View allAll Photos Tagged 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: 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.
Title: Jolley's motor launch 'Reliance' on the River Torrens, Adelaide, near the City Bridge and their boathouse
Collection: Kelley
Names: Jolley family
Date: c1911
Inscription: The Torrens, Adelaide, S. A. 27/9/11 cont. By now J. S. you must have decided to change residence - [?] is far away from where you were? I'm still sticking to the Port but I'm wondering what my next promotion will bring. Am in my 31st year in the service & there will be several changes shortly. We have had a very mild winter & much too dry. I see by the telegrams you have had a warm finish to your summer, we had the dryest August on record & prospects of our harvest are not too good yet but are hoping for good late rains. Hope this will find you all well. Best love all [?] Mel. [Inscription on separate sheet - Jolley's motor launch "Reliance" at Adelaide Bridge boathouse, pre 1911. On 27/1/1917 it was cut down in the Port River by the SS Juno.]
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)
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.
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
Described by Tom... as "Whilst being so solid and industrial in appearance, it really is not that imposing".
By Cossins, Peacock and Bewlay c1911. Grade II listed.
For the full building, see here.
On Lower Temple Street. By Arthur Edwards c1911. A and wine house that gained its full licence in 1915. The frontage has lost a lot of its original ornate tiling and the word "Tavern"!
The Theatre Royal used to occupy part of the site of the Woolworth Building, just up New Street ... hence the name of the pub perhaps.
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 - Central 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.
Tin toilet powder case made by the American Stopper Co, Brooklyn NY, c1911 for The Smith, Kline & French Co, Philadelphia, PA, for its Blue Danube Line. The tin box was based on a 1902 patented design by Ella Lichtenstein. 54mm (approx 2 1/16inches) in diameter. Image courtesy of F Sternad.
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.
Arts and Crafts church by A S Dixon c1911. Now St Basil's Centre. Very Italian looking to my eye.
Grade II Listed
One of two prefabricated weatherboard Hudson Homes in the Federation style that were erected on the foreshore of Sugarloaf Bay in the Yachtville Estate at Castlecrag in 1904. Known as the waterfront cottages, these buildings are listed as heritage items on Willoughby Council's LEP and by the National Trust. The two Hudson Homes have been leased by council to tenants prepared to restore them under heritage standards and to install agreed effluent disposal systems.
History Council Records
1904- Two prefabricated weatherboard Hudson Homes in the Federation style were erected on the 1906 Yachtville Estate, being located on the foreshore of the Northern Escarpment below
Edinburgh Road. An ex-fisherman’s cottage and a stone cottage were added c1911. Known as the waterfront cottages, these buildings are listed as heritage items on Willoughby Council’s LEP 1995 and by the National Trust.
1905 Willoughby Municipality’s first public baths on Middle Harbour were opened at Sugarloaf Bay. Proposals had been put forward to enclose a portion of Sailors Bay with a shark-proof net from 1900. Rockley Street was constructed to provide access to the proposed baths but the matter was not proceeded with at this time. The Sugarloaf Bay baths were built by Joseph Knight Smith, the then proproetor of the Hotel Willoughby, on his own land. He built steps down to the baths from Edinburgh Road (north side). It was reported that the official party attending the opening proceeded along the unformed part of Mowbray Road which “provided all with the bumps and jolting necessary to induce the aldermen to wish the road were formed.”
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.
... as in the days of His Majesty's Mail - George V in this case, judging by the crest above the centre door. c1911.
On Hockley Hill, Birmingham (see map).
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.
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.
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.
North Aisle Window - Resurrection and Ascension, with above, cinquefoil with winged angel holding crown with winged cherubs' heads. Jones and Willis, 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 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.
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.
My great Grandfather had shops which were believed to be in Mirfield, Yorkshire. This shows William and we believe his third wife Elizabeth. c1911
Garmston House, 262 High Street, Lincoln.
Grade ll listed.
A house, now a shop with offices above.
Late C17, incorporating part of a late C12 building.
Re-fronted and extended c1772.
Converted to a theatre and cinema c1911, restored and
reconverted 1991.
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: Bottom central 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.
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: Bottom 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.
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: Bottom 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.
(L to R) Elder, Smith & Co opened 1880, Stilling & Co opened 1883, D & J Fowler opened 1881. [Photo from State Library of SA: PRG 280/1/44/380 (c1911)]
•Title: Battle of Lake Erie
•Related Names:
Moran, Percy, 1862-1935 , artist
•Date Created/Published: c1911.
•Medium: 1 photomechanical print : halftone, color.
•Summary: Oliver Hazard Perry standing on front of small boat after abandoning his flagship, the Lawrence.
•Reproduction Number: LC-USZC4-6893 (color film copy transparency) LC-USZ62-47452 (b&w film copy neg.) LC-USZC2-6326 (color film copy slide)
•Call Number: LOT 4413-B [item] [P&P]
•Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
•Notes:
◦K33650 U.S. Copyright Office.
Both Holtzapffel & Haymarket neighbours ZigZag launched shaped jigsaws in 1910-1912 - including both selling the identical looking Bluebird design. There must have been some industrial espionage going on.
David presented two examples of Zig-Zag’s own earliest version, which was called the “New Figure Zig-Zag”. See Jigasaurus:
thejigasaurus.com/index.php/zig_zag/figure_zig_zag
Left: ZigZag 150pc The Lovers, solid wood, c1912 8.3x14.5in.
Stunning example beautifully outline-cut around the subjects and including several drop-outs. The backing board is of 1/4(6mm) thick mahogany. A message on the box-base reads To Mother & Father-Easter 1912. The box address on this example is: Carlton Street, LONDON SW.
Right: ZigZag 150pc Quite English, solid wood, c1911.
Very well made solid mahogany puzzle, accurately outline cut around the main subject area. The address on the box for this example is 8, Norris Street London SW and the puzzle is understood to have featured in a c1911 company catalogue.
Later several other British manufacturers of the era tried some shaped jigsaws, including AVN Jones, Studio, Frederick Warne, particularly with their Beatrix Potter puzzles, and Chad Valley.
North east transept - east window by James Powell and Sons, c1911 - Presentation in the Temple; Baptism of Christ
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 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 - Holy Spirit as a Dove (part of an Annunciation). The Memorial Chapel.
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.
London Planning c1911: "Hello, we would like a stadium in this residential street." "What for 60,000 people, OK, we will just get rid of a few houses and we will be off" Love It!
All Saints, Kedleston, Derbyshire.
Window by Frederick Charles Eden (1864-1944).
The Three Marias, c1911 - detail.
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.
Thanks to beejay-Bryan Yorke Please visit haslingdens.blogspot.com/ by Bryan Yorke for more information on the Haslingden area, he has a range of superb photos and background information
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.