I noticed him because he was dressed like a dandy, wearing a pale pink silk tie with a pearl stickpin.
|
|
He wore a well-tailored midnight-blue suit—even in the sixties he wore suits—and a stickpin through his collar.
|
|
The Stickpin is a 1933 British crime film directed by Leslie S. Hiscott and starring Henry Kendall, Betty Astell and Francis L. Sullivan. It was made as a quota quickie at Beaconsfield Studios.Wood p.79 The film's sets were designed by Norman G. Arnold.
|
|
Shirt collars were turned over or pressed into "wings". Dress shirts had stiff fronts, sometimes decorated with shirt studs, and buttoned up the back. The usual necktie was the four-in-hand and or the newly fashionable Ascot tie, made up as a neckband with wide wings attached and worn with a stickpin. Narrow ribbon ties were tied in a bow, and white bowtie was correct with formal evening wear.
|
|
Shirt collars were turned over or pressed into "wings", and became taller through the decade. Dress shirts had stiff fronts, sometimes decorated with shirt studs and buttoned up the back. Striped shirts were popular for informal occasions. The usual necktie was a four-in-hand or an Ascot tie, made up as a neckband with wide wings attached and worn with a stickpin, but the 1890s also saw the return of the bow tie (in various proportions) for day dress.
|
|
The points of high upstanding shirt collars were increasingly pressed into "wings". Necktie fashions included the four-in-hand and, toward the end of the decade, the ascot tie, a tie with wide wings and a narrow neckband, fastened with a jewel or stickpin. Ties knotted in a bow remained a conservative fashion, and a white bowtie was required with formal evening wear. A narrow ribbon tie was an alternative for tropical climates, and was increasingly worn elsewhere, especially in the Americas.
|
|
Parisian composers: The Circle of the Rue Royale, 1868. Men's fashion of the 1860s remained much the same as in the previous decade. Shirts of linen or cotton featured high upstanding or turnover collars, and neckties grew wider and were tied in a bow or looped into a loose knot and fastened with a stickpin. Heavy padded and fitted frock coats (in French redingotes), now usually single-breasted and knee length, were worn for business occasions, over waistcoats or vests with lapels and notched collars.
|
|
Marquard allegedly celebrated by buying an opal stickpin to reward himself. Upon being told by a friend that opals were a jinx, he threw the pin into a river; but apparently, the curse had already done its work, as he lost his next decision. In 1914, Marquard went 12–22, and in 1915, he joined the Brooklyn Robins. He helped the team win pennants in 1916 and 1920. He then played for the Cincinnati Reds in 1921 and Boston Braves from 1922 to 1925.
|
|
To show their appreciation, Pirates' fans presented him with a diamond horseshoe stickpin and team owner Barney Dreyfuss rewarded him ten shares of stock in the club. Phillippe missed half of the 1904 season due to a sore arm, before winning 20 games for the sixth time in 1905. However his years as an ace ended in 1908, when he suffered from another sore arm and missed nearly the entire season. Phillippe returned in 1909 to play a bit role on a Pirate team which went 110–42, en route to their first World Series title.
|
|
In a 1996 American Cowboy article titled "The Debonair Killer", David P. Grady noted: "Marion Hedgepeth looked like a dude, but 'dangerous' and 'deadly' fit him better". The dark- complexioned, wavy-haired six footer, who roamed from town to town as a hired gun, Grady wrote, maintained the fastidious, gentlemanly appearance of a dandy, sporting a bowler hat and diamond stickpin. WANTED posters noted that his shoes were usually polished. An article published in the Express Gazette, Volume 20 by "a man from Missouri", who described himself as "a disinterested student of train robbing", indicated that appearances were strategically important to Marion and his crew.
|
|
She finally gives him to Paddy Lynch, a gentle man who owns a "steak joint" and can give Sandy a good home. Sandy is a mature dog when he suddenly reappears in a May 1925 strip to rescue Annie from gypsy kidnappers. Annie and Sandy remain together thereafter. Oliver "Daddy" Warbucks first appears in a September 1924 strip and reveals a month later he was formerly a small machine shop owner who acquired his enormous wealth producing munitions during World War I. He is a large, powerfully-built bald man, the idealized capitalist, who typically wears a tuxedo and diamond stickpin in his shirtfront.
|
|
The Pinkertons called her "Ethel", "Ethal", "Eva", and "Rita" before finally settling on "Etta" for its wanted posters. Her name may have become "Etta" after she moved to South America, where Spanish speakers had trouble pronouncing "Ethel". In February 1901, Etta Place accompanied Longabaugh to New York City, where at Tiffany's jewelers they purchased a lapel watch and stickpin, and posed for the now-famous DeYoung portrait at a studio in Union Square on Broadway. It is one of only two known images of her. On February 20, 1901, she sailed with him and Parker (who was now posing as "James Ryan," her fictional brother), aboard the British ship Herminius for Buenos Aires.
|
|