View allAll Photos Tagged c1913
Scanned from an original glass plate negative from around 1913.
Plate was underexposed when originally taken. This is part of the reason for the poor quality of the image.
Detail of the spectacular Arts & Crafts east window (c1913) at St Giles, Packwood, Warwickshire, represnting the Crucified Christ with an Angel of Remembrance holding a book below, engaging the viewer with his gaze.
Thiis is a magnificent example of the work of Warwickshire based artist Richard Stubington, a former pupil of the painter George Frederick Watts who presumably learnt stained glass at Birmingham School of Art.
Stubington's work remains little known but amongst the best of it's time. His work can also be seen in the east window at Balsall Common, and in the north chapel at nearby Lapworth.
Manager Mr. Pond. Agent Robert Jordan.
Quarry Pit (arrowed) - sunk c1836 to No.1 Rhondda seam - closed c1913.
.Prince of Wales - shaft sunk 1837 - 17' x 11' using furnace ventilation.
June 1851 - Mr. E. Rogers installed a speaking tube down the "Abercarn Fach" colliery to enable the banksman & hitcher to communicate. This was made of a newly discovered substance, "Gutta percha" - a form of natural rubber, 1.5 inches dia. with a whistle at each end.
In September 1861a new shaft was being sunk by a contractor, Mr. Brown, and when at a depth of 120 yds. he gave "a sumptuous" dinner for his sinkers at the Commercial Hotel to celebrate their efforts. This shaft, 22' x 18', commenced coaling in 1862.
Both shafts were lined with stonework for the upper part and firebricks the lower.
Also in 1861/62 there was considerable unrest and strikes due to reduction of wages and a riot broke out when the men asked for an advance on their wages, claiming they could not live on the reduced rates, and the Ebbw Vale Company responded by sending in workers from Ebbw Vale to test their complaints. Thirteen men were prosecuted for riotous behavior.
In 1868 there was considerable unrest when striking miners were threatened with eviction from their Company homes, during a four month strike against a 15% reduction in wages, to allow workers from Cornwall & Staffordshire to work the mine.
It was in this year, 1878, September 11th., that 268 No. men & boys were killed in a massive explosion in the fiery Black Vein seam. The adjacent canal was diverted into the mine to extinguish the fires.
At the time of this disaster there were the two shafts here, the main coaling downcast of 1862 and the upcast of 1837, with another downcast recently sunk at Cwmcarn - 1.25 miles away.
The original furnace ventilation had been replaced in 1871 by a 40' dia. Guibal fan. Pumping was by a Cornish engine placed between the pits and drawing from the downcast shaft.
No black powder was in use at the time - coal was loosened by wedges, the Black Vein seam being some 10' 6" thick and worked over three shifts on the pillar & double stall method.
In March 1879 there were still some 200 bodies awaiting recovery and the Ebbw Vale Coal & Iron Co. had expended c£10,000 endevouring to reach them but without substantial progress and estimated a further 12 - 18 months were required to remove the bodies at some £500 per week.
In recognition of gallentry displayed in the aftermath of the disaster awards were made to certain individuals :- Albert Medal 1st. class to Henry Davies (collier) and John Harris (mason). Albert Medal 2nd. class to William Simons (pumpsman), Thomas Herbert (pumpsman), Miles Mosely (Overman), Charles Preen (collier), William Walters (collier),Charles Morgan (collier) and Lewis Harris (Overman), all of Abercarn.
As a result of this disaster there were 132 No. widows, who each received 7s. a week from a fund set up by public subscription - 373 No. fatherless children - 2s-6d given for each first child and 2s for each further child below the age of 12 yrs.
Following the aborted attempts to recover the remaining bodies the mine was idle until, following the formation of a new company in January 1883 - The Abercarn Coal Co. Ltd. - it was decided to sink a second shaft at Cwmcarn. The area containing the remaining bodies of victims of the 1878 disaster was explicitly not to be entered.
1895 - Winding engine No.1, installed 1875, had a 21ft. dia. drum for flat ropes 5" x 1" winding two trams per wind double decked.
No.2 upcast winder by Messrs. John Slee & Co., installed 1888, had a 16ft. dia. drum 7ft. wide for round ropes 1.25" dia. Headgears wrought iron plate & angles 72ft. high to spindles of 18ft. dia. sheaves.
Surface sited steam haulage engines for underground haulage - Manager William Jones - area of take 2000 acres.
March 1899 - The Appeal Court found in favour of several colliers in a class action - Brace & Others V Abercarn Coal Co. - to the effect that the company were not entitled to make deductions from the men's wages for small coal brought to bank when that small coal was due to breakages during transportation and that the men were entitled to receive paymant for all coal got.
February 1929 - death of Mr. Christopher Pond at Blackwood at age of 82 years - manager at P.o.W colliery 1872 - 1878 - native of Swansea and had worked in mines of Pittsburg in earlier years.
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To Google location maps.google.com/maps/ms?client=firefox-a&hl=en&ie...
Archive photos of Abercarn www.oldukphotos.com/monmouthshireabercarne.htm
Source: Scan of an original mounted photograph in our image collection.
Image: P7803.
Date: c1913.
Copyright: © Swindon Corporation (SBC).
Photographer: Protheroe & Simons.
Repository: Local Studies, Swindon Central Library.
c1913 postcard view of the Meridian Hotel in Indianapolis, Indiana. This hotel was located on the northwest corner at Meridian and Louisiana Streets (244-248 South Meridian Street). This view of the façade was looking west from the east side of Meridian Street. The Union Station train shed was across the street to the south. The 1914/1915 Sanborn™ fire insurance map set notes the hotel was built in 1913. The map set shows the hotel office at the south end (left in this scene) of the building. A bar was located in the center of the main floor and a café was located at the north end.
From the collection of George Mitchell.
Copyright 2005-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
Cars in Jubilee Oval showground arena c1913/1914. Shows cars parading around in the show ring. It includes a driver with a bus, carrying the signs 'T.S.Wheeler & Son Norwood, Picnic Parties, Carriers', and also a two seater car with Swift numberplate and sign. Other signs advertise Hardy's Wines, T. W. Vetter, Fry's Cocoa rotunda, Amgoorie tea, Lion flour, Milch Cows. Empty benches, hay rack, men in suits, women with elaborate hats, and a child are also visible.
Visit the State Library of South Australia to view more photos of South Australia.
Prior to the building of the Cumberland Highway, which rearranged and caused much renaming of streets, Fulton Road was part of the Old Windsor Road.
Why is the bridge over Cooper Creek the most likely location? The Six Maps 1949 imaging shows a zig-zag around the corner of Darcy Rd and Brien's Road, which is very suggestive, but it's dead flat all around. The zig-zag approach was the way one went down into depressions and gullies. The 1949 image of the bridge over Coppers Creek shows a straight road, but that aerial photography was over three decades later — plenty of time to build up the approaches to the bridge and straighten the road. Indeed, there is this advertisement in the Sydney Morning Herald on 16 May 1928 on page 11:
“TENDERS.
…
Blacktown. — Construction of two reinforced concrete bridges over Cooper's Creek and Toongabbie Creek, on the Old Windsor Road at Wentworthville. Separate tenders for each bridge. Plans at Council Chambers, Blacktown, and at the office of Main Roads Board, Sydney. Tenders close June 2.”
Photographed by Arthur Ernest Hezlet (c1861 - 1929) of Burwood, New South Wales. He occasionally wrote to the local newspaper about his car-trips (with his wife and chauffeur):
Sydney Morning Herald, Tuesday 12 March 1912, page 5
MOTORING TO THE SOUTHERN DISTRICTS.
TO THE EDITOR OF THE HERALD.
Sir,- Motorists visiting those districts are advised to try the following route, and so avoid the abominable Razorback:- After passing over bridge at western end of Campbelltown, turn to left up stiff hill, macadam surface, and then good road for 13 miles through Appin, one mile fair road to Broughton Pass. On reaching the bridge change into first speed to negotiate the stiff hill; from top of hill the road is very good through Wilton (under this village is the Nepean tunnel, which carries the water for Sydney). Six miles from Wilton is the bridge across the Nepean River. Care is required in the descent, for, although the surface and grade are good, the turns are short. First speed will be required for the ascent. One mile further the railway is crossed at Maldon platform; then proceed by the main south road towards Picton. Just beyond the goods yard turn to left (small shop at corner) over railway bridge; then bridge over the creek; at top of hill turn to left. Five miles out is bridge over Bargo River; then 20 miles over excellent road to Mitta-gong. Cars that are able to negotiate the Razorback will experience no difficulty over this route. I am, etc,
A. E. HEZLET.
Bowral, March 9
Sydney Morning Herald, Monday 20 April 1914, page 12
MOTORING. - A GOOD RUN.
Mr A E Hezlet made a good run on Wednesday in his car. He left Burwood and drove along the Parramatta, finding the road rough between Flemington and (Granville, and good thence through Parramatta to Baulkham Hills. From there to near Wilberforce it was in fair order, and likewise from Windsor to Richmond, to the Kurrajong, though very dusty near the last named place. The heavy rain had scoured the old Windsor road at Kellyville, and made it rather unpleasant. It was fairly good going on to Westmead thence to Burwood. The distance of the run was 99 miles. The highest speed attained was 40 miles, and the average 21.32 miles per hour.
See also
trove.nla.gov.au/newspaper/article/15492350?searchTerm=ro...
Scanned from an antique glass plate negative from around 1913.
The spots and the crackling on the images is caused by the deterioration of the negative.
Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
www.gloucestercathedral.org.uk/
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
Title: The Feast
Creator(s): Reed, Roland, 1864-1934, photographer
Date Created/Published: c1913.
Medium: 1 photographic. print.
Summary: Four Hopi Indians (1 adult and 3 children), wearing little or no clothing eating out of bowl next to stone structure.
Reproduction Number: LC-USZ62-104387 (b&w film copy neg.)
Call Number: LOT 12840 [P&P]
Notes:
J186932 U.S. Copyright Office.
Photograph by Roland W. Reed.
Unprocessed in PR * &***.
Subjects:
Indians of North America--Children--1910-1920.
Indians of North America--Domestic life--1910-1920.
Hopi Indians--Domestic life--1910-1920.
Hopi Indians--Children--1910-1920.
Eating & drinking--1910-1920.
Format:
Photographic. prints--1910-1920.
Collections:
Miscellaneous Items in High Demand
Bookmark This Record:
www.loc.gov/pictures/item/91794440/
View the MARC Record for this item.
Rights assessment is your responsibility.
Scanned from an antique glass plate negative from around 1913.
Plate was very overexposed making the graininess unavoidable.
Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
Roller skaters in Rundle Street (now Rundle Mall) heading west. This photo was taken from the west corner of Francis Street, with multi-storey buildings and signs for Don Tailors (81 Rundle St.), Hyde's, Chemist, E.W. Cole's (67 Rundle St.), Griffiths Bros Tea Coffee Cocoa, Balfours café, the F.C. Catt Stores, a figure and a clock showing 11.40 am and power poles can be seen on the right. The domed tower on the right was James Marshall & Co on the site of the present Myer building.
Visit the State Library of South Australia to view more photos of South Australia.
Forest Insect Investigations, Southern Rocky Mountain Station. Left-to-right: W.D. Edmonston, in charge; A.B. Champlain, and B.T. Harvey. Colorado Springs, Colorado.
From Baker, Oregon, Edmonston went to Klamath Falls, then to Ashland, and in the fall of 1913 to Colorado Springs, Colorado. With him went Hofer and Harvey. Champlain was later added to the staff to carry on studies of the biologies of forest insects and devoted considerable time to the parasites and predators of bark beetles. J.H. Pollock was appointed as an entomological ranger in 1914 and specialized in studies of forest Adelgids. This station was closed in 1919 when Edmonston and Hofer moved to Tucson, Arizona, and Pollock was transferred to the Ashland station. Harvey and Champlain in the meantime had resigned.
Photo by: Unknown
Date: c.1913
Credit: USDA Forest Service, Region 6, State and Private Forestry, Forest Health Protection.
Source: H.E. Burke Collection digital files; Regional Office; Portland, Oregon.
This photo and the caption are from:
H.E. Burke. 1946. My Recollections of the First Years in Forest Entomology. Berkeley, California. 37 p. www.fs.fed.us/sites/default/files/recollections-on-forest...
For additional historical forest entomology photos, stories, and resources see the Western Forest Insect Work Conference site: wfiwc.org/content/history-and-resources
Image provided by USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth
Scanned from an antique glass plate negative from around 1913.
An unidentified group of women and children in front of a house or school.
Scanned from an antique glass plate negative from around 1913.
An unidentified group of women and children in front of a house or school.
Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
www.gloucestercathedral.org.uk/
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
From Souvenir of the Maitland Flood 1913. The date is c1913
The image was scanned from the original held in Cultural Collections, Auchmuty Library, the University of Newcastle, Australia.
If you have any information about the image you would care to share, please contact us or leave a comment.
Please contact us if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
Detail of the spectacular Arts & Crafts east window (c1913) at St Giles, Packwood, Warwickshire, represnting the Crucified Christ with an Angel of Remembrance holding a book below, engaging the viewer with his gaze.
Thiis is a magnificent example of the work of Warwickshire based artist Richard Stubington, a former pupil of the painter George Frederick Watts who presumably learnt stained glass at Birmingham School of Art.
Stubington's work remains little known but amongst the best of it's time. His work can also be seen in the east window at Balsall Common, and in the north chapel at nearby Lapworth.
St Peter, Wolverhampton, West Midlands.
Memorial Window, c1913.
By Archibald John Davies (1877-1953), Bromsgrove Guild.
To the Glory of God & in affectionate memory of Sarah Eliza Brevett died 16 March 1912. This window was erected by her husband and her children.
Archibald John Davies was born in London but the family moved to Moseley, Birmingham in 1884. He studied under Henry Payne at the Birmingham Municipal Central School of Art and set up his own studio in Moseley in about 1900. In 1906 Davies moved to Bromsgrove, Worcestershire and established his studio in the premises of the Bromsgrove Guild.
Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
Detail of the spectacular Arts & Crafts east window (c1913) at St Giles, Packwood, Warwickshire, represnting the Crucified Christ with an Angel of Remembrance holding a book below, engaging the viewer with his gaze.
Thiis is a magnificent example of the work of Warwickshire based artist Richard Stubington, a former pupil of the painter George Frederick Watts who presumably learnt stained glass at Birmingham School of Art.
Stubington's work remains little known but amongst the best of it's time. His work can also be seen in the east window at Balsall Common, and in the north chapel at nearby Lapworth.
Football game with score board showing teams North Adelaide and West Adelaide at Adelaide Oval c1913/1914. It includes the large scoreboard with a clock and St. Peters Cathedral. The scoreboard reads North 7-8-50 v West 1-4-10.
Visit the State Library of South Australia to view more photos of South Australia.
Scanned from an antique glass plate negative from around 1913.
Address is 411. possibly in Minneapolis.
Scanned from an antique glass plate negative from around 1913.
The negative is overexposed, this causes the image to be grainy.
Scanned from an antique glass plate negative from around 1913.
For a close up of the family, see here:
Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
www.gloucestercathedral.org.uk/
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
Chelsea Girl became a branch of River Island.
Building erected c1913.
Beales to the left, the arcade to the right.
This original and vintage real photo postcard is available for sale in the myoldpostcards store on eBay. To learn more about this listing, click on the link:
IL Potomac Public School c1913 Postcard RPPC
Potomac's Public School served both elementary and high school students. The school was first occupied in 1896, with the high school occupying one room of the building. In 1916 (after this photo was taken) the school was expanded with a gymnasium, auditorium, 2 new classrooms and a hot lunch room. The school remained in use through the 1937-38 school year, after which a new school opened on the east edge of town. (Source: Potomac: The Artesian Village 1876-1976.)
Potomac is a village in Vermilion County, and is located northwest of Danville.
Burial plot XX, Holy Trinity Parish Churchyard, Ilfracombe, Devon, England. Jack Knill was born Jack Sanders on 15 June 1915, in Dawlish Warren, Devon, during World War One, and was adopted by Nellie Augusta Sanders née Knill (1884-1942), born in South Molton, Devon, the daughter of Richard Parminter Knill (1851-1917), a blacksmith, and Jane Knill née Snow, both also born in South Molton. Nellie's grandparents were Peter Parminter Knill (1827-1907), born in nearby Chittlehampton, and Mary Knill née Harper, born in Barnstaple, Devon. In 1940, Jack Knill married May Elizabeth Annie Hill (c1913-1986), in Barnstaple (registration district). At the time of Jack's death, his address was 16 Broad Park Avenue, Ilfracombe. The inscription on the memorial plaque reads:
In treasured memory of
JACK KNILL
died 29th July 1980, aged 65
and his wife
MAY
died 12th Sept 1986, aged 73
Reunited.
Ilfracombe's Parish Churchyard is maintained by the award-winning Ilfracombe Holy Trinity Graveyard Group.
Established in 1852, Bradbury & Co. was Britain's and Europe's first sewing machine manufacturer, and gained world renown producing a wide range of machines from its Wellington Works in Oldham. By 1887 its annual output was between 26,000 and 30,000 units. It was one of the pioneers of the British motor cycle industry and also made bassinettes, bicycles, forecars, and a range of engineering and machine tools. Its trademark was the Duke of Wellington.