View allAll Photos Tagged c1912
Birmingham Museum & Art Gallery, Chamberlain Square, Birmingham.
Forward Window, c1912.
City of Birmingham Coat of Arms.
The window lighting the stairwell at the north entrance on Charles Street.
Who is this by? No information seems to be available.
Birmingham Museum & Art Gallery, Chamberlain Square, Birmingham.
Forward Window, c1912.
City of Birmingham Coat of Arms.
Detail.
The window lighting the stairwell at the north entrance on Charles Street.
Who is this by? No information seems to be available.
1 Cent Columbus Model B "Long Gate" Countertop Vending Machine c1912 w/ Columbus decal (some wear), Embossed tray molded into red base ("Pat. 1908") & embossed glass Columbus globe, Restored w/ gold striping, Rare w/ original Columbus barrel locks & key
Birmingham Museum & Art Gallery, Chamberlain Square, Birmingham.
Forward Window, c1912.
City of Birmingham Coat of Arms.
Detail.
The window lighting the stairwell at the north entrance on Charles Street.
Who is this by? No information seems to be available.
A visit to the National Trust property of Erddig near Wrexham in Wales.
Erddig Hall (Welsh: Neuadd Erddig; or simply Erddig; Welsh pronunciation: [ˈɛrðɪɡ]) is a Grade-I listed National Trust property in Wrexham, Wales. Standing 2 miles (3.2 km) south of Wrexham city centre, it comprises a country house built during the 17th and 18th centuries amidst a 1,900 acre estate, which includes a 1,200-acre landscaped pleasure park and the earthworks of a Norman motte-and-bailey castle.
Erddig has been described as 'the most evocative Upstairs Downstairs house in Britain' due to the well-rounded view it presents of the lifestyles of all of its occupants, both family and staff. The eccentric Yorke family had an unusual relationship with their staff and celebrated their servants in a large and unique collection of portraits and poems. This collection, coupled with well-preserved servants' rooms and an authentic laundry, bakehouse, sawmill, and smithy, provide an insight into how 18th to 20th century servants lived.
A look around Erddig Hall.
Views of the gardens from the windows inside.
North Garden Pavilion
Grade II Listed Building
N Garden Pavilion including attached walls, alcove gatepiers and gates immediately to E of the house
History
This part of the garden was remodelled in the 1860s. The walls flanking the parterres were partially demolished in 1898 and the shaped gable was added to the pavilion c1912 when the clock was brought from Stansty Park.
Exterior
A brick wall with flat stone parapet runs at right angles from the house at the NE end and is attached to a pair of square-section brick gatepiers with flat stone caps with iron gates of late C19 character. The wall continues then returns at right angles. In the angle is a seating alcove consisting of a curved recess framed by square-section brick piers with flat stone caps, there is a shaped gable and the entrance arch is of hard red Ruabon brick. The wall continues parallel to the house and the return at right angles is formed by a brick pavilion framed by rusticated stone piers with ball finials. The extravagantly shaped gable is built above a string course and it contains arch-headed windows at each side and a central circular clock face.
Reasons for Listing
Listed as a well-designed Victorian/Edwardian garden scheme and as an essential part of the setting of the house.
Group value with Erddig and the garden structures of the E front of the house.
Estates Cottage, Croome Road, Sledmere, East Yorkshire, c1912.
For Sir Tatton Sykes, 5th Baronet (1826-1913).
Unlisted.
Birmingham Museum & Art Gallery, Chamberlain Square, Birmingham.
Forward Window, c1912.
City of Birmingham Coat of Arms.
Detail.
The window lighting the stairwell at the north entrance on Charles Street.
Who is this by? No information seems to be available.
St Mary the Virgin, East Haddon, Northamptonshire.
South Aisle Window.
By Kempe & Co. c1912.
Detail.
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.
In Queensland, Edward and Abigail. Read more about Edward and Abigail at Wikitree - www.wikitree.com/wiki/Roberts-7332 and www.wikitree.com/wiki/Courtney-408.
Birmingham Museum & Art Gallery, Chamberlain Square, Birmingham.
Forward Window, c1912.
City of Birmingham Coat of Arms.
Detail.
The window lighting the stairwell at the north entrance on Charles Street.
Who is this by? No information seems to be available.
Looking south along Broadway Market from Westgate Street/Lansdowne Road junction;showing Cat and Mutton P.H. Postcard by D.Kingston,Jr.& Co., London Fields, n.d.c1912. [Newsagent and tobacconist, No.85. The Broadway, 1911-12].
1 Cent Mills Novelty "The Premium Gum Machine" Coin Drop Skill Trade Stimulator c1912, cast-iron case, works, in great original condition w/ original paper - 12"w x 7"d x 16"h
Alexandra Exter
Oil on canvas
From the exhibition
In the Eye of the Storm: Modernism in Ukraine, 1900–1930s
(June - October 2024)
‘In the Eye of the Storm: Modernism in Ukraine, 1900–1930s’ recreates the multiplicity of artistic approaches and identities that existed in Ukraine in the early twentieth century. The exhibition tells the story of modernist artists and the visual experiments through which they sought to renew Ukraine’s culture and autonomy.
The territory of Ukraine had been divided between various empires for centuries, but periods of sovereignty in the country’s history contributed to the development of a distinct identity which, in the nineteenth century, became consolidated into a national consciousness advocated by artists and thinkers.
Such a complex history produced a particular cultural profile, born from the fusion of Ukrainian, Polish, Russian and Jewish communities.
Modernism in Ukraine unfolded against a complicated sociopolitical backdrop: the First World War, the collapse of the Russian and Austro-Hungarian empires, the revolutions of 1917, the independence of the Ukrainian People’s Republic (1918–21) and the subsequent absorption of the Ukrainian lands by the Soviet Union. Yet despite such political turmoil, this became a period of true flourishing in the Ukrainian arts.
This exhibition brings together 65 artworks, primarily from the collections of the National Art Museum of Ukraine and the Museum of Theatre, Music and Cinema of Ukraine.
While recognising the complex identities of artists from the period and area, this exhibition discusses these figures within the context of Ukrainian art history. We have therefore favoured the Ukrainian spellings of artists’ names.
Marvel at the groundbreaking modernist art made in Ukraine between 1900 and the 1930s.
The modernist movement in Ukraine unfolded against a backdrop of collapsing empires, the First World War, the fight for independence, and the eventual establishment of Soviet Ukraine. Despite such profound upheaval, this became a period of bold artistic experimentation, and true flourishing of art, literature and theatre in Ukraine.
Highlighting the range of artistic styles and cultural identities that existed in Ukraine during this period, this is the most comprehensive UK exhibition to date about modern art in Ukraine. Explore 65 works, from oil paintings and sketches to collage and theatre design. Many are on loan from the National Art Museum of Ukraine and the Museum of Theatre, Music and Cinema of Ukraine in Kyiv.
In the Eye of the Storm brings together the work of such artists as Kazymyr Malevych, Sonia Delaunay, Alexandra Exter and El Lissitzky, as well as lesser-known figures like Oleksandr Bohomazov and Mykhailo Boichuk, each of whom left an indelible mark on the country’s art and culture.
[*Royal Academy]
Taken in the Royal Academy