View allAll Photos Tagged c1911
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
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: Angle with crown of thorns
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: Mary Cleophas and her children
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
Leeds Art Gallery, The Headrow, Leeds.
Circus Boy.
Glyn Warren Philpot (1884-1937).
Oil on canvas, c1911.
British painter and sculptor, born in London. He studied at Lambeth School of Art, 1900–03, and at the *Académie Julian, Paris, 1905. It was as a portraitist that Philpot had his main success, which was at its height in the 1920s. However, he also did a mural, Richard I Leaving England for the Crusades (1927), for St Stephen's Hall, Westminster, and had ambitions as a painter of allegories and religious subjects (he became a convert to Catholicism in 1905). Philpot grew tired of routine fashionable portraiture (however lucrative it was) and in 1931 he moved to Paris for a year and started working in a more modern idiom—flatter and more stylized than his earlier manner. The new style met with a mixed reception and some of Philpot's earlier admirers were dismayed: ‘Glyn Philpot “Goes Picasso”’, read a headline in the Scotsman on 30 April 1932.
He died suddenly of heart failure in his London studio. The day after his funeral his friend and disciple Vivian Forbes (1891–1937) committed suicide; his behaviour had been unbalanced for several years. Philpot was out of fashion for many years, but his reputation began to revive in the 1970s (coinciding with a general renewal of interest in the *Art Deco style, of which he is sometimes said to be a representative) and there was a major exhibition of his work at the National Portrait Gallery, London, in 1984–5. He is now perhaps best known for his portraits of black people—his West Indian servant Henry Thomas was a favourite model.
Postcard of The Falmouth Hotel, Falmouth.
In the 1911 Census Claude Duplessy was a Hotel Manager aged 41 years, he was french and born in Bone. The address was Kevor Cliff Road,
And now Falmouth Hotel, Cliff Road, Falmouth.
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.
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.
Albert, Edward G. & Marie Charlotte Erickson
Photo taken c1911 by William Henry McElliott
Marie Charlotte Erickson
Born: 1848, Sweden
Died: 7 May 1914, Chicago, Cook, Illinois
Mother of Albert, Grandmother of Edward
Wife of Charles A. Erickson
Albert Erickson
Born: 22 August 1874, Chicago, Cook, Illinois
Died: 28 September 1917, Chicago, Cook, Illinois
Son of Marie, Uncle of Edward
Edward G. Erickson
Born: Abt. 1911, Chicago, Cook, Illinois
Died: Bef. 1996
Son of Joseph & Beatrice Erickson
Grandson of Charles & Marie Charlotte Erickson
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.
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
Wout's second Peacock jigsaw shows King George V on horseback taking the Coronation Salute from mounted horse regiments. A very attractive painting!
Attributed to Peacock 197pc Coronation Salute C Clark 38x25cm solid wood, c1911.
Blank divided into quarters and cut into sinusoidal pieces, piece-by-piece. A typical Peacock cutting style - the original box was missing when Wout bought it. We cannot be sure if it was produced under their own labels or as a contract jigsaw for other retailers. It could even be a private cutting by a Peacock cutter.
Wout painstakingly identified all the flags carried by the various horsemen representing various regiments. This included Royal and Great Britain Country standards (England, Scotland, Wales, Ireland), plus Commonwealth/Empire territories - Natal, New Zealand, Australia, Queensland, Tasmania, India, Canada.
The artist, Sir Christopher Clark was a specialist in horse paintings.
Top Left: from the photos John Hyde gave me of his collection another brilliant jigsaw from the painting, this time line-cut.
John H jp2257: Vintage Library 220pc Coronation Salute C not G) Clarke 1922, George V, 12x10in stgenix £24 sold Jun15. Mixed interlocking background and line-cut push-fit central subjects.
(John's photos are often too yellow in tone, so I have adjusted it.)
Peacock's Contract Manufacture
Peacock initially produced jigsaws under contract for several department stores and stationers. Wout believes that later on they worked mainly for Hamleys. He gave a talk to BCD about this, which is on the BCD members website.
There is an album of Peacock jigsaws on flickr, created to support that research.
Three vintage jigsaws by GW Fiss or GW Fiss Jnr of Philadelphia.
Top Left: American jigsaw Pears GW Fiss Jnr 1911 Philadelphia Tempted But Shy, by GG Kilbourne a presentation plate in the 1910 Pears Annual, push-fit.
This was cut by GW Fiss Jnr of Philadelphia, c1911, and is in the Strong Museum of Play, which holds Anne Williams's jigsaw collection. It has excellent line-cutting and an interesting variety of shapes including a few whimsies. The cutting lines include smooth, stepped, zig-zag, wiggly and a few knobs.
Lower Left: Vintage GW Fiss 600pc Story of the Elopement pt1 by Lomax, 16x25in. Another beautifully line-cut push-fit jigsaw, shown by Anne Williams in 2022. Part 1 of a series, this shows a runaway Regency couple caught at an inn by the girl's father. The girl is in despair whilst the beau tries to reconcile with her parent. The ostler chats to the innkeeper and servants, one of whom is peeking at the scene. In the second painting there is a reconciliation between the girl and her family when she returns home.
Right: George W Fiss Jr Pears 1909 Plate 623pc Compulsory Education (or Naughty Boy) by Briton Riviere, 22.5x16in. Push-fit, large spider's web. Their signature figural was an upside-down F (or sometimes an anchor).
At the April 2025 virtual meeting Anne showed this jigsaw and a double spread from The Fiss's puzzle record book, recording jigsaws bought and cut. George W. Fiss's puzzle notebook (also in the Strong's collection) shows that they cut a total of 114 puzzles between 1909 and 1921 and loaned them to family and friends. Anne urged all cutters to record all their jigsaws carefully for future records and research.
Anne had about two dozen of the Fiss's (uncle & nephew's) works and this is one of her favourites.
artsandculture.google.com/asset/jigsaw-puzzle-compulsory-...
www.museumofplay.org/blog/play-stuff/2014/08/a-family-of-...
Window designed by Edward Burne Jones and made by Morris & Co in c1911.
stainedglassmuseum.com/catshow.php?collno=ELYGM%3AL1975.4...
Since 1972 the Stained Glass Museum has been housed in the nave triforium (originally on the north side, it was later transferred to the south where it currently remains). This is the only collection in the country solely devoted to the medium and is a great ambassador for it, with fine pieces covering a range of styles and illustrating the development of the art through the various backlit panels on show in the gallery.
National Slate Museum, Llanberis, Gwynedd.
Chief Engineer's House.
The house is presented to the public in the way it was fitted and furnished c1911.
The National Slate Museum is located at Gilfach Ddu in the 19th-century workshops of the now disused Dinorwic quarry, within the Padarn Country Park.
The workshops which served the needs of the quarry and its locomotives, were built in 1870 on land created from the continuous tipping of spoil from the adjacent Vivian Quarry, and as a replacement for the store sheds which were previously sited there. Rail access to the works was by both 1 ft 11 1⁄2 in narrow gauge (the quarry gauge) and 4 ft narrow gauge (that of the Padarn Railway which carried the slate from the quarry to Port Dinorwic). Rails also entered the main yard through the main entrance.
The quarry closed in 1969 and the site was opened on 25 May 1972 as the North Wales Quarrying Museum.
Window designed by Edward Burne Jones and made by Morris & Co in c1911.
stainedglassmuseum.com/catshow.php?func=show&seq=524&...
Since 1972 the Stained Glass Museum has been housed in the nave triforium (originally on the north side, it was later transferred to the south where it currently remains). This is the only collection in the country solely devoted to the medium and is a great ambassador for it, with fine pieces covering a range of styles and illustrating the development of the art through the various backlit panels on show in the gallery.
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.
National Cash Register Brass Candy Store Model 312 w/Dolphin Design, Marble Till, & Double-Sided "Amount Purchased" Top Sign, Serial No. 984612 c1911
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.
Alexandria, Indiana c1911 view of Harrison Street. The building at left forefront still stands (2014). Very few of the other buildings remain.
Title: Robert Helpman
Collection: Peake
Place: Mount Gambier, SA [possible]
Date: c1911
Inscription: Wishing you a happy New Year from Bobby Helpman [to] Miss Townsend, Penola. Robert Helpman (ballet fame)
Photographer: Arthur & Son, Mount Gambier, [SA]
Note: Robert Helpman's name was originally spelt with only one 'n'
An article in The Portland Evening Express of April 28, 1904 gave the proposed Old Orchard Beach course a decided thumbs down.
'The Beach itself is the principal argument against it.'
'While there appears a wide expanse of racing surface at low tide, the slope is steep and would detract from high-speed runs and the sand is porous, holding too much water when under the weight of a heavy racing car. Above the high-water line, the sand is loose and ill-suited for racing. Finally, the gullies created by outgoing tide water cut across the proposed race surface and create dangerous soft spots, even when filled in.'
1911, Still recovering from a devastating fire and economic loss the City Fathers of Old Orchard Beach finally went ahead with plans to hold a beach race contest that would boost the city's image and coffers. While such a beach race festival had been unsuccessfully proposed in the past, proponents pointing to the success of events held at Ormand Beach Florida, the time was now right, and the Labor Day Holiday of Sep 1911 was chosen.
The first 'Old Orchard Beach Race Contest' - Sep. 4,5 and 6, 1911 - was held on the sand in a 2 1/2-mile paperclip shaped course that ran under the pier and was subject to the schedule of the tides.
Motorsport in 1911 was still dependent on manufactured entries, mostly stock and in the big car class, modified stock cars. There was at the time no specific designed and purposed racecars.
Events in 1911 were varied with amateur drivers and factory sponsorship in the majority. Hill climbs, endurance runs, road courses, motordromes, beach races and converted horse tracks made up an interesting and vibrant scene.
The events held at this first meeting at Old Orchard Beach over a three-day period consisted of: single car speed demonstrations, single car record runs, special two car match races, races based upon engine displacement, weight, vehicle sales cost, distance, and free for all events open to all classes of cars.
The Old Orchard Beach promoters, having paid the $1,000. fee and covered the appropriate safety and organizational rules were granted an official sanction by the AAA Contest Board (the major sanctioning body for US Motorsports) who assigned several staff to monitor the proceedings.
Several AAA stars and their famous racecars were present and put on a good show for the unexpectedly large crowd of fans, most of whom were curious first timers to a motor race.
Problems arose with the unplanned-for tide determining the timing and length of the many events over the three-day period. The large crowd occasionally spilled over onto the track and despite the presence of the local police, a 50-man detachment of the National Guard and several troops of Boy Scouts there were not enough race personnel and local police to contain them. There was no ticketing of attendees and so no income for expenses offset by admission. Finally, although several speed records appeared to have been set it was later determined that the course had been set up a bit short of the 2 1/2-mile distance, disqualifying any records set.
Wout's second Peacock jigsaw shows King George V on horseback taking the Coronation Salute from mounted horse regiments. A very attractive painting!
Attributed to Peacock 197pc Coronation Salute C Clark 38x25cm solid wood, c1911.
Blank divided into quarters and cut into sinusoidal pieces, piece-by-piece. A typical Peacock cutting style - the original box was missing when Wout bought it. (We cannot be sure if it was produced under their own labels or as a contract jigsaw for other retailers. It could even be a private cutting by a Peacock cutter.)
Wout painstakingly identified all the flags carried by the various horsemen representing various regiments. This included Royal and Great Britain Country standards (England, Scotland, Wales, Ireland), plus Commonwealth/Empire territories - Natal, New Zealand, Australia, Queensland, Tasmania, India, Canada.
The artist, Sir Christopher Clark was a specialist in horse paintings.
Peacock's Contract Manufacture
Peacock initially produced jigsaws under contract for several department stores and stationers. Wout believes that later on they worked mainly for Hamleys. He gave a talk to BCD about this, which is on the BCD members website.
There is an album of Peacock jigsaws on flickr, created to support that research.
Graves Art Gallery, Surrey Street, Sheffield.
Landscape with Figures.
Jessica Dismorr (1885-1939).
Oil on panel, c1911-12.
This oil painting, although undated, is similar in style to Dismorr's works dated about 1911-12. At this time she had finished studying at the Slade School of Art and was associated with the Scottish Colourists. Like the Colourists, Dismorr has used strong and vibrant colours, verging on abstraction.
It was shortly after this period that she became involved in the Vorticist movement, along with Wyndham Lewis and eleven other artists. These artists aimed to create art that expressed the dynamism of the quickly changing modern world and its new Technologies.