View allAll Photos Tagged c1912
Photo taken by Property Appraiser's office c1965; 224 Duval St.; built c1912; The Galley Lounge; Sqr 15, Pt Lot 1
St Mary (RC), Warrington, Cheshire, 1875-77.
Grade ll* listed.
Memorial Window, c1912 - detail.
To the memory of Mary Anne Grealy who died May 12th 1912.
North window under the steeple by Burlison & Grylls, c1912.
Rugby's parish church of St Andrew is an imposing landmark in the town centre, and highly unusual in possessing two towers, one 15th century with battlements at the west end, and the tapering steeple by William Butterfield at the north east corner, part of his rebuilding of the ancient church. (unusual as this two-towered church is, the town's catholic church also evolved in a similar way, thus both major churches share the effect of asymmetrical towers, a unique situation in Britain).
The arrangement was even more impressive until 1983 when the massive nearby 1870s George Gilbert Scott church of the Holy Trinity, technically sharing the same churchyard, was tragically demolished.
The medieval St Andrew's had already been much altered, having begun life as a village church it was gradually expanded to serve the growing town. The nave had been enlarged in the 1800s and by the time of Butterfield's further expansion of the building in 1877-85 only the west tower and the north nave arcade survived of the medieval building. These were retained, the old nave effectively becoming the north aisle (and outer north aisle!) of a much larger nave built to the south, complete with south aisle and a lofty chancel.
The interior is therefore every bit as eccentric as the exterior, with Butterfield's characteristic use of coloured stonework and a sanctuary rich in marble finishes. The most dramatic feature is the chancel arch surmounted by a cross adorned with geometric patterning and supported by richly carved corbels. The font too betray's Butterfield's love of contrasting coloured marbles.
The stained glass in the main east and west windows (along with the north and south windows of the sanctuary) is by Clayton & Bell. The remainder, in the aisles and the large Baptism window under the north steeple (difficult to see since conversion to a vestry) is all the work of Burlison & Grylls of London, with their characteristic neo-Flemish fine drawing in subdued tones.
The church is usually open and welcoming during the day with a small cafe set up at the west end. I am especially grateful to Helen Bryant on my latest visit for giving me access to the vestries to photograph the glass there.
Window by Powell's c1912 on the north side of the nave.
St Thomas's at Catthorpe is a church on a small scale, with a diminutive west tower, an aisleless nave and a Victorian chancel (with an incongruously steeply pitched roof). It isn't easy to stand back and get a full shot of the building as the churchyard is set back behind properties on the road-front (from where one approaches via a narrow path) and is thus a rather tight plot.
The tower's belfry windows would have originally been subdivided by a mullion and two cusped heads (with a quatrefoil opening above) but at some repair long ago the tracery was removed leaving the single apertures we see now. The tower stonework has been repaired again since my last visit, further blurring the evidence of the window changes in losing a few more cusps.
The 15th century nave is a bright space lit by large Perpendicular windows, one of which contains fragments of medieval glass in it's traceries, whilst the remainder contain attractive early 20th century glass by Powell's. At the west end is a worn 14th century coffin lid with portrait bust and also a fine old font that appears to be a little earlier. The chancel beyond is clearly Victorian and replete with attractive stenciling on its walls, along with a handsome Arts & Crafts metal reredos.
The church is usually kept locked outside of services, but happily the key can be borrowed from the neighbouring Manor Farm Cafe (well worth a visit in its own right, as we have done many times!).
North window under the steeple by Burlison & Grylls, c1912.
Rugby's parish church of St Andrew is an imposing landmark in the town centre, and highly unusual in possessing two towers, one 15th century with battlements at the west end, and the tapering steeple by William Butterfield at the north east corner, part of his rebuilding of the ancient church. (unusual as this two-towered church is, the town's catholic church also evolved in a similar way, thus both major churches share the effect of asymmetrical towers, a unique situation in Britain).
The arrangement was even more impressive until 1983 when the massive nearby 1870s George Gilbert Scott church of the Holy Trinity, technically sharing the same churchyard, was tragically demolished.
The medieval St Andrew's had already been much altered, having begun life as a village church it was gradually expanded to serve the growing town. The nave had been enlarged in the 1800s and by the time of Butterfield's further expansion of the building in 1877-85 only the west tower and the north nave arcade survived of the medieval building. These were retained, the old nave effectively becoming the north aisle (and outer north aisle!) of a much larger nave built to the south, complete with south aisle and a lofty chancel.
The interior is therefore every bit as eccentric as the exterior, with Butterfield's characteristic use of coloured stonework and a sanctuary rich in marble finishes. The most dramatic feature is the chancel arch surmounted by a cross adorned with geometric patterning and supported by richly carved corbels. The font too betray's Butterfield's love of contrasting coloured marbles.
The stained glass in the main east and west windows (along with the north and south windows of the sanctuary) is by Clayton & Bell. The remainder, in the aisles and the large Baptism window under the north steeple (difficult to see since conversion to a vestry) is all the work of Burlison & Grylls of London, with their characteristic neo-Flemish fine drawing in subdued tones.
The church is usually open and welcoming during the day with a small cafe set up at the west end. I am especially grateful to Helen Bryant on my latest visit for giving me access to the vestries to photograph the glass there.
Window by Powell's c1912 on the north side of the nave.
St Thomas's at Catthorpe is a church on a small scale, with a diminutive west tower, an aisleless nave and a Victorian chancel (with an incongruously steeply pitched roof). It isn't easy to stand back and get a full shot of the building as the churchyard is set back behind properties on the road-front (from where one approaches via a narrow path) and is thus a rather tight plot.
The tower's belfry windows would have originally been subdivided by a mullion and two cusped heads (with a quatrefoil opening above) but at some repair long ago the tracery was removed leaving the single apertures we see now. The tower stonework has been repaired again since my last visit, further blurring the evidence of the window changes in losing a few more cusps.
The 15th century nave is a bright space lit by large Perpendicular windows, one of which contains fragments of medieval glass in it's traceries, whilst the remainder contain attractive early 20th century glass by Powell's. At the west end is a worn 14th century coffin lid with portrait bust and also a fine old font that appears to be a little earlier. The chancel beyond is clearly Victorian and replete with attractive stenciling on its walls, along with a handsome Arts & Crafts metal reredos.
The church is usually kept locked outside of services, but happily the key can be borrowed from the neighbouring Manor Farm Cafe (well worth a visit in its own right, as we have done many times!).
Window by Powell's c1912 on the north side of the nave.
St Thomas's at Catthorpe is a church on a small scale, with a diminutive west tower, an aisleless nave and a Victorian chancel (with an incongruously steeply pitched roof). It isn't easy to stand back and get a full shot of the building as the churchyard is set back behind properties on the road-front (from where one approaches via a narrow path) and is thus a rather tight plot.
The tower's belfry windows would have originally been subdivided by a mullion and two cusped heads (with a quatrefoil opening above) but at some repair long ago the tracery was removed leaving the single apertures we see now. The tower stonework has been repaired again since my last visit, further blurring the evidence of the window changes in losing a few more cusps.
The 15th century nave is a bright space lit by large Perpendicular windows, one of which contains fragments of medieval glass in it's traceries, whilst the remainder contain attractive early 20th century glass by Powell's. At the west end is a worn 14th century coffin lid with portrait bust and also a fine old font that appears to be a little earlier. The chancel beyond is clearly Victorian and replete with attractive stenciling on its walls, along with a handsome Arts & Crafts metal reredos.
The church is usually kept locked outside of services, but happily the key can be borrowed from the neighbouring Manor Farm Cafe (well worth a visit in its own right, as we have done many times!).
Leeds Art Gallery, The Headrow, Leeds.
Mlle Nathanson in the Artist's Studio (The Model on a Sofa or Mlle Grandidier).
Édouard Vuillard (1868-1940).
Oil on board, c1912.
Vuillard was born at Cuiseaux, Sâone-et-Loire, the son of a retired army officer. The family moved to Paris in 1877 and Vuillard became a student at the Ecole des Beaux-Arts in 1886, later moving to the Académie Julian. There he met Bonnard and other painters with whom he founded the Nabis in 1889 (the name derived from the Hebrew for prophet).
The group, influenced by Gauguin and Degas, concentrated on pattern and distortion to emphasise psychological meanings beyond appearances in ordinary domestic subjects, though Bonnard and Vuillard returned by the end of the century to a more naturalistic style. As well as his smaller paintings, Vuillard executed from 1892 to 1937 large decorative schemes, including stage scenery. He was elected to the Institut in 1938.
Title: August Friedrich and Marie Emilie [nee Joppich] Janz with their children
Collection: Zilm
Names: Janz, August Friedrich; Janz, Marie Emilie; Joppich, Marie Emilie; Janz, Arnold Victor; Janz, Frederick Edmund; Janz, Norman Wilfred; Janz, Esther Emily
Place: Qld
Date: c1912
Note: L to R [as viewed]: August, Norman, Arnold, Esther, Frederick and Marie.
5 Cent Northwestern Corp. Model G Countertop Stamp Vending Machine c1912 w/ stamps, Double vendor for one & two cent stamps, Decals of instructions & woman using the machine, Glass front & back, Excellent condition w/ key
The rockery pool and bình phong screen was restored in 2017-2018 as part of the Conservation, Restoration, Virtual Reconstruction and Integrated Training project implemented in partnership with the Federal Republic of Germany Foreign Office Cultural Preservation Programme
St Mary the Virgin, East Haddon, Northamptonshire.
South Aisle Window.
By Kempe & Co. c1912.
To the loved memory of her son John Noel Sinclair Blacklock, Lieutenant 8th Hussars, who after a short but beautiful life of 25 years was suddenly called to leave her for a while on May 2nd 1912, his sorrowing mother dedicates this window.
Charles Eamer Kempe (1837-1907) was a painter of walls, ceilings and woodwork of churches in the 1860s. The style then in vogue reflected a resurgence of interest to high church practices. Kempe's training served him well, and he started his own stained glass company, CE Kempe and Co in London, in 1868. He was not a trained artist, but was nevertheless artistic, and able to suggest ideas which could be developed by his artists and cartoonists. He insisted that only the firm's name should take the credit for the standard of work produced, and that individual members of the studio remain anonymous.
Kempe perfected the use of silver stain on clear glass, which leaves a yellow tint, which could be delicate or deep depending on the amount of stain. His greatest stylistic influence was the stained glass of Northern Germany and Flanders from the 16th Century. He took many trips to Europe, often taking the Kempe Company artists with him. The insignia of Kempe, from about 1895 until his death in 1907 was a wheatsheaf, from his family's coat of arms. After his death, the firm was run by four of his directors, including his cousin, Walter Tower. The insignia then changed to a wheatsheaf with a black tower.