View allAll Photos Tagged c1911
Source: Scan of Original Postcard.
Date: c.1911
Postmark: None
Publisher:Unknown
Photographer:Unknown
Inscription: No
Repository: Swindon Museum and Art Gallery
FS0443
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 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
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 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
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.
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)
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.
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.
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.
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.
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
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.”
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.
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.
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 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.
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.
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
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.
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.
North Aisle Window - Resurrection and Ascension, with above, cinquefoil with winged angel holding crown with winged cherubs' heads. Jones and Willis, c1911
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.
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: 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.
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.
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.
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.
(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.
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.