View allAll Photos Tagged c1919
Development began on the Victoria Esplanade in Palmerston North, named to mark Queen Victoria's 60th jubilee, in 1897. Queen Victoria Drive began as a rough track from Fitzherbert Avenue to Park Road in 1917. In 1919 it was properly laid out and metalled and was tarred and sanded c1920-1921. This photograph looks west towards Park Road. The people are unidentified. c 1917
2007N_P41_RES_0147
This File is the property of Palmerston North City Libraries
All Saints, Herstmonceux, East Sussex.
Memorial Window to Robert Ludovic Wild, 1913.
Designed by William Glasby.
Made by WB Simpson & Sons at their studio in St Martin's Lane, London.
St Mary & St John - Latin Inscription.
William Glasby (1863-1941) was the son of a warehouse porter and spent his youth in Battersea. He was apprenticed to James Powell & Son in 1876 and rose to be their chief painter. Whilst living in Hampstead, he joined Henry Holiday’s new workshop after he left Powell's. By about 1897 Glasby was producing his own designs in a style heavily influenced by Holiday and also Morris & Co, for whom he later worked as a painter. He was in business on his own account from c1919. He had addresses in Kensington and later Putney, but in 1939 he moved to Horsham, Sussex. After his death, the business was carried on by his two daughters, who moved in 1946 to Henfield.
WB Simpson & Sons was founded in 1833 by William Butler Simpson (1798-1882) producing painted tiles. As well as being commissioned by William Burges for work at Cardiff Castle, their hand-painted tiles may also be found at St Asaph Cathedral. They also provided many of the tiling schemes for the London Underground as well as hospitals and other public buildings. The firm also made mosaic, opus sectile and stained glass at their studio in St Martin's Lane..
Scottish National Portrait Gallery, Queen Street, Edinburgh.
Sir Winston Churchill (1874-1965)
By Sir James Guthrie (1759-1830).
Oil on canvas, c1919.
This portrait was completed shortly after the First World War in which Churchill served successfully as First Lord of the Admiralty, Minister of Munitions and Secretary for War with responsibility for demobilisation. The most vigorous and highly finished among a series representing contemporary statesmen, the picture was painted in preparation for his great commission ‘Statesmen of the Great War’. Churchill was a Member of Parliament for Dundee from 1908-22. He went on to serve as Prime Minister during the Second World War from 1940 to 1945.
James Guthrie became one of the leading painters in the group of artists called the Glasgow Boys. His early works of rural subjects painted with broad square brush strokes show the strong influence of French painters such as Bastien-Lepage. Guthrie was born in Greenock and trained as a lawyer before turning to art. After brief but stimulating periods in London and Paris, he committed himself to painting directly from nature in Scotland. Guthrie also experimented with pastel drawings and established a reputation as a successful portrait painter. He became president of the Royal Scottish Academy in 1902 and was knighted the following year.
All Saints, Herstmonceux, East Sussex.
Memorial Window to Robert Ludovic Wild, 1913.
Designed by William Glasby.
Made by WB Simpson & Sons at their studio in St Martin's Lane, London.
St Mary & St John - Latin Inscription.
William Glasby (1863-1941) was the son of a warehouse porter and spent his youth in Battersea. He was apprenticed to James Powell & Son in 1876 and rose to be their chief painter. Whilst living in Hampstead, he joined Henry Holiday’s new workshop after he left Powell's. By about 1897 Glasby was producing his own designs in a style heavily influenced by Holiday and also Morris & Co, for whom he later worked as a painter. He was in business on his own account from c1919. He had addresses in Kensington and later Putney, but in 1939 he moved to Horsham, Sussex. After his death, the business was carried on by his two daughters, who moved in 1946 to Henfield.
WB Simpson & Sons was founded in 1833 by William Butler Simpson (1798-1882) producing painted tiles. As well as being commissioned by William Burges for work at Cardiff Castle, their hand-painted tiles may also be found at St Asaph Cathedral. They also provided many of the tiling schemes for the London Underground as well as hospitals and other public buildings. The firm also made mosaic, opus sectile and stained glass at their studio in St Martin's Lane.
All Saints, Herstmonceux, East Sussex.
Memorial Window to Robert Ludovic Wild, 1913.
Designed by William Glasby.
Made by WB Simpson & Sons at their studio in St Martin's Lane, London.
St Mary & St John - Latin Inscription.
Detail.
William Glasby (1863-1941) was the son of a warehouse porter and spent his youth in Battersea. He was apprenticed to James Powell & Son in 1876 and rose to be their chief painter. Whilst living in Hampstead, he joined Henry Holiday’s new workshop after he left Powell's. By about 1897 Glasby was producing his own designs in a style heavily influenced by Holiday and also Morris & Co, for whom he later worked as a painter. He was in business on his own account from c1919. He had addresses in Kensington and later Putney, but in 1939 he moved to Horsham, Sussex. After his death, the business was carried on by his two daughters, who moved in 1946 to Henfield.
WB Simpson & Sons was founded in 1833 by William Butler Simpson (1798-1882) producing painted tiles. As well as being commissioned by William Burges for work at Cardiff Castle, their hand-painted tiles may also be found at St Asaph Cathedral. They also provided many of the tiling schemes for the London Underground as well as hospitals and other public buildings. The firm also made mosaic, opus sectile and stained glass at their studio in St Martin's Lane..
St Michael, Bempton, East Yorkshire.
Mawson Memorial Window, 1928.
By William Glasby (1863-1941).
Detail - Signature.
To the Glory of God and in loving memory of Louise Annie wife of Joseph Mawson Vicar 1928.
William Glasby (1863-1941) was the son of a warehouse porter and spent his youth in Battersea. He was apprenticed to James Powell & Son in 1876 and rose to be their chief painter. Whilst living in Hampstead, he joined Henry Holiday’s new workshop after he left Powell's. By about 1897 Glasby was producing his own designs in a style heavily influenced by Holiday and also Morris & Co, for whom he later worked as a painter. He was in business on his own account from c1919. He had addresses in Kensington and later Putney, but in 1939 he moved to Horsham, Sussex. After his death, the business was carried on by his two daughters, who moved in 1946 to Henfield.
These photographs are scans from old 6 X 9 negatives, the photos were taken by my Grandfather in 1919 during the victory parades, Does anyone know what street this was?
War memorial window in the north aisle by Arthur L. Moore, c1919.
Great Bowden lies immediately to the north east of Market Harborough but still retains its separate vintage village charm with an attractive centre from which the spire of its church peeps at over the trees. I say peep rather than peer as the spire is remarkably short, more of an octagonal pyramid crowning the handsome 14th century tower, but all the more delightful for being a break from the norm.
The church itself is mainly 14th century with modifications from the following century (such as the clerestory and most of the fenestration). All is rendered in the lovely honey-coloured ironstone with limestone dressings for the windows, and attractive mix common in the east Midland counties. The interior feels open and spacious thank to the handsome nave arcades which almost touch the corbel supporting the roof, the clerestory windows looking a little squashed inbetween. The stonework is left explosed in the nave but the chancel and aisles are still plaster-rendered which cheers them up somewhat, a good balance.
The most remarkable feature here is in the north chapel, a substantial 15th century wall painting of the Last Judgement, degraded by time but still discernable. Nearby in the chancel is an imposing late Georgian monument and a tiny late medieval palimpsest brass, both on the north side of the sanctuary. The 18th century organ case nearby has some fine carved detail but frustratingly I seem to have neglected to get a decent photo of it. There are a few striking late Victorian or Edwardian windows, the best being the large Arts & Crafts window in the south aisle.
This church is well worth a look and Colin and I were made very welcome here. I'm not sure what normal opening arrangements are so probably best to check ahead if planning a visit.
My grandmother, Lilian Madeleine Lallemant, worked as a governess at the Chateau Bournel nr Besancon from 1919 to 1921 for the de Moustier family.
These photographs are scans from old 6 X 9 negatives, the photos were taken by my Grandfather in 1919 during the victory parades, Does anyone know what street this was?
St Nicholas, Ulceby, Lincolnshire.
Window by William Glasby of London, 1932.
Detail - Signature.
To the Glory of God and in loving memory of the Rev Henry Fletcher, Mary Anne Field his wife and their children 1932.
William Glasby (1863-1941) was the son of a warehouse porter and spent his youth in Battersea. He was apprenticed to James Powell & Son in 1876 and rose to be their chief painter. Whilst living in Hampstead, he joined Henry Holiday’s new workshop after he left Powell's. By about 1897 Glasby was producing his own designs in a style heavily influenced by Holiday and also Morris & Co, for whom he later worked as a painter. He was in business on his own account from c1919. He had addresses in Kensington and later Putney, but in 1939 he moved to Horsham, Sussex. After his death, the business was carried on by his two daughters, who moved in 1946 to Henfield.
Situated on Le Bons Bay Road, Banks Peninsula, this historic building is registered with Heritage New Zealand as a category 2 listing (# 7321).
St Edward the Confessor, Leek, Staffordshire.
Memorial Window to Frank Pemberton Adams, silk manufacturer, of Roche Mount (1872-1919).
By Kempe & Co, c1919.
St Christopher carrying the infant Christ.
Charles Eamer Kempe 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 & 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.
USS COMFORT, c1919.
The 'USS Comfort,' used as a hospital ship for the United States Navy in World War I. Photograph, c1919.
Scottish National Gallery of Modern Art, Belford Road, Edinburgh.
Hut in der Hand, Hut auf dem Kopf [Hat in Hand, Hat on Head].
Max Ernst (1891-1976).
Oil on board, c1919.
Ernst exhibited some of his early paintings with the Expressionist group. This painting shows the influence of Expressionism in the self-consciously naïve style and use of heightened colour. The disembodied, moustached man raises his bowler hat, only to reveal another underneath (the mark of the true bourgeois gentleman). A bird can be seen falling out of the tree at the bottom of the picture. Birds often appear in Ernst's work and were of significance to him because as a child his pet bird died on the same day his sister was born.
War memorial window in the north aisle by Arthur L. Moore, c1919.
Great Bowden lies immediately to the north east of Market Harborough but still retains its separate vintage village charm with an attractive centre from which the spire of its church peeps at over the trees. I say peep rather than peer as the spire is remarkably short, more of an octagonal pyramid crowning the handsome 14th century tower, but all the more delightful for being a break from the norm.
The church itself is mainly 14th century with modifications from the following century (such as the clerestory and most of the fenestration). All is rendered in the lovely honey-coloured ironstone with limestone dressings for the windows, and attractive mix common in the east Midland counties. The interior feels open and spacious thank to the handsome nave arcades which almost touch the corbel supporting the roof, the clerestory windows looking a little squashed inbetween. The stonework is left explosed in the nave but the chancel and aisles are still plaster-rendered which cheers them up somewhat, a good balance.
The most remarkable feature here is in the north chapel, a substantial 15th century wall painting of the Last Judgement, degraded by time but still discernable. Nearby in the chancel is an imposing late Georgian monument and a tiny late medieval palimpsest brass, both on the north side of the sanctuary. The 18th century organ case nearby has some fine carved detail but frustratingly I seem to have neglected to get a decent photo of it. There are a few striking late Victorian or Edwardian windows, the best being the large Arts & Crafts window in the south aisle.
This church is well worth a look and Colin and I were made very welcome here. I'm not sure what normal opening arrangements are so probably best to check ahead if planning a visit.
St Nicholas, Ulceby, Lincolnshire.
Window by William Glasby of London, 1925.
Faith - Love - Hope.
Detail - Signature.
To the Glory of God and in loving memory of William Henry Fletcher, Ulceby Grange, Archdeacon of Wrexham & Agnes Crawford his wife. Given by their son.
William Glasby (1863-1941) was the son of a warehouse porter and spent his youth in Battersea. He was apprenticed to James Powell & Son in 1876 and rose to be their chief painter. Whilst living in Hampstead, he joined Henry Holiday’s new workshop after he left Powell's. By about 1897 Glasby was producing his own designs in a style heavily influenced by Holiday and also Morris & Co, for whom he later worked as a painter. He was in business on his own account from c1919. He had addresses in Kensington and later Putney, but in 1939 he moved to Horsham, Sussex. After his death, the business was carried on by his two daughters, who moved in 1946 to Henfield.
Title: Osborne Cricket Club team photo
Collection: Speer
Date: c1919
Note: Can you provide any further details about this photograph?
St Margaret, Rottingdean, Brighton & Hove, East Sussex.
Chancel South Window, c1919.
By Caroline Townshend.
Detail.
For the greater glory of God and in beloved and precious memory of my husband Sir Wentworth Dilke, 3rd Baronet. Born Sept 19 1874. Died Dec 7 1918.
He is buried in the churchyard.
Caroline Charlotte Townshend (1878-1944) was a stained glass artist of the Arts and Crafts Movement. She trained at Slade School of Fine Art and Central School of Arts and Crafts before becoming a pupil of Christopher Whall. She designed and made many stained glass windows, particularly for churches and cathedrals and set up the stained glass firm of Townshend and Howson in 1920 with her student and apprentice, Joan Howson. They used a dual signature for their completed works. Like her mother, she was a suffragette and member of the Fabian Society.
St Michael, Bempton, East Yorkshire.
Mawson Memorial Window, 1928.
By William Glasby (1863-1941).
To the Glory of God and in loving memory of Louise Annie wife of Joseph Mawson Vicar 1928.
William Glasby (1863-1941) was the son of a warehouse porter and spent his youth in Battersea. He was apprenticed to James Powell & Son in 1876 and rose to be their chief painter. Whilst living in Hampstead, he joined Henry Holiday’s new workshop after he left Powell's. By about 1897 Glasby was producing his own designs in a style heavily influenced by Holiday and also Morris & Co, for whom he later worked as a painter. He was in business on his own account from c1919. He had addresses in Kensington and later Putney, but in 1939 he moved to Horsham, Sussex. After his death, the business was carried on by his two daughters, who moved in 1946 to Henfield.
Elsa A Raudasoja (1907-1978)
Ida Alice Raudasoja (1905-1973)
Hedvig Hattie Wasti (1863-1941)
Frank William Raudasoja (1893-1956)
Lilly M Raudasoja (1899-1967)
Donna Parrish (1916-living)
On Ancestry
Source: Scan of Original Postcard.
Date: c1919
Postmark: September 19th 1919, Swindon
Publisher: Unknown
Photographer: Unknown
Inscription: Yes
Repository: Swindon Museum and Art Gallery
FS0420
St Margaret, Rottingdean, Brighton & Hove, East Sussex.
Chancel South Window, c1919.
By Caroline Townshend.
Detail.
For the greater glory of God and in beloved and precious memory of my husband Sir Wentworth Dilke, 3rd Baronet. Born Sept 19 1874. Died Dec 7 1918.
He is buried in the churchyard.
Caroline Charlotte Townshend (1878-1944) was a stained glass artist of the Arts and Crafts Movement. She trained at Slade School of Fine Art and Central School of Arts and Crafts before becoming a pupil of Christopher Whall. She designed and made many stained glass windows, particularly for churches and cathedrals and set up the stained glass firm of Townshend and Howson in 1920 with her student and apprentice, Joan Howson. They used a dual signature for their completed works. Like her mother, she was a suffragette and member of the Fabian Society.
Nana's writing on the back: "Francis Dutton and MF [Mary Frances - aka Nana] Joe taking us for a ride. Side porch of home in Merrimack."
alas, a light leak, will need to trace this to (probably) bellows or (perhaps) back.
1 Autographic Kodak Special Model A from c1919 ("Model A" started in 1919), expired HP5+, HC110. 1/100 speed in this.
North choir aisle window, by Edward Woore, c1919 - Ruth and David scenes - detail : David and Goliath
The porch window contains work by Margaret Edith Aldrich Rope (left side) and her cousin Margaret Agnes Rope (right side). The design was by their aunt Ellen Mary Rope a prominent sculptor.
The two stained glass artists named Margaret Rope were first cousins, granddaughters of George Rope of Grove Farm, Blaxhall, Suffolk (1814-1912) and his wife Anne (née Pope) (29/3/1821-1/10/1882). Neither married: both were baptised Anglicans but died Roman Catholics.
The younger Margaret was the 5th child of Arthur Mingay Rope (himself George and Anne's 5th child: 1850-1945) and Agnes Maud (née Aldrich: 1855-1943). She was born on 29th July 1891 and christened Margaret Edith at St Margaret's Church, Leiston, Suffolk on 25th August. She died in March 1988.
Born into a farming family at Leiston on the Suffolk coast, Margaret Edith Rope found herself among artistic relatives at Leiston and Blaxhall, Suffolk: her uncle, George Thomas Rope, landscape painter and Royal Academician; her aunt Ellen Mary, sculptor; sister Dorothy, also a sculptor. In the family, her nickname was "Tor", for tortoise. She was later to use a tortoise to sign some of her windows.
She was first educated by an aunt and later at Wimbledon High School, Chelsea School of Art and LCC Central School of Arts & Crafts (where she specialised in stained glass under Karl Parsons & Alfred J. Drury).
FIRST IMPLESION by NOBUO | ja | 7-25-2010 | mouse | 1280 x 604
title: first implesion
artist: nobuo
tool: mouse
country: ja
date: 7-25-2010
colors: 10
hex color palette: 172210 cf643f 601cfb 30eed7 ff06e7 6f6f6f 202020 f77526 c1919 3bee30
background: f02fbe
size: 1280 x 604
action: drips.nalindesign.com
artist: nobuo
Nottingham Castle Museum & Art Gallery.
Exhibition.
Laura Knight & Caroline Walker: A Female Gaze.
19 March-5 June 2022.
The Little Ballet Dancer.
By Laura Knight (1877-1970).
Oil on canvas, c1919.
-------------------------------------------------------------------
Dame Laura Knight was an artist who worked in oils, watercolours, etching, engraving and drypoint. Knight was a painter in the figurative, realist tradition who embraced English Impressionism. In her long career she was among the most successful and popular painters in Britain. In 1929 she was created a Dame, and in 1936 became the first woman elected to the Royal Academy since its foundation in 1768.
Although she was known for painting amidst the world of the theatre and ballet in London, and for being a war artist during the Second World War, she was also greatly interested in, and inspired by, marginalised communities and individuals, including Gypsies and circus performers. Her success in the male-dominated British art establishment paved the way for greater status and recognition for women artists.