Neil. Moralee posted a photo:
Founded in 1919 by Walter Owen Bentley in Cricklewood, London, the Bentley motor company quickly established a reputation for exceptional performance and engineering, famously dominating the 24 Hours of Le Mans throughout the 1920s with the help of the legendary 'Bentley Boys'. Following financial difficulties during the Great Depression, the company was acquired by Rolls-Royce in 1931, moving production to Derby and later to its iconic factory in Crewe, Cheshir
Founded in 1919 by Walter Owen Bentley in Cricklewood, London, the Bentley motor company quickly established a reputation for exceptional performance and engineering, famously dominating the 24 Hours of Le Mans throughout the 1920s with the help of the legendary 'Bentley Boys'. Following financial difficulties during the Great Depression, the company was acquired by Rolls-Royce in 1931, moving production to Derby and later to its iconic factory in Crewe, Cheshire, in 1946. After decades of being closely associated with Rolls-Royce, Bentley was purchased by the Volkswagen Group in 1998, a transition that sparked a significant revitalisation of the brand's identity as a manufacturer of luxury, high-performance grand tourers that continues to define its legacy today.
Truus, Bob & Jan too! posted a photo:
Vintage Dutch postcard. Photo Coret, The Hague. From a booklet of postcards on the stage play Boefje/ Little Rascal, adapted for the stage by Jaap van der Poll after the novel (1903) by M.J. Brusse. The little rascal Jan Govers was played by Annie van Ees, his parents M. and Mrs. Govers, by Piet Bron and Mrs. Schwab-Welman. The play premiered in 1923, by 1935 Van Ees had played the part 500 times.
In 1939 a film adaptation followed, directed by Dou
Vintage Dutch postcard. Photo Coret, The Hague. From a booklet of postcards on the stage play Boefje/ Little Rascal, adapted for the stage by Jaap van der Poll after the novel (1903) by M.J. Brusse. The little rascal Jan Govers was played by Annie van Ees, his parents M. and Mrs. Govers, by Piet Bron and Mrs. Schwab-Welman. The play premiered in 1923, by 1935 Van Ees had played the part 500 times.
In 1939 a film adaptation followed, directed by Douglas Sirk/ Detlef Sierck, shortly before he moved to Hollywood (he never saw the finished film). In the film, Van Ees again played the part of the rascal Jan Govers, while Bron played the father once more. Shooting took place at the The Hague based film studio complex Filmstad.
Marie Joseph (Rie) Brusse (Amsterdam, June 26, 1873 – Alkmaar, January 5, 1941) was a Dutch journalist and writer. His well-known book *Boefje* was adapted into a film in 1939. According to one of his sons, M.J. Brusse was known as the “prince of journalists.”
Brusse was an innovator in Dutch journalism. He was one of the first to describe situations and events from his own observational perspective. He was also one of the first to present the interviews and conversations he conducted in dialogue form. For his series of articles on Rotterdam sailors’ lodgings, he went undercover (1898). For decades, he wrote daily reports and serialized stories for the (then) Nieuwe Rotterdamsche Courant under the title “Onder de Menschen.” He wrote extensively about social injustices in the major cities and in rural areas. Many of his pieces were published in book form. A bestseller was his book *Het rosse leven en sterven van de Zandstraat* about Rotterdam’s red-light and sailors’ district around Zandstraat.
During the First World War, he reported extensively on the work of Dutch doctors and nurses in the Balkans, both in newspapers and in books. In 1915, he published *The Horrors of War in Serbia* about Dr. Arius van Tienhoven’s ambulance unit in Valjevo, and two years later, *A Dutch Hospital in a Bombed City* about Dr. Henri van Dijk’s work at the front in Monastir. In 2017, 100 years after its first publication, the First World War Study Center Foundation reissued that latter work.
In 1903, he published a serialized story titled Boefje in the Nieuwe Rotterdamsche Courant, also issued that year as novel. The play Boefje, adapted from Brusse's lovel and written by Jaap van der Poll, enjoyed great popularity and was performed hundreds of times with actress Annie van Ees in the title role, from 1923 onward. In 1939, Douglas Sirk directed a Dutch film adaptation starring the then 45-year-old Van Ees.
Brusse spent the last years of his life with his family in Groet (North Holland). He died in 1941 in a hospital in Alkmaar and is buried at the General Cemetery in Schoorl.
lhboudreau posted a photo:
The heroine of the story, Gloriana Grant, whose portrait is on the cover, inherited an ancient clipper ship from her father, a former shipping tycoon. The square rigger, named Guinevere, is docked on a cushion of muck in the East River and serves as a “Ship Shelter for Working Girls.” It houses fifty women wage earners carefully handpicked by a charity organization, and there is a phenomenally long waiting list.
Gloriana visits the shelter frequently. She knew
The heroine of the story, Gloriana Grant, whose portrait is on the cover, inherited an ancient clipper ship from her father, a former shipping tycoon. The square rigger, named Guinevere, is docked on a cushion of muck in the East River and serves as a “Ship Shelter for Working Girls.” It houses fifty women wage earners carefully handpicked by a charity organization, and there is a phenomenally long waiting list.
Gloriana visits the shelter frequently. She knew how to mix and she liked doing it. Her father had achieved his place in the shipping business by knowing how to do it. The gangplank was no ordinary ship carpenter’s handiwork: “It was a fairy bridge that Gloriana had spun. Over it one walked from a day of headachy toil straight into the realm whence had come the Guinevere’s name.” [From the story]
By the 1920s, the great age of American sail was long over, and many once majestic clippers and barques were laid up in harbors, mudflats, or riverbanks. Some were used as storage hulks, training ships, museum curiosities, or floating restaurants. But purpose built social shelters aboard old ships were rare. The specific concept of a “Ship Shelter for Working Girls” is a literary invention rather than a documented social practice.
Wright gives us Gloriana Grant in full upward gazing radiance. It’s the perfect face for a heroine who inherits a clipper ship and promptly turns it into a sanctuary for working women. The Guinevere — a once proud square rigger now resting in East River muck — becomes a floating refuge, a kind of maritime boarding house with better lineage than most Fifth Avenue families. And Gloriana, who “knew how to mix,” strides across her fairy tale gangplank like a benevolent captain of industry. Wright’s portrait catches that blend of privilege, pluck, and theatricality that made 1920s magazine heroines so irresistible.
For a reader in 1925, the idea of a once glorious clipper turned into a haven for wage earning women would have felt slightly eccentric but not impossible. It’s a perfect example of how “Collier’s” fiction often blended social realism with romanticized Americana.
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