View allAll Photos Tagged c1911
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.
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.
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.
PO 1911/12
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Earlier maps covering this area
OS 1893 - Ordnance Survey 25 Inch to 1 mile
I1 - W. and A.K. Johnston. PO 1896/97
I2 - Bartholemew PO 1897
J - W. and A.K. Johnston. PO 1897/98
K - W. and A.K. Johnston. PO 1898-89
L1 - W. and A.K. Johnston. PO 1899-00
L2 - Bartholemew PO c1900
M - W. and A.K. Johnston. PO 1900-01
N1 - W. and A.K. Johnston. PO 1903 04
N2 - W. and A.K. Johnston. PO 1904-05
O1 - W. and A.K. Johnston. PO 1905-06
O2 - W. and A.K. Johnston. PO 1906-07
OS 1905 Ordnance Survey 25 Inch to 1 mile
O3 - Bartholemew PO 1907
P - W. and A.K. Johnston. PO 1910-11
Later maps covering this area
OS 1913 - Ordnance Survey 25 Inch to 1 mile
OS 1931 - Ordnance Survey 25 Inch to 1 mile
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Looking east along Flinders Street with the railway bridge on the right, Melbourne, Australia, c1911 #sydney #melbourne #history #rail fat.ly/2M4yf
1 Cent Clawson Machine Co. "Clawson Stick Candy" Vending Machine c1911, cast-iron, in very good original condition, very rare, w/ key - 9"w x 6"d x 15"h
Built c1911
The Bank of New South Wales (BNSW), also known commonly as The Wales, was the first bank in Australia, being established in Sydney in 1817 and situated on Broadway. During the 19th century, the bank opened branches throughout Australia and New Zealand, expanding into Oceania in the 20th century. It merged with many other financial institutions, finally merging with the Commercial Bank of Australia in 1982 and being renamed to the Westpac Banking Corporation on 4 May that year under the Bank of New South Wales
Percy Hunter was the Director of the NSW Intelligence Department, later Immigration and Tourist Bureau.
12 May, 1911, p. 1 (Hawaiian Gazette)
Reproduced again in:
6 Oct., 1911, p. 1 (Hawaiian Gazette)
10 Nov., 1911, p. 5 (Hawaiian Gazette)
The Cathedral Church of Our Lady Help of Christians and Saint Peter of Alcantara, commonly known as Shrewsbury Cathedral, is a Roman Catholic cathedral in Shrewsbury, England. It is the seat of the Roman Catholic Bishop of Shrewsbury and mother church of the Diocese of Shrewsbury, which covers the historic counties of Shropshire and Cheshire. It is classified by Historic England as Grade II*.
Roman Catholic cathedral. 1856. By Edward Welby Pugin, possibly to designs initially prepared by his father Augustus Welby Northmore Pugin. Coursed and squared sandstone rubble with plain tiled roof. PLAN: nave and 2 aisles, chancel. EXTERIOR: nave of 5-and-a-half bays with bellcote corbelled out over 5-light window in western gable. West porch with cusped moulded arched doorway and traceried windows in each side. Ornate canopy over statue on gable apex. Within, a deep moulded west doorway with short shafts. Lean-to aisles with eastern chapels with steeply pitched roofs. The bays are articulated by slim buttresses, and each bay has 3-light Decorated window with triple quatrefoils to clerestory. The easternmost bay is narrower. Porch and ante-room added to west of south aisle, with quatrefoil frieze to parapet, and gabled porch entrance with shouldered archway. INTERIOR: nave arcade of 5-and-a-half bays with narrow eastern bay. Octagonal shafts in a very Early Gothic style, with steep pointed arches. Western gallery. Nave roof has wall posts which carry wrought-iron ties, and alternating cross-bracing and arched trusses. Deep moulding to steeply pointed chancel arch, with rood of 1885 hanging from the apex. Coved panelled ceiling to chancel. Gilded reredos with triangular arched traceried panels with figures in high relief. South aisle chapel with canted apsidal end, formed like a reliquary with marbled shafts to sedilia and to entrance arch, with heavily foliate capitals and cusped triangular arcading all around the walls. North aisle chapel has richly gilded and traceried altar. The chapels and chancel were decorated by J Pippet of Hardman and Co. STAINED GLASS: very rich in stained glass, mostly in a medieval idiom: the large west window depicts the English Martyrs, while in the south aisle, various windows between 1898 and 1906. North aisle chapel has 2 windows by Margaret Rope showing scenes from the Lives of the Saints, dated 1917. Stained glass also in chancel and south aisle, largely c1911, some by Margaret Rope, the rest probably Hardman and Co. Chancel east window 1862 by Hardman. Low relief stone Stations of the Cross, 1952 by Philip Lindsey Clarke.