View allAll Photos Tagged c1911
York Town Hall built 1911: foundation stone laid by Mayoress Mrs E H Neville 31 May 1911: opened 30 November 1911 by Premier John Scaddan.
Classified by the National Trust of Australia.
Permanently on the Register of the National Estate.
Permanently on the State Register of Heritage Place, Western Australia.
Hall lobby has a sweeping staircase constructed by local craftsmen from jarrah timber salvaged from the Mechanics Institute building which was demolished to make way for the town hall.
During construction the last of six large steel principals in the main section of the hall still had to be secured firmly but lunchtime occurred and workmen took lunch. During lunch a willy-willy brought down the unsecured principal and with it, the other five. They all had to be completely replaced.
The building was a picture show venue early in its history.
The clock was installed in 1952 and the building extended up Joaquina Street in 1997, completing the architects’ original vision.
Stage renovated in 2019.
Hall refurbished and renovated in the 2000s.
Designed in the Federation Free Classical style the townhall boasted the largest floor area of any such building in Western Australia.
Architects: Wright, Powell and Cameron (headed by James William Wright).
Liverpool Cathedral.
South Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window show instances of God's power being demonstrated through water, namely Noah holding a model of the ark, Jesus calming the disciples in a storm, Jesus walking on water, and St Paul after his shipwreck in Malta.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
Liverpool Cathedral.
North Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window relate to "journeys across the sea and undertaken in faith", namely Moses crossing the Red Sea, Saint Paul's journey to Rome, Saint Columba planting a cross on Iona, and missionaries of the Melanesian Mission landing on the Solomon Islands.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
Bradford Cathedral.
Cathedral Church of St Peter.
South Ambulatory.
Previously known as the Bolling Chapel.
St Elizabeth of Hungary.
St Hilda of Whitby.
St Ethelburga of York.
Memorial Window to Elizabeth Mitchell, c1911.
In memory of Elizabeth Mitchell and other loved ones.
By Archibald Keightley Nicholson (1871-1937).
AK Nicholson was the brother of Sir Charles Nicholson and a pupil of Henry Wilson. He was thus initially skilled in crafts, including metalwork, and was largely self-taught as a glassmaker. After his death his studio continued under GER Smith and HL Pawle.
Source: Scan of an original postcard
Date: 1911
Photographer: Tom & Barr
Repository: Swindon Museum & Art Gallery
MP1985-4
Household:
Herme Francis Hahnen (c1880-c1911)
Zora Montgomery Courtney (1882-1962)
Gretchen Francis Hahnen (1902-1986)
Robert Courtney Hahnen I (1906-1999)
Person:
Zora Montgomery Courtney (1882-1962) Housewife (b. January 27, 1882; Peoria, Peoria County, Illinois, USA - d. October 7, 1962; Des Moines, Polk County, Iowa, USA) Social Security Number 484055476.
Person:
Gretchen Francis Hahnen (1902-1986) Housewife (b. March 11, 1902, Des Moines, Polk County, Iowa, USA - d. December 1986, Goldsboro, Wayne County, North Carolina, 27530, USA) Social Security Number 123019936.
Person:
Robert Courtney Hahnen I (1906-1999) Worker (b. September 23, 1906; Des Moines, Polk County, Iowa, USA - d. October 19, 1999; Saint Paul, Ramsey County, Minnesota, 55108, USA) Social Security Number 470426986.
Source: Scan of Original Postcard.
Date: c1911
Postmark: None
Publisher: Unknown
Photographer: Unknown
Inscription: None
Repository: Swindon Museum and Art Gallery
FS0415
Liverpool Cathedral.
South Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window show instances of God's power being demonstrated through water, namely Noah holding a model of the ark, Jesus calming the disciples in a storm, Jesus walking on water, and St Paul after his shipwreck in Malta.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
Liverpool Cathedral.
South Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window show instances of God's power being demonstrated through water, namely Noah holding a model of the ark, Jesus calming the disciples in a storm, Jesus walking on water, and St Paul after his shipwreck in Malta.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
Group of students and teacher in front of Wendling school c1911.
This is the school building that was built in November 1910 to replace the one that had been destroyed in the August fire when most of Wendling burned.
Most of the students are wearing an arm band on their left arm with the initials W E G. What that stood for is unknown at this time.
The students are:
Back row: Herbert Olson, Edna Bowers, unknown, unknown
Front row: Donald W Stolberg, Jim LaJoie, Winifred May, Fred Roach, Clayton Barber, unknown, unknown teacher
If you can name any of the unknown students, the teacher or know what WEG stands for, please comment.
A magnificent granite roller cast aside c1911 on the slopes of Belstone Tor on Dartmoor. Thanks to Rob Martin for locating this near perfect specimen.
All Saints, Kedleston, Derbyshire.
Window by Frederick Charles Eden (1864-1944).
The Three Marias, c1911.
Three windows in the Curzon Chapel feature saints named Maria (or Mary). They were inspired by Lady Curzon’s Christian name.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows.
All Saints, Kedleston, Derbyshire.
Window by Frederick Charles Eden (1864-1944).
The Three Marias, c1911.
Three windows in the Curzon Chapel feature saints named Maria (or Mary). They were inspired by Lady Curzon’s Christian name.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows.
Liverpool Cathedral.
North Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window relate to "journeys across the sea and undertaken in faith", namely Moses crossing the Red Sea, Saint Paul's journey to Rome, Saint Columba planting a cross on Iona, and missionaries of the Melanesian Mission landing on the Solomon Islands.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
Herme Francis Hahnen (c1880-c1911) and Zora Montgomery Courtney (1882-1962) in the 1905 US census in Des Moines, Iowa.
Household:
Herme Francis Hahnen (c1880-c1911)
Zora Montgomery Courtney (1882-1962)
Gretchen Francis Hahnen (1902-1986)
Robert Courtney Hahnen I (1906-1999)
Person:
Zora Montgomery Courtney (1882-1962) Housewife (b. January 27, 1882; Peoria, Peoria County, Illinois, USA - d. October 7, 1962; Des Moines, Polk County, Iowa, USA) Social Security Number 484055476.
Person:
Gretchen Francis Hahnen (1902-1986) Housewife (b. March 11, 1902, Des Moines, Polk County, Iowa, USA - d. December 1986, Goldsboro, Wayne County, North Carolina, 27530, USA) Social Security Number 123019936.
19th street Bakersfield California
Identifier: ked171
Creator: Unknown
Date:c1911
Rights: Copyright status unknown
Copyright status unknown. Some materials in these collections may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, the reproduction of some materials may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission copyright owners. Works not the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user.
Liverpool Cathedral.
North Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window relate to "journeys across the sea and undertaken in faith", namely Moses crossing the Red Sea, Saint Paul's journey to Rome, Saint Columba planting a cross on Iona, and missionaries of the Melanesian Mission landing on the Solomon Islands.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
Bradford Cathedral.
Cathedral Church of St Peter.
South Ambulatory.
Previously known as the Bolling Chapel.
St Elizabeth of Hungary.
St Hilda of Whitby.
St Ethelburga of York.
Detail: Tracery - Right light.
Memorial Window to Elizabeth Mitchell, c1911.
In memory of Elizabeth Mitchell and other loved ones.
By Archibald Keightley Nicholson (1871-1937).
AK Nicholson was the brother of Sir Charles Nicholson and a pupil of Henry Wilson. He was thus initially skilled in crafts, including metalwork, and was largely self-taught as a glassmaker. After his death his studio continued under GER Smith and HL Pawle.
Liverpool Cathedral.
South Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
Detail.
The images in the rose window show instances of God's power being demonstrated through water, namely Noah holding a model of the ark, Jesus calming the disciples in a storm, Jesus walking on water, and St Paul after his shipwreck in Malta.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
Liverpool Cathedral is orientated north-south, and the cardinal directions given here refer to the liturgical orientation.
My great Grandfather had shops which were believed to be in Mirfield, Yorkshire. William is standing in the doorway. c1911
Bradford Cathedral.
Cathedral Church of St Peter.
South Ambulatory.
Previously known as the Bolling Chapel.
St Elizabeth of Hungary.
St Hilda of Whitby.
St Ethelburga of York.
Detail: St Elizabeth of Hungary.
Memorial Window to Elizabeth Mitchell, c1911.
In memory of Elizabeth Mitchell and other loved ones.
By Archibald Keightley Nicholson (1871-1937).
AK Nicholson was the brother of Sir Charles Nicholson and a pupil of Henry Wilson. He was thus initially skilled in crafts, including metalwork, and was largely self-taught as a glassmaker. After his death his studio continued under GER Smith and HL Pawle.
Liverpool Cathedral.
North Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window relate to "journeys across the sea and undertaken in faith", namely Moses crossing the Red Sea, Saint Paul's journey to Rome, Saint Columba planting a cross on Iona, and missionaries of the Melanesian Mission landing on the Solomon Islands.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
58 Oxford Street. By Buckland and Haywood-Farmer c1911. Decorated lead hood to the doorway. Great detailing. Different brick bonding with English (alternating rows of stretchers and headers) at the bottom and Flemish (headers and stretchers alternating on the same row) further up.
COISA LOUCA by @LCOFFICIAL | pt | 7-24-2010 | mouse | 1440 x 737
title: coisa louca
artist: @lcofficial
tool: mouse
country: pt
date: 7-24-2010
colors: 11
hex color palette: 404040 503e24 853ead 3e3e3e 3f5cbe c1911 c53fa2 2d18fc 662c34 4b3fc8 3d92a3
background: f1f1f1
size: 1440 x 737
action: drips.nalindesign.com
artist: @lcofficial
Title: Copper City Brass Band
Collection: Speer
People: Elgin Roy Main
Place: Kadina, SA
Date: c1911
Inscription: Copper City Brass Band. [Inscription on album - Uncle Elg in uniform.]
Photographer: H.W. Pell, Kadina [SA]
Manchester Art Gallery.
The Lady with Lizards.
By Henry Lamb (1883-1960).
Oil on canvas, c1911.
The addition of lizards behind the lady make her poised expression appear pregnant with meaning. However, without being able to identify the sitter of this portrait, it is hard to decipher.
Liverpool Cathedral.
North Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window relate to "journeys across the sea and undertaken in faith", namely Moses crossing the Red Sea, Saint Paul's journey to Rome, Saint Columba planting a cross on Iona, and missionaries of the Melanesian Mission landing on the Solomon Islands.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
Liverpool Cathedral.
North Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window relate to "journeys across the sea and undertaken in faith", namely Moses crossing the Red Sea, Saint Paul's journey to Rome, Saint Columba planting a cross on Iona, and missionaries of the Melanesian Mission landing on the Solomon Islands.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
The Memorial Chapel.
Window by Frederick Charles Eden (1864-1944).
The Three Marias, c1911.
Three windows in the Curzon Chapel feature saints named Maria (or Mary). They were inspired by Lady Curzon’s Christian name.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows.
Detail: Virgin Mary
Liverpool Cathedral.
North Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window relate to "journeys across the sea and undertaken in faith", namely Moses crossing the Red Sea, Saint Paul's journey to Rome, Saint Columba planting a cross on Iona, and missionaries of the Melanesian Mission landing on the Solomon Islands.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
Bradford Cathedral.
Cathedral Church of St Peter.
South Ambulatory.
Previously known as the Bolling Chapel.
St Elizabeth of Hungary.
St Hilda of Whitby.
St Ethelburga of York.
Detail: St Hilda of Whitby.
Memorial Window to Elizabeth Mitchell, c1911.
In memory of Elizabeth Mitchell and other loved ones.
By Archibald Keightley Nicholson (1871-1937).
AK Nicholson was the brother of Sir Charles Nicholson and a pupil of Henry Wilson. He was thus initially skilled in crafts, including metalwork, and was largely self-taught as a glassmaker. After his death his studio continued under GER Smith and HL Pawle.
All Saints, Kedleston, Derbyshire.
Window by Frederick Charles Eden (1864-1944), c1911.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows.
From Nomination Form, Natl Historic Places
Roslindale Substation
Boston, Suffolk, MA
Photographer Unknown
Date: Around 1911
Liverpool Cathedral.
North Choir Aisle - Rose Window, c1911.
Designed by John William Brown (1842-1928).
Made by James Powell & Sons, Whitefriars.
The images in the rose window relate to "journeys across the sea and undertaken in faith", namely Moses crossing the Red Sea, Saint Paul's journey to Rome, Saint Columba planting a cross on Iona, and missionaries of the Melanesian Mission landing on the Solomon Islands.
John William Brown was born in Newcastle upon Tyne and trained as an artist under William Bell Scott, a friend of William Morris. He was employed by Morris & Co and later by James Powell & Sons before he became a freelance designer. He continued to undertake commissions for Powell's up to 1923, but in the later part of his career most of his work was carried out for Henry Holiday.
James Powell & Sons, situated on the site of the former Whitefriars monastery, between the Thames and Fleet Street, was producing mainly flint glass when it was bought in 1834 by James Powell, a London wine merchant. On his death the firm passed to his three sons Arthur, Nathaniel and James Cotton Powell, who in 1844 established a stained glass department. The latter benefitted from the scientific researches of Charles Winston, a lawyer by profession, who had dedicated himself to the study of medieval stained glass. It had made him aware of the shortcomings of the glass available to contemporary artists, this being often thin and garish in colour. In 1847 he encouraged experiments aimed at rediscovering the chemical components of medieval glass and persuaded the firm of James Powell & Sons to produce 'antique' glass to his recipes. It was mainly due to this collaboration that the firm was to become one of the most important studios and glass manufacturers of the Victorian period.
Bradford Cathedral.
Cathedral Church of St Peter.
South Ambulatory.
Previously known as the Bolling Chapel.
St Elizabeth of Hungary.
St Hilda of Whitby.
St Ethelburga of York.
Detail: St Ethelburga of York.
Memorial Window to Elizabeth Mitchell, c1911.
In memory of Elizabeth Mitchell and other loved ones.
By Archibald Keightley Nicholson (1871-1937).
AK Nicholson was the brother of Sir Charles Nicholson and a pupil of Henry Wilson. He was thus initially skilled in crafts, including metalwork, and was largely self-taught as a glassmaker. After his death his studio continued under GER Smith and HL Pawle.
Source: Scan of Original Postcard.
Date: c. 1911
Postmark: Unknown
Publisher: Unknown
Photographer: Unknown
Inscription: No
Repository: Swindon Museum and Art Gallery
FS0368
Unknown grade school class on the steps of the Marcola grade school sometime between 1911 and 1915. The date is derived as the teacher is Myrl Ross.
This school was built in 1907 after school districts 42 (Parsons Creek/Marcola) and 79 (Lower Mill Creek/Marcola) merged into one larger district. During this time there were two grade schools in the merged district. One was in downtown Marcola and the other was located at Fischer's Camp near the top of Parsons Creek.
If you can identify any of the children in this photo, know the exact year, or have other information about this photo, please comment.