Feather at the end of my beak How to identify
Sparrowhawks are small birds of prey. They're adapted for hunting birds in confined spaces like dense woodland, so gardens are ideal hunting grounds for them. Adult male Sparrowhawks have a bluish-grey back and wings and orangey-brown stripes on their chest and belly. Females and young birds have brown back and wings, and brown stripes underneath. Sparrowhawks have bright yellow or orangey eyes, yellow legs and talons. Females are larger than males, as with all birds of prey.
The Eurasian sparrowhawk (Accipiter nisus), also known as the northern sparrowhawk or simply the sparrowhawk, is a small bird of prey in the family Accipitridae. Adult male Eurasian sparrowhawks have bluish grey upperparts and orange-barred underparts; females and juveniles are brown above with brown barring below. The female is up to 25% larger than the male – one of the greatest size differences between the sexes in any bird species. Though it is a predator which specialises in catching woodland birds, the Eurasian sparrowhawk can be found in any habitat and often hunts garden birds in towns and cities. Males tend to take smaller birds, including tits, finches, and sparrows; females catch primarily thrushes and starlings, but are capable of killing birds weighing 500 g (18 oz) or more.
The Eurasian sparrowhawk is found throughout the temperate and subtropical parts of the Old World; while birds from the northern parts of the range migrate south for winter, their southern counterparts remain resident or make dispersive movements. Eurasian sparrowhawks breed in suitable woodland of any type, with the nest, measuring up to 60 cm (24 in) across, built using twigs in a tree. Four or five pale blue, brown-spotted eggs are laid; the success of the breeding attempt is dependent on the female maintaining a high weight while the male brings her food. The chicks hatch after 33 days and fledge after 24 to 28 days.
The probability of a juvenile surviving its first year is 34%, with 69% of adults surviving from one year to the next. Mortality in young males is greater than that of young females and the typical lifespan is four years. This species is now one of the most common birds of prey in Europe, although the population crashed after the Second World War. Organochlorine insecticides used to treat seeds before sowing built up in the bird population, and the concentrations in Eurasian sparrowhawks were enough to kill some outright and incapacitate others; affected birds laid eggs with fragile shells which broke during incubation. However, its population recovered after the chemicals were banned, and it is now relatively common, classified as being of least concern by BirdLife International.
The Eurasian sparrowhawk's hunting behaviour has brought it into conflict with humans for hundreds of years, particularly racing pigeon owners and people rearing poultry and gamebirds. It has also been blamed for decreases in passerine populations. Studies of racing pigeon deaths found that Eurasian sparrowhawks were responsible for less than 1%. Falconers have utilised the Eurasian sparrowhawk since at least the 16th century; although the species has a reputation for being difficult to train, it is also praised for its courage. The species features in Teutonic mythology and is mentioned in works by writers including William Shakespeare, Alfred, Lord Tennyson and Ted Hughes.
Westminster Abbey and Tower of London Tour Introduction
Westminster Abbey and Tower of London Tour. This tour takes you through two of the city’s most iconic and historically significant landmarks. Ideal for history buffs, tourists, and families, this half-day adventure offers a deep dive into the grandeur of Westminster Abbey and the fascinating history of the Tower of London.
Start Your Day at Westminster Abbey
Begin your tour at the magnificent Westminster Abbey, a stunning example of Gothic architecture and the site of many royal ceremonies, including coronations and weddings.
Key Highlights:
- Historical Significance: Discover over a thousand years of history at this UNESCO World Heritage Site.
- Coronation Chair: See the Coronation Chair, used in every coronation since 1308.
- Poets' Corner: Pay homage to literary greats like Chaucer, Dickens, and Tennyson.
- Royal Tombs: Visit the resting places of monarchs such as Elizabeth I and Mary, Queen of Scots.
- Stained Glass Windows: Admire the beautiful stained glass windows that depict biblical scenes and historical events.
- The Lady Chapel: Explore the stunning Henry VII Chapel, renowned for its intricate fan vaulting.
Transition: From Westminster to the Tower of London
After exploring Westminster Abbey, make your way to the Tower of London. This can be done via a scenic walk along the River Thames or a quick ride on public transport.
attractioninfo.co.uk/westminster-abbey-and-tower-of-londo...
Alfred Lord Tennyson c. 1857–1911France, 19th century
drypoint
Mr. and Mrs. Lewis B. Williams Collection
clevelandart.org/art/1945.297
Pilosella peleteriana : Shaggy Mouse-ear-hawkweed at base of Tennyson monument. Isle of Wight BSBI field meeting 53867516844_b629e73e90_b
Pilosella peleteriana : Shaggy Mouse-ear-hawkweed at base of Tennyson monument. Isle of Wight BSBI field meeting 53867516054_8b70c030e1_b
Looking north from Tennyson Down. Isle of Wight BSBI field meeting 53867162676_b7c33f9abf_b
Tennyson monument. Isle of Wight BSBI field meeting 53867161361_d94c727751_b
Tennyson Down. Isle of Wight BSBI field meeting 53866257872_b4a1e0fccb_b
My shadow, Tennyson Down. Isle of Wight BSBI field meeting 53867511604_013b85fc0e_b
Pilosella peleteriana : Shaggy Mouse-ear-hawkweed at base of Tennyson monument. Isle of Wight BSBI field meeting 53867571650_2329b72120_b
Portrait of Alfred Lord Tennyson c. 1857–1911France, 19th-20th century
lithograph
Mr. and Mrs. Lewis B. Williams Collection
clevelandart.org/art/1942.87
I can get this feather How to identify
Sparrowhawks are small birds of prey. They're adapted for hunting birds in confined spaces like dense woodland, so gardens are ideal hunting grounds for them. Adult male Sparrowhawks have a bluish-grey back and wings and orangey-brown stripes on their chest and belly. Females and young birds have brown back and wings, and brown stripes underneath. Sparrowhawks have bright yellow or orangey eyes, yellow legs and talons. Females are larger than males, as with all birds of prey.
The Eurasian sparrowhawk (Accipiter nisus), also known as the northern sparrowhawk or simply the sparrowhawk, is a small bird of prey in the family Accipitridae. Adult male Eurasian sparrowhawks have bluish grey upperparts and orange-barred underparts; females and juveniles are brown above with brown barring below. The female is up to 25% larger than the male – one of the greatest size differences between the sexes in any bird species. Though it is a predator which specialises in catching woodland birds, the Eurasian sparrowhawk can be found in any habitat and often hunts garden birds in towns and cities. Males tend to take smaller birds, including tits, finches, and sparrows; females catch primarily thrushes and starlings, but are capable of killing birds weighing 500 g (18 oz) or more.
The Eurasian sparrowhawk is found throughout the temperate and subtropical parts of the Old World; while birds from the northern parts of the range migrate south for winter, their southern counterparts remain resident or make dispersive movements. Eurasian sparrowhawks breed in suitable woodland of any type, with the nest, measuring up to 60 cm (24 in) across, built using twigs in a tree. Four or five pale blue, brown-spotted eggs are laid; the success of the breeding attempt is dependent on the female maintaining a high weight while the male brings her food. The chicks hatch after 33 days and fledge after 24 to 28 days.
The probability of a juvenile surviving its first year is 34%, with 69% of adults surviving from one year to the next. Mortality in young males is greater than that of young females and the typical lifespan is four years. This species is now one of the most common birds of prey in Europe, although the population crashed after the Second World War. Organochlorine insecticides used to treat seeds before sowing built up in the bird population, and the concentrations in Eurasian sparrowhawks were enough to kill some outright and incapacitate others; affected birds laid eggs with fragile shells which broke during incubation. However, its population recovered after the chemicals were banned, and it is now relatively common, classified as being of least concern by BirdLife International.
The Eurasian sparrowhawk's hunting behaviour has brought it into conflict with humans for hundreds of years, particularly racing pigeon owners and people rearing poultry and gamebirds. It has also been blamed for decreases in passerine populations. Studies of racing pigeon deaths found that Eurasian sparrowhawks were responsible for less than 1%. Falconers have utilised the Eurasian sparrowhawk since at least the 16th century; although the species has a reputation for being difficult to train, it is also praised for its courage. The species features in Teutonic mythology and is mentioned in works by writers including William Shakespeare, Alfred, Lord Tennyson and Ted Hughes.
Estcourt House Attic 53864722691_2511a56eb8_b
Set the (colour) elements Iken Cliff, Suffolk
"Lady of Shalott" Rich orange-red buds open to chalice-shaped blooms, filled with loosely arranged, orange petals. The surrounding outer petals are salmon-pink with beautifully contrasting golden-yellow undersides. There is a pleasant, warm Tea fragrance, with hints of spiced apple and cloves. It quickly forms a bushy shrub with slightly arching stems and mid-green leaves, which have attractive, slightly bronzed tones when young. The name is taken from one of Alfred, Lord Tennyson’s poems to commemorate the 200th anniversary of his birth. David Austin, 2009.
Tennyson 53858784459_f10d9d9085_b
Sir Galahad How Sir Galahad, Sir Bors and Sir Percival receiving the Sanc Grael, but Sir Percival's Sister died by the Way, 1857
Dante Gabriel Rossetti & Elizabeth Eleanor Siddal
Ink, chalk, graphite and wash
Tennyson's poem 'Sir Galahad' describes the knight's visions of the Holy Grail as he quests through forest, lake and hill. Gabriel and Elizabeth collaborated on this highly original work. It shows Galahad's visions in all three settings at once, the 'secret shrine', the boat on the 'mountain mere' and the 'branchy thicket' above. Galahad kneels warily to angels who recall the maidens he evades at the beginning of the poem to keep himself pure.
Gabriel's design adapts Elizabeth's trio of figures and the striking detail of the effigy with praying hands.*
Medieval Moderns
During their mid-20s, Gabriel and Elizabeth worked together in his studio and had a great influence on each other’s work.
Their richly patterned drawings and watercolours conjure complex, imaginative worlds. Using themselves as models, they created medieval fantasies in which dramas of love and temptation, loyalty and betrayal are played out. Complicated relationships are expressed in intricate gestures, poses and spaces.
Dialogues between Gabriel and Elizabeth’s works in this room make clear the effect they had on each other’s art. Private collectors vied to purchase the inventive scenes of both artists. John Ruskin, the leading art critic of the time, made an agreement to buy work. In 1857, Gabriel and Elizabeth showed work together in an exhibition of Pre-Raphaelite art, held in London and New York. By this date however the couple were spending time apart. Elizabeth moved north to Matlock and Sheffield, attending Sheffield School of Art.
After her death in 1862, Gabriel preserved Elizabeth’s drawings in a photographic album, which he continued to use for inspiration*
From the exhibition
The Rossettis: Radical Romantics
(April – September 2023)
A major exhibition devoted to the radical Rossetti generation
This exhibition follows the romance and radicalism of the Rossetti generation, through and beyond the Pre-Raphaelite years: Dante Gabriel, Christina and Elizabeth (née Siddal). Visitors will get to experience world-renowned works from their boundary-pushing careers.
The Rossettis’ approach to art, love and lifestyles are considered revolutionary, and this will be thoroughly explored in an immersive show, using spoken poetry, drawings, paintings, photography, design and more.
This is the first retrospective of Dante Gabriel Rossetti at Tate and the largest exhibition of his iconic pictures in two decades.
It will also be the most comprehensive exhibition of Elizabeth Siddal’s work for 30 years, featuring rare surviving watercolours and important drawings.
The Rossettis will take a fresh look at the fascinating myths surrounding the unconventional relationships between Dante Gabriel Rossetti, Elizabeth Siddal, Fanny Cornforth and Jane Morris.
[*Tate Britain]
Sir Galahad How Sir Galahad, Sir Bors and Sir Percival receiving the Sanc Grael, but Sir Percival's Sister died by the Way, 1857
Dante Gabriel Rossetti & Elizabeth Eleanor Siddal
Ink, chalk, graphite and wash
Tennyson's poem 'Sir Galahad' describes the knight's visions of the Holy Grail as he quests through forest, lake and hill. Gabriel and Elizabeth collaborated on this highly original work. It shows Galahad's visions in all three settings at once, the 'secret shrine', the boat on the 'mountain mere' and the 'branchy thicket' above. Galahad kneels warily to angels who recall the maidens he evades at the beginning of the poem to keep himself pure.
Gabriel's design adapts Elizabeth's trio of figures and the striking detail of the effigy with praying hands.*
Medieval Moderns
During their mid-20s, Gabriel and Elizabeth worked together in his studio and had a great influence on each other’s work.
Their richly patterned drawings and watercolours conjure complex, imaginative worlds. Using themselves as models, they created medieval fantasies in which dramas of love and temptation, loyalty and betrayal are played out. Complicated relationships are expressed in intricate gestures, poses and spaces.
Dialogues between Gabriel and Elizabeth’s works in this room make clear the effect they had on each other’s art. Private collectors vied to purchase the inventive scenes of both artists. John Ruskin, the leading art critic of the time, made an agreement to buy work. In 1857, Gabriel and Elizabeth showed work together in an exhibition of Pre-Raphaelite art, held in London and New York. By this date however the couple were spending time apart. Elizabeth moved north to Matlock and Sheffield, attending Sheffield School of Art.
After her death in 1862, Gabriel preserved Elizabeth’s drawings in a photographic album, which he continued to use for inspiration*
From the exhibition
The Rossettis: Radical Romantics
(April – September 2023)
A major exhibition devoted to the radical Rossetti generation
This exhibition follows the romance and radicalism of the Rossetti generation, through and beyond the Pre-Raphaelite years: Dante Gabriel, Christina and Elizabeth (née Siddal). Visitors will get to experience world-renowned works from their boundary-pushing careers.
The Rossettis’ approach to art, love and lifestyles are considered revolutionary, and this will be thoroughly explored in an immersive show, using spoken poetry, drawings, paintings, photography, design and more.
This is the first retrospective of Dante Gabriel Rossetti at Tate and the largest exhibition of his iconic pictures in two decades.
It will also be the most comprehensive exhibition of Elizabeth Siddal’s work for 30 years, featuring rare surviving watercolours and important drawings.
The Rossettis will take a fresh look at the fascinating myths surrounding the unconventional relationships between Dante Gabriel Rossetti, Elizabeth Siddal, Fanny Cornforth and Jane Morris.
[*Tate Britain]
Lady of Shalott, 1853 Sir John Everett Millais
Ink on paper
Both Elizabeth and William Holman Hunt experimented with illustrations of Alfred Lord Tennyson’s (1809–1892) poem The Lady of Shalott. This is Elizabeth’s earliest surviving work.
Like Mary in The Girlhood of Mary Virgin, the Lady of Shalott is an artist. She is cursed to die if she leaves her castle, so can only transcribe the world through a mirror. When the knight Lancelot rides past, she is inspired with love. The mirror cracks and the loom breaks. She defies the curse to seek Lancelot though it leads to her death.*
Brothers and Sisters
The Pre-Raphaelite Brotherhood brought together a community of men and women from different backgrounds – young first-generation Londoners, making their way in the fast-changing city. They inspired and supported each other, modelled for each other, quarrelled with each other and loved each other.
These lively relationships are recorded in the Pre-Raphaelite Journal, kept by William, and portraits made in homes and improvised studios. Gabriel’s caricatures capture the bohemian informality enjoyed by the group.*
From the exhibition
The Rossettis: Radical Romantics
(April – September 2023)
A major exhibition devoted to the radical Rossetti generation
This exhibition follows the romance and radicalism of the Rossetti generation, through and beyond the Pre-Raphaelite years: Dante Gabriel, Christina and Elizabeth (née Siddal). Visitors will get to experience world-renowned works from their boundary-pushing careers.
The Rossettis’ approach to art, love and lifestyles are considered revolutionary, and this will be thoroughly explored in an immersive show, using spoken poetry, drawings, paintings, photography, design and more.
This is the first retrospective of Dante Gabriel Rossetti at Tate and the largest exhibition of his iconic pictures in two decades.
It will also be the most comprehensive exhibition of Elizabeth Siddal’s work for 30 years, featuring rare surviving watercolours and important drawings.
The Rossettis will take a fresh look at the fascinating myths surrounding the unconventional relationships between Dante Gabriel Rossetti, Elizabeth Siddal, Fanny Cornforth and Jane Morris.
[*Tate Britain]
Lady of Shalott, 1853 Sir John Everett Millais
Ink on paper
Both Elizabeth and William Holman Hunt experimented with illustrations of Alfred Lord Tennyson’s (1809–1892) poem The Lady of Shalott. This is Elizabeth’s earliest surviving work.
Like Mary in The Girlhood of Mary Virgin, the Lady of Shalott is an artist. She is cursed to die if she leaves her castle, so can only transcribe the world through a mirror. When the knight Lancelot rides past, she is inspired with love. The mirror cracks and the loom breaks. She defies the curse to seek Lancelot though it leads to her death.*
Brothers and Sisters
The Pre-Raphaelite Brotherhood brought together a community of men and women from different backgrounds – young first-generation Londoners, making their way in the fast-changing city. They inspired and supported each other, modelled for each other, quarrelled with each other and loved each other.
These lively relationships are recorded in the Pre-Raphaelite Journal, kept by William, and portraits made in homes and improvised studios. Gabriel’s caricatures capture the bohemian informality enjoyed by the group.*
From the exhibition
The Rossettis: Radical Romantics
(April – September 2023)
A major exhibition devoted to the radical Rossetti generation
This exhibition follows the romance and radicalism of the Rossetti generation, through and beyond the Pre-Raphaelite years: Dante Gabriel, Christina and Elizabeth (née Siddal). Visitors will get to experience world-renowned works from their boundary-pushing careers.
The Rossettis’ approach to art, love and lifestyles are considered revolutionary, and this will be thoroughly explored in an immersive show, using spoken poetry, drawings, paintings, photography, design and more.
This is the first retrospective of Dante Gabriel Rossetti at Tate and the largest exhibition of his iconic pictures in two decades.
It will also be the most comprehensive exhibition of Elizabeth Siddal’s work for 30 years, featuring rare surviving watercolours and important drawings.
The Rossettis will take a fresh look at the fascinating myths surrounding the unconventional relationships between Dante Gabriel Rossetti, Elizabeth Siddal, Fanny Cornforth and Jane Morris.
[*Tate Britain]
Roadside Creek Near Tennyson, Wisconsin
As Good As Gold - Charles Dickens Today be thankful and think how rich you are. Your family is priceless, your time is gold and your health is wealth.
Zig Ziglar
Love is the only gold.
Alfred Lord Tennyson
I did not know that mankind were suffering for want of gold. I have seen a little of it. I know that it is very malleable, but not so malleable as wit. A grain of gold will gild a great surface, but not so much as a grain of wisdom.
Henry David Thoreau
Color Wheel Artist
The Many Meanings of Yellow
color-wheel-artist.com/meanings-of-yellow.html
With heartfelt and genuine thanks for your kind visit. Have a beautiful day, be well, keep your eyes open, appreciate the beauty surrounding you, enjoy creating, and stay safe! ❤️❤️❤️
Ivan Hedqvist in Dunungen (1919) Swedish postcard by Axel Eliassons Konstförlag, Stockholm, no. 303. Ivan Hedqvist in Dunungen (Ivan Hedqvist, 1919).
Ivan Hedqvist , fully Carl Ivan Engelbert Hedqvist, born on 8 June 1880 in Gottröra, died on 23 August 1935 in Stockholm, was a Swedish actor and director.
Hedqvist was first engaged at Hjalmar Selander's theatre company 1901-1902, at the Swedish Theatre in Helsinki 1902-1904, 1904-1906 at the Stora Teatern in Gothenburg, at the Swedish Theatre in Stockholm 1906-1909, at the Dramatic Theatre 1909-1919, after which he returned to the Swedish Theatre in Stockholm 1922-1925, worked at the Oscar Theatre 1926-1927 and returned to the Dramatic Theatre 1927-1932. Hedqvist was director of the Skansen Open Air Theatre 1911-1913, where he was director from 1914 to 1918. He made guest appearances in Oslo, Helsinki and Gothenburg, and also undertook tours in the countryside. His roles included Oedipus, the King in Hamlet, Iago in Othello, Shylock in The Merchant of Venice, Tartuffe, Holofernes in Judith, Lövborg in Hedda Gabler, Mäster Olof, Olaus Peteri in Gustav Vása, Göran Persson in Erik XIV, Karl XII, Maurice in Crime and Punishment, Higgins in Pygmalion, Teolodr, the patron of the mill, in The Dungeon, the Crown in The Court of the City, Carolus Rex, Niccolò d'Este in Parisina, Tokeramo in Typhoon, the Chamberlain in Moral, Jacob in Within the Walls and the Father in The Tomb Under the Arch of Triumph. In 1916, he was awarded the medal Litteris et Artibus. Ivan Hedqvist performed Alfred Tennyson's poem The New Year's Bell at Skansen during the New Year's celebrations in 1917.
Ivan Hedqvist also devoted himself successfully to the cinema, first as an actor and later as a director. He started to act in film in 1910 at Svenska Biografteatern but after three films he stopped. In 1919 he came with a bang as both the director and main male actor of the drama Dunungen, also with Renée Björling, who is ordered by her fiancé to cheat on his uncle (Hedqvist) but she makes friends with him instead. Hedqvist directed Björling again in Carolina Rediviva (1920), with himself in the male lead again as a man who secretly cared for and funded a foundling. The third time he directed Björling was in Vallfarten till Kevlaar (The Pilgrimage to Kevelaar, 1921), though not with himself acting in the film. In his final direction, Livet på landet (1924), he had the male lead again, but this time with Mona Martenson as the younger woman. Ivan Hedqvist also played many parts in films by others, such as the old master sculptor Anton in Victor Sjöström's period piece Vem dömer (Love's Crucible, 1922). When in a mirror's reflection he sees his young wife - who hates him and has a lover - dropping poison in a glass for him, he has a stroke before she can kill him. Is she guilty of murder?
Other films were e.g. De landsflyktige (The Emigrants, Mauritz Stiller, 1921), Det omringade huset (The Surrounded House, Sjöström 1922), Johan Ulfstjerna (John Brunius, 1923) in which he had the title role, and Ingmarsarvet (Gustav Molander, 1925) also with Conrad Veidt, Lars Hanson and Mona Martenson, and its sequel Till österland (Molander, 1926). From the mid-1920s Hedqvist acted in several German-Swedish films, shot in Germany, such as Die sieben Töchter der Frau Gyurkovics (Ragnar Hyltén-Cavallius, 1926), while he may have instead brought European actors working in Berlin to Sweden for the cast of Molander's Hon, den enda (1926) and Synd (Molander, 1928), Hedqvist's last silent film. In 1930-1932 Hedqvist still acted in four Swedish early sound films, including Doktorns hemlighet (John Brunius, 1930), shot at the Paramount studios as the Swedish version of The Doctor's Secret, and with Pauline Brunius in the lead. His last part was in the drama Värmlänningarna (Gustaf Edgren, 1932). Ivan Hedqvist died in 1935.
At the Swedish Film database Magnus Rosborn pleas for recognition of Hedqvist's qualities as director: "Ivan Hedqvist is one of the filmmakers from the Golden Age of Swedish cinema who has undeservedly been neglected, largely because only two directors, Victor Sjöström and Mauritz Stiller, have been universally acclaimed in the versions of film history which have held sway until now. This is although Hedqvist was often hailed as an outstanding filmmaker by his contemporaries and that at least two of his films, both thematically and in terms of production, are in line with what one associates with the Golden Age." He refers to Dunungen and Vallfarten till Kevlaar (1921), based on a poem by Heinrich Heine.
Ivan Hedqvist in Dunungen Vintage Swedish postcard. Axel Eliassons Konstförlag, Stockholm, No. 304.
Ivan Hedqvist , fully Carl Ivan Engelbert Hedqvist, born on 8 June 1880 in Gottröra, died on 23 August 1935 in Stockholm, was a Swedish actor and director.
Hedqvist was first engaged at Hjalmar Selander's theatre company 1901-1902, at the Swedish Theatre in Helsinki 1902-1904, 1904-1906 at the Stora Teatern in Gothenburg, at the Swedish Theatre in Stockholm 1906-1909, at the Dramatic Theatre 1909-1919, after which he returned to the Swedish Theatre in Stockholm 1922-1925, worked at the Oscar Theatre 1926-1927 and returned to the Dramatic Theatre 1927-1932. Hedqvist was director of the Skansen Open Air Theatre 1911-1913, where he was director 1914-1918. He made guest appearances in Oslo, Helsinki and Gothenburg, and also undertook his own tours in the countryside. His roles included Oedipus, the King in Hamlet, Iago in Othello, Shylock in The Merchant of Venice, Tartuffe, Holofernes in Judith, Lövborg in Hedda Gabler, Mäster Olof, Olaus Peteri in Gustav Vása, Göran Persson in Erik XIV, Karl XII, Maurice in Crime and Punishment, Higgins in Pygmalion, Teolodr, the patron of the mill, in The Dungeon, the Crown in The Court of the City, Carolus Rex, Niccolò d'Este in Parisina, Tokeramo in Typhoon, the Chamberlain in Moral, Jacob in Within the Walls and the Father in The Tomb Under the Arch of Triumph. In 1916, he was awarded the medal Litteris et Artibus. Ivan Hedqvist performed Alfred Tennyson's poem The New Year's Bell at Skansen during the New Year's celebrations in 1917.
Ivan Hedqvist also devoted himself successfully to the cinema, first as actor and later also as a director. He started to act in film from 1910 at Svenska Biografteatern but after three films he stopped. In 1919 he came with bang as both the director and main male actor of the drama Dunungen, also with Renée Björling, who is ordered by her fiancé to cheat on his uncle (Hedqvist) but she makes friends with him instead. Hedqvist directed Björling again in Carolina Rediviva (1920), with himself in the male lead again as man who secretly has cared for and funded a foundling. A third time he directed Björling was in Vallfarten till Kevlaar (The Pilgrimage to Kevelaar, 1921), though not with himself acting in the film. In his final direction, Livet på landet (1924), he had he male lead again, but this time with Mona Martenson as the younger woman. Ivan Hedqvist also played many parts in films by others, such as the old master sculptor Anton in Victor Sjöström's period piece Vem dömer (Love's Crucible, 1922). When in a mirror's reflection he sees his young wife - who hates him and has a lover - dropping poison in a glass for him, he has a stroke before she can kill him. Is she guilty of murder?
Other films were e.g. De landsflyktige (The Emigrants, Mauritz Stiller, 1921), Det omringade huset (The Surrounded House, Sjöström 1922), Johan Ulfstjerna (John Brunius, 1923) in which he had the title role, and Ingmarsarvet (Gustav Molander, 1925) also with Conrad Veidt, Lars Hanson and Mona Martenson, and its sequel Till österland (Molander, 1926). From the mid-1920s Hedqvist acted in several German-Swedish films, shot in Germany, such as Die sieben Töchter der Frau Gyurkovics (Ragnar Hyltén-Cavallius, 1926), while he may have instead brought European actors working in Berlin to Sweden for the cast of Molander's Hon, den enda (1926) and Synd (Molander, 1928), Hedqvist's last silent film. In 1930-1932 Hedqvist still acted in four Swedish early sound films, including Doktorns hemlighet (John Brunius, 1930), shot at the Paramount studios as the Swedish version of The Doctor's Secret, and with Pauline Brunius in the lead. His last part was in the drama Värmlänningarna (Gustaf Edgren, 1932). Ivan Hedqvist died in 1935.
At the Swedish Film database Magnus Rosborn pleas for recognition of Hedqvist's qualities as director: "Ivan Hedqvist is one of the filmmakers from the Golden Age of Swedish cinema who has undeservedly been neglected, largely because only two directors, Victor Sjöström and Mauritz Stiller, have been universally acclaimed in the versions of film history which have held sway until now. This is despite the fact that Hedqvist was often hailed as an outstanding filmmaker by his contemporaries and that at least two of his films, both thematically and in terms of production, are in line with what one associates with the Golden Age." He refers to Dunungen and Vallfarten till Kevlaar (1921), based on a poem by Heinrich Heine.