buried in Southwark on May 30, 1625.
 William was buried in Southwark on August 12, 1625.
 Lydia was baptized in Southwark on March 8, 1625/6, and buried there four days later.
 Ruth was born about 1628 probably in the London area as were the other children, and died in Eastham, Massachusetts. on December 15, 1694.  She married Daniel Cole by 1644 and had at least five children. Daniel Cole was the brother of Job Cole who was married to Ruth's sister Rebecca. Ruth and Daniel were both buried in Cove Burying Ground in Eastham, Massachusetts.

Death and burial of William Collier
William Collier died sometime before July 5, 1671, when men were appointed to administer his estate. He was buried in Myles Standish Burial Ground, Duxbury.

References

1580s births
1671 deaths
People from Southwark
People from Duxbury, Massachusetts
Year of birth uncertain
English emigrants to Massachusetts Bay Colony
Colonial American merchants
People of colonial Massachusetts
Burials at Myles Standish Burial Ground
American grocers
British grocers

William Collier (colonist)


A motorboat or speedboat is a boat which is powered by an engine (also commonly called a motor). Some motorboats, especially those used for water skiing, may have two engines. Some motorboats are made with inboard engines built in; others attach an outboard motor containing the internal combustion engine, the gearbox and the propeller in one portable unit.

An inboard/outboard contains a hybrid of a powerplant and an outboard, where the engine is installed inside the boat, and the gearbox and propeller are outside.

Boats

Motorboat


Cao Guojiu, literally Imperial Brother-in-law  Cao, is a Chinese mythological figure and one of the Eight Immortals in the Taoist pantheon. His real name was Cao Yi while his courtesy name was Jingxiu, and he was better known to his contemporaries as Cao Jingxiu.

Cao Guojiu is believed to be a descendant of Cao Bin, a general of the early Song dynasty, and a younger brother of Empress Cao, the wife of Emperor Renzong of the Song dynasty. As none of Emperor Renzong's sons survived their father, the emperor designated a younger male relative, who later became Emperor Yingzong, as his successor. As such, Cao could not have been a maternal uncle of Emperor Yingzong, so his "Imperial Uncle" status seemed ambiguous. However, as the Chinese character jiu (), which means "maternal uncle", can also mean "wife's brother", it is believed that the latter meaning should apply to Cao. In other words, Cao was the "Imperial Brother-in-Law" of Emperor Renzong rather than an "Imperial (Maternal) Uncle" of any Song dynasty emperor.

Cao's younger brother, Cao Jingzhi (), abused his relationship with the imperial family by bullying others and engaging in corrupt practices. Cao tried to persuade his brother to change his ways but he did not listen. In the meantime, he also used his family fortune to help the poor and tried to make up for his brother's misdeeds. One day, Cao Jingzhi was accused by other officials in the imperial court of corruption and abuse of power. Cao Guojiu felt so ashamed and disappointed by his brother's misconduct that he gave up his official career and went to the countryside to lead a reclusive life. During this time, he met the immortals Zhongli Quan and Lü Dongbin, who taught him Taoist magical arts. After many years of practice and cultivation, Cao himself also became an immortal.

In other versions of his myth, he was Emperor Renzong's actual brother and attempted to reform Renzong due to his political corruption.

Cao is often depicted dressed in official robes and holding a jade tablet or paiban (clapper). He is also regarded as the patron deity of acting and theatre.

Modern references
In the television show Jackie Chan Adventures, Cao was shown to be the Immortal who sealed away Tchang Zu, The Thunder Demon.  He was depicted as missing his lower right leg, seemingly mistaken for Li Tieguai, and was instead later revealed as the Immortal who first sealed away Bai Tza, The Water Demon by way of the gourd that Uncle used to later seal her away permanently.

References

Health gods
Eight Immortals
Arts gods

Cao Guojiu


Warren House Colliery was a coal mine situated to the north of Rawmarsh, near Rotherham, South Yorkshire, England.

The colliery within lands owned by Earl Fitzwilliam was opened in the early 19th century and closed in, or shortly after, the First World War. The pit was leased to Wakefield-based agents J. J. Charlesworth & Company. The colliery was connected underground with two other local Charlesworth pits, Warren Vale Colliery and Kilnhurst Colliery.

Some remains of the colliery buildings and one of the spoil heaps still remain after almost 100 years after closure.

References
 Official handbook of Rawmarsh Urban District Council, 1959.

Coal mines in Rotherham
Coal mines in South Yorkshire
Underground mines in England

Warren House Colliery


Maria Bonita was the nickname of Maria Déia, a member of a Cangaço band, marauders and outlaws active in the Brazilian Northeast in the 1920s and 1930s. Maria Bonita means "Beautiful Maria". She has the status of a 'folk heroine' in Brazil. There is some inconsistency over the original name of Maria Bonita, with Maria Alia da Silva and Maria Gomes de Oliveira also attributed.

Life
She was the girlfriend of "Captain" Virgulino Ferreira da Silva, better known as Lampião (Portuguese pronunciation: [lɐ̃ˈpjɐ̃w], meaning "lantern" or "oil lamp"), the outlaw bandit leader. She was raised in the Jeremoabo area of the State of Bahia.

Virgulino's father was killed in a confrontation with the police in 1919. Virgulino sought vengeance and proved to be extremely violent in doing so. He became an outlaw and was incessantly pursued by the police (whom he called macacos or monkeys). The cangaceiro bandit's weapons were mostly stolen or obtained by bribery from the police and paramilitary units and consisted of Mauser military rifles and a variety of smaller firearms including Winchester rifles, revolvers and the prized Luger semi-automatic pistol. The band, whose numbers varied between about a dozen up to a hundred, attacked small towns and farms in seven Brazilian states, fought pitched battles with paramilitary police, killed people and cattle, extorted money, kidnapped hostages for ransom, tortured, fire-branded, maimed, raped, and ransacked.

Maria Bonita joined Lampião and his bandits in 1930, aged in her early twenties. Like other women in the band, she dressed like the cangaceiros and participated in many of their actions. At the time she joined the bandits she was semi-estranged from her husband, José Nenem, a cobbler. The band travelled on horseback wearing leather outfits including hats, jackets, sandals, ammunition belts, and trousers to protect them from the thorns of the caatinga (dry shrubs, cacti and brushwood typical of the dry hinterland of Brazil's Northeast). The women who joined bandit groups were often termed cangaceiras. The cangaceiras were as hardy as the male bandits, they were also well-armed and were trained in the use of weapons. They were often involved in battles with the military police; Maria Bonita and a second female bandit were killed in a shoot out, and another woman in the band, Dadá, was wounded in a later battle with the police and had to have her leg amputated.

Maria and Lampião had a daughter, named Expedita, in 1932. A number of cangaceiras joined the band over the many years of its existence, and it was usual for Lampião to personally attend any births. Such children, including Lampião's own, were fostered out to settled relatives or friends of the cangaceiros, or left with priests. Expedita, after the deaths of her parents, was raised by her uncle, João Ferreira. Of the 5 Ferreira brothers he was the only one who did not become an outlaw. A number of recorded anecdotes indicate that Maria and the other women in the band sometimes moderated excesses of cruelty by intervening on behalf of victims threatened by Lampião and the other cangaceiros.

Death
On July 28, 1938, Lampião and his band were betrayed by one of his supporters and were ambushed in one of his hideouts, the Angicos farm, in the state of Sergipe, by a police troop armed with machine guns. In a quick battle, Lampião, Maria Bonita and 9 of his troops were killed, though around 40 others escaped. The heads of the dead bandits were cut off and sent to Salvador, the capital of Bahia, for examination by specialists at the State Forensic Institute, and later, for public exhibition, and only in 1969 were the families of Lampião and Maria Bonita able to reclaim the preserved heads to finally bury them.

Folk heroine
The relationship of Maria Bonita and Lampião is firmly entrenched in Brazilian folk history, with a similar 'romance and violence' notoriety that Bonnie and Clyde achieved in the USA. The story of Lampião and Maria Bonita, has been the subject of innumerable folk stories, books, comic books, popular pamphlets (cordel literature), songs, movies, and a number of TV soap operas, with all the elements of drama, passion, and violence typical of "Wild West" stories. The Brazilian popular song "Acorda Maria Bonita" celebrates the cangaceira.

References

Bibliography

Curran, M.J. (2010) Brazil's Folk-Popular Poetry - a Literatura de Cordel, Trafford Publishing.
Eakin, M.C. (1998) Brazil: The Once and Future Country, Palgrave Macmillan.
Singelmann, Peter (1975) Political Structure and Social Banditry in Northeast Brazil. Journal of Latin American Studies, Vol. 7, No. 1.

Brazilian folklore
1938 in Brazil
Year of birth missing
1938 deaths
20th-century Brazilian criminals
People shot dead by law enforcement officers in Brazil
People from Paulo Afonso

Maria Bonita (bandit)


Robin MacPherson (born 1959, Glasgow, Scotland) is a filmmaker and was Chair in Creative Industries at the University of the Highlands and Islands before retiring.  Previously he was Professor of Screen Media at Edinburgh Napier University, director of Screen Academy Scotland (a Creative Skillset Film Academy partnership with Edinburgh College of Art) and of the Institute for Creative Industries at Edinburgh Napier.

Educated at Garthamlock Secondary School, Glasgow, and at the University of Stirling he entered the film and television industry in 1989 as a producer at Edinburgh Film Workshop Trust where he made documentary, current affairs and drama including the BAFTA-nominated half-hour drama, The Butterfly Man. In 1997, he established Asylum Pictures, an independent production company whose films include the Scottish-BAFTA nominated documentary, Tree Fellers, and (as co-producer) the award-winning Fellini: I'm a born liar.

After two years as Development Executive at Scottish Screen in 2002 he joined Edinburgh Napier University where, in 2005, he became the first Director of Screen Academy Scotland. From 2008 to 2015 he led ENGAGE, an EU MEDIA-funded collaboration with the Irish, Estonian and Finnish national film schools.

In 2010 he was appointed by the Scottish Government to the Board of Creative Scotland. on which he served until July 2015. In 2011 he was appointed as Director of the Institute for Creative Industries at Edinburgh Napier University. From 2011 to 2015 he was a member of the Board of Creative Edinburgh.

References

Living people
Film people from Glasgow
Academics of Edinburgh Napier University
Alumni of the University of Stirling
Scottish bloggers
Date of birth missing (living people)
1959 births

Robin MacPherson


Francis Martin Sewell Stokes (16 November 1902, London – 2 November 1979, London) was an English novelist, biographer, playwright, screenwriter, broadcaster and prison visitor.  He collaborated on a number of occasions with his brother, Leslie Stokes, an actor and later in life a BBC radio producer, with whom he shared a flat for many years overlooking the British Museum.

Life
Born in Hampstead, London, Stokes was educated at Cranleigh School in Surrey and his first job in 1918 was as a book reviewer and gossip writer with The Sunday Times in London.  Three years later, he became assistant editor for T.P.'s Weekly, a radical newspaper founded in 1902 by the Irish journalist and member of parliament Thomas Power O'Connor.

The author became friendly with the American dancer Isadora Duncan towards the very end of her life, and in 1928, shortly after her death, wrote a memoir of his conversations with her entitled Isadora, an Intimate Portrait. Years later, he co-wrote the film script for the BBC TV film Isadora Duncan, the Biggest Dancer in the World, with director Ken Russell.  Starring Vivian Pickles and Peter Bowles, the film was first broadcast on 22 September 1966.  In 1968 his memoir of Duncan, together with her autobiography, My Life, were adapted by Melvyn Bragg for the film Isadora (US title: The Loves of Isadora), directed by Karel Reisz and starring Vanessa Redgrave and James Fox.  In his 1954 novel Recital in Paris the character of Sarah Menken was substantially modelled on that of Isadora Duncan.

Stokes, together with Christine Jope-Slade, wrote the play Britannia of Billingsgate, which was produced by A. R. Whatmore at the St Martin's Theatre, London, on 30 November 1931 and made into a film of the same name, directed by Sinclair Hill, in 1933.  Other screenwriting successes followed in 1934 with Rolling in Money, directed by Albert Parker, and in 1941 when Stokes co-wrote, with Lydia Hayward, the script for the film You Will Remember, directed by Jack Raymond. The film was based on the life of the popular late Victorian songwriter Leslie Stuart, played here by Robert Morley, and co-starred Emlyn Williams as Stuart's best friend.

Stokes co-wrote a series of plays with his brother, Leslie, beginning with Laura Garnett, whose main character had much in common with Isadora Duncan.  The play was first performed at Dobbs Ferry, New York State, in July 1934 with Ethel Barrymore and later in the Arts Theatre Club, London, in September 1936 with Mary Clare playing the title role.

The Four Partners, a play in German by Jochen Huth, was adapted by Stokes and produced by Margaret Webster at London's Q Theatre in October 1936.

Oscar Wilde was the most successful of the Stokes brothers' plays.  The play was based on the life of Oscar Wilde in which Wilde's friend, the controversial author and journalist Frank Harris, appears as a character. Starring Robert Morley, John Bryning and Frith Banbury, directed by Norman Marshall, the play had its first production at London's Gate Theatre Studio in 1936. Recast, with Francis L. Sullivan in the title role, it was revived at London's Arts Theatre Club in 1938. Because of its subject matter the play was not granted a licence by the Lord Chamberlain and could, therefore, only be staged in England at a theatre club where membership was required.  There were no such problems in New York where the play opened the same year, again with Morley in the title role, on Broadway at the Fulton Theatre where it ran for 247 performances.

At that time Robert Morley was known in America only through his portrayal of Louis XVI, the French King, in the film Marie Antoinette and it was his success with the role of Wilde that launched his career as a stage actor on both sides of the Atlantic. The play, which contains much of Wilde's actual writings, opens in Algiers where Wilde and his friend Lord Alfred Douglas are on holiday together.  They return to London for the opening of The Importance of Being Earnest and to attend Wilde's libel suit against the Marquess of Queensbury, Lord Alfred's father.  Wilde's own trial and conviction follow and the play ends in Paris with his decline into alcoholism after his release from prison.

The Stokes brothers continued their collaboration with Out of Sight, a play about prison life, first presented at the Gate Theatre Studio on 4 March 1937 where it was directed by Norman Marshall and later the same year there was another production of the play at the Tavistock Little Theatre which was directed by Vincent Pearmain. Next came Frozen Glory, a play about polar exploration, first performed at the Gate Theatre Studio on 10 February 1938 where it was directed by A.E.Filmer.

From 1941 to 1945 he served as a probation officer at Bow Street Magistrates' Court, London, and in 1950 he wrote an autobiographical account of his experiences there, entitled Court Circular published in paperback by Pan Books. In 1952 the book was made into the film I Believe in You, directed by Basil Dearden & Michael Relph and starring Celia Johnson, Cecil Parker, Harry Fowler, Joan Collins and George Relph. Stokes described a tour through British prisons of the day in his book Come to Prison, published in 1957, and in 1965 his book Our Dear Delinquents, on a similar theme, was published.

Stokes was a friend of the actor Robert Morley and in 1953 wrote, Without Veils.  The Intimate Biography of Gladys Cooper, about Morley's mother-in-law, the actress Gladys Cooper. Later, in 1966, he co-wrote a biography of Robert Morley himself entitled Robert Morley "Responsible Gentleman". The title alludes to the fact that Morley started his acting career as a "responsible gentleman", an actor who portrayed professional men such as doctors, lawyers and official receivers in bankruptcy cases.

In 1955 Stokes completed the novel, Beyond His Means, based on the life of Oscar Wilde. The film Oscar Wilde, based on the Stokes brothers' play, and directed by Gregory Ratoff, starred Robert Morley, Ralph Richardson, was released in 1960.  This coincided with the release of The Trials of Oscar Wilde, a film directed by Ken Hughes, in which Peter Finch played the title role.  The title of Stokes's memoir, Rarely Pure, published in 1952, was taken from the line "The truth is rarely pure and never simple" spoken by character Algernon Moncrieff in Oscar Wilde's play The Importance of Being Earnest. The memoir is subtitled "The Memoirs of a Young Man in Search of Sex".

Stokes worked as a screenplay advisor on Tony Richardson's films The Loneliness of the Long Distance Runner (1962), starring Tom Courtenay and Michael Redgrave, and on Tom Jones (1963), starring Albert Finney and Susannah York, and based on the novel of the same name by Henry Fielding.

Works

Biographies & Essays
Personal Glimpses (T. Werner Laurie, London, 1924)
Isadora, an Intimate Portrait (Brentano's Ltd, New York, 1928)
Pilloried! (D.Appleton & Co., New York, 1929)
Hear the Lions Roar (H.Shaylor, London, 1931)
Monologue (Hutchison, London, 1934)
Court Circular (Michael Joseph, London, 1950)
Rarely Pure (Peter Davis, London, 1952)
Without Veils: the intimate biography of Gladys Cooper, introduction by Somerset Maugham (Peter Davis, London, 1953)
Come to Prison (Longmans, London/New York, 1957)
Our Dear Delinquents (Heineman, London, 1965)
Robert Morley - Responsible Gentleman (with Robert Morley; Heineman, London, 1966)
Robert Morley - A Reluctant Autobiography (with Robert Morley; Simon & Schuster, New York, 1967)
Isadora, an Intimate Portrait (Panther, London, 1968)

Novels
The Eternal Honeymoon, Leonard Parsons, London, 1927.
Autumn Woman, Hutchison & Co., London, 1929.
Laugh at My Weeping: a novel in four parts, Hutchison & Co., London, 1935.
Recital in Paris, Peter Davis, London, 1954.
Beyond His Means, Peter Davis, London,1955.
A Clown in Clover, Peter Davis, London, 1956.
Gastspiel in Paris: Roman, Zettner, Wŭrzburg:Wien, 1956.
Ivar der Glückliche: Roman, Hera Verl., Wilhelmshaven, 1957.

Non-Fiction
 Robert Morley's Second Book of Bricks (with Robert Morley; Weidenfeld & Nicolson, London 1981)

Plays
Britannia of Billingsgate, a comedy in four acts, by Christine Jope-Slade and Sewell Stokes, Samuel French Ltd, French's Acting Edition No 194, London 1931.
Laura Garnett, by Leslie & Sewell Stokes, A Play in Three Acts, 1934.
The Four Partners, a Comedy in Three Acts, adapted from the German of Jochen Huth by Sewell Stokes, 1936.
Out of Sight, by Leslie & Sewell Stokes, Secker & Warburg, London, 1937.
Oscar Wilde, a play in 3 acts with a preface by Lord Alfred Douglas, by Leslie & Sewell Stokes, M. Secker & Warburg, London, 1937.
Frozen Glory, by Leslie & Sewell Stokes, Secker & Warburg, London,1938.
Half an Hour in Quod: a sketch, by Leslie & Sewell Stokes, Samuel French, London, 1938.
Mother's Boy, A Comedy in Two Acts, starring David Tomlinson and Peggy Mount, 1964.

Films
 Britannia of Billingsgate (1932)
 Rolling in Money (1934)
 You Will Remember (1941)
 I Believe in You (1952)
 Oscar Wilde (1960)
 The Loneliness of the Long Distance Runner (1962)
 Tom Jones (1963)
 Isadora Duncan, the Biggest Dancer in the World (1966)
 Isadora (1968)

Articles & Letters
Sheila Kaye-Smith Letters, 1909-1937 by Sheila Kaye-Smith & Sewell Stokes.
The Story of J.M.B. by Sewell Stokes, Theatre Arts, Vol.XXV No.11, New York: Theatre Arts Inc, Nov 1941, pp 845–848.
W.Somerset Maugham, by Sewell Stokes, Theatre Arts, 29, 94–100, New York, Feb.1945.
A Conversation in Ebury Street by Sewell Stokes, The London Magazine, Nov. 1956.

External links

1902 births
1979 deaths
People educated at Cranleigh School
Writers from Hampstead
Probation and parole officers
20th-century English novelists
20th-century English dramatists and playwrights
British male dramatists and playwrights
English male novelists
20th-century English male writers

Sewell Stokes