Nice China Mould Make Maker photos

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A few nice china mould make maker images I found:

FOR SALE: Original North Light “Kitley Ladybird” – Dartmoor Pony mare
china mould make maker
Image by appaIoosa
Model # P1133 – bay
Size: 5-3/4"H x 6-1/2"L
Original mold, produced by North Light.
Identifying marks & logos:
On belly: "KITLEY LADYBIRD "
On right buttock cheek: " © North Light 1986 "
Inside right hind leg: " Godfrey "
Inside left hind leg: " MADE IN UK

This is a model of the classic British breed, the Dartmoor. These ponies are hardy a

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A few nice china mould make maker images I found:

FOR SALE: Original North Light “Kitley Ladybird” – Dartmoor Pony mare
china mould make maker
Image by appaIoosa
Model # P1133 – bay
Size: 5-3/4"H x 6-1/2"L
Original mold, produced by North Light.
Identifying marks & logos:
On belly: "KITLEY LADYBIRD "
On right buttock cheek: " © North Light 1986 "
Inside right hind leg: " Godfrey "
Inside left hind leg: " MADE IN UK

This is a model of the classic British breed, the Dartmoor. These ponies are hardy and well balanced, originating in Devon, England. This breed is closely related to the Exmoor Pony and probably descended from the same stock. These ponies roamed wild over the rugged moorlands of southwestern Devon for many centuries. Toward the end of the 19th century, the breed’s traits were stabilized by the creation of the Dartmoor Pony Breed Society, with standard requirements. The maximum height for this pony is 12.2 hands high at the withers. She is a well-balanced pony with small head, ears and eyes. The mane and tail are thick and full. The neck is wide, the chest deep and muscular and the shoulders are strong and sloping.

This North Light model is a lovely representative of a Dartmoor Pony from the North Light Native Pony Series.

|||****************************|||

North Light model horse figurines are made of a porcelain and resin composition, which allow for the extensive mold detailing (some with individual hair detailing, braided manes & tails, etc) that is very evident in the finish. The figurines are finished in a studio where they are airbrushed with the body color and shading required for the particular breed piece. Next comes the hand detailing , which can be extensive, depending on the horses’ color pattern. Pinto and appaloosa patterns require extensive hand work, and vary greatly from horse to horse. Facial features also receive hand detailing, with expressive, lifelike eyes which have a final gloss application to make them look moist and realistic. Touches of pink are added to muzzles. Nostrils are darkened inside to add depth.

With this degree of hand detailing, each model horse will vary slightly.

North Light is a company located in Stoke-On-Trent, Staffordshire, England. The area is famous for its potteries and figurines, including the well known Wedgwood, Beswick and Royal Doulton brands. In 2005, the North Light factory was sold – including all existing North Light molds – to the company: WADE CERAMICS LTD (yes, the same company that made those little whimsy figurines found in red rose tea boxes years ago). Wade repackaged the existing North Light horses under their new trademark and resold them within the Wade division as "North Light @ Wade" horses.

Directly from Wade Co. website, verbatim:
———————————–
Contributed by Carol Atrak
Monday, 18 July 2005

We have pleasure in announcing that Wade has purchased certain assets from Dennis Doyle of the North Light resin figurine range. North Light, which will trade as a division within Wade as "North Light @ Wade", is famous for its range of dogs, farm animals, horses and wildlife figurines. They are manufactured in resin and hand painted. The "Classic Dog and Horse Ranges" are finished in marble, china blue, bronze, Monet and other effects to grace the sideboards and coffee tables of the World’s finest homes.

Managing Director, Paul Farmer said, "North Light @ Wade" will bring a new dimension to Wade’s figurine capability and Wade’s mechanisms for online purchases of its ceramic products will be adapted to cater for North Light products too. We are also looking forward to improving our ceramic hand painting techniques which come with the North Light asset purchase."

Artists, Guy Pocock and Anne Godfrey, have been retained to continue modelling new lines and Clare Beswick, from that famous family of figurine makers which bears her name, has been appointed Sales and Product Manager for North Light @ Wade.

The manufacture has been moved from Biddulph to a separate resin area within Wade’s Royal Victoria Pottery in Burslem.

In 2008, Wade announced they would no longer produce the North Light @Wade horses (and dogs) at the factory (in the UK). Instead they decided to release a new line: "North Light @ Wade Premier Collection" (consisting of 17 horses and 22 dogs) – to be produced in China. Many of the existing NL horses you see being sold on eBay (and elsewhere) today, bear the "made in China" sticker, along with the NL backstamp.

In 2009, Wade ceased production altogether on all existing North Light models . Today, North Light horses are no longer being produced, sold or marketed by Wade Ceramics, making these horses highly sought after, valuable and rare.

I have no idea what the Wade Co. decided to do with all the existing North Light horses. Some say they sold the existing molds to a company in China.

If your North Light horse has the "©North Light Made in the UK" backstamp, you have a very rare & valuable collectible indeed!

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Nice Auto Moulds Factory China photos

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Churchill Club Top 10 Tech Trends Debate
auto moulds factory china
Image by jurvetson
I just got back from the Churchill Club’s 13th Annual Top 10 Tech Trends Debate (site).

Curt Carlson, CEO of SRI, presented their trends from the podium, which are meant to be “provocative, plausible, debatable, and that it will be clear within the next 1-3 years whether or not they will actually become trends.”

Then the panelists debated them. Speaking is Aneesh Chopra, CTO of the U.S., and smirkin

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Churchill Club Top 10 Tech Trends Debate
auto moulds factory china
Image by jurvetson
I just got back from the Churchill Club’s 13th Annual Top 10 Tech Trends Debate (site).

Curt Carlson, CEO of SRI, presented their trends from the podium, which are meant to be “provocative, plausible, debatable, and that it will be clear within the next 1-3 years whether or not they will actually become trends.”

Then the panelists debated them. Speaking is Aneesh Chopra, CTO of the U.S., and smirking to his left is Paul Saffo, and then Ajay Senkut from Clarium, then me.

Here are SRI’s 2011 Top 10 Tech Trends [and my votes]:

Trend 1. Age Before Beauty. Technology is designed for—and disproportionately used by—the young. But the young are getting fewer. The big market will be older people. The aging generation has grown up with, and is comfortable with, most technology—but not with today’s latest technology products. Technology product designers will discover the Baby Boomer’s technology comfort zone and will leverage it in the design of new devices. One example today is the Jitterbug cell phone with a large keypad for easy dialing and powerful speakers for clear sound. The trend is for Baby Boomers to dictate the technology products of the future.

[I voted YES, it’s an important and underserved market, but for tech products, they are not the early adopters. The key issue is age-inspired entrepreneurship. How can we get the entrepreneurial mind focused on this important market?]

Trend 2. The Doctor Is In. Some of our political leaders say that we have "the best medical care system in the world". Think what it must be like in the rest of the world! There are many problems, but one is the high cost of delivering expert advice. With the development of practical virtual personal assistants, powered by artificial intelligence and pervasive low-cost sensors, “the doctor will be in”—online—for people around the world. Instead of the current Web paradigm: “fill out this form, and we’ll show you information about what might be ailing you”, this will be true diagnosis—supporting, and in some cases replacing—human medical practitioners. We were sending X-rays to India to be read; now India is connecting to doctors here for diagnosis in India. We see the idea in websites that now offer online videoconference interaction with a doctor. The next step is automation. The trend is toward complete automation: a combination of artificial intelligence, the Internet, and very low-cost medical instrumentation to provide high-quality diagnostics and advice—including answering patient questions—online to a worldwide audience.

[NO. Most doctor check-ups and diagnoses will still need to be conducted in-person (blood tests, physical exams, etc). Sensor technology can’t completely replace human medical practitioners in the near future. Once we have the physical interface (people for now), then the networking and AI capabilities can engage, bringing specialist reactions to locally collected data. The real near-term trend in point-of-care is the adoption of iPads/phones connected to cloud services like ePocrates and Athenahealth and soon EMRs.]

Trend 3. Made for Me. Manufacturing is undergoing a revolution. It is becoming technically and economically possible to create products that are unique to the specific needs of individuals. For example, a cell phone that has only the hardware you need to support the features you want—making it lighter, thinner, more efficient, much cheaper, and easier to use. This level of customization is being made possible by converging technical advances: new 3D printing technology is well documented, and networked micro-robotics is following. 3D printing now includes applications in jewelry, industrial design, and dentistry. While all of us may not be good product designers, we have different needs, and we know what we want. The trend is toward practical, one-off production of physical goods in widely distributed micro-factories: the ultimate customization of products. The trend is toward practical, one-off production of physical goods in widely distributed micro-factories: the ultimate customization of products.

[NO. Personalization is happening just fine at the software level. The UI skins and app code is changeable at zero incremental cost. Code permeates outward into the various vessels we build for it. The iPhone. Soon, the car (e.g. Tesla Sedan). Even the electrical circuits (when using an FPGA). This will extend naturally to biological code, with DNA synthesis costs plummeting (but that will likely stay centralized in BioFabs for the next 3 years. When it comes to building custom physical things, the cost and design challenges relegate it to prototyping, tinkering and hacks. Too many people have a difficult time in 3D content creation. The problem is the 2D interfaces of mouse and screen. Perhaps a multitouch interface to digital clay could help, where the polygons snap to fit after the form is molded by hand.]

Trend 4. Pay Me Now. Information about our personal behavior and characteristics is exploited regularly for commercial purposes, often returning little or no value to us, and sometimes without our knowledge. This knowledge is becoming a key asset and a major competitive advantage for the companies that gather it. Think of your supermarket club card. These knowledge-gatherers will need to get smarter and more aggressive in convincing us to share our information with them and not with their competitors. If TV advertisers could know who the viewers are, the value of the commercials would go up enormously. The trend is technology and business models based on attracting consumers to share large amounts of information exclusively with service providers.

[YES, but it’s nothing new. Amazon makes more on merchandising than product sales margin. And, certain companies are getting better and better at acquiring customer information and personalizing offerings specifically to these customers. RichRelevance provides this for ecommerce (driving 25% of all e-commerce on Black Friday). Across all those vendors, the average lift from personalizing the shopping experience: 15% increase in overall sales and 8% increase in long-term profitability. But, simply being explicit and transparent to the consumer about the source of the data can increase the effectiveness of targeted programs by up to 100% (e.g., saying “Because you bought this product and other consumers who bought it also bought this other product" yielded a 100% increase in product recommendation effectiveness in numerous A/B tests). Social graph is incredibly valuable as a marketing tool.]

Trend 5. Rosie, At Last. We’ve been waiting a long time for robots to live in and run our homes, like Rosie in the Jetsons’ household. It’s happening a little now: robots are finally starting to leave the manufacturing floor and enter people’s homes, offices, and highways. Robots can climb walls, fly, and run. We all know the Roomba for cleaning floors—and now there’s the Verro for your pool. Real-time vision and other sensors, and affordable precise manipulation, are enabling robots to assist in our care, drive our cars, and protect our homes and property. We need to broaden our view of robots and the forms they will take—think of a self-loading robot-compliant dishwasher or a self-protecting house. The trend is robots becoming embedded in our environments, and taking advantage of the cloud, to understand and fulfill our needs.

[NO. Not in 3 years. Wanting it badly does not make it so. But I just love that Google RoboCar. Robots are not leaving the factory floor – that’s where the opportunity for newer robots and even humanoid robots will begin. There is plenty of factory work still to be automated. Rodney Brooks of MIT thinks they can be cheaper than the cheapest outsourced labor. So the robots are coming, to the factory and the roads to start, and then the home.]

Trend 6. Social, Really. The rise of social networks is well documented, but they’re not really social networks. They’re a mix of friends, strangers, organizations, hucksters—it’s more like walking through a rowdy crowd in Times Square at night with a group of friends. There is a growing need for social networks that reflect the fundamental nature of human relationships: known identities, mutual trust, controlled levels of intimacy, and boundaries of shared information. The trend is the rise of true social networks, designed to maintain real, respectful relationships online.

[YES. The ambient intimacy of Facebook is leading to some startling statistics on fB evidence reuse by divorce lawyers (80%) and employment rejections (70%). There are differing approaches to solve this problem: Altly’s alternative networks with partioning and control, Jildy’s better filtering and auto-segmentation, and Path’s 50 friend limit.]

Trend 7. In-Your-Face Augmented Reality. With ever-cheaper computation and advances in computer vision technology, augmented reality is becoming practical, even in mobile devices. We will move beyond expensive telepresence environments and virtual reality games to fully immersive environments—in the office, on the factory floor, in medical care facilities, and in new entertainment venues. I once did an experiment where a person came into a room and sat down at a desk against a large, 3D, high-definition TV display. The projected image showed a room with a similar desk up against the screen. The person would put on 3D glasses, and then a projected person would enter and sit down at the other table. After talking for 5 to 10 minutes, the projected person would stand up and put their hand out. Most of the time, the first person would also stand up and put their hand into the screen—they had quickly adapted and forgotten that the other person was not in the room. Augmented reality will become indistinguishable from reality. The trend is an enchanted world— The trend is hyper-resolution augmented reality and hyper-accurate artificial people and objects that fundamentally enhance people’s experience of the world.

[NO, lenticular screens are too expensive and 3D glasses are a pain in the cortex. Augmented reality with iPhones is great, and pragmatic, but not a top 10 trend IMHO]

Trend 8. Engineering by Biologists.
Biologists and engineers are different kinds of people—unless they are working on synthetic biology. We know about genetically engineered foods and creatures, such as gold fish in multiple other colors. Next we’ll have biologically engineered circuits and devices. Evolution has created adaptive processing and system resiliency that is much more advanced than anything we’ve been able to design. We are learning how to tap into that natural expertise, designing devices using the mechanisms of biology. We have already seen simple biological circuits in the laboratory. The trend is practical, engineered artifacts, devices, and computers based on biology rather than just on silicon.

[YES, and NO because it was so badly mangled as a trend. For the next few years, these approaches will be used for fuels and chemicals and materials processing because they lend themselves to a 3D fluid medium. Then 2D self-assembling monolayers. And eventually chips , starting with memory and sensor arrays long before heterogeneous logic. And processes of biology will be an inspiration throughout (evolution, self-assembly, etc.). Having made predictions along these themes for about a decade now, the wording of this one frustrated me]

Trend 9. ‘Tis a Gift to be Simple. Cyber attacks are ever more frequent and effective. Most attacks exploit holes that are inevitable given the complexity of the software products we use every day. Cyber researchers really understand this. To avoid these vulnerabilities, some cyber researchers are beginning to use only simple infrastructure and applications that are throwbacks to the computing world of two decades ago. As simplicity is shown to be an effective approach for avoiding attack, it will become the guiding principle of software design. The trend is cyber defense through widespread adoption of simple, low-feature software for consumers and businesses.

[No. I understand the advantages of being open, and of heterogencity of code (to avoid monoculture collapse), but we have long ago left the domain of simple. Yes, Internet transport protocols won via simplicity. The presentation layer, not so much. If you want dumb pipes, you need smart edges, and smart edges can be hacked. Graham Spencer gave a great talk at SFI: the trend towards transport simplicity (e.g. dumb pipes) and "intelligence in the edges" led to mixing code and data, which in turn led to all kinds of XSS-like attacks. Drive-by downloading (enabled by XSS) is the most popular vehicle for delivering malware these days.]

Trend 10. Reverse Innovation. Mobile communication is proliferating at an astonishing rate in developing countries as price-points drop and wireless infrastructure improves. As developing countries leapfrog the need for physical infrastructure and brokers, using mobile apps to conduct micro-scale business and to improve quality of life, they are innovating new applications. The developing world is quickly becoming the largest market we’ve ever seen—for mobile computing and much more. The trend is for developing countries to turn around the flow of innovation: Silicon Valley will begin to learn more from them about innovative applications than they need to learn from us about the underlying technology.

[YES, globalization is a megatrend still in the making. The mobile markets are clearly China, India and Korea, with app layer innovation increasingly originating there. Not completely of course, but we have a lot to learn from the early-adopter economies.]

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Nice Automotive Mould Manufacturing photos

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Check out these automotive mould manufacturing images:

Nomination 42 – Body Exterior – View A – Carbon Composite Hood Assembly
automotive mould manufacturing
Image by spe.automotive
CARBON COMPOSITE HOOD ASSEMBLY
•OEM Make & Model: Chrysler Group LLC 2013 model year (MY) SRT Viper® supercar
•Tier Supplier/Processor: Plasan Carbon Composites
•Material Supplier / Toolmaker: Umeco plc/Cytec Industries (carbon fiber weave prepreg); Toray Carbon Fibers Americas, Inc. (unidirectional carbon fiber prepreg); Ashland, Inc. (structural polyurethane adhesive) / Weber Manufacturing Technologies Inc.
•Material / P

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Nomination 42 – Body Exterior – View A – Carbon Composite Hood Assembly
automotive mould manufacturing
Image by spe.automotive
CARBON COMPOSITE HOOD ASSEMBLY
•OEM Make & Model: Chrysler Group LLC 2013 model year (MY) SRT Viper® supercar
•Tier Supplier/Processor: Plasan Carbon Composites
•Material Supplier / Toolmaker: Umeco plc/Cytec Industries (carbon fiber weave prepreg); Toray Carbon Fibers Americas, Inc. (unidirectional carbon fiber prepreg); Ashland, Inc. (structural polyurethane adhesive) / Weber Manufacturing Technologies Inc.
•Material / Process: G83C T700S-24K carbon composite / Vacuum bag, autoclave cure
•Description: This hood assembly is a Class A CFRP part with a very large complex clamshell geometry. The painted Class A outer panel is complemented by an exposed weave inner panel. The part represents the largest Class A carbon fiber composite part provided to a mainstream OEM at volumes up to 3,000 vehicle sets/year. Design, tooling, and fabrication technologies from both marine and aerospace were employed for the first time in automotive to facilitate layup of the complex geometry with severe undercuts. Integrated mounting points using riv-nuts and studs are molded into the inner hood panel. Local section thickness was varied to meet structural requirements. The final part, incorporating fenders as well as hood is 44% lighter than the previous hood-only assembly in SMC, helping improve weight distribution and lower the vehicle’s center of gravity, for better vehicle dynamics and power-to-weight ratio.

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Nice Automotive Mould Maker photos

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Some cool automotive mould maker images:

Image from page 97 of “Automotive industries” (1899)
automotive mould maker
Image by Internet Archive Book Images
Identifier: automotiveindust44phil
Title: Automotive industries
Year: 1899 (1890s)
Authors:
Subjects: <

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Some cool automotive mould maker images:

Image from page 97 of “Automotive industries” (1899)
automotive mould maker
Image by Internet Archive Book Images
Identifier: automotiveindust44phil
Title: Automotive industries
Year: 1899 (1890s)
Authors:
Subjects: Automobiles Aeronautics
Publisher: Philadelphia [etc.] Chilton [etc.]
Contributing Library: Engineering – University of Toronto
Digitizing Sponsor: University of Toronto

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book

Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
Thereare a great many frames which taper materially in depth.For instance, the Scripps Booth, which is very noticeablein this respect, the depth of the frame being constant foronly a short portion of the length. The Maxwell is an-other example in which the frame tapers considerably indepth. The majority of frames, however, have only slighttaper and this takes place at the extremities. The bottle-neck type has about disappeared and in its place thetapered frame is used to get the narrow front end neces-sary to give narrow turning radius and a sightly frontend. There are not any noticeable steering developmentsexcept perhaps in the lubrication of the parts where prac-tice has been improved in line with what has already beensaid under the head of chassis lubrication. There is, how-ever, a tendency on the part of a great many to use heavieroversize parts. The Hupp has been materially strength-ened in this respect, the steering gear having been entirelyrevised and a larger unit installed.

Text Appearing After Image:
Spring shackle at rear end of Paige rear ,i, ing Front connection of rear spring on Paige January 13, 1921 AUTOMOTIVE INDUSTRIES THE AUTOMOBILE 79 Clutches,Transmissions and Universal Joints By Herbert Chase THERE is little that is really new in the way ofclutches, although some makers have changed thetype employed. Substantially all of the higherprice cars use the multiple disk type running dry andfaced with molded or woven asbestos composition. Thenew Pierce-Arrow chassis is fitted with this type, havingfinally abandoned the cone type, which was standard onchassis built by this company for many years. There areto-day in this country but few makers who continue touse the cone clutch and the tendency both here and abroadis toward the multiple or the single disk type which, asa rule, is smoother in engagement and less apt to causeclashing of gears when changing, because it does not con-tinue to spin so long after disengagement. The plate orsingle disk type is very widely used in this c

Note About Images
Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability – coloration and appearance of these illustrations may not perfectly resemble the original work.

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Nice Molds Make Maker China photos

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Stokes Croft – Historical Bristol Street Directory 1871
molds make maker china
Image by brizzle born and bred
Mathews’ Bristol Street Directory 1871

Stoke’s Croft, North Street to Cheltenham Road

www.flickr.com/photos/brizzlebornandbred/5063962403/

One of the shops which was demolished was where Arthur Holborn ran his photography business for about 40 years. He specialised in portraits which bore his elegantly engraved advertisement on the back. Four doors away art of a

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Stokes Croft – Historical Bristol Street Directory 1871
molds make maker china
Image by brizzle born and bred
Mathews’ Bristol Street Directory 1871

Stoke’s Croft, North Street to Cheltenham Road

www.flickr.com/photos/brizzlebornandbred/5063962403/

One of the shops which was demolished was where Arthur Holborn ran his photography business for about 40 years. He specialised in portraits which bore his elegantly engraved advertisement on the back. Four doors away art of a different type was produced by Thomas Colley, who was a sculptor and his specialities were ‘monuments, headstones, crosses and memorials of all descriptions’. www.flickr.com/photos/brizzlebornandbred/6174492981/

1. H. Lester, register oflice for servants
2. Richard Pearce, teacher of music
3. William Hagen, painter
4. Oliver Sheppy, family grocer
5. William Corbett
6. Miss Jennings, milliner
7. Walton King, wine & spirit merchant
8. J. Bennett, plumber
9. John Rice, teacher of dancing
10. Thomas Colley, sculptor
11. Benjamin Hamilton, music warehouse
12. Miss Moulding, dress maker
13. Mrs W. Cook, teacher of music, etc
14. William James
15. J. Dilke, house painter
16. George Poole, dentist
17. J. F. Davis, undertaker, etc
18. Richard F. Jones
19. Capt. John Way
20. Mrs Broad
21. Joseph Richards, carpenter
22. Richard Slade, painter, etc
23. James Webber

Brooks Dry Cleaners Ltd St Werburghs Bristol www.flickr.com/photos/brizzlebornandbred/2046815682/

24. Henry Bishop, Bevan, vict, Antelope (pub) 1837 – 44 John Thomas / 1847 – 59 William Salter / 1860 – 63 Ann Salter / 1865 – 66 James Ricketts / 1867 – 69 Andrew Lewis 1871 – 76 Henry Bishop / 1877 to 1878 T. Gall / 1879 Charles Tovey & Co. / 1882 – 83 Thomas Sedgebeer / 1885 Eliza Perry 1886 J. Machan / 1887 to 1888 George Thomas Mills / 1889 Charles George / 1891 William Northam / 1892 – 96 Henry Burrow 1899 Thomas White / 1901 Nellie Jenkins.

In the 1880s the consecutive numbering system of Stokes Croft changed to odds on one side, evens on the other. In 1873 Charles Board cabinet maker and billiard table manufacturer was listed at no 20. He was still in the same premises as a billiard table manufacturer in 1906, but it was now no 37. Next door (building in scaffolding) had three different occupiers between 1873 and 1906 – Joseph Richards, carpenter had gone by 1888, replaced by Staffordshire Supply Store and by the 1900s Wall and Co, furniture dealers.

25. G. Evans, flour dealer
26. Waters & Co. wine & spirit merchants
27. William Pepper, hosier, etc
27. Thomas Crew, porter stores
28. James Brown, baker
29. William Thomas
30-31. William Merson, saddler
Charles Latham, attorney
31. John Milton, venetian blind maker
33. William Robins, painter, etc
34. www.flickr.com/photos/20654194@N07/10383609634/
36. www.flickr.com/photos/brizzlebornandbred/9280249203/
39. James Morse & Co. grocers

www.flickr.com/photos/brizzlebornandbred/10380679115/

40. George Stallard Nipper, builder
41. William Chapman, painter, etc
42. Selina Chapman, earthenware dealer
43. Charles Phillips, greengrocer
44. Charles Williams, boot maker
44. Theodore May, dyer
45. Nathan Palmer, soap and candle dealer

www.flickr.com/photos/brizzlebornandbred/10381070043/

46. Thomas Prewett, baker
47. George Gillingham, painter, etc
48. T. W. Lansdown, greengrocer
49. Edward Brown, greengrocer
50. George Pymm
51. John Sprod, grocer
52. Ann Warley, greengrocer
53. Daniel Taylor, smith and bell hanger
54. William Holbrook, fishmonger and poulterer
55. J. C. Hewitt, goldsmith & jeweller

56. Mary Tossell, vict, Little Swan (pub) 1848 – 66 John Tossell / 1866 – 72 Mary Tossell / 1874 – 89 John Jenkins Eastman / 1890 Clara Eastman / 1891 Clara M. Symes 1892 to 1893 Martha Street / 1894 – 1901 Donald Barry / 1904 – 09 George Rexworthy / 1914 Bridget Spencer / 1917 – 25 Albert Alder 1928 – 31 Alfred Scott / 1935 – 37 Jeremiah McCarthy. www.flickr.com/photos/brizzlebornandbred/

57. Charles Taylor, hair dresser
58. William Rokins, greengrocer

58-76 Stokes Croft www.flickr.com/photos/brizzlebornandbred/10383296583/

59. James Hewitt, vict, Swan Hotel Near the corner with Nine Tree Hill the Swan Hotel is still trading, but is now known as the Croft. bristolslostpubs.eu/page195.html

60. Charles Davis, confectioner

Vincent Skinner, horticultural builder

Tucketts Building

On the corner of Ashley Road stands 108, Tucketts Buildings an ebullient example of late Victorian commercial premises. It is said that human bones were dug up in the foundation trenches, probably from the victims of the gallows which once stood here.

The Tuckett’s Buildings 108 Stokes Croft sweep around the Ashley Road corner.

Named after Coldstream Tuckett who developed the site and opened his grocery and provisions shop there in the 1890s. During the excavations two skeletons were found. It was suggested that they were 17th/18th century suicides who, according to the custom of the time, had been buried at the crossroads.

F. Coldstream Tuckett had his grocer’s shop in part of this building until about 1920. He was a member of the Executive Committee of the Bristol & District Grocers’ & Provision Dealers’ Association. When the Grocers’ Federation of the United Kingdom held their Summer Conference in Bristol in July 1900 he was Press Steward and half of the two-man Entertainment Committee.

In 1911 two boys named Cooper and Hardwick were charged at Bristol Police Court with breaking into his premises through Skinners Yard at the back. They stole a bottle of port and some pork pies. The court sentenced them to a birching.

Although a route through Stokes Croft is likely to have existed for centuries earlier, the first reference is in a deed of 1579. The land is recorded as a field containing one little lodge, a garden and pasture, with a footpath running through the grounds. In 1618, the city received 6d for mending holes in the stile.

61. T. J. & J. F. Perry, carriage builders
62. Charles S. Davey, corn and flour dealer
63. Pugh and Son, grocers
64. James Kebby, butcher
65. M. A. Alexander
66. John Smith, porter stores
67. Isaac Thomas, bookseller
68. Thomas Mann, tailor
69. J. Sampson, boot maker
70. James Melhuish, pork butcher

71. E. J. Hatherley, builder, Stokes croft house www.flickr.com/photos/brizzlebornandbred/6174888582/

72. Edwin Peacock, chemist
Baptist College – Rev. Dr. Gotch
73. Joseph A. Cortisi, confectioner
73. George Park, toy warehouse

76-74 Stokes Croft www.flickr.com/photos/brizzlebornandbred/10382901475/

74. John Parry, boot maker
75. J. Greenham, tobacconist
76. Misses Wallington, fancy repository

www.flickr.com/photos/brizzlebornandbred/10381417373/

77. Miss E. Wallington, milliner
78. J. Cluett, china warehouse

(North Parade)

6. A. Willis, butcher
5. Eleanor Ford, fancy draper
4. Robert G. Whiting, boot maker
3. George A. Peacock, fishmonger, etc
2. S. Palmer, spirit dealer
1. John Howe, boot maker
1. W. Greening, druggist

(City Road Intersect)

Foll and Abbott, Stokes Croft Brewery www.flickr.com/photos/brizzlebornandbred/10383594583/

77. Charles and Wakefield, tailors, etc
78. George Nelson Naish, boot maker

www.flickr.com/photos/brizzlebornandbred/10381553633/

79. W. H. Hawkins, plasterer & painter
80. S. Bruton, music warehouse
81. Henry O. Richards, boot maker

82. Robert Tyler, wine & spirit merchant www.flickr.com/photos/brizzlebornandbred/10380482016/

83. J. W. Sane, ladies’ outfitter
83. Frederick Calder, confectioner
84. Anthony Power, berlin and fancy depository

85. W. J. Exon, baker www.flickr.com/photos/brizzlebornandbred/6174410583/

86. Charles Tovey & Co, wine merchants
87. A. M. Withers, ironmonger
88. Francis Virtue, bookseller
89. John Parnall, ladies’ outfitter
90. Unitarian Almshouses & School

Stokes Croft School www.flickr.com/photos/brizzlebornandbred/2049372251/

91. Isaac Simmonds, plumber, etc
92. John H. Diggs, tobacconist
93. Sarah Mountjoy, fancy depository
94. George King, grocer
95. Edward Hunt, ironmonger, etc

Walter James Hooper & Co. fish and poultry market. www.flickr.com/photos/brizzlebornandbred/10381994874/

97-99. www.flickr.com/photos/brizzlebornandbred/10381685406/

101. The Post office www.flickr.com/photos/brizzlebornandbred/10382010883/

Stokes Croft Court, 28, Stokes Croft

Stoke’s Croft Place, Stoke’s Croft

Mrs Spurse
Catherine Parsons
Alfred Jones
John Weeks, 2, Vine cottages
W. C. R. Bailey, 1, Vine cottages
Mrs Duance
John Pottow, farrier

Notes

Ann Barnes – Wife of Mr Barnes wheelwright living near Stokes Croft turnpike Died January 11th 1816 in 22nd year of her age of consumption.

William Chaffe 1753 Died ‘of lunacy’ Inquest held at Full Moon, Stokes Croft

Joseph Church of Newfoundland Gardens, fell down a flight of steps in Stokes Croft in December 1847 and fractured his leg. Admitted to Bristol Infirmary.

Mr Fry Schoolmaster of Stokes Croft married Mrs Dickson of Broad Street at St James’ Church on Friday Nov 7th 1766.

Joseph Glascodine 1793 carpenter and millwright, Stokes Croft.

Edward William Godwin 1833-1886 Born at 12 Old Market Street, alter living at 21 Portland Square. One of his best-known designs is the Carriage and Harness Factory in Stokes Croft.

George Longman of Stokes Croft., married Mrs Mary Clampit of Catherine Place February 3rd 1829.

William Morgan – Recommended for receipt of parish relief (St James) in 1814. He was a tailor with a wife and 4 children who had worked for John Rice of 23 Stokes Croft for some years. Rice could no longer employ him due to ‘work being dead’.

Henry Parker, cab driver, he was charged at Bristol Police Court in January 1899 with ‘furious driving’ in North Street and Stokes Croft. As he had been in trouble before he was fined 10s and costs.

Samuel Parry (d. 1839) Aged 88, of Stokes Croft was buried at St Paul, Portland Square on January 20th 1839.

James Sadler 1753-1828 Originally from Oxford where his family had a confectionery business. Interested in engineering and chemistry. Made several balloon flights before his ascent from Stokes Croft in Bristol on September 24th 1810., accompanied by William Clayfield Watched by a large crowd the balloon rose up and was carried over Leigh Down, where they dropped a cat in a basket attached to a parachute. (The cat was rescued by a watching limeburner. The balloon eventually landed in the Bristol Channel near Lynton.

John Stoke, Mayor 1364, 1366 and 1379. His will was proved in 1382. Stokes Croft, originally known as Berewyke’s Croft was named after him.

Isaac Van Amburgh, Lion tamer, who gave an exhibition at Bristol Zoo in July 1839 and met with an ‘accidental injury whilst thrusting his hand into a lion’s mouth’. A newspaper report stated that he was completely recovered and would give some more performances before continuing with his tour. This was no means his only visit to Bristol. In August 1842 there were newspaper reports of how he ‘made an entrance into the city driving 8 beautiful cream coloured horses in hand’. The procession of vans was accompanied by an elephant. And made its way to Backfields, Stokes Croft where a spacious pavilion was erected.

Archy Walters, Elder of two young brothers who walked from Stokes Croft to Horfield and lost their way in the fields as night fell. As it grew colder and colder they took shelter under a hedge and Archy wrapped his brother in his own clothes to keep him warm. They were found next morning, but too late to save Archy, although his brother survived thanks to his selfless act.. References: Memorial stained glass window in Horfield Parish church,

Wimble (d. Nov 1766) Died at his house in Stokes Croft.

Schools

Misses Armstrong’s Boarding School for Young Ladies, Wellington Place, Stokes Croft Listed 1847.

Mrs Baker’s School for Ladies, 4 Wellington Place, Stokes Croft. Mrs Baker gave the establishment her ‘strict personal attention’ according to newspaper notice of 1830 which stated that teaching was ‘conducted on a plan approved by men of learning which renders abstruse studies comprehensible and entertaining’.

Churches

Stokes Croft Chapel, Stokes Croft (Christian Brethren) This was originally a skating rink and was purchased on 8th July 1879 by the ‘friends worshipping in Bethesda Chapel and Salem Chapel St Augustine’. It was fitted up as a place of worship in lieu of Salem, which was then vacated. It accommodated 500 people and was ‘neatly fitted up at the expense of £500-600’.

Businesses

Wyndham Lewis, 102 Stokes Croft Baker and Confectioner.

Massingham – Red House Boot Stores, 77 Stokes Croft. trading in 1901.

W E Pritchard, 95 Stokes Croft. Fishmonger & Poulterer. Trading in May 1901.

E K Vaughan, 56 Stokes Croft, Jeweller and Watchmaker Trading May 1901.

New Zealand quotations (3)
molds make maker china
Image by PhillipC
Ronald Allison Kells Mason was born in Penrose, Auckland, on 10 January 1905, the son of Francis William Mason and his wife, Jessie Forbes Kells. His father, a perfume maker, died of an accidental overdose of opium in 1913 and he and his elder brother were sent to live with an aunt, Isabella Kells, in the south Waikato settlement of Lichfield. She taught the boys until 1915, when Mason returned for one year’s primary schooling at Panmure before attending Auckland Grammar School from 1917 to 1922 (in 1919 and 1921 for only one term each year, apparently for economic reasons). He distinguished himself in English and Latin, and began writing verse. His translation of Horace’s ‘O fons Bandusiae’ (‘O fair Bandusian fountain’) was evidently a class exercise done in the fifth form. In that same year he first encountered A. R. D. Fairburn, with whom he formed a close association over the next decade.

Soon after leaving school Mason took a position as a tutor in Latin, economics and civics at the University Coaching College, a private tutoring school where he was to be employed for six years. In 1923 he prepared a handwritten collection of poems which he named ‘In the manner of men’. This was followed in 1924 by his first published volume, The beggar , which contained versions of many of the poems written during his school years. They are precocious, often morbid poems that reflect the highly rhetorical styles of the Victorian poets, but some are of lasting value. The beggar found almost no market in New Zealand. It did, however, reach the English anthologist and editor Harold Monro, who reprinted two of its poems in the 1924 issue of the Chapbook , and two more in the 1929 anthology Twentieth century poetry .

In 1925 Mason published a pamphlet, Penny broadsheet , containing five further poems. In 1926 he enrolled at Auckland University College, majoring in Latin and French. He studied full time that year and from 1928 to 1930, eventually graduating BA in 1939. Mason evidently continued to support himself by tutoring until near the end of his full-time studies. He continued to write poems, some of which were published in the local newspapers, the Sun and the Auckland Star , and wrote several short stories, published in Kiwi , the Phoenix and Tomorrow ; He also drafted two novels, which remained unpublished.

After completing his full-time studies he worked for a season in Lichfield as a harvester before returning to Auckland to a variety of labouring jobs, and to close association with friends active at the university. In the first months of 1931 he travelled to Tonga and Samoa to study the conditions on those islands, and particularly the circumstances of the Mau uprising in Samoa. This trip he described as beginning his disillusionment with New Zealand nationalism, which was to culminate in 1947 with the publication of the pamphlet Frontier forsaken: an outline history of the Cook Islands .

Between 1931 and 1933 Mason contributed regularly to Kiwi and to the Phoenix , a student publication printed by Bob Lowry at Auckland University College. The first two issues in 1932, edited by James Bertram, emphasised cultural and aesthetic issues. Mason assumed the editorship in 1933; under him the third and fourth issues had a more directly political emphasis, and the magazine’s controversial nature made it the focus for attack from the conservative press.

By this time Mason’s interests had clearly moved from the poetic to the political. Although he was to publish three books of verse in the next 10 years, all but about 12 of the poems eventually collected under his name had been written by 1933. No new thing (1934) contained 25 poems from 1924 to 1929. The book was printed by Lowry at the Unicorn Press, but problems with binding meant that only a few copies were issued for sale. Mason retained his business association with Unicorn for a short time, but the Caxton Press published his poems from then on. End of day (1936) printed five new poems, and a further five were included in Caxton’s Recent poems (1941). This dark will lighten: selected poems, 1923–41 was Mason’s first substantial selection of his work and the first to make it widely available. In it he stripped down the typography and punctuation, making increasing use of the hanging indent that he had first used a decade before, and paring down the rhetorical diction and flourishes of some of the earlier poems.

Mason’s writing after the mid 1930s was mainly political journalism and didactic plays for the stage, radio and dance theatre. At least 10 plays were written; two were published separately, Squire speaks in 1938 and China: script…for a dance-drama by Margaret Barr in 1943. He wrote political and social commentaries extensively, using both his own name and ‘PWD’. He published in Tomorrow , the Workers’ Weekly and the People’s Voice , the communist weekly newspaper. When this was banned by the government in 1941, Mason edited, printed and published its successor, In Print. He was briefly the publisher of the revived People’s Voice in 1943–44 and then publisher of Challenge , the weekly journal of the Auckland District Labourers’ Union. He is also recorded in 1950 as the publisher of a union paper, Congress News , the journal of the New Zealand Trade Union Congress. He made another trip to the Pacific islands prior to the publication of Frontier forsaken in 1947. In the years immediately after the war he was a strong advocate of the establishment of a national theatre.

Ill health forced Mason into semi-retirement in 1956, though for several years he continued to work a little as a landscape gardener. In that year he welcomed a troupe of the Classical Theatre of China to Auckland, and in 1957 he was a member of a New Zealand delegation invited to the People’s Republic of China.

In 1962 Pegasus published his Collected poems. The book drew together all the published and unpublished poems he wished to retain, while the last of the earlier poems were revised for republication. In the same year he held the Robert Burns Fellowship at the University of Otago. Three poems were printed in the students’ association’s Review and ‘Strait is the gate’, a play with strong Otago themes, was performed and later recorded for radio. Also that year, on 27 August, he married his long-time companion Dorothea Mary Beyda (known by her maiden name of Dorothea Mould). They remained in Dunedin until 1965, when they returned to Auckland, living in Takapuna where Mason taught part time. In 1969–70 the New Zealand Literary Fund Advisory Committee discussed a recommendation that a pension be paid to him in recognition of his achievements, but he died on 13 July 1971 before this could be done. He was survived by his wife.

In his own lifetime Mason was respected for his commitment to the trade union movement, and for his dedication to the principles of Marxism as a political philosophy. Although it is as a poet that he is deservedly best remembered, the ethical and existential questions that the poems confront seem to have been answered for Mason by his espousal of Marxist principles, and the transferral of energy from poetry to politics in the mid 1930s was a part of this process. Mason’s poetry was humanistic and sceptical, concerning itself with the quest for purpose in a universe which appeared to be essentially mechanistic or godless. The earlier poems are frequently concerned with a sense of despairing mortality, and a feeling that the poet is the plaything of history. The later poetry, often focusing on the figure of a secular suffering Jesus, who is human rather than divine, poses dramatised questions about the consequences of ethical choice and the problems faced by the good man in a morally indifferent society.

Stylistically and thematically much of Mason’s poetry marks him as an inheritor of the Victorian tradition, although equally he was influenced by the Georgian practices of his time. His work stands somewhat apart from the more overtly nationalistic writings of his contemporaries, though he shared with them a sense of romantic alienation and a view of poetry as primarily a morally instructive art. His poems from The beggar on also mark the beginnings of serious modern poetry in New Zealand, and his best poems remain numbered among the finest in New Zealand literature.

Benn & Adelaide Pitman Bedstead
molds make maker china
Image by elycefeliz
www.discoveringthestory.com/goldenage/bed/background.asp

This mahogany bedstead was designed by Benn Pitman on the occasion of his marriage to his second wife, Adelaide Nourse. Adelaide carved the decorative motifs on the bed, which was made for the Pitman home on Columbia Parkway. The interior of the home was decorated with carved floral and geometrical motifs based on native plant life. Everything in the home was carved by hand, from the baseboards to ceiling moldings and all its furniture.

The bedstead is Modern Gothic in style and is composed of a headboard, footboard, and two side rails. The headboard is divided into three sections: two lancet panels with egg molding and a central trilobate arch. The central panel is carved with a flock of swallows flying in the evening sky. The birds are depicted in various stages of relief, some nearly four and a half inches from the headboard. Others are shown in low relief to suggest a sense of depth. Just below and to the right of the birds is a crescent moon in low relief. Hydrangea blossoms in high relief are carved into the lower section of this panel. In the lower left is a carved inscription that reads, "Good night, good rest." Extending above this is an arched hood that is carved with four panels of overlapping daises. The four finials of the headboard are carved in the shape of wild parsnip leaves.

In the two lancet panels on either side are painted images of human heads on gold discs representing night and morning. These panels were painted by Elizabeth Nourse (1859-1938), Adelaide’s twin sister, who was an internationally acclaimed painter. To the left is Morning, surrounded by painted white azaleas. To the right is Night, surrounded by balloon vines. The corners of these side panels are carved with stylized leaves and berries.

This bed, which occupied the Pitman’s bedroom, was meant to symbolize and celebrate sleep. Soon after its completion, it received much acclaim and was exhibited in 1883 by the Pitmans at the Fifteenth Annual Exhibition of the Work of the School of Design of the University of Cincinnati and also at the Cincinnati Industrial Exhibition. In 1909 the bedstead and the rest of the bedroom were described in the Cincinnati Commercial Gazette: "It is such a room in which a sufferer of insomnia would totter drowsily upon entering. The entire combination is made to symbolize "night" and so faithfully is repose portrayed that sleep nearly overcomes one within the door. The bed is a masterstroke of human genius…and the entire combination seems covered with such a consistent nocturnal veil as to make the words "good night" at the bottom quite unnecessary."

72.249.182.183/collection/search.do?id=15453&db=objec…

Artist/Maker Benn Pitman (American, b.1822, d.1910)
Elizabeth Nourse (American, b.1859, d.1938)
Adelaide Nourse Pitman (American, b.1859, d.1893)
Date 1882-1883
Medium American black walnut and painted panels
Credit Line Gift of Mary Jane Hamilton in memory of her mother Mary Luella Hamilton, made possible through Rita S. Hudepohl, Guardian

Benn Pitman, an expatriated Englishman, arrived in Cincinnati from Philadelphia in 1853. Although trained to be an architect, he traveled to America to promote the phonetic shorthand system developed by his brother Sir Isaac Pitman. Sometime between his arrival and 1872, he developed an extraordinary interest and skill in woodcarving. Pitman embraced the Aesthetic Movement and turned to nature for inspiration.

In 1872, carved furniture, doors and baseboards made by the Pitman family, including his wife, Jane, and daughter Agnes, were exhibited at the Third Cincinnati Industrial Exposition.

He taught woodcarving at the School of Design of the University of Cincinnati (later the Art Academy) from 1873 to 1892. He also invented an electrochemical process for relief engraving (1855), was court recorder for the Lincoln assassination trial (1865) and wrote a biography of his brother (1902).

Adelaide Nourse Pitman, the twin sister of Elizabeth Nourse and youngest of ten children, was born on October 26, 1859, in the Cincinnati suburb of Mt. Healthy. Her parents had moved to Cincinnati from Massachusetts in the early 1830s. Her father, a banker, suffered serious financial losses after the Civil War. As a result of this loss, the girls were required to support themselves. The twins enrolled in the University of Cincinnati School of Design, which charged only minimal tuition. While at the University, Adelaide joined Marie Egger’s china painting class and began several years’ study of wood carving under Benn Pitman. She worked on the carving of the Cincinnati Music Hall organ screen, carved a number of architectural elements for the interior of the Ursuline chapel in St. Martin, and received a silver medal at the 1880 Cincinnati Industrial Exposition.

On August 10, 1882, Adelaide married Pitman in Sandusky, Ohio. She was twenty-two and he was sixty. After their marriage, she continued to work, under his supervision, in copper, silver, and brass, as well as on decorative wood carvings for the Pitman home on Columbia Parkway.

In 1883 she gave birth to her first child, who died in infancy. The couple’s second child, born July 5, 1884, was named Emerson. The third and final child born to the couple was their daughter, Melrose, born on November 5, 1889.

Tragically, Adelaide Pitman died on September 12, 1893 of tuberculosis. She was only thirty-three years old.

Elizabeth Nourse was a painter, sculptor, wood-carver, etcher, illustrator and decorative artist who achieved her greatest success after 1887 as an expatriate in Paris. Born a twin in Mount Healthy, she enrolled in 1874 at the Cincinnati University School of Design, graduating in 1881. She had planned to continue her studies in New York, but with the death of her father and the marriage of her sister, Adelaide, to furniture-maker Benn Pitman her plans changed.

Nourse studied for a few months at the National Academy of Design and from 1883-86 worked as a portrait painter spending part of each summer sketching and painting in the mountains of eastern Tennessee. It was the local people who would become her subjects. In 1887 she exhibited four watercolors at the Cincinnati Industrial Exposition and soon after she and her older sister, Louise, left for what was to be a visit to France. They spent the rest of their lives abroad.

www.cincinnatiartmuseum.org/

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