View allAll Photos Tagged fifield
Emily A. Fifield School - Exterior View, Dunbar Ave., Dorchester, Boston, MA. School building photographs circa 1920-1960 (Collection # 0403.002), City of Boston Archives
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The photo is from the album of Gram Fifield (Hester Ellingwood Fifield,1820-1895, Dummer, Coos County,New Hampshire). Hester and her husband, Edward, were foster parents to my G-G-Grandmother Alvina Frost Andrews and her brother Sumner Frost after their parents died in Albany, Maine.
I suspect this tintype is post-Civil War due to the absence of Civil War tax stamps on its back.
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This photograph was in an unmarked album of 54 photos. None were dated but a rough estimate of Janice Dawe’s age seems to be four or five years old. This would date the photographs to around 1924. The images all appear to be centered on the Stuart Guy Fifield family.
A poppy past its best in bright sunlight in a field of poppies near Fifield in rural Gloucestershire.
June 2017
St Peter and St Paul, Wing, Rutland
Another bike ride in England's smallest county. Sixteen churches altogether, which sounds a lot, but churches in Rutland are refreshingly close together, and generally open, although I did find two that said they were open and weren't, and one that said it wasn't, but was.
Part five.
I cycled out to the edge of Uppingham, and at a crossroads kissed lightly the tour I had made a fortnight before. That time I arrived at the crossroads from the south and turned east, today I arrived from the west and turned north. Across a narrow valley stood the village of Bisbrooke. To be honest, I had chickened out of Bisbrooke two weeks previously on the strength of the alarming dip between me and it, but with a bit more physical and mental energy now I hurtled down, and then puffed and panted up into a delightful and intensely rural little hilltop village. Just off of the main street, a narrow lane led to the church.
This is a 19th Century rebuilding of a medieval church, presumably on the same site but much larger, making it difficult to photograph and also making it seem far more imposing than it needs to be. Indeed, the battered gingerbread of the exterior makes it seem something of a fortress. The tower sits at the west end of a south aisle, and a nave with clerestories has been built beside it, so I wondered if the aisle was on the plan of the original church, the tower built on the foundations of the previous one. A painting inside the church shows it with a spire, but whether this was never built, or if it was taken down later, I don't know. Externally, it is all a bit forbidding, and I feared for the interior, but in the event I couldn't have been more wrong, for it is full of light and space. At some time towards the end of the 20th Century all the Victorian trappings were removed, the floor repaved in cool stone and the pews replaced by simple modern chairs. It is a clean, simple delight.
The east window, looking out to the valley below, has excellent glass of the Risen Christ, a central figure in opulent textured glass surrounded by clear glass, which creates a dramatic effect. I'd been led to believe that it was by Francis Skeat, but when I got home I noticed a corrigenda slip pasted into the front of my copy of Paul Sharpling's Stained Glass in Rutland Churches which includes the line p 33 Bisbrooke. Now thought not to be by F Skeat, so I'm left to wonder. It does seem to be in a Christopher Webb/Francis Skeat style, though not quite right for either of them, especially with that textured glass.
There is a simple WWI memorial chapel with two battlefield crosses to Lieutenant-Colonel the Hon Percy Evans-Freke, the original burial cross and the later gathered cemetery cross. The only 'old' things remaining in the church are the 19th Century font by the door and a small, unobtrusive window by Burlison & Gryls behind it, the only other coloured glass in the space. It makes you think what could be done with some other gloomy Victorian spaces.
From Bisbrooke it was a short distance back up to the A47, which this being Rutland has a cyclepath beside it here, which led into Glaston. I remembered the big Hall from regular journeys between Ipswich and Leicester, and in truth there isn't much more to the village than this other than a pub and the church up the back lane to the north of the road. Set back from the lane, it is a charming sight, the dumpy central tower above a narrow church with a fizzy mock-Dec window at the west end. There are no transepts. The windows around are eccentric, those to the south being assymetrical Dec. As Pevsner notes, if you take the south porch as their central axis, they become symmetrical with regard to each other. So they were conceived as a set, but this must often have been the case, so one wonders why it happened here and not elsewhere.
Internally, it is a bit gloomy but not without charm, as long, narrow churches often are. There is a north aisle, and the roof of it carries over from the nave, bringing the clerestory openings above the arcade inside the building. The interior had a pretty extensive going over in the late 19th Century, perhaps bankrolled by the Evans-Freke family of the Hall whose memorials are here and at Bisbrooke, with glass by a number of 19th Century workshops.
I was heading north again, back across that dreaded valley, but it was not so severe here and I soon reached the hilltop village of Wing, barely a hundred yards from where I had turned off for Preston and Uppingham an hour or two earlier. In the village street was the church, with a large 'church open' sign outside. The great star here is a fabulous Norman south arcade in a county where Norman arcades are by no means unusual. There is also some good 20th Century glass, and the feel of a well-used, well-loved church. None of the oddities perhaps that I had encountered previously on this journey, and if I visited it in isolation it would probably have been more memorable, but a nice church nonetheless.
And now, I headed east, scenting the train home from Stamford but with three more churches to visit before I got there.
To be continued.
Edmund Harman c.1509–1577 barber-surgeon of Henry VIII 1533-47
Edmund was the 2nd son of Robert Harman, merchant of Ipswich
He m c1540 Agnes daughter of Edmund Sylvester d1576 of Burford ‘his only and most faithful wife’ (at the date of the erection of the monument)
Children - 9 sons & 7 daughters - only 2 survived their parents
1. Agnes m Edmund 1620 son of Reginald Bray of Northmoor and Anne daughter of Richard Monnington of Great Barrington
2. Mary m William Johnson
After the monument had been erected he m2 1576 Katherine ...... who outlived him
In 1530 he was able to practise as a barber in the City. The trade was of low social standing not normally offering great rewards, However through his entry to the king's household by 1533, perhaps through Sir William Sabyn an Ipswich merchant and serjeant-at-arms to the king, or Thomas Vicary surgeon to Henry VIII from 1528 and 5 times master of the Barbers' Company. From 1533 until the king's death Edmund was a member of the small and intimate privy chamber which attended to the king's comfort . Described variously as a groom of the privy chamber, one of the pages of the privy council, or one of the king's barbers, he was, according to a grant of 1546, ‘one of those accustomed to be lodged within the King's Majesty's house’. The last of these posts, which he shared with 2 others, demanded the greatest trust in view of the lethal nature of razor and scissors, and being required to be discreetly ready with water, basins and implements when the king rose in the morning to wash and trim his hair and beard, Also being free from disease which may endanger the royal person.. Edmund was also keeper of the wardrobe and by September 1536 had become one of the common packers at the Port of London, a position of importance, The wages from the crown were £10 pa, but his status also entitled Harman to a superior diet and personal attendants;- He took 4 horsemen and 8 footmen when he went with the king on the Boulogne expedition in 1544. The king's trust was demonstrated in 1543 when he pardoned him after an accusation of heresy. He also appears with the king in Holbeins painting of the Barber Surgeons Company of which he was Master in 1540 www.flickr.com/photos/52219527@N00/11209196784/
Devotion to the king was rewarded by numerous grants of offices and land, the first in 1536 was the post of bailiff of Hovington Yorks "manor place and farm thereto belonging, with fees of 5L pa during the minority of the Berkley heir with all profits belonging", to be followed by land in Middlesex, Gloucester, and Oxfordshire. By the time of the king's death Harman was a man of considerable wealth He was also a beneficiary of 200 marks in the king's will which he witnessed, . His position enabled him to benefit others, including his brother James, who was granted a post in 1546 ‘at Mr Harman's suit’.
In 1544 Edmund was granted the lands of the hospital of St John the Evangelist here after the dissolution. At the time of his death he owned the lordship of the manor of Taynton also given him by the king where he lived and where he and Agnes were buried and the manors of Fifield and Widford. He also owned or rented numerous properties, mills and land in the area.
His tomb erected in his lifetime in 1569 "in thanksgiving for a successful life", features what may be the earliest depiction in England of Native Americans with feathered headdresses It has been suggested that the family of his wife Agnes were merchant adventurers involved in the early exploration and trade with the Americas and / or the actual images may have been copied from illustrations in a Flemish book that appeared a few years earlier.
"I was born to be a man: and I shall live again from my own seed. In the Great Day, the bodies, which we think have perished by decay shall rise again whole, at God's word. Drive out fear from heart. O my body I believe that you shall appear before God, for he it is that sustains you. Laugh at the threats of disease, despise the blows of misfortune, care not for the dark grave, and go forward at Christ's summons...."
In his will Katherine his widow and Agnes his eldest daughter were to have half each of all the property, daughter Mary was to have Katherine's share on her death. His brother James Harman was to have Old Walk Mills in Witney Street. There were bequests to his grandchildren when aged 18 - Anne, Dorothy, Sarah & Elizabeth Bray and Harmon, William Hester, Eleanor, Elizabeth & Anne Johnson and to the children of his sister Christian Boswell.
He left 10s to Taynton church, 10s to the poor of Taynton, 20s to the poor of Fifield, 40s to the poor of Langley Morrish and money for sermons in Fifield, Taynton and Widford.
www.victoriacountyhistory.ac.uk/explore/sites/explore/fil...
www.oxforddnb.com/templates/article.jsp?articleid=61063&a...
Photograph - Julian P Guffogg CCL
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Some sculpt detail to Kane's Burial Shroud. ALIEN 79 - 1:18 scale. A couple shots of some sculpt detail I was able to work on this past weekend. Material - Aves FIXIT. The shroud itself is pretty much complete - working on some details to the alternate head sculpts I wish to include with the piece. More images coming soon. #alien #kane #chestburster #nostromo #sculpture #covenant #deletedscene #production
Shaw, David, Captain Janek, Millburn, Holloway and Fifield.
inspired by: www.flickr.com/photos/jhgtreasurechest/7169676661/
www.flickr.com/photos/fabjoueauxlego/7418867128/
www.flickr.com/photos/46833859@N07/7665785222/
made with: Space marine bodies, various heads, helmets are made from old Mr. Freeze helmets. Janek (my fav one) made from a rebel endor trooper with special colour parts, new Lando head and black cap
Hester Ann Ellingwood (Fifield)
Born: 27 Apr 1820 in Bethel, Oxford County, Maine, United States
Died: 24 May 1895 in Dummer, Coos County, New Hampshire, United States
Mystery Woman with Dangling Earrings, New Hampshire or Maine? late 1860s?
Gem photo, "Potters Patent, March 7, 1865." This is a photo from Hester Ann Ellingwood Fifield (1820-1895)'s Album.
"R.W. Potter of New York patented his picture card frame on March 7, 1865 and it is his patented card mount which is most commonly encountered amongst those with any patent markings printed on them.... The form of tintype (also referred to as ferrotype or sometimes melainotype) known as a 'gem'; is a small photographic image usually anywhere from 3/4" to 1" wide and 1¼" high made possible by the use of a multi-lens camera with repeating back which therefore could produce multiple exposures on a single photographic plate. In terms of quantity, the gem was the most prolifically produced form of photograph in the 1860s in America...." -- Marcel Safier, Brisbane, Australia via an Internet Search.
The back of the card is blank.
Gram Fifield, and her husband, Edward, were foster parents for my Great-grandmother Rose Ella Andrews after her father died in the Civil War and her mother died soon after. My maternal grandparents saw I was interested in old photos and gave me Gram Fifield's album in the 1960s.
Comments and faves
On the opposite corner from the Maryland Fried Chicken store, there was an Amoco station. It was owned by Mr. Fifield, who had once been a deputy sheriff. A Lil Champ store was just to the left of it.
Elaine Fifield as the Sugar Plum Fairy and another dancer in Sadler's Wells Theatre Ballet (Second Company) production of Two Scenes from Casse-Noisette (The Nutcracker) (1951) at the Sadler's Wells Theatre, London. Photograph by Roger Wood www.roh.org.uk/about/roh-collections
From Gram Fifield's Album.
An unidentified young boy likely in New Hampshire or Maine. The photo is from the album of Gram Fifield (1820-1895). The picture would seem to be from the 1870s.
Gram Fifield and her husband Edward were foster parents for my Great-grandmother Ellen Andrews after her father died in the Civil War and her mother soon after.
This photograph was in an unmarked album of 150 photos. Only five photographs were dated—three copies of the same image of Janice Dawe in a sled from 3 April 1920 (she would have been two weeks shy of one year old,) one from Bear Brook New Hampshire dated March 1922, and the last from Northwood New Hampshire on 22 May 1922. Excepting the 1920 picture, the images all appear to be from around 1922 and are centered on the Stuart Guy Fifield family.
New apartment towers under construction. Payton high school in the foreground.
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Elaine Fifield as the Sugar Plum Fairy and David Blair as the Nutcracker Prince in Sadler's Wells Theatre Ballet (Second Company) production of Two Scenes from Casse-Noisette (The Nutcracker) (1951) at the Sadler's Wells Theatre, London. Photograph by Roger Wood www.roh.org.uk/about/roh-collections
Sculpt/Paint progress on Kane - ALIEN 79 - 1:18 scale. Chestburster set. Finished the gray undercoating for the figure set.The chest piece can be switched out- from normal, to "bursting" to "burst"....and it's going to be such a mess. Just "Don't touch it! Don't touch it!".......while Jonesy the cat looks on. I think collectors would dig this as an action figure set.....just sayin'.#alien #kane #jonesy #chestburster #nostromo #sculpture #painting
St Peter and St Paul, Wing, Rutland
Another bike ride in England's smallest county. Sixteen churches altogether, which sounds a lot, but churches in Rutland are refreshingly close together, and generally open, although I did find two that said they were open and weren't, and one that said it wasn't, but was.
Part five.
I cycled out to the edge of Uppingham, and at a crossroads kissed lightly the tour I had made a fortnight before. That time I arrived at the crossroads from the south and turned east, today I arrived from the west and turned north. Across a narrow valley stood the village of Bisbrooke. To be honest, I had chickened out of Bisbrooke two weeks previously on the strength of the alarming dip between me and it, but with a bit more physical and mental energy now I hurtled down, and then puffed and panted up into a delightful and intensely rural little hilltop village. Just off of the main street, a narrow lane led to the church.
This is a 19th Century rebuilding of a medieval church, presumably on the same site but much larger, making it difficult to photograph and also making it seem far more imposing than it needs to be. Indeed, the battered gingerbread of the exterior makes it seem something of a fortress. The tower sits at the west end of a south aisle, and a nave with clerestories has been built beside it, so I wondered if the aisle was on the plan of the original church, the tower built on the foundations of the previous one. A painting inside the church shows it with a spire, but whether this was never built, or if it was taken down later, I don't know. Externally, it is all a bit forbidding, and I feared for the interior, but in the event I couldn't have been more wrong, for it is full of light and space. At some time towards the end of the 20th Century all the Victorian trappings were removed, the floor repaved in cool stone and the pews replaced by simple modern chairs. It is a clean, simple delight.
The east window, looking out to the valley below, has excellent glass of the Risen Christ, a central figure in opulent textured glass surrounded by clear glass, which creates a dramatic effect. I'd been led to believe that it was by Francis Skeat, but when I got home I noticed a corrigenda slip pasted into the front of my copy of Paul Sharpling's Stained Glass in Rutland Churches which includes the line p 33 Bisbrooke. Now thought not to be by F Skeat, so I'm left to wonder. It does seem to be in a Christopher Webb/Francis Skeat style, though not quite right for either of them, especially with that textured glass.
There is a simple WWI memorial chapel with two battlefield crosses to Lieutenant-Colonel the Hon Percy Evans-Freke, the original burial cross and the later gathered cemetery cross. The only 'old' things remaining in the church are the 19th Century font by the door and a small, unobtrusive window by Burlison & Gryls behind it, the only other coloured glass in the space. It makes you think what could be done with some other gloomy Victorian spaces.
From Bisbrooke it was a short distance back up to the A47, which this being Rutland has a cyclepath beside it here, which led into Glaston. I remembered the big Hall from regular journeys between Ipswich and Leicester, and in truth there isn't much more to the village than this other than a pub and the church up the back lane to the north of the road. Set back from the lane, it is a charming sight, the dumpy central tower above a narrow church with a fizzy mock-Dec window at the west end. There are no transepts. The windows around are eccentric, those to the south being assymetrical Dec. As Pevsner notes, if you take the south porch as their central axis, they become symmetrical with regard to each other. So they were conceived as a set, but this must often have been the case, so one wonders why it happened here and not elsewhere.
Internally, it is a bit gloomy but not without charm, as long, narrow churches often are. There is a north aisle, and the roof of it carries over from the nave, bringing the clerestory openings above the arcade inside the building. The interior had a pretty extensive going over in the late 19th Century, perhaps bankrolled by the Evans-Freke family of the Hall whose memorials are here and at Bisbrooke, with glass by a number of 19th Century workshops.
I was heading north again, back across that dreaded valley, but it was not so severe here and I soon reached the hilltop village of Wing, barely a hundred yards from where I had turned off for Preston and Uppingham an hour or two earlier. In the village street was the church, with a large 'church open' sign outside. The great star here is a fabulous Norman south arcade in a county where Norman arcades are by no means unusual. There is also some good 20th Century glass, and the feel of a well-used, well-loved church. None of the oddities perhaps that I had encountered previously on this journey, and if I visited it in isolation it would probably have been more memorable, but a nice church nonetheless.
And now, I headed east, scenting the train home from Stamford but with three more churches to visit before I got there.
To be continued.
This tintype is from Hester Ann Ellingwood Fifield (1820-1895)'s Photo Album.
Another photo of perhaps the same child from the same photo album:
www.flickr.com/photos/30484128@N03/6862642922/in/photostream
The back of the card is blank. There is no Civil War tax stamp, as had been required from 1864 to 1866, .
Gram Fifield, and her husband, Edward, were foster parents for my Great-grandmother Rose Ella Andrews after her father died in the Civil War and her mother died soon after. My maternal grandparents saw I was interested in old photos and gave me Gram Fifield's album in the 1960s,
An unidentified woman likely in New Hampshire or Maine. The photo is from the album of Gram Fifield (1820-1895). The picture would seem to be from the 1870s. The back is blank.
Gram Fifield and her husband Edward were foster parents for my Great-grandmother Ellen Andrews after her father died in the Civil War and her mother soon after.
Picture was in an envelope labeled "Camp where I was nurse for 1 month--1928 or 9." On the back of photograph: "A study in Facial Expression or The Joy of Helping Others or When a Fellow Needs a Friend."
Parked in a city lot behind Fifield's Furniture store in Red Oak. I didn't notice if the license plates were current, but I wonder if they still use this truck for deliveries. It doesn't appear to be in bad shape for its age.
A shot showing the "before and after" of the Ash Jumpsuit sculpt - ALIEN 79 - 1:18 scale. The "naked" frame to the left and the completed sculpt (with ALT head sculpt) to the right. 17 points of articulation...some better than others. Sculpted using Aves FIXIT. Of all the figures I have created for the ALIEN 79 series, Ash is the one I have invested the most time with - so many variants. Kane is a close second. Will eventually get into painting bodies of the figures - for now I'm working on finishing head sculpts. #alien #ash #robot #weylandyutani #buildingbetterworlds #covenant #nostromo #scienceofficer #avesstudio #avesfixit #sculpting
Used exclusively as a trials aircraft by the A&AEE at Boscombe Down (Nov 49 - Jan 52) and Martin Baker (Jan 52 - Aug 62), the airframe has some notable events in its history. Cockpit cooling trials in Sudan, 1951; fitted with the rear fuselage of Meteor T.8 to overcome stabilty issues; first live ground level ejection (Sqn Ldr JS Fifield, August 55); 'ejection seat demonstartions' at the Battle of Britain air shows at Biggin Hill and Benson (Sep 57); demonstrated a runway ejection at Hanover air show (Rolf Bullwinkel, May 58). Struck-off in September 1962, the airframe was purchased by Martin Baker and continued to be used on ejection trials until December 1967 and then used as a source of spares. Moved to St Athan in 1974 and then to Cosford for the RAF Museum in 1986 where the aircraft remains on display.
Gram Fifield's nephew, born 1845, died 1864, The photographer's imprint says Photographed by O. H. Wilkinson of Medford, Massachusetts. Perhaps Mr. Wilkinson was an itinerant photographer who came up to Coos County, New Hampshire? The tax stamp[ says XX/ XX/ 1864.
Charles's father, Isaac Ellingwood, was a blacksmith in Dummer, Coos County, New Hampshire.
The photo is from Gram Fifield's photo album.
A cabinet card from the album of Gram Fifield (1820-1895) of Dummer, Coos County, New Hampshire. The back of the card is blank.
1st August 2015 saw the annual Fifield Fun Day with train rides on this private standard gauge line.
Peckett & Sons Ltd No. 1756 of 1928 0-4-0st 'Hornpipe' was pulling the charity fundraising trains.
28th January 2018 at the Old Fruitmarket, Glasgow.
Celtic Connections Festival, www.celticconnections.com/.
Country: Britain - Scotland. Style: various styles of traditional music.
Lineup: Ale Möller (låtmandola/flutes/whistle/trumpet/cow's horn/piano accordion/harmonium/hammered dulcimer), Aly Bain (fiddle), Fraser Fifield (low whistle/border pipes/soprano sax), Tuva Syvertsen (v/hardanger fiddle/harmonium/percussion), Knut Reiersrud (g/lap steel g), Olle Linder (d/percussion/b).
This project began as a commission for a 2016 concert in the Jazz At Berlin Philharmonic series. The aim was to step away from Jazz towards "Celtic Music". However, as a Swede and a Norwegian were asked to put the concert together it became about the paths taken by Celtic music as it travelled across northern European and the United States. The performance at Celtic Connections lacked one of the seven musicians from 2016 - Eric Bibb. However there were still several American folk songs e.g. "Mole in the Ground", "In the Pines", "St James Infirmary" (though not ones I have ever thought of as "Celtic"). The group is now two Swedes, two Norwegians and two Scots. I have previously taken photos of Ale Möller and Aly Bain in a trio with Bruce Molsky (www.flickr.com/photos/kmlivemusic/sets/72157625540625666/), Bain in his duo with Phil Cunningham (www.flickr.com/photos/kmlivemusic/albums/72157680303772331/), and a Fraser Fifield Quartet (www.flickr.com/photos/kmlivemusic/sets/72157638468331024/),
Number:
164488
Date created:
1960-09-02
Extent:
1 photographic print : gelatin silver ; 8 x 10 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Church Home and Hospital (Baltimore, Md.). School of Nursing
Blackwell, Katherine Sue
Fifield, Janet Estelle
Fuchs, Margaret Helen
Greer, Lynda Marie
Hebner, Anne Mace
Jordan, Grete
Kahl, Carole Sue
Mann, Mary Eunice
Menicon, Helen Theognosia
Michelberger, Luise Emily
Morrow, Lynn Valentine
Naill, Barbara Ann
O'Brien, Erin Hunt Bridget
Ratsch, Mary Frances
Schehlein, Dorothy Judith
Schubauer, Mary Ellen
Smith, Nancy Engle
Spangler, Nancy Lee
Stansbury, Patricia Lee
Thompson, Michaele Fowler
Uhler, Phyllis Louise
Uphoff, Joyce Arlene
Wood, Josephine Constance
Wysong, Edna French
Young, Alice Gretchen
Zollickoffer, Eliza Gertrude
Nally, Claudette Maureen
Creutzburg, Freda Lewis, 1898-1963
Nursing students--Maryland--Baltimore--1960-1970
Nurses--Maryland--Baltimore--1960-1970
Graduation ceremonies--Maryland--Baltimore--1960-1970
Nursing schools--Faculty
Group portraits
Portrait photographs
Notes:
Photographer unknown.