Felbridge & District History Group

The original definition of the term ‘theatrical’ is: ‘of, for or relating to acting, actors or the theatre’ and it is with this definition of the word that the following document recants the biographies of some of the theatricals that have made Felbridge their home at some point during their lives. 

One of the most active theatricals that had connections with Felbridge was Harry Herd who was better known as the ‘Handcuff King’ and later performed as Harry Lorraine, the stunt-man, silent film actor and film producer who made over forty films, two of which that were actually filmed in Felbridge.  Born in 1885, Harry was an active theatrical on both stage and in the film industry from the early 1900’s until the early 1940’s [for further information see Handout, Harry Heard, Harry Herd, Harry Lorraine, SJC 11/09]. 

The Handout on Harry Lorraine Handout was followed by a series of Handouts called Theatricals of Felbridge.  The first in this series covered the lives of Hilary Allen, Coralie Harrington, Ivan Kotchinsky and Mademoiselle Du Boisson and the Macdonald Twins [for further information see Handout, Theatricals of Felbridge, SJC 11/12].  The second in the series, Theatricals of Felbridge Pt. 2, covers the lives of Margaret Norcross, Molly O’Day, Melanie Parr and Ronald Shiner [for further information see Handout, Theatricals of Felbridge Pt. 2, SJC 11/16].  The third in the series, Theatricals of Felbridge Pt. 3, covers the lives of Raymond Duparc aka Ray Parks, Terence O’Brien and Leah Bateman-Hunter aka Leah Bateman, all people whose chosen careers were ‘of, for or relating to acting, actors or the theatre’ [for further information see Handout, Theatricals of Felbridge Pt. 3, SJC 01/19]. 

This Handout, the fourth in the series, will cover the life of Florrie Leybourne, a successful Music Hall artiste of the late 1800’s who lived at Anns Orchard, Crawley Down Road. She was the wife of Albert Chevalier (for further information see Handout, Albert Chevalier, SJC 05/01ii, FHWS), a successful actor and, in later life, very successful international Music Hall artiste.  The document will also discuss the life of Florrie’s father, George Leybourne who was known as Champagne Charlie, and how Florrie continued his Music Hall legacy after his death.  All three were people’s chosen careers were ‘of, for or relating to acting, actors or the theatre’.

George Leybourne (Champagne Charlie), father of Florrie Leybourne
George had been born on 17^th March 1842, in a forge in Redheugh (pronounced red-yuff), near Gateshead, the son of Joseph Leybourne, a currier by trade but who also played cello and alto violin, and his wife Isabella née Bullerwell.  George was one of at least 6 children, his siblings including: Samuel Thomas born in 1843, Isabella born in 1845, Mary Eleanor born in 1849, Joseph born in 1851 and Elizabeth born in 1853.  After the birth of George and his brother Samuel, the Leybourne family moved south settling in the Bermondsey area of London where the remaining children were born.  The first known address was 14, Crown Court, near Theatre Royal, Drury Lane in 1846 moving to 120, Drury Lane by 1849 and 84, Great Bland Street, Newington, by 1851.

Bermondsey in the 1840’s and 50’s was a centre for the leather trade and George’s father Joseph would have easily found work there as a currier.  It is also known that he was able to continue as a musician, playing in the orchestra of the Surrey Theatre in Bermondsey.  With regards to George, there is mystery about his childhood that has not yet been resolved.  Christopher Beeching writes that according to Mary McIntosh, author of Roots and Branches: The Story, Documentary and Traditional, of the Angus and Leybourne Families, Especially of Northumberland and Durham, ‘George’s boyhood was spent at Shieldfield, Newcastle-upon-Tyne, and he grew up in an essentially musical atmosphere, for he was very much under the influence of his Aunt Frances, well-known locally as Fanny Moore, the Nightingale of the North’.  Aunt Frances had married George’s uncle Thomas Leybourne (brother of Joseph), on 20^th November 1830, settling in Newcastle-upon-Tyne where they had 21 children, although only 12 survived to adulthood.

Aunt Frances had been born Frances Moore, in Newcastle-upon-Tyne, on 30^th September 1811, the daughter of Thomas Moore, a ‘bass singer of some celebrity in his day’, and his wife Mary née Powell.  Thomas Leybourne was a currier like his brother, but Frances was probably attracted to him as he was also a part-time tenor singer.  An obituary of the death of Frances in 1867 appeared in the Newcastle Daily Chronicle that outlined her story stating that from an early age she was ‘in the possession of a voice of no ordinary calibre’.  She was first coached by her father but later by one Mr Marr, an ‘eminent organist’ so that she was able to ‘occupy a prominent place on the concert platform long before she reached the stage of womanhood.  Her voice matured into an organ of much power and good compass, which she used with skill and taste, and became the first soprano of the north of England, a position which she long maintained’.  Unfortunately, a stroke in later life prevented her from performing so she turned to the teaching of music.  It is obvious from the article that she was a fine teacher and that several of her own children had made ‘much progress in the art in which their mother excelled’.  From the article it is possible that George could have moved back North to be taught music by his aunt, perhaps his father had seen potential and had encouraged his son to follow the musical side of the family’s obvious gene pool and not that of being a currier.  However, on the down side, Aunt Frances could potentially have been quite busy with her own large family to entertain another child.

However, what is known is that by 1861, George had left the family home to make his own way in the world, although he is not obviously visible in the 1861 census.  Christopher Beeching places him as a lodger in Walter Hunt’s household at Victoria Place Newton Abbot, Devon, working as an engine fitter for the railway company.  This theory is based on the fact that an uncle of George’s, Thomas Bullerwell (brother of George’s mother), was living a few doors away having moved South for work.  However, the life of this George Leybourne (spelt in the 1861 census as Labourn) can potentially be traced as George Laybourne until at least 1911 and it does not follow the same path as our George Leybourne.  Also, on 8^th April 1861, George Leybourne, performing as Joe Saunders (the stage name he was using at this date) was reported to be performing at Balmbra’s Music Hall in Newcastle.  The 1861 census was taken on 7^th April 1861 so it is possible that George was potentially travelling to the performance in Newcastle and was missed off the census, especially as it is known that on 18^th May 1861, he was making a ‘re-appearance’, still performing as Joe Saunders, at the Parthenon in Liverpool, implying that his performing career was well under way before the date of the census.  Two years later, in 1863, George Leybourne made his first appearance using his real name, performing at the Bedford Music Hall, Camden Town, although he is known to have appeared in some of the smaller East End venues in the months preceding this date.    

George Leybourne stood over 6ft/1.8m tall, had dark hair and good looks making him ideal as one of the attractive, fashionable young men, generally performing resplendent in evening dress, who specialised in the performance style known as the Lion Comique, a parody of upper-class toffs and swells; a complete contrast to the normal cloth-cap image of most of his music-hall contemporaries.

On 12^th March 1865, George Leybourne married Sarah Ann (Annie) Fisher at St Mary Magdalene, Bermondsey.  Sarah had been born in Southwick, on 7^th October 1846, the daughter of John Fisher, a blacksmith and his wife Mary.  George and Sarah had two known children; George Edmonds born on 19^th March 1866 and Florence Isabella (see below) born on 17^th November 1867; both children born in Islington.  At the time of their marriage, George gave his occupation as engineer so perhaps his Music Hall appearances were potentially on a part-time basis.  However, in August 1866 it is known that George was on tour in Leeds, performing at the Princess' Concert Hall where he gave his first rendition of the song for which he is probably best known – Champagne Charlie, the song composed by Alfred Lee with lyrics by George Leybourne.  This was shortly followed by another song for which George is also known – The Daring Young Man on the Flying Trapeze, composed by Gaston Lyle arranged by Alfred Lee with lyrics again by George, inspired by the Music Hall act of the Frenchman Jules Léotard.

George Leybourne’s popularity grew so quickly that by 1868 William Holland, manager of the Canterbury Music Hall (the first London venue built specifically for Music Hall), employed him on an exclusive contract of £25 a week, providing him with a carriage drawn by 4 white horses and over the next year by appearing, with Holland’s permission, at several other halls at the same time, George’s salary rose to £120 per week.  Accompanying George’s success was a lifestyle that reflected the lyrics of his biggest hit, which would ultimately be his downfall.

In 1871, the Leybourne family were living at 10, Holland Grove, Lambeth, but had moved to 67, Fentiman Road, Lambeth, by 1881 and 136, Englefield Road, De Beauviour Town, Islington, by 1884, where George Leybourne died of consumption aged just 42, on 15^th September 1884; penniless, a victim of success and fast living.  During a career of 23 years, George Leybourne had a lasting influence on the VictorianMusic Hall.  He had sung over 200 songs, many that he had written himself, which were in turn, sung and whistled on every street corner in the 1860’s and 70’s.  It could be said that George Leybourne was the very first superstar of the Music Halls.  However, towards the end of his career George had failed to adapt to the changing times and his popularity declined, although he continued performing almost to the end of his life; his last performance being at the Queen’s Palace of Varieties, High Street, Poplar.  He was buried at AbneyParkCemetery, Stoke Newington, but sadly the family were not in the financial position to erect a headstone.  However, in December 1891, Dan Leno (a leading Music Hall artiste of the 1890’s whose real name was George Wild Galvin) and other members of the Grand Order of Water Rats (a British entertainment industry fraternity and charitable organisation founded in 1889 by the Music Hall comedians Joe Elvin and Jack Lott to assist members of the theatrical profession or their dependents), erected a headstone to the memory of George Leybourne.

Post Script
For a very detailed biography see Heaviest of Swells Vol. 1, 1842-1871, written by Christopher Beeching, which was published in 2011.  Sadly Christopher Beeching died before the second volume, which he was working on, was published.  Christopher Beeching, an actor himself, also portrayed George Leybourne on stage, appearing at Wilton’s Music Hall, in London's East End (the world's oldest surviving grand Music Hall), a venue that Leybourne also performed at during his hey day.  Today an adjoining modern residential apartment block has been named after George, called George Leybourne House.

Florrie Leybourne
Early life
As established above, Florrie Leybourne had been born Florence Isabella Leybourne on 17^th November 1867, at Park Street, Islington.  She was the only daughter and youngest of the two children of George and Annie Leybourne.  By 1871, the Leybourne family had moved to a fairly large house at 10, Holland Grove, Lambeth, and were joined by Florrie’s grandmother Mary Fisher, along with uncle and aunt, John and Mary Fisher, and a servant by the name of Maria Biddulph.  By accounts, Maria Biddulph ran the household and Mary Fisher helped look after George junior and Florrie, who saw little of their father during their early life as he was often away touring and Annie sometimes went with him.  By 1881, the Leybourne family had moved to 67, Fentiman Road, Lambeth, a larger, 3-storey house with a basement.  Still living in the household was Florrie’s grandmother, Mary Fisher and her uncle John.  Her aunt Mary had moved on and the servant Maria Biddulph had been succeeded by Elizabeth Bull.

In an interview Florrie gave in 1889, she stated that she ‘was educated at Beverley College, Amerley, and remained there until the age of 16’.  Sadly it has not yet been possible to find a reference to Beverley College or a place named Amerley, so perhaps the names were misheard by the interviewer.  Florrie learnt to play the piano as a child and the article states that she ‘is an excellent pianist’.

The article goes on to detail Florrie’s entry into the world of the Music Hall and, in her own words, ‘Ever since my childhood I have taken a great fancy to the stage, much against the wish of my father.  Shortly after leaving school, I made my first appearance in public at the Theatre Royal, Leicester, on the occasion of my father’s benefit, and took better than I expected.  I sang at two concerts given by Mr. Frank Albert at Woolwich, and did wonderfully well.  Ever since I have taken to the music-hall regularly’.   At the time that Florrie entered the business, Music Hall was often referred to as illegitimate theatre as opposed to legitimate theatre that offered full-length plays.  This was because only fully licensed, legitimate venues could put on full-length plays, thus the Music Hall could only offer an assortment of variety acts.  Florrie’s father, having made a name for himself in Music Hall and with first-hand experience, must have worried about a life on the stage for his daughter. 

However, a life in the Music Hall for a woman offered an opportunity for them to earn and live off their own money, obviously dependent upon their own talent.  In 1892, a leading female Music Hall artiste could earn as much as £80 for 12 days work as opposed to around £2 a week for a legitimate actress.  On top of the £80, ‘Benefit Nights’ could be given by the Hall manager, during which time the artiste would usually receive expensive gifts and jewellery.  It is known that Florrie, in later years, had a fine collection of jewellery and that in 1893, gave Rose Hart (an American variety artiste who excelled at dance) a ‘Magnificent Diamond Brooch’when appearing at The Empire Theatre in Newcastle.

Through the interview given by Florrie in 1889 and references and reviews on her that can be found in various contemporary publications, it is possible to chart her career and personal life.  Florrie continues, ‘My first engagement on the Music Hall boards was made at The Royal [late Weston’s] Theatre, Holborn, through Mr. George Ware.  I appeared nightly for several weeks and was very successful.  After cancelling my Royal engagement, I went to the [London] Pavilion [Piccadilly].  I remained there for six months running, and made a big hit, one song one particular, “Sweet Violets”, brought me into prominence.  One evening Mr. Villiers suggested to me to confine myself entirely to sentimental singing, and remarked if I agreed to do so I could remain at the Pavilion as long as I liked and he further undertook to get me to the Oxford as well, through his friend Mr. Jennings.  I could, however, not give my consent to this kind of proposition as I was too much infatuated with the serio-comic style.’

A serio-comic, Florrie’s preferred style, combined the serious and the comic, being serious in intention but humorous in manner, or vice versa.  Their acts alternated between comic and serious songs and sketches, being interspersed with patter and audience interaction.  The serio-comic relied on satirical songs and their material could be said to have been the beginning today’s ‘stand-up comedy’.  Serio-comics were seen as part of a ‘Variety Bill’ of entertainment and performed alon side such acts as performing animals, acrobats, vocalists, ventriloquists, dancers, and scenes from ballets and operas.  These Music Hall acts would perform to a largely, but not exclusively, working class audience, generally seated, with the opportunity to eat and drink whilst watching the acts.  The serio-comic was a popular entertainer, perhaps because of the audience interaction, and in 1892, the Theatre and Music Hall Journal wrote that in the week before Christmas, out of 341 turns appearing in the 25 sketches, there were 76 ‘lady serio-comics’ and 74 ‘male comedians’, thus indicating that these women were not as rare as is often thought.

The song that Florrie referred to as bringing her ‘prominence’ – Sweet Violets, had been written by American, Joseph Emmet, for his play Fritz Among the Gypsies in 1892 and is a classic example of a censored rhyme, where the expected rhyme of each couplet is replaced with an unexpected word that segues into the next couplet or chorus:

(The song was later a hit for Dinah Shaw, with Henri René's Orchestra and Chorus, in May 1951)

Turning to contemporary reviews, the first mention that I can find of Florrie as a performer was in The Era, on 3^rd November 1883, appearing, for several weeks, at Collins’s Music Hall, Islington Green, in celebration of the theatre’s 21^st anniversary since opening.  The review simply lists, ‘Florrie Leybourne, Serio-Comic’.  A week later the review had been greatly expanded ‘Refinement and cultivation were also the chief characteristics of Miss Florrie Leybourne, who rendered ‘Only Dreaming’ very charmingly.  We are pleased to see that Miss Leybourne is rapidly gaining confidence.  As far as training and vocal abilities are concerned she should have nothing to fear’.  A week later, still appearing at Collins’s Music Hall, we see that Florrie’s name had been linked to that of her father’s ‘Florrie Leybourne, Daughter of the Lion Comic’.  Henceforth, whether Florrie chose or not, her name would be frequently associated with that of her father, George Leybourne, known variously as the Lion Comique/Comic and Champagne Charlie. 

From these reviews the first song that Florrie was noted for was Only Dreaming; sadly to date it has not been possible to determine the exact song.  One potential candidate was written in 1866 by George W. Birdseye, with music by A. Dispecker.

The first review, so far found, that Florrie received in the contemporary press for appearing at The Royal, Holborn, was on 25^th November 1883 and a week later she was on a tour of Provincials Towns appearing at the Gaiety Palace of Varieties, Wharf Street, Leicester, where she was billed as ‘Miss Florrie Leybourne – Comedienne’.  From her interview, Florrie stated that ‘I next appeared at the Rotunda Theatre, Liverpool, and played in the pantomime “Red Riding Hood” with great success.’  This may have been part of her 1883/4 touring season as by June 1884 she was appearing back at Collins’s Music Hall, listed as ‘Florrie Leybourne, serio and ballad vocalist’.  At the beginning of July, Florrie was appearing at the Pavilion and by August she was also at the Royal before embarking upon a 7-month tour, taking in the Gaiety Palace of Varieties, Leicester, Day’s Concert Hall, Birmingham, the Folly Variety Theatre (later the Tivoli), Manchester, the Parthenon Music Hall, Liverpool, the Gaiety Theatre of Varieties, Glasgow, Moss’ Theatre of Varieties, Edinburgh, the New Grand Theatre, Birmingham, the Amphitheatre, Portsmouth, the Palace of Varieties, Gravesend, before returning to Day’s Concert Hal, Birmingham.  It was whilst appearing at Day’s Concert Hall in Birmingham, that Florrie received news of the death of her father. 

Florrie’s reviews were favourable and included: ‘Amongst other members of the company special mention may be made of … Miss Florrie Leybourne’.  ‘Miss Florrie Leybourne daughter of the late celebrated comedian.’ ‘“Florrie” Leybourne was evidently very popular’, ‘The most popular of last week’s artists remain, notably Miss Annie Milburn [a mimic], Miss Marie Gilchrist [a dancer] and Miss Florrie Leybourne’ and considered to be one of ‘the cleverest of the new comers … Florrie Leybourne, a charming singer and pretty woman to boot’; and‘Miss Florrie Leybourne has been re-engaged as she made a great hit’.  It was during this tour that Florrie first paid tribute to her father, performing at Day’s Concert Hall in Birmingham, where it was reported that ‘Miss Florrie Leybourne, who gives with much spirit a medley of the songs popularised by her late father.’  Florrie also appeared in another pantomime on this tour, at the New Grand Theatre, Birmingham, the review given as: ‘The cast which Mr Melville has engaged is an exceptionally strong one’ and included, among others, ‘Miss Florrie Leybourne, the daughter of the late well-known George Leybourne’, Florrie was ‘well applauded’ for her rendition of “Sweet Violets”… Mr Melville is to be congratulated on a very marked success in his production of the pantomime Aladdin.  Departing somewhat from the traditional tale, the author (Mr George Capel) has nevertheless, presented a very commendable version of the story.  The dramatis persons are [among others] Geni of the Ring, Miss Florrie Leybourne…’ and ‘Aladdin or the Wonderful Lamp… The Magnificent Scenery beyond all comparison the best ever seen here.  The costly Costumes, the Glittering Pageantry, and the Superb Effects now in thorough working order.  See “Aladdin” and judge for its merits.  There can only be one produced in this or any other country.  The matchless Company of Stars will appear at each and every Performance…’ 

Florrie returned to the London Halls in April 1885, with an advert for her appearance at Collins’s Music Hall and the Royal reported as:

 The Queen of the West

FLORENCE LEYBOURNE

now starring at the Gaiety, Leicester,

Monday next [6^th April], London COLLINS and ROYAL

Leister Daily Post – Miss Florrie Leybourne is staying for six nights longer.  Her performance is of the same admirable kind which has made her reputation here on former visits, and she will still receives the heartiest applause of the audience for her excellent singing.  On Thursday next [9^th April] Miss Leybourne takes a benefit, when additional attractions are promised, and no doubt this popular lady will have a full house.

Sole Agent, HUGH J. DIDCOTT, 68, Waterloo-road

Throughout April and May 1885, Florrie continued to appear at both Collins’s Music Hall and the Royal, with a brief sojourn at the Gatti Theatre in Vauxhall, to solid reviews that included: ‘Of lady artistes there are many at present appearing at this hall.  Miss Florrie Leybourne is a most pleasing vocalist, and her manner is eminently taking.  She sings in a more agreeable style than some serio-comic ladies, and she has a just appreciation of the words she is vocally rendering, while her enunciation is distinct and finished.’;  ‘Miss Florrie Leybourne, who was there that evening, is a most pleasing vocalist and her manner is very taking.  She sings in a more agreeable style than some other serio-comic ladies I could name, and she appears to understand her words.’; and ‘Miss Florrie Leybourne steadily improves; whether she is likely to jump into the front ranks of “star” artists time alone will decide; at present, however, her style is fascinating and promising.  She only wants better material to work with to appear to far greater advantage.  Inheriting a name which once headed the music hall profession, it is to be hoped that this young lady will in the future fulfil the promise of her present essays.’  Also, by the end of May, Florrie had moved up the billing at the Collins’s Music Hall.  Appearing at more than one Music Hall per night meant that the artistes had specific times to perform, ie: 8.50pm with the next performer due on at 9.00pm, therefore individual performances would have lasted only 10 minutes. 

By the summer of 1885, Florrie was back out on a Provincials Towns’ Tour, performing at some of the theatres she had previously appeared, along with some new venues.  August saw her appearing, as second on the bill, at Dan Lowry’s Star Music Hall, Dublin, followed by Grafton Theatre of Varieties, Dublin, before going to the Hall-by-the-Sea, Margate, followed by a return appearance at the Parthenon Music Hall, Liverpool, then new venues at the Adventure Theatre, Sunderland, and The Gaiety Theatre, Newcastle-upon-Tyne, before returning to Moss’s Gaiety Theatre of Varieties, Edinburgh.  Again reviews were good: ‘Miss Florrie Leybourne has pleased with her songs’; ‘Miss Florrie Leybourne, whose serio-comic songs were very heartily applauded’; and ‘The audiences have continued to be large and enthusiastic, the stars of last week being re-engaged… Miss Florrie Leybourne, who has an excellent and captivating style, has been similarly received.’  This touring season appears to have ceased at the end of November 1885 and credits do not reappear until the beginning of October 1886.   

Motherhood
The gap in Florrie’s stage appearances can be explained by a notice that appeared in The Era, announcing:

Birth – On Wednesday, March 17^th[1886], the wife of F.G. Parsons, professionally known as Florence Leybourne, and daughter of the late Mr Geo. Leybourne, of a daughter.

The daughter was registered at birth, in the St George’s, Hanover Square, as Ivy Parsons Leybourne, but later and before she married, went variously by the names, Ivy May Parsons Leybourne, Ivy May Patricia Leybourne and Ivy May Chevalier.  Unfortunately, nothing has yet been found on F G Parsons and no marriage documents have been found to collaborate a wedding with Florrie Leybourne.  At the birth of Ivy, Florrie would have been just 18 years old and, as under the age of 21, would have required a licence to marry.

Within six months of the birth of Ivy, Florrie was back on the stage appearing at Collins’s Music Hall in October, receiving a review that she was an ‘exquisite songstress’.  There appears then to be another short break before appearing at the Parthenon Theatre of Varieties, Mile-End-Road, E. London, for much of December.  Staying in the London area, Florrie also appeared as one of ‘Mrs Poole’s Grand Testimonial Benefit’ performers at South London Palace, SE. London, in March before entering a 6-month gap in performance lasting until the second week of November 1887, when she appeared in ‘Mr Will Lennon’s Benefit’ at the Marylebone Music Hall.  If later family sources are to be believed, this gap may have been due to the birth of a second child, known later as Frederick George Chevalier.

Like F G Parsons, Frederick George Chevalier is also a bit of an enigma.  Florrie did become Mrs Chevalier (see below) but at the time of Frederick’s birth, when she was still Florrie Leybourne and under the age of 21, she is thought to have still been a single woman.  In the year in which Frederick is believed to have been born, 1887, there is no birth registered as Frederick or Fredrick George Chevalier, or, as it would have been more likely, Leybourne.  However, his monumental inscription found, on the gravestone of Florrie’s father, George Leybourne, reads:

Frederick Chevalier

(grandson of the above)

Who died November 26^th 1909,

Aged 22 years

‘God knoweth best’.

His death was also announced in The Times:

CHEVALIER – On the 26^th inst., at Westbury, Walm-Lane, Cricklwood, of double pneumonia, FRED, the only son of Mr, and Mrs. ALBERT CHEVALIER, of Brockley Hill House, Stanmore.  Funeral Tuesday, 30^th inst., Abney Park Cemetery, 1.30.

These two references suggest that Florrie did have a son called Fred or Frederick.  However, the only other reference that can be found for him is in the 1901 census, where his age is given as 12 years (therefore born in 1889), when Frederick George Chevalier was a boarder at Castlebar Court, Ealing, London.  Castlebar Court was a Private School whose Principal, at the time, was Henry Charles Dobson.  The curriculum included:  English, mathematics, geometrical and mechanical drawing, Latin, Greek, French, German, Italian, Spanish, Arabic, Sanskrit, ‘natural and experimental sciences’ and the moral sciences’.  This would suggest that Frederick received a good education, probably paid for by his step-father, Albert Chevalier.

Having ascertained a different year of birth from the census records, there is still no birth of a Frederick or Fredrick George Chevalier, or Leybourne, entered between 1888 and 1889.  Sadly, Frederick’s life was cut short and there are only fleeting references made of him in the records.

Returning to Ivy, she can be found in the 1891 census, living at 36, Heyford Avenue, Islington, Lambeth.  Head of the household was her grandmother, Annie Leybourne.  At the time of the census, Florrie was also living in the house, listed as a Music Hall Singer, along with her brother George, a valet (unemployed) and Annie’s brother John Fisher; Ivy is listed as a scholar.  However, there is no mention of Frederick George, and to date, he cannot be found living with any other potential grandparent or family member.  From the 1891 census it would appear that, just like her mother before her, Ivy was probably cared for by her grandmother in Florrie’s absence.  In the 1901 census, Ivy is recorded as Ivy May Chevalier and was residing at The Eyrie, Roxburgh Road, Westgate-on-Sea, Kent, a private boarding school for 40 girls, whose principal was Miss Rosina (also known as Rose) Attrill.  It would therefore seem that Ivy, like her brother Frederick, had adopted, or at least went by, the surname of her step-father (see below) who, in turn, was also paying for her education.

In the summer of 1905, Ivy married, in South Moulton, Devon, as Ivy May P P [Patricia Parsons] Chevalier, widower Harry Cockshut, a wallpaper manufacturer.  Harry had been born in Salford, Lancashire, in 1866, the son of John Cockshut, a wallpaper manufacturer, and his wife Alice Holt née Cheetham, making Ivy 19 years Harry’s junior at their marriage.  Ivy was Harry’s second wife, his first wife, Katherine (known as Kitty) née Meston had died 1904, leaving him with three children: John Allan born in 1894, Eric Sutherland born in 1895 and Marjorie born in 1898.  Ivy and Harry do not appear to have had a family of their own and sadly, Harry died within four years of married life, on 15^th June 1909, at Edinburgh House, Brondesbury, Middlesex;  Harry’s effects at death amounting to £133,776 12s 11d.  He was buried at WillesdenNewCemetery, Willesden, Harrow.  Harry’s death came just five months before the death of his brother-in-law, Frederick George Chevalier.

Florrie returns to the stage
Returning to Florrie, the birth of potentially two children between March 1886 and November 1887 did not put an end to her career and, as established above, she appeared at a Benefit at the Marylebone Music Hall in November 1887, and at the beginning of January 1888, Florrie appeared as part of the entertainment that supported a night of boxing at the Plough Hall of Varieties, Northampton, receiving a review that stated ‘Miss Florrie Leybourne has made a great hit with her budget of serio-comic songs.’  However, Florrie had returned to the London Halls by mid January, spending her time performing at the Marylebone Music Hall, Marylebone, and at the South London Palace of Varieties, Lambeth, through to the middle of February, again attracting reviews such as: ‘Miss Florrie Leybourne, the pretty Serio’.  On 15^th February, Florrie appeared in the ‘annual entertainment’ given at the Temple of Varieties on behalf of the funds of the Metropolitan & City Police Orphanage and the West London Hospital, to the review of; ‘Miss Florrie Leybourne who sing’s in good style’.  Thus it can been seen that despite being a mother, Florrie was still performing and must have left her children in the care of other family members, much like she and her brother were cared for during their childhood by their grandmother Mary Fisher.

In March 1888, Florrie embarked upon a 4-month Provincial Towns’ Tour, taking in the Amphitheatre, Portsmouth, the Prince of Wales Theatre of Varieties, Gravesend, the Grand Theatre, Liverpool, the Folly Variety Theatre, Manchester, the Gaiety Concert Hall, Birmingham, and the Halls-by-the-Sea, Margate, where she was ‘retained for a second week’, before returning to her London base by the end of July.  Again reviews were favourable, reporting that Florrie appeared ‘with a musical medley of much merit’; ‘Special Engagement of Miss Florrie Leybourne a sweet singer of sweet songs.  During her engagement she will sing a medley of songs taken from the most popular airs, made famous by her father, the late Mr George Leybourne’; ‘…Miss Florrie Leybourne, described as a ballad vocalist, is a pleasing singer whose renditions have been favourably received.’; ‘Miss Florrie Leybourne has contributed a fair share to the entertainment of the audiences.  Miss Leybourne is always received with much favour ...’ and ‘Miss Florrie Leybourne appears with success.’  Alongside the established fact that Forrie’s act including singing, one of the reviews stated that Florrie was appearing as a ‘serio and burlesque’. 

The definition of burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works (ie: legitimate theatre), or by ludicrous treatment of their subjects.  The word derives from the Italian burlesco which, in turn, is derived from the Italian burla – a joke, ridicule or mockery.  Theatrical burlesque was popular in the London theatres between the 1830’s and 1890’s and generally took the form of a musical, theatre parody, adapting well-known plays, operas or ballets as a comic play, usually musical, which were often risqué and mocked the theatrical and musical conventions of the original work. 

After the early tour of 1888, Florrie appears to have remained in the London area for the months of September and October, appearing a the following venues: Deacon’s Music Hall, Clerkenwell, the Canterbury Theatre of Varieties, Westminster Bridge Road, London and the Royal Standard Music Hall, Pimlico, again with reviews like ‘Miss Florrie Leybourne, a great favourite, meets live audience with a warm greeting each evening.’  Her act was now described as ‘serio and mimic’.  A Music Hall mimic was a person skilled in imitating the voice or actions of others in an entertaining way, especially in order to entertain or ridicule, usually as a parody of the upper classes.  The performers would generally dress flamboyantly and mimic real life characters, to the delight of their working class audiences.

Florrie then had a 2-day sojourn appearing at the Oxford Theatre of Varieties, New Road, Brighton with the initial review that ‘Miss Florrie Leybourne is paying a welcome return visit, and is warmly applauded.’, followed by ‘Miss Florrie Leybourne has been re-engaged[at the Oxford] with marked success’.  On completion of her engagement at the Oxford in Brighton, she returned to appear in the ‘Holiday programme – The Greek Mystery’ at the Royal at Holborn between the last week of December 1888 and the middle of January 1889.  This was followed by appearing at the Metropolitan, Edgware Road, and between 13^th January and 9^th February, appearing at the Trocadero, Piccadilly, where she ‘essays a medley of songs made popular by her late father…’  It is also from reviews at the Trocadero that we know the titles of some of her father’s songs that Florrie’s incorporated into her act: ‘Miss Florrie Leybourne carried us back a good many years with some of her father’s most famous ditties, arranged as a medley, and including “Champagne Charlie,” “Up in a balloon,” “After the opera is over,” “I say Cabby!,” “Oh! the Fairies,” “When you’ve got the money,” “Chalk it up,” and “That’s how the bell goes,”, all rendered with an amount of chic and sweetness that should go far to revive their popularity’.

Champagne Charlie
Composed by Alfred Lee, lyrics by George Leybourne (1866)

I’ve seen a deal of gaiety through out my noisy life
With all my grand accomplishments I neer could get a wife,
The thing I most excel in is the P. R. F. G. game,
A noise all night in bed all day, and swimming in Champagne.

Chorus
For Champagne Charlie is my name, Champagne Charlie is my name
Good for any game at night, my boys, good for any game at night, my boys,
Champagne Charlie is my name, Champagne Charlie is my name
Good for any game at night, boys, who’ll come and join me in a spree

The way I gain’d my titles by a hobby which I’ve got,
Of never letting others pay, however long the shot,
Who ever drinks at my expense are treated all the same;
From Dukes and Lords to Cabmen down, I make them drink Champagne.
Chorus

From Coffee and from supper rooms, from Poplar to Pall Mall,
The girls on seeing me exclaim Oh! what a Champagne swell!
The notion 'tis of evr’y one, if t’were not for my name,
And causing so much to be drunk, they’d never make Champagne.
Chorus

Some epicures like Burgundy, Hock, Claret, and Moselle,
But Moets Vintage only satisfies this Champagne swell;
What matter if to bed I go, and head is muddled thick,
A bottle in the morning sets me right then very quick.
Chorus

Perhaps you fancy what I say is nothing else but chaff,
And only done, like other songs, to merely raise a laugh;
To prove that I am not in jest each man a bottle of Cham
I’ll stand fizz round – yes that I will, and stand it – like a lamb.
Chorus

Up in a Balloon
Composed by G W Hunt, lyrics by George Leybourne (1868)

Oh, the Fairies
Composed by W G Eaton, lyrics by T S Lonsdale (1878)

There's a young friend of mine who's nearly divine
If you look in his face he would blush
If he met a girl's school he would quake like a fool
And away from the darlings he'd rush
One night I said, 'G, now come out with me
For you know it is near Christmas time
And everyone's gay, now what do you say
If we see Drury Lane Pantomime?'

Chorus
'Oh, the fairies, Whoa, the fairies
Nothing but splendour and feminine gender
Oh, the fairies, Whoa, the fairies
Oh for the wing of a fairy Queen.'

At last we came out, with Pa's rather stout
And Mammas with their daughters so grand
Then to the stage door we went, but oh lor
It was nothing like bright fairy land
And all was so cold, no silver or gold
The girls were amiss and misnamed
My poor friend he gazed, and looked all amazed
And then all at once he exclaimed,
Chorus

And then not content, off strolling we went
To the Haymarket famed supper rooms
And there we drank cham', and called girls real jam
Like you hear other awful great spoons
But when the place closed, 'sweet home' I proposed
And away from the ladies dressed loud
But soon we got mixed between and betwixt
And my poor friend I lost in the crowd.
Chorus

So then all alone I went my way home
And quite safely I reached the street door
To bed I soon crept, and soundly I slept
Until I woke up at four
My friend he arrived with some friends at five
And was lying half drunk on the stairs
With a boot in each hand he cried 'Fairy Land'
And hang all the landladies, 'Who cares.'
Chorus

After the Opera is over
Written and composed by George Leybourne (1871)

*

*

For life without pleasure is cold,

And I shouldn’t live very long.

Chorus

After the Opera’s over,

Attending the ladies done,

We gems of the very first water,

Commence with our frolics and fun.

Then why should I let myself down,

And neither spend money nor lend,

For money well spent brings joys,

Yes money was made to spend.

Chorus

I keep my own box at the Opera,

I’ve racers and hunters as well,

Estates and fine lands in the country,

So much money I cannot tell.

Chorus

To you that have money to spend,

Just take a lesson by me,

Live in the squares of Belgravia,

And the pleasure of life you will see.

Chorus

(* first 2 lines unavailable)

Ting, ting, that’s how the bell goes
Written and composed by Joseph Tabrar (1883)

Now, I'm deep in love, as I've oft been before
No girl, such a pearl, as the girl I adore
And she is a waitress at our luncheon-bar
Which as a French cafe 'tis known better far
She waits on the swells, who come in to enjoy
A 'sausage and mashed' or a cold 'saveloy'
There are bells on the table the swells have to ring
And Geraldine waits on the ting, ting, ting.

Chorus
Ting, ting, that's how the bell goes
Ting, ting, a pretty young thing
If you'll be my wife, then I'll buy the ring
And have servants to wait on the ting, ting, ting.

One day, while dining off chicken and ham
I called her my darling, my own little lamb
I asked if she'd have me, and that sort of thing
And I very soon bought her the little gold ring
Three weeks after that, well I made her my wife
Then said I'd no money, no income for life
Then the fair little, rare little, sweet little thing
Said she'd go back and wait on the ting, ting, ting.
Chorus

The day we got wed, 'twas the greatest of bliss
When we came from the church then I gave her a kiss
We went home and dined with my Mother-in-law
Who asked us to stay and take her second floor
We now live as happy as happy can be
My wife is my joy and no trouble to me
We have by our fireside a hand-bell to ring
And Ma-ma-in-law waits on the ting, ting, ting.
Chorus

From the end of February 1889 and for much of March, Florrie was appearing at the Empire Theatre of Varieties, Leicester Square.  Her act appears to now consist almost entirely of a re-interpretation of her father’s songs; ‘Miss Florrie Leybourne, who has a sweet voice is rapidly acquiring that peculiarly dashing style associated with her father’s name,’ and ‘Miss Florrie Leybourne is undoubtedly pretty, and she is in possession of a pleasant voice, which she exercises in warbling the melodies of some of her late father’s best-known songs’.  During April, Florrie appeared in Mr O W Moore’s 24^th Annual Benefit at St James Grand Hall, Regents Street, followed by Deacon’s Music Hall, Finsbury, together with appearing at the Palace of Varieties, Mile End, being noted as ‘the refined and gifted serio comic’, and at the Oxford, Oxford Street; she appeared at the last three venues until at least the first week of June before embarking upon a Provincial Towns’ Tour that included the Grand Theatre of Varieties, Paradise Street, Liverpool, being reviewed as a ‘charming and talented vocalist,’ and Day’s Music Hall, Birmingham, where she ‘has long since proved that she has more than a famous name to recommend her’.  The third Provincial Town scheduled for the tour was Brighton, where Florrie was due to appear at the Oxford Theatre, however, she appears to have been struck down by illness between 2^nd and 12^th August, as reported in the press: 

All but completely recovered from her indisposition, Miss Florrie Leybourne appeared on the boards of the Oxford on Monday evening.  Inasmuch as her name did not appear on the bills until Monday evening, and then as a ‘counter order’, her appearance was manifestly unexpected, but she was accorded an enthusiastic welcome.  She sang three songs that pleased the large audience immensely, and, it is needless to say, she was encored.  But it is singular to note that with her recovery Miss Ethel Victor has been taken ill, and is, consequently unable to appear this week, a fact we regret.  Miss Florrie Leybourne fills her place, and our readers may be pleased to know that she will appear every evening this week.

As can be seen from the announcement, Florrie did eventually appear at the Oxford, and ‘… proved a great attraction’.  A week later she was as back appearing in London at the Oxford Theatre, Oxford Street, followed by the RoyalStandardMusic Hall, Pimlico, then at Deacon’s Music Hall, before returning to the Oxford in Oxford Street in the middle of October until at least the end of December 1889.  It was during this settled period that Florrie gave her interview to The Music Hall and Theatre publication.  The awe-struck reporter, Henry Thorson, wrote:

‘Some people are born to greatness, some achieve greatness, and others have greatness thrust upon them.  I am not aware under what category our readers will place me, but anyhow, when in the course of mature I pass away to that bourne from which nobody returns, people will say, at least, be able to say of me “that I once had the honour of interviewing charming Florrie Leybourne.”

Last Sunday afternoon[20^th October 1889]I found myself in that picturesque thoroughfare well known as Stockwell Park-crescent [Brixton].  Here, in one of the largest houses, half-hidden behind a fine avenue of trees, resides Miss Leybourne, and there it was I had the pleasure of a chat with that accomplished lade.  On my arrival, I was shewn into the drawing-room, which is magnificently furnished, ornamented in the most artistic style.  Here I faced my worthy hostess, who extended a most hearty welcome to me….

Miss Florrie is an excellent pianist … She devotes several hours daily in practising her own songs and in composing new music.  She is very fond of horse-racing and told me she was lucky enough to find the winner of this year’s Leger in Donovan, which noble animal was the means of putting one hundred golden “quidlets” in Florrie’s pocket.  She is a lover of dogs, and owns two most beautiful “puppies,” of whom she thinks more than many a mother would of her own children.

Miss Leybourne is now nightly appearing at the Oxford and drawing crowded houses, mush to Jenning’s delight, and remains there until Christmas.  She had recently an offer from George Edwards, of the Gaiety Theatre, to go to America; but had to decline on account of previous engagements’.

Florrie, in her interview, was reported as saying, ‘Since then[beginning of her career]I have appeared at all the leading halls in London, and the principal provincial towns, and all my songs have been warmly applauded.’  The interview ended with Florrie’s plans for the future:

‘It will be of interest to many of our readers to know that Florrie is going to venture to open in about a month’s time, a new club in Percy-street, Tottenham Court-road, which will be known as the “Gaiety Musical and Dramatic Club”, where she will be pleased to see her old friends.  May her enterprise in her new undertaking be as successful as her career on the music hall stage...’

Sadly within a week of the interview, Florrie was reported to have been ‘suffering from a severe cold’ that had prevented her from appearing at the Oxford, but that on 6^th November, she was ‘quite convalesced and resumed work at the Oxford.’ and she did indeed appear at the Oxford until Christmas and even into part of January 1890.  Reviews reported that ‘Miss Florrie Leybourne revived pleasant memories of the father who introduced us to ‘Champagne Charlie’ and took us ‘Up in a Balloon’ and that ‘… she delighted the audience by her vivacity.’  Florrie continued to sing a medley of her father’s songs but had also added ‘Love, scrumptious Love’ to her repertoire, as well as being billed as a ‘danseuses’, a female ballet dancer.  However, it would seem that despite much advertising, Florrie’s venture to open her own club called the Gaiety Musical and Dramatic, never materialised.  This may have been partially due to ill health, as it was reported in mid February that ‘Florrie Leybourne’s trip to Brighton has been the means of restoring her health, and, after an absence of six weeks from the stage, she resumed business at the Oxford on Tuesday last [10^th]’ appearing nightly at 9.20pm, as well as appearing at the Empire, Leicester Square, with reports of ‘We are glad to hear that Florrie Leybourne, who has been indisposed for some time, is rapidly becoming herself again.’

Florrie Leybourne as Mrs Florence Clayton
On 19^th February 1890, Florrie Leybourne married Herbert Netherfield Clayton at the Registry Office, Bartholomew Close, Clerkenwell, London.  Herbert Netherfield Clayton had been born in Hampstead, on 20^th June 1869, the son of John Richard Clayton and his wife Charlotte née Roakes.  Herbert was one of 15 children, his siblings include; John Essex born in 1853, Mary Olivia born in 1854, Henry Reginald born in 1855, Geoffrey Sherborne born in 1856, Charlotte born in 1858, Mildred born in 1859, Wilfred born in 1860, Alice Maud Mary born in 1862, Charles Hollingsworth born in 1863, Horace S H born in 1864, Florence Selina Hannah born in 1865, Emily Agnes born in 1866, Frederick Wahl born in 1868 and Margaret Helena born in 1871.  Herbert’s father, John R Clayton was a well-known stained glass artist, sculptor, architect and painter as well as a business owner partner in the firm of stained glass designers, Clayton & Bell, which had been founded in 1855 and continued until 1993.  John R Clayton carved the figure of St George slaying the dragon that stands atop of the Crimean War Memorial, near Westminster Abbey, the tall marble and stone column, erected in 1861, designed by Sir George Gilbert Scott, which remembers former pupils of Westminster School who died in the Crimean War 1854-1856 and the Indian Mutiny 1857-1858.

There are few records relating to Herbert, especially between 1894 and his death in Lambeth, on 7^th December 1919.  However, those records that can be found show that in 1871, Herbert was living with his family at 11, Fairford Road, Hampstead; listed as a scholar.  In 1881, Herbert and his brother Wilfred, both listed as scholars, were boarders at Dunston Vicarage, Lincolnshire, in Rev. Richard Haworth Hart’s household.  Herbert also appears in the Harrow School Yearbook of 1893 suggesting that he was also educated at Harrow School.  His entry lists that he left ‘Mids. 1886’, presumably meaning he left mid-term in 1886.  The 1893 Yearbook also recorded that he was, by that date, ‘a resident in South Africa’.  This last fact can be borne out by a newspaper report dated 16^th March 1891, which states that Herbert was in ‘the Transvaal [a former province of South Africa]’ at the end of December 1891.  Also a ‘Mr. H. N. Clayton’ is listed as having left the port of Southampton, bound for Cape Town, South Africa, aboard SS Tartar, on 11^th July 1891.  The article also records that Herbert was a ‘music-hall artiste’, which is presumably how he and Florrie met.

Within three days of their marriage, Florrie was reported as appearing at the Oxford, Oxford Street, with reviews appearing, until 1^st of March, such as: ‘...pretty Florrie Leybourne, with old-time reminiscences of her father, sung sweetly and in excellent taste’ and  ‘Still keeping up the grand old name. FLORRIE LEYBOURNE, Only daughter of the late George Leybourne. Through indisposition will only appear at the Oxford nightly at 10 o'clock ...’  It appears that Florrie took a break from the stage between the beginning of March and the 24^th May 1890, after which she began appearing, ‘nightly at 7.40’ until the end of October, at the newly built Tivoli Theatre of Varieties at The Strand.  With Top Billing, reviews for these five months include; ‘Miss Florrie Leybourne, who has not graced the boards for some time past, appears on the stage to—night to dace the audience at the Tivoli’; ‘Florrie Leybourne endeavours to sustain the reputation of her father by repeating some of his well-known songs, such as ‘Champagne Charlie’ and ‘Up in a Balloon’.  Altogether, the patrons of the new theatre [Tivoli] have every reason to be satisfied with the extent of the character of the entertainment put before them, as with the taste and comfort of the building itself’; ‘Florrie Leybourne revived old memories by singing the choruses of her father, the late great George Leybourne’s renowned songs’ and ‘Miss Florrie Leybourne, looking more charming than ever, revived with lively choruses pleasant remembrance of her father, the late popular comic vocalist, Mr George Leybourne’.  Thus it would seem that married life did not interrupt Florrie’s career, except for possibly the break between March and 24^th May.

At the end of October, Florrie appeared in the ‘Twenty-second Annual Benefit’ at the Oxford, Oxford Street, where she continued to perform, nightly, until the beginning of December, with reviews such as; ‘Miss Florrie Leybourne, bright, beaming, and beautiful as ever, gave extracts from her late father’s popular budget’ and ‘Tall, handsome Miss Florrie Leybourne, beautifully dressed, gave a number of choruses from the late George Leybourne’s songs’.  At the beginning of December Florrie returned to the Tivoli Theatre of Varieties at The Strand, until the end of January 1891, with a quick appearance at J T Roach’s Fifth Annual Grand Benefit at the Theatre of Varieties, Liverpool, on 11^th December 1890.  For most of January 1891 until at least the middle of February, Florrie was appearing at the Alhambra Theatre of Varieties, Leicester Square, and on 14^th February appeared in Miss Nellie Melnotte’s benefit; Miss Melnotte was a serio comic, dancer and burlesque artiste.  At the beginning of March, Florrie was in Wales, appearing at the Alhambra Theatre in Penarth, before returning London, to appear at the Oxford Music Hall, Westminster, for the Easter Programme until 3^rd April.

During the first fourteen months of married life, it has only been possible to determine Florrie’s work commitments; sadly it has not been possible to determine anything about her husband Herbert’s work commitments.  It is believed that they did not have children and from a divorce petition in 1894 (see below) it would seem that Florrie did not have a happy marriage.  What is unknown is whether her work commitments were a contributing cause or effect of the unhappy marriage.  What is known is that in April 1891, Florrie, along with her daughter Ivy, were living in her mother’s household at 36, Heyford Avenue, Islington, Florrie listed as a ‘Music Hall Singer’.  There is no mention of Herbert in the household and he does not obviously appear in the census records.  There is also no mention of the potential son, later named Frederick George Chevalier (see above), in the household, and like Herbert, he too does not obviously appear in the census records.

At the beginning of April until the beginning of May, Florrie was appearing back at the Tivoli and the Oxford, nightly at 10.35pm and 11.10pm, again to good reviews: ‘Miss Florrie Leybourne’s contribution is a pot pourri of music hall ditties of a bygone date.  It is interesting to notice the improvement in taste which has taken place as regards the words of such songs; though we cannot say as much about the music, the airs of the old ones being strikingly tuneful and melodious.  Miss Leybourne sings with charming refinement, and with a delicacy of style which is very acceptable’. Also, on 7^th April 1891, part way through her engagement at the Tivoli and Oxford, Florrie appeared in the day-performance of ‘Mr G W Moore’s Twenty-Sixth Annual Benefit’, alongside a ‘Host of the most Distinguished Artists connected with the Principal Theatres and Music Halls’. The programme was split into an afternoon performance and an evening performance and Florrie got Top Billing for the evening performance.  This Benefit was the first time that Florrie was to appear at the same theatre as Albert Chevalier (see below).  By the end of May, Florrie was appearing nightly at the Charing Cross Music Hall, and The Oxford, Oxford Street, at 9.55pm and 11.10pm, respectively.  However, by 20^th June 1891, Florrie’s health was again being reported upon: ‘Miss Florrie Leybourne, who is under the care of Dr. Andrew Clarke has recovered from her indisposition, will shortly resume business at the York, Southampton’.

It is not known if Florrie managed to keep her engagement at ‘the York, Southampton’ but on 1^st August, she was back at the Oxford, Oxford Street, appearing in the ‘Grand Bank Holiday Programme’.  For much of October Florrie was on a Provincial Towns’ Tour, appearing back at the Grand Theatre of Varieties in Liverpool, before returning to London appearing back at the Alhambra Theatre of Varieties, Leicester Square and the Oxford, Oxford Street, from the beginning to the end of December.  In January, Florrie was appearing back at Grand Theatre of Varieties in Liverpool, where it was reported that ‘Miss Florrie Leybourne has made herself a warm favourite’.  From here Florrie moved on to the Prince of Wales’s Theatre of Varieties, Gravesend, where it was reported that ‘Miss Florrie Leybourne is the star here this week, and her songs have created quite a sensation’.  From the beginning of February Florrie was back on the London stage, appearing at the Alhambra until at least 15^th February, followed by the Trocadero, Piccadilly, Gattti’s Charing Cross Music Hall, and then the London Pavilion, Piccadilly Circus (as was ‘Mr Chevalier’).

Between the months of August and the middle of November, Florrie embarked upon a Tour of the Provincial Towns, taking in the Palace Theatre of Varieties, Manchester, where she appeared in operetta The Blind Beggars, written by HB Farnic with music by Offenbach, the first time that the popular operetta had been performed on the ‘Variety Stage’.  This was followed by appearing at the Palace, New Brighton, Manchester, with reviews of ‘Florrie Leybourne, the charming comedienne’ and ‘Miss Florrie Leybourne, comedienne, who renders a medley in which the chorus of many songs made universally popular by her father, are skilfully arranged.’  After Manchester, Florrie travelled south to Brighton in Sussex, appearing at the Alhambra, Kings Road, Brighton, until the end of November.  Whilst in Brighton it was reported she was ‘…gifted comedienne’ and introduced the audiences to ‘… the awkward predicaments of “Lost Lambs”’; another song she had added to her repertoire.  On the end of November, Florrie was back in London where it was announced that she would be giving ‘a grand concert on Tuesday, November 29^th, at the Princes Hall, Piccadilly, when many music-hall artistes will appear’.

December 1892 saw Florrie back at the Tivoli before embarking upon an extensive Provincial Towns’ Tour, taking in the Gaiety Palace, Birmingham, between 27^th December and at least the 20^th January 1893, reviews reporting that ‘Miss Florrie Leybourne (daughter of the late George Leybourne), who is also at the Gaiety, is not unknown in Birmingham as a thoroughly capable artiste, and her re-appearance demonstrates that she has lost none of her former popularity’.  Here Florrie introduced two more songs, ‘Shine, Moon, Shine’ and ‘Dear Homeland’ ‘… a decided advancement upon her repertoire’.  Whilst at the Gaiety Palace, Florrie received perhaps her first not-so-complimentary review reporting that her act had ‘tasty costume, tuneful music, but compass of voice decidedly weak; result, small success’.  From Manchester she travelled to Liverpool appearing at the Grand before travelling to Ireland, appearing at the Dublin Star Theatre of Varieties at the end of January.  It was then on to Scotland for the month of February and part of March, appearing at the Empire Palace Theatre, Edinburgh and the Gaiety Theatre and the Scotia Variety Theatre in Glasgow.  Here Florrie went down well with reviews that Florrie’s songs were ‘liberally applauded’ and that she was a ‘… charming vocalist and dancer’.  Good reviews followed Florrie when she appeared at the Theatre of Varieties at South Shields, ‘… excellent singing, sprightly dancing, and vivacious manner, exciting loud applause and gaining them two enthusiastic encores. Florrie Leybourne had also to make two additional appearances. She has a very fine and clear voice, and sings in exquisite manner…’  Her next appearance was at the Royal Variety, Sunderland, where it was reported that Florrie ‘enraptures her audience’ and ‘makes an impression by her clever vocalism’.  From Sunderland, Florrie travelled on to New Empire, Newcastle-upon-Tyne, then south to the Alhambra, Brighton, and finally, from 24^th April until at least 6^th May, Florrie appeared at the Empire in Newport, Wales, to reviews of ‘charming artiste’ and that she ‘… was expected to score, andthat she‘…certainly justified all expectations, and was received with ovations’.

Back in London it was reported that ‘The New York managers are busy in the amusement market securing leading artistes for their halls’ and ‘Messr Koster and Bial have engaged for their season 1893-4, Harriet Vernon [burlesque and pantomime actress], Bessie Bellwood [singer of coster songs], Ada Lundberg [comedienne], Ada Reeve [singer], Lottie Collard [vocalist and dancer], Florrie Leybourne [serio-comic and vocalist], and Evans and Luxmore [husband and wife team, Edward and Ada, comedic act].’

In June 1893, Florrie’s health took another turn for the worse, being reported in theatre press that ‘We hear that Florrie Leybourne is lying very seriously ill at Hastings.  A physician specially journeyed down on Wednesday [26^th July] to see her, and considers her case as extremely grave.  Faint hopes are entertained for her recovery’.   However, by 22^nd July, the press was reporting that ‘Miss Florrie Leybourne is only a little better and will be obliged to undergo another operation.  She is at present staying in Margate’.  A week later the following announcement appeared ‘Florrie Leybourne has asked us to mention that she is nearly convalescent, and that she tenders her thanks to all those who have made kind inquiries during her severe illness.  She informs us that she will not resume work until February next, when she sails for New York to fulfil an engagement in that city’. 

Articles on Florrie’s public and private life do not appear for a few months, but start again in September after filing for a divorce from Herbert Netherfield Clayton on 11^th September 1893.  On 24^th September, Florrie returned to the stage, it being reported that ‘Florrie Leybourne will make her first appearance after her severe illness at the Palace Theatre, London, on Monday next [25^th]’.  Within a month of returning to the stage, Florrie was appearing nightly at the Palace Theatre and the Trocadero and in early November, was appearing at the Empire Theatre, Brighton, although a week later it was reported that she was ‘indisposed’, perhaps she had taken on too much work too soon after her illness.  However, on 16^th December until at least 12^th January 1894, Florrie was appearing as part of the Grand Christmas Company at the Palace Theatre, Shaftsbury Avenue.  There is then a month’s gap before the spot light was turned fully upon Florrie’s private life. 

On 12^th March 1894, Florrie was granted a Decree Nisi in her divorce case.  This was reported on in London and just about every ProvincialTown she had performed in.  Reports varied greatly but the most comprehensive reported;

Clayton V. Clayton – This was a petition presented by the wife, Mrs. Florence Clayton, professionally known on the music-hall stage as Florrie Leybourne, praying for the dissolution of her marriage with Mr. Herbert Clayton, also a music-hall artiste, on the ground of his cruelty, misconduct, and desertion.  There was no defence.  Florence Clayton said she was the petitioner, and was married to the respondent, at the Registry Office, Bartholomew Close, on February 19, 1890.  On March 26, about six weeks after marriage, they were living at the Kensington Road, where the respondent knocked her down with his fist.  They resided at several other places, where the respondent struck her.  They, in 1891, lived at Poplar Walk, where again the respondent treated her with the greatest cruelty, and in December of that year the respondent deserted her and went to the Transvaal.  Mrs. Annie Leybourne said she was the mother of the petitioner.  In 1890 she saw her daughter, the petitioner, at her residence in Brixton.  She had a black eye.  Subsequently she went to live with Mr. and Mrs. Clayton, and then she discovered that the respondent was continually unkind to her daughter.  In December 1891, she had to go to her daughter’s assistance, and then she saw the respondent had his wife by the throat.  She afterwards saw bruises on the body of Mrs. Clayton.  The respondent was frequently out all night, and when he returned home in the morning he said he had passed the night with women.  Madame Courtois said she was acquainted with the respondent.  In 1890 she met him at the Supper Club, and on that occasion the respondent accompanied her home, and on leaving her the next morning he gave her a cheque for £10 signed “H. D. Clayton”, but the cheque turned out a bad one and she could not get it cashed.  The witness identified the photograph of the respondent as the person who gave her the cheque.  The lady proved a most amusing witness, and convulsed the Court by the ingeniousness of her replies and her audible asides.  His Lordship granted a deci nisi with costs.

An analysis of events confirms that within a few weeks of marriage, Florrie’s life was not a happy one.  Herbert did not attend or contest the claims and the judge found in favour of Florrie Leybourne, granting a Decree Nisi on the grounds of cruelty and adultery of her husband, with costs awarded against Herbert.  The Divorce was finalised on 26^th September 1994.

Throughout all the media attention, Florrie still had work commitments, appearing at the Palace Theatre, Shaftsbury Avenue on 15^th March, followed by appearing in the Grand Easter Programme at the Palace Theatre until at least 7^th April.  Florrie then embarked upon a Provincial Towns’ Tour, taking in the Argyle Theatre of Varieties, Birkenhead, a new venue for Florrie, receiving, probably a much needed boost to her self-esteem after recent events in her personal life; ‘Miss Florrie Leybourne, the Brilliant Comedienne…’, ‘A great success is scored by Miss Florrie Leybourne, a remarkably fascinating serio-comedienne who comes direct from the Palace Theatre, London…’ and ‘Miss Florrie Leybourne, the popular serio, renders a number of songs and some of the late George Leybourne’s choruses with success.’  From Birkenhead, Florrie travelled to the New Star Music Hall, Liverpool, and then the Dublin Star Theatre of Varieties, again receiving much needed good reviews including ‘Miss Florrie Leybourne (daughter of the “Great” George Leybourne) makes quite a sensation…’, ‘Miss Florrie Leybourne, a great favourite…’, ‘Miss Florrie Leybourne’s singing brings down the house’ and ‘Florrie Leybourne's songs are all popular, and the snatchy choruses reminiscent of her father's successes always ensure her a hearty reception ...’ 

By 21^st April, Florrie had embarked upon another Provincial Towns’ Tour taking in Argyle Theatre of Varieties, Birkenhead, until at least 28^th April, before moving on to the New Star Music Hall, Liverpool, followed by the Dublin Star Theatre of Varieties until at least 26^th May and then the People’s Palace, Bristol, where she received the following review ‘Florrie Leybourne (daughter if the late George Leybourne) bids for favour, and we can safely say she made a genuine success; she has a nice voice and her songs are very pleasing’.  From here Florrie travelled to the New Empire Theatre, Newcastle-upon-Tyne, appearing there until at least 18^th June before ending her tour at the Gaiety, Theatre, Glasgow, where she received the following review ‘Florrie Leybourne is still delighting Gaiety audiences with her father’s choruses, which are very tunefully rendered’.

It would appear that Florrie, although selected for the American season (as mentioned above), never actually went, as her work schedule and personal life, which was continually reported upon, has no gaps in it during the 1893-94 season and there are no reports that suggest she was appearing anywhere except in Britain throughout that period.  However, there are very few articles about Florrie, either about her public or private life, that appear for the remainder of June, the whole of August and the first half of September 1894, save that she was one of the artistes managed by the Dramatic and Musical Agency run by Mr Ben Nathan and Jack Somers.  Interestingly, they were also the agents for Albert Chevalier (see below).  The only other important personal event that was reported on during this period was that Florrie’s Divorce was Finalised on 26^th September 1894.  However, this was the lull before a flurry of press articles that appeared, nationally and internationally, when Florrie married Albert Chevalier (see below) on 8^th October 1894, at the Registry office at Chapel-en-le-Frith, near Stockport, Derbyshire.

Announcements, to list but a few, included:

‘Marriage of Mr. Chevalier – Mr. Albert Chevalier, the well-known vocalist, was married Monday last, before the Registrar of Chapel-en-le-Frith, near Stockport, to Miss Florrie Leybourne Clayton.  Miss Clayton is well known on the music-hall stage under the name Florrie Leybourne.’ 

‘Marriage – On Monday, October 8, at the Registry, Chapel-en-le-Frith, near Stockport, Albert Chevalier to Florence Leybourne Clayton, only daughter of the late George Leybourne.’

‘ … MARRIAGE OF MR CHEVALIER – Mr Albert Chevalier, the well-known vocalist, was married this week before the registrar of Chapel-on-le-Firth, near Stockport, to Miss Florence Leybourne Clayton. Miss Clayton is well known on the music-hall stage under the name of Florrie Leybourne, and is the daughter of the late George Leybourne. Mr Chevalier is now on tour with his own company in the North of England.’

‘Our London correspondent writes:- “The announcement of the marriage of Mr Albert Chevalier was received with surprise in London yesterday [8^th].  It was thought that he intended to seek a bridge outside ‘the profession’, and definite statements to that effect now, however, proved to be false, have been current.  The bride, Miss Florrie Leybourne is well-known in music-hall circles as a vivacious artiste, though she cannot be said to be in the front rank of music-hall stars.  She is the daughter of the late George Leybourne, better known perhaps as “Champagne Charlie”.’

‘Albert Chevalier, the famous "coster" singer, was married on Monday last [8^th] to Florrie Leybourne’.

‘The news has reached London of the marriage, at Stockport, of Mr. Albert Chevalier, the well-known coster vocalist and it is interesting to known that the bride is Miss Florence Clayton, herself well known on the music hall stage, and daughter of the late Mr. George Leybourne.  The many admirers of the clever coster songster, who have never seen Mrs. Chevalier, doubtless feel pretty confident that “she’s about the sweetest, prettiest and neatest donah in the wide, wide world”.  Let us hope, too, that in years to come, when both husband and wife are white-headed, the husband may still be able to sing, with double meaning –

She’s stuck me, through thick and thin,

When luck was out, when luck was in,

Ah! what a wife to me she’s bin.’

[Words from My Old Dutch, a song made famous by Albert Chevalier]

‘Miss Florrie Leybourne seems to have made a good matrimonial venture this time and I wish Mr. Chevalier and his “Old Dutch” every happiness’.

Albert Chevalier, second husband of Florrie Leybourne
Albert Chevalier was born at 17, St Ann's Villas, Notting Hill, Kensington, on 21^st March 1861, the son of Jean Onésime Chevalier, a French merchant who arrived in Britain in 1840 and later became a Professor of Languages, and his wife Helen Louisa née Matthews, an authoress who had been born in West Ham, near Pevensey in Sussex, the daughter of Rev. Stephen Britannicus Matthews, a Minister, and his wife Marian née Ingle.  Albert’s full name is generally given as Albert Onésime Britannicus Gwathveoyd Louis Chevalier; however, he was registered simply as Albert Chevalier.

Albert was one of 7 children, the first being a possible half-sister called Annie Onésime who was born in 1858, three years before his parent’s marriage, which was on 8^th January 1861; sadly Annie died in 1866.  The remaining children include; Auguste Charles Joseph Onésime [known as Charles Ingle] born on 28^th September 1862, Jules born in 1864 and who sadly died the same year, Adele Mary Catherine [known as Ada] who was born in 1865, Francois Marcus who was born on 14^th July 1866 and Bertram Henry John Onésime who was born on 23^rd June 1867.

Albert, even from a young age, showed a talent for performance, so much so that his father secured him a place in a ‘Penny Reading’ programme.  Penny Reading was a form of popular public entertainment that began in Britain in the middle of the 19^th century, consisting of readings and other performances, for which the admission charged was one penny.  In 1869, Albert Chevalier made his amateur debut performing as Mark Anthony in Julius Caesar at Cornwall Hall, Notting Hill.  In 1875, Albert joined a local amateur dramatics group called the Roscius Dramatic Club, adopting the stage name, Albert Knight [Knight being the English translation of the French word Chevalier], under which name he performed for the next three years.

In 1877, Albert was engaged as an actor under Marie and Squire Bancroft and for several years played legitimate parts at the Court Theatre, London and elsewhere.  His first professional appearance, still as Albert Knight, was in An Unequal Match at the Prince of Wales’ Theatre, London, on 29^th September 1877, alongside Madge and William Kendal with whom he toured for about 14 years.  In 1878, Albert changed his stage name to Albert Chevalier, performing as such for the rest of his life.  Throughout the 1880’s, alongside performing, Albert began to write songs, mostly cockney ditties, that he sang at clubs and private parties.  Finally, on 5^th February 1891 (after much persuasion), Albert Chevalier appeared for the first time on the Music Hall stage at the New London Pavilion, Piccadilly Circus, and was an instant success.  This change of direction would earn him the name as the ‘Costers’ Laureate’.  From the early 1890’s Albert agreed to only work in the major London Music Halls, which he did for over seven years, often performing at three or four halls each night.  Considered by some, as a strange move for a straight actor, Albert began in the Music Halls on £12 a week rising to £200 and at his peak, earning £450 a week.  As well as in London, Albert appeared in various concert halls throughout the English provinces, as he refused to appear in Music Halls outside of the capital.  During the 1890’s, Albert Chevalier became a highly popular performer on the Music Hall stage and together with his brother Charles Ingles, wrote a number of highly successful coster songs and melodramas, the most famous and long-lasting of which was My Old Dutch, later made into several films.  

In 1893, with another change in direction, Albert undertook the managerial responsibilities at the TrocaderoMusic Hall.  However, with little or no experience in management, the venture proved disastrous and left him with a debt of £10,000.  Returning to the Music Hall stage, Albert embarked upon a successful 18-month tour of America in 1896.  On returning to Britain he took on an engagement at the Queen's Hall in London, performing twice daily, that ran in excess of 1000 performances, making him one of the highest paid Music Hall actors of the time.

In 1905, he returned to tour America and again in 1906, and between December 1910 and the end of January 1911, he appeared in the stage production Daddy Dufard, produced on Broadway at the Hackett Theatre.  Around this date, Albert Chevalier moved from comedy into music composition for straight plays, and into the world of silent films.  In 1911, My Old Dutch, based on the words of Albert, was turned into a short silent movie and in 1915, Albert appeared as Harry Ashford in The Bottle.  The same year he also appeared as Joe Brown in a re-make of My Old Dutch and as Cyrus Blenkram in The Middleman.  He also wrote the storyline for the film The Outrage.  In 1916, Albert wrote and appeared as Barry Belvedere in Fallen Star.  However, with deteriorating health, Albert Chevalier’s final stage appearance was in My Old Dutch at the Lyceum Theatre, London, in 1920. 

Albert Chevalier died, aged 62, on 10^th July 1923 at Lake House, 38, Woodberry Down, Enfield, leaving effects to the value of £7,164 15s 2d.  Albert was buried on 13^th July 1923 with his father-in-law George Leybourne (see above) at AbneyCemetery, Stoke Newington. 

Post Script
In 1926, the film My Old Dutch was again re-released with Pat O’Malley performing Albert’s former role of Joe Brown.

In 1965, a Blue Plaque was erected by London County Council on the house where Albert Chevalier had been born in 1861, at 17, St Ann's Villas, Notting Hill, London, W11 4RT, Royal Borough of Kensington and Chelsea. 

Life as Florrie Chevalier
Four days after her marriage on 8^th October 1894, Florrie faced yet more revealing and embarrassing facts about her private life, this time it was reported that she was bankrupt.  ‘Under the failure of Miss Florrie Leybourne, the well-known music-hall artist, whose marriage with Mr. Albert Chevalier was recently announced, a summary issued at the London Bankruptcy Court shows debts at £500 and assets at nil.  The debtor attributes her insolvency to illness and inability to recover the costs of her successful divorce proceedings against her late husband…’  At the time of her Bankruptcy hearing, Florrie gave her address as 10, Taunton Place, Regent's Park, lately residing at 97, Kennington Road, and The Bungalow, St. Ann's Road, Brixton, and Flat E, 224, Marylebone Road, and 7, Arundel Street, Piccadilly, all in the county of London.  Every step in the proceedings was detailed by one or other news outlet, giving an insight into Florrie’s life just prior to her marriage to Albert Chevalier.

BANKRUPTCY OF A MUSIC-HALL ARTIST.

STATEMENT BY MISS FLORRIE LEYBOURNE.

At the Court of Bankruptcy this morning [16^th October] the Official Receiver issued the usual summary in the case of Florence Leybourne, a music-hall artist, residing at Taunton place, Regent’s-park.  The debtor attributes her insolvency to her earnings, in consequence of recent illness, having been insufficient to meet her expenditure (about £250 per annum), and to inability to recover from her divorced husband, Herbert Netherfield Clayton, the costs of the divorce proceedings which she successfully instituted against him.  The accounts which she has furnished show unsecured debts of £500, and assets nil.  She makes no proposal, and has been adjudged bankrupt’.

From the numerous newspaper articles, from every part of Britain, it would appear that Florrie, to help make ends meet, had pawned all her jewellery to try and bridge the shortfall in her earnings due to ill health.  Formerly, when in health, she had been able to earn between £10 and £15 a week but that had ‘latterly … fallen away’.  It was reported that ‘the liabilities appearing in her statement of affairs were mostly contracted when she was Mrs Clayton’, including two dressmaker’s debts that had been incurred for ‘professional clothes’.  Nearing the conclusion of the case there was an intriguing twist to the bankruptcy proceedings:

A NOVEL LEGAL POINT.

A remarkable point in marital bankruptcy law cropped up to-day before the Official Receiver.  It was in the case of Florence Leybourne, a daughter of the great Leybourne, whom many of us remember.  She was recently married to Mr. Albert Chevalier, but had previously been divorced, and the Official Receiver’s opinion expressed today was that Mrs. Chevalier could not now be made liable for debts contracted before she obtained her divorce.  As the point is so interesting and novel a one, it was not definitely decided off-hand, but will be considered again.   

The case continued, being reported on 19^th October 1894:

LAW INTELLIGENCE

BANKRUPTCY COURT – FRIDAY

(Before Mr. E. L. Hough, Official Receiver)

RE FLORENCE LEYBOURNE

The debtor, formerly the wife of Mr. Herbert N. Clayton, from whom she recently obtained a divorce, has since married Mr. Albert Chevalier, and a meeting of her creditors was now held. – She described herself as a music hall artist, and was stated to be prevented by ill-health from attending the meeting. – A proof being tendered by Mr. Osborn on behalf of a creditor, the Official Receiver said that the debts were contracted before the lady obtained a divorce, and he did not think she was liable for them.  Mr. Osborn submitted that his client’s judgement was recoverable against the debtor as a married woman, and that he was thereupon entitled to prove against her estate. – The Official Receiver: But she has no estate.  Is not your judgement, therefore valueless?  You will be entitled, however, having tendered a proof, to take part in the public examination.  Continuing, he said that if he recovered any estate she should distribute it in the usual course.  The lady had been adjudged bankrupt, and the matter would remain in his hands.  The question of her liability was a very interesting one, and had, he understood, been raised before the Registrar, but not decided, the receiving order being allowed to go, inasmuch as it was suggested that there might be some debts which she had contracted after the divorce. – Mr. Osborn asked for information respecting certain jewellery pledged by the debtor, and it was stated that she had pawned a diamond brooch, two diamond ear-rings, and some fans.   

The Public Examination took place on 5^th November, 1894, being extensively reported upon, including the following that poetically sums up Florrie Leybourne appearance and demeanour:

‘Miss Florence Leybourne, daughter of the famous George of a generation ago, and wife of the even more famous Albert Chevalier, came into the Bankruptcy Court the other day for a little dialogue with the Official Receiver.  She wore the costume of an artistic coster-laureate’s wife, a long brown tailor-made coat, beaver trimmed, which hung very well on her slight, elegant figure, and a neat little black bonnet, with black and petuna velvet ribbons on it.  Altogether her appearance gave the impression that Mr Chevalier ought now be inspired to write some exquisite new coster love ditties.  The proceedings were very short.  The greater part of the debts being claimed for having been incurred during the time the lady was living with her former husband, there was very little ground for the Official Receiver to cover, and such few questions as he asked he put very sympathetically.  She was married to a Mr Clayton, she said, in 1890, and the divorce decree nisi was made in March last year.  She had been married to Mr Chevalier since the date of the receiving order.  Some of her debts were in respect of stage clothing and other professional matters, other were for private dresses.  When she was in good health and regular employment as a music-hall artiste she used to earn from £10 to £15 a week; but for the last two years her health had been so bad that she had hardly earned £100 a year.  “That will do,” said the Receiver gently, and Mrs Chevalier with a grateful smile on her delicate face bowed and stepped down.  No creditor was hard-hearted enough to want to ask any questions’.

Thus the Public Examination was concluded and Miss Florrie Leybourne, now Mrs Chevalier, retired from the stage.

Married life must have started financially quite precariously as not only had Florrie been declared bankrupt, but just a year earlier in 1893, Albert Chevalier, with no previous experience, had undertaken managerial responsibilities at the Trocadero Music Hall; a venture that proved disastrous, leaving him with a £10,000 debt.  This case was not resolved until 25^th October 1894 when it was reported:

MR. CHEVALIER’S ACTION AGAINST HIS PARTNER

In the Chancery Division this morning, before Mr. Justice Romer, the case of Chevalier v. Didcott was mentioned.  The plaintiff in the action was Mr. Albert Chevalier, the well-known comedian, and the defendant, Mr. H. J. Didcott, the music-hall agent.  The action was brought for dissolution of a partnership between the plaintiff and the defendant in the Trocadero Music Hall.  Mr. Henry Terrell, for the defendant, submitted on behalf of his client to a declaration being made that the partnership was only at will, and to its being dissolved, and Mr. Neville Q.C. for the plaintiff, accepted the offer, subject to the partnership being dissolved as from the date of the writ, the plaintiff to allow the defendant remuneration as manger.  Finally, an endorsement was directed to the effect that the partnership was one at will, and the order was allowed to stand, the defendant to be allowed remuneration as manager of the business of the partnership. 

Albert Chevalier was also embroiled in a bankruptcy case at this time, but as a creditor of Robert Buchannan, being owed £150 that he leant him, along with several others, ‘in respect of advertising in connection with the Opera Comique’.  Throughout the first few months of married life, Albert Chevalier was on an extensive Recital Tour of the North, managed by his brother Charles Ingles, taking in such places as, Middlesbrough, West Hartlepool, Stockton, Ripon, Richmond, Tyneside, Jarrow, North Shields, Morpeth, Edinburgh, Inverness, Aberdeen, Glasgow, York, Dumfries, Lancaster and Hull.  So popular was his tour, that when he was unable to appear, through illness, at the Masonic Hall in Morpeth on 26^th October, it was reported that ‘The crowd besieging the doors were keenly disappointed when an announcement was made that Mr Chevalier, who had arrived at the Queen’s Head Hotel, was ill and could not appear’.  The article continued that ‘… after fulfilling his engagement at Jarrow-on-Tyne on Saturday night [20^th October], Mr Chevalier caught the night express to Newcastle and went home to London.  He slept during the journey, and on waking found that he had caught a chill.  He did his best on Sunday [21^st October] to beat it off, but the journey down to Morpeth on Monday [23^rd October] did not mend matters, and on arriving at his hotel he found he was almost unable to make himself heard.’

All the while there was also the reoccurring announcement of the marriage of Florrie Leybourne and Albert Chevalier and Florrie’s subsequent declaration of bankruptcy.  It is also evident from the extensive reviews of Albert’s Recital Tour that appeared in contemporary newspapers that Florrie may have had to face the ordeal of the bankruptcy hearings without the physical support of her husband who was fully committed to his Recital Tour of the North.  Unfortunately it has not been possible to determine whether Florrie accompanied Albert to any of his destinations in northern England and Scotland, but one would assume they did at least catch up with each other on 21^st October when he travelled back from Jarrow-on-Tyne and it is known that Florrie appeared at short notice instead of Madame Julia Lennox when Albert was on tour in Luton on 21^st December 1894.  The newspaper report stated that Florrie ‘… sang several well-known songs, including “Rory Darlin’” and “Daddy”, and though at first a trifle nervous, she performed very well’.

It was not until mid January 1895 that Albert’s touring brought him closer to home, appearing at the Tivoli and Pavilion theatres in London, before embarking upon another Recital Tour.  However, this tour was based more locally to London, taking in the suburbs, Kent, Middlesex, Surrey and Sussex, mostly for ‘one night only’, interspersed with short runs at the Tivoli and Pavilion theatres in London.  However, between mid February and the end of April, Albert was appearing nightly at the Tivoli, Oxford, Pavilion and Metropolitan theatres in London; all within commutable distances from Kingsley House, London Road, Isleworth, Hounslow, where the couple were living.  The house was described as ‘quite an idyllic little cottage fronting the London-road at Spring Grove, Isleworth’. 

It is interesting to see that Florrie, although officially ‘retired’ from the Music Hall stage, did still occasionally perform alongside Albert, being reported that on 25^th January 1895, that Florrie and Albert both appeared in a concert at the Bijou Theatre (also known as the Victoria Hall) in Westbourne Grove, Kensington.  A couple of months later it was reported that they both appeared, on 13^th April 1895, in ‘Mr Brett’s benefit’ at the Victoria Hall, Ealing.

In May 1895, the first newspaper article appeared that suggested that Albert had his sights set on breaking America, it being reported;

‘Mr. Albert Chevalier is credited with an intention to visit, at no distant date, the United States, where he means to establish an “entertainment” of his own in buildings resembling that in London known as St. George’s Hall’.

However, for the time being, after a fairly quiet August, Albert embarked upon his Fifth Recital Tour, again mostly confined to Southern England, with a few trips to Wales and Ireland.  Again it has not been possible to determine whether Florrie accompanied Albert to any of his tour destinations but, like the previous tour, many of the Provincial Towns were of commutable distance from London.

On 1^st January 1896, Florrie and Albert gave their services at an entertainment at Hounslow Town Hall in aide of the local soup kitchen but within a week Albert was well into his seventh, nationwide, Recital Tour.  However, on 24^th January it was reported that;

‘London and the provinces are to be deprived, for a time at least, of their favourite, the Laureate of Costerdom. Mr. Albert Chevalier, who has this week signed to go to the United States.  Mr. Chevalier sails for New York in March, and will appear for eight weeks certain at Messrs. Koster and Bial’s music-hall there, singing six songs each evening.  Whether the tour will be extended to other cities or not will depend upon circumstances’.

Albert travelled to America, giving his first performance on 23^rd March 1896.  However, Florrie did not initially accompany him to America but later joined him, leaving England on 30^th May 1896 on board SS Etruria.  On Florrie’s arrival, Albert took a three month break before continuing the tour.  Florrie returned to England but went back to America on 2^nd January 1897 on board SS Lucania.  Albert proved to be quite a success in America, the pair returning to Britain on 2^nd March 1897; the press reporting in May 1897, that: ‘Mr Chevalier has just returned to England with fresh laurels, won during his phenomenally successful tour in America’.  On return from his American tour, Albert, according to biographer Simon Featherstone, decided to concentrate his time on creating comic characters that he used in one-man sketches, although from contemporary press reviews, these characterisations were performed alongside his evenings of coster songs, allowing Albert to maintain a successful solo career performing both styles of entertainment on a series of national Recital Tours.  In 1899, Albert was engaged at the Queen's Hall in London, to give twice-daily performances, which ran in excess of 1000 performances, making him one of the highest paid Music Hall stars in London.  It was during Albert’s engagement at the Queen’s Hall, that Florrie again suffered with ill health, it being reported in the press on 12^th May 1899, that, ‘Mrs. Albert Chevalier, once Miss Florrie Leybourne, happily recovered from her long and severe illness…’,

By 1899, it is assumed that Florrie and Albert had settled into married life as Florrie must have been aware of the consequences of being married to someone on the stage, having lived that lifestyle herself.  However, it should also be remembered that although newly married in 1894, Florrie was already a mother, to a daughter called Ivy and, potentially, a son called Frederick, aged 8 and 7 respectively, who would both need caring for in her absence if and when she accompanied Albert on tour.  No doubt Florrie’s mother Annie would have stepped in to help, especially as she had been living with Florrie before her marriage to Albert.  However, by 1901, Florrie and Albert were living at 23, Euston Square, St Pancras, and Annie was lodging in the household of James Scott at 4, Duncan Terrace, Islington.  With regards to Ivy and Frederick, they were both at boarding schools, Ivy boarding at a private school for girls called The Eyrie, in Westgate-on-Sea, Kent, and Frederick boarding at Castlebar Court in Ealing (see above).  Unfortunately it has not yet been possible to determine when Ivy and Frederick started at boarding school but if they had both been boarding in 1896, this would have given Florrie the opportunity and ability to join Albert on his American tour. 

Unfortunately, after Florrie left the stage, she appears less frequently in the national press and as such the almost day-to-day reporting of her professional and private life ceased and you have to rely on press reports about Albert Chevalier that may give an insight into Florrie’s life.  However, there are other resources to try and piece together Florrie’s life.  It is known that Albert went back to America, arriving in New York on 12^th January 1905.  The Daily Mail reporting a week earlier that;

America see more of our dramatic geniuses than we do ourselves.  They have again secured one of the most remarkable of them all in Mr. Albert Chevalier, who leaves Britain this week for another visit, business and pleasure combined, to the United States.  Mr. Chevalier is the only music-hall singer we have in England who can compare with Mm. Yvette Guilbert in France.  He can be comic, pathetic, and tragic with equal originality and power.  His singing gives one the same sense of experience, of quiet insight into ways of humanity as Mme. Guilbert’s does.  No doubt that is because he has, in fact, seen and suffered much, having been poor as a reporter, a schoolmaster, and an actor, before becoming rich as a singer of coster songs’.

It would appear, from the available passenger lists that Florrie did not accompany Albert on this trip and he returned alone, to England on 14^th June 1905, after a second successful tour.  It has also not been possible to determine whether Florrie joined Albert in America at anytime during the five months he was there.  A possible reason for Florrie to remain in England was that her daughter Ivy was about to get married to Harry Cockshut (see above).

 

From press reports, it would seem that Albert and Florrie may have spent Christmas 1905 together as Albert finished his most recent Provincial Towns’ Recital Tour at Christmas and does not appear to have started a Recital Tour in January.  However, sadly, on 7^th January 1906, Albert lost his mother Helen Louisa Chevalier who died from Teilo’s, 18, Highlever Road, Kensington, Middlesex. 

By April 1906, Albert was performing the title role in J M Barrie’s stage play – Pantaloon, which opened at the Duke of York Theatre, London, on 5^th April.  This seems to have ushered in an era whereby he was not performing ‘one-night stands’, but a more settled run, which must have made for a more relaxed home life for Florrie.  However, by the beginning of October 1906, Albert was travelling back to America, arriving in New York for a six-week Vaudeville Tour with Yvette Guilbert, on 5^th October.  The press reporting: ‘Mr Chevalier is now in the States, and he and Mme. Yvette Guilbert are to appear in 40 cities in 40 days, one of the most remarkable tours booked in any country’.  It was also reported that Albert could earn £450 for every week that he was on a Provincial Tour.  Again, from the surviving passenger lists, Florrie did not obviously travel to America in 1906 but must have now felt financially secure.

At the end of the Vaudeville Tour, Albert stayed in America to fulfil an engagement of theatre houses controlled by Percy Williams.  There is no obvious record of Albert returning to England for Christmas 1906, however, he did receive a silver monogrammed, crocodile skin, leather-bound photograph album from Florrie’s daughter and husband that Christmas, with the wording ‘From Harry & Ivy, Xmas 1906’ picked out in silver wire on the front cover.  This album, along with a selection of photographs, was bought from a Felbridge jumble sale in the early 1960’s and now forms part of the Felbridge archive.  However, this may have been a late Christmas present as Albert is next recorded in the passenger lists as returning to England on 8^th January 1907.  On his return, Albert took to the stage with a triple bill of Pantaloon, Atonement and The Dream of his Life, kicking off at the Devonshire Park Theatre in Eastbourne in April 1907 before moving up to the Theatre Royal at Hull in May 1907.  Finally appearing from 12^th September 1907, in The Sins of Society at the Theatre Royal, Drury Lane, London.  Life in the Chevalier household must again have returned to a more relaxed affair and by now Florrie must have become accustomed to the pattern of theatrical performances of her husband Albert. 

Returning to Florrie’s family life, as established above on 15^th June 1909, her daughter Ivy lost her husband Harry Cockshut, after just four years of married life.  By 1909, the couple were living at Edinburgh House, Brondesbury, Middlesex, where Harry died.  Five months later on 16^th November 1909, Florrie’s potential son Frederick George Chevalier also died, aged just twenty-two, the announcement placed in The Times (see above).

By the beginning of 1910, Albert was on his fourth tour of America and again there is no record to show whether Florrie accompanied or joined him there.  By April 1910, Albert was back in England and on a nationwide Recital Tour.  However, on 29^th October, Albert, Florrie and Ivy were bound for America on board Cunard’s SS Mauretania, arriving in New York on 4^th November.  This trip was because Albert was to produce and star in Daddy Dufard, at the Hackett Theatre on Broadway.  The play was written by himself and Lechmere Worrall and ran for 31 performances between November 1910 and January 1911.  Florrie and Ivy arrived back in England on 3^rd January 1911, on board SS Lusitania, the national press reporting: ‘The Cunarder Lusitania arrived at Liverpool from New York early yesterday [3^rd January] morning, after a record eastward passage of 4 days 15 hours and 50 minutes, beating her previous best performance in September, 1906, by two minutes’, whilst Albert took Daddy Dufard to Canada.

Albert was still touring Canada in April 1911, the British census detailing that Florrie was residing at Berkley Hill House, Stanmore, Middlesex, along with her 24-year old daughter Ivy, her 62-year old mother Annie and five servants; the house described as having seventeen rooms, excluding the ‘scullery, landing, lobby, closet and bathrooms…’  The house had been built in the 18^th century and was originally called The Great House, probably due to its imposing appearance on the top of rural Stanmore Hill.  Albert eventually returned to England on 15^th July 1911 and by August was performing at the Coliseum in London.  Around this time, a silent film called My Old Dutch, based on a poem by Albert Chevalier, (released in America on 25^th August 1911), the first time that Albert’s name was to be linked to the film industry.

By February 1912, Albert was appearing in the ‘Miss Ellen Terry and Mr Albert Chevalier season’ at the Savoy Theatre, London.  Albert appeared in two short plays, The House, as Jack Mudsey, and a revival of Pantaloon, as the Clown.  The orchestra was under the control of the musical director, John C Holliday, and the stage manager for Albert’s short plays was his brother-in-law George Leybourne, Florrie’s older brother.  Albert appears to have surrounded himself with family members as the majority of the Recital Tours were also organised by his brother and agent, Charles Ingles.   It would appear that Florrie’s brother George had taken to the stage by October 1891 rendering ‘some capital ditties’ and being ‘loudly applauded over the song, “Champagne Charlie”, which brought his father, the late great George, into prominence years ago’.  By 1900, George Leybourne junior was advertising in the wanted section of the national press for ‘Management of Theatre or Music Hall Bars’, stating that he was ‘Thoroughly experienced’ and had ‘ highest references’.  At the time his address was given as Haselmere, Compton Terrace, Highbury, and in the 1901 census, he lists himself as an actor, living at 24, Compton Terrace, Islington, with his in-laws.  By 1910, George was managing the Cinematograph Theatre, as reported in The Era: ‘A familiar note is struck in the name of the manager of the new Cinematograph Theatre at Ealing, of which we noticed the opening in our issue of last Saturday [15^th January].  A son of the never-to-be-forgotten creator of “Champagne Charlie,” and brother-in-law of our great coster comedian, Albert Chevalier, Mr. George Leybourne comes to Ealing with the very best credentials, and all his friends – British and American – will be pleased to hear of his appointment to the direction of one of the most elegantly-appointed houses yet erected for Bioscope display.’  The reference to American friends suggests that George was known in America and it is known that he travelled there in October 1909, but it has not yet been possible to determine in what capacity.  By May 1910, George was successfully managing the PicturePalace, adjoining the Hippodrome in Ealing, and in 1912 George was stage manager for Albert’s season at the Savoy Theatre.

Florrie, although now not performing, must have been a tolerant and supportive wife for her husband Albert.  By 1912, Florrie was in her forties and Albert had turned fifty and with the on-set of World War I, crossing the Atlantic to tour America was put on hold.  Instead, Albert, possibly due to the influence of his brother-in-law George Leybourne, embarked on a short career in the silent film industry appearing in four silent movies produced by the London Film Company, that included: The Middleman (released in America in May 1915), in which he played Cyrus Blenkarn; The Bottle (released in America in October 1915), appearing as Harry Ashford; My Old Dutch, co-written with Arthur Shirley (released in America in November 1915), in which he appeared as Joe Brown; and A Fallen Star, co-written with Arthur Shirley (released in Britain in August 1916), in which he appeared as Barry Belvedere.  Albert also wrote the screen play for The Outrage that was released in Britain in November 1915.  Also, throughout and after the end of World War I, Albert continued to compose songs and perform in straight plays.

Returning to Florrie’s family life, daughter Ivy, who had been widowed at the age of 23, after just five years of married life with Harry Cockshut, re-married in the spring of 1918, John Cottam Holliday.   John Cottam Holliday had been born in Stoke Newington in 1887, the son of John Pearce Holliday, a fringe maker, later a theatrical upholsterer, and his wife Rebecca née Cottam.  He was one of two children with a sister Gladys born in 1894.  John had studied at the GuildhallSchool and was a pianist.  He regularly toured and was Albert’s accompanist on his tours of Britain, America and Canada, as well as being his musical director at the Savoy Theatre in 1912.  John was also a solo pianist, composer and chorus master at Drury Lane for many years.  John served in the Honourable Artillery Company in World War I, which probably accounted for the 1918 wedding.  Ivy and John had a long married life together, although they do not appear to have had a family.  John died from Cleremont, Second Avenue, Hove, on 10^th November 1968 and Ivy died just over two years later from 8, Walsingham Road, Hove, on 29^th January 1971.

Sadly, just a year after Ivy’s marriage, Florrie lost her mother, Sarah Annie Leybourne, who died, aged 73, in Hampstead, in December 1919.  At some point around this date, Florrie and Albert moved to LakeHouse, 38, Woodberry Down, Enfield.  By now Albert was in declining health but was still performing.  His final appearance was in My Old Dutch, which he had co-written with Arthur Shirley, based on his own coster song penned in 1892.  Despite being considered sentimentally dated, the play ran from 1920 at the Lyceum Theatre for over a year; Albert completing his final performance in November 1922.  At the beginning of 1923, Albert had to have a serious operation but it was reported that he was making ‘good progress’.  Sadly the progress was not sustained and he died, aged 62, from Lake House, on 10^th July 1923, leaving effects of £7,164 15s 2d.  Unfortunately LakeHouse has since been demolished and re-developed as a high-rise estate.  As established above, in recognition of Albert’s life and career, a Blue Plaque was erected in 1965 at 17, St Ann's Villas, Notting Hill, London, W11 4RT.

The death of Albert must have left Florrie devastated and with his death came the return of much information about Florrie’s life appearing in the national press.  In January 1924, it was reported that Albert’s collection of books were sold, realising the sum of £1,000 and that ‘amongst the items was a play by Albert Chevalier and Robert Louis Stevenson, printed privately, which went for 30 guineas’.  Florrie also moved house, as it was reported on 17^th May 1924 that;

Mrs. Albert Chevalier, the widow of the actor, would like to recover the manuscript of her husband’s biography, which he completed on his death-bed, but which has disappeared.

“When he was dying,” said Mrs. Chevalier, “he added something about me, which I treasured.  The whole of the manuscript has gone.  It dealt completely with is life up to the Lyceum and the production of his play.  I can only think it was packed up with a lot of papers, which were sold”.

Mrs. Chevalier appeals for it to be returned to her at 3, Percival-mansions, King’s Cliff, Kemp Town, Brighton.  She offers a reward of £5 for its recover.

Other newspapers reported that it was ‘a serious and painful loss’ to Florrie, stating that ‘he [Albert] had just a few weeks prior to his death written a little chapter of affectionate appreciation concerning myself and our 30 years of married life’.  Sadly it is probable that the missing manuscript did not turn up as the only published autobiographies to date are; Albert Chevalier: A Record by Himself, published in 1886 and Before I Forget, published in 1902.

By 1926, Florrie had found spiritualism, possibly as a way of feeling closer to Albert, as it was reported;

… Mrs. Albert Chevalier is among those ladies who are arranging entertainments at the bazaar to be held at the Caxton Hall, Westminster, on May 20 and 21, in aid of the Memorial Endowment Fund of the London Spiritual[ist] Alliance… Mrs. Chevalier, who was widely known as Florrie Leyburn [Leybourne] in “times less recent” (the gentle phrase is Bret Harte’s), is among the leading spiritualists of the day, and she has told me that she rarely takes any important step in life without consulting the spirit of her brilliant husband.

The London Spiritualist Alliance was founded in 1884, attracting a large following of eminent Victorian and Edwardian society members, including people like Sybil Viscountess Rhondda, Susan Countess of Malmesbury, Viscountess Molesworth and Sir Arthur Conon Doyle and his wife.  Ever since the death of Albert, his name appeared in the national press almost constantly, either through reports of impersonators of ‘the late Albert Chevalier’ or through adverts for a re-make of the film My Old Dutch.  Also, from 1925, Albert’s nephew, who was also known as Albert Chevalier, was beginning to make a name for himself on stage and as a consequence also appeared in reviews.  It is not then surprising that perhaps Florrie might turn to spiritualism for comfort.

In October 1926 it was reported that Albert Chevalier was sending messages ‘to a world which he did so much to brighten during his lifetime.  The messages are to his wife, automatically recorded by his niece, Miss Leybourne.  In addition to the words of cheer, Mr. Chevalier has sent a song which is a lyrical description of the beautiful place where he now lives’.  The journalist writes, ‘I cannot honestly say that I like it as much as those which he sang when he was still with us.  It is, as a matter of fact, a piece of sugary and commonplace sentimentality strongly resembling the sickly ballads which are favourites in third-rate pantomimes.  It has been set to music, and is being published, which may perhaps account for the publicity which is given to it’.  Whether the journalist liked the song or not, he appears to have believed in the circumstances surrounding it!

Florrie must have been a total believer, so much so that she wrote a book called ‘Albert Chevalier Comes Back; A Record of Spirit Communication’.  The book consisted of a series of messages that Florrie had received from Albert from the spirit world, including him singing My Old Dutch.  Whether real or in the mind, Florrie obviously derived much comfort from her encounters.  It was also reported that Florrie disliked being called ‘widow of the famous coster comedian’ as she was ‘convinced that Albert Chevalier is still living and near her…’  In 1929, Florrie (Florence Leybourne), was living at Ringmere, Town Hill, Lingfield, along with companion Ethel Mary Stubberfield.  Ethel had been born in Herstmonceux, Sussex, in 1883, the daughter of Isaac Edward Collbran Stubberfield and his wife Charlotte née Pocock.  In 1911, Ethel had been living at the family home called The Anchorage, Pevensey Bay, Sussex; listed as a lady’s companion.  It has not yet been established when or how Florrie and Ethel met, except that in 1907, Albert Chevalier lists his address as PevenseyBay when advertising two of his plays, so possibly their paths crossed here.

By 1930, Florrie and Ethel had moved to Ann’s Orchards, Crawley Down Road, Felbridge (for further information see Handout, Ann’s Orchard, SJC 05/01).  Florrie lived out the rest of her days at Ann’s Orchard, with companion and friend, Ethel Mary Stubberfield.  Florrie died on 17^th October 1931, at Ann’s Orchard, the national press reporting: ‘… Mrs. Chevalier lived only eight years after her husband… Albert Chevalier’ and ‘many years ago, before she married, Mrs. Chevalier was herself upon the stage, and  when she married she gave up her performing and retired to devote herself to her husband…’  It was reported that ‘When Albert Chevalier died, eight years ago, his wife placed on the coffin a wreath bearing a card on which was written the quotation from one of his best-known song, “My Old Dutch”.  Florrie was buried alongside Albert at Abney Park Cemetery, Stoke Newington, on 21^st October 1931.  A fitting tribute was paid to Florrie that appeared in the Daily Mail;

Chevalier’s “Old Dutch”

A very true and very beautiful love story is recalled with the death of Mrs. Albert Chevalier, widow of the famous music hall artist, aged sixty three, which was her husband’s age when he died eight years ago.  Never did a music hall song set the hearts of old and young so warmly beating as “My Old Dutch.”  The secret of its universal appeal was in the source of its inspiration – and that source was Chevalier’s great love for his wife.

We’ve been together now for forty years,

An’ it seem a day too much;

There ain’t a lady livin’ in the land

As I’d swap for my dear Old Dutch.

There was a prayer in the last verse which was answered;

I ain’t a coward, still I trust

When we part, as part we must,

That death may come and take me fust

To wait – my pal!

Chevalier’s daughter, Mrs. John C Holliday, said of her parents;

“They were lovers to the end, utterly devoted to each other.  My mother was practically an invalid almost all her married life, and my father’s thoughts were constantly focused on her.  They were so happy that they were like children.  When my father died, my mother never recovered from the blow.  She has yearned for death ever since she lost the husband who was always her lover.”

When Florrie died she left effects to the value of £7,349 0s 8d, leaving all the rights to which she was entitled in various songs, plays, films and other works to Albert’s niece Dorothy, the daughter of his brother Auguste Chevalier [aka Charles Ingles] and the bulk of Florrie’s property was left to ‘her friend’ Ethel Stubberfield.  Ethel continued to live at Ann’s Orchard and by 1933, had been joined by Sydney Oswald Cox, his wife Muriel Emmeline née Kavanagh and their son Sydney Frank Cox (listed in Ethel’s probate as a government official).  Ethel remained at Ann’s Orchard until she died, aged 80, on 20^th September 1963, leaving effects to the value of £10,207 5s.  Ann’s Orchard remained in the hands of the Cox family until shortly after the death of Sydney Frank Cox in 1975.

Post Script
Although Florrie Leybourne does not have a Blue Plaque to commemorate her, her name does live on in Leybourne Place, a close of houses built on part of the garden of Ann’s Orchard in Felbridge in 2004.  Also, although written in 1892 by Albert Chevalier, two years before he married Florrie, the sentiments of his song My Old Dutch will be forever associated with their married life together;

I've got a pal,
A reg'lar out an' outer,
She's a dear good old gal,
I'll tell yer all about 'er.
It's many years since fust we met,
'Er 'air was then as black as jet,
It's whiter now, but she don't fret,
Not my old gall

Chorus: We've been together now for forty years,
An' it don't seem a day too much,
There ain't a lady livin' in the land
As I'd "swop" for my dear old Dutch.

I calls 'er Sal,
'Er proper name is Sairer,
An' yer may find a gal
As you'd consider fairer.
She ain't a angel, she can start
A-jawin' till it makes yer smart,
She's just a woman, bless 'er eart,
Is my old gal!

Chorus

Sweet fine old gal,
For worlds I wouldn't lose 'er,
She's a dear good old gal,
An' that's what made me choose 'er.
She's stuck to me through thick and thin,
When luck was out, when luck was in,
Ahl wot a wife to me she's been,
An' wot a pal!

Chorus

I sees yer Sal,
Yer pretty ribbons sportin'
Many years now, old gal,
Since them young days of courtin'.
I ain't a coward, still I trust
When we've to part, as part we must,
That Death may come and take me fust
To wait... my pal!

Chorus

Bibliography

Handout, Theatricals of Felbridge, SJC 11/12, FHWS

Handout, Theatricals of Felbridge Pt. 2, SJC 11/16, WHWS

Handout, Theatricals of Felbridge Pt. 3, SJC 11/18, WHWS

Handout, Albert Chevalier, SJC 05/01ii, FHWS

All newspaper references are for the British Newspaper Archive 

George Leybourne

The Heaviest of Swells, Vol.1, by Christopher Beeching

Census records, 1841, 1851, 1861, 1871, www.ancestry.co.uk  

Birth, Marriage and Death Index, www.freebmd.org.uk

Death of Mrs Leybourne, Newcastle Daily Chronicle, 26 Nov 1867   

Leybourne family trees, Dye/Mills/Rowntree trees www.ancestry.co.uk

Death of George Leybourne, newspaper article, The Era, 20 Sep 1884   

George Leybourne’s Grave, newspaper article, The Era, 19 Dec 1891   

Leybourne Blue Plaque, www.english-heritage.org.uk/visit/blue-plaques/champagne-charlie/ 

Florrie Leybourne

Handout, Ann’s Orchard, SJC 05/01i, FHWS

Census records, 1871, 1881, 1891, 1901, 1911, www.ancestry.co.uk

The Heaviest of Swells, Vol.1, by Christopher Beeching

Miss Florrie Leybourne at Home, article in the Music Hall and Theatre Review, 26 Oct 1889

Rediscovering and Reimagining the careers of Victorian Music Hall Serio-Comediennes, by Louise Wingrove

https://victorianist.wordpress.com/2015/06/26/rediscovering-and-reimagining-the-careers-of-victorian-music-hall-serio-comediennes/

Rose Hart gift, article, The Era - 8 April 1893

Theatre and Music Hall Journal - 4 Jun 1892

Collins’s Music Hall, The Era, 3 Nov 1883

Collins’s Music Hall, The Era - 10 Nov 1883

Collins’s Music Hall, The Era - 17 Nov 1883

The Royal (Late Weston’s) Holborn, Weekly Dispatch (London) - 25 Nov 1883

GaietyPalace of Varieties, Wharf Street, Leicester, The Era - 1 Dec 1883

Collins’s Music Hall, London and Provincial Entr'acte - 7 Jun 1884

The Pavilion Theatre, London Evening Standard - 2 July 1884

The Pavilion and the Royal Theatres, London Evening Standard - 22 Aug 1884

The GaietyPalace of Varieties, Leicester, The Era - 30 Aug 1884

Days Concert Hall, Birmingham, Shields Daily News - 17 Sep 1884 & The Era - 4 October 1884

The Folly Variety Theatre, Manchester, The Era - 4 October 1884

The ParthenonMusic Hall, Liverpool, The Era - 25 Oct 1884

The Gaiety Theatre of Varieties, Glasgow, Glasgow Evening Post - 13 Nov 1884, 17 Nov 1884,  24 Nov 1884

Moss’ Theatre of Varieties, Edinburgh, Edinburgh Evening News - 1 Dec 1884

The Grand Pantomime, New Grand Theatre, Birmingham, Birmingham & Aston Chronicle - 13 Dec 1884, 27 Dec 1884, The Stage - 2 Jan 1885 & Birmingham Mail - 5 Jan 1885

The Amphitheatre, Portsmouth, The Era - 14 Feb 1885

The Palace of Varieties, Gravesend, The Era - 28 Feb 1885

Shadows of Fate, Day’s Concert Hall, Birmingham Mail - 10 Mar 1885

Collins’s Music Hall and the Royal Theatre, The Era - 4 April 1885

Collins’s Music Hall, The Era - 04 April 1885

Shadows of Fate at The Royal, Holborn, London Evening Standard - 9 Apr 1885

Collins’s Music Hal, London and Provincial Entr'acte - 11 Apr 1885

Shadows of Fate at The Royal, Holborn, The Era - 18 Apr 1885

Collins’s Music Hall, London and Provincial Entr'acte - 25 Apr 1885

Gatti Theatre, Westminster Bridge Road, Vauxhall, London and Provincial Entr'acte - 9 May 1885

The Royal – Ally Sloper's Half Holiday, 9 May 1885

Collins’s Music Hall, The Era - 9 May 1885, 16 May 1885,

Dan Lowry’s StarMusic Hall, Dublin, Sport (Dublin) - 15 Aug 1885

Grafton Theatre of Varieties, Dublin, The Era - 22 Aug 1885

Hall-by-the-Sea, Margate, The Era - 19 Sep 1885

ParthenonMusic Hall, Liverpool, The Era - 26 Sep 1885

Adventure Theatre, Sunderland, The Era - 24 October 1885

The Gaiety, Newcastle-upon-Tyne, The Era - 31 October 1885

Moss’s Gaiety Theatre of Varieties, Edinburgh, The Era - 7 Nov 1885 & The Era - 28 Nov 1885

Birth of a daughter, The Era - 20 Mar 1886

Birth, Marriage and Death Index, www.freebmd.org.uk

Collins’ Music Hall, (Weekly Dispatch (London), 24 Oct 1886

The Parthenon Theatre, E London, The Era - 4 & 18 Dec 1886

SouthLondonPalace of Varieties, The Era - 5 Mar 1887

MaryleboneMusic Hall, London & Provincial Entr'acte - 12 Nov 1887

Death announcement – Chevalier, The Times, 29 Nov 1909

Cockshut Probate, 1909, www.ancestry.co.uk

Plough Hall of Varieties, Northampton, Sporting Life - 4 Jan 1888 & The Era - 7 Jan 1888

MaryleboneMusic Hall, London, The Era - 21 Jan 1888

SouthLondonPalace of Varieties, South London Press - 28 Jan 1888 The Sportsman - 7 Feb 1888, & The Era - 11 Feb 1888

MaryleboneMusic Hall, London, London and Provincial Entr'acte - 28 Jan 1888

Temple of Varieties, The Era - 18 Feb 1888

The Amphitheatre, Portsmouth, The Era - 24 Mar 1888

The Prince of Wales Theatre of Varieties, Harmer Street, Gravesend, Gravesend Reporter, North Kent and South Essex Advertiser - 21 Apr 1888, 28 April 1888

The Grand Theatre, Liverpool, The Era - 26 May 1888 & Liverpool Mercury - 29 May 1888

The Gaiety Concert Hall, Birmingham, The Era - 30 Jun 1888

The Halls-by-the-Sea, Margate, The Era - 7 July 1888, 14 July 1888

Deacon’s Music Hall, Clerkenwell, The Era – 22 & 29 Sep 1888, 6 & 13 Oct 1888

The Canterbury Theatre of Varieties, Westminster Bridge Road, London, The Era - 24 Oct 1888

The RoyalStandardMusic Hall, Pimlico, The Era - 27 Oct 1888, 3 Nov 1888, 10 Nov 1888

The Oxford theatre, Brighton, The Era - 15 Dec 1888, 22 Dec 1888

The Greek Mystery – the Royal, Holborn, London Evening Standard - 24 Dec 1888 & Morning Post - 14 Jan 1889

The Metropolitan, Edgware Road, The Era - 2 Feb 1889, 9 Feb 1889 & Weekly Dispatch (London) - 10 Feb 1889

The Trocadero, Piccadilly, The People - 13 Jan 1889

The Trocadero, Piccadilly, The Era - 9 Feb 1889

The Empire Theatre, Leicester Square, The Era - 23 Feb 1889, The Stage - 1 Mar 1889, London & Provincial Entr'acte - 16 Mar 1889

St James Grand Hall, Regents Street, The Era - 30 Mar 1889

Deacon’s Music Hall, Finsbury, Holloway Press - 19 Apr 1889

Forester’s Palace of Varieties, Cambridge Road, Mile End & Deacon’s Music Hall, The Era - 20 Apr 1889 & East London Observer - 20 Apr 1889

The Oxford, Oxford Street, Morning Post - 23 April 1889, Daily News (London) - 23 April 1889

The Grand Theatre of Varieties, Liverpool, Liverpool Echo - 7 Jun 1889, 10 Jun 1889 & 27 Jun 1889

Day’s Music Hall, Birmingham, The Era - 6 July 1889

Florrie Leybourne – Illness, Brighton Gazette – 15 Aug 1889

The Oxford Theatre, Oxford Street, The Era - 17 Aug 1889  

The RoyalStandardMusic Hall, Pimlico, The Era - 24 Aug 1889

Deacon’s Music Hall, London and Provincial Entr'acte - 7 Sep 1889

The Oxford, Oxford Street, The Era - 12 October 1889

Florrie Leybourne – Illness, Music Hall & Theatre Review - 9 Nov 1889

The Oxford, Oxford Street, The Era - 2 Nov 1889, Morning Post - 24 Dec 1889 & The Era -25 Jan 1890

Gaiety Musical and Dramatic Club, Music Hall and Theatre Review - 16 Nov 1889 & 23 Nov 1889

The Oxford, Oxford Street & the Empire, Leicester Square, Royal Holloway, University of London

Florrie Leybourne, health report, Music Hall and Theatre Review - 1 Feb 1890 & Music Hall and Theatre Review - 15 Feb 1890

Crimean War Memorial, www.westminster-abbey.org/abbey-commemorations/commemorations/crimea-and-indian-mutiny-memorial

Clayton V Clayton, Music Hall and Theatre Review - 16 Mar 1894

The Oxford, Oxford Street, Music Hall and Theatre Review - 22 Feb 1890 & Music Hall and Theatre Review - 1 Mar 1890

Tivoli Theatre of Varieties, The Strand, Music Hall and Theatre Review - 24 May 1890, London Evening Standard - 27 May 1890, Music Hall & Theatre Review - 31 May 1890, The Era - 31 May 1890 and Music Hall and Theatre Review - 14 Jun 1890

Tivoli Theatre, www.arthurlloyd.co.uk/Tivoli.htm

The Oxford, Oxford Street, The Era - 18 Oct 1890, 1 Nov 1890, The Stage - 7 Nov 1890

Tivoli Theatre of Varieties, The Strand, The Era - 6 Dec 1890

T Roach’s Fifth Annual Grand Benefit at the Theatre of Varieties, Liverpool, Liverpool Daily Post - 11 Dec 1890

Tivoli Theatre of Varieties, The Strand, Music Hall & Theatre Review - 20 Dec 1890

The Alhambra Theatre of Varieties, Morning Post - 27 Jan 1891 & London Evening Standard - 14 Feb 1891

Miss Nellie Melnotte’s Benefit, The Referee - 15 Feb 1891

The Alhambra, Penarth, Central Glamorgan Gazette - 6 Mar 1891

The OxfordMusic Hall, Westminster, The Era - 28 Mar 1891

Tivoli Theatre of Varieties, The Strand, & The Oxford, Oxford Street, Music Hall & Theatre Review - 4 Apr 1891, Morning Post - 6 Apr 1891, The Era - 18 April 1891, Music Hall & Theatre Review - 2 May 1891

Mr G W Moore’s 26^th Annual Benefit, The Era - 4 April 1891

The Charing-Cross music Hall and The Oxford, Oxford Street, The Era - 2 May 1891, 9 May 1891

Florrie Leybourne, health report, The Era - 20 Jun 1891

Grand Bank Holiday Programme, The Oxford, Music Hall and Theatre Review - 1 Aug 1891

Grand Theatre of Varieties, Paradise Street, Liverpool, Liverpool Mercury - 29 Oct 1891, The Era - 23 Jan 1892

The Alhambra Theatre of Varieties, Leicester Square and the Oxford, Oxford Street, The Era - 5 Dec 1891, Morning Post - 8 Dec 1891 & The Era - 12 Dec 1891

The Prince of Wales’s Theatre of Varieties, Gravesend, The Era - 30 Jan 1892

The Alhambra Theatre of Varieties, The Era - 6 Feb 1892

The Trocadero, Piccadilly, Sporting Times - 20 Feb 1892

Gatti’s Charing Cross Music Hall, Music Hall & Theatre Review -  20 Feb 1892,

The London Pavilion, Piccadilly Circus, The Era - 2 April 1892

The Palace Theatre of Varieties, Manchester, Clarion - 13 Aug 1892, 10 Sep 1892 and Birkenhead News - 17 Sep 1892

The Alhambra, Brighton, The Era - 22 Oct 1892 & Worthing Gazette - 16 Nov 1892

The Princes Hall, Piccadilly, Music Hall & Theatre Review - 14 Oct 1892

Tivoli Theatre of Varieties, The Strand, The Era - 10 Dec 1892

The GaietyPalace, Birmingham, Birmingham Daily Gazette - 27 Dec 1892

The Palace Theatre, Manchester, Empire News & The Umpire - 8 Jan 1893, Music Hall and Theatre Review - 13 & 20 Jan 1893

The Grand, Liverpool, The Era - 28 Jan 1893

Dublin Star Theatre of Varieties, Dublin, The Era - 28 Jan 1893

The Empire Palace Theatre, Edinburgh, The Era - 11 Feb 1893

The Gaiety, Glasgow, The Era - 25 Feb 1893 & Glasgow Evening Post - 27 Feb 1893

The Scotia Variety Theatre, Glasgow, Music Hall and Theatre Review - 10 March 1893

Theatre of Varieties, South Shields, The Era - 11 Mar 1893 & Shields Daily Gazette Tyne and Wear, England, 14 Mar 1893

The Royal Variety, Sunderland, The Era - 18 Mar 1893, The Stage - 23 Mar 1893, The Era - 1 Apr 1893

The New Empire, Newcastle-upon-Tyne, The Era - 5 Mar & 7 Apr 1893

The Alhambra, Brighton, The Era - 15 Apr 1893

The Empire, Newport, South Wales Daily News - 17 Apr 1893 South Wales Daily News - 24 Apr 1893, Western Mail - 25 Apr 1893 & South Wales Echo - 1 May 1893

Messr Koster and Bial engagements for 1893-4 season,The Era - 3 Jun 1893

Florrie Leybourne’s health reports, Music Hall and Theatre Review - 23 June 1893, Dublin Evening Telegraph - 22 Jul 1893 & Music Hall and Theatre Review - 28 Jul 1893

Florrie Leybourne’s return to the stage, Music Hall and Theatre Review - 22 Sep 1893

The Palace and Trocadero, Morning Post - 2 Oct 1893, Music Hall & Theatre Review - 13 Oct 1893, The Era - 14 & 21 Oct 1893

The Empire Theatre, Brighton, The Era - 4 Nov 1893

Florrie Leybourne, indisposed, The Era - 11 Nov 1893

Grand Christmas Company at the Palace, London Evening Standard - 16 Dec 1893

The Palace Theatre, Shaftsbury Avenue, Music Hall and Theatre Review - 12 Jan 1894

Clayton V Clayton, Decree Nisi, Dublin Evening Telegraph - 13 March 1894, Edinburgh Evening News - 13 Mar 1894 & Music Hall and Theatre Review - 16 Mar 1894 [among many others]

The Palace Theatre, Shaftsbury Avenue, The Stage - 15 March 1894

Grand Easter Programme at the Palace Theatre, Pall Mall Gazette – 29 Mar 1894

The Argyle Theatre of Varieties, Birkenhead, Birkenhead News - 21 Apr 1894, Birkenhead News - 25 April 1894, Music Hall & Theatre Review - 27 Apr 1894, Birkenhead News - 28 Apr 1894

The New StarMusic Hall, Liverpool, The Era - 12 May 1894

The Dublin Star Theatre of Varieties, The Era - 12 May 1894, Irish Independent - 15 May 1894, Freeman's Journal [Dublin] – 15 May 1894, The Era - 19 May 1894, Music Hall & Theatre Review - 25 May 1894 & Flag of Ireland - 26 May 1894

The People’s Palace, Bristol, Music Hall & Theatre Review - 8 Jun 1894

The New Empire Theatre, Newcastle, The Era - 16 Jun 1894 & Newcastle Daily Chronicle - 20 Jun 1894

The Gaiety Theatre, Glasgow, Music Hall and Theatre Review - 22 Jun 1894 & Music Hall & Theatre Review - 6 Jul 1894

Dramatic and Musical Agency, The Era - 16 Jun 1894

Marriage of Florrie Leybourne and Albert Chevalier, Yorkshire Evening Post - 12 Oct 1894 & Music Hall & Theatre Review -  12 Oct 1894

Marriage of Florrie Leybourne and Albert Chevalier, South Wales Daily News, (Third Edition), 13 Oct 1894, www.newspapers.library.wales/search?query=CLAYTON&page=28 )

Marriage of Florrie Leybourne and Albert Chevalier, Dublin Evening Telegraph - 13 Oct 1894, Detroit Free Press from Detroit, Michigan, 14 Oct 1894, Indianapolis Journal, Indianapolis, Marion County, 14 Oct 1894, Southport Visitor –16 Oct 1894 & London and Provincial Entr'acte - 20 Oct 1894 

Albert Chevalier

Handout, Albert Chevalier and ‘My Old Dutch’, SHC 05/01, FHWS

Census records, 1841-1911, www.ancestry.co.uk  

Birth, Marriage and Death Index, www.freebmd.org.uk

Before I Forget, by Albert Chevalier

Albert Chevalier: A Record by Himself by Brian Daley, 1895

Cavalcade of Variety: Chevalier was intended for priesthood, article from Westminster & Pimlico News, 27 Jul 1956

Cap this!, article from The Stage, 29 May 1997

Chevalier films, www.imdb.com

Probate, www.ancestry.co.uk

Chevalier Blue Plaque, https://www.english-heritage.org.uk/visit/blue-plaques/albert-chevalier/ 

Life as Mrs Chevalier

Florrie Leybourne’s Bankruptcy, London Evening Standard - 8 Oct 1894, The Edinburgh Gazette, Oct 12, 1894, Dublin Evening Telegraph - 15 Oct 1894, London Evening Standard - 17 Oct 1894, Bristol Times and Mirror - 17 October 1894, Dublin Evening Telegraph - 19 Oct 1894, Hartlepool Northern Daily Mail - 20 Oct 1894, Western Mail - 20 Oct 1894 & Hartlepool Northern Daily Mail - 5 Nov 1894 Bankruptcy of a Music-Hall Artist, Pall Mall Gazette - 16 Oct 1894

Mrs. Chevalier’s Affairs, Leeds Times - 10 Nov 1894

A Novel Legal Point, Western Mail - 20 Oct 1894

Law Intelligence, Morning Post - 20 Oct 1894

Divorced person’s Debts, South Wales Echo - 20 Oct 1894

Bankruptcy of Mrs Chevalier, Dumfries & Galloway Courier and Herald - 14 Nov 1894

RE Florence Leybourne, Morning Post - 6 Nov 1894

Chevalier v Didcott, Westminster Gazette - 25 Oct 1894

Opera Comique, Lyttelton Times - 16 Oct 1894

Chevalier Recital Tour, Northern Echo - 8 October 1894, Northern Guardian (Hartlepool) - 8 Oct 1894, North Star (Darlington) - 10 October 1894, The Era - 13 Oct 1894, Yorkshire Post and Leeds Intelligencer - 13 Oct 1894, North Star (Darlington) - 15 Oct 1894,  Derbyshire Times - 13 Oct 1894, Shields Daily Gazette - 16 Oct 1894, Birmingham Daily Gazette - 17 Oct 1894, Northern Guardian (Hartlepool) - 12 Oct 1894, Shields Daily Gazette - 11 Oct 1894, The Era - 27 Oct 1894, Shields Daily Gazette - 20 Oct 1894, Newcastle Daily Chronicle - 24 Oct 1894,  Edinburgh Evening News - 15 Oct 1894, Edinburgh Evening News - 26 Oct 1894, Edinburgh Evening Dispatch - 27 Oct 1894, Morpeth Herald - 20 Oct 1894, Inverness Courier - 23 Oct 1894, Aberdeen Press and Journal - 18 Oct 1894, Glasgow Herald -  24 Oct 1894, Glasgow Herald - 2 Nov 1894, Dundee Advertiser - 22 Oct 1894, Yorkshire Evening Press - 7 Nov 1894, Dumfries & Galloway Courier and Herald - 7 Nov 1894, Lancaster Guardian - 3 Nov 1894, Yorkshire Gazette -3 Nov 1894 & Hull Daily News - 3 Nov 1894
Masonic Hall, Morpeth, Music Hall and Theatre Review - 26 Oct 1894 & The Era - 27 Oct 1894Tivoli and Pavilion theatres, London, Music Hall and Theatre Review - 18 Jan 1895, 15 Feb 1895, 8 Ma 1895 & Lloyd's Weekly Newspaper - 14 Apr 1895

Mr Chevalier in Luton, Luton Reporter - 22 Dec 1894

Albert Chevalier and Charles Ingles, Kingsley House, London Rd, Isleworth, Hounslow, & W. Drayton Gazette - 26 Jan 1895

Idyllic little cottage, Middlesex County Times - 23 Nov 1895

Bijou Theatre, Kensington, The Referee - 20 Jan 1895 & Middlesex Independent - 23 Jan 1895

Victoria Hall, Ealing, Middlesex CountyTimes - 13 Apr 1895 & The Era - 20 Apr 1895

United States, Morning Post - 20 May 1895

Fifth Recital Tour, The Stage - 16 May 1895  

Soup Kitchen, Middlesex Independent - 1 Jan 1896  

Koster and Bial Tour, St James's Gazette - 24 Jan 1896  

Mr Albert Chevalier’s new play, Lincolnshire Chronicle - 22 May 1897  

Albert Onésime Britannicus Gwathveoyd Louis Chevalier (1861–1923) by S Featherstone, Oxford Dictionary of Biography

Mrs Albert Chevalier, Music Hall & Theatre Review - 12 May 1899

Passenger Lists, 1905, www.ancestry.co.uk

American tour, Daily Mirror - 4 Jan 1905

Six week tour, The Stage - 5 Jan 1905  

One night only, Bedfordshire Times and Independent - 1 Dec 1905

Present tour terminates, The Era - 30 December 1905

Now in the States, South Wales Daily News - 3 Nov 1906

Stage salaries, Portsmouth Evening News - 6 Nov 1906

Percy William engagement, The Stage -  29 Nov 1906

The Sins of Society, V & AMuseum collection

Death, Fred Chevalier, The Times, 29 Nov 1909

Fourth American Tour, The Era - 1 Jan 1910

Daddy Dufard, Scottish Referee - 7 Nov 1910  

Lusitania Eastward Record, Liverpool Journal of Commerce - 4 Jan 1911

Albert Chevalier in Daddy Dufard, Ottawa Free Press - 23 Feb 1911

Berkley Hill House, https://houseandheritage.org/2018/06/05/hill-house/

Miss Ellen Terry and Mr Albert Chevalier season, Document ID ET-D577, Image 3 of 5, https://ellenterryarchive.essex.ac.uk/8301

Capital ditties, Music Hall and Theatre Review -  24 Oct 1891

Wanted, Management of Theatre or Music Hall Bars, The Era - 10 Feb 1900

Cinematograph Theatre, Ealing, The Era -  22 Jan 1910

PicturePalace, Ealing, Music Hall & Theatre Review - 19 May 1910

Albert Chevalier on Screen, Kinematograph Weekly - 7 Jan 1915

The Middleman, https://www.imdb.com/title/tt0005739/?ref_=nm_knf_t2

The Bottle, https://www.imdb.com/title/tt0319098/?ref_=nm_flmg_act_3

My Old Dutch, https://www.imdb.com/title/tt0005791/?ref_=nm_flmg_wr_4

A Fallen Star, https://www.imdb.com/title/tt0259303/?ref_=nm_flmg_wr_2

The Outrage, https://www.imdb.com/title/tt0005854/?ref_=nm_flmg_wr_3

John Cottam Holliday, https://www.robertfarnonsociety.org.uk/index.php/legends/john-holliday

Electoral Roll, 1922, www.ancestry.co.uk

Albert Chevalier, making good progress, The Stage - 1 Feb 1923

Albert Chevalier, probate, 1923, www.ancestry.co.uk

Sale of Albert Chevalier’s library, The Stage - 31 Jan 1924

Chevalier’s Biography, Daily News (London) - 17 May 1924

Chevalier’s papers vanish, Belfast Telegraph - 17 May 1924 & Daily Mirror - Saturday 17 May 1924

Chevalier’s M.S., Weekly Dispatch (London) - 25 May 1924

Leading Spiritualist, Gentlewoman - 16 May 1925

Albert Chevalier among the spooks, Truth - 20 Oct 1926 & Newcastle Evening Chronicle - 21 Oct 1926

Spirit Talks with Albert Chevalier, Yorkshire Evening Post - 4 Mar 1927

Not a widow, Eastbourne Gazette - 16 Jul 1930

Electoral Roll, 1929, www.ancestry.co.uk

Handout, Ann’s Orchard, SJC 05/01, FHWS

My Old Dutch, Weekly Dispatch (London) – 18 Oct 1931

Albert Chevalier’s “Pal”, Liverpool Echo -  19 Oct 1931

“My Old Dutch”, Reynolds's Newspaper - 6 Dec 1931

Ethel Mary Stubberfield, https://www.ponting-family-history.org/vol-iv-appendix-e/