Fred Beardsley was born in Nottingham. A goalkeeper, he played for Nottingham Forest until finding work at the Royal Arsenal in Woolwich.
David Danskin, Elijah Watkins, John Humble and Richard Pearce, who also worked at the Royal Arsenal established a football club in 1886. Fred Beardsley was one of the men who agreed to play for the Woolwich Arsenal.
David Danskin contributed three shillings to buy a football. However, the men could not afford to buy a football kit and so Beardsley decided to write to his old club to ask them if they could help. Nottingham Forest generously agreed to send a complete set of red shirts.
Beardsley made his debut on 5th October 1889 against Lyndhurst. The team continued to make progress and won the London Charity Cup in 1890 and the London Senior Cup in 1891. He continued to play for Woolwich Arsenal for five seasons and during that time he played in 69 games.
Fred Beardsley later became a director of Woolwich Arsenal (1906-1910).
Aubrey Vincent Beardsley (21 August 1872 – 16 March 1898) was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement which also included Oscar Wilde and James A. McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis.
Beardsley was born in Brighton, England, on 21 August 1872, and christened on 24 October 1872. His father, Vincent Paul Beardsley (1839–1909), was the son of a tradesman Vincent had no trade himself, and relied on a private income from an inheritance that he received from his maternal grandfather when he was 21. Vincent's wife, Ellen Agnus Pitt (1846–1932), was the daughter of Surgeon-Major William Pitt of the Indian Army. The Pitts were a well-established and respected family in Brighton, and Beardsley's mother married a man of lesser social status than might have been expected. Soon after their wedding, Vincent was obliged to sell some of his property in order to settle a claim for his "breach of promise" from another woman who claimed that he had promised to marry her. At the time of his birth, Beardsley's family, which included his sister Mabel who was one year older, were living in Ellen's familial home at 12 Buckingham Road. The number of the house in Buckingham Road was 12, but the numbers were changed years ago, and it is now 31.
In 1883 his family settled in London, and in the following year he appeared in public as an "infant musical phenomenon", playing at several concerts with his sister. In January 1885 he began to attend Brighton, Hove and Sussex Grammar School, where he would spend the next four years. His first poems, drawings, and cartoons appeared in print in "Past and Present", the school's magazine. In 1888 he obtained a post in an architect's office, and afterwards one in the Guardian Life and Fire Insurance Company. In 1891, under the advice of Sir Edward Burne-Jones and Pierre Puvis de Chavannes, he took up art as a profession. In 1892 he attended the classes at the Westminster School of Art, then under Professor Fred Brown.
In 1892, Beardsley travelled to Paris, where he discovered the poster art of Henri de Toulouse-Lautrec, and the Parisian fashion for Japanese prints, both of which would be major influences on his own style. Beardsley's first commission was Le Morte d'Arthur by Thomas Malory (1893), which he illustrated for the publishing house J. M. Dent and Company.
His six years of major creative output can be divided into several periods, identified by the form of his signature. In the early period his work is mostly unsigned. During 1891 and 1892 he progressed to using his initials, A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots he used a Japanese-influenced mark which became progressively more graceful, sometimes accompanied by A.B. in block capitals. He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions he served as Art Editor and produced the cover designs and many illustrations for the magazine. He was also closely aligned with Aestheticism, the British counterpart of Decadence and Symbolism. Most of his images are done in ink and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all.
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Beardsley Avenue Historic District
Photo: Floyd C. Best House, ca. 1941, 116 E. Beardsley Avenue, Beardsley Avenue Historic District, Elkhart, IN. The Historic District was listed on the National Register of Historic Places in 2003. Photographed by User:Nyttend (own work), 2012, [cc0-by-1.0 (creativecommons.org/publicdomain/zero/1.0/deed.en], via Wikimedia Commons, accessed August, 2015.
The Beardsley Avenue Historic District was listed on the National Register of Historic Places in 2003. Portions of the content of this web page were adapted from a copy of the original nomination document. [&Dagger]
The Beardsley Avenue Historic District lies north of downtown Elkhart and includes a historic vehicular bridge, an island park, and a wonderfully intact early twentieth century residential neighborhood stretched along the north side of the St. Joseph River. To the west of the district, the houses are generally more modest and soon give way to industrial development, as is true to the north, along with Christiana Creek flowing eastward only two blocks north of the district. Immediately east of the district&mdashand forming a natural boundary&mdashis Pulaski Park, a small park established on the St. Joseph River in more recent years. At the time most of the present houses were new, two railroads and a number of industrial buildings marked the east end of the district.
A steel pedestrian bridge (outside the district) constructed in 1984 connects Pulaski Park to Island Park, which was developed in the late nineteenth century. None of the earliest park structures on the island, which had included a gazebo and a circular pavilion, survive most were torn down in the 1930s by the Works Progress Administration. However, an early "picnic hall" was dismantled and moved from its original location in the center to the south of the island, where it was redesigned by WPA workers, who also redesigned an existing artesian well into a stone drinking fountain, which survives. The center of the island contains a historic bandstand that once stood at the C. G. Conn musical instrument factory it was relocated to the park in 1980. Island Park sits at the confluence of the St. Joseph River, at this point flowing westerly, and the Elkhart River, flowing northwesterly from Goshen. When the park was first established, it was reached by a wooden bridge from the east end of Sycamore Street over the Elkhart River. This bridge was later replaced by one of the spans from an early iron bridge that took North Main Street over the St. Joseph River. Greatly altered, that span survived until just recently. It is being replaced.
The present concrete bridge that carries North Main Street over the St. Joseph River was completed in 1927 and is 375 feet in length. The bridge, of filled-spandrel triple arch design, boasts two large decorative piers at each end with light standards and bronze wreaths affixed facing the traffic, along with commemorative plaques. Two smaller piers topped with planters line each side of the span. Originally the bridge had open-column concrete railings that have since been replaced with functional metal ones.
Most of the extant houses in the district were built in the period between 1900 and 1920. The Beardsley mills, remodeled and enlarged over the years, had stood at the west end of the district along the river until about the turn of the century. The paper mill was destroyed by fire the flour mill went out of business and was finally dismantled in 1904. The mill race, largely filled in over a century's time, is still visible just east of Edwardsburg Avenue. Not far to the east of the race is the Havilah Beardsley Memorial, located on a small triangular plot formed where Riverside Drive terminates at Beardsley Avenue, just west of Main Street. The little garden sets off a fountain dominated by a large bronze statue of Elkhart's founder. The site was once called Beardsley Park, but that name now denotes the riverbank south of East Beardsley Avenue, running for about two-and-a-half blocks eastward from the Main Street bridge. A large boulder with a bronze plaque stands at the top of the bank just east of the bridge, where a drive allows vehicular access to the river's edge. Some riprap is visible along the steep banks.
Immediately west of the Main Street bridge are four impressive dwellings, closely spaced along the top of the bluff above the river, the first on West Beardsley, the three others following the curve of the river along Riverside Drive. All were built around 1910. The red brick dwelling at 125 West Beardsley mixes elements of Prairie style with Neoclassical and Mediterranean. Its horizontal profile is decorated with a stone recessed entrance flanked with Doric columns the attic story above features a hooded stone-trimmed eyebrow dormer, and dentils decorate the wide eaves. Next to it at 760 Riverside Drive, the stucco house with a tile roof mixes the Prairie style with several Mediterranean elements and a Palladian entrance. In contrast, the frame house at 756 Riverside Drive is a nice example of the Free Classic style, with its hooded entrance and sidelights and oriel window above. 750 Riverside is another Prairie style house with a Mediterranean feel. Beyond that is an open green space where some of Beardsley's mills once stood a hundred years ago, occupied today only at the west end by a Neocolonial dwelling built in the 1950s.
On the southwest corner of Beardsley Avenue and Edwardsburg Avenue is St. Paul's Methodist Church, built 1910-1911 in primarily the Gothic Revival style of tan brick, trimmed with limestone and featuring beautiful stained glass windows. The attached former parsonage, now a classroom building, is of brick and stucco with a half-timbering effect. There is a featureless modern addition (1961) on the west, which is set back sufficiently that it does not detract from the historic parts of the church.
Some modest dwellings and small commercial enterprises on the north side of the 300 block of West Beardsley were replaced in the early twentieth century by the larger houses that now stand there. Quite impressive is the dark brick house at 334 West Beardsley, with its tile roof and wide overhang supported by oversized brackets. An exaggerated brick and limestone arch defines the entrance. There are other Mediterranean-influenced dwellings and also a number of Queen Anne houses, most with Free Classic elements, on this side of the street, such as the one at 801 Christiana, which has an American Foursquare shape. The house at 130 West Beardsley applies elements of the Free Classic to a Foursquare shape, and the Foursquare at 114 West Beardsley has applied to it such Free Classic elements as quoining topped with terra cotta capitals and dentils beneath the porch eaves, which is supported with pairs of Doric columns.
The houses on the south side of West Beardsley are, for the most part, the oldest in the district and are slightly more modest than those on the north side of the street. Most are either American Foursquares or simplified derivatives of the Queen Anne style (a form sometimes referred to as "Princess Anne.") As a whole, these seem to have suffered a greater loss of integrity than in other parts of the district.
The Havilah Beardsley house, a brick Italianate house at 102 West Beardsley, was built in 1848 and is obviously decades older than anything else in the district. Beardsley Avenue's crown jewel is Ruthmere, a splendid Beaux Arts mansion at 302 East Beardsley. Both, of these buildings are already listed individually in the National Register.
Across Main Street to the east of the Havilah Beardsley house once stood a Second Empire mansion that was a well known showplace in the late nineteenth century this house was demolished and gave way to another that fits into the district very well, although it was built about 1941. The massive house at 116 East Beardsley is set well back from the street, as was its predecessor, on a lot that takes up the entire 100 block on the north side.
There was once a small row of presumably modest nineteenth century dwellings on the south side of East Beardsley, perched at the top of the bank above what is now Beardsley Park, but they disappeared before 1920. Opposite them on the north were more substantial dwellings built around the turn of the century, but these were demolished in the late 1950s to make way for the construction of the First Presbyterian Church.
The row of houses on the other side of Ruthmere in the 300 and 400 blocks, however, is intact, consisting of mostly middle class dwellings featuring Craftsman or Mediterranean influences. The houses grow more modest and are closer together in the 400 block, almost mirroring the west end of the district on the south, except that these houses were built mainly in the 1920s and a few in the 1930s. The earlier ones are mostly American Foursquare, and there are several examples exhibiting Dutch Colonial influence.
The houses on the south side of East Beardsley overlook the St. Joseph River below the bluff on which they perch. They have virtually no front yards at all, and the land drops down quickly to the river behind them. Probably the most impressive of these is the sprawling house at 401 East Beardsley that combines Queen Anne with elements of the Shingle style.
The Beardsley Avenue Historic District includes several homes by Elkhart's premier architect E. Hill Turnock.
The district contains the mid-nineteenth century home of Dr. Havilah Beardsley, the founder of Elkhart, and indeed, the entire district was once Beardsley's land his flour and paper mills once occupied the western part, where the mill race is still visible. Nearby, his nephew Albert R. Beardsley erected a memorial to Havilah Beardsley in 1913, a landscaped fountain surmounted by a heroic statue. Albert Beardsley, a prominent Elkhart businessman, himself lived in the district at Ruthmere, built 1908-1910, three blocks to the east of his uncle's home. Other extant houses in the district have Beardsley connections Havilah's son James Rufus Beardsley built the house at 316 West Beardsley about 1903 (probably as a rental&mdashhe himself lived in the Beardsley "mansion"). Some decades later, grandson Charles S. Beardsley, who became president of Miles Laboratories, lived at 120 West Beardsley. Both parks in the district were donated to the city by the Beardsley family, Island Park in 1887 and Beardsley Park in 1922. The two main Beardsley-related houses in the district are listed individually in the National Register. Dr. Havilah Beardsley's Italianate house at 102 West Beardsley is an anomaly, built in 1848, decades before the other dwellings in the district. No doubt the best known house is Ruthmere (302 East Beardsley), built by Havilah's nephew, Albert, who had come to Elkhart as a boy of 17 and worked his way up from store clerk to an organizer and managing officer of Miles Laboratories, Inc.
The city of Elkhart originated with an un-platted settlement called Pulaski that appeared just prior to 1830 on the north side of the St. Joseph River at its confluence with the Elkhart River, essentially the site of the present district. South of the St. Joseph, Dr. Havilah Beardsley purchased land from Potawatomi chief Pierre Moran and in 1832 platted a town he called Elkhart, after the names of the river and the county, which had been established in 1830. Early dwellings and commercial development hovered around the river junction, and Beardsley established mills on the north bank of the St. Joseph River at the mouth of Christiana Creek, as well as along a race he dug just a few blocks west of present-day Main Street. He built his log house nearby to the east and replaced it in 1848 with a fine two-story brick house, the first one in Elkhart, which survives today as the city's oldest extant dwelling. Elkhart's location along the rivers, sources of both transportation and power, boded well for its future. Pulaski was soon forgotten. The village of Elkhart grew gradually southward, with the railroad (the Michigan Southern and Northern Indiana, later the Lake Shore and Michigan Southern Railway) arriving in 1851. The tracks, several blocks south of the original plat, drew commercial and residential development in that direction, and the population increased sufficiently for Elkhart to incorporate as a town in 1858. Beardsley played a major role in bringing the railroad to Elkhart, assuring its continued growth.
Havilah Beardsley died in 1856, but his sons continued to run the family enterprises, as did his son-in-law, Benjamin L. Davenport, whose showplace Second Empire house stood just east of the Beardsley home. In the nineteenth century there must have been a sort of Beardsley family compound north of the St. Joseph River, flanked on either side by the family industries along the river at the foot of Edwardsburg Avenue and at the mouth of Christiana Creek, as well as the businesses of others who had crowded alongside. But by the early twentieth century, those mills were gone and the family by degrees subdivided the land and sold lots to some of Elkhart's best known industrialists, who created a fashionable residential district along the north bank of the river. The streetcar line running west from Main Street on Beardsley Avenue was especially convenient for several of these residents, many of whose factories stood along Beardsley Avenue less than a mile to the west. George B. Pratt moved into the former Davenport home on the northeast corner of Main and Beardsley. He was an officer in the firm his father founded, the Elkhart Buggy, later the Elkhart Carriage and Harness Company, located at the northwest corner of West Beardsley and Michigan. When the automobile came on the scene, the company expanded to include them as well, becoming the Pratt-Elkhart Company. Among other nearby industries was the Chicago Telephone Supply Company in the 1100 block of West Beardsley, which later expanded to manufacture radio and television parts. As a sales manager for the company, Floyd C. Best lived at 438 East Beardsley. In the 1920s he moved into the Pratt's former house and later replaced it with the present dwelling at 116 East Beardsley. He ultimately became the president of the company.
The Crow Motor Car Company was another local automobile manufacturer. Its headquarters stood conveniently scarcely a half mile north of the river on Main Street perhaps Martin E. Crow, the president, occasionally walked to his office from his fine home that he had built at 425 East Beardsley. Across the street at 422, one of his superintendents, Robert Schell, lived for a time. The impressive Mediterranean-influenced house with elements of the Neoclassical perched on the bluff above the river at 125 West Beardsley was built about 1910 for A. C. Collins, an executive of the Davis Acetylene Company, located not far west of the district on Prospect.
The Beardsley family is inextricably linked with the development of Dr. Miles Medical Company, begun in 1880 by Dr. Franklin Miles, which, with the help of Albert R. Beardsley, became Doctor Miles Industries and eventually Miles Laboratories, Inc. In 1892 a massive building was constructed on West Franklin Street. A.R. Beardsley, no doubt aided by income produced through his successful management of the company, built Ruthmere in the 300 block of East Beardsley in 1910. His nephew A. Hubble Beardsley was also involved in the management of Miles, and lived just west of his uncle.
Downtown developer Herbert Bucklen, who in the late nineteenth century had built the Bucklen Hotel and the Bucklen Opera House, moved into the house at 114 West Beardsley, which had been built about 1906 by Livy Chamberlain, an insurance executive. He later passed it onto his son for a token sum. Several successful downtown merchants made their homes on Beardsley Avenue, among them William F. Stanton, who moved into the big house at 401 East Beardsley, and Edward D. Ziesel, who owned Ziesel Brothers Dry Goods store in the same block of South Main Street where Stanton's clothing store was located.
In 1887, well before the extended Beardsley family began subdividing their land on the north side of the river, the surviving sons of Havilah Beardsley donated the island at the confluence of the Elkhart and St. Joseph rivers to the city for a public park. In some of the earliest written records of the area, French traders had noted the island was alleged to be shaped like the heart of an elk, and this supposedly was the origin of the name of the river that ended there, the Elkhart, and thus, eventually, the name of the county and the town. Where only a few decades before had stood wharves and docks before the coming of the railroad had rendered them obsolete, a wooden pedestrian bridge was erected to Island Park, which soon became a popular pleasure spot with shady groves and a picnic hall, a large circular pavilion, a gazebo, and an artesian well. By the 1930s the frame buildings had fallen into disrepair, and workers under the auspices of the Works Progress Administration (WPA) embarked on several projects to rehabilitate the park. They demolished the old frame gazebo and pavilion, and dismantled the picnic hall, moving it from the center of the island to the south, building an addition to it that reconfigured it into a T-shape. The WPA also constructed a stone drinking fountain around the artesian well. The bandstand in the center of island was probably built about 1905, but not in the park. It originally stood at the C. G. Conn band instrument factory on East Beardsley, almost a mile east of the district. It was dismantled and moved to the present site in 1980.
In 1922 Beardsley Park was donated to the city by Andrew Hubble Beardsley and Albert R. Beardsley, grandson and nephew, respectively, of town founder Havilah Beardsley. As there had been some modest dwellings which were demolished, probably rental properties, standing on the south side of East Beardsley opposite the Beardsley's houses, the gift of the land had the advantage of guaranteeing the donors an unencumbered view of the river. The park, subject to flooding below the bluff, apparently never had any buildings, but functioned from the beginning as a pleasant green space and picnic area, and a means of public access to the water for canoes and rowboats.
The St. Joseph River was traversed by way of ferry boats at first, but early on a wooden bridge had been constructed downstream from the present Main Street bridge. The first iron bridge crossing the river at North Main Street was built in 1871 twenty years later it was deemed unsafe and replaced by another. One span of the old iron bridge was re-erected at the end of Sycamore Street to carry park visitors to the island, replacing a wooden pedestrian bridge that had been placed there when the island became a city park. (This bridge remained in use until 2003, when it was replaced.) In 1927, prominent bridge engineer William S. Moore of South Bend designed the present triple-span concrete arched bridge, dedicated the following year to commemorate the soldiers who fought in World War I. The Main Street Memorial Bridge is one of several beautiful spans designed by Moore in northern Indiana in the 1920s and 1930s, among them the Angela Avenue and Twyckenham bridges in South Bend and the County Line Bridge between St. Joseph and Elkhart counties, all of which cross the St. Joseph River.
The district contains several examples of the work of Enoch Hill Turnock (1857-1926), Elkhart's premier architect whose work often shows influences of the Prairie style with some Classical twists. The great brick-and-stone pile of Ruthmere is his best known work.
After his Beaux Arts mansion was completed in 1910, Albert R. Beardsley commissioned Turnock to design a memorial for his uncle, the founder of Elkhart, which was erected in 1913. Restored in 1998, the landscaped fountain at the junction of Riverside Drive and West Beardsley Avenue features a bronze statue of Havilah Beardsley by Italian sculptor Pietro Bazzanti. Never lacking for work, in 1910 Turnock designed St. Paul's Methodist Episcopal Church on the southwest corner of Beardsley Avenue and Edwardsburg Avenue. The Gothic Revival edifice, with additional elements of the Romanesque style and boasting fabulous stained glass windows, was dedicated the following year. It is the only one of three churches known to have been designed by Turnock that is still standing.
Frank Beardsley, whose big, blended family inspired ‘Yours, Mine and Ours,’ dies at 97
Frank Beardsley, a widower whose happy, if harried, domestic life inspired a book and two movies after he and his second wife each adopted their combined 18 children, and then had two more together, died Dec. 11 at a hospital in Santa Rosa, Calif. He was 97. (Courtesy of Carmel Pine Cone)
Frank Beardsley, a widower whose happy, if harried, domestic life inspired a book and two movies after he and his second wife adopted each other’s children — there were 18 in all — and then had two more together, died Dec. 11 in Santa Rosa, Calif. He was 97.
His son Michael Beardsley confirmed the death, but the family did not disclose the cause.
Mr. Beardsley, a Navy chief warrant officer with a brood of 10, lost his first wife to undiagnosed diabetes in 1960. The next year, he married Helen North, a mother of eight whose husband died in a Navy plane crash. They welcomed each other’s children, who ranged in age from 6 months to 15 years, before raising the tally to 20. In all, there were 12 girls and eight boys.
At the time, the military newspaper Stars and Stripes reported that the Beardsleys had the “undisputed largest military family in the nation’s history.” Helen Beardsley’s book-length account of their home life, “Who Gets the Drumstick?” (1965), was made into two movies with the title “Yours, Mine and Ours.”
Hollywood took liberties with the Beardsleys’ courtship and marriage. Both comedies — a 1968 version starring Henry Fonda and Lucille Ball and a 2005 version with Dennis Quaid and Rene Russo — played up the children’s sitcom-worthy efforts to sabotage the potential nuptials.
In the Ball film, the mother’s prospective stepchildren mix her a cocktail so potent that it recalls the physical comedy of the “I Love Lucy” television episode when Ball gets drunk off an alcohol-laced medicine called Vitameatavegamin.
Helen Beardsley’s “Who Gets the Drumstick?,” in contrast, was a warmhearted human-interest tale that was first excerpted in Good Housekeeping magazine. It described the children embracing their new parents from the start and explained how the family managed to function. Their working philosophy boiled down to the motto of the “Three Musketeers” — “All for one, one for all” — but modified for a bigger troupe.
Mr. Beardsley once described the book as a love story but also a “Navy story.” The family, which lived in a specially renovated home in Carmel, Calif., that sprawled to eight bedrooms and five bathrooms, relied on military-style organization to keep up with workaday chores. There were assembly line teams to wash dishes and make school lunches.
Daughter Susie Pope told the Santa Rosa paper that her father bought children’s shoes in bulk when they went on sale at the Navy base stores. For each child, there was one pair for Catholic school, another pair for church and athletic shoes for the weekend.
Frank Beardsley was inexact when selecting shoe sizes, but it didn’t matter. “Someone would grow into them eventually,” she said.
The family was featured in advertisements for a local bakery, which in turn supplied them with a year’s worth of bread. According to Helen Beardsley’s book, the Navy listed the Beardsley home as a restaurant, allowing them to buy food at wholesale prices from a nearby military commissary.
Francis Louis Beardsley was born Sept. 11, 1915, in San Francisco and was the ninth of 12 children. He served in the Navy from 1936 to 1968, eventually working at the Naval Postgraduate School in Monterey, Calif.
His first wife was the former Frances Albrecht. Helen Beardsley died in 2000.
Mr. Beardsley later married Dorothy Cushman, who survives, along with 20 children and dozens of grandchildren and great-grandchildren.
Son Greg Beardsley once told the Monterey Herald that his parents emphasized humility after the initial movie publicity made their family known to millions of viewers.
“My parents,” he said, “always used to remind us, ‘You’re only 5 percent of the equation, so 5 percent of a celebrity isn’t too much to brag about.’ ”
Fred Beardsley - History
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Frank Beardsley dies at 97 patriarch of blended family of 20
When the delivery truck pulled up at the base of their steep driveway, the Beardsley children knew what to do.
The crew, clad in hand-me-down clothes, poured out of their eight-bedroom Carmel home and down the hill. They helped unload 50-pound bags of flour and huge tubs of jam. Grocery shopping for 22 was pandemonium instead, a restaurant supply company brought the food to them.
“A jar of peanut butter? Gosh, that would last one meal. Maybe,” said Susie Pope, a middle child in a big, blended family that inspired a Lucille Ball movie.
Frank Beardsley, the family’s patriarch, who ran his home with a military-trained eye for exactness, died Dec. 11 of complications of old age at a hospital in Santa Rosa. He was 97.
A broad-shouldered man with Irish roots and a deep Catholic faith, he was born in San Francisco on Sept. 11, 1915. The Navy veteran, who served aboard the battleship Iowa during World War II, eventually held administration and personnel positions at the Naval Postgraduate School in Monterey.
When Francis Louis Beardsley met Frances Louise Albrecht, he took the similarity in their names as a sign. They dated, got married and had 10 children. Then, at 45, he lost his wife to a diabetes-induced coma. The grieving widower, trying to balance raising the children and serving in the Navy, sent his two youngest daughters to live with family friends.
Soon, he received a missive from Helen North. The widowed mother of eight, who knew Beardsley’s sister, had sent a small prayer card that had comforted her. Touched, he eventually called to ask her out.
The couple married the next year.
Any reticence the Beardsley children had about getting a new mother melted away the moment they laid eyes on Helen, Pope said.
She wore an easy smile and owned the same black-and-white satin dress their mom had. Little coincidences like that happened frequently, Pope said. Helen even came to the family with the same set of china as their mother.
“So many things pointed to this,” Pope said. “It was divine providence.”
Helen, her eight children and all of Beardsley’s moved into one home. The couple adopted each other’s children and had two more of their own — bringing the total to 12 girls and eight boys.
“You would think two people just wouldn’t have enough love to go around,” Pope said. “But they did.”
And yet, life with such a full house wasn’t easy — or cheap. Beardsley shopped almost exclusively in bulk and at the commissary.
“He would simply buy tons of shoes — patent leather, tennis shoes, white oxfords,” Pope said. “He didn’t care what sizes — he knew one of us would fit into it eventually.”
To make ends meet, the family ran a doughnut shop staffed by the children and starred in a Langendorf Bread Co. commercial, which earned them royalties and 50 free loaves of bread every week for a year. And Helen published “Who Gets the Drumstick?” a 1965 memoir whose title refers to the family’s common Thanksgiving meal conundrum.
Upon reading the book, Lucille Ball quickly swept up the rights to the story and eventually starred as Helen North Beardsley, alongside Henry Fonda, in the 1968 movie “Yours, Mine and Ours,” which was remade in 2005 and starred Rene Russo and Dennis Quaid.
Ball, who paid for the Beardsleys to take a five-day trip to Disneyland, took quite a liking to the family, according to Lucie Arnaz, Ball’s daughter.
“The story was very near and dear to her heart,” she said last week.
The film, which portrays an exaggerated us-versus-them complex that the family contends didn’t exist in real life, brought a sudden wave of fame that resonated differently for each member of the family.
“Some of us got a little bit of a big head,” Pope said, through a laugh. “My dad would rein us in and say, ‘Look, you’re nobody without the other 19.’ ”
Beardsley, who had a knack for telling jokes, valued order above most things. He made unannounced “white glove inspections” of his children’s rooms and allowed absolutely no dust, Pope said. For a while, he put them on an exercise regimen that entailed gathering in the yard for jumping jacks.
“My dad was the disciplinarian in the home,” Pope said. “And my new mom was the heart.”
After his second wife died in 2000, Beardsley remarried again. His third wife, Dorothy, was a nurse, just as the previous two had been.
She survives him, as do all 20 of his children and stepchildren, most of whom still live in California. The precise number of grandchildren defied a recent family count but was thought to be 47.
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Marisa Gerber is a narrative writer at the Los Angeles Times. She joined the paper in 2012 and has written about criminal justice, immigration and gentrification. She grew up in Nogales, Ariz.
The Beardsley Mine is a lead mine located in Custer county, Idaho at an elevation of 8,100 feet.
About the MRDS Data:
All mine locations were obtained from the USGS Mineral Resources Data System. The locations and other information in this database have not been verified for accuracy. It should be assumed that all mines are on private property.
Elevation: 8,100 Feet (2,469 Meters)
Primary Mineral: Lead
Lat, Long: 44.40333, -114.30000
Beardsley Mine MRDS details
Primary: Beardsley Mine
District: Bayhorse District
Land ownership: Private
Owner Name: Ramshorn Mines Co.
Record Type: Site
Operation Category: Past Producer
Operation Type: Underground
Discovery Method: Unknown
Years of Production:
Deposit Size: S
General Physiographic Area: Rocky Mountain System
Physiographic Province: Northern Rocky Mountains
Physiographic Detail: Salmon River Mountains
Mineral Deposit Model
Form: IRREGULAR VEINLETS
Description: Bayhorse Anticline
Age Type: Host Rock
Age Young: Late Cambrian
Age Type: Host Rock Unit
Age Young: Late Cambrian
Analytical Data: ORE ANALYSIS: 40 - 60% PB, 2 - 3% CU, 50 - 60 OZ AG/TON
Comment (Development): ECON.COM: ABANDONED DUE TO LOW PRICES
Comment (Workings): SEVERAL TUNNELS, WINZE MINE CAVED
Comment (Production): ITEM 10 VALUE $200000.
Reference (Deposit): UMPLEBY, J. B., 1913, SOME ORE DEPOSITS IN NORTHWESTERN CUSTER COUNTY, IDAHO: USGS BULL. 539, 104 P
Reference (Deposit): 1913 GEOLMAP UMPLEBY, J. B., BULL. 53
Reference (Production): UMPLEBY, J. B., 1913, USGS BULL. 539, P. 69 ITEM 10, BELL, R. N., 1935, MINING AND CONTRACTING REVIEW, V. 37, NO. 33
Reference (Deposit): Ross, C. P., 1937, Geology And Ore Deposits Of The Bay Horse Region, Custer County, Idaho: USGS Bull. 877, 161 P
Dictionary of National Biography, 1901 supplement/Beardsley, Aubrey Vincent
BEARDSLEY, AUBREY VINCENT (1872–1898), artist in black and white, born in Buckingham Road, Brighton, on 24 Aug. 1872, was son of Mr. Vincent Paul Beardsley and his wife, Ellen Agnes (born Pitt). He was educated at Brighton. After leaving school he worked for a short time in an architect's office, which he left to become a clerk in the office of the Guardian Insurance Company. At about the age of eighteen he began to be known in a narrow circle by the strange designs which were soon to make him famous. His first chances of employment came to him through his friendship with Mr. F. H. Evans, the bookseller and publisher of Queen Street, London, E.C. His earliest important commission was one from Messrs. Dent & Co., to illustrate a two volume edition of the 'Morte d' Arthur.' For this he produced more than five hundred designs, taxing his strength and interest in his task to a dangerous point. At about the same time he contributed drawings to the 'Pall Mall Budget.' These were mostly theatrical, but they included portraits charges of Zola, Verdi, Jules Ferry, and others. He also drew for the 'Pall Mall Magazine.' Acting on the advice of influential friends, Sir E. Burne-Jones and M. Puvis de Chavannes among them, he now abandoned his connection with 'the City,' and devoted himself entirely to art. He worked for a time in Mr. Fred Brown's school, and on the foundation of the short-lived 'Yellow Book,' in 1894, accepted the post of its art editor. Many of his most original conceptions saw the light in its pages, wherein, moreover, he was not averse to playing with the public by offering them designs signed with strange names and displaying none of his usual characteristics. His connection with the 'Yellow Book' lasted little more than a year, but a few months later he joined Mr. Arthur Symons in the production of the 'Savoy,' which lived to see eight numbers (Jan.-Dec. 1896). To the 'Savoy' he contributed three poems and a prose fragment, 'Under the Hill,' a parody on the legend of Tannhaüser and the Venusberg. Much of his work for the 'Savoy' was produced at Dieppe, where he spent part of the summer of 1895 in the company of Mr. Arthur Symons and some other young writers and artists.
His later work included series of designs for Oscar Wilde's 'Salome,' for 'The Rape of the Lock'—a series suggested by Mr. Edmund Gosse, in which his strange fantasy reached the acme of elaboration—for 'Mademoiselle de Maupin,' and for Ernest Dowson's 'Pierrot of the Minute.' His last work was a set of initials for an edition of 'Volpone.' These were finished only a week or two before his death.
Beardsley had musical gifts of a high order the charms of his conversation were great and he had an extraordinary knowledge of books for so young a man. Certain sotto voce whisperings of his art were, perhaps, to be accounted for by the want of physical balance of the poitrinaire. Throughout his life he suffered from weakness of the lungs, and his abnormal activity had seemed to his friends to be at least partly due to a desire to forestall death, and, in spite of its imminence, to leave a substantial legacy behind him. Few men have done so much work in so brief a space of time — work, moreover, which was always deliberate and finished in the true artistic sense. Shortly before his death Aubrey Beardsley was received into the church of Rome. He died of consumption at Mentone on 16 March 1898, and was buried there.
Beardsley's critics see in his art three distinct phases: first, a romantic and Pre-Raphaelite phase, in which the influence of Burne-Jones and Puvis de Chavannes may be traced secondly, a purely decorative phase, based mainly on the Japanese convention thirdly, a more delicate and complex way of seeing things, induced by his study of French art in the eighteenth century. To these Mr. Arthur Symons would add a fourth manner, adumbrated in the 'Volpone' initials, in which the grotesque forms of his earlier styles are discarded for acquiescence in nature as she is or may be. The weak point in his art is its capricious-ness. He fails to convince us completely of his sincerity. His peculiarities seem occasionally to have no sounder foundation than a wish to be different. They too often lack that inevitable connection with a root idea which should characterise all design. On the other hand, his inventions betray extreme mental activity, and his technique a hand at once firm, delicate, and sympathetic. To some the strange element in his work seems merely fantastic to others it appears morbid in the last degree, if not worse. One anonymous critic describes his art as 'the mere glorification of a hideous and putrescent aspect of modern life.' A more sober judgment might call him a pagan infected with a modern interest in psychology. A list of his works, complete to the end of 1896, was compiled by Mr. Aymer Vallance for the 'Book of Fifty Drawings' (1897).
The best portrait of Beardsley is the photographic profile, with his remarkable hands, reproduced in 'The Works of Aubrey Beardsley' (2 vols. 1899, 1901).
[Times, March 1898 Athenæum, March 1898 Academy, March 1898 Studio, April 1898 The Yellow Book, pts. 1-4 Savoy, pts. 1-8 The Works of Aubrey Beardsley, vol. i., The Early Work, with biographical note by H. C. Marillier, 1899, and vol. ii., The Later Work of Aubrey Beardsley, 1901 A. B., by Arthur Symons (Unicorn quartos, No. 4), 1898 A Book of Fifty Drawings, with catalogue by Aymer Vallance private information.]
History of The Library
Historic images of the library circa 1910-1915. Images from the Frank Demars collection.
The Beardsley and Memorial Library has been part of the Winsted landscape since the nineteenth century. Because of a gift of $10,000.00 from Mrs. Eliot Beardsley, residents were able to borrow from a small collection of books and read newspapers and magazines in a single room in the Beardsley Block on Main Street.
A bequest made by Jenison Whiting in 1898 made it possible to purchase land and erect a library building on the current site of the library. The original structure of the library building was completed by 1899 and it became a free public library for the community.
The Beardsley Library and the Memorial Library operated under two separate Boards of Trustees for several years. In 1939, by a Special Act of the General Assembly of Connecticut, the two boards consolidated and created the institution known today as the Beardsley and Memorial Library.
After the consolidation, services expanded significantly with the addition of a Children&rsquos Library and the Genealogy Library, as well as a growing collection of materials for all library patrons. Barkhamsted and Colebrook designated Beardsley and Memorial
Library as their library of record, extending the library&rsquos service to patrons in a large area of northwest Connecticut.
The library was able to expand its services again with an addition to the building in 1985. In 2003 another expansion was completed, converting the basement area into space for book collections, offices and a much needed community room for programs. The most recent building improvement took place with the renovation of the circulation area on the main floor and the main reading room, dedicated in memory of Trustee and Board President Brian O&rsquoNeil.
The library is governed by a volunteer Board of Trustees, representing Winsted, Colebrook and Barkhamsted. The Board and the library staff are proud of the services it offers to patrons and gratefully acknowledge the support of the Friends of the Library and the generous donations of patrons to help the library grow and improve.