View allAll Photos Tagged c1913
From Souvenir of the Maitland Flood 1913. The date is c1913
Caption:
Belmore Bridge, at 10.30 on Friday morning, May 16th, 1913. The water 36ft. 6in. above summer level, and rushing at the rate of over 17 miles an hour. (Photo Porter).
The image was scanned from the original held in Cultural Collections, Auchmuty Library, the University of Newcastle, Australia.
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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.
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.
Photographed 24 December 2012, Bromley Cemetery, Christchurch, New Zealand
85076 Corporal
F E WOODS
51st Reinforcements
Died 8 April 1924
New Zealand Expeditionary Force
Aged 41
White broken stone:
In loving memory of
Eleanor Mary WOODS
Died Dec. 20 1918
Aged 28 years
Dark plaque:
Leonora Agatha HARRIS
21 August 1916 – 19 April 2004
Dearly loved wife of George
Much loved mother of George and Vaughan
Beloved daughter of
Eleanor and Frederick WOODS
Block 29 Plot 15
Frederick Edward:
Born: England
Occupation at death: Ships officer
Length of time in NZ at time of death: 10 years
Residence at time of death: 172 Hills Road, Christchurch
His military records are available:
www.archway.archives.govt.nz/ViewFullItem.do?code=22025208
Does not appear to be on Cenotaph database but did serve in the NZ Army
WOODS - On April 8 at Christchurch Hospital, beloved husband of late Eleanor Woods, late Captain of SS. Storm, aged 40.[2]
WOODS - Frederic [sic] Edward , will leave the res. of his father-in-law, Mr Frederick Octgen, Heathcote Valley, on Thursday at 2pm, for the Bromley Cemetery.[2]
Eleanor:
Residence at time of death: Heathcote Valley
Born: Christchurch
WOODS - Eleanor Mary (Lena) at Cashmere Hills San[atorium]. wife of F.Woods and dau. of Mr and Mrs OCTGEN, Heathcote Valley[1] [The Sanatorium was generally for those with tuberculosis]
Eleanor and Frederic [sic] wed c1913[3]
Sources:
[1]
homepages.ihug.co.nz/~ashleigh/1870-1908/1918.December.Ly...
[2]
homepages.ihug.co.nz/~ashleigh/1870-1908/1924.April.Chris...
[3]
NZ Department Internal Affairs – marriage registration 1913/3499
Title: "Gage's Creek near Port Hope"
Accession #: 2015-2-1-5459
Description: Colour postcard featuring a view of Gage's Creek, near Port Hope, Ontario. It was published by Williamson & Son, c1913.
On verso:
"Port Hope Sep 3/13
Am so sorry I have to send you exactly the same view I sent Helen but am afraid I shall not get to town again before we leave to get a different one. Best love to all from yrs Lal"
Miss H.E. Clifford
"Milneholme"
Ancaster, Ontario
CREDIT TO THE PORT HOPE ARCHIVES - FOR HIGH RESOLUTION PRINTS/SCANS PLEASE CONTACT US AT archives@porthope.ca
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.
This photo comes from a photocopy of what I believe is a page from a family bible. I don't recall who owned it. This is Grampy's father c1913.
1461 (c1913 ) - L. Malpiece; Design sketch.
STOD/DES/135/5/1. Copyright reserved.
View entry in the catalogue for this design:
cheshire.cent.gla.ac.uk/ead/search?operation=full&rec...
For more information see the Stoddard-Templeton Collection webpage: www.gla.ac.uk/services/archives/collections/scottishbusin...
Or contact the Duty Archivist: www.gla.ac.uk/services/archives/contactus
Bain News Service,, publisher.
Ernst Aug[gust] of Brunswick & bride
c1913.
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from data provided by the Bain News Service on the negative. Date from copyright date on negative.
On negative: Sandau, Berlin W.. copyright 1913, printed in Germany.
Photo shows Ernst August, Duke of Brunswick-Luneburg (1887-1953) with his bride Princess Victoria Louise of Prussia (1892-1980) who were married May 24, 1913. (Source: Flickr Commons project, 2009)
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.13574
Call Number: LC-B2- 2759-7
c1913 postcard view of the Firestone Tire and Rubber Company in Indianapolis, Indiana. The flags advertised Firestone's role in winning the 1911 and 1913 Speedway races. The street address of the building was 506 and 508.
The Firestone company wasn’t listed in the 1905 or 1912 R. L. Polk directories for Indianapolis, but Firestone tires were mentioned in a carriage manufacturer’s advertisements. The 1914 directory listed the Firestone Tire and Rubber Company of New York at 506-508 North Capitol Avenue in the AUTOMOBILE TIRES and the RUBBER GOODS MANUFACTURERS categories. The Cadillac Automotive Co. of Indiana had been at this location until moving into their new building next door in 1911.
From a private collection.
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.
Excusion including my grandmother Adelia Moffatt (standing at left), her brother Charlie (seated front center) and possibly her elder sister May in the hat. Charlie was a fishing guide. Adelia, Charlie and May were children of John Alexander Moffatt (1860-1944) and Sarah Eliza Laird (1861-1911) of Bobcaygeon, ON.
Photo taken by the Property Appraiser's office c1965; 916 Thomas St.; built c1913; Tract 3, Sqr 4, Pt Lot 4
George Hofer. Agent and Entomological Ranger with the Division of Forest Insect Investigations.
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 following excerpt 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...
"Hofer was one of the men selected by Edmonston from among the woodsmen employed on teh Northeastern Oregon Bark Beetle Project for a permanent appointment as Agent. Previous to his employment by the Bureau of Entomology, he seems to have been engaged in mining activities around Sumpter, Oregon.
Edmonston had Hofer with him on all of his moves after the Northeastern Oregon Bark Beetle Project closed down. They were together at the field stations at Klamath Falls and Ashland, Oregon, Colorado Springs, Colorado, and Tucson, Arizona. Hofer was promoted from Agent to Entomological Ranger and then to Scientific Aide and had reached the Senior grade when he was retired in October 1927 for disability."
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
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.
Female saint (possibly St Mary Magdalene), c1913, and male figure (memorial to a yound man who died in WW1), c1918, by Leonard Walker (1877-1964) - detail
Photo taken from an upstairs window (~4th?) of the Hotel Savoy. The upper awning is on the front of the Pantages Theater at 2nd and Seneca.
Perhaps a Golden Potlatch parade? Throwing the date on haphazardly. The clock left this spot in 1917. It is now in Puyallup (see comments).
Unlabeled postcard I got at an antique store awhile back.
Now posted to Wikimedia.
.jpg){kind=link}
c1913 postcard view of an automobile on the concrete bridge over Haw (not How) Creek at Columbus, Indiana. The Bridgehunter website says this was the Seventh Street Bridge over Haw Creek, built in 1913 and replaced c1998.
From a private collection.
Copyright 2008-2013 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.
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.
In loving memory of
Simon
Beloved husband of
Jane LYON
Died June 22nd 1934
Aged 61 years
Oneils Point Row C Plot 148
Jane LYON
Died
22nd December 1956
Aged 81 years
R.I.P.
Oneils Point Row C Plot 149
Note Simon’s headstone states he died 22 June; Cemetery database states 21 June; his death notice confirms 22 June.
New Zealand Herald, Volume LXXI, Issue 21834, 23 June 1934, Page 1
… at the Auckland Hospital, Simon Henry, beloved husband of Jane LYON, of 30 Cameron Street, Devonport. Service at Holy Trinity Church, Devonport at 2.30pm to-day (Saturday). May God grant His servant rest…[1]
His probate is available …noted as a Painter of Devonport
archway.archives.govt.nz/ViewFullItem.do?code=9387129
WW1 Reserve Rolls, 1916-1917
Simon Henry LYON, Foreman Painter, “Fernleigh,” 12 Cameron St, Devonport [8]
Family information:
Simon and Jane also had daughters:
Edith Winifred LYON born c1910 [3]
Muriel Marjorie LYON born c1913 [3]
A son Godfrey Claude became engaged to Clarice May STEVENS in February 1936[2] Interestingly he appears to also previously been engaged to Lucy Eva Lillian BARTRUM, June 1927 [4] however this obviously did not last as Lucy went on to marry George WHITAKER [5]
In 1934 Godfrey was struck by a ladder while painting the sailing ship Magdalene Vinnen in Calliope Dock.[7]
A daughter born to Godfrey and wife 18 June 1942 [6]
SOURCES:
[1]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&d=NZ...
[2]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[3]
New Zealand Department of Internal Affairs historic BDM Indexes: birth registrations 1910/2324 and 1913/28230
[4]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[5]
New Zealand Department of Internal Affairs historic BDM Indexes: marriage registration 1932/10663
[6]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[7]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[8]
Ancestry.co.uk; NZ Army WW1 Reserve Rolls, 1916-1917; 2nd Division
Excusion including my grandmother Adelia Moffatt (seated in front), her brother Charlie (seated extreme right) and possibly her elder sister May in the hat. Charlie was a fishing guide. Adelia, Charlie and May were children of John Alexander Moffatt (1860-1944) and Sarah Eliza Laird (1861-1911) of Bobcaygeon, ON.
Photo taken by the Property Appraiser's office c1965; 409 Truman Ave.; built c1913; Tract 4, Sqr 9, Pt Lot 4
Columbus Circle and Central Park, wider angle looking south
Date Created/Published: c1913.
Irving Underhill
Source: Digital image.
Set: WIL04.
Date: 1913.
Photographer: William Hooper, Swindon.
HOOPER COLLECTION © P.A. Williams.
Used here by his very kind permission.
Local Studies at Swindon Central Library.
This fire station officially opened on the corner of Christchurch Rd and Seabourne Rd, then called Cromwell Rd, in 1913.
The main frontage was to Seabourne Rd with the large fire appliance doors facing Christchurch Rd.
Without much research material to hand my vague recollections are it was superceded by a new fire station that was built next door on Seabourne Rd, running down to the corner of Stourvale Rd, in the mid 1970s. I think this original station stood until the early 1980s with the plot then used for junction alterations.
The replacement station didn't last that long and was replaced by flats and some public toilets around 1990.
The later dates are a bit vague but should be there or thereabouts. If anyone can give some more accurate details i'd be most appreciative, although no money will change hands.
.
.
.
A [ very ] potted history of Pokesdown......
Prior to 1810 there was no town of Bournemouth. All that lay between Poole and Christchurch, themselves not the large towns they are today, was unspoilt heathland with the more fertile land of the Stour Valley to the north and east that had supported small farming communities such as Wick, Iford, Holdenhurst, Throop, Muccleshell and Ensbury for centuries.
Although these communities were centred on the individual villages, farms and smallholdings would have been scattered across the surrounding area, an example being Pokesdown Farm which, along with a few cottages for farm workers, stood on the very edge of the heath where it began to slope down on the sides of the Stour Valley overlooking Iford and Wick.
Most of the farms, smallholdings and associated cottages came and went without being recorded on maps although Pokesdown Farm is one of the few exceptions, its origins are a little lost in the mists of time, some claim to have traced it back to 1580 although it was certainly there in the 1660s.
In 1766 when Edmond Bott had a large home called Stourfield House built at Pokesdown [ see seperate images and set for further info ] which at the time would have been in the middle of nowhere and perhaps a very unlikely place to want to build a house.
Stourfield House would no doubt have been a catalyst for more development at Pokesdown if only in the form of cottages for those drawn there by the employment opportunities such a relatively large house and grounds would bring to an impoverished rural community. It is likely that the former Pokesdown Farm morphed into Stourfield Farm in connection with the house.
The last two remaining old thatched cottages, known as 'Lily of the Valley Cottages' and being at least 200 years old, were demolished in the latter 1960s when Appletree Close was created, and with their passing went the last ties with the area's rural past.
The building of Stourfield House predates the official birth of Bournemouth in 1810 by some 44 years and except for the modest Bourne Tregonwell estate that remained all but unknown to the outside world, the first notable development to take place, and what really sparked the development of the town of Bournemouth was Sir George Gervis' 'Marine Village of Bourne' in the mid to late 1830s.
As Bournemouth began to expand around the mouth of the Bourne Stream in today's town centre the community of Pokesdown also continued to grow.
Bournemouth expanded its boundaries to take in neighbouring areas such as the fledgling Boscombe in 1876 and Westbourne in 1884 but Pokesdown, that had a chapel built in 1835, followed by a church, a couple of pubs, two blacksmiths, two schools, laundries and, in 1886 , a railway station, and who's population had grown from 171 in 1861, 867 in 1871 to almost 4500 in 1893, became an urban district that allowed it to govern itself on a local level but ultimately Pokesdown became part of the fast expanding Bournemouth in 1901.
Originally Pokesdown covered a larger area than it does today, reaching to the coast and a lot further into Boscombe. Twenty first century Pokesdown is a densely built up area with busy main roads and side streets clogged with parked cars, a problem that blights the modern world.
Stood outside Pokesdown Station with our back to the entrance i suppose we'd class Pokesdown as covering Christchurch Rd to the right towards Boscombe up to the junction with Parkwood Rd, Christchurch Rd to the left going over the railway bridge and along to the brow of what is called Pokesdown Hill that actually runs through an area that prefers to call itself Boscombe East on its way to Iford, and Seabourne Rd opposite until it meets Southbourne Grove.
The area boasts an interesting variety of architecture but has seen some buildings replaced by blocks of flats and tenement houses which is understandable if older properties, though full of character, don't meet the needs of modern society. It's a problem that needs to be managed carefully and is by no means one unique to Bournemouth and is being experienced across the country.
At the time of writing some traders and residents are involved in promoting Pokesdown as Bournemouth's 'vintage quarter'. a destination for independent shops as well as those offering a wider range of goods and services, in a bid to raise the area's profile.
The green on the corner of Christchurch Rd and Seabourne Rd next to the Seabournes Pub and directly opposite the railway station is being transformed with borders of flowers and an information board that highlights the area's history, with the aid of a £22,000 Lottery grant..
FURTHER READING.
www.pokesdown.org/history/PokesdownPast/04_Village_Starts...
Click on the 'history' tag to read J A Young's 'Pokesdown's Past'.
Pokesdown and Neighbourhood 1895 - 1910. A memoir by E G Wills A Bournemouth Local Studies Publication.
Taken from a card in my collection, photographer not known
Entered service in September 1909. Renumbered LMS 5485 November 1926, withdrawn August 2nd 1930
c1913 postcard view of soldiers eating in front of tents at Fort Benjamin Harrison near Indianapolis, Indiana.
From a private collection.
From left to right are: From left to right are: Bertha Marie Burke (1902-1971); Margaret E. Burke (c1913-c1970); and Josephine Veronica Burke (1907-1995) aka May Burke circa 1969. Image from the collection of John Edward Burke (1934- ). (1902-1971); Margaret E. Burke (c1913-c1970); and Josephine Veronica Burke (1907-1995) aka May Burke circa 1969.
Source:
Image from the collection of John Edward Burke (1934- ).
Apse window in the south chapel by Robert Newbery, c1913.
St James the Greater is a church I'd wanted to see inside for quite some time and does not disappoint those lucky enough to find it open. This is a grand edifice built in 1899-1914 to the designs of H.C.Goddard in a strikingly Italianate style in brick with stone dressings and terracotta flourishes within. Its overall form is inspired by the early Christian basilicas, a long nave with aisles separated from the main body by slender columns and culminating in an apse at the east end. The exterior however is somewhat elusive, being hemmed in by housing aside from the showpiece west facade with its low twin towers topped by cupolas. Originally a soaring tower was proposed for the centre of the facade of a height equal to the length of the church, but this idea was abandoned before it reached roof level (though its lower stages are apparent from within the church).
The interior is an attractive mix of red brick and pale terracotta with sculpted moldings, capitals and applied figures of angels at select points throughout the building. The focal point is the apse which is painted deep blue with gold stars arrayed to accurately represent various constellations. Below is a frieze of saints in relief and further painted decoration in the form of two murals and a handsome reredos. On the south side is a further chapel with an apse with similar adornments in a scaled down form. There are several notable pieces of stained glass here, foremost mention belonging to the four oval-shaped windows in the nave aisles by Theodora Salusbury, Leicester's own stained glass artist of the Arts & Crafts movement.
I had tried several times to get inside this church over the years when passing this way but always found it locked, as it normally is outside of service times and special events. It is however a real gem, one of Leicester's hidden treasures that deserves to be better known and appreciated. My time finally came on Heritage Ride & Stride day when so many normally locked churches are opened, and happily St James's was the first church I encountered on my journey out of central Leicester. It did not disappoint!
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.
Source: Digital image.
Set: WIL04.
Date: 1913.
Photographer: WIlliam Hooper, Swindon.
HOOPER COLLECTION COPYRIGHT P.A. Williams.
Used here by his very kind permission.
Local Studies at Swindon Central Library.
26/23
Captain John Gladstone GREENWOOD Military Cross
Rifle Brigade
Died 22 April 1951
Aged 75 years
Bl 1A Pl 433
Occupation: Post & Telegraph employee
Also Mentioned in Despatches [2]
Notice of his MC being conferred:
Evening Post, Volume XCV, Issue 146, 20 June 1918, Page 8
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
His Cenotaph database record
muse.aucklandmuseum.com/databases/Cenotaph/63522.detail?O...
Access to his military records have been restricted by Archives New Zealand for preservation reasons.:
archway.archives.govt.nz/ViewFullItem.do?code=24056801
John was born 18 Oct 1876 and baptised at Habergham Eaves, Lancashire, England. Father: William Mother: Elizabeth [4]
1881 England Census: Still lived Habergham Eaves at 28 Trafalgar Road. Father was a bookseller and newsagent aged 30, born Lancashire. Mother was aged 32 and born Staffordshire
Shows John aged 4, his brother Walter J aged 6 and brother James W aged 2. They had a servant so reasonably well off.[4]
1891 England Census: A brother Ernest, twin of James appears; a sister Mary aged 5 and a sister named Margaret aged 2.
Father is now a newsagent and paper bag seller [4]. The same servant, Annie Elkin Is still with them.
Married Edith Emily SWINDELL c1908 [1] She died 7 October 1961 aged 81 and is buried Bl 23 Pl 225 at same cemetery [3]
Children:
Ailsa Irene born c1909 and died 22 Sep 1983, spinster. Buried with mother [1] [3]
Karl Gladstone born c1913 [1]
SOURCES:
[1]
NZ Department of Internal Affairs historic BDM indexes
[2]
freepages.genealogy.rootsweb.ancestry.com/~sooty/NZRBHono...
[3]
Christchurch City Council cemetery database
4]
Ancestry.co.uk
A group of men stood outside the inn, with bicycles. The Crewe Arms has now become The Yew Tree Inn and is a 19th century free house that sits across the village borders of Bunbury and Spurstow. At the time this photograph was taken, the Proprietor of The Crewe Arms was H. Hickman.
Cheshire Image Bank ref: c09050
Photo taken by the Property Appraiser's office c1965; 423 Olivia St.; built c1913; Tract 4, Sqr 6, Pt Lot 3
Another JW Waterhouse painting, Song of Springtime c1913, cut by Genest Desfosses Le Colimacon, into a 664pc jigsaw measuring 12in square. It was sold c July 2015.
The jigsaw is largely push-fit, with edge pieces semi-interlocking. Genest's signature snail figural can be seen on the edge of woman's skirt.
The Royal Academy hosted a major retrospective of the artist's work in 2009, which I visited. The paintings were beautiful, but the catalogue was disappointingly printed a bit dark.
Wikipedia has a page listing Waterhouse's works:
en.wikipedia.org/wiki/List_of_paintings_by_John_William_W...
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.