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Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A1715,Gilbey,whisky,advert,Tralee,Ireland,historic,advertising,spirits,heritage,sign,Dublin,London,Edinburgh,retail,pub,auction
Description: Tony Smith image Alamy 3FA7X03 - . Historic W and A Gilbey whisky advertising sign in Tralee, Ireland. Photographed on 18 July 2025. The recorded location is Tralee, County Kerry, Ireland. Historic W and A Gilbey advertising sign photographed in Tralee, County Kerry, promoting the firm's wine and whisky business and naming Dublin, London and Edinburgh. The aged painted panel is a piece of commercial and drinks heritage and can illustrate historic advertising, Irish pub culture, whisky retailing, brand history, typography and the survival of traditional signage in older hospitality interiors. For direction sign, the historical context is that signs are functional pieces of graphic design that organise movement and communicate rules, names or destinations
Lettering, symbols, colours and materials can date public space as clearly as architecture, particularly when organisations rebrand or regulations evolution. Looking at alcohol, the longer history is that scotch whisky became one of Scotland's most recognisable exports, while local liqueurs and gins use ingredients, packaging and place names to build regional identity
Distilleries increasingly developed visitor centres alongside production. The background to local pub is that public houses form a distinctive strand of British social past
Coaching routes, tied brewery estates, Victorian urban growth and twentieth-century leisure each shaped the location and appearance of pubs, many of which later became restaurants, shops, housing or community assets. For direction sign, the 2026 context is that digital maps and smartphone navigation are ubiquitous, but physical signage remains essential for safety, accessibility, legal restrictions and visitors without reliable connectivity. In 2026, alcohol remains relevant because duty-free and visitor retail continue to use regional drinks as souvenirs, linking alcohol branding with destination identity and travel.
Tralee, County Kerry, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0181,Luas Red Line,tram,Jervis,Abbey Street Upper,Dublin,Ireland,city,centre,buildings,public,transport,light,rail,electric,commuting,pedestrians,urban,infrastructure,sustainable,mobility,transit,regeneration,shopping,overhead,wires,Irish,travel,transportation,Leap card
Description: Tony Smith image Alamy 3EM2JK6 - Luas Red Line tram at Jervis stop on Abbey Street Upper in Dublin 1, Ireland, with city-centre buildings and pedestrians surrounding the modern light rail vehicle. The tram is photographed at one of the busiest central stops on Dublin's Red Line, close to Jervis Shopping Centre and the main retail streets north of the River Liffey. Luas has become a central part of public transport in the Irish capital, providing frequent electric tram services through dense urban areas and connections with rail, bus and other transport modes. The photograph is suitable for editorial coverage of Dublin transport, Luas, Red Line services, trams, light rail, sustainable transport, commuting, public transport, Jervis, Abbey Street, city-centre regeneration, electric transit and Irish urban infrastructure. The mixture of modern tram, overhead wires, pedestrians and surrounding commercial buildings gives the image strong everyday city context and makes it useful for stories about congestion reduction, transport investment, low-emission travel, urban mobility and the continued expansion of public transport alternatives in Dublin.
Jervis Luas stop, Abbey Street Upper, Dublin 1, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A0206,Off Licence,Wines Beers Spirits,neon,sign,shop,alcohol,Britain,UK,retail,window,nightlife,urban,drinks,liquor,convenience,illuminated,red,city,beverage,commerce,street,graphic,display,beer,wine,spirits,storefront,Dublin,centre,sales,offsales
Description: Tony Smith image Alamy 3F3NDNF - . Neon off licence sign reading Off Licence Wines Beers Spirits, photographed in Britain. Photographed on 30 June 2025. The recorded location is Britain, UK. The vivid illuminated lettering behind glass makes a strong urban detail image suitable for editorial use on retail, alcohol sales, nightlife, shopfronts, convenience stores, British high streets and graphic signage. For public realm, the historical context is that temporary and permanent notices are valuable social-past evidence because they capture the rules and assumptions of a particular moment, from parking and access to opening times, safety and public-service instructions. Looking at nightlife, the longer history is that british pubs developed from inns, taverns and alehouses into licensed social institutions that have long served as meeting places, music venues and landmarks
Names, brewery signs, etched glass, tiled interiors and changing fascias can preserve local history even when ownership or use changes. The background to eating out is that restaurants, street vendors and domestic dishes illustrate migration and cultural exchange as much as appetite
Foods once considered specialist can become familiar through travel, supermarkets and changing urban populations. For public realm, the 2026 context is that digital maps and smartphone navigation are ubiquitous, but physical signage remains essential for safety, accessibility, legal restrictions and visitors without reliable connectivity. In 2026, nightlife remains relevant because pub survival continues to be a live issue as energy, staffing, taxation and changing drinking habits affect the licensed trade
Historic and contemporary pub images therefore have relevance to community assets, nightlife, independent brewing, high-street change and hospitality economics. Useful related concepts include public information, wayfinding, direction sign, street sign, typography, visitor guidance, information sign, and bilingual signage.
Britain, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,signage,sign,Dublin,pub,bar Dublin,inside,interior,red neon sign,Irish,music,nightlife,vintage,Ireland,bar interior Dublin,cultural,Dublin pubs,is,was,pubs,bars,2000,Twenty-First,Harry Street,city centre,bar,nightlife Ireland,artificial lighting interior,evening bar atmosphere,warm red lighting,urban culture Dublin,iconic,Dublin pub,and,arts
Description: Tony Smith image Alamy 3CPAWR2 - A vivid red neon sign displaying the phrase Twenty First Century's Yesterday mounted on an exposed brick wall inside Bruxelles, a long-established bar on Harry Street in Dublin city centre. The sign glows under warm artificial lighting, creating a distinctive evening atmosphere typical of Dublin's nightlife and pub culture.
The image is taken indoors, with no natural daylight visible, suggesting night-time or late-evening trading hours. The saturated red neon contrasts strongly with the dark brick background, giving the scene a retro, slightly underground aesthetic associated with music, arts and alternative culture in the city.
Bruxelles is widely recognised as a cultural meeting place in Dublin, frequented by musicians, artists and writers over many decades. Interior details such as this neon sign contribute to the venue's character and are often used editorially to illustrate stories about Dublin nightlife, urban culture, hospitality, music scenes and creative spaces in Ireland's capital.
Bruxelles Bar, Harry Street, Dublin 2, Ireland , D02 YT22
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,boat,Dublin,Irish famine ship replica,Dublin Docklands ship,Dublin maritime heritage,historic ship Dublin,heritage,spring,early,summer,blue sky,partly,sunny,cloudy sky,fair,bright,weather Ireland,calm river conditions,daylight Ireland,Dublin cityscape,south bank River Liffey,Dublin quays,tall ship moored,maritime,Ireland,Irish,diaspora,history,tourism,regeneration,city,centre,dock,docks,dockside
Description: Tony Smith image Alamy 3CPAWW8 - The Jeanie Johnston, a full-scale replica of a nineteenth-century Irish emigrant ship, lies moored on the north bank of the River Liffey in Dublin, viewed here from the south bank. The scene is photographed in daylight under a blue sky with scattered cloud, suggesting mild spring or early summer conditions typical of fair weather in Ireland.
The ship's tall masts, rigging and traditional wooden hull stand in contrast to the modern glass and brick architecture of Dublin Docklands, reflecting the city's blend of historic memory and contemporary regeneration. Calm river conditions and soft natural light enhance the clarity of the waterfront setting.
The Jeanie Johnston serves as a floating museum and powerful symbol of Irish emigration during the Great Famine, when thousands left Ireland for North America. Today it remains a prominent riverside landmark, frequently used in editorial contexts relating to Irish history, migration, maritime heritage, tourism and Dublin's evolving urban landscape.
River Liffey, Dublin Docklands, Dublin 1, Ireland (north bank mooring, viewed from south bank)
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,centre,Dublin 8,D08 W449,M,Wall,1913,Greeting Cards,office,Post Office,An Post,Dublin,Ushers Quay,Oifis an Poist,Irish post office,green shopfront,traditional shopfront,Dublin city,public service,postal services,greeting cards,stationery,historic building,retail frontage,branding,Irish language signage,bilingual signage,green painted frontage,Victorian shopfront,Edwardian shopfront,city streetscape,Irish streets,urban Ireland,local services,community services
Description: Tony Smith image Alamy 3CPAXRB - A traditional Irish post office operated by An Post at 5 Ushers Quay in Dublin 8, photographed from street level. The building features a distinctive green-painted wooden shopfront, a colour long associated with Irish public services and heritage retail premises. Prominent bilingual signage across the fascia reads Oifis an Poist , reflecting Ireland's official use of both the Irish and English languages.
The frontage includes wooden double doors, flanking windows, and signage advertising post office services, stationery, and greeting cards. Additional posters visible in the windows reference modern An Post services, highlighting the contrast between the historic appearance of the building and the contemporary financial and digital services now offered by Ireland's national postal operator.
Ushers Quay runs along the south bank of the River Liffey, close to Dublin city centre, an area characterised by a mix of historic commercial buildings, residential properties, and long-established local services. The image captures a moment in the ongoing evolution of Ireland's high streets, where traditional public service buildings face pressure from digital communication, changing retail habits, and urban regeneration.
This photograph is suitable for editorial use illustrating Irish public services, postal history, bilingual signage in Ireland, Dublin streetscapes, heritage shopfronts, and discussions around the future of traditional post offices in European cities.
5 Ushers Quay, Dublin, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,mural,Dublin,street art,The George,LGBTQ,nightlife,female,Irish,disc jockey,resident,30 years,portrait,music,heritage,Dublin 2,LGBTQ+ history,women in music,club culture,dance music scene,nightlife personality,gay venue,public art portrait,Irish entertainment,veteran performer,musical career,dancefloor culture,Pride community,social change Ireland,urban cultural tourism,equality movement,marriage equality era,popular music history,city-centre nightlife,street-art tourism,cultural identity,Irish LGBTQ+ visibility,clubbing
Description: Tony Smith image Alamy 3EM2JE2 - Black-and-white street-art portrait celebrates Dublin DJ Karen Reddy and her 30-year association with The George, one of the city's best-known LGBTQ+ venues. Painted directly onto a dark brick wall near Dame Street and Temple Bar, the mural shows Karen smiling beside the words No Requests Babes and 30 Years of DJ Karen . The monochrome face contrasts with a narrow strip of bright yellow paint at the edge of the composition, while the brick texture gives the work a strong urban and documentary character.
Karen Reddy began her residency at The George in September 1993 and became closely identified with the venue's dancefloor, drag shows and queer nightlife. Her sets have ranged from pop remixes and singalong favourites to funky house and electro-house, with Tuesday and Sunday appearances among her established nights. The phrase No Requests Babes reflects the humour and authority of a long-serving club DJ managing a busy dancefloor and unwanted song requests.
Her career developed alongside major social change in Ireland. Karen started at The George during the year male homosexual activity was decriminalised, and her three decades behind the decks span expanding LGBTQ+ visibility, Pride culture, civil partnership and marriage equality. She has also performed at other Dublin clubs and events, including Spirit, Wax, Rogue, The Dragon, Mother and Sweatbox, as well as festivals such as Electric Picnic and Love Sensation.
The mural is suitable for editorial coverage of Dublin street art, women DJs, nightclub culture, LGBTQ+ history, queer safe spaces, music careers, club residencies, public portraiture and the cultural life of the Temple Bar and Dame Street district. It records a local nightlife personality whose music and presence became part of The George's identity for generations of customers, visitors, performers and members of Dublin's LGBTQ+ community
Temple Lane South, Temple Bar, Dublin 2, D02, Republic of Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0038,Street,art,The George,Dame Lane,Dublin,Ireland,painted,female,face,performance,mural,LGBTQ+,portrait,nightlife,entertainment,Pride,gay,public,music,performers,tourism,city-centre,culture,urban,visual,inclusive,business,murals
Description: Tony Smith image Alamy 3EM2JE5 - Street art beside The George on Dame Lane in Dublin, Ireland, showing a painted female face alongside a large music and performance mural. The two contrasting artworks turn the side wall of the well-known LGBTQ+ venue into a colourful piece of urban visual culture, combining portraiture, nightlife imagery and entertainment branding. The George is strongly associated with Dublin's LGBTQ+ social scene, drag performance and live entertainment, making the surrounding murals part of the venue's public identity. The photograph is suitable for editorial coverage of Dublin street art, The George, Dame Lane, LGBTQ+ culture, Pride, gay nightlife, murals, public art, portrait art, music, performers, entertainment venues, tourism and city-centre culture. The female portrait and adjacent monochrome singer create a layered composition with two distinct artistic styles sharing one urban wall. It can also illustrate stories about inclusive nightlife, the visibility of LGBTQ+ businesses, public art in commercial districts and the role of murals in creating distinctive cultural streetscapes.
The George, Dame Lane, Dublin, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0130,Arnotts,department,store,exterior,Dublin,city,centre,Ireland,vertical,sign,retail,shopping,high-street,commerce,Irish,fashion,consumer,spending,heritage,business,employment,footfall,architecture,historic,brand,Henry,Street,traditional
Description: Tony Smith image Alamy 3EM2JGH - Arnotts department store exterior in Dublin city centre, Ireland, with its distinctive vertical ARNOTTS sign on the historic red-brick facade. The store is one of Dublin's best-known retail landmarks and has long formed a major part of the Henry Street shopping district on the north side of the River Liffey. The photograph is suitable for editorial coverage of Arnotts, Dublin retail, department stores, high-street shopping, city-centre commerce, Irish retail, shopping tourism, fashion, consumer spending, retail heritage and changing town centres. The tall sign provides immediate brand recognition while the decorative architecture places the business within the historic commercial streetscape of central Dublin. It can also illustrate business stories concerning department-store trading, consumer confidence, retail employment, city-centre footfall and the pressures facing large traditional retailers as online shopping and changing consumer habits reshape the sector. Bright daylight and the upward composition emphasise both the store branding and the architecture of the building.
Arnotts, Henry Street, Dublin 1, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0072,Palace Bar Dublin,summer,evening,drinkers,traditional,pub,Dublin,Ireland,customers,street,flowers,Guinness,umbrellas,culture,tourism,nightlife,outdoor,drinking,hospitality,heritage,social,life,Irish,alcohol,visitors,busy,historic,city
Description: Tony Smith image Alamy 3EM2JGW - Palace Bar Dublin with summer evening drinkers outside the traditional pub in Dublin, Ireland. Customers crowd the narrow street beneath hanging flower baskets, Guinness umbrellas and the distinctive Palace Bar signage, creating the lively atmosphere associated with central Dublin's pub culture. The Palace Bar is a long-established traditional Irish pub and is closely associated with the city's literary, journalistic and social history. The photograph is suitable for editorial coverage of Dublin pubs, Irish drinking culture, summer tourism, traditional pubs, Guinness, nightlife, outdoor drinking, hospitality, Temple Bar area tourism, city breaks, pub heritage and social life. The mixture of local and visiting customers gives the street a busy cosmopolitan character, while the historic facade and decorative flowers provide a recognisable Dublin setting. It can illustrate stories about hospitality, tourism pressures, pub trade, alcohol, nightlife and the enduring role of traditional pubs as both social venues and visitor attractions in Ireland's capital.
The Palace Bar, Fleet Street, Dublin, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0087,Samuel Beckett Bridge,River Liffey,Jeanie Johnston,Dublin Docklands,Dublin,Ireland,bridge,river,tall,ship,waterfront,modern,offices,architecture,engineering,regeneration,tourism,maritime,heritage,transport,infrastructure,cityscape,Calatrava,boat,development,Irish,landmark
Description: Tony Smith image Alamy 3EM2JH7 - Samuel Beckett Bridge over the River Liffey with the Jeanie Johnston tall ship and Dublin Docklands in Dublin, Ireland. The distinctive white cable-stayed bridge spans the river against a backdrop of modern offices and waterfront development, while a red passenger boat and the masts of the historic Jeanie Johnston add maritime detail to the scene. Designed by Santiago Calatrava, the bridge has become one of the most recognisable contemporary landmarks in Dublin and forms an important road and pedestrian crossing through the Docklands. The photograph is suitable for editorial coverage of Dublin architecture, the River Liffey, Samuel Beckett Bridge, Docklands regeneration, Irish tourism, civil engineering, bridges, modern cityscapes, transport infrastructure, waterfront development, the Jeanie Johnston and maritime heritage. Bright daylight and calm water provide clear reflections and a strong sense of the regenerated riverside environment. The combination of historic ship, modern bridge and contemporary buildings neatly illustrates the mixture of heritage and redevelopment that characterises Dublin's eastern city centre.
Samuel Beckett Bridge, River Liffey, Dublin Docklands, Dublin, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0069,Bank of Ireland,ATM,cash,machine,Dublin,Ireland,banking,financial,services,withdrawals,consumer,finance,bank,high-street,contactless,payments,branch,closures,access,cards,technology,digital,graffiti,urban,money,Irish,automated,teller,inclusion,cash is king,no,cashless,society,finances,home finances,Central Bank of Ireland dublin
Description: Tony Smith image Alamy 3EM2JKA - Bank of Ireland ATM cash machine set into a stone wall in Dublin, Ireland. The familiar blue Bank of Ireland surround frames the automated teller machine and provides a clear image of everyday banking infrastructure in the Irish capital. ATMs remain an important means of obtaining cash despite the rapid growth of contactless cards, mobile payments and online banking, and their availability is often discussed in relation to bank branch closures and access to cash. The photograph is suitable for editorial coverage of Bank of Ireland, ATMs, cash machines, banking, financial services, cash withdrawals, consumer finance, Irish banks, high-street banking, contactless payments, branch closures, access to cash and changes in retail banking. Graffiti around the lower part of the surround adds an everyday urban detail and contrasts with the formal corporate branding. The close-up composition makes the machine immediately recognisable and useful for stories about cash usage, banking technology, financial inclusion, card services and the changing relationship between physical banking facilities and increasingly digital financial services.
Dublin, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0136,AXA Insurance,entrance,Wolfe Tone House,Dublin,Ireland,corporate,branding,glass,frontage,AXA,insurance,financial,services,offices,business,insurer,premiums,household,car,commercial,property,employment,finance,company,economy,claims,regulation,architecture,buildings
Description: Tony Smith image Alamy 3EM2JM4 - AXA Insurance entrance at Wolfe Tone House in Dublin 1, Ireland, with the insurer's large corporate logo displayed on the modern glass frontage. The building name is visible above the doorway and the blue AXA branding dominates the upper facade, providing a clear commercial image of a major international insurance company operating in the Irish capital. The photograph is suitable for editorial coverage of AXA, insurance, financial services, corporate offices, Dublin business, insurers, insurance premiums, household insurance, car insurance, commercial property, employment and the financial services sector. The contemporary glass architecture and strong company branding make the image useful for business and economic stories where a recognisable insurer is required. Wolfe Tone House places the scene firmly within central Dublin and the photograph can also illustrate the continuing presence of large financial and professional-services firms in city-centre office buildings. The simple exterior composition is particularly useful for company news, insurance-market reporting, consumer finance features and stories concerning claims, premiums or regulation.
Wolfe Tone House, Dublin 1, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0081,Dublin,stolen,ringbuoy,warning,River Liffey,Ireland,lifesaving,equipment,theft,safety,water,drowning,prevention,public,campaign,vandalism,antisocial,emergency,flotation,river,waterfront,Docklands,urban,community,responsibility,sign,orange,yellow,life
Description: Tony Smith image Alamy 3EM2JMB - Dublin stolen ringbuoy warning beside the River Liffey in Dublin, Ireland, highlighting the theft or misuse of lifesaving equipment. The brightly coloured riverside notice shows an orange ring buoy and carries the message A Stolen Ringbuoy A Stolen Life, drawing attention to the potentially fatal consequences of removing emergency flotation equipment from the waterfront. Ring buoys are positioned along the River Liffey and other Irish waterways so they can be thrown quickly to people in danger of drowning. The photograph is suitable for editorial coverage of water safety, drowning prevention, public safety campaigns, vandalism, antisocial behaviour, emergency equipment, Dublin City, the River Liffey, urban waterways and community responsibility. The striking yellow and orange sign contrasts with the modern Dublin Docklands buildings and river behind, giving the image both strong visual impact and clear geographical context. It can illustrate public-information campaigns, local authority safety initiatives, missing lifesaving equipment and the broader issue of protecting emergency infrastructure in busy public places.
River Liffey, Dublin, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0050,Teeling Whiskey,red,neon,sign,Dublin,Ireland,Irish,whiskey,brand,phoenix,logo,illuminated,distillery,distilling,drinks,spirits,alcohol,pub,bar,tourism,heritage,nightlife,branding,marketing,premium,exports,commercial,interior,traditional,modern
Description: Tony Smith image Alamy 3EM2JP5 - Teeling Whiskey red neon sign in Dublin, Ireland, promoting the Irish whiskey brand with its distinctive phoenix logo. The illuminated sign glows against a dark background, combining the TEELING WHISKEY name with the stylised bird emblem strongly associated with the Dublin distillery. Teeling is part of the revival of whiskey production in the Irish capital and has become a prominent modern Irish drinks brand, linking contemporary distilling with Dublin's long whiskey heritage. The image is suitable for editorial coverage of Irish whiskey, Dublin distilleries, drinks branding, neon signs, alcohol marketing, pubs, bars, tourism, Irish food and drink, distilling heritage, nightlife and branded interiors. The strong red lettering and graphic phoenix make the photograph especially useful as a bold illustrative image for stories about premium spirits, the resurgence of Irish whiskey, drinks exports, tourism experiences and the visual identity used by modern distillers. The simple composition also works well for features on neon signage, bar decoration, brand recognition and the commercial presentation of traditional Irish products to contemporary consumers.
Dublin, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Southern,Republic,EU,Dublin,traffic,Ireland,double,decker,double-decker,eco,bus congestion,city traffic,public transport,double decker buses,urban transport,Irish buses,city centre congestion,Bus Eireann,Dublin Bus,commuter traffic,rush hour,city streets,sustainable transport,urban mobility,traffic management,modern Ireland,capital city,street scene,transport network,bus lane,city congestion,European city transport,travel Ireland,infrastructure pressure,daylight,spring summer,leap card
Description: Tony Smith image Alamy 3BR177E - A busy scene of Transport for Ireland (TFI) double-decker buses and city traffic moving slowly around Parnell Square in Dublin city centre, Ireland. Multiple green and yellow Dublin Bus and Bus Éireann vehicles are visible, reflecting the colour scheme used across Ireland's integrated public transport network.
Parnell Square is a key traffic junction on the north side of Dublin's city centre, bordered by Georgian red-brick terraces and major cultural and civic institutions. The image captures congestion caused by high bus volumes, private cars, and constrained road space, illustrating the daily pressures on Dublin's urban transport infrastructure.
Public buses play a central role in Dublin's transport system, supporting commuting, tourism, and city-centre accessibility. However, increasing demand, roadworks, and competing uses of limited street space have contributed to recurring congestion in areas such as Parnell Square.
This photograph is suitable for editorial use illustrating urban transport challenges, public transport policy, city congestion, sustainable mobility debates, infrastructure capacity, and everyday street life in Ireland's capital.
Parnell Square, D01 ET35, Dublin, Ireland, IE
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Southern,Republic,poster,All out,for,housing,march,at,the,on,lamp post,street,in,Dublin,city,centre,June,2025,IE,sunny,day,emergency,Parnell Square,D01 ET35,D01,response,to,Irish,activism,Love Ireland,Hate Racism,Antiracism,anti-racism
Description: Tony Smith image Alamy 3BR178F - This carefully observed stock photograph records Protest posters on lamp post, in Dublin June summer 2025, Ireland, IE - Parnell Square, D01 ET35. The row metadata places the subject at Parnell Square, D01 ET35, Dublin, Ireland, IE. The spreadsheet date indicates 17 June 2025, so the picture can also work as a time-specific archive record. Plainly, the image is useful because it shows Ireland, Irish, Raise The Roof, Save Our Neutrality, Housing Protest, summer, lamppost, protest, with search-relevant terms including Ireland, Irish, Raise The Roof, Save Our Neutrality, Housing Protest, summer, lamppost, protest, Dail, posters, Southern, Republic, poster, All out. Housing-related imagery is in constant demand because it helps explain affordability, regulation, landlord services, resident pressure, repairs, asset management and the cost of living in a concrete visual way. Dublin is both a historic capital and a modern European city, where tourism, housing pressure, transport, politics, culture and the River Liffey all shape how the city is understood in contemporary reporting. The subject has particular value for social housing, resident services, asset management, repairs, rent pressure, leasehold reform, regulation and housing-policy reporting, especially where buyers need a grounded image rather than a generic housing-stock cliché. It would suit editorial features, local news reporting, public policy articles, web explainers, travel pieces and business commentary where a real place or recognisable everyday subject is needed rather than a staged studio concept. Historically and socially, this kind of image can help connect past and present: older streets, civic institutions, transport systems, shops, signs, political messages or public services are not frozen museum pieces, but part of how people understand modern life, local identity and economic change.
Parnell Square, D01 ET35, Dublin, Ireland, IE
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,North West routes,routes,lines,route,map,diagram,feries,ferry,to,Dublin,Douglas,IOM,Cork,Newry,Belfast,Ramsey,Wexford,Waterford,Llandudno,Victoria,railway,station,tile,tiled,British Rail,map of Lancashire and Yorkshire,map of Lancashire & Yorkshire,Eurovision,2023,old,feature,features,historic,heritage,seaside,NW
Description: Tony Smith image Alamy 2JY56EF - . This location-specific image from Victoria Railway Station, Manchester, England, UK, M3 1WY in 2022 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The main point of reference is Old route map in tiles, Victoria Railway Station, Manchester, England, UK, M3 1WY - North West routes, Liverpool, Southport, Blackpool. The setting additionally reflects local character, contemporary social history, place-making, historical comparison, local history, working railway heritage, before-and-after reference, trackside history, archival record, social history, rail transport history, place identity, signal-box architecture, and changing streetscape. For current editorial use, regional connectivity and heritage conservation provide additional context, especially through the role of rail in lower-carbon regional transport. Current relevance extends to construction costs and planning, particularly through the tension between preserving local character and creating modern commercial space. Future viewers can use this scene from Victoria Railway Station, Manchester, England, UK, M3 1WY to compare building condition and alterations with whatever follows after new ownership. The surrounding story also includes mechanical signalling, period detail, mixed-use redevelopment, town-centre renewal, period architecture, rail operations, community identity, and historic townscape. The recorded references to route, tiles, Victoria, Railway, and Southport preserve clues about how the subject was presented, used or understood at the time. The wider setting at Victoria Railway Station, Manchester, England, UK, M3 1WY matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The record includes evidence of earlier appearance for later comparison. That local specificity strengthens the long-term documentary value of image 2JY56EF.
Victoria Railway Station, Manchester, England, UK, M3 1WY
-Live-on-stage-Birmingham-O2-Academy-Institute--Digbeth-West-Midlands--England--UK--B5-6DY-2AFP0GF.jpg)
Description
Keywords: HotpixUK,Birmingham,West Midlands,UK,@HotpixUK,GoTonySmith,England,DC,Dublin,Dublin City,B5 6DY,B5,Live on stage Birmingham O2 Academy Institute,Live on stage,live,stage,music,Academy,Institute,Digbeth,25th November,2019,post-punk,punk,performing,performing at,Carlos OConnell,Conor Curley,Conor Deegan,Grian Chatten,Tom Coll,tour,touring,2019 Tour,Fontaines DC Tour 2019,Fontaines D.C. Tour 2019
Description: Tony Smith image Alamy 2AFP0GF - Fontaines D.C. are a post-punk rock band from Dublin, Ireland. The band released their debut studio album, Dogrel, on April 12, 2019. Winners of Album of the Year 2019 from both Rough Trade and BBC 6Music.
Carlos O'Connell, Conor Curley, Conor Deegan, Grian Chatten, and Tom Coll met in Dublin while attending music college at British and Irish Modern Music Institute in Liberties, Dublin. They bonded over a common love of poetry and collectively released two collections of poetry, one called Vroom, inspired by the Beat poets (Jack Kerouac, Allen Ginsberg) and another called Winding, inspired by Irish poets (Patrick Kavanagh, James Joyce, W. B. Yeats). None of the published poems were translated into songs, but the track Television Screens off their debut Dogrel started out as a poem and was turned into a song.
Lead singer Grian Chatten is half-British (his mother is English and his father is Irish) and was born in Barrow-in-Furness, England but grew up in the County Dublin town of Skerries, Dublin.[10] Coll, Curley, and Deegan are from Ireland “ Mayo, County Mayo, Emyvale in County Monaghan, and Mayo, County Mayo, respectively, and O'Connell grew up in Madrid, Spain.
The band got their name from a character in the movie The Godfather called Johnny Fontane, a singer and movie star portrayed by Al Martino. Fontane was godson of Vito Corleone. They added the initials D.C. when a band in Los Angeles had the same name. The initials D.C. stand for Dublin City.
Fontaines started out self-releasing singles. In May 2017, Fontaines released the single Liberty Belle followed by the split Hurricane Laughter / Winter In the Sun. Liberty Belle is in homage to the Liberties, a neighborhood in Dublin where many band members lived.
78 Digbeth, Birmingham, England, UK, B5 6DY
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,67,OConnell,St,Street,Upper,North City,Dublin 1,D01 C1Y6,Dublin,city,centre,entertainment,entertainments,leisure,light,lighting,red neon,and,when the fun stops,stop,open,slots,addiction,addict,addicts,building,Leinster,push,or,fold,games,FOBTs,Irish
Description: Tony Smith image Alamy 2MG4022 - . A grounded documentary photograph made at 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland in 2019, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The location is represented through Funland Casino, red neon, Come In and visit, and gamble, 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland. The broader subject matter reaches into place identity, period architecture, Trossachs tourism, local history, changing streetscape, local produce retail, adaptive reuse, built heritage, visitor retail, archival record, changing land use, public realm, destination shopping, and everyday life. The modern context includes continuing discussion of embodied carbon, tourism and how historic fabric can support regeneration rather than demolition. For current editorial use, tourism spending and local business provide additional context, especially through the role of gateway towns in national-park visitor economies. The archival value lies partly in recording building condition and alterations around 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland before new construction alters the character of the place. The subject also sits alongside architectural detailing, historic townscape, conservation architecture, documentary photography, historical comparison, social history, traditional materials, and historic streetscape. Details involving Funland, gamble, Upper, O'Connell, and Ireland make the image more specific than a generic view and strengthen its local or historical value. For 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Image 2MG4022 also remains a dated record of 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland.
67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,signs,signage,lit,night,sign,open,67,OConnell,St,Street,Upper,North City,Dublin 1,D01 C1Y6,Dublin,city,centre,entertainment,entertainments,leisure,Irish,nightlife,life,ring,rings,shop,well known,bright,lights,up
Description: Tony Smith image Alamy 2MG405P - . An on-location photograph from 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland in 2019, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The main point of reference is Donuts, Come in and visit, red neon sign at night, Dublin, Eire, Ireland. A broader reading of the photograph includes promotional board, tourist town economy, regional food identity, local produce retail, street-level marketing, advertising ephemera, period detail, visual merchandising, before-and-after reference, regional branding, local speciality shop, community identity, changing streetscape, and tourism business. For current editorial use, cost of living and regional branding provide additional context, especially through the role of gateway towns in national-park visitor economies. Current relevance extends to commercial competition and advertising regulation, particularly through how signs and displays become time-specific records of commercial language. Future viewers can use this scene from 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland to compare local activity and public use with whatever follows after new construction. The location also brings in Highland gateway retail, contemporary social history, Trossachs tourism, public realm, visual archive, documentary photography, historic signage, and visitor retail. References to visit, Dublin, night, Donuts, and Ireland give the picture a strong period identity and tie it closely to its named subject. A later view of 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The record includes period character for future local research. The frame retains a trace of local identity before later change alters the scene.
67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,post office,communication,communications,post,posting,letter,parcel,Dublin,historic,history,an Phoist,logo,Easter Rising,Georgian,building,capital,city,HQ,headquarters,OConnell Street Lower,North City,Dublin 1,office,Proclamation of the Irish Republic,Irish Republic,granite,Proclamation,Francis Johnston,public buildings,An Post,tourist,Dublin City
Description: Tony Smith image Alamy 2M84J6E - The General Post Office (GPO
Irish: Ard-Oifig an Phoist) in Dublin is the headquarters of the Irish Post Office, An Post, and Dublin's principal post office. Sited in the centre of O'Connell Street (formerly Sackville St.), the city's main thoroughfare, it is one of Ireland's most famous buildings. The GPO was built in 1814 under the direction of architect Mr. Francis Johnston and was the last of the great Georgian public buildings erected in the capital.
The building was badly damaged during the Easter Rising of 1916, and eventually reopened in 1929
O'Connell Street Lower, North City, Dublin 1, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,sign,invite,invitation,visit,us,our,museum,building,traditional,advert,advertising,ad,come,in,visitor,and,neon,signage,on,a,architecture,red,white,cream,creme,inside,enter,holiday,vacation,website,Metaverse,Dublin
Description: Tony Smith image Alamy 2M84J6P - . This dated editorial view of Dublin, Eire, Ireland in 2019 captures more than the immediate subject, retaining clues about local use, design, activity and change. The location is represented through Come in and visit, neon sign on a building. Another layer of the photograph includes local produce retail, Highland gateway retail, local history, urban fabric, built heritage, public realm, conservation interest, historic streetscape, documentary photography, place identity, conservation architecture, regional identity, changing land use, and adaptive reuse. Today's relevance is strengthened by heritage conservation, redevelopment pressure and the continuing question of the value of architectural landmarks to local identity. From a 2025-onward perspective, seasonality and cost of living are closely linked to this subject, alongside the role of gateway towns in national-park visitor economies. Future viewers can use this scene from Dublin, Eire, Ireland to compare building condition and alterations with whatever follows after different community use. Further associations within the scene are period detail, heritage asset, architectural character, traditional materials, Scottish visitor economy, changing streetscape, regional branding, and Trossachs tourism. The combination of building and visit anchors the frame to a recognisable activity, place or moment. For Dublin, Eire, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The location additionally provides evidence of heritage conservation and the value of architectural landmarks to local identity within the specific setting of Dublin, Eire, Ireland. A further contemporary connection is visitor footfall and the importance of visitor spending to small-town economies as part of the longer story of Dublin, Eire, Ireland. Image 2M84J6P also remains a dated record of Dublin, Eire, Ireland.
Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,McNallys Newsagent,14 Denmark St,Dublin,14 Denmark Street Great,Rotunda,D01 A663,store,convenience,shop,Leap,green,yellow,traditional,Irish,corner shop,Denmark St,Great,sweets,newspapers,Greengrocers,Greengrocer,commercial,business,local,north inner,city,shopfront,exterior,toy,toys,papers,magazine,magazines,shops
Description: Tony Smith image Alamy 2M84JC7 - . This authentic period view of 14 Denmark Street Great, Rotunda, Dublin, D01 A663, Ireland in 2019 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. The photograph centres on Traditional Irish corner shop, Mc Nallys, 14 Denmark Street ,Great, Rotunda, Dublin, D01 A663, Ireland - Newsagent, fancy goods. Another layer of the photograph includes archival record, place identity, community identity, everyday life, social history, public realm, period detail, bricks-and-mortar business, independent retail, commercial streetscape, commercial frontage, retail property, before-and-after reference, and shopfront economy. For current editorial use, store closures and consumer spending provide additional context, especially through the short lifespan of branding, displays and shopfront identities. For later comparison, the photograph preserves public access and movement at 14 Denmark Street Great, Rotunda, Dublin, D01 A663, Ireland, details that may look very different after new construction. The surrounding story also includes regional identity, local character, visual archive, street-level trading, consumer retail, local enterprise, changing land use, and small-business culture. The combination of Rotunda, fancy, Irish, corner, and Newsagent anchors the frame to a recognisable activity, place or moment. For 14 Denmark Street Great, Rotunda, Dublin, D01 A663, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Its period value extends to store closures and how commercial property shifts between retail, leisure and residential use without losing the local specificity of 14 Denmark Street Great, Rotunda, Dublin, D01 A663, Ireland. The record includes evidence of earlier appearance before later change alters the scene.
14 Denmark Street Great, Rotunda, Dublin, D01 A663, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,boxing,club,Upper Dorset Street,Dublin,at,the,boxer,hope,support,R132,Inns Quay,organisation,gloves,St. Saviours Olympic Boxing Academy,boxers,catholic,religion,religious,painting,Olympic,Boxing Academy,Irish,youth,culture,community,clubs,glove,Saviours,competitive,physical,fitness
Description: Tony Smith image Alamy 2M84JFE - . An on-location photograph from Old Firestation, Dorset Street Upper Dorset Street, Dublin, Eire, Ireland in 2019, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The main point of reference is St Saviours Olympic Boxing Academy,Old Firestation, Dorset Street Upper Dorset Street, Dublin, Eire, Ireland. Another layer of the photograph includes traditional materials, social history, historic townscape, regional identity, before-and-after reference, changing streetscape, community identity, historical comparison, historic streetscape, contemporary social history, everyday life, architectural detailing, visual archive, and public realm. Viewed from the mid-2020s, the subject also connects with maintenance, tourism and how historic fabric can support regeneration rather than demolition. The image fixes local activity and public use within Old Firestation, Dorset Street Upper Dorset Street, Dublin, Eire, Ireland at one identifiable point, providing a benchmark against different community use. Other useful contextual ideas include urban fabric, period building, local history, adaptive reuse, archival record, changing land use, conservation architecture, and local character. Details involving Upper, Dorset, Ireland, Olympic, and Firestation make the image more specific than a generic view and strengthen its local or historical value. The wider setting at Old Firestation, Dorset Street Upper Dorset Street, Dublin, Eire, Ireland matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The scene further reflects maintenance and the balance between conservation and modern commercial use when considered against later change at Old Firestation, Dorset Street Upper Dorset Street, Dublin, Eire, Ireland. Image 2M84JFE also remains a dated record of Old Firestation, Dorset Street Upper Dorset Street, Dublin, Eire, Ireland.
Old Firestation, Dorset Street Upper Dorset Street, Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Dublin,UK,telecoms,telephone box,on,colourful,fibre,street furniture,art,artist,street,furniture,centre,sights,vibe,atmosphere,buildings,urban,architecture,creativity,creative,creativeness,sign,signs,artistic,tour,touring,streets,residential,box,boxes
Description: Tony Smith image Alamy 2M84JFK - . This scene at Dublin, Eire, Ireland in 2019 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The defining feature is Painted telephone box, street art on Dominick Street Upper, Dublin, Eire, UK. The surrounding context encompasses architectural detailing, adaptive reuse, traditional materials, place identity, everyday life, community identity, urban fabric, street-level design, urban graphics, creative placemaking, documentary photography, historic townscape, conservation architecture, and public-realm art. In present-day coverage, the subject reaches into local identity and graffiti policy, not least because of the blurred boundary between commissioned public art and graffiti. Today's relevance is strengthened by maintenance, embodied carbon and the continuing question of keeping older buildings useful without erasing their character. The archival value lies partly in recording local activity and public use around Dublin, Eire, Ireland before later reinterpretation alters the character of the place. The subject also sits alongside contemporary mural, changing land use, social history, before-and-after reference, historical comparison, public realm, heritage landmark, and historic streetscape. The combination of Dominick, Painted, telephone, Upper, and Dublin anchors the frame to a recognisable activity, place or moment. Around Dublin, Eire, Ireland, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Its period value extends to local identity and how regeneration can both support and displace urban art within the specific setting of Dublin, Eire, Ireland. The location additionally provides evidence of adaptive reuse and the value of architectural landmarks to local identity as part of the longer story of Dublin, Eire, Ireland.
Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,bar,Kings,the,Dublin,D01 KF59,in,late,summer,with,hanging,basket,flower,42 Bolton St,D01 EH56,sign,cultural quarter,exterior,outside,door,doorway,history,historic,colourful,nature,natural,pubs,bars,architecture,building,entrance
Description: Tony Smith image Alamy 2M84JG0 - Temple Bar is an area on the south bank of the River Liffey in central Dublin, Ireland. The area is bounded by the Liffey to the north, Dame Street to the south, Westmoreland Street to the east and Fishamble Street to the west. It is promoted as Dublin's 'cultural quarter' and, as a centre of Dublin's city centre's nightlife, is a tourist destination. Temple Bar is in the Dublin 2 postal district.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,street,art,artwork,steel,aluminium,metal,figure,playing,a,8,N,North,Dublin,D07 X704,attached,to,brick,wall,building,Irish,artist,sculpture,stainless steel,centre,sights,vibe,atmosphere,buildings,urban,architecture
Description: Tony Smith image Alamy 2M84JGM - . Photographed at the recorded location in 2019, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The location is represented through Metal art, figure playing a flute, attached to a brick wall, 8 King St N, Dublin, D07 X704, Eire, Ireland. The image also relates to traditional materials, street-level design, heritage asset, social history, heritage landmark, community identity, documentary photography, community art, street creativity, visual street culture, regional identity, architectural detailing, architectural character, and public-realm art. From a 2025-onward perspective, public art and regeneration are closely linked to this subject, alongside the blurred boundary between commissioned public art and graffiti. The wider contemporary story combines adaptive reuse, heritage conservation and keeping older buildings useful without erasing their character. The archival value lies partly in recording commercial use and occupation around the recorded location before refurbishment alters the character of the place. The location also brings in before-and-after reference, period architecture, local character, built heritage, changing land use, mural culture, period detail, and creative placemaking. Details involving playing, Metal, attached, Ireland, and Dublin make the image more specific than a generic view and strengthen its local or historical value. The wider setting at the recorded location matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The setting also helps illustrate public art and how temporary street art can become an important visual archive as part of the longer story of the recorded location. The image also provides a reference for tourism and the value of architectural landmarks to local identity when considered against later change at the recorded location.
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Artwork,art,sticker,stickers,on,a,telecoms,street furniture,utility,box,depicting,celebrating,disability,disabled,serial killer,killer,murder,murderer,11,Grangegorman Lane,Dublin,beggar,robber,thief,Irish,criminal,Canvas project,Shota Kotake,northside,of,folklore,Robin Hood,Newgate,prison
Description: Tony Smith image Alamy 2M84JJK - Billy in the Bowl (fl. 1780s), beggar and robber, lived on the northside of Dublin. Nothing is known of his earliest years and most of the details of his life are hazy. He first came to public notice in the 1780s begging around Stoneybatter, Grangegorman and Oxmantown. Born with no legs, he propelled himself about in a large bowl to which wheels had been fitted, thereby drawing the nickname ˜Billy in the Bowl' from locals. Despite his disability, Billy apparently was a handsome man, with a striking face, dark eyes, and powerful arms and body, and was also graced with great charm. He became a favourite of the maids and servant-girls working the great houses of north Dublin and they plied him with food, drink, money and, it has been suggested, sexual favours.
It was said that he occasionally robbed from wealthy women who stopped to give him alms and that, since he was readily identifiable, followed robbery with murder. On one occasion in 1786 he attempted to rob two women, but they overpowered him by pulling his hair and sticking a thumb in his eye. Some hours later, male friends of the two women captured Billy in a hedge near the back of the Royal Barracks and conveyed him to custody using a wheel-barrow. Convicted of robbery, Billy was sent to Newgate prison where he saw out his days doing hard labour, while city notables came to visit him as an object of curiosity.
In Dublin folklore Billy is sometimes remembered as a Robin Hood-style character who robbed from the rich to give to the poor. He is recalled in traditional songs such as ˜The twang-man' and makes an appearance in James Joyce's (qv) Finnegans wake: ˜Billi with the Boule, who had mummed and mauled up to that (for he was hesitency in excelcism)'. More recently he featured in Shane MacGowan's song ˜The Sick Bed of Cuchulainn' on the album Rum, sodomy and the lash (1985): ˜You remember that foul evening when you heard the banshees howl / There was lazy drunken bastards singing Billy in the Bowl
11 Grangegorman Lower, Northside, Dublin 7, D07 W5F3
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,beer,garden,pub,bar,door,in,a,advertising,ad,advertise,advertisement,dry,stout,brewed,Dublin,city,flower,basket,drinking,alcohol,drinks,Diagio,colourful,nature,natural,pubs,bars,architecture,building,entrance,St Patricks Day
Description: Tony Smith image Alamy 2M84JK0 - . Made at Dublin, Eire, Ireland in 2019, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. At the centre of the view is Yard door in a bar, advertising Guinness dry stout, brewed in Dublin, Eire, Ireland. The frame also records themes of local character, architectural character, hospitality economy, licensed hospitality, archival record, traditional materials, local history, night-time economy, period building, historic townscape, everyday life, period detail, period architecture, and changing land use. The modern context includes continuing discussion of staffing pressure, business rates and the survival of local pubs as social meeting places. For current editorial use, heritage conservation and adaptive reuse provide additional context, especially through the value of architectural landmarks to local identity. Small period details of period objects and surrounding context at Dublin, Eire, Ireland may become more significant with time, particularly following conservation work. Further associations within the scene are local social venue, regional identity, contemporary social history, food-and-drink business, traditional pub, urban fabric, public-house heritage, and historic streetscape. Details involving Dublin, advertising, stout, Guinness, and brewed make the image more specific than a generic view and strengthen its local or historical value. A later view of Dublin, Eire, Ireland may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes staffing pressure and the role of historic venues in tourism and neighbourhood identity when considered against later change at Dublin, Eire, Ireland. The photograph keeps period character as a date-specific reference. The record includes a trace of local identity for later comparison.
Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,D08,Dublin,D08 Y2,flowers,hanging baskets,flag,flags,Merchant & Ned O Sheas,&,and,Osheas,12,cultural quarter,exterior,outside,door,doorway,history,historic,colourful,nature,natural,pubs,bars,architecture,building,entrance,Twelve,sunny,blue sky,blue skies,St Patricks Day
Description: Tony Smith image Alamy 2M84JK6 - Temple Bar is an area on the south bank of the River Liffey in central Dublin, Ireland. The area is bounded by the Liffey to the north, Dame Street to the south, Westmoreland Street to the east and Fishamble Street to the west. It is promoted as Dublin's 'cultural quarter' and, as a centre of Dublin's city centre's nightlife, is a tourist destination. Temple Bar is in the Dublin 2 postal district.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Canada,artist,covered,Christ,homeless,at,Christ Church,Dublin,Jesus,sculpture,designer,art,social,housing,park,2016,Christchurch Place,Wood Quay,Dublin 8,Deprevation,homelessness,rough sleeper,rough sleeping,on,the,streets,street,rust,rusty,rusting
Description: Tony Smith image Alamy 2M84JNN - Homeless Jesus, also known as Jesus the Homeless, is a bronze sculpture by Canadian sculptor Timothy Schmalz depicting Jesus as a homeless person, sleeping on a park bench. The original sculpture was installed at Regis College, University of Toronto, in early 2013. Over 100 casts of the statue have been installed worldwide since 2016
Homeless Jesus was designed by Timothy Schmalz, a Canadian sculptor and devout Catholic. It depicts Jesus as a homeless person, sleeping on a park bench. His face and hands are obscured, hidden under a blanket, but crucifixion wounds on his feet reveal his identity. The statue has been described as a visual translation of the Gospel of Matthew passage in which Jesus tells his disciples, as you did it to one of the least of my brothers, you did it to me. Schmalz intended for the bronze sculpture to be provocative, admitting, That's essentially what the sculpture is there to do. It's meant to challenge people. He offered the first casts to St. Michael's Cathedral in Toronto and St. Patrick's Cathedral in New York, but both churches declined. One spokesperson for St. Michael's said the church declined because appreciation was not unanimous and it was undergoing restoration. The cast intended for St. Michael's was installed at Regis College, the Jesuit School of Theology at the University of Toronto. Similarly, a spokesperson for St. Patrick's complimented the work but declined purchasing the cast due to ongoing renovations
Reception of the statue has been mixed. According to NPR, The reaction [to the cast in Davidson, North Carolina] was immediate. Some loved it
some didn't. However, according to Buck, residents are often seen sitting on the bench alongside the statue, resting their hands on Jesus and praying
By early 2016, some 100 copies of Homeless Jesus were on display worldwide. The first sculpture outside of North America was installed on the grounds of Christ Church Cathedral, Dublin
Christchurch Place, Wood Quay, Dublin 8, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tricolor,tricolour,flag,hands across the water,big pond,USA,US,stars,stripes,links,with,flies,flying,fly,two flags,together,important,link,outside,the,Dublin,special,relationship,Irish American,Irish-American,Irish,Americans,old,country,two,nations,Irish-Americans
Description: Tony Smith image Alamy 2M84JNT - . An identifiable period record of Fishamble St, Temple Bar, Dublin, Eire, Ireland in 2019, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The location is represented through American links with Ireland, USA stars and stripes, & Irish tricolor flag flies outside the Harding Hotel, Fishamble St, Temple Bar, Dublin. The image also relates to archival record, licensed hospitality, local character, regional identity, historical comparison, food-and-drink business, local history, community identity, everyday life, community drinking venue, pub interior heritage, beer-led hospitality, licensed trade, and changing streetscape. Current relevance extends to staffing pressure and food inflation, particularly through the role of historic venues in tourism and neighbourhood identity. Future viewers can use this scene from Fishamble St, Temple Bar, Dublin, Eire, Ireland to compare building condition and alterations with whatever follows after redevelopment. The location also brings in night-time economy, before-and-after reference, local social venue, hospitality economy, contemporary social history, changing land use, visitor hospitality, and visual archive. The recorded references to tricolor, Fishamble, Irish, Dublin, and American preserve clues about how the subject was presented, used or understood at the time. The period setting at Fishamble St, Temple Bar, Dublin, Eire, Ireland helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The wider significance includes staffing pressure and the role of historic venues in tourism and neighbourhood identity within the real-world context of Fishamble St, Temple Bar, Dublin, Eire, Ireland. Another strand within the photograph is consumer spending and pressure on hospitality margins in a high-cost economy within the specific setting of Fishamble St, Temple Bar, Dublin, Eire, Ireland.
Fishamble St, Temple Bar, Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,metal,ironwork,letters,words,rust,rusty,rusting,cover,grid,sewer,street,Cast iron,embossed,with,windmill,lane,ln,Dublin,south,city,foundry,steelworks,Dublin Docklands,dockland,docklands,pavement,road,cast,cast iron,the,Temple Bar
Description: Tony Smith image Alamy 2M84JRJ - . An on-location photograph from Windmill Lane, Dublin Docklands, Eire, Ireland in 2019, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The location is represented through Cast iron Grid embossed with Windmill Lane, Dublin, Tonge & Taggart, South City Foundry, Eire, Ireland. Another layer of the photograph includes place identity, local history, traditional pub, historic hostelry, changing land use, visitor hospitality, licensed trade, community drinking venue, traditional ale house, food-and-drink business, public realm, public-house heritage, hospitality economy, and documentary photography. In present-day coverage, the subject reaches into business rates and staffing pressure, not least because of pressure on hospitality margins in a high-cost economy. The image fixes lettering, decoration and surface detail within Windmill Lane, Dublin Docklands, Eire, Ireland at one identifiable point, providing a benchmark against redevelopment. The photograph additionally reflects contemporary social history, visual archive, before-and-after reference, licensed hospitality, period detail, community identity, historical comparison, and pub interior heritage. References to Windmill, Ireland, Taggart, Foundry, and embossed give the picture a strong period identity and tie it closely to its named subject. Around Windmill Lane, Dublin Docklands, Eire, Ireland, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Another strand within the photograph is business rates and pressure on hospitality margins in a high-cost economy when considered against later change at Windmill Lane, Dublin Docklands, Eire, Ireland. The setting also helps illustrate pub closures and the survival of local pubs as social meeting places without losing the local specificity of Windmill Lane, Dublin Docklands, Eire, Ireland.
Windmill Lane, Dublin Docklands, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Irish,Whisky,in,Dublin,liquor,liquors,spirits,spirit,alcohol,malt,bourbon,drink,bright,illuminated,light,lights,pub,bar,signage,restaurant,dive,distilled,distillation,buy,shop,store,bars,water of life,Irish Whiskey,festival,Edinburgh,whisky,neon,auction
Description: Tony Smith image Alamy 2M84JTT - . This scene at Dublin, Eire, Ireland in 2019 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The frame specifically shows Irish Whiskey liquor red neon sign, in Dublin, Eire, Ireland. The subject also carries associations with retail property, licensed trade, period detail, public-house heritage, local enterprise, consumer retail, hospitality economy, public realm, visitor hospitality, regional identity, brand display, food-and-drink business, local history, and contemporary social history. In present-day coverage, the subject reaches into pub closures and staffing pressure, not least because of how food, drink and heritage combine in destination pubs. Today's relevance is strengthened by footfall, commercial rents and the continuing question of the role of independent businesses in maintaining active town centres. For later comparison, the photograph preserves period objects and surrounding context at Dublin, Eire, Ireland, details that may look very different after changing commercial priorities. Other useful contextual ideas include independent retail, archival record, traditional ale house, historic hostelry, everyday life, small-business culture, bricks-and-mortar business, and commercial frontage. The combination of Ireland, Dublin, Whiskey, Irish, and liquor anchors the frame to a recognisable activity, place or moment. The wider setting at Dublin, Eire, Ireland matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The image also provides a reference for pub closures and pressure on hospitality margins in a high-cost economy in a form that can be compared with future views of Dublin, Eire, Ireland. Another useful connection is business rates and the role of independent businesses in maintaining active town centres within the real-world context of Dublin, Eire, Ireland.
Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Irish,skeleton,Australia,take it easy,Skull,graffiti,in,Dublin,near,no,worries,informal,saying,expression,you are welcome,Oz,down under,No problem,do not worry about that,thats all right,forget about it,sure thing,talk,talking,stencil,art,street art,streetart,speech,optimism,national motto,of
Description: Tony Smith image Alamy 2M8BNNE - . Made at Temple Bar, Dublin, Eire, Ireland in 2019, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. The scene records Skull graffiti, in Dublin, near Temple Bar - No Worries. The subject also carries associations with public-realm art, temporary artwork, social history, medical consumer history, contemporary social history, contemporary mural, public-health intervention, health-service prevention, creative placemaking, healthcare access, healthcare communication, everyday life, street creativity, and local character. The wider contemporary story combines local identity, gentrification and the blurred boundary between commissioned public art and graffiti. Viewed from the mid-2020s, the subject also connects with NHS capacity, preventive care and how home testing can widen access to preventive healthcare. The archival value lies partly in recording materials and architectural details around Temple Bar, Dublin, Eire, Ireland before new construction alters the character of the place. Further associations within the scene are patient self-testing, period detail, mural culture, public-health screening, urban artwork, before-and-after reference, historical comparison, and visual archive. The recorded references to graffiti, Skull, Dublin, Temple, and Worries preserve clues about how the subject was presented, used or understood at the time. The wider setting at Temple Bar, Dublin, Eire, Ireland matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Another strand within the photograph is local identity and the blurred boundary between commissioned public art and graffiti in a form that can be compared with future views of Temple Bar, Dublin, Eire, Ireland. The image fixes evidence of earlier appearance for future local research.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Irish,Temple Bar,Dublin,D02 TH74,name,history,historic,surnames,heritage,DNA,No8,No 8,city,centre,store,shop,retail,research,American,USA,discover,your,coat,of,arms,crest,family,historical,tourists,attraction,US,find
Description: Tony Smith image Alamy 2M8BP01 - . A grounded documentary photograph made at 8 Fleet St, Temple Bar, Dublin, D02 TH74 in 2019, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The defining feature is House of names, 8 Fleet St, Temple Bar, Dublin, D02 TH74. The image also relates to consumer retail, high-street commerce, conservation interest, traditional materials, historical comparison, architectural detailing, historic townscape, commercial streetscape, local enterprise, heritage asset, period building, place identity, period detail, and brand display. The modern context includes continuing discussion of brand consolidation, online shopping and the role of independent businesses in maintaining active town centres. For current editorial use, maintenance and energy retrofit provide additional context, especially through keeping older buildings useful without erasing their character. For later comparison, the photograph preserves materials and architectural details at 8 Fleet St, Temple Bar, Dublin, D02 TH74, details that may look very different after altered transport patterns. The wider setting retains connections with historic streetscape, changing streetscape, social history, small-business culture, customer footfall, conservation architecture, town-centre economy, and street-level trading. The recorded references to House, Fleet, names, Temple, and Dublin preserve clues about how the subject was presented, used or understood at the time. For 8 Fleet St, Temple Bar, Dublin, D02 TH74, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The setting also helps illustrate brand consolidation and how physical shops adapt to online competition within the specific setting of 8 Fleet St, Temple Bar, Dublin, D02 TH74. The photograph keeps evidence of earlier appearance before later change alters the scene.
8 Fleet St, Temple Bar, Dublin, D02 TH74
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,HQ,head,office,centre,city,2,Temple Bar,D02 VR6,Dublin,financial,institution,iconic,branch,way in,sign,brown,metal,brass,small,vulnerable,EU,Euro,European,banking,bank,Silicon Valley,stability,stable,system,Eurozone,irish,hotpix.org.uk,Central Bank of Ireland dublin
Description: Tony Smith image Alamy 2M8DJER - . This scene at 2 College Green, Temple Bar, Dublin, D02 VR6, Eire, Ireland in 2019 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The subject captured here is Way In sign, Bank of Ireland Headquarters, 2 College Green, Temple Bar, Dublin, D02 VR6, Eire, Ireland. Further facets of the scene include traditional ale house, place identity, public realm, Parliament Square context, hospitality economy, social history, iconic London transport, archival record, visual archive, historical comparison, local history, community drinking venue, Westminster architecture, and historic hostelry. For current editorial use, city branding and public transport provide additional context, especially through how familiar London symbols function as global shorthand for Britain. Current relevance extends to tourism and staffing pressure, particularly through how food, drink and heritage combine in destination pubs. Small period details of public access and movement at 2 College Green, Temple Bar, Dublin, D02 VR6, Eire, Ireland may become more significant with time, particularly following refurbishment. The surrounding story also includes changing streetscape, urban landmark combination, capital-city symbolism, documentary photography, regional identity, beer-led hospitality, everyday life, and national political landmark. Elements such as Temple, Headquarters, Dublin, College, and Ireland add documentary specificity and may become increasingly useful when compared with later records. A later view of 2 College Green, Temple Bar, Dublin, D02 VR6, Eire, Ireland may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The record includes evidence of earlier appearance within the wider story of 2 College Green, Temple Bar, Dublin, D02 VR6, Eire, Ireland.
2 College Green, Temple Bar, Dublin, D02 VR6, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Dublin,Eire,Irish,book,archived,old,College Green,Dublin D02,adjacent,to,levels,city,centre,bookshelf,of,books,dusty,Spiral Staircase,bookcase,at,Trinity College,library,Spiral,Staircase,the,Library of Trinity College Dublin,university,legal deposit,copyright library,publications,UK Publications,Thomas Burgh,1712,rare,early,archive
Description: Tony Smith image Alamy 2M8DJF6 - The Library of Trinity College Dublin (Irish: Leabharlann Choláiste na TrÃonóide) serves Trinity College and the University of Dublin. It is a legal deposit or copyright library, under which, publishers in Ireland must deposit a copy of all their publications there, without charge. It is the only Irish library to hold such rights for works published in the United Kingdom.
The Library is the permanent home to the Brian Boru harp which is a national symbol of Ireland, a copy of the 1916 Proclamation of the Irish Republic, and the Book of Kells. One of the four volumes of the Book of Kells is on public display at any given time. The volumes and pages shown are regularly changed
a new display case installed in 2020 will allow all pages to be displayed including many not seen in public for several decades
The Library proper occupies several buildings, six of which are at the Trinity College campus itself, with another part of the Trinity Centre at St James's Hospital, Dublin:
The oldest library building, now known as the Old Library, is Thomas Burgh's magnum opus. Construction began in 1712. A large building which took twenty years to complete in its original form, it towered over the university and city after its completion in 1732. Even today, surrounded by similarly scaled buildings, it is imposing and dominates the view of the university from Nassau Street. The Book of Kells is located in the Old Library, along with the Book of Durrow, the Garland of Howth and other ancient texts. Also incorporating the Long Room, the Old Library is one of Ireland's biggest tourist attractions and holds thousands of rare, and in many cases very early, volumes. In the 18th century, the college received the Brian Boru harp, one of the three surviving medieval Gaelic harps, and a national symbol of Ireland, which is now housed in the Library
The Library began with the founding of Trinity College in 1592. In 1661, Henry Jones presented it with the Book of Kells
College Green, Trinity, Dublin D02, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Dublin,Eire,Irish,bar,flowers,flower,on,the,front,outside,exterior,classic,Dublin bar,2 Suffolk St,Dublin 2,D02 KX03,M.J.ONeills,city,centre,central,restaurant,building,architecture,tavern,Hogan,Brothers,Church Lane,William Butler,published,Volunteers Journal,Fabians,iron,three-dials,clock
Description: Tony Smith image Alamy 2M8DJFN - M.J.O'Neill's is a notable bar and restaurant in central Dublin. It has occupied 2 Suffolk Street and adjacent buildings, continuing round the corner into Church Lane. It is claimed there has been a tavern on the site for some three hundred years. From 1875 it was owned by the Hogan Brothers, until M.J. O'Neill bought and renamed the premises in August 1927.The part in Church Lane was the site of a printing house, where William Butler published The Volunteers Journal and the Irish Herald in 1783, and in 1789 Arthur O'Connor published The Press, supporting Wolfe Tone's republican views.
The corner structure is an impressive four-storey, vaguely of the Arts and Crafts Movement, red-brick and early twentieth century, with prominent Tudor-style projecting bay windows. There is a fine decorated iron three-dials clock on the Suffolk Street frontage. The building is protected and in a conservation area. Now, opposite the Dublin Tourist Centre, it is a fixture on the tourist trail and pub crawls.The house has a mixed clientele.
It is directly opposite Andrew Street Post Office, and near the shopping centre of Grafton Street. The discreet Church Lane door is convenient for the Bank of Ireland and other financial establishments in College Green. It is also the pub nearest to the Front Gate of Trinity College, Dublin and therefore attracting Arts undergraduates and academics. The original structure was divided into definite areas: a cocktail bar in the corner for the gentry, a public bar off Suffolk Street, and a back bar. In recent years the next-door premises in Church Lane have been added, as a carvery, and the interior has been opened up. A small snug, immediately inside the Church Lane entrance, was the significant venue for the Fabians of the early 1960s and for later left-wing students from Trinity College, Dublin.
2 Suffolk Street, Dublin 2, D02 KX03, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Dublin,Eire,Irish,bar,flowers,flower,on,the,front,outside,exterior,classic,Dublin bar,2 Suffolk St,Dublin 2,D02 KX03,M.J.ONeills,city,centre,central,restaurant,building,architecture,tavern,Hogan,Brothers,Church Lane,William Butler,published,Volunteers Journal,Fabians,iron,three-dials,clock
Description: Tony Smith image Alamy 2M8DJJD - M.J.O'Neill's is a notable bar and restaurant in central Dublin. It has occupied 2 Suffolk Street and adjacent buildings, continuing round the corner into Church Lane. It is claimed there has been a tavern on the site for some three hundred years. From 1875 it was owned by the Hogan Brothers, until M.J. O'Neill bought and renamed the premises in August 1927.The part in Church Lane was the site of a printing house, where William Butler published The Volunteers Journal and the Irish Herald in 1783, and in 1789 Arthur O'Connor published The Press, supporting Wolfe Tone's republican views.
The corner structure is an impressive four-storey, vaguely of the Arts and Crafts Movement, red-brick and early twentieth century, with prominent Tudor-style projecting bay windows. There is a fine decorated iron three-dials clock on the Suffolk Street frontage. The building is protected and in a conservation area. Now, opposite the Dublin Tourist Centre, it is a fixture on the tourist trail and pub crawls.The house has a mixed clientele.
It is directly opposite Andrew Street Post Office, and near the shopping centre of Grafton Street. The discreet Church Lane door is convenient for the Bank of Ireland and other financial establishments in College Green. It is also the pub nearest to the Front Gate of Trinity College, Dublin and therefore attracting Arts undergraduates and academics. The original structure was divided into definite areas: a cocktail bar in the corner for the gentry, a public bar off Suffolk Street, and a back bar. In recent years the next-door premises in Church Lane have been added, as a carvery, and the interior has been opened up. A small snug, immediately inside the Church Lane entrance, was the significant venue for the Fabians of the early 1960s and for later left-wing students from Trinity College, Dublin.
2 Suffolk Street, Dublin 2, D02 KX03, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,entrance,and,door,doorway,mosaic,for,to,&,foot solutions,D02 VR83,61,history,historic,old,fashioned,old-fashioned,1920,1920s,Watsons,Watson,shop,shops,store,stores,outside,green,gold,ornate
Description: Tony Smith image Alamy 2MC229F - . A grounded documentary photograph made at 61 South Great George's Street, Dublin, D02 VR83, Eire, Ireland in 2019, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The image documents Entrance and mosaic to Watson, Ph Chemist & Druggist, pharmacy, now Foot Solutions, 61 South Great George's Street, Dublin, D02 VR83, Eire, Ireland. Another layer of the photograph includes period building, everyday life, architectural detailing, small-business culture, traditional materials, high-street commerce, visual archive, period architecture, bricks-and-mortar business, customer footfall, archival record, before-and-after reference, architectural character, and built heritage. Today's relevance is strengthened by town-centre regeneration, footfall and the continuing question of how physical shops adapt to online competition. From a 2025-onward perspective, redevelopment pressure and maintenance are closely linked to this subject, alongside the balance between conservation and modern commercial use. The image fixes signage and branding within 61 South Great George's Street, Dublin, D02 VR83, Eire, Ireland at one identifiable point, providing a benchmark against altered transport patterns. The location also brings in changing streetscape, heritage asset, conservation architecture, adaptive reuse, documentary photography, independent retail, historic streetscape, and social history. Details involving Druggist, mosaic, Watson, pharmacy, and Solutions make the image more specific than a generic view and strengthen its local or historical value. Around 61 South Great George's Street, Dublin, D02 VR83, Eire, Ireland, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The period view preserves period character within the wider story of 61 South Great George's Street, Dublin, D02 VR83, Eire, Ireland.
61 South Great George's Street, Dublin, D02 VR83, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,tourist,tourism,attraction,face,faces,men,politicians,radicals,the,rising,of,Ceannt,mercantile,Macdermott,Clarke,1916,historic,heritage,history,quaint,arts,ingenuity,expression,travel,area,district,rundown,neglected,resistance
Description: Tony Smith image Alamy 2MCG9Y5 - . This location-specific image from Temple Bar, Dublin, Eire, Ireland in 2019 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The subject captured here is Mercantile remembering the rising, 1916-2016, Poblacht Na H Eireann, The provisional government of the Irish Republic. The broader subject matter reaches into historic hostelry, historical comparison, social history, urban fabric, documentary photography, built heritage, historic streetscape, before-and-after reference, traditional ale house, hospitality economy, period architecture, changing streetscape, visitor hospitality, and heritage landmark. In present-day coverage, the subject reaches into planning control and energy retrofit, not least because of the balance between conservation and modern commercial use. Today's relevance is strengthened by staffing pressure, business rates and the continuing question of how food, drink and heritage combine in destination pubs. Small period details of signage and branding at Temple Bar, Dublin, Eire, Ireland may become more significant with time, particularly following later reinterpretation. The wider setting retains connections with everyday life, local history, public-house heritage, local social venue, conservation architecture, architectural detailing, conservation interest, and visual archive. References to Republic, 1916-2016, government, provisional, and Mercantile give the picture a strong period identity and tie it closely to its named subject. The period setting at Temple Bar, Dublin, Eire, Ireland helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The location additionally provides evidence of planning control and the balance between conservation and modern commercial use in a form that can be compared with future views of Temple Bar, Dublin, Eire, Ireland.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,flag,St,Patricks,celebrations,Patrick,celebrate,bar,pub,pubs,bars,and,flags,bunting,in,above,Tyson,orange,green,Guinness,street,scene,attraction,tourist,tourism,Ireland flags,Irish Flags,Tricolour flags,Tricolour flag,Tricolor flags
Description: Tony Smith image Alamy 2MCGA28 - . Made at Dame Court, Temple Bar, Dublin, Eire, Ireland in 2019, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. The photograph centres on Pubs and flags, bunting in Temple Bar, Dame Ct, Tyson Clock, bars, St Patricks Day celebrations, Dublin, Eire, Ireland. Another layer of the photograph includes regional branding, Scottish visitor economy, public realm, everyday life, regional identity, local produce retail, local character, hospitality economy, changing streetscape, archival record, social history, Trossachs tourism, visual archive, and local history. The wider contemporary story combines staffing pressure, food inflation and the survival of local pubs as social meeting places. Viewed from the mid-2020s, the subject also connects with cost of living, visitor footfall and the seasonal pressure faced by tourism-dependent businesses. The image fixes transport arrangements and footfall within Dame Court, Temple Bar, Dublin, Eire, Ireland at one identifiable point, providing a benchmark against replacement signage. Other useful contextual ideas include licensed trade, local speciality shop, tourism business, before-and-after reference, place identity, changing land use, licensed hospitality, and period detail. Elements such as Dublin, celebrations, flags, Tyson, and Ireland add documentary specificity and may become increasingly useful when compared with later records. For Dame Court, Temple Bar, Dublin, Eire, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Its period value extends to staffing pressure and the survival of local pubs as social meeting places within the real-world context of Dame Court, Temple Bar, Dublin, Eire, Ireland. The image fixes evidence of changing use as part of Dame Court, Temple Bar, Dublin, Eire, Ireland's history.
Dame Court, Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,tourist,tourism,attraction,red,Dublin 2,pubs,listed,famous,Sir William Temple,boozer,flowers,hanging baskets,the,D02 N725,Temple Bar,building,bars,magnet,for,drinkers,historic,heritage,history,quaint,arts,ingenuity,expression,travel
Description: Tony Smith image Alamy 2MCGA7R - . This dated editorial view of 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland in 2019 captures more than the immediate subject, retaining clues about local use, design, activity and change. The photograph centres on The temple bar pub, 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland. Other connected aspects include traditional pub, historic townscape, hospitality economy, period detail, pub interior heritage, conservation interest, local history, visitor hospitality, everyday life, night-time economy, heritage asset, social history, public-house heritage, and traditional ale house. Current relevance extends to redevelopment pressure and heritage conservation, particularly through the value of architectural landmarks to local identity. In present-day coverage, the subject reaches into food inflation and consumer spending, not least because of how food, drink and heritage combine in destination pubs. The image fixes period objects and surrounding context within 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland at one identifiable point, providing a benchmark against replacement signage. Other useful contextual ideas include changing streetscape, period architecture, place identity, historical comparison, archival record, historic hostelry, traditional materials, and contemporary social history. Details involving Dublin, 47-48, Ireland, and temple make the image more specific than a generic view and strengthen its local or historical value. The period setting at 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. Its period value extends to redevelopment pressure and keeping older buildings useful without erasing their character within the specific setting of 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland. Image 2MCGA7R also remains a dated record of 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland.
47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,D02 WF85,entrance,Irish national photographic archive,neon,sign,signage,photo,Cartlann Grianghrafadóireachta Náisiúnta,NPA,the,Irish,National Photo Archive,Irish National Photographic Archive,archives,national,of,important,tourist,tourism,attraction,attractions,photographic,collection,collections,National Library of Ireland,NLI,photographic collections of the National,Library of Ireland,greenwashing
Description: Tony Smith image Alamy 2MCGA84 - The National Photographic Archive (Irish: Cartlann Grianghrafadóireachta Náisiúnta) is located in Temple Bar in Dublin, Ireland, and holds the photographic collections of the National Library of Ireland (NLI). The archive was opened in 1998, and has a reading room and exhibition gallery. The gallery's exhibition space hosts photographic exhibitions “ often relating to the NLI's collections
Meeting House Square, Temple Bar, Dublin, D02 WF85, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,tourist,tourism,attraction,lane,vennel,criminal,Id,on a,badly,lit,street corner,poorly,art,historic,heritage,history,quaint,arts,ingenuity,expression,travel,area,district,rundown,neglected,resistance,character,sayings,phrases
Description: Tony Smith image Alamy 2MCGA87 - . This location-specific image from Temple Bar, Dublin, Eire, Ireland in 2019 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The location is represented through Dublin art in an alley, I'd rather trust a dealer on a badly lit street corner, than a criminal in a three piece suit. Further facets of the scene include architectural detailing, period building, food-and-drink business, historical comparison, traditional ale house, local social venue, community identity, regional identity, heritage landmark, historic streetscape, everyday life, period detail, conservation architecture, and public-house heritage. From a 2025-onward perspective, maintenance and heritage conservation are closely linked to this subject, alongside how historic fabric can support regeneration rather than demolition. The wider contemporary story combines tourism, hospitality costs and how food, drink and heritage combine in destination pubs. For later comparison, the photograph preserves transport arrangements and footfall at Temple Bar, Dublin, Eire, Ireland, details that may look very different after changing commercial priorities. A second descriptive layer includes traditional pub, pub interior heritage, changing land use, licensed trade, changing streetscape, visitor hospitality, licensed hospitality, and night-time economy. The combination of three, rather, piece, badly, and trust anchors the frame to a recognisable activity, place or moment. Around Temple Bar, Dublin, Eire, Ireland, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The scene further reflects maintenance and keeping older buildings useful without erasing their character within the real-world context of Temple Bar, Dublin, Eire, Ireland. The view records a trace of local identity as a date-specific reference.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,until,I,in,a,city centre,alley,Temple Bar,come here,i tell you,tell,you,secret,secrets,some,lie,lies,painted,design,on,wall,historic,heritage,history,quaint,arts,ingenuity,expression,travel
Description: Tony Smith image Alamy 2MCGABN - . Photographed at Temple Bar, Dublin, Eire, Ireland in 2019, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The image documents Cmere till I tell ya, street art, in a lane, Dublin City. The frame also records themes of urban artwork, traditional materials, community art, historical comparison, before-and-after reference, heritage landmark, public realm, regional identity, public art, urban graphics, architectural detailing, period building, temporary artwork, and place identity. For current editorial use, temporary works and local identity provide additional context, especially through the role of murals in giving neighbourhoods a distinctive identity. Current relevance extends to maintenance and tourism, particularly through keeping older buildings useful without erasing their character. Small period details of lettering, decoration and surface detail at Temple Bar, Dublin, Eire, Ireland may become more significant with time, particularly following new ownership. The wider setting retains connections with community identity, contemporary social history, street-level design, built heritage, changing streetscape, mural culture, creative placemaking, and changing land use. The recorded references to Dublin and Cmere preserve clues about how the subject was presented, used or understood at the time. The wider setting at Temple Bar, Dublin, Eire, Ireland matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Another useful connection is temporary works and how regeneration can both support and displace urban art in a form that can be compared with future views of Temple Bar, Dublin, Eire, Ireland. The scene further reflects energy retrofit and the balance between conservation and modern commercial use within the real-world context of Temple Bar, Dublin, Eire, Ireland.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,tourist,tourism,attraction,art,street,artist,artists,heart,hearts,lanes,in,a,backstreet,back,streets,of,The,Temple Bar,tile,and,text,pink,Irish,loves,Dublin love,heart Dublin,love,ceramic,Love Lane
Description: Tony Smith image Alamy 2MCGABY - . This scene at Temple Bar, Dublin, Eire, Ireland in 2019 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The principal subject is Art in a Love Lane backstreet of The Temple Bar, tiles and text / poems - Love from Dublin, hold my hand and I will go anywhere with you. Further facets of the scene include public realm, regional identity, visual archive, place identity, tourism business, changing streetscape, local character, licensed trade, tourist town economy, period detail, destination shopping, Scottish visitor economy, local produce retail, and pub interior heritage. For current editorial use, changing drinking habits and consumer spending provide additional context, especially through the survival of local pubs as social meeting places. Current relevance extends to visitor footfall and local business, particularly through the seasonal pressure faced by tourism-dependent businesses. The archival value lies partly in recording transport arrangements and footfall around Temple Bar, Dublin, Eire, Ireland before different community use alters the character of the place. The surrounding story also includes historical comparison, local social venue, regional food identity, food-and-drink business, contemporary social history, traditional pub, hospitality economy, and documentary photography. Elements such as poems, anywhere, tiles, Dublin, and Temple add documentary specificity and may become increasingly useful when compared with later records. For Temple Bar, Dublin, Eire, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The setting also helps illustrate changing drinking habits and how food, drink and heritage combine in destination pubs in a form that can be compared with future views of Temple Bar, Dublin, Eire, Ireland.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,tourist,tourism,attraction,red,Dublin 2,pubs,listed,famous,Sir William Temple,boozer,flowers,hanging baskets,the,D02 N725,Temple Bar,building,bars,magnet,for,drinkers,verdant,flower,plants,beer garden,sign,signs,music,band,bands
Description: Tony Smith image Alamy 2MCGAN9 - . An on-location photograph from 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland in 2019, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The principal subject is The temple bar pub, 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland. Another layer of the photograph includes period detail, changing streetscape, visitor hospitality, food-and-drink business, heritage landmark, community identity, night-time economy, historic streetscape, period building, before-and-after reference, everyday life, conservation architecture, archival record, and built heritage. Viewed from the mid-2020s, the subject also connects with pub closures, consumer spending and the survival of local pubs as social meeting places. The modern context includes continuing discussion of energy retrofit, planning control and how historic fabric can support regeneration rather than demolition. The archival value lies partly in recording public access and movement around 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland before new ownership alters the character of the place. The photograph additionally reflects local social venue, visual archive, historic hostelry, place identity, licensed hospitality, historical comparison, local character, and public realm. The recorded references to Ireland, temple, Dublin, and 47-48 preserve clues about how the subject was presented, used or understood at the time. By fixing the subject within 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland, the image preserves more than the headline object or building: it records part of the locality's everyday history. Another useful connection is pub closures and how food, drink and heritage combine in destination pubs within the real-world context of 47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland. It also preserves evidence of changing use as a date-specific reference.
47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,boozer,Temple Bar,Temple Lane South,Dublin 2,exterior,bars,pubs,famous,D02 N725,47-48,47-48 Temple Bar,art,artwork,Dublin2,man,male,icon,iconic,Bill,William,Sir,bronze,metal,outside,profile,view,in profile,in,the
Description: Tony Smith image Alamy 2MCGAW9 - William Temple was born the son of the Leicestershire man Anthony Temple, whose family name was said to descend from the Knight Templars, a once powerful monastic order during the Crusades, but which was outlawed by Pope Clement V. The rituals and the secrets of the order survived and many of the Knight Templars families came to prominence in 16th-century England when Protestantism was embraced. He was educated at Eton College and passed with a scholarship to King's College, Cambridge, in 1573. In 1576 he was elected a fellow of King's, and graduated with a B.A. in 1577“8 and M.A. in philosophy in 1581. He became Master of Lincoln Grammar School that same year. Though originally destined for the law, he became a tutor in logic at his college. In his logic readings, wrote a pupil, Anthony Wotton, in his Runne from Rome (1624), he always laboured to fit his pupils for the true use of that art rather than for vain and idle speculations. He accepted with enthusiasm the logical methods and views of Petrus Ramus, and became the most active champion of the Ramists in England.
William Temple's first sight of Ireland came as he landed at Howth in April 1599 to take up his position as secretary to the new lord lieutenant, Robert Devereux, and 2nd Earl of Essex. It was a baptism of fire as their first great task was to suppress a major rebellion of the native Irish tribes who had now united with the Anglo-Normans. While Essex campaigned around the country, Temple stayed behind in Dublin that summer relaying news of military deployment and successes to the Royal Court, Essex, once Elizabeth's most trusted confidant and intimate advisor, now became the unappreciated and maligned viceroy falling foul of the ageing queen. Both he and William Temple were ignominiously recalled to London that same autumn.
47-48 Temple Bar, Dublin 2, D02 N725, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Eire,Ireland,pic,picture,the,tourists,red,famous,pub,boozer,pubs,bars,group,of,people,exterior,47-48,Temple Bar,Dublin 2,D02 N725,Temple Lane South,Dublin,Sir William Temple,listed,building,Record of Protected Structures,flowers,hanging baskets,drinkers,for,magnet,attraction,tourist,tourism,St Patricks Day
Description: Tony Smith image Alamy 2MCGAX8 - The Temple Bar is a public house located at 46“48 Temple Bar in the Temple Bar area of Dublin, Ireland. Standing at the corner of Temple Lane South, the first pub on the site was reputedly licensed in the early 19th century.
The pub building at 48 Temple Bar is listed by Dublin City Council on its Record of Protected Structures, and is recorded in the National Inventory of Architectural Heritage (NIAH) as being built c.‰1840.
History
The Temple Bar area, in which the building stands, was so-named in the 17th century, owing to its association with Sir William Temple, father of Sir John Temple, who owned a house and gardens there.
Some sources associate the public house with James Harrison, a young publican who previously worked in his father's pub grocery business at 48 City Quay, and who reputedly obtained a licence for a new pub in the area in May 1819. According to related sources, Harrison sold his business to Cornelius O'Meara, a grocer, tea, wine and spirit merchant, in 1835. O'Meara, who also had another pub at 1 Wood Quay, remained in Temple Bar for around a decade
In 1951, the Fitzgerald family purchased the property. They stayed for ten years, with William Flannery arriving in 1961.
As of 2012, the owners were the Cleary family, who purchased the pub in 1992. At that point traditional features such as the Georgian style wyatt windows were reinstated and the pub changed to its current name. The business was expanded in the first part of the 21st century with the acquisition of adjacent properties, including The Temple Bar Trading Company shop, which opened at number 46. This section features a life-size bronze statue of James Joyce and a beer garden
47-48 Temple Bar, Dublin 2, D02 N725, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,building,listed,Temple Bar,pubs,famous,bars,Dublin 2,Sir William Temple,D02 N725,boozer,the,red,flowers,hanging baskets,tourist,tourism,attraction,magnet,for,drinkers,St Patricks Day,Record of Protected Structures,Temple Lane South,exterior,pub,picture,sign,signs,outside,hotpix.org.uk
Description: Tony Smith image Alamy 2MCGAXD - The Temple Bar is a public house located at 46“48 Temple Bar in the Temple Bar area of Dublin, Ireland. Standing at the corner of Temple Lane South, the first pub on the site was reputedly licensed in the early 19th century.
The pub building at 48 Temple Bar is listed by Dublin City Council on its Record of Protected Structures, and is recorded in the National Inventory of Architectural Heritage (NIAH) as being built c.‰1840.
History
The Temple Bar area, in which the building stands, was so-named in the 17th century, owing to its association with Sir William Temple, father of Sir John Temple, who owned a house and gardens there.
Some sources associate the public house with James Harrison, a young publican who previously worked in his father's pub grocery business at 48 City Quay, and who reputedly obtained a licence for a new pub in the area in May 1819. According to related sources, Harrison sold his business to Cornelius O'Meara, a grocer, tea, wine and spirit merchant, in 1835. O'Meara, who also had another pub at 1 Wood Quay, remained in Temple Bar for around a decade
In 1951, the Fitzgerald family purchased the property. They stayed for ten years, with William Flannery arriving in 1961.
As of 2012, the owners were the Cleary family, who purchased the pub in 1992. At that point traditional features such as the Georgian style wyatt windows were reinstated and the pub changed to its current name. The business was expanded in the first part of the 21st century with the acquisition of adjacent properties, including The Temple Bar Trading Company shop, which opened at number 46. This section features a life-size bronze statue of James Joyce and a beer garden
47-48 Temple Bar, Dublin 2, Eire, D02 N725, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,tourist,tourism,attraction,sport,sports,Irish,football,ball,12,10 years,old,aged,Temple Bar Whiskey,Temple Bar,Whiskey,store,off-licence,off licence,bottle,bottles,model,advertisement,ad,advert,in,shop,window,windows,for,shopping,Cigarette,Players Please
Description: Tony Smith image Alamy 2MCGB1R - . This location-specific image from the recorded location in 2019 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. At the centre of the view is Temple Bar Whiskey and advert in shop window for Players Cigarettes, on all grounds - Players Please. The locality and subject together evoke tobacco retail history, historic smoking culture, community identity, brand display, historic tobacco marketing, before-and-after reference, consumer-health history, public realm, place identity, local history, town-centre economy, shopfront economy, changing streetscape, and visual archive. For current editorial use, online shopping and business rates provide additional context, especially through how physical shops adapt to online competition. Current relevance extends to smoking decline and advertising restrictions, particularly through how smoking restrictions transformed pubs, shops and public space. As a dated visual record of the recorded location, the frame retains transport arrangements and footfall, making it especially useful if refurbishment subsequently changes the scene. Further associations within the scene are regional identity, mid-century tobacco trade, commercial streetscape, changing land use, contemporary social history, local enterprise, cigar advertising, and vintage tobacco branding. Details involving window, Whiskey, grounds, Players, and Please make the image more specific than a generic view and strengthen its local or historical value. The wider setting at the recorded location matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The wider significance includes online shopping and the role of independent businesses in maintaining active town centres when considered against later change at the recorded location.
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,red,green,signage,Kehoes Lounge sign,in,neon,&,and,wine,spirit,9,South,open,hanging,baskets,summer,boozer,traditional,Irish,watering hole,tourist,tourism,attraction,classic neon,historic,history,1920,1930,black
Description: Tony Smith image Alamy 2MCGBB7 - . Photographed at 9 Anne St S, Dublin, Eire, D02 NY88, Ireland in 2019, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The scene records Kehoes Lounge pub sign in neon, wines & spirits , traditional Irish watering hole, 9 Anne St S, Dublin, Eire, D02 NY88, Ireland. Another layer of the photograph includes licensed hospitality, night-time economy, conservation architecture, changing streetscape, hospitality economy, regional identity, architectural character, architectural detailing, public realm, adaptive reuse, public-house heritage, food-and-drink business, community identity, and pub interior heritage. In present-day coverage, the subject reaches into changing drinking habits and tourism, not least because of how food, drink and heritage combine in destination pubs. Today's relevance is strengthened by maintenance, energy retrofit and the continuing question of the balance between conservation and modern commercial use. The image fixes equipment and working practice within 9 Anne St S, Dublin, Eire, D02 NY88, Ireland at one identifiable point, providing a benchmark against new ownership. A second descriptive layer includes beer-led hospitality, local history, traditional ale house, historic hostelry, visual archive, contemporary social history, period architecture, and local character. The combination of Ireland, spirits, traditional, watering, and Kehoes anchors the frame to a recognisable activity, place or moment. For 9 Anne St S, Dublin, Eire, D02 NY88, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The setting also helps illustrate changing drinking habits and how food, drink and heritage combine in destination pubs when considered against later change at 9 Anne St S, Dublin, Eire, D02 NY88, Ireland.
9 Anne St S, Dublin, Eire, D02 NY88, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,Bacardi,bar,pub,restaurant,woman,lady,DJ,blue,hair,decks,on,the,at,flowers,music,vinyl,red,Dublin,D02 X098,Jameson,black barrel,34,Annes Ln,street art,street,art,streetart,pubs,bars,rum,Annes Lane
Description: Tony Smith image Alamy 2MG1114 - . This location-specific image from 34 Anne's Ln, Dublin, D02 X098, Eire, Ireland in 2019 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. At the centre of the view is Painted mural at Venue35 event space, 34 Anne's Ln, Dublin, D02 X098. The frame also records themes of contemporary mural, historic hostelry, mural culture, documentary photography, visual street culture, pub interior heritage, changing land use, public-realm art, street creativity, historical comparison, temporary artwork, hospitality economy, public-house heritage, and regional identity. Viewed from the mid-2020s, the subject also connects with creative districts, public art and the role of murals in giving neighbourhoods a distinctive identity. The modern context includes continuing discussion of business rates, tourism and the survival of local pubs as social meeting places. For later comparison, the photograph preserves signage and branding at 34 Anne's Ln, Dublin, D02 X098, Eire, Ireland, details that may look very different after later reinterpretation. Further associations within the scene are traditional pub, contemporary social history, before-and-after reference, beer-led hospitality, urban graphics, public realm, community identity, and street-level design. The recorded references to space, mural, Painted, Dublin, and event preserve clues about how the subject was presented, used or understood at the time. A later view of 34 Anne's Ln, Dublin, D02 X098, Eire, Ireland may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The image also provides a reference for creative districts and the role of murals in giving neighbourhoods a distinctive identity in a form that can be compared with future views of 34 Anne's Ln, Dublin, D02 X098, Eire, Ireland.
34 Anne's Ln, Dublin, D02 X098, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,Irish,famous,writer,brass,bronze,art,artwork,of,the,character,from,his,novel,commemoration,commemorates,sponsored,by,College St,Dublin,Trinity,Cantrell,and,&,Cochrane,(Dublin),Ltd,Limited,writing,novelist
Description: Tony Smith image Alamy 2MG3YJD - Ulysses , he crossed under Tommy Moores roguish finger C&C
Leopold Bloom is the fictional protagonist and hero of James Joyce's 1922 novel Ulysses. His peregrinations and encounters in Dublin on 16 June 1904 mirror, on a more mundane and intimate scale, those of Ulysses/Odysseus in Homer's epic poem: The Odyssey.
Factual antecedents
When Joyce first started planning a story in 1906 called Ulysses to be included in Dubliners, the central character was based on a Dublin acquaintance named Alfred Hunter whom Joyce had met traveling to a funeral in July 1904.
Another model was probably Italo Svevo.
The character's name (and maybe some of his personality) may have been inspired by Joyce's Trieste acquaintance Leopoldo Popper. Popper was a Jew of Bohemian descent who had hired Joyce as an English tutor for his daughter Amalia. Popper managed the company of Popper and Blum and it is possible that the name Leopold Bloom was invented by taking Popper's first name and anglicizing the name Blum.
Fictional biography
Bloom is introduced to the reader as a man of appetites:
Mr. Leopold Bloom ate with relish the inner organs of beasts and fowls. He liked thick giblet soup, nutty gizzards, a stuffed roast heart, liverslices fried with crustcrumbs, fried hencods' roes. But most of all, he liked grilled mutton kidneys which gave to his palate a fine tang of faintly scented urine.
College St, Dublin, Eire, Ireland
Description
Keywords: Dublin,Ireland,Irish,Temple,bar,drinking,area,pub,pubs,tourists,selective,color,colour,toned,sepia,TonySmith,TonySmiththat,TonySmithIT,hotpix,dusk,night,shot,nightshot,dawn,movement,tripod,evening,irishness,guiness,drinkers,beer,lager,lout,stag,stagnight,Temple Bar
Description: Tony Smith image Flickr 8211476514 - 'View this whole set of cities here. If you do Twitter add me here.
Temple Bar (in Irish: Barra an Teampaill) is an area on the south bank of the River Liffey in central Dublin, Ireland. Unlike the areas surrounding it, Temple Bar has preserved its medieval street pattern, with many narrow cobbled streets. It is promoted as 'Dublin's cultural quarter' and has a lively night life that is popular with tourists. Temple Bar is in the postcode Dublin 2 (D2), and has an estimated population of 3,000.
The area is bounded by the Liffey to the north, Dame Street to the south, Westmoreland Street to the east and Fishamble Street to the west. It probably got its name from the Temple family, who lived in the area in the 17th century
Sir William Temple, provost of Trinity College Dublin in 1609, had his house and gardens here. However it got its name, the earliest historical reference to the name Temple Bar is on a 1673 map.
Fishamble Street in Temple Bar was the location of the first performance of Handel's Messiah on 13 April 1742. An annual performance of the Messiah is held on the same date at the same location. The republican revolutionary group, the Society of the United Irishmen, was formed at a meeting in a tavern in Eustace Street in 1791.
During the 19th century, the area slowly declined in popularity, and in the 20th century, it suffered from urban decay, with many derelict buildings. Its unfashionability probably saved it from Dublin's property developers, who destroyed much of the city's historic architecture during the 1960s.
In the 1980s, the state-owned transport company C\u00f3ras Iompair \u00c9ireann proposed to buy-up and demolish property in the area and build a bus terminus in its place. While this was in the planning stages, the purchased buildings were let out at low rents, which attracted small shops, artists and galleries to the area.
Protests by An Taisce, residents and traders led to the cancellation of the bus station project, and the Taoiseach Charles Haughey was responsible for securing funding, and, in 1991, the government set up a not-for-profit company called Temple Bar Properties to oversee the regeneration of the area as Dublin's cultural quarter.
In 1999, 'Stag Parties' and 'Hen Nights' were supposedly banned (or discouraged) from Temple Bar, mainly due to drunken loutish behaviour, although this seems to have lapsed. However, noise and anti-social behaviour usually fuelled. by excessive alcohol consumption remain a problem at night
(c) Hotpix / HotpixUK Tony Smith - tone@Hotpix.freeserve.co.uk WDCC',
Description
Keywords: national librray of Ireland,dublin,libraries,tony,smith,hotpix,tonysmith,tonysmithhotpix,hot,pix,pics,picks,hotpicks,hotpics,europe,architecture,building,buildings,interior,insdide,HDR,inside,great,wide,pano,panorama,panoramas,bibliotheek,dome,eire,ierland,ireland,koepel,librarynational,librarynationale,FOGL
Description: Tony Smith image Flickr 5872814582 - 'The first national libraries had their origins in the royal collections of the sovereign or some other supreme body of the state.
One of the first plans for a national library was that devised by the Welsh mathematician John Dee, who in 1556 presented Mary I of England with a visionary plan for the preservation of old books, manuscripts and records and the founding of a national library but his proposal was not taken up.
The beautiful National Library of Ireland was established by the Dublin Science and Art Museum Act, 1877, which provided that the bulk of the collections in the possession of the Royal Dublin Society, should be vested in the then Department of Science and Art for the benefit of the public and of the Society, and for the purposes of the Act.
An Agreement of 1881 provided that the Library should operate under the superintendence of a Council of twelve Trustees, eight of whom were appointed by the Society and four by the Government
this Agreement also conferred on the Trustees the duty of appointing the officers of the Library. This arrangement remained in place until the library became an autonomous cultural institution in 2005.
After the foundation of the Irish Free State in 1924/5 the Library was transferred to the Department of Education under which it remained until 1986 when it was transferred to the Department of An Taoiseach. In 1927 the Library was granted legal deposit status under the Industrial and Commercial Property (Protection) Act, 1927. In 1992 the Library transferred to the newly established Department of Arts, Culture and the Gaeltacht (now Arts, Sport and Tourism) and on 3 May 2005 became an autonomous cultural institution under the National Cultural Institutions Act, 1997.
This is a joiner formed from 6 x 3 separate HDR images joined together.
\u00bfWhats this Library Tribe set all about? Read about it here
Checkout more w=33062170@N08\' target=\'_blank\'>buildings from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 so I can follow all your new uploads.
(c) TonySmith Hotpix / HotpixUK
( )',
Description
Keywords: and,Guinness,Is,Sign,Extra Stout,extra,stout,beer,brewed,ale,black,frame,pub,pubs,bar,bars,republic,of,Ireland,Northern Ireland,ad,advertisement,advertising,drinking,abuse,alcohol,Irish,old,ABV,slogan,saying,Dublin,brand,St James Gate,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,pubs,bars,of,London,classic,tourist,attraction,travel,vacation,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Irish dry stout,Arthur Guinness,Beer Brand,Pubs Of London,must see
Description: Tony Smith image Alamy HE7M9E - Guinness is an Irish dry stout produced by Diageo that originated in the brewery of Arthur Guinness (1725“1803) at St. James's Gate, Dublin. Guinness is one of the most successful beer brands worldwide. It is brewed in almost 50 countries and is available in over 120. Annual sales total 850 million litres (1.5 billion Imperial or 1.8 billion US pints).
A feature of the product is the burnt flavour that is derived from roasted unmalted barley, although this is a relatively modern development, not becoming part of the grist until the mid-20th century. For many years a portion of aged brew was blended with freshly brewed beer to give a sharp lactic flavour. Although the Guinness palate still features a characteristic tang, the company has refused to confirm whether this type of blending still occurs. The draught beer's thick, creamy head comes from mixing the beer with nitrogen and carbon dioxide when poured. It is popular with the Irish both in Ireland and abroad, and, in spite of a decline in consumption since 2001, is still the best-selling alcoholic drink in Ireland where Guinness & Co. makes almost €2 billion annually.
The company moved its headquarters to London at the beginning of the Anglo-Irish Trade War in 1932. In 1997, it merged with Grand Metropolitan to form the multinational alcoholic drinks producer Diageo.
Ireland
Description
Keywords: Findlater Old Irish Whiskey,Metal Sign,Whisky,Northern Ireland,UK,history,historic,AI,Alex,Dublin,Trademark,Rathmines,Blackrock,Kingstown,Kings,Town,Duke of York,duke,of,york,pub,bar,spirit,alcohol,rust,rusting,abuse,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Quarter,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7M9N - . Photographed at Duke of York, Belfast, Northern Ireland, UK in 2011, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. At the centre of the view is A1 Findlater Old irish Whiskey Metal Sign, Belfast, Northern Ireland,UK. Further facets of the scene include roadside information, public information signage, instructional sign, regional identity, archival record, transport stop marker, local character, local information board, place identity, local history, before-and-after reference, wayfinding marker, changing land use, and historical comparison. From a 2025-onward perspective, clear communication and maintenance are closely linked to this subject, alongside the importance of clear wayfinding in public and transport environments. As a dated visual record of Duke of York, Belfast, Northern Ireland, UK, the frame retains commercial use and occupation, making it especially useful if changing commercial priorities subsequently changes the scene. The subject also sits alongside documentary photography, community noticeboard, everyday life, visual archive, contemporary social history, orientation signage, community identity, and changing streetscape. Elements such as Ireland, Whiskey, irish, Northern, and Findlater add documentary specificity and may become increasingly useful when compared with later records. Around Duke of York, Belfast, Northern Ireland, UK, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The image also provides a reference for clear communication and the importance of clear wayfinding in public and transport environments within the specific setting of Duke of York, Belfast, Northern Ireland, UK. The view records details of everyday use for later comparison. Image HE7M9N also remains a dated record of Duke of York, Belfast, Northern Ireland, UK.
Duke of York, Belfast, Northern Ireland, UK
Description
Keywords: tony,smith,hotpix,tonysmith,tonysmithhotpix,ir,720nm,720,R72,Hoya,infra,red,infrared,Dublin,Trinity,college,university,Ireland,Eire,Republic,spring,europa,europe,euro,sun,education,educacion,false,color,colour,5d,mkii,mk2,5dmk2,5dmkii,pano,panorama,join,joiner,stitch,stitched,stitcher,autostitch,#tonysmithotpix
Description: Tony Smith image Flickr 5601384233 - 'School Mam - 'The Stranglers' - Play this track here..
\u00bfWhats this iPod Shuffle set all about? Read about it here
Gives herself to teacher although he doesn't know
Works herself into a frenzied state and it shows....'
*** By Request ***
This is a track from 'No more heroes' the second Stranglers album. It was produced by Martin Rushent, and released in 1977. The classic cover featured a photo of a wreath placed on a coffin with the tails of several rats (the Stranglers' 'trademark'). It was one of the first albums I bought, after many plugs on the John Peel show.
They are said to be the longest-surviving and most 'continuously successful' band to have originated in the UK punk scene of the mid to late 1970s. Beginning life as the Guildford Stranglers on the 11th September 1974 with pub rock origins.
The Stranglers' early sound was driven by Jean-Jacques Burnel's melodic bass, but also gave prominence to Dave Greenfield's keyboards at a time when the instrument was seen as unfashionable. Their early music was also characterised by the growling vocals and sometimes misanthropic lyrics of both Jean-Jacques Burnel and Hugh Cornwell.
To hear more (for my money), checkout any or all of the first 3 albums: Rattus Norvegicus (1977), No More Heroes (1977) &
Black and White (1978 - I still have a promo grey/white vinyl version in my loft). Do tell 'em I sent you...
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Trinity College, Dublin (TCD
Irish: Col\u00e1iste na Tr\u00edon\u00f3ide, Baile \u00c1tha Cliath), formally known as the College of the Holy and Undivided Trinity of Queen Elizabeth near Dublin, was founded in 1592 by letters patent from Queen Elizabeth I as the 'mother of a university', and is the only constituent college of the University of Dublin. Located in Dublin, Ireland, it is Ireland's oldest university.
Trinity was set up in part to consolidate the rule of the Tudor monarchy in Ireland, and it was seen as the university of the Protestant Ascendancy for much of its history
although Roman Catholics and Dissenters had been permitted to enter as early as 1793, certain restrictions on their membership of the college remained until 1873 (professorships, fellowships and scholarships were reserved for Protestants) , and the Catholic Church in Ireland forbade its adherents, without permission from their bishop, from attending until 1970. Women were first admitted to the college as full members in 1904.
Its a cool place, make time in your busy life to spend an afternoon there.
This is the place to see the Book Of Kells or just to enjoy the green on a sunny afternoon. My thanks to MOB (you know who you are) for the suggested Dublin tour. I met some old friends and old ghosts during my afternoon.
This shot uses a 720nm filter and is composed of 4 x colour infrared shots joined in a panorama. Original size 11,400x2,800pixels.
Checkout more w=33062170@N08\' target=\'_blank\'>neat architechture from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 so I can follow all your new uploads.
(c) TonySmith Hotpix / HotpixUK
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Description
Keywords: Dublin,Ireland,Eire,Cathedral,city,Europe,blue,toned,tone,mono,flare,sun,shine,sunshine,tony,smith,tonysmith,hotpix,tonysmithhotpix,tonysmithotpix,christian,architecture,building,stone,buildings,structure,god,worship,house,house of god,deos
Description: Tony Smith image Flickr 6382610407 - 'The Breeders - 'Saints' - Play this track here.
Follow me on Twitter twitter.com/HotpixUK
\u00bfWhats this iPod Shuffle set all about? Read about it here
'Saints' is a cracking track by The Breeders, released as the third and final single from their 1993 album Last Splash. It was released in 1994 on 4AD/Elektra Records.
The Breeders are an American alternative rock band formed in 1988 by Kim Deal of the Pixies and Tanya Donelly of Throwing Muses. The band has experienced a number of line-up changes
the current line-up consists of Kim Deal (lead vocals and guitar), her twin sister Kelley Deal (guitar and backing vocals), Jose Medeles (drums and percussion), Mando Lopez (bass guitar) Todd the Fox (guitar) and Cheryl Lyndsey (guitar)
Kim Deal has been the band's sole continual member.
Their first album, Pod (1990), received critical acclaim but was not commercially successful. The Breeders' most successful album, 1993's Last Splash, produced the hit single 'Cannonball'. The band's fourth album, Mountain Battles, was released in 2008. The band's name is apparently gay slang for heterosexuals.
Christ Church Cathedral (or more formally, The Cathedral of the Holy Trinity) is the cathedral of the United Dioceses of Dublin and Glendalough and the cathedral of the Ecclesiastical province of the United Provinces of Dublin and Cashel in the Church of Ireland. It is situated in Dublin, Ireland and is the elder of the capital city's two medi\u00e6val cathedrals, the other being St. Patrick's Cathedral.
Christ Church is officially claimed as the seat (cathedra) of both the Church of Ireland and Roman Catholic archbishops of Dublin. In practice, it has been the cathedral of only the Church of Ireland's Archbishop of Dublin, since the English Reformation. Though nominally claimed as his cathedral, the Roman Catholic Archbishop of Dublin uses St Mary's in Malborough Street in Dublin, as his pro-cathedral (acting cathedral).[2]
Christ Church Cathedral is located in the former heart of medieval Dublin, next to Wood Quay, at the end of Lord Edward Street. However a major dual carriage-way building scheme around it separated it from the original medieval street pattern which once surrounded it, with its original architectural context (at the centre of a maze of small buildings and streets) lost due to road-building and the demolition of the older residential quarter at Wood Quay. As a result the cathedral now appears dominant in isolation behind new civil offices along the quays, out of its original medieval context.
Christ Church is the only one of the three cathedrals or acting cathedrals which can be seen clearly from the River Liffey.
Checkout more w=33062170@N08\' target=\'_blank\'>ipod music from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 so I can follow all your new uploads.
\u00bfWhats this iPod Shuffle set all about? Read about it here
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC',
Description
Keywords: Samual,Samuel,Beckett,Becket,white,modern,bridge,Ireland,Irish,Liffey,Dublin,new,crossing,dock,land,docklands,man,male,pipe,smoking,smoker,hat,B/W,mono,black,sepia,Europe,European,fisheye,fish,eye,8mm,lens,sigma,wide,shot,shots,circular,round,hotpix.com,hot pix,#tony,#smith,#tonysmith,#tonysmithhotpix,#tonysmithotpix
Description: Tony Smith image Flickr 5580256000 - 'Hash Pipe - 'Weezer' - Play this track here..
\u00bfWhats this iPod Shuffle set all about? Read about it here
Just when you thought pipes were so yesterday.....
One of my favourite tracks, good to hear it today!
'Hash Pipe' is a song by US indie rock band Weezer. Released in 2001, it was the first single off the band's long-awaited third album, Weezer (The Green Album).
The song was aparently inspired by a male transvestite prostitute known for rambling to people in Santa Monica. Weezer drummer Patrick Wilson is featured on the cover of the song's CD single holding a pack of Natural American Spirit cigarettes that has been blurred out due to copyright issues.
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The new white Samuel Beckett Bridge (Irish: Droichead Samuel Beckett) is a cable-stayed bridge in Dublin that joins Sir John Rogerson's Quay on the south side of the River Liffey to Guild Street and North Wall Quay in the Docklands area.
The architect is Santiago Calatrava, a designer of a number of innovative bridges and buildings. This is the second bridge in the area designed by Calatrava, the first being the James Joyce Bridge, which is further upstream.
Constructed by a 'Graham Hollandia Joint Venture', the main span of the Samuel Beckett Bridge is supported by 31 cable stays from a doubly back-stayed single forward arc tubular tapered spar, with decking provided for four traffic and two pedestrian lanes. It is also capable of opening through an angle of 90 degrees allowing ships to pass through. This is achieved through a rotational mechanism housed in the base of the pylon.
The shape of the spar and its cables is said to evoke an image of a harp, a symbol of Ireland lying on its edge.
Checkout more w=33062170@N08\' target=\'_blank\'>Black and White stuff from my photostream.
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(c) TonySmith Hotpix / HotpixUK
( !Beau )',
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,centre,apartment block,public housing,council housing,local authority housing,apartment building,flats,housing estate,residential building,urban housing,multi storey housing,modernist housing,affordable housing,rented housing,Dublin,documentary photography,AHB,housing,urban streetscape,residential street,city suburb,post war housing,1960s architecture,1970s architecture,balconies,communal living,inner city housing,housing density,social infrastructure,public,sector,neighbourhood life,street scene,Taylors Ln,disabled parking space,low income
Description: Tony Smith image Alamy 3CPAXPY - A multi-storey social housing apartment block on Taylors Lane in The Liberties, Dublin 8, photographed from the street with grey painted brickwork, repeated balconies, windows, railings and a marked wheelchair parking bay visible in the foreground. The image records older inner city public housing provision in one of Dublin's most historic urban districts, close to School Street, Marrowbone Lane and Thomas Court Bawn. Dublin City Council's regeneration material for the School Street and Thomas Court Bawn estate describes an existing site bounded by School Street, Taylor's Lane, Marrowbone Lane and Thomas Court Bawn, containing two five-storey housing blocks with homes and community facilities, with proposals for new and retrofitted council-managed housing. This photograph is useful for editorial coverage of Irish social housing, public housing estates, Dublin City Council homes, regeneration, retrofitting, housing maintenance, urban renewal, accessibility, tenant living conditions and housing supply pressure in the capital. The plain facade, balcony access and roadside setting make the image suitable for stories about local authority flats, apartment living, estate investment, city communities, public realm upgrades, social rented homes and the challenge of upgrading post-war housing stock while retaining communities in place. The cloudy daylight and visible street markings give the picture a neutral documentary feel rather than a promotional tone. It can support articles on housing policy, affordable homes, council housing, regeneration consultation, disability access, neighbourhood change, Dublin 8 planning, The Liberties, inner city deprivation, community services and the practical reality of maintaining older apartment blocks. With no identifiable close-up people, the image remains flexible for news, reports, websites, social housing presentations, local authority case studies and policy features on Ireland's housing crisis and public housing renewal.
Social housing flats on Taylors Lane in The Liberties, Dublin 8, showing public housing provision in
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,hand,holding,note,notes,fresh,dispensed,from,a,cash,machine,Dublin,Eire,Irish,European,shortage,in,of,disappearing,being,removed,closed,automated,teller,machines,ATMs,Republics,network,Republic,Central Bank,ownership,banks,bank,branches,Department of Finance,Retail Banking Review public consultation,cash is king,hand full
Description: Tony Smith image Alamy 2PJ0YXD - Cash use has been declining in Ireland in recent years, in particular during the pandemic. Central Bank statistics indicate that Irish ATM withdrawals were €13 billion in 2021, compared to €19.7 billion in 2019, a decline of 34 per cent.
The value of such withdrawals is now at about two-thirds of pre-pandemic levels, albeit they remain relatively stable at €1 billion per month.
Central Bank raises concerns at sale of Republic's ATM network
Regulator says 75% of network will be under control of unregulated entities by end of year as banks sell up
The Central Bank has raised concerns with the Government that three-quarters of Ireland's ATM network will no longer be under the control of retail banks by the end of the year.
The issue of the ATM network and the closure of bricks and mortar bank branches has been a political hot potato for the Government due to concerns around how older and more vulnerable cohorts of society might cope with such changes.
The regulator has outlined concerns on the matter in a submission to the Department of Finance's Retail Banking Review public consultation.
It said retail banks are selling their off-site ATMs to independent ATM deployers which, it noted, are unregulated . Just 25 per cent of Ireland's ATM network will be owned by retail banks by the end of the year compared to 100 per cent in 2015, it said.
In-branch services are also reducing, it said, with the number of bank branches countrywide set to reduce by 32 per cent compared to 2019.
The trend towards the withdrawal of cash and other in-branch services is being driven by commercial decision making, it said. We expect banks to ensure that the impact of their decisions are considered carefully and with a consumer-focused approach. The impact for all consumers, including those who are vulnerable, must be assessed by banks, to ensure changes to branches and in-branch services are undertaken in an orderly manner. We expect that vulnerable customers will be accomodated
Dublin, Eire, Ireland
-Live-on-stage-Birmingham-O2-Academy-Institute--Digbeth-West-Midlands--England--UK--B5-6DY-2AFP0GA.jpg)
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,Birmingham,UK,England,West Midlands,DC,Dublin,Dublin City,B5 6DY,B5,Live on stage Birmingham O2 Academy Institute,Live on stage,live,stage,music,Academy,Institute,Digbeth,25th November,2019,post-punk,punk,performing,performing at,Carlos OConnell,Conor Curley,Conor Deegan,Grian Chatten,Tom Coll,tour,touring,2019 Tour,Fontaines DC Tour 2019,Fontaines D.C. Tour 2019,City,Dogrel,A Heros Death,Skinty Fia
Description: Tony Smith image Alamy 2AFP0GA - Fontaines D.C. are a post-punk rock band from Dublin, Ireland. The band released their debut studio album, Dogrel, on April 12, 2019. Winners of Album of the Year 2019 from both Rough Trade and BBC 6Music.
Carlos O'Connell, Conor Curley, Conor Deegan, Grian Chatten, and Tom Coll met in Dublin while attending music college at British and Irish Modern Music Institute in Liberties, Dublin. They bonded over a common love of poetry and collectively released two collections of poetry, one called Vroom, inspired by the Beat poets (Jack Kerouac, Allen Ginsberg) and another called Winding, inspired by Irish poets (Patrick Kavanagh, James Joyce, W. B. Yeats). None of the published poems were translated into songs, but the track Television Screens off their debut Dogrel started out as a poem and was turned into a song.
Lead singer Grian Chatten is half-British (his mother is English and his father is Irish) and was born in Barrow-in-Furness, England but grew up in the County Dublin town of Skerries, Dublin.[10] Coll, Curley, and Deegan are from Ireland “ Mayo, County Mayo, Emyvale in County Monaghan, and Mayo, County Mayo, respectively, and O'Connell grew up in Madrid, Spain.
The band got their name from a character in the movie The Godfather called Johnny Fontane, a singer and movie star portrayed by Al Martino. Fontane was godson of Vito Corleone. They added the initials D.C. when a band in Los Angeles had the same name. The initials D.C. stand for Dublin City.
Fontaines started out self-releasing singles. In May 2017, Fontaines released the single Liberty Belle followed by the split Hurricane Laughter / Winter In the Sun. Liberty Belle is in homage to the Liberties, a neighborhood in Dublin where many band members lived.
78 Digbeth, Birmingham, England, UK, B5 6DY
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,hand,holding,note,notes,fresh,dispensed,from,a,cash,machine,Dublin,Eire,Irish,European,shortage,in,of,disappearing,being,removed,closed,automated,teller,machines,ATMs,Republics,network,Republic,Central Bank,ownership,retail,banks,bank,branches,Department of Finance,Retail Banking Review public consultation
Description: Tony Smith image Alamy 2PJ0YXH - Cash use has been declining in Ireland in recent years, in particular during the pandemic. Central Bank statistics indicate that Irish ATM withdrawals were €13 billion in 2021, compared to €19.7 billion in 2019, a decline of 34 per cent.
The value of such withdrawals is now at about two-thirds of pre-pandemic levels, albeit they remain relatively stable at €1 billion per month.
Central Bank raises concerns at sale of Republic's ATM network
Regulator says 75% of network will be under control of unregulated entities by end of year as banks sell up
The Central Bank has raised concerns with the Government that three-quarters of Ireland's ATM network will no longer be under the control of retail banks by the end of the year.
The issue of the ATM network and the closure of bricks and mortar bank branches has been a political hot potato for the Government due to concerns around how older and more vulnerable cohorts of society might cope with such changes.
The regulator has outlined concerns on the matter in a submission to the Department of Finance's Retail Banking Review public consultation.
It said retail banks are selling their off-site ATMs to independent ATM deployers which, it noted, are unregulated . Just 25 per cent of Ireland's ATM network will be owned by retail banks by the end of the year compared to 100 per cent in 2015, it said.
In-branch services are also reducing, it said, with the number of bank branches countrywide set to reduce by 32 per cent compared to 2019.
The trend towards the withdrawal of cash and other in-branch services is being driven by commercial decision making, it said. We expect banks to ensure that the impact of their decisions are considered carefully and with a consumer-focused approach. The impact for all consumers, including those who are vulnerable, must be assessed by banks, to ensure changes to branches and in-branch services are undertaken in an orderly manner. We expect that vulnerable customers will be accomodated
Dublin, Eire, Ireland
Description
Keywords: Findlater Old Irish Whiskey,Metal Sign,Whisky,Northern Ireland,UK,history,historic,AI,Alex,Dublin,Trademark,Rathmines,Blackrock,Kingstown,Kings,Town,Duke of York,duke,of,york,pub,bar,spirit,alcohol,sepia,BW,monochrome,old,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Quarter,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7M9M - . This scene at Duke of York, Belfast, Northern Ireland, UK in 2011 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The frame specifically shows A1 Findlater Old irish Whiskey Metal Sign, Belfast, Northern Ireland,UK. The subject also carries associations with local information board, route marker, transport stop marker, before-and-after reference, visitor guidance, local character, documentary photography, instructional sign, place identity, changing land use, wayfinding marker, community identity, everyday life, and public realm. Viewed from the mid-2020s, the subject also connects with accessibility, navigation and how small pieces of street furniture become recognisable parts of local identity. Future viewers can use this scene from Duke of York, Belfast, Northern Ireland, UK to compare materials and architectural details with whatever follows after closure or conversion. The surrounding story also includes contemporary social history, community noticeboard, visual archive, orientation signage, changing streetscape, regional identity, roadside information, and public information signage. The combination of Whiskey, Belfast, irish, Northern, and Ireland anchors the frame to a recognisable activity, place or moment. The period setting at Duke of York, Belfast, Northern Ireland, UK helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The scene further reflects accessibility and the need for accessible information that works without digital technology without losing the local specificity of Duke of York, Belfast, Northern Ireland, UK. Its period value extends to clear communication and how signs record changing road names, destinations and administrative responsibility in a form that can be compared with future views of Duke of York, Belfast, Northern Ireland, UK.
Duke of York, Belfast, Northern Ireland, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,IFI,6,Shop,tourist,attraction,tourism,media,entertainment,Dublin 2,D02 PD85,movies,movie,moving image,plus book store and bar.,hip,hangout,arty,and,independent,entrance,the,Irish Film Centre,art,Arthouse,organisation,body,Dublins,cafe,shop,bar,café
Description: Tony Smith image Alamy 2MCGA7X - The Irish Film Institute (IFI
Irish: Institiúid ScannánaÃochta na hÉireann, Institiúid Scannán na hÉireann), formerly the Irish Film Centre, is both an arthouse cinema and a national body that supports Irish film heritage. The IFI presents film festivals, retrospectives and curated seasons, along with independent, Irish and foreign language films overlooked by commercial multiplexes at its cinemas in the Temple Bar quarter of Dublin. It maintains an archive of Irish films and provides education in film culture.
The IFI increases the range of films available to Irish audiences. New releases, national seasons, directors' retrospectives, thematic programmes, festivals, and special events have been regular features of the programme. Every year, the IFI rewards its audiences by hosting an Open Day, with free cinema screenings and tours. In 2011, the IFI was awarded Dublin's Best Cinema in Dublin Living Awards. In its first two decades the IFI saw over 3.1 million cinema attendances to see 63,000 screenings of over 5,900 different films. The IFI Café Bar served over 1.78 million cups of tea and coffee to audiences that include over 8,000 members. The IFI Irish Film Archive contains 611 different collections with over 26,000 cans of films, the oldest of which, a Lumiere brothers film of Dublin and Belfast, dates back to 1897
