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Pray For the soul of
John Joseph KEARNS
(Chief Inspector N.Z. Police)
Dearly loved husband of
Margaret Mary
Died 6th February 1961
Also his loved wife
Died 21st March 1979
Loved parents of
Bernard & John
REQUIESCANT IN PACE
Block 9 Plot 9 [1]
John married Margaret Mary nee DONOHUE c1924, marriage registration 1924/9452 [4]
John:
Born c1902, New Zealand[1]
Died 6 February 1961 aged 59 [1]
Occupation: Police Inspector [1]
Possible parents: Katherine Cecilia and James Patrick KEARNS [3]
Possible birth registration: 1901/6290 [3]
March 1942: “Sergeant J.J. Kearns, of the Christchurch Police Force, who has been transferred to Lyttelton, was met yesterday by his fellow officers and was presented with a firescreen and a wall mirror by Superintendent T Shanahan.” [4]
18 July 1945 - Appointed to be Inspector of Clubs for the purpose of inspecting and reporting upon Chartered Clubs [2]
He appears in paperspast online (via National Library New Zealand) several times under “J J Kearns” for various cases.
SOURCES:
[1]
heritage.christchurchcitylibraries.com/Cemeteries/interme...
[2]
The New Zealand Gazette; tinyurl.com/rv54fuwk
[3]
NZ Dept Internal Affairs historic BDM indexes; www.bdmhistoricalrecords.dia.govt.nz/search
[4]
Paperspast via National Library New Zealand; Press, 20 March 1942, Page 4; paperspast.natlib.govt.nz/newspapers/CHP19420320.2.30?ite...
Full title: The Virgin and Child before a Firescreen
Artist: Follower of Robert Campin
Date made: about 1440
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
Haardscherm "Alpenflora" 2006. Glaspaneel met standaard. Eigen ontwerp. Tiffanyglas aangevuld met gefuseerd glas. Afmetingen: breedte 80 cm en hoogte 75 cm. Verkocht, is nu in Oegstgeest.
Firescreen Alpine flowers, 2006. Glass panel with stand. Own design. Tiffanyglass combined with fused glass.
Glaskunst Atelier Sprankelend Licht
Marianna Eulderink
Meer over: Marianna, haar werk, exposities en prijzen kunt u vinden op haar website.
f Flémalle
(b. ca. 1375, Valenciennes, d. 1444, Tournai)
Virgin and Child in an Interior
c. 1435
Oil on oak, 23 x 15 cm
National Gallery, London
Like the Virgin and Child before a Firescreen (in the same museum), the picture shows the Virgin Mary in a cosy domestic setting. She has either just bathed, or is about to bathe, the Christ Child in front of the fire. The scene corresponds to no passage in the Gospels, but is inspired by the devotional literature which was widely current in the Netherlands at the time. We are invited to marvel at the humility of Mary, a modest - if surprisingly well-to-do - townswoman; at her maternal devotion - she does not rely on a nursemaid to care for her child; and at the tender affection between her and her son. More profoundly, we are led to reflect on the Incarnation: Christ has truly become man, touching his genitals like like any baby boy. His mother is without doubt the Virgin, for she wears her hair loose like an unmarried girl or a queen at her coronation. Haloes radiate from both their heads. The lighted candle may symbolise the marriage candle, for she is not only the Mother, but also the Bride of Christ.
Through the refined manipulation of thin layers of translucent oil paint, the artist is able to depict three light sources - the window, the sparking fire and the steadily burning candle - and the surface textures of many different materials, from the gleaming metal of the water basin to the velvet brocade of cushions and bench covering. Almost more magically, he is able to evoke the distant sky through the open window and through the small leaded glass panes above. These wonderful details were surely meant to capture and hold the close attention of the viewer, and lead him or her (and perhaps more particularly her) effortlessly to meditate on the spiritual values embodied here.
The painting was probably executed by the workshop of the Master of Flémalle (Robert Campin). The original frame and support are carved from a single piece of wood.
--- Keywords: --------------
Author: MASTER of Flémalle
Title: Virgin and Child in an Interior
Time-line: 1401-1450
School: Flemish
Form: painting
Type: religious
Full title: The Virgin and Child before a Firescreen
Artist: Follower of Robert Campin
Date made: about 1440
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
Wellness's area, rehab indoor pool & therapy, east to Lakeshore orthopedic, laboratory, imaging primary care, comment picnotes .. Right separate 🔥 firescreens & exits
Holy Family Memorial's Clinic WellnessCenter, now FroedertMedicalCollege
Harbor Town,
Manitowoc Wisconsin
Haardscherm "Alpenflora" 2006. Glaspaneel met standaard. Eigen ontwerp. Tiffanyglas aangevuld met gefuseerd glas. Afmetingen: breedte 80 cm en hoogte 75 cm. Verkocht, is nu in Oegstgeest.
Firescreen Alpine flowers, 2006. Glass panel with stand. Own design. Tiffanyglass combined with fused glass.
Glaskunst Atelier Sprankelend Licht
Marianna Eulderink
Meer over: Marianna, haar werk, exposities en prijzen kunt u vinden op haar website.
The Linthorpe Pottery pioneered a 'colour-spray jet' technique, which blended two colours together. They were also famous for their 'egg-shell' backgrounds - soft grainy textures on which petals, leaves, feathers etc could be sculptured.
A firescreen, probably made by Morris & Co's embroidery department and mounted in their own fire screen frame. It is stitched with silk threads on silk and mounted in mahogany. It is worked in stem satin and darning stitch.
Olive & Rose, designed by William Morris c 1880, was one of the Firm's most popular patterns, available for more than 30 years. The kit was priced at £4 10s in the 1912 catalogue, which included stretching and mounting under glass.
The Day Book records that the design was ordered 13 times between 1892 and 1896, with 10 cushion kits for the Oxford Street shop.
Detail from a firescreen, probably made by Morris & Co's embroidery department and mounted in their own fire screen frame. It is stitched with silk threads on silk and mounted in mahogany. It is worked in stem satin and darning stitch in a beautiful restrained colourway.
Olive & Rose, designed by William Morris c 1880, was one of the Firm's most popular patterns, available for more than 30 years. The kit was priced at £4 10s in the 1912 catalogue, which included stretching and mounting under glass.
The Day Book records that the design was ordered 13 times between 1892 and 1896, with 10 cushion kits for the Oxford Street shop.
A view of the main room of the exhibition showing:
Left: The acanthus bedcover or hanging designed by William Morris c1880 and worked by May Morris and others, c1900-1910. It is worked in darning stitch, long and short stitch, stem stitch, satin stitch, buttonhole stitch, couching and laid work in coloured silk thread on woollen felt cloth, and edged with silk cord.. It measures 98x79in, was part of May's own collection and was exhibited by her in Paris in 1914. Numerous versions (28) of this design, in varying stitches and colourways were produced and recorded in the Morris & Co Day Book. The panel would have been displayed on the bed during the day and be folded up at night - they were not usually wadded and quilted.
Centre: Design for Honeysuckle wallpaper in pencil on paper, c 1883. Of the three wallpapers May designed for Morris & Co this is her most popular and most enduring. The original design is heavily worked over in parts, suggesting that May perhaps sought help from her father in refining it.
Right: A firescreen, probably made by Morris & Co's embroidery department and mounted in their own fire screen frame. It is stitched with silk threads on silk and mounted in mahogany. Olive & Rose, designed by William Morris c 1880, was one of the Firm's most popular patterns. The kit was priced at £4 10s, which included stretching and mounting under glass.
Parlor from the James Duncan Jr. House, Haverill, Massachusetts
•Date: ca. 1805
•Geography: Made in Haverhill, Massachusetts, United States
•Culture: American
•Medium: White pine and plaster
•Dimensions: Dimensions unavailable
•Classification: Architecture
•Credit Line: Rogers Fund, 1912
•Accession Number: 12.121
On view at The Met Fifth Avenue in Gallery 729
Provenance
James Duncan, Haverhill, Massachusetts, ca. 1805-1818; Mrs. F. W. Wallace, Plainfield, New Jersey, until 1912
Timeline of Art History (2000-Present)
Essays
•American Federal Era Period Rooms
Timelines
•The United States and Canada, 1800-1900 A.D.
MetPublications
•The American Wing at The Metropolitan Museum of Art
•Guide to The Metropolitan Museum of Art
•A Handbook of the American Wing
•Period Rooms in The Metropolitan Museum of Art
•The Scepter of Egypt: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art. Vol. 2, The Hyksos Period and the New Kingdom (1675-1080 B.C.)
•A Walk Through The American Wing
Firescreen
•Maker: Attributed to Samuel Phippen (ca. 1744-1798)
•Date: 1785–95
•Geography: Made in Salem, Massachusetts, United States
•Culture: American
•Medium: Mahogany, holly, ebony
•Dimensions: 61½ × 21 × 18¼ in. (156.2 × 53.3 × 46.4 cm)
•Classification: Furniture
•Credit Line: Gift of Mrs. A. Goodwin Cooke, in memory of her mother, Mrs. Frederic C. Munroe, and Purchase, Clara Lloyd-Smith Weber Gift and Friends of the American Wing Fund, 1977
•Accession Number: 1977.425
This fire screen features a folding shelf for a candle, a refinement found on very few examples. It is transitional in style, with snake feet of the Queen Anne and Chippendale styles and the oval shape and inlay typical of neoclassical designs.
Provenance
Mrs. Frederic C. Munroe, until 1954; Mrs. A. Goodwin Cooke, Branford, Connecticut and Mrs. William A. Munroe, Andover, Massachusetts, 1954-1977
Timeline of Art History (2000-Present)
Timelines
•The United States, 1600-1800 A.D.
MetPublications
•The American Wing at The Metropolitan Museum of Art
A view of the main room of the exhibition showing:
Left: Design for Honeysuckle wallpaper in pencil on paper, c 1883. Of the three wallpapers May designed for Morris & Co this is her most popular and most enduring. The original design is heavily worked over in parts, suggesting that May perhaps sought help from her father in refining it.
Centre: A firescreen, probably made by Morris & Co's embroidery department and mounted in their own fire screen frame. It is stitched with silk threads on silk and mounted in mahogany. Olive & Rose, designed by William Morris c 1880, was one of the Firm's most popular patterns. The kit (in cabinet on the foreground right) was priced at £4 10s, which included stretching and mounting under glass.
Right: Vine Hanging or Portiere, designed by William Morris perhaps c1878 and embroidered by May Morris and others (probably Wilhelmina Edelstein) c1916. Coloured silks on linen, worked in stem stitch, long and short stitch and chain stitch. This was bequeathed to the V&A by May Morris and was probably the one exhibited in the 1916 Arts & Crafts exhibition.
Extreme Right: Design for Trellis embroidery, by May Morris c1885.
Austin hosted its annual Museum Day on Sunday, September 18, 2016. Mike and I took advantage of the opportunity to enjoy free admission to several museums and historic homes. Our third stop was the Neill-Cochran House Museum (2310 San Gabriel St.).
In 1855, Washington and Mary Hill commissioned master builder Abner Cook to construct a Greek-Revival-style house northwest of downtown Austin. The Hills never lived in the house; its current name refers to two families who lived here after the Hills built it. Colonel Andrew and Jennie Chapman Neill purchased the house in 1876, and it was later sold to Judge Thomas and Bessie Rose Cochran in the 1890s. It was subsequently acquired by the National Society of Colonial Dames in the State of Texas in 1958 and converted into a museum.
Today, the first floor reflects the Neills' occupancy during the Victorian era, while the second floor reflects the Cochrans' residency. Here, you can see a view of the home's Double Parlor. This shot shows the more formal front parlor, where several ladies in Victorian-style gowns were engaged in needlework. A small booklet provided a few details on this room and its furnishings:
Double Parlor
The double parlor was a common feature of American homes during the Victorian era. Typically, the more formal parlor was in the front, and a more casual back parlor connected to it but could be closed off via pocket doors. This house is unusual for not having pocket doors -- the rubble limestone design of the structure makes pocket doors impossible. Instead, the house features large hinged doors.
The furnishings of these rooms are eclectic, mirroring the eclecticism of the Victorian era. Furnishings include:
Mahogany secretaries (c. 1790–1820).
Hepplewhite/Federal oval gilded and carved mirrors (c. 1800). The mirrors feature delicate gilt leaf and flower designs.
Miniature fall-front chest (c. 1800). Rosewood, with ivory and tortoiseshell inlay.
Mahogany stick barometer (c. 1830). Features intricate Amboyna wood inlay.
Melodeon (c. 1860). This American invention is based on the design of a pump organ and has cast-iron knees and legs. Melodeons were extremely popular during the mid-19th century.
Firescreen (c. 1845). Made of rosewood with needlepoint movable screen.
Empire-style mahogany sofa (c. 1820–1850). Vernacular craftsmanship with carved swan motif.
Portrait of George Malcolm Miller (c. 1910). Portrait by Ailsie Miller. George Miller died of typhoid fever at age 9.
A painting (circa 1850) by Jarvis Frary Hanks.
33 x 49 in.
(35 1/8 x 51 in. with frame).
View is looking east on Euclid Avenue from his residence.
Used courtesy of the Western Reserve Historical Society.