View allAll Photos Tagged c1911
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.
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.
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.
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
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.
Bradford Cathedral.
Memorial Window (detail) to Elizabeth Mitchell, c1911.
By Archibald Keightley Nicholson (1871-1937).
St Ethelburga of York.
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.
Detail.
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 is orientated north-south, and the cardinal directions given here refer to the liturgical orientation.
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: Tracery - Angel Gabriel (part of an Annunciation).
Source: Scan of Original Postcard.
Date: c.1911
Postmark: None
Publisher:Unknown
Photographer:Unknown
Inscription: No
Repository: Swindon Museum and Art Gallery
FS0443
North east transept - east window by James Powell and Sons, c1911 - Presentation in the Temple; Baptism of Christ
Bradford Cathedral.
South Ambulatory.
Memorial Window to Elizabeth Mitchell, c1911 - detail.
By Archibald Keightley Nicholson (1871-1937).
In memory of Elizabeth Mitchell and other loved ones.
St Elizabeth of Hungary.
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.
North east transept - east window by James Powell and Sons, c1911 - Presentation in the Temple; Baptism of Christ
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.
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.
Bradford Cathedral.
South Ambulatory.
Memorial Window to Elizabeth Mitchell, c1911 - detail.
By Archibald Keightley Nicholson (1871-1937).
In memory of Elizabeth Mitchell and other loved ones.
St Hilda of Whitby.
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.
This photo is of an information kiosk near the Lighthouse Interpretive Centre. The text reads, "A Place of Refue / Today, Presqu'ile's protected forest and beaches offers a sanctuary for many birds, mammals and native vegetation while providing a relaxing retreat for vacationers. / Come into the Lighthouse interpretive Centre and explore our colourful past. These isolated shores and sheltered waters were at times, an essential link to the marine transportation system of an aspiring nation. At other times, Presqu'ile became a squatter's paradise, smuggler's den and privateer's hangout." The photos on the kiosk are: "The Yellow Warbler and the Barred Owl are both regularly sighted at Presqu'ile." (Presqu'ile Park Collection), "A family of vacationers pose at the Presqu'ile Hotel, c1911" (Bud Guertin Collection), "Utilizing both speed and disguise, rumrunners ran a continuous battle to outwit the law." (Hazel Dodds). Photo looking south. 100_4160
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 is orientated north-south, and the cardinal directions given here refer to the liturgical orientation.
5 Cent Fey Operator Bell Cast Iron Slot Machine c1911 Original, very ornate, in good condition, works, w/ keySold at Victorian Casino Antiques. Quality Consignments always considered for upcoming Auctions. www.vcaauction.com #vcaauction vca@lvcoxmail.com 4520 Arville St #1 LV NV 89103 702-382-2466
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
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 - Left 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.
North transept window by H Bryans of London placed during the c1911 restoration by Sir Alfred Jodrell (St Helen and St Constantine, St Nicholas holding a money bag and St Catherine holding a wheel)
Herbert Fredrick Thomas Cooper (b.1874 d.1960) was born in Hammersmith, London, in 1874 he was the son of H. F. Cooper who died 25th March 1960 aged 85. He was married to Annie (b.1884 d.1935). They has issue:
daughter Joan Doreen Emily Sargeant, d.1921
eldest son, Fredrick Kenneth, b,1904 d.1954
daughter, Gladys, b.1906 d.1998, aged 92
Son, S/LDR Douglas Cooper DFC b.1917 d.2004, aged 87
Their son, Squadron Leader Herbert Douglas Haig Cooper was an RAF pilot in WW2 and a Prision of War in Stalag Luft 111. He received the Distinguished Flying Cross (DFC).
Herbert arrived in Strabane just before the outbreak of the First World War. He took over the photographic studio in Railway Street, Strabane which had been run by J.A. Burroughs from about 1901 until 1913. J.A. Burrow’s photographic studio was located on the site now occupied by the Housing Executive premises just opposite the Farmers’ Home. From then until his death on 25 March 1960 aged 85. Cooper amassed a huge collection of photographs. He also recorded films, of race meetings at Carricklee etc., managed the Pallindrome cinema in Railway Street, Strabane, and had a commercial photographic studio in Blackpool.
Cooper took photographs throughout the counties of Tyrone and Donegal. He also visited towns in Counties Derry, Armagh and Fermanagh, and made occasional sorties into Co. Down (Bangor). His style is noticeably different from the other well- and, until now, better-known photographers of life in Ulster since 1900, including R.J. Welch (b.1859 d.1936), A.R. Hogg (b.1870 d.1939) and W.A. Green (b.1870 d.1958).
Cooper's more informal approach is evident throughout his collection. Of course, he did take formal photographs in a stylised way: this is particularly true of his portraits. But his 'snap-happy' policy has given us a record of many aspects of life in the countryside and small towns in the west of Ulster for the entire first half of the twentieth century. His subjects ranged across the whole community: with his professional eye and the detached view as an Englishman, he was in an ideal position to photograph scenes which were characteristic of both main traditions in Ulster. The collection has been, with justification, described as the best record of life in provincial Ireland before the Second World War.
In 1913, the Cooper family build the Pallidrome Cinema on Railway Road/Street and during 1935 the family opened the Commodore Cinema on Main Street, Strabane. c1945, Douglas Cooper returns to Strabane from Royal Air Force duties and becomes manager of the Commodore Cinema.
The Commodore Cinema closes 1970’s. By the 1953 it was being run by Commodore Cinemas (NI) Ltd. It was closed on 1st January 1972. Reopened December 1978 as a studio cinema, pool room and billiard hall. A fire occurred in August 1981 but cinema reopened the weekend of 20 March 1982 with ‘Stripes’ a 1981 American war comedy starring Bill Murray, ‘Arthur’ staring Dudley Moore as Arthur Bach, a drunken New York City millionaire and ‘Snow White and the Seven Dwarfs’, perhaps with additional screens, but this was short lived as it closed in July 1982. c. Nov 2013 it’s been Commodore Bingo and Amusements currently (Dec 2023) owned by Bentley Leisure.
The Circus
The three main circus shows photographed by Herbert Cooper were Duffy’s Circus, Buff Bill’s American Circus and Hanneford’s Canadian Circus. A few circuses toured Ireland in the years before 1914, it was the heyday for these travelling shows. Big Tops were then lit by flares and it wasn’t until well into the 1920s that electric lighting became common, so most of the pictures were taken outdoors and during daylight hours.The photos of Duffy’s Circus were, almost certainly, all taken during a visit to Strabane in 1911. Duffy’s Circus was originally founded in 1775, Patrick James Duffy, who performed as an acrobat in circuses in the 1840s in England, He had seven children, six of them got involved in the circus. In the 1870s, Duffy's second son, John, founded the John Duffy Circus. he died in 1909. When Duffy’s Circus came to Strabane in 1911, it was already being run by John’s widow, Annie. One of John Duffy’s sons, James, married Lena Kayes, daughter of William Kayes (b.1856 d.1933) who ran the famous Buff Bill’s American Circus in Ireland before and after the First World War. Kayes himself being ‘Buff Bill’. Ned Hanneford’s Canadian Circus toured Ireland up to 1916. It was renowned for its menagerie, including lions and ‘bears that talk’. It also featured a splendid street parade headed by an ornate, gilded bandwagon drawn by 8 sleek horses. Cooper’s photos of Hanneford’s Circus must have been taken before 1914, a period which seems to have been the heyday of circus visits to Strabane.
In the 1970s, over 70,000 of Cooper's glass plate negatives (known as The Cooper Collection) were deposited in PRONI by his son, Mr. H. D. H. Cooper and they were subsequently purchased by the office. Some of J. A. Burrows's work was included.
Between 1989 and 1992, curatorial staff undertook the task of identifying, selecting and cataloguing the contents of the collection. The work of cleaning and conserving the negatives, which had acquired the grime and dust over decades, was undertaken by PRONI's conservation staff. In order to ensure the long-term preservation of the originals, and to make the collection truly accessible to the public, celluloid negatives were made by Irish Colour Laboratories, Larne. A catalogue of the 2500 prints selected for processing in this way is now available for consultation in the Public Search Room (General Register Office Northern Ireland' (GRONI))
Most of the remaining glass plates are passport photographs and studio photographs of individuals and families who cannot be identified. Up until now, these images were closed to the public for preservation reasons.
During 2013, PRONI undertook a digitisation project to make available on Flickr a sample set of approximately 900 images of these previously inaccessible portraits. We hope that members of the public, especially those from Strabane and surrounding areas may be able to assist in identifying the sitters in the phototographs that Cooper took.
An exhibition entitled ‘Shadows on Glass’ celebrated the works of both pioneering Strabane photographers, J.A. Burrows and H.F. Cooper took place in at the Alley Theatre, Strabane on Monday, 22nd July 2019 featuring over 60 of their most popular and enduring images.
The Cooper family plot is located in Strabane Cemetary, Grave No AI 1.