Me & You Magazine Issue 10

MARY EVANS PICTURE LIBRARY ME & You is the twice-yearly magazine of the Mary Evans Picture Library, designed to share the amazing diversity and range of pictures in the library.

The features have been put together by Mary Evans staff, tapping into their specialist knowledge and love of history, and, naturally, the images all come from the library's own archive or from one of our many contributor collections. Features are also available for licensing on request.

Issue 10, Autumn 2013

Published by the Mary Evans Picture Library 59 Tranquil Vale, London SE3 0BS T: 020 8318 0034 www.maryevans.com E: pictures@maryevans.com

We hope you find ME & You an entertaining read, a chance to immerse yourself in a constantly fascinating past and a source of inspiration for upcoming projects.

Nameplate image ClassicStock/Mary Evans

Mary Evans Picture LIbrary

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In retrospect, The Sphere’s report on the visit of the Austrian Archduke to Britain in November 1913 is saturated with irony.

Franz Ferdinand’s destiny was not to succeed his uncle, the Emperor Franz Joseph, as heir to the Austro-Hungarian

The Great Naval Race, cartoon in Der Wahre Jacob 22nd June 1909 (image 10055863)

Archduke Franz Ferdinand and his wife driven in a carriage.

Silhouette by Olga Koch, c.1910 (image 10246400)

Imagno/Mary Evans

eep interest is evinced in the forthcoming visit of Archduke Franz Ferdinand and his wife, the Duchess of Hohenberg, to the King and Queen at Windsor. He is one of the richest men in the world and with the years creeping on the Emperor, who is now 83, he is coming into prominence as the future sovereign."

Mary Evans Picture Library

For all this close attention to military advancements, who or what Britain was arming against was unclear. Certainly, besides practising war craft alongside Britain in China, Germany, its society and particularly its royalty, continued to be a source of endless interest to the British press. The arrival and welcome in Brunswick of its newly married Duke and Duchess (formerly Princess Victoria Louise, the Kaiser’s daughter) in the autumn of 1913 commanded several pages in The Sphere while in May 1914, the christening of their first child, little Ernest Augustus gave the magazine the chance to print more

Advertisement for Fox's Puttees, declared, the best leg gear for sport.' Within months, the puttee would become more commonly associated with leg gear for British soldiers. Advertisement in The Sphere, 25th October 1913 (image 10809673)

An advert on 20th June 1914 for the ‘bracing Yorkshire coast’ suggested Scarborough as a holiday destination. The town would become the victim of a coastal bombardment in December that year. portraits, show picturesque scenes of the town and to devote a big double page spread to pictures of the Duchess’s eldest brother, the German Crown Prince and his family. A year later, the Crown Prince – ‘Little Willie’ as he was dubbed – would be vilified and lampooned in the British press.

In May 1914, the latest modes from Berlin were published for the interest of female readers, a feature on ‘German Princes at Sport’ in November 1913 included Britishborn Prince Charles Edward of Saxe-Coburg in lederhosen and full German hunting garb and the magazine reported admiringly on German civic pageantry when it printed a photograph of the ‘Maidens of Brunswick’ in their traditional costume.

Queen Sophie of Greece, a sister of the Kaiser, was photographed on the beach at Eastbourne in October 1913 reading a copy of The Sketch, who naturally published the picture. The Sphere even included a ‘German Section’ in their 29th November 1913 issue, though it is interesting that, consciously or not, the reports were mainly of a military flavour with diagrams of the Kiel Canal, new German anti-aircraft guns and the Kaiser at the annual swearing-in of recruits at Potsdam all included. Beneath King George V with Kaiser Wilhelm II in Berlin in 1913 (image 10063251)

© Illustrated London News Ltd/Mary Evans

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As the centenary of the Great War approaches, and we begin to examine the conflict in its myriad forms, its origins remain bafflingly oblique to many, a puzzle still intangible when leafing through magazines in our archive from the immediate pre-war period. Illustrated magazines such as The Sphere were published weekly and combined news on events at home and abroad with general interest features on subjects as varied as fashion, transport, the arts and archaeology. In the twelve months leading up to August 1914, the formula continued, and The Sphere, along with other magazines we hold in our archive covered a diversity of topics – the tango craze, the arrival of the sensational Ballet Russes in London, a new precocious French tennis talent in the form of 14 year old Suzanne Lenglen, the escalating problems in Ulster, and Ernest Shackleton’s Antarctic expedition, which set off in January of 1914. There are some hints at the growing tensions that would lead to war, most obviously manifested in a mounting obsession with Britain’s naval expansion and that of her rivals. In October 1913, G. H. Davis (who would eventually go on to work for The Illustrated London News) drew a diagram visualising ‘Dreadnought Fever,’ showing how the great powers had spent £310 million on building 150 such vessels since the original British dreadnought first made an appearance in 1905. A couple of weeks later, another picture informed readers that Britain could boast sixteen 1st class dreadnoughts while more chillingly, an illustrated article on mines and torpedoes published 3rd January 1914 described the torpedo as, ‘a weapon of terrible power.’ Perhaps most intriguingly, in Tientsin in China in the autumn of

1913, international military manoeuvres took place involving 1700 British, 1500 French, 1200 Japanese, 900 Russian and 300 German troops.

© Illustrated London News Ltd/Mary Evans

throne. Instead, less than eight months later his assassination by Serbian nationalists in Sarajevo was to be the catalyst that would plunge Europe into war on an unprecedented scale.

The family of Kaiser Wilhelm II as reproduced in The Sphere 22nd November 1913 for the interest of British audiences (image10528900)

Austrian Archduke Franz Ferdinand on his arrival in London, 1913 (image 10523829) SZ Photo/Mary Evans

Philip Dadd, was also killed in the war.

When Britain – and the British press – was shaken suddenly awake by the outbreak of war in early August, all other news was swept aside and soon, war became the all-consuming topic. Coverage of the current ‘big stories’ were eclipsed. In its opening page, The Sphere editorial summed up the turnaround from peace to war: ‘Since the previous issue of The Sphere was published events have marched with extraordinary rapidity, and the war cloud which appeared on the south-eastern horizon of Europe has now spread into one vast canopy until it overshadows the whole of the Continent and the British Isles.’

The summer season in London is celebrated on the front cover of The Sphere, 20th June 1914 (image 10809664)

this innocent knowledge-sharing, there was a message about a growing threat.

Certainly, there is a sense that friendly rivalry such as that drawn by G. H. Davis comparing Germany’s hulking liner, ‘Vaterland’ with Britain’s newly launched ‘Aquitania’, could easily descend into something more ominous.

Witnessing society dancing into the shadow of war through the pages of the magazines in our archive is a fascinating experience. They may not give clear cut answers to the question of why war erupted in Europe in 1914, but they do help us appreciate the underlying complexities.

Above all, they convey a dawning and very certain realisation that things would never be the same again.

Luci Gosling 2013

Growth of the world's Dreadnoughts by G.H. Davis in The Sphere, 11th October 1913 (image 10528880) © Illustrated London News Ltd/Mary Evans

Piccadilly Circus just before Theatre-time on a June evening, 1914

by Philip Dadd in The Sphere, 20th June 1914 (image 10809671)

Elsewhere, the changes and tragedies wrought by four years of war seem more striking when browsing through the pages of pictures and photographs from 1913 and 1914. An advertisement for Fox’s Puttees claimed to be ‘the best leg gear for sport’ but soon the puttee would be most commonly associated as the best leg gear for war. Another advert on 20th June 1914 for the ‘bracing Yorkshire coast’ suggested Scarborough as a holiday destination. The town would become the victim of a coastal bombardment in December that year. Ettie, Lady Desborough, appeared on the front cover of The Bystander magazine in August 1914. She would lose her two promising elder sons, Julian and Billy Grenfell on the Western Front. Two wonderful pictures of theatre-goers arriving at Victoria Station and swarming around Piccadilly Circus from The Sphere seem to have a greater resonance when we know that the artist, © Illustrated London News Ltd/Mary Evans

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he concept of flower symbolism goes back many centuries, and examples of it can be found in many countries.

One theory for its origin is that in some countries where women were not taught to write they used flowers instead to convey their messages.

Mary Evans Picture Library

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In the 19th century there was a huge surge of interest in the language of f lowers or 'f loriography', especially in the UK, Europe and America, Title page of The Language with hundreds of Flowers, illustrated by Kate Greenaway, 1884 of books (image 10028927) published on the subject.

Two dictionary-type books published in France seem to have set the trend: one by B. Delachénaye in 1810, and another by Louise

Interfoto/Mary Evans

A famous example from English literature is the madness and death of Ophelia in Shakespeare's Hamlet. Having handed out some meaningful herbs and flowers to various characters during her mad scene (rosemary, pansy, fennel, columbine, rue, daisy, violet), she drowns in a stream with weeds and flowers in her hands (crow flowers, nettles, daisies, long purples). In his famous painting Ophelia (1852), the Pre-Raphaelite artist John Everett Millais combines flowers from both scenes, and adds a few more of his own (roses, forgetme-nots and poppies).

Cortambert (alias Charlotte de Latour) in 1819, with an English translation of the latter appearing in 1820. By the end of the century many more 'floral dictionaries' had emerged, both in the UK and in America, some including poetry and/or illustrations.

A book entitled Flower Lore: The Teachings of Flowers, Historical, Legendary, Poetical and Symbolic (1879) by a Miss Carruthers of Inverness became a standard source, and one of the best known examples, thanks to its illustrations, is Kate Greenaway's The Language of Flowers (1884), still in print today.

A man giving a woman snowdrops could be an expression of hope, while violets would signify faithfulness.

All of this came at a time when flowers were part of a coded language of courtship — a man giving a woman snowdrops, for example, could be an expression of hope,

Ophelia, Sir John Everett Millais, Tate Gallery, London (image 10227080)

with flowers (but mind your language)

while violets would signify faithfulness.

The nosegay (a small bouquet) was very popular with the Victorians, either as a gift or as a wedding bouquet. Flower symbolism also appeared on greetings cards (especially Valentine's cards), postcards, in embroidered form, as well as in accessories such as fans and ephemera such as soap wrappers.

Roses to most people's minds signify love, but the different colours, and whether in bud or full flower, have different shades of meaning: single rose (simplicity), deep red (bashful shame), damask (brilliant complexion admired), cabbage (ambassador of love), white (I am worthy of you), white and red together

(unity), white bud (girlhood), red bud (pure and lovely).

But some flowers have negative connotations -- here are a few which are perhaps best avoided: Aconite (misanthropy), Columbine (folly), Lavender (distrust), Morning Glory (affectation), Narcissus (egotism), Oleander (beware) or Yellow Carnations (rejection).

With all this floral activity going on there was bound to be a cynical backlash sooner or later.

The scientist and novelist H.G. Wells wrote a humorous essay (circa 1897) ridiculing romantic flower symbolism, ending with the following words: "In these days we season our love-making with talk about heredity, philanthropy, and sanitation, and present one another with Fabian publications instead of wild flowers. But in the end, I fancy, the business comes to very much the same thing."

Roses have different shades of meaning.

Damascena coccinea, Portland rose, painting by Pierre Joseph Redoute from Les Roses Vol. 1, 1817 (image 10704987)

Whether we agree or not with H.G., the flower industry still seems to be flourishing nicely today!

Gill Stoker 2013

Decorative fan with each section explaining the symbolism of flowers, c.1910s (image 10499417)

Natural History Museum/Mary Evans

Retrograph/Mary Evans

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1) Geography bewitched, a caricature map of England and Wales, 18th century (image 10722317) 2) Leo Belgicus map with the provinces of the Low Countries depicted as a lion, 16th century (image 10687213) 3) Dutch map of Europe shaped like a woman, 18th century (image 10722620) 4) Map of Europe as a queen, 16th century (image 10723080) 5) Caricature map of Europe with Russia as a bear devouring the Crimea, Britain as a spectator with binoculars, Greece as a crab biting Turkey and Ireland as a crying child, 1877 (image 10295485) 6) Map of a cloverleaf world, 16th century (image 10720280) 7) German map of Europe with combatants of the First World War, c.1915 (image 10413022) 8) Anglo-saxon map of the world, 10th century (image 10722521) 9) Porcineograph map of the gehography [sic] of the United States in the shape of a pig, c.1876 (image 10588123) All images Antiquarian Images/Mary Evans except 10687213 and 10295485 Interfoto/Mary Evans; 10413022 Grenville Collins/Mary Evans; and 10588123 Library of Congress/Mary Evans

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number that year, the magazine published ‘The Pan Fox-Trot’ composed by Leo T. Croke and ‘played by all the leading orchestras in London and elsewhere.’

If Pan represented the 1920s enthusiasm for the cult of Pan, it was not the only magazine to recognise the god as a potent emblem of the times. Other titles such as The Bystander and The Sketch frequently published pictures casting modern day flappers in sylvan landscapes, their innocent ramble or solitary reading session suddenly interrupted by the appearance of a hairy-haunched, cloven hoofed companion with a lascivious expression signalling a mind that was as horny as his forehead. He made an unnerving suitor, stalking his prey through mountains and wooded glades, or even materialising as an apparition in suburban gardens, blowing seductive and hypnotising melodies on his pan-pipes, which, as legend has it, were fashioned from reeds into which the nymph Syrinx was transformed when fleeing from his amorous advances. The contrast of

Pan made an unnerving suitor, stalking his prey through mountains and wooded glades.

Strange Incense: a rather sinister looking faun watches over a woman sleeping, unaware, in a deckchair. Reginald Higgins in The Sketch, 16th July 1930 (image 10417852) Mary Evans Picture Library

animal legs, naked torso and virile hirsuteness with the pristine, bobbed neatness of the 1920s female, make such scenarios as erotically charged as they are repellent.

Other scenes are less disquieting – sometimes a more boyish Pan entertains

Cover of Pan magazine, 24th January 1920 (image 10195870)

© Illustrated London News Ltd/Mary Evans

n 15th January 1920, the Pan Ball was held at Covent Garden in aid of Bart’s Hospital. Among the attendees were the actresses Betty Chester, who came as a Bacchante, Anita Benson in ‘a dress of piquant charm,’ and sisters Iris and Viola Tree in the costumes of a futurist Pan and tree nymph respectively. The ball’s theme of Pan, Greek God of pastures, forests, flocks and herds, was to be one which would dominate the early 1920s. The ball had been organised by a new magazine, launched a couple of months earlier. Pan described itself as ‘a journal for saints and cynics’ and was devoted to a light-hearted confection of entertainment, gossip, wit and illustration aimed at creative and bohemian readership. Very much in tune with the fresh, post-war vogue for celebrating youth and vitality, the magazine attracted some of the finest artistic and literary talent. Covers were designed variously by H. H. Harris, Herbert Pizer, William Barribal, Wilton Williams, H. M. Bateman and Tom Purvis; writers included E. F. Benson, Reginald Arkell and the gossip columnist Olivia Maitland Davidson, who had famously written the ‘Letters of Eve’ column in The Tatler magazine, and who defected to Pan to produce the column there with pictures by Dolly Tree. As would be expected of a god who was also the universal deity, Pan’s influence saturated every aspect of the magazine. The editor’s letter was replaced by ‘Pan’s Parable’; another column was entitled, ‘Pan’s Pipings’ while the women’s fashion page was known as ‘My Box’ by Pandora. In the 13th March 1920 issue, a poem, ‘Pan and Peter Pan’ was written by Panache and in its special spring

© Illustrated London News Ltd/ Modern Life in Mary Evans Silhouette by Pierrot in The Sketch, 5th November 1924 (image 10417831)

Rudolph Valentino as a faun, The Sketch 26th September 1923 (image 10051664)

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fairy-like nymphs, or fauns and satyrs caper with bright, young things on a golf course.

Nevertheless, the themes closely associated with Pan, those of spring, fecundity and a lusty vigour for life, offered illustrators endless inspiration.

Iberfoto/Mary Evans

Mary Evans Picture Library

Pan – and associated mythological figures – had been popular with artists over the centuries from the phallic figures of the Classical age to the visions of Rubens in the 17th century, but the renaissance of Pan in the 1920s owed a debt in part to the arrival of Sergei Diaghilev’s Ballets Russes in London in 1912. The combination of dazzling costumes and sets by Leon Bakst, music by Claude Debussy and an animalistic, muscular performance by Nijinsky in L’après-midi d’un faune (Afternoon of the Faun) were a sensation. Inspired by the designs on Grecian urns and vases, Faun was considered one of the first modern ballets, its inescapable erotic sub-text imprinting itself firmly in the minds of those who witnessed it and triggering a cult of Pan that quietly gathered followers throughout the war years. Grecian-style, bare-footed dancing under the tutelage of pioneers such as Margaret Morris and Isadora Duncan became increasingly popular, and many fashion and hair styles among women frequently took inspiration from the Classical era. By the end of the war, as society looked ahead to a new, more optimistic decade, Pan and his followers had found the perfect time to flower.

In September 1923, L’après-midi d’un f aune was due to be adapted into a film with screen idol Rudolf Valentino in the starring role. The Sketch magazine printed a publicity shot of Valentino on its front cover, dressed in costume as the faun, his chest bare and burnished, his gaze sultry as his lips grazed his panpipes. Considering the magnetic effect the star had on the cinema-going public, it was an inspired casting decision that may very well have sent the world Pan-crazy. Unfortunately, though the script was written, the film was never produced and by the late-1920s, the cult of Pan, and the memories of the Ballets Russes were beginning to fade.

Pan’s star may very well rise again. Indeed, perhaps he never went away. One verse from Panache’s aforementioned poem, celebrating the immortal god’s irrepressible lust for life, is as relevant now as it was when written in 1920.

The Pipes of Pan by Elsie Harding in The Tatler, 11th December 1929 (image 10224245) © Illustrated London News Ltd/Mary Evans

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London shirkers, London workers, Ball-room, work-room, green-room lurkers, Do you think that Pan is dead Or his lusty years are sped?

When the midnight hour is ticking PAN’S alive, alive and kicking!

Snatch each hectic careless minute, And be thankful – PAN is in it!

Luci Gosling 2013 Aphrodite and Pan statue, Hellenistic marble sculpture (image 10212208)

Vaslav Nijinsky in the title role in L’après-midi d’un faune, 1912 (image 10668718) Everett Collection/Mary Evans

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Celia Hammond shot by Donovan. Inside, the familiar face of Joanna Lumley peers out at us, wearing diamonds in an advert for Bensons jewellery.

Another cover, soon after, features Italian designer Emanuel Ungaro together with hairdresser Vidal Sassoon; yet another has Twiggy and Justin de Villeneuve squeezed into the front of a sports car. Inside one issue is a photograph of Jackie Kennedy on a visit to the capital, clutching the latest issue of London Life under her arm. Four pages of photographs of the London Life party, held in the newly opened GPO Tower (now the BT Tower) in May 1966 is visual evidence of a guest list – David Bailey, Jane Asher, Nubar Gulbenkian, Peter Blake, David Hockney, Mick Jagger - that reads like a who’s who of the swinging sixties. London Life, it seems, placed itself firmly at the London Life burst onto the scene in October 1965 and centre of the sixties scene. Which makes the magazine’s burned brightly for the briefest of moments. The magazine 21st century obsolescence all the more perplexing. rose from the ashes of The Tatler, a title which had been a flagship for Illustrated Newspapers Ltd for six decades but Peter Akehurst and John Benton-Harris were both staff was considered passé for the new beat generation. Boxer photographers on the magazine for its brief life, ready to go suggested a new, hip, fresh magazine mapping out cultural, wherever the editor sent them at a moment’s notice. happening London. It would feature the movers and Akehurst recalls it was not unusual to do over ten jobs a day shakers of the city, and mix it up with a heady cocktail of – “we just used cabs to get around’ - a gruelling schedule for fashion, gossip, reportage, restaurants, sport, events and anybody. entertainment. Its design, using hand-drawn Bodoni typeface to create an oversized dateline on its cover was the creation of David Hillman, (founding partner of design agency Pentagram). Launching slap bang in the middle of the 1960s, London Life could have been a standard bearer for the decade, but instead lasted for 15 months, folding abruptly on Christmas Eve 1966. Today, all that is left of this unique slice of the sixties are five volumes sitting on a shelf alongside rather more successful and certainly more long-lived titles in the Illustrated London News archive housed at Mary Evans Picture Library.

Today, even the briefest flick through any one of these volumes is an invitation to enter a world that is so quintessentially ‘sixties’ it would be clichéd if it weren’t so cool. The very first cover featured

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© Illustrated London News Ltd/Mary Evans

nce upon a time, in the swinging sixties, there was a magazine. The editor was Mark Boxer, cartoonist, social commentator and founder of the Sunday Times magazine. The managing editor was a young man called David Puttnam who left his job at advertising agency, CDP to try something new.

Photographic contributions came from Terence Donovan, Ron Traeger and Brian Duffy while Gerald Scarfe caricatured the Beatles in one issue and Bailey in another. Jean Shrimpton was an occasional guest fashion editor with her male counterpart, Terence Stamp, and a young artist by the name of Ian Dury drew a picture of Tony Bennett for one of the front covers. The magazine was called London Life and considering its illustrious editorial cast, it should have lived happily ever after. Just over a year later, the magazine closed.

9th October 1965 issue, featuring Celia Hammond photographed by Terence Donovan (image 10470868); 22nd October 1966 issue, featuring Twiggy and Justin de Villeneuve photographed

by Peter Akehurst (image 10431151); 23rd October 1965 issue, featuring Emanuel Ungaro and Vidal Sassoon photographed by Brian Duffy (image 10425291)

Peter Akehurst with Diana Donovan and some of the staff of London Life Photograph Terence Donovan © Terence Donovan Archive

Donovan after meeting him at the magazine, describes her job as ‘a very steep learning curve’; challenging but fun too.

Donovan took a photograph of her with Akehurst during their London Life period. Akehurst is standing centre stage, Diana on his right with three more of the London Life girls.

The four of them look beautiful, a little deadpan and sullen. They are in raincoats for a fashion feature, coerced in front of the camera explains Diana, because the magazine couldn’t afford models. All London Life alumni agree that the magazine had ‘a great mix of people’ and that, despite the parties and the odd lost weekend, everyone was extremely hard working and dedicated.

Akehurst explains the demise of London Life as best he can.

The dream team that launched the magazine did not last long. David Puttnam, now Lord Puttnam, whose extravagance with budgets irked the management, departed in late 1965 together with Mark Boxer. Hillman followed shortly in the New Year. Their replacement was a Scot called Ian Howard, a Fleet Street old hand. Diana Donovan describes him as ‘a force’. A hard taskmaster, he hired and fired at will and partly for budgetary reasons, partly for its own sake, the magazine’s distinctive design changed. The huge date lines which characterised the early covers disappeared and although the magazine’s content and remit remained more or less the same, the mood in the team had changed and morale was low. Eventually, the tyrannical regime got too much for Akehurst who, given one 12 hour shift too many threw in the towel and quit just before Christmas in 1966. His timing couldn’t have been better. In the New Year, staff returned to the office to be told that the Both men, now in their sixties, recall their time at London magazine was closing with immediate effect.

Life with a mix of nostalgia and modesty. Akehurst recalls that when he heard of the position going at a new Could London Life have been a magazine to define the magazine, he met David Puttnam and was told to go and decade if it had survived? It’s difficult to tell. The magazine, shoot a photographic assignment on whatever he liked to as its title suggests, was London-centric but so were the test his mettle. He photographed some of the gypsies in an swinging sixties in general. Mary Quant, quoted in a encampment near his Hackney studio and was immedi- February 1966 issue entitled “What People Are Thinking” ately given the job. Puttnam advised him to visit Leopold’s said, ‘…everything is smashing in London just now – you and buy himself the new 35mm Pentax camera, and to used to get the feeling of excitement when you went away, choose whatever lenses he required. Things seemed to get but now you get it every time you get back.” even better when he was then instructed to share a rooftop studio with Lord Snowdon (‘Call me Tony’), who, Akehurst Peter Akehurst believes that the forgotten magazine deserves a place in history, crediting the eclectic team with describes as ‘a really nice guy’. creating a new look in journalism. “They took a critical and Satisfyingly, the photographers’ experiences on the informed look at class, culture, fashion and social attitudes magazine tick many boxes, fulfilling our expectations of – and recorded the beginning of an era which will always be what it might have been like to be a photographer on such known as ‘Swinging London’”. Sadly, in the end, the demise a magazine at such a time. Akehurst remembers a whisky- of London Life came down to money. Falling on financially fuelled day with Richard Harris when the first bottle of stony ground, the management ruthlessly killed the Scotch was opened at nine in the morning admitting, “I magazine off. Like so many other 20th century icons, didn’t remember much after that”. Another time, he London Life lived fast and died young, burnt out before it enjoyed a convivial drink in Sammy Davis Jnr’s dressing had a chance to grow old and stale. Perhaps it is better that room at the Prince of Wales Theatre while shooting way. rehearsals for the Royal Gala Performance. Benton-Harris once took his camera to The Pair of Shoes, a Mayfair Luci Gosling 2013 nightclub, the result of which is a picture of James Garner at the blackjack table, looking downcast having just lost a four figure sum. He ended the evening chatting to a rugged and rather sozzled fellow American who invited him to play baseball in Hyde Park. The drunk was Lee Marvin and Benton-Harris ended up playing baseball the next day with London Life cover from the cast of ‘The Dirty Dozen’ who were filming that month 15th January 1966 in England. (image 10470870) The picture editor on London Life, Diana Dare, who became Diana Donovan when she married Terence

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We truly do cover the whole of history at Mary Evans: the Reformation, the Gunpowder Plot, the French Revolution these apparent oldies are, in fact, young historical striplings in comparison with the heavyweight footprints of the DINOSAURS. Our collaboration with the Natural History Museum means we can now offer hundreds more images of the 'terrible lizards' (actually most closely related to birds). Our prize-winning competition this issue tests your knowledge of these perennially popular creatures by asking you to NAME THAT DINOSAUR. Send your answers to me&you@maryevans.com by 29th November 2013 for the chance to win ÂŁ100 of Amazon vouchers. The winner will be the first chosen randomly from correct entries after the closing date, and will be notified by 6th December.

crafty tip: use our website to identify problem dinosaurs by searching on %nhm

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Issue 9 Convivial Captions competition: The winner was Sinead Millea at Specialist UK with a caption for image 10419760 "Removals man arrested for showing bear behind."

W e wo u ld b e happy t o rec eiv e your c omments abo u t ME & Yo u . Pl ease em ai l u s at m e& yo u @m aryevan s.com.

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