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Baron
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For other uses, see Baron (disambiguation).
"Baroness" redirects here. For other uses, see Baroness (disambiguation).
Not to be confused with Baronet.
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Baron is a rank of nobility or title of honour, often hereditary. The female equivalent is baroness.
Contents
1 Etymology
2 Continental Europe
2.1 France
2.2 Germany
2.3 Italy
2.4 The Low Countries
2.5 The Nordic countries
2.6 Russia
2.7 Spain
3 Great Britain and Ireland
3.1 History
3.2 Irish barons
3.3 Coronet
3.4 Style of address
3.5 Scottish feudal baronies
3.5.1 Chapeau and helm
3.5.2 Style of address
4 Other
5 See also
6 Sources
7 References
Etymology[edit]
The word baron comes from the Old French baron, from a Late Latin barō "man; servant, soldier, mercenary" (so used in Salic law; Alemannic law has barus in the same sense). The scholar Isidore of Seville in the 7th century thought the word was from Greek βᾰρῠ́ς "heavy" (because of the "heavy work" done by mercenaries), but the word is presumably of Old Frankish origin, cognate with Old English beorn meaning "warrior, nobleman". Cornutus in the first century already reports a word barones which he took to be of Gaulish origin. He glosses it as meaning servos militum and explains it as meaning "stupid", by reference to classical Latin bārō "simpleton, dunce";[1] because of this early reference, the word has also been suggested to derive from an otherwise unknown Celtic *bar, but the Oxford English Dictionary takes this to be "a figment".[2]
Continental Europe[edit]
France[edit]
During the Ancien Régime, French baronies were very much like Scottish ones. Feudal landholders were entitled to style themselves baron if they were nobles; a roturier (commoner) could only be a seigneur de la baronnie (lord of the barony). These baronies could be sold freely until 1789 when feudal law was abolished. The title of baron was assumed as a titre de courtoisie by many nobles, whether members of the Nobles of the Robe or cadets of Nobles of the Sword who held no title in their own right. Emperor Napoléon created a new empire nobility, in which baron was the second lowest title. The titles followed a male-only line of descent and could not be purchased. In 1815, King Louis XVIII created a new peerage system based on the British model. Baron-peer was the lowest title, but the heirs to pre-1789 barons could remain barons, as could the elder sons of viscount-peers and younger sons of count-peers. This peerage system was abolished in 1848.
Germany[edit]
Main article: Freiherr
In pre-republican Germany all the knightly families of the Holy Roman Empire (sometimes distinguished by the prefix von or zu) eventually were recognised as of baronial rank, although Ritter is the literal translation for "knight", and persons who held that title enjoyed a distinct, but lower, rank in Germany's nobility than barons (Freiherren). The wife of a Freiherr (Baron) is called a Freifrau or sometimes Baronin, his daughter Freiin or sometimes Baroness.
Families which had always held this status were called Uradel ('primordial/ancient/original nobility'), and were heraldically entitled to a three pointed coronet. Families which had been ennobled at a definite point in time (Briefadel or "nobility by patent") had seven points on their coronet. These families held their fief in vassalage from a suzerain. The holder of an allodial (i.e., suzerain-free) barony was thus called a Free Lord, or Freiherr. Subsequently, sovereigns in Germany conferred the title of Freiherr as a rank in the nobility, without implication of allodial or feudal status.
Since 1919, hereditary titles have had no legal status in Germany. In modern, republican Germany, Freiherr and Baron remain heritable only as part of the legal surname (and may thereby be transmitted by males to their wives and children, without implication of nobility).
In Austria, hereditary titles have been completely banned. Thus, a member of the formerly imperial House of Habsburg or any other member of the former nobility would in most cases simply be addressed as Herr/Frau (Habsburg) in an official/public surrounding, for instance in the media. Still, in both countries, honorary styles like "His/her (Imperial/Royal) Highness", "Serenity", etc. persists in social use as a form of courtesy.
In Luxembourg and Liechtenstein (where German is the official language), barons remain members of the recognized nobility, and the sovereigns retain authority to confer the title (morganatic cadets of the princely dynasty received the title Baron of Lanskron, using both Freiherr and Baron for different members of this branch.)[3]
Generally, all legitimate males of a German baronial family inherit the title Freiherr or Baron from birth, as all legitimate daughters inherit the title of Freiin or Baroness. As a result, German barons have been more numerous than those of such countries where primogeniture with respect to title inheritance prevails (or prevailed) as France and the United Kingdom.
Italy[edit]
In Italy, barone was the lowest rank of feudal nobility except for that of signore or vassallo (lord of the manor). The title of baron was most generally introduced into southern Italy (including Sicily) by the Normans during the 11th century. Whereas originally a barony might consist of two or more manors, by 1700 we see what were formerly single manors erected into baronies, counties or even marquisates. Since the early 1800s, when feudalism was abolished in the various Italian states, it has often been granted as a simple hereditary title without any territorial designation or predicato. The untitled younger son of a baron is a nobile dei baroni and in informal usage might be called a baron, while certain baronies devolve to heirs male general. Since 1948 titles of nobility have not been recognised by the Italian state. In the absence of a nobiliary or heraldic authority in Italy there are, in fact, numerous persons who claim to be barons or counts without any basis for such claims. Baron and noble (nobile) are hereditary titles and, as such, could only be created or recognised by the kings of Italy or (before 1860) the pre-unitary Italian states such as the Two Sicilies, Tuscany, Parma or Modena, or by the Holy See (Vatican) or the Republic of San Marino. Beginning around 1800, a number of signori (lords of the manor) began to style themselves barone but in many cases this was not sanctioned legally by decree, while there was even less justification in the holder of any large (non-feudal) landed estate calling himself a baron. Nevertheless, both were common practices. In most of peninsular Italy the widespread medieval introduction of the title was Longobardic, while in Sicily and Sardinia it was coeval with Norman rule some centuries later, and one referred to the baronage when speaking of landed nobles generally. The heraldic coronet of an Italian baron is a jewelled rim of gold surmounted by seven visible pearls, set upon the rim directly or upon stems; alternately, the French style coronet (entwined in a string of small pearls, with or without four bigger visible pearls set upon the rim) is used.
The Low Countries[edit]
In the medieval era, some allodial and enfeoffed lands held by nobles were created or recognized as baronies by the Holy Roman Emperors, within whose realm most of the Low Countries lay. Subsequently, the Habsburgs continued to confer the baronial title in the Southern Netherlands, first as kings of Spain and then, again, as emperors until abolition of the Holy Roman Empire, but these had become titular elevations rather than grants of new territory.
In the Netherlands after 1815, titles of baron authorized by previous monarchs (except those of the Napoleonic Kingdom of Holland) were usually recognized by the Dutch kings. But such recognition was not automatic, having to be authenticated by the Supreme Council of Nobility and then approved by the sovereign. This ceased to be possible after the Dutch constitution was revised in 1983. More than one hundred Dutch baronial families have been recognized. The title is usually inherited by all males descended patrilineally from the original recipient of the title, although in a few noble families baron is the title of cadet family members, while in a few others it is heritable according to primogeniture.
After its secession in 1830, Belgium incorporated into its nobility all titles of baron borne by Belgian citizens which had been recognized by the Netherlands since 1815. In addition, its monarchs have since created or recognized other titles of baron, and the sovereign continues to exercise the prerogative to confer baronial and other titles of nobility. Baron is the third lowest title within the nobility system above knight (French: chevalier, Dutch: ridder) and below viscount. There are still a number of families in Belgium that bear the title of baron.
Luxembourg's monarch retains the right to confer the baronial title. Two of the grand duchy's prime ministers inherited baronial titles that were used during their tenures in office, Victor de Tornaco and Félix de Blochausen.
The Nordic countries[edit]
In Norway, king Magnus VI of Norway (1238–1280) replaced the title Lendmann with Baron, but in 1308 Haakon V abolished the title.
The present corresponding title is baron in the Danish nobility and in the Norwegian nobility, friherre (baron is used orally, while it is written as friherre) in the Swedish nobility, and vapaaherra in the nobility of Finland.
In the beginning, Finnish nobles were all without honorific titulature, and known simply as lords. Since the Middle Ages, each head of a noble family had been entitled to a vote in any of Finland's provincial diets whenever held, as in the realm's House of Nobility of the Riksdag of the Estates. In 1561, Sweden's King Eric XIV granted the hereditary titles of count and vapaaherra to some of these, but not all. Although their cadet family members were not entitled to vote or sit in the Riksdag, they were legally entitled to the same title as the head of the family, but in customary address they became Paroni or Paronitar. Theoretically, in the 16th and 17th centuries, families elevated to vapaaherra status were granted a barony in fief, enjoying some rights of taxation and judicial authority. Subsequently, the "barony" was titular, usually attached to a family property, which was sometimes entailed. Their exemptions from taxes on landed properties continued into the 20th century, although in the 19th century tax reforms narrowed this privilege. Nobility creations continued until 1917, the end of Finland's grand ducal monarchy.
Russia[edit]
Muscovite Russia had no traditional baronial titles of its own; they were introduced in early Imperial Russia by Peter the Great. In the hierarchy of nobility introduced by Peter the Great, barons (барон) ranked above untitled nobility and below counts (граф, graf). The styles "Your Well-born" (Ваше благородие, Vashe blagorodiye) and "Master Baron" (Господин барон, Gospondin baron) were used to address a Russian baron.
There were two main groups of nobility which held the baronial title. One was the Baltic German nobility, for which Russia merely recognized their pre-existing titles; the other was new barons created by the Emperors of Russia after 1721. Like in many other countries, new baronial titles were often created by ennoblement of rich bourgeoisie. The title of baron, along with the rest of the noble hierarchy, was abolished in December 1917 after the Bolshevik Revolution; however, certain leaders of the White movement like Baron Pyotr Wrangel and Roman von Ungern-Sternberg continued to use the title until the end of the Russian Civil War.
Spain[edit]
In Spain the title follows Vizconde in the noble hierarchy, and ranks above Señor. Baronesa is the feminine form, for the wife of a baron or for a woman who has been granted the title in her own right. In general, titles of baron created before the 19th century originate from the Crown of Aragon. Barons lost territorial jurisdiction around the middle of the 19th century, and from then on the title became purely honorific. Although most barons have not held the rank of grandeza as well, the title has been conferred in conjunction with the grandeza. The sovereign continues to grant baronial titles.
Great Britain and Ireland[edit]
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In the Peerage of England, the Peerage of Great Britain, the Peerage of Ireland and the Peerage of the United Kingdom (but not in the Peerage of Scotland), barons form the lowest rank, placed immediately below viscounts. A female of baronial rank has the title baroness. In the Kingdom of England, the medieval Latin word baro, baronis was used originally to denote a tenant-in-chief of the early Norman kings who held his lands by the feudal tenure of "barony" (in Latin per baroniam), and who was entitled to attend the Great Council (Magnum Concilium) which by the 13th century had developed into the Parliament of England.[4] Feudal baronies (or "baronies by tenure") are now obsolete in England and without any legal force but any such historical titles are held in gross, that is to say are deemed to be enveloped within a more modern extant peerage title also held by the holder, sometimes along with vestigial manorial rights and tenures by grand serjeanty.
History[edit]
William I introduced the rank of baron in England to distinguish those men who had pledged their loyalty to him under the feudal system. Previously, in the Anglo-Saxon kingdom of England, the king's companions held the title of earl and in Scotland, the title of thane. All who held their feudal barony "in-chief of the king", that is with the king as his immediate overlord, became alike barones regis ("barons of the king"), bound to perform a stipulated annual military service, and obliged to attend his council. Eventually the greatest of the nobles, especially those in the marches, such as the Earls of Chester or the Bishops of Durham, whose territories were often deemed palatine, that is to say "worthy of a prince", might refer to their own tenants as "barons", where lesser magnates spoke simply of their "men" (homines) and lords of the manor might reference "bondmen".[5]
The robe worn by a baron during his creation ceremony in 17th-century Britain, engraved by Wenceslas Hollar.
Initially those who held land directly from the king by military service, from earls downwards, all bore alike the title of baron, which was thus the factor uniting all members of the ancient baronage as peers one of another. Under King Henry II, the Dialogus de Scaccario already distinguished between greater barons, who held per baroniam by knight's service, and lesser barons, who held manors. Technically, Lords of Manors are barons, or freemen, however they are not entitled to be styled as such. John Selden writes in Titles of Honour, "The word Baro (Latin for Baron) hath been also so much communicated, that not only all Lords of Mannors have been from antient time, and are at this day called sometimes Barons (as in the stile of their Court Barons, which is Curia Baronis, &c. And I have read hors de son Barony in a barr to an Avowry for hors de son fee) But also the Judges of the Exchequer have it from antient time fixed on them."[6] Within a century of the Norman Conquest of 1066, as in the case of Thomas Becket in 1164, there arose the practice of sending to each greater baron a personal summons demanding his attendance at the King's Council, which evolved into the Parliament and later into the House of Lords, while as was stipulated in Magna Carta of 1215, the lesser barons of each county would receive a single summons as a group through the sheriff, and representatives only from their number would be elected to attend on behalf of the group.[7] These representatives developed into the Knights of the Shire, elected by the County Court presided over by the sheriff, who themselves formed the precursor of the House of Commons. Thus appeared a definite distinction, which eventually had the effect of restricting to the greater barons alone the privileges and duties of peerage.[7]
Later, the king started to create new baronies in one of two ways: by a writ of summons directing a chosen man to attend Parliament, and in an even later development by letters patent.[7] Writs of summons became the normal method in medieval times, displacing the method of feudal barony, but creation of baronies by letters patent is the sole method adopted in modern times.[7]
Since the adoption of summons by writ, baronies thus no longer relate directly to land-holding, and thus no more feudal baronies needed thenceforth to be created. Following the Modus Tenendi Parliamenta of 1419, the Tenures Abolition Act 1660, the Feudal Tenure Act (1662), and the Fines and Recoveries Act of 1834, titles of feudal barony became obsolete and without legal force. The Abolition Act 1660 specifically states: baronies by tenure were converted into baronies by writ. The rest ceased to exist as feudal baronies by tenure, becoming baronies in free socage, that is to say under a "free" (hereditable) contract requiring payment of monetary rents.[8]
In the twentieth-century Britain introduced the concept of non-hereditary life peers. All appointees to this distinction have (thus far) been at the rank of baron.[7] In accordance with the tradition applied to hereditary peers they too are formally addressed in parliament by their peers as "The Noble Lord".[7]
In addition, baronies are often used by their holders as subsidiary titles, for example as courtesy titles for the son and heir of an Earl or higher-ranked peer.[7] The Scottish baronial title tends to be used when a landed family is not in possession of any United Kingdom peerage title of higher rank, subsequently granted, or has been created a knight of the realm.
Several members of the royal family with the style of Royal Highness are also titled Barons. For example, Charles, Prince of Wales is also The Baron of Renfrew. Similarly, his eldest son Prince William, Duke of Cambridge is also The Baron Carrickfergus and Prince Andrew, Duke of York is The Baron Killyleagh. Some non-royal Barons are somehow related to the royal family, for example Maurice Roche, 6th Baron Fermoy is William's first cousin once removed, through William's late mother, Diana, Princess of Wales, who was the 4th Baron Fermoy's granddaughter.
Irish barons[edit]
The title of baron (Irish: barún) was created in the Peerage of Ireland shortly after the Norman invasion of Ireland (1169). Ireland's first baronies included Baron Athenry (1172), Baron Offaly (c. 1193), Baron Kerry (1223), Baron Dunboyne (1324), Baron Gormanston (1365–70), Baron Slane (1370), Baron of Dunsany (1439), Baron Louth (c. 1458) and Baron Trimlestown (1461).
Coronet[edit]
A person holding a peerage in the rank of baron is entitled to a coronet bearing six silver balls (called pearls) around the rim, equally spaced and all of equal size and height. The rim itself is neither jeweled, nor "chased" (which is the case for the coronets of peers of higher degree).
The actual coronet is mostly worn on certain ceremonial occasions, such as the coronation of a new monarch, but a baron can bear his coronet of rank on his coat of arms above the shield. In heraldry, the baron's coronet is shown with four of the balls visible.
Style of address[edit]
Normally one refers to or addresses Baron [X] as Lord [X] and his wife as Lady [X].[7][9][10] Women who hold baronies in their own right may be styled as Baroness [X],[10] or Lady [X].[11][12] In direct address, they can also be referred to as My Lord, Your Lordship, or Your Ladyship, but never as My Lady (except in the case of a female judge). The husband of a Baroness in her own right gains no title or style from his wife. Children of Barons and Baronesses in their own right, whether hereditary or for life, have the style The Honourable [Forename] [Surname]. After the death of the father or mother, the child may continue to use the style The Honourable.
Barons are styled The Right Honourable The Lord [Barony].[7] Barons' wives are styled The Right Honourable The Lady [Barony]. Baronesses in their own right, whether hereditary or for life, are either styled The Right Honourable The Baroness [Barony] or The Right Honourable The Lady [Barony], mainly based on personal preference (e.g., Margaret, Baroness Thatcher and Brenda, Lady Hale, both created baronesses in their own right for life). Note the order of the names: 'Lady Brenda Hale' would denote that she were the daughter of an earl, marquess or duke and, in the case of men, 'Lord Digby Jones' would denote that he were the younger son of a marquess or duke, and should be properly styled "The Lord Jones of Birmingham" (or, less formally: "Digby, Lord Jones"). The Right Honourable is frequently abbreviated to The Rt Hon. or Rt Hon. When referred to by the Sovereign in public instruments, The Right Honourable is changed to Our right trusty and well-beloved, with Counsellor attached if they are a Privy Counsellor.
Courtesy barons are styled Lord [Barony], and their wives Lady [Barony]: the article "The" is always absent; if the courtesy baron is not a Privy Counsellor, the style The Right Honourable will also be absent.
The United Kingdom has a policy of including titles of nobility on passports: the title is entered into the surname field and a standard observation is recorded giving the holder's full name and title. A Baron would therefore record their surname as Lord [Barony], and the observation would note that The holder is The Right Honourable [given names] [surname] Lord [Barony]. However, if the title of an applicant's peerage is different from their surname, they can choose whether to use their surname or title in the surname field. A baroness in their own right would substitute "Baroness" for "Lord", and the wife of a Baron would similarly substitute "Lady". Titles of nobility are checked against Debrett's Peerage, Who's Who or the London Gazette by the passport office on application.
Scottish feudal baronies[edit]
Main article: Barons in Scotland
A Scottish Baron's helmet
In Scotland, the rank of baron is a rank of the ancient feudal nobility of Scotland and refers to a holder of a feudal barony, formerly a feudal superiority over a proper territorial entity erected into a free barony by a Crown Charter this being the status of a minor baron, recognized by the crown as noble, but not a peer.
The Court of Lord Lyon will officially recognise feudal barons or those possessing the dignity of baron who meet certain criteria,[13] and will grant them arms with a helmet befitting their degree. Scottish barons rank below Lords of Parliament and while noble have the status of minor baron, being a non-Peerage rank; as such it can be transferred by either inheritance or conveyance.
In showing that Scottish barons are titles of nobility, reference may be made, amongst others, to the Lyon Court in the Petition of Maclean of Ardgour for a Birthbrieve by Interlocutor dated 26 February 1943 which "Finds and Declares that the Minor Barons of Scotland are, and have both in this Nobiliary Court, and in the Court of Session, been recognised as 'titled' nobility, and that the estait of the Baronage (The Barones Minores) is of the ancient Feudal Nobility of Scotland".
Sir Thomas Innes of Learney, in his Scots Heraldry (2nd Ed., p. 88, note 1), states that "The Act 1672, cap 47, specially qualifies the degrees thus: Nobles (i.e. peers, the term being here used in a restricted seventeenth-century English sense), Barons (i.e. Lairds of baronial fiefs and their 'heirs', who, even if fiefless, are equivalent to heads of Continental baronial houses) and Gentlemen (apparently all other armigers)." Baronets and knights are evidently classed as 'Gentlemen' here and are of a lower degree than Barons.
The Scottish equivalent of an English baron is a Lord of Parliament.[7]
Chapeau and helm[edit]
Scottish feudal barons were entitled to a red cap of maintenance (chapeau) turned up ermine if petitioning for a grant or matriculation of a coat of arms between the 1930s and 2004. This chapeau is identical to the red cap worn by an English baron, but without the silver balls or gilt. This is sometimes depicted in armorial paintings between the shield and the helmet. Additionally, if the baron is the head of a family he may include a chiefly coronet which is similar to a ducal coronet, but with four strawberry leaves. Because the chapeau was a relatively recent innovation, a number of ancient Arms of Scottish feudal barons do not display the chapeau. Now Scottish barons are principally recognised by the baron's helm, which in Scotland is a steel helmet with grille of three grilles, garnished in gold. Occasionally the great tilting-helm garnished with gold is shown, or a helmet befitting a higher rank, if held.[14]
Style of address[edit]
Scottish barons style their surnames similarly to Clan Chiefs, with the name of their barony following their name, as in John Smith of Edinburgh or John Smith, Baron of Edinburgh.[15][16][17][18] Most formally, and in writing, they are styled as The Much Honoured Baron of Edinburgh. Their wives are styled Lady Edinburgh, or The Baroness of Edinburgh. The phrase Lady of Edinburgh is wrong if the lady in question does not hold a Scottish barony in her own right. Orally, Scottish barons may be addressed with the name of their barony, as in Edinburgh or else as Baron without anything else following, which if present would suggest a peerage barony. Informally, when referring to a Scots feudal baron in the third person, the name Baron of [X] is used or simply [X].
Scottish feudal Barons may record [surname] of [territorial designation] in the surname field of their passport, and an official observation would then note that The holder is [given names] [surname] Baron of [territorial designation]; applicants must provide evidence that the Lord Lyon has recognised their feudal barony, or else be included in Burke's Peerage.[19][20]
Other[edit]
Like other major Western noble titles, baron is sometimes used to render certain titles in non-Western languages with their own traditions, even though they are necessarily historically unrelated and thus hard to compare, which are considered 'equivalent' in relative rank. This is the case with China's nanjue (nan-chueh) (Chinese: 男爵), hereditary title of nobility of the fifth rank, as well as its derivatives and adaptations:
the Indian equivalent Rao
the Japanese equivalent danshaku (Japanese: だんしゃく, 男爵)
the Korean equivalent namjak (Korean: 남작, 男爵)
the Manchu equivalent ashan-i hafan
the Vietnamese equivalent nam tước
The Hungarian equivalent Báró
The Székely equivalent primor, historically used among a specific population of Hungarians in Transylvania
The Croatian equivalent Barun
the Romanian equivalent Baron (female: baronesă).
The Serbian equivalent Bojar or Boyar
The Thai equivalent Khun, which should not be confused with the similar-sounding courtesy title
In some republics of continental Europe, the unofficial title of "Baron" retains a purely social prestige, with no particular political privileges.[citation needed]
In Armenian, the word "Baron" should not be confused with the similar word "Paron" (Armenian: Պարոն), which is a title given to ordinary men, equivalent to 'Sir' or 'Mr'.
In the Polynesian island monarchy of Tonga, as opposed to the situation in Europe, barons are granted this imported title (in English), alongside traditional chiefly styles, and continue to hold and exercise some political power.
See also[edit]
Irish feudal barony
List of baronies in the peerages of the British Isles
Marcher Lord
Honour (feudal land tenure)
List of barons in the peerages of Britain and Ireland
Robber baron (feudalism)
Sources[edit]
Sanders, I. J. English Baronies: A Study of their Origin and Descent, 1086–1327. Clarendon Press, 1960.
Round, J. Horace, "The House of Lords", published in: Peerage and Pedigree, Studies in Peerage Law and Family History, Vol.1, London, 1910, pp. 324–362
Heraldica
The Royal Ark
Chisholm, Hugh, ed. (1911). "Baron". Encyclopædia Britannica. 3 (11th ed.). Cambridge University Press. pp. 421–423.
References[edit]
Jump up ^ servos militum, qui utique stultissimi sunt, servos videlicet stultorum
Jump up ^ Oxford English Dictionary; see also Online Etymology Dictionary
Jump up ^ Genealogisches Handbuch des Adels Furstliche Hauser Band XVI. Limburg an der Lahn, Germany: C.A. Starke Verlag. 2001. p. 64. ISBN 3-7980-0824-8.
Jump up ^ Sanders, I.J., Feudal Military Service in England: A Study of the Constitutional and Military Powers of the 'Barones' in Medieval England, Oxford, 1956, Part I, The "Baro" and the "Baronia"
Jump up ^ Hallam, Elizabeth. Four Gothic Kings. p. 256.
Jump up ^ Selden, John (1672). Titles of Honor: By the Late and Famous Antiquary John Selden of Inner Temple, Esquire (Third ed.). London: Thomas Dring. p. 570.
^ Jump up to: a b c d e f g h i j Pine, L.G. (1992). Titles: How the King became His Majesty. New York: Barnes & Noble. pp. 76–77, 108–112. ISBN 978-1-56619-085-5.
Jump up ^ "1660 Abolition Act". Retrieved 4 May 2013.
Jump up ^ "Forms of Address – Barons and their Wives". Debrett's. Archived from the original on 7 August 2013. Retrieved 10 August 2013.
^ Jump up to: a b "British Titles – Baron". Burke's Peerage. Archived from the original on 12 May 2014. Retrieved 10 August 2013.
Jump up ^ "Forms of Address – Baroness in Her Own Right and Life Baroness". Debrett's. Archived from the original on 29 December 2011. Retrieved 10 August 2013.
Jump up ^ "British Titles – Lady". Burke's Peerage. Archived from the original on 11 August 2013. Retrieved 10 August 2013.
Jump up ^ "The Court of the Lord Lyon – News". Retrieved 10 August 2013.
Jump up ^ "The Court of the Lord Lyon". Retrieved 7 January 2010.
Jump up ^ Senior-Milne, Graham (27 June 2005). "Forms of Address". The Feudal Baronies of Scotland. Retrieved 13 March 2017.
Jump up ^ "Titles and Usages". The Convention of The Baronage of Scotland. Archived from the original on 25 February 2015. Retrieved 13 March 2017.
Jump up ^ "Forms of Address – Scottish Feudal Baronies". Debrett's. Archived from the original on 25 July 2013. Retrieved 10 August 2013.
Jump up ^ "Royal and Noble Ranks, Styles and Addresses". The International Commission on Nobility and Royalty. The International Commission on Nobility and Royalty. 2009. Retrieved 13 March 2017.
Jump up ^ HM Passport Office (13 January 2012), "Titles included in passports" (PDF), GOV.UK, HM Government, retrieved 13 March 2017
Jump up ^ HM Passport Office (7 February 2012). "Observations in passports" (PDF). GOV.UK. HM Government. Retrieved 12 January 2018.
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text:
Tom Courtenay
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
This article is about the English actor. For the Yo La Tengo song, see Electr-O-Pura.
Sir
Tom Courtenay
Courtenay in February 2015
Born
Thomas Daniel Courtenay
(1937-02-25) 25 February 1937 (age 81)
Hull, East Riding of Yorkshire, England
Occupation
Actor
Years active
1960–present
Spouse(s)
Cheryl Kennedy
(m. 1973; div. 1982)
Isabel Crossley
(m. 1988)
Sir Thomas Daniel Courtenay (/ˈkɔːrtni/; born 25 February 1937) is an English actor who came to prominence in the early 1960s with a succession of films, including The Loneliness of the Long Distance Runner (1962), Billy Liar (1963), and Doctor Zhivago (1965). Since the mid-1960s, he has been known primarily for his work in the theatre, although he received an Academy Award nomination for Best Actor for the film adaptation of The Dresser (1983), which he had performed on the West End and on Broadway. He received a knighthood in February 2001 for his service to cinema and theatre.
Contents
[hide]
1 Early life
2 Career
3 Personal life
4 Filmography
4.1 Film
4.2 Television
4.3 Stage
4.4 Singles
5 References
6 External links
Early life[edit]
Courtenay was born in Hull, East Riding of Yorkshire, the son of Annie Eliza (née Quest) and Thomas Henry Courtenay, a boat painter.[1] He attended Kingston High School and studied drama at the Royal Academy of Dramatic Art (RADA) in London.
Career[edit]
Courtenay made his stage debut in 1960 with the Old Vic theatre company at the Lyceum, Edinburgh, before taking over from Albert Finney in the title role of Billy Liar at the Cambridge Theatre in 1961. In 1963, he played that same title role in the film version, directed by John Schlesinger. He said of Albert Finney, "We both have the same problem, overcoming the flat harsh speech of the North."[2]
Courtenay's film debut was in 1962 with Private Potter, directed by Finnish-born director Caspar Wrede, who had first spotted Courtenay while he was still at RADA. This was followed by The Loneliness of the Long Distance Runner, directed by Tony Richardson and Billy Liar, two highly acclaimed films and performances which helped usher in the British New Wave of the early-to-mid-1960s. For these performances Courtenay was awarded the 1962 BAFTA Award for most promising newcomer and the 1963 BAFTA Award for best actor respectively. He also was the first to record the song Mrs. Brown, You've Got a Lovely Daughter, doing so for the TV play The Lads. The song was released by Decca on a 45 rpm record.
For his role as the dedicated revolutionary leader Pasha Antipov in Doctor Zhivago (1965), he was nominated for an Academy Award for Best Supporting Actor, but was bested by Martin Balsam. Among his other well-known films is King & Country, directed by Joseph Losey, where he played opposite Dirk Bogarde; the all-star war film, Operation Crossbow, directed by Michael Anderson (starring George Peppard and Sophia Loren); King Rat, directed by Bryan Forbes and costarring James Fox and George Segal; and The Night of the Generals, directed by Anatole Litvak with Peter O'Toole and Omar Sharif. He provided physical slapstick comedy in the ultimately chilling anti-nuke black comedy "The Day The Fish Came Out" in 1967. In 1969 and 1971, he was in two spy-comedies, Otley (in the title role) along with "Catch Me A Spy" (1970) starring Kirk Douglas and previously, in 1968, he co-starred in a serious film of that genre, A Dandy in Aspic (1968) opposite Laurence Harvey.
Despite being catapulted to fame by the aforementioned films, Courtenay has said that he has not particularly enjoyed film acting;[3] and from the mid-1960s concentrated more on stage work. In 1968 Courtenay began a long association with Manchester when he played in The Playboy of the Western World for the Century Theatre at Manchester University directed by Michael Elliott. In 1969 Courtenay played Hamlet (John Nettles playing Laertes) for 69 Theatre Company at University Theatre in Manchester, this being the precursor of the Royal Exchange Theatre, which was founded in 1976 where he was to give many performances, firstly under the direction of Casper Wrede.[4] His first roles for the Royal Exchange were as Faulkland in Richard Brinsley Sheridan's The Rivals and the hero of Heinrich von Kleist's The Prince of Homburg. Since then he has played a variety of roles, including in 1999 the leading role in the theatre's production of King Lear, and in 2001 Uncle Vanya.
Courtenay in Paris at a premiere of Quartet, March 2013.
Courtenay's working relationship with Wrede returned to film when he played the title role in the latter's 1970 production of One Day in the Life of Ivan Denisovich. His best known film role since then was in The Dresser, from Ronald Harwood's play of the same name (in which he also appeared) with Albert Finney. Both Courtenay and Finney received nominations for Best Actor in the 1984 Academy Awards for their roles, losing to Robert Duvall. He played the father of Derek Bentley (Christopher Eccleston) in the 1991 film Let Him Have It. And for an actor known to be cast in good or great films, he surprisingly co-starred in what's been considered one of the worst movies ever, the infamous Leonard Part 6 starring Bill Cosby.
Courtenay's television and radio appearances have been relatively few, but have included She Stoops to Conquer in 1971 on BBC and several Ayckbourn plays. He appeared in I Heard the Owl Call My Name on US television in 1973. In 1994 he starred as Quilp opposite Peter Ustinov in a Disney Channel 'made for television' version of The Old Curiosity Shop. Rather unexpectedly, he had a cameo role as the anthropologist Bronisław Malinowski in the 1995 US TV film Young Indiana Jones and the Treasure of the Peacock's Eye. In 1998 he teamed with Albert Finney again for the acclaimed BBC drama A Rather English Marriage. He played the role of God, opposite Sebastian Graham-Jones, in Ben Steiner's radio play "A Brief Interruption", broadcast on BBC Radio 4 in 2004. In the same year, he played the role of Stanley Laurel in Neil Brand's radio play 'Stan', broadcast on Radio 4. Also for Radio 4, he played the title role in Nick Leather's The Domino Man of Lancashire and Maurice in Richard Lumsden's Man in the Moon, both broadcast in 2007. Courtenay also appeared in the 2008 Christmas special of the BBC show The Royle Family, playing the role of Dave's father, David Sr.
In 2002, based on an idea by Michael Godley, Courtenay compiled a one-man show Pretending To Be Me based on the letters and writings of poet Philip Larkin, which first played at the West Yorkshire Playhouse in Leeds. It later transferred to the Comedy Theatre in the West End in London.[5]
In 2007, Courtenay appeared in two films: Flood, a disaster epic in which London is overwhelmed by floods, and The Golden Compass, an adaptation of Philip Pullman's novel, playing the part of Farder Coram. In 2008, he appeared in the BBC adaptation of Little Dorrit by Charles Dickens, playing William Dorrit, and the Christmas edition of The Royle Family, playing David (Senior). In March 2011, he joined the cast of Gambit, a film starring fellow RADA alumnus Alan Rickman that began filming in May. The film was released in Great Britain in November 2012. In 2012, he co-starred in Quartet, directed by Dustin Hoffman.
Personal life[edit]
Courtenay was married to actress Cheryl Kennedy from 1973 to 1982. In 1988, he married Isabel Crossley, a stage manager at the Royal Exchange Theatre in Manchester.[3] They have homes in Manchester and Putney in London.
In 2000, Courtenay's memoir Dear Tom: Letters From Home was published to critical acclaim. It comprises a selection of the letters exchanged between Courtenay and his mother, interspersed with his own recollections of life as a young student actor in London in the early 1960s.
Courtenay is the President of Hull City AFC's Official Supporters' Club.
In 1999, Courtenay was awarded an honorary doctorate by Hull University.
On 19 January 2018 Sir Tom was bestowed the Honorary Freedom of the City of Hull.
Filmography[edit]
Film[edit]
Year
Title
Role
Notes
1962 Private Potter Private Potter
1962 The Loneliness of the Long Distance Runner Colin Smith BAFTA Award for Best Newcomer
Mar del Plata International Film Festival Award for Best Actor
1963 Billy Liar Billy Fisher Nominated—BAFTA Award for Best Actor in a Leading Role
1964 King & Country Private Hamp Volpi Cup
Nominated—BAFTA Award for Best Actor in a Leading Role
1965 Operation Crossbow Robert Henshaw
1965 King Rat Lt. Robin Grey
1965 Doctor Zhivago Pasha Antipov / Strelnikov Nominated—Academy Award for Best Supporting Actor
1967 The Night of the Generals Lance Cpl. Kurt Hartmann
1967 The Day the Fish Came Out The Navigator
1968 A Dandy in Aspic Gatiss
1968 Otley Gerald Arthur Otley
1970 One Day in the Life of Ivan Denisovich Ivan Denisovich
1971 To Catch a Spy Baxter Clarke
1971 She Stoops to Conquer Marlow
1983 The Dresser Norman Golden Globe Award for Best Actor – Motion Picture Drama
Nominated—Academy Award for Best Actor
Nominated—BAFTA Award for Best Actor in a Leading Role
1987 Happy New Year Edward Saunders
1987 Leonard Part 6 Frayn
1991 The Last Butterfly Antoine Moreau
1991 Let Him Have It William Bentley
1996 Famous Fred Kenneth
1996 The Boy from Mercury Uncle Tony Cronin
1998 A Rather English Marriage Southgate Nominated—BAFTA Award for Best Actor in a Leading Role
1999 Whatever Happened to Harold Smith? Harold Smith
2001 Last Orders Vic National Board of Review Award for Best Cast
Nominated—European Film Award for Best Actor
2002 Nicholas Nickleby Newman Noggs National Board of Review Award for Best Cast
2007 Flood Leonard Morrison
2007 The Golden Compass Farder Coram
2011 Gambit The Major
2012 Quartet Reginald Paget
2013 Night Train to Lisbon Older João Eca
2015 45 Years Geoff Mercer Silver Bear for Best Actor
London Film Critics' Circle Award for Actor of the Year
Nominated—British Independent Film Award for Best Actor
Nominated—European Film Award for Best Actor
Nominated—Evening Standard British Film Award for Best Actor
2015 The Legend of Barney Thomson Chief Superintendent McManaman
2016 Dad's Army Lance Corporal Jones Film adaptation of original BBC sitcom
2018 The Guernsey Literary and Potato Peel Pie Society Eden Ramsey
Television[edit]
Year
Title
Role
Notes
1960 Inside Story Bert Episode: "A Present for Penny"
1970 Solo D.H. Lawrence Episode: "Tom Courtenay as D.H. Lawrence"
1973 I Heard the Owl Call My Name Mark Brian Television Movie
1998 Kavanagh QC Dr. Felix Crawley Episode: "Memento Mori"
2007 Little Dorrit Mr. Dorrit 14 episodes
Nominated—Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie
Nominated—Satellite Award for Best Supporting Actor – Series, Miniseries or Television Film
2008 The Royle Family David Best, Sr. Episode: "The New Sofa"
2015 Unforgotten Eric Slater 6 episodes
British Academy Television Award for Best Supporting Actor
2017 Grandpa's Great Escape Grandpa Television movie
Stage[edit]
His roles include:[4][6]
Konstantin Trepylef, The Seagull by Anton Chekhov as the Old Vic, London (1960)
Poins, Henry IV, Part 1 at the Old Vic (1961)
Feste, Twelfth Night at the Old Vic (1961)
Billy Fisher, Billy Liar by Keith Waterhouse at the Cambridge Theatre, London (1961)
Andri, Andorra by Max Frisch for the National Theatre Company at the Old Vic (1964)
Trofimov, The Cherry Orchard by Anton Chekhov at the Chichester Festival Theatre (1966)
Malcolm, Macbeth at the Chichester Festival Theatre (1966)
Lord Fancourt Babberley, Charley's Aunt by Brandon Thomas for Century Theatre at the University of Manchester Theatre (1967)
Christy Mahon, The Playboy of the Western World by John Millington Synge for Century Theatre at the University of Manchester Theatre (1968)
Romeo, Romeo and Juliet for Century Theatre at the University of Manchester Theatre (1968)
Hamlet for the 69 Theatre Company at the Edinburgh Festival (1968)
Young Marlow, She Stoops to Conquer by Oliver Goldsmith for the 69 Theatre Company at the University of Manchester Theatre and then at the Garrick Theatre, London (1969)
Peer Gynt by Henrik Ibsen for the 69 Theatre Company at the University of Manchester Theatre (1970)
Lord Fancourt Babberley, Charley's Aunt by Brandon Thomas for the 69 Theatre Company at the University of Manchester Theatre and then at the Apollo Theatre, London (1972)
Leonard, Time and Time Again by Alan Ayckbourn at the Comedy Theatre, London (1972)
Captain Bluntschli, Arms and the Man for the 69 Theatre Company at ‘the Tent’ in the Royal Exchange, Manchester (1973)
Norman, The Norman Conquests by Alan Ayckbourn at the Greenwich Theatre and then at the Globe Theatre (1974)
John Clarke, The Fool by Edward Bond at the Royal Court Theatre (1975)
Faulkland, The Rivals by Richard Brinsley Sheridan at the Royal Exchange, Manchester (1976)
The Prince of Homburg by Heinrich von Kleist at the Royal Exchange, Manchester (1976)
Simon, Otherwise Engaged by Simon Gray at the Plymouth Theatre, New York (1977)
Malvolio, Twelfth Night at the Royal Exchange, Manchester (1978)
Owen, Clouds by Michael Frayn at the Duke of York's Theatre, London (1978)
Raskolnikov, Crime and Punishment at the Royal Exchange, Manchester (1978)
Norman, The Dresser by Ronald Harwood at the Royal Exchange, Manchester, then at the Queens Theatre, London (1980). Then at the Brooks Atkinson Theatre, New York (1981)
Alceste, The Misanthrope by Moliere at the Royal Exchange, Manchester (1981)
Andy Capp by Alan Price and James Maxwell at the Royal Exchange, Manchester (1982)
George, Jumpers by Tom Stoppard at the Royal Exchange, Manchester (1984)
Rookery Nook by Ben Travers at the Shaftesbury Theatre, London (1986)
The Hypochondriac by Moliere at the Lyric Theatre (Hammersmith) (1987)
Dealing with Clair by Martin Crimp at the Orange Tree Theatre, Richmond (1988)
Harpagon, The Miser by Moliere at the Royal Exchange, Manchester (1992)
Eric Wells, Poison Pen by Ronald Harwood at the Royal Exchange, Manchester (1993)
Moscow Stations from the novel by Venedict Yerofeyev, one man show at the Traverse Theatre, Edinburgh then toured (1993)
Uncle Vanya by Anton Chekhov at the Circle in the Square Theatre, New York (1995)
Serge, 'Art' by Yasmina Reza at Wyndham's Theatre, London (1996)
King Lear at the Royal Exchange, Manchester at the Royal Exchange, Manchester (1999)
Uncle Vanya by Anton Chekhov at the Royal Exchange, Manchester (2001)
Pretending To Be Me, one man show at the West Yorkshire Playhouse, Leeds then toured (2003)
Singles[edit]
Mrs. Brown, You've Got a Lovely Daughter (1963), Decca F 11729. Originally sung by Courtenay in The Lads, a British 1963 TV play.
References[edit]
Jump up ^ "Tom Courtenay Biography (1937-)". Film Reference.
Jump up ^ Films in Review, February 1984.
^ Jump up to: a b Cavendish, Dominic (3 September 2001). "A master in the round". The Daily Telegraph. Retrieved 10 October 2017.
^ Jump up to: a b Murray, Braham (7 September 2007). The Worst It Can be is A Disaster. Bloomsbury Methuen Drama. ISBN 978-0713684902. [page needed]
Jump up ^ "Tom Courtenay: Put yourself in Larkin's shoes". The Independent. 2 December 2002. Retrieved 10 October 2017. He is credited in the programme with its authorship, which makes him cross. "I didn't write it – it ought to say 'devised' or 'compiled by'. A few years ago, the actor Michael Godley sent him a show of his own devising, hoping that he would appear in it; while Courtenay liked the idea, he thought that version too close to a poetry reading.
Jump up ^ Fraser, David (November 1998). The Royal Exchange Theatre Company Words & Pictures 1976-1998. Royal Exchange Theatre. ISBN 978-0951201718.
External links[edit]
Tom Courtenay on IMDb
Tom Courtenay at the British Film Institute's Screenonline
Tom Courtenay at the Internet Broadway Database
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Awards for Tom Courtenay
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BAFTA Award for Most Promising Newcomer to Leading Film Roles
Most Promising Newcomer to Film
Claire Bloom (1952)
Norman Wisdom (1953)
David Kossoff (1954)
Paul Scofield (1955)
Eli Wallach (1956)
Eric Barker (1957)
Paul Massie (1958)
Hayley Mills (1959)
Most Promising Newcomer to
Leading Film Roles
Albert Finney (1960)
Rita Tushingham (1961)
Tom Courtenay (1962)
James Fox (1963)
Julie Andrews (1964)
Judi Dench (1965)
Vivien Merchant (1966)
Faye Dunaway (1967)
Dustin Hoffman (1968)
Jon Voight (1969)
David Bradley (1970)
Dominic Guard (1971)
Joel Grey (1972)
Peter Egan (1973)
Georgina Hale (1974)
Valerie Perrine (1975)
Jodie Foster (1976)
Isabelle Huppert (1977)
Christopher Reeve (1978)
Dennis Christopher (1979)
Most Outstanding Newcomer to
Leading Film Roles
Judy Davis (1980)
Joe Pesci (1981)
Ben Kingsley (1982)
Most Outstanding Newcomer to Film
Phyllis Logan (1983)
Haing S. Ngor (1984)
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BAFTA TV Award for Best Actor
Paul Rogers (1955)
Peter Cushing (1956)
Michael Gough (1957)
Michael Hordern (1958)
Donald Pleasence (1959)
Patrick McGoohan (1960)
Lee Montague (1961)
Rupert Davies (1962)
Harry H. Corbett (1963)
Alan Badel (1964)
Patrick Wymark (1965)
Alan Badel (1966)
Warren Mitchell (1967)
Eric Porter (1968)
Roy Dotrice (1969)
Edward Woodward (1970)
Keith Michell (1971)
John Le Mesurier (1972)
Anthony Hopkins (1973)
Frank Finlay (1974)
Peter Barkworth (1975)
John Hurt (1976)
Derek Jacobi (1977)
Peter Barkworth (1978)
Edward Fox (1979)
Alec Guinness (1980)
Denholm Elliott (1981)
Anthony Andrews (1982)
Alec Guinness (1983)
Alan Bates (1984)
Tim Pigott-Smith (1985)
Bob Peck (1986)
Michael Gambon (1987)
David Jason (1988)
Ray McAnally (1989)
John Thaw (1990)
Ian Richardson (1991)
Robert Lindsay (1992)
John Thaw (1993)
Robbie Coltrane (1994)
Robbie Coltrane (1995)
Robbie Coltrane (1996)
Nigel Hawthorne (1997)
Simon Russell Beale (1998)
Tom Courtenay (1999)
Michael Gambon (2000)
Michael Gambon (2001)
Michael Gambon (2002)
Albert Finney (2003)
Bill Nighy (2004)
Rhys Ifans (2005)
Mark Rylance (2006)
Jim Broadbent (2007)
Andrew Garfield (2008)
Stephen Dillane (2009)
Kenneth Branagh (2010)
Daniel Rigby (2011)
Dominic West (2012)
Ben Whishaw (2013)
Sean Harris (2014)
Jason Watkins (2015)
Mark Rylance (2016)
Adeel Akhtar (2017)
Sean Bean (2018)
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BAFTA TV Award for Best Supporting Actor
Matthew Macfadyen (2010)
Martin Freeman (2011)
Andrew Scott (2012)
Simon Russell Beale (2013)
David Bradley (2014)
Stephen Rea (2015)
Tom Courtenay (2016)
Tom Hollander (2017)
Brían F. O'Byrne (2018)
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Drama League's Distinguished Performance Award
Katharine Cornell (1935)
Helen Hayes (1936)
Maurice Evans (1937)
Cedric Hardwicke (1938)
Raymond Massey (1939)
Paul Muni (1940)
Paul Lukas (1941)
Judith Evelyn (1942)
Alfred Lunt (1943)
Lynn Fontanne (1944)
Mady Christians (1945)
Louis Calhern (1946)
Ingrid Bergman (1947)
Judith Anderson (1948)
Robert Morley (1949)
Grace George (1950)
Claude Rains (1951)
Julie Harris (1952)
Shirley Booth (1953)
Josephine Hull (1954)
Viveca Lindfors (1955)
David Wayne (1956)
Eli Wallach (1957)
Ralph Bellamy (1958)
Cyril Ritchard (1959)
Jessica Tandy (1960)
Hume Cronyn (1961)
Paul Scofield (1962)
Charles Boyer (1963)
Alec Guinness (1964)
John Gielgud (1965)
Richard Kiley (1966)
Rosemary Harris (1967)
Zoe Caldwell (1968)
Alec McCowen (1969)
James Stewart (1970)
Anthony Quayle (1971)
Eileen Atkins / Claire Bloom (1972)
Alan Bates (1973)
Christopher Plummer (1974)
John Wood (1975)
Eva Le Gallienne (1976)
Tom Courtenay (1977)
Frank Langella (1978)
Frances Sternhagen (1979)
Roy Scheider (1980)
Ian McKellen (1981)
Milo O'Shea (1982)
Edward Herrmann / Kate Nelligan (1983)
Jeremy Irons (1984)
Derek Jacobi (1985)
Bernadette Peters (1986)
James Earl Jones (1987)
John Lithgow (1988)
Pauline Collins (1989)
Robert Morse (1990)
Stockard Channing (1991)
Glenn Close (1992)
Stephen Rea (1993)
Sam Waterston (1994)
Cherry Jones (1995)
Uta Hagen (1996)
Charles Durning / Bebe Neuwirth (1997)
Brian Stokes Mitchell (1998)
Kathleen Chalfant (1999)
Eileen Heckart (2000)
Mary-Louise Parker / Gary Sinise (2001)
Liam Neeson (2002)
Harvey Fierstein (2003)
Hugh Jackman (2004)
Norbert Leo Butz (2005)
Christine Ebersole (2006)
Liev Schreiber (2007)
Patti LuPone (2008)
Geoffrey Rush (2009)
Alfred Molina (2010)
Mark Rylance (2011)
Audra McDonald (2012)
Nathan Lane (2013)
Neil Patrick Harris (2014)
Chita Rivera (2015)
Lin-Manuel Miranda (2016)
Ben Platt (2017)
Glenda Jackson (2018)
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Evening Standard Theatre Award for Best Actor
1955-1959
Richard Burton (1955)
Paul Scofield (1956)
Laurence Olivier (1957)
Michael Redgrave (1958)
Eric Porter (1959)
1960-1969
Alec Guinness (1960)
Christopher Plummer (1961)
Paul Scofield (1962)
Michael Redgrave (1963)
Nicol Williamson (1964)
Ian Holm (1965)
Albert Finney (1966)
Laurence Olivier (1967)
Alec McCowen (1968)
Nicol Williamson (1969)
1970–1979
John Gielgud (1970)
Alan Bates (1971)
Laurence Olivier (1972)
Alec McCowen (1973)
John Wood (1974)
John Gielgud (1975)
Albert Finney (1976)
Donald Sinden (1977)
Alan Howard (1978)
Warren Mitchell (1979)
1980–1989
Tom Courtenay (1980)
Alan Howard (1981)
Alec McCowen (1982)
Derek Jacobi (1983)
Ian McKellen (1984)
Antony Sher (1985)
Albert Finney (1986)
Michael Gambon (1987)
Eric Porter (1988)
Ian McKellen (1989)
1990–1999
Richard Harris (1990)
John Wood (1991)
Nigel Hawthorne (1992)
Ian Holm (1993)
Tom Courtenay (1994)
Michael Gambon (1995)
Paul Scofield (1996)
Ian Holm (1997)
Kevin Spacey (1998)
Stephen Dillane (1999)
2000–2009
Simon Russell Beale (2000)
Alex Jennings (2001)
Simon Russell Beale (2002)
Michael Sheen (2003)
Richard Griffiths (2004)
Simon Russell Beale (2005)
Rufus Sewell (2006)
Patrick Stewart (2007)
Chiwetel Ejiofor (2008)
Mark Rylance (2009)
2010–9999
Rory Kinnear (2010)
Benedict Cumberbatch and Jonny Lee Miller (2011)
Simon Russell Beale (2012)
Adrian Lester and Rory Kinnear (2013)
Tom Hiddleston (2014)
James McAvoy (2015)
Ralph Fiennes (2016)
Andrew Garfield (2017)
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Golden Globe Award for Best Actor – Motion Picture Drama
Paul Lukas (1943)
Alexander Knox (1944)
Ray Milland (1945)
Gregory Peck (1946)
Ronald Colman (1947)
Laurence Olivier (1948)
Broderick Crawford (1949)
José Ferrer (1950)
Fredric March (1951)
Gary Cooper (1952)
Spencer Tracy (1953)
Marlon Brando (1954)
Ernest Borgnine (1955)
Kirk Douglas (1956)
Alec Guinness (1957)
David Niven (1958)
Anthony Franciosa (1959)
Burt Lancaster (1960)
Maximilian Schell (1961)
Gregory Peck (1962)
Sidney Poitier (1963)
Peter O'Toole (1964)
Omar Sharif (1965)
Paul Scofield (1966)
Rod Steiger (1967)
Peter O'Toole (1968)
John Wayne (1969)
George C. Scott (1970)
Gene Hackman (1971)
Marlon Brando (1972)
Al Pacino (1973)
Jack Nicholson (1974)
Jack Nicholson (1975)
Peter Finch (1976)
Richard Burton (1977)
Jon Voight (1978)
Dustin Hoffman (1979)
Robert De Niro (1980)
Henry Fonda (1981)
Ben Kingsley (1982)
Robert Duvall / Tom Courtenay (1983)
F. Murray Abraham (1984)
Jon Voight (1985)
Bob Hoskins (1986)
Michael Douglas (1987)
Dustin Hoffman (1988)
Tom Cruise (1989)
Jeremy Irons (1990)
Nick Nolte (1991)
Al Pacino (1992)
Tom Hanks (1993)
Tom Hanks (1994)
Nicolas Cage (1995)
Geoffrey Rush (1996)
Peter Fonda (1997)
Jim Carrey (1998)
Denzel Washington (1999)
Tom Hanks (2000)
Russell Crowe (2001)
Jack Nicholson (2002)
Sean Penn (2003)
Leonardo DiCaprio (2004)
Philip Seymour Hoffman (2005)
Forest Whitaker (2006)
Daniel Day-Lewis (2007)
Mickey Rourke (2008)
Jeff Bridges (2009)
Colin Firth (2010)
George Clooney (2011)
Daniel Day-Lewis (2012)
Matthew McConaughey (2013)
Eddie Redmayne (2014)
Leonardo DiCaprio (2015)
Casey Affleck (2016)
Gary Oldman (2017)
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London Film Critics' Circle Award for Actor of the Year
Philippe Noiret (1990)
Gérard Depardieu (1991)
Robert Downey Jr. (1992)
Anthony Hopkins (1993)
John Travolta (1994)
Johnny Depp (1995)
Morgan Freeman (1996)
Geoffrey Rush (1997)
Jack Nicholson (1998)
Kevin Spacey (1999)
Russell Crowe (2000)
Billy Bob Thornton (2001)
Michael Caine (2002)
Sean Penn (2003)
Jamie Foxx (2004)
Bruno Ganz (2005)
Forest Whitaker (2006)
Daniel Day-Lewis (2007)
Mickey Rourke (2008)
Christoph Waltz (2009)
Colin Firth (2010)
Jean Dujardin ( 2011)
Joaquin Phoenix (2012)
Chiwetel Ejiofor (2013)
Michael Keaton (2014)
Tom Courtenay (2015)
Casey Affleck (2016)
Timothée Chalamet (2017)
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Silver Bear for Best Actor
Burt Lancaster (1956)
Pedro Infante (1957)
Sidney Poitier (1958)
Jean Gabin (1959)
Fredric March (1960)
Peter Finch (1961)
James Stewart (1962)
Sidney Poitier (1963)
Rod Steiger (1964)
Lee Marvin (1965)
Jean-Pierre Léaud (1966)
Michel Simon (1967)
Jean-Louis Trintignant (1968)
Jean Gabin (1971)
Alberto Sordi (1972)
Vlastimil Brodský (1975)
Gerhard Olschewski (1976)
Fernando Fernán Gómez (1977)
Craig Russell (1978)
Michele Placido (1979)
Andrzej Seweryn (1980)
Anatoly Solonitsyn / Jack Lemmon (1981)
Stellan Skarsgård / Michel Piccoli (1982)
Bruce Dern (1983)
Albert Finney (1984)
Fernando Fernán Gómez (1985)
Tuncel Kurtiz (1986)
Gian Maria Volontè (1987)
Jörg Pose / Manfred Möck (1988)
Gene Hackman (1989)
Iain Glen (1990)
Maynard Eziashi (1991)
Armin Mueller-Stahl (1992)
Denzel Washington (1993)
Tom Hanks (1994)
Paul Newman (1995)
Sean Penn (1996)
Leonardo DiCaprio (1997)
Samuel L. Jackson (1998)
Michael Gwisdek (1999)
Denzel Washington (2000)
Benicio del Toro (2001)
Jacques Gamblin (2002)
Sam Rockwell (2003)
Daniel Hendler (2004)
Lou Taylor Pucci (2005)
Moritz Bleibtreu (2006)
Julio Chávez (2007)
Reza Naji (2008)
Sotigui Kouyaté (2009)
Grigoriy Dobrygin / Sergei Puskepalis (2010)
Peyman Moaadi / Shahab Hosseini / Ali-Asghar Shahbazi / Babak Karimi (2011)
Mikkel Følsgaard (2012)
Nazif Mujić (2013)
Liao Fan (2014)
Tom Courtenay (2015)
Majd Mastoura (2016)
Georg Friedrich (2017)
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Volpi Cup for Best Actor
1934–68
Wallace Beery (1934)
Pierre Blanchar (1935)
Paul Muni (1936)
Emil Jannings (1937)
Leslie Howard (1938)
Ermete Zacconi (1941)
Fosco Giachetti (1942)
Pierre Fresnay (1947)
Ernst Deutsch (1948)
Joseph Cotten (1949)
Sam Jaffe (1950)
Jean Gabin (1951)
Fredric March (1952)
Henri Vilbert (1953)
Jean Gabin (1954)
Curd Jürgens/Kenneth More (1955)
Bourvil (1956)
Anthony Franciosa (1957)
Alec Guinness (1958)
James Stewart (1959)
John Mills (1960)
Toshiro Mifune (1961)
Burt Lancaster (1962)
Albert Finney (1963)
Tom Courtenay (1964)
Toshiro Mifune (1965)
Jacques Perrin (1966)
Ljubiša Samardžić (1967)
John Marley (1968)
1983–2000
Guy Boyd/George Dzundza/David Alan Grier/Mitchell Lichtenstein/Matthew Modine/Michael Wright (1983)
Naseeruddin Shah (1984)
Gérard Depardieu (1985)
Carlo Delle Piane (1986)
Hugh Grant/James Wilby (1987)
Don Ameche/Joe Mantegna (1988)
Marcello Mastroianni/Massimo Troisi (1989)
Oleg Borisov (1990)
River Phoenix (1991)
Jack Lemmon (1992)
Fabrizio Bentivoglio/Marcello Mastroianni (1993)
Xia Yu/Roberto Citran (1994)
Götz George/Ian Hart (1995)
Liam Neeson/Chris Penn (1996)
Wesley Snipes (1997)
Sean Penn (1998)
Jim Broadbent (1999)
Javier Bardem (2000)
2001–present
Luigi Lo Cascio (2001)
Stefano Accorsi (2002)
Sean Penn (2003)
Javier Bardem (2004)
David Strathairn (2005)
Ben Affleck (2006)
Brad Pitt (2007)
Silvio Orlando (2008)
Colin Firth (2009)
Vincent Gallo (2010)
Michael Fassbender (2011)
Philip Seymour Hoffman/Joaquin Phoenix (2012)
Themis Panou (2013)
Adam Driver (2014)
Fabrice Luchini (2015)
Oscar Martínez (2016)
Kamel El Basha (2017)
Authority control
WorldCat Identities
BNF: cb138927994 (data)
GND: 129215120
ISNI: 0000 0000 8186 6738
LCCN: n84088331
MusicBrainz: 5bfe2d2d-94fb-4a0b-9076-0ddb36dd645e
SNAC: w6vt2425
SUDOC: 070998868
VIAF: 117522356
Retrieved from "https://en.wikipedia.org/w/index.php?title=Tom_Courtenay&oldid=840647674"
Categories:
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