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Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,England,advert,promotion,PR,cricketing,street,art,mural,murals,cricket mural,UK,sport,players,player,modern,cricket promotion,city,centre,gable-end,gable,end,ECB,cricket initiative,summer,English,Board,street-level,sports,marketing,youth,engagement,Hundred cricket,Manchester Originals,equality in sport,elite athletes,junior players,Compare The Market
Description: Tony Smith image Alamy 3CGCJX9 - large, brightly coloured cricket mural in Manchester city centre, created to promote The Hundred and Manchester Originals, the city's team in the short-format cricket competition. The wall painting uses bold blue branding, the word SIMPLES, Compare the Market meerkat characters, cricket bats, balls and larger-than-life player portraits to turn a city wall into sports advertising and public street art. Parked cars, brick buildings and a patchy blue sky give the picture useful urban context for editorial use around Manchester and cricket promotion.
The mural is especially useful because it visually links men's and women's cricket together rather than treating them as separate stories. The Hundred was launched as a 100-ball competition with men's and women's teams competing under the same city brands, and Manchester Originals are part of that attempt to attract younger, family and more diverse audiences into cricket. Reporting around the 2025 unveiling placed the mural in Shudehill and described Manchester Originals stars Jos Buttler and Deandra Dottin attending alongside young cricketers from Chance to Shine, with Compare the Market's meerkats included. The mixture of elite players, junior participants, commercial branding and playful cartoon characters makes the image suitable for stories about grassroots sport, inclusive cricket, women's sport, children's participation, urban cricket and sports marketing.
For image buyers, the photograph has strong editorial and SEO value as a Manchester street scene, a public sports mural, a cricket culture image and an example of branded city-centre advertising. It could illustrate features on The Hundred, Manchester Originals, Lancashire cricket, equality in sport, family sports entertainment, summer cricket campaigns, sports sponsorship, outdoor media, youth engagement and how modern sport uses murals and public spaces to reach people beyond traditional stadium settings.
Shudehill, Manchester city centre, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,battle,of,Cable Street,Tower Hamlets,mural,brown shirts,fascist,fascists,ReformUK,Restore,Nigel farage,Oswald Moseley,Rupert Lowe,far right,far-right,politics,IMG_7770,London,Tower,Hamlets,East,Cable,Street,Mosley,Shadwell,UK,IMG,7770,Moseley,shall,not,pass,October,1936,gable,end,Oswald Mosley,Oswald,Blackshirts,Brownshirts
Description: Tony Smith image Alamy 3FAFDCK - Detail from the Battle of Cable Street mural in Tower Hamlets, East London, including imagery and wording associated with opposition to Oswald Mosley's fascist movement and the anti-fascist slogan 'They Shall Not Pass'. The mural commemorates the events of 4 October 1936, when residents and political activists resisted a planned British Union of Fascists march through the East End. The confrontation involved barricades, mounted police, street fighting and mass mobilisation by communities determined to prevent the march entering predominantly Jewish neighbourhoods. This close view is particularly useful for editorial stories about British fascism, political extremism, antisemitism, protest, community solidarity, the history of the labour movement, policing and civil liberties. It also documents how political memory is represented through permanent public art in contemporary London. The Battle of Cable Street remains a potent reference point in debates about racism, fascism, immigration, tolerance and collective action in Britain. The photograph also provides a contemporary documentary record of surviving East London heritage at a time when property values, development.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>redevelopment and changing commercial uses continue to alter the character of inner-city neighbourhoods. Details in the fabric, signage and surrounding streetscape help locate the subject in its real urban setting rather than presenting it as an isolated landmark. It can therefore support features comparing historic London with twenty-first-century development, tourism and conservation policy, as well as archive-style coverage of places whose appearance may change through restoration, conversion or redevelopment.
Cable Street, Shadwell, London E1, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,battle,of,Cable Street,Tower Hamlets,mural,brown shirts,fascist,fascists,ReformUK,Restore,Nigel farage,Oswald Moseley,Rupert Lowe,far right,far-right,politics,IMG_7772,London,Tower,Hamlets,East,Cable,Street,Mosley,Shadwell,UK,IMG,7772,October,1936,gable,end,Oswald Mosley,Oswald,Blackshirts,Brownshirts,blackshirts uk,black shirts uk,Black Shorts,Blackshorts
Description: Tony Smith image Alamy 3FAFDCW - View of the Battle of Cable Street mural in Tower Hamlets, East London, a major public artwork commemorating the confrontation of 4 October 1936. The mural depicts the crowded, chaotic resistance to a planned march by Oswald Mosley's British Union of Fascists through the East End, where local people and political activists erected barricades and opposed both the march and police efforts to clear a route. The event became one of Britain's most enduring symbols of popular anti-fascist resistance and is closely associated with the Jewish and working-class communities of the area. The artwork provides strong editorial imagery for subjects including fascism, antisemitism, political extremism, protest, civil disorder, community solidarity, British political history, public art, remembrance and the social history of London's East End. The photograph also records the mural as part of the contemporary Cable Street streetscape, demonstrating how historical memory is maintained within a changing inner-city neighbourhood. The photograph also provides a contemporary documentary record of surviving East London heritage at a time when property values, development.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>redevelopment and changing commercial uses continue to alter the character of inner-city neighbourhoods. Details in the fabric, signage and surrounding streetscape help locate the subject in its real urban setting rather than presenting it as an isolated landmark. It can therefore support features comparing historic London with twenty-first-century development, tourism and conservation policy, as well as archive-style coverage of places whose appearance may change through restoration, conversion or redevelopment.
Cable Street, Shadwell, London E1, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,battle,of,Cable Street,Tower Hamlets,mural,brown shirts,fascist,fascists,ReformUK,Restore,Nigel farage,Oswald Moseley,Rupert Lowe,far right,far-right,politics,IMG_7773,London,Tower,Hamlets,East,Cable,Street,Shadwell,UK,IMG,7773,October,1936,gable,end
Description: Tony Smith image Alamy 3FAFDD2 - Colourful view of the Battle of Cable Street mural in Tower Hamlets, East London, showing the dramatic crowd scene painted across a large gable wall. The mural commemorates 4 October 1936, when thousands of local residents and anti-fascist campaigners resisted a planned march by Oswald Mosley's British Union of Fascists through the East End. Barricades were built in nearby streets and violent clashes took place as police tried to open a route. The confrontation became a defining episode in British anti-fascist history and remains particularly important to the memory of London's Jewish and working-class communities. The mural is now both a heritage landmark and a piece of political public art. This image is suitable for editorial use around fascism and extremism, antisemitism, protest, policing, civil liberties, community resistance, political history, murals, street art, remembrance, social movements, immigration and East End identity. Photographed in the London Borough of Tower Hamlets. The photograph also provides a contemporary documentary record of surviving East London heritage at a time when property values, development.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>redevelopment and changing commercial uses continue to alter the character of inner-city neighbourhoods. Details in the fabric, signage and surrounding streetscape help locate the subject in its real urban setting rather than presenting it as an isolated landmark. It can therefore support features comparing historic London with twenty-first-century development, tourism and conservation policy, as well as archive-style coverage of places whose appearance may change through restoration, conversion or redevelopment.
Cable Street, Shadwell, London E1, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,IMG_7775,London,Tower,Hamlets,East,Cable,Street,mural,battle,fascism,Shadwell,UK,IMG,7775,Space,Above,October,1936,gable,end,Oswald Mosley,Oswald,Blackshirts,Brownshirts
Description: Tony Smith image Alamy 3FAFDD4 - Large Battle of Cable Street mural covering the gable end of a building on Cable Street in Tower Hamlets, East London. The colourful public artwork commemorates the events of 4 October 1936, when local residents, trade unionists, Jewish communities, socialists, communists and other anti-fascist demonstrators opposed a march through the East End by Oswald Mosley's British Union of Fascists. Police attempted to clear a route, but barricades and mass resistance prevented the march proceeding through the area. The mural has become an important visual landmark and a symbol of organised opposition to fascism and antisemitism in twentieth-century Britain. This wider view includes the mural's relationship with the surrounding streetscape and residential buildings, making it suitable for editorial coverage of political history, protest, community identity, public art, anti-fascism, Jewish East End history, social movements, remembrance and London's changing urban landscape. Photographed on Cable Street in the London Borough of Tower Hamlets. The photograph also provides a contemporary documentary record of surviving East London heritage at a time when property values, development.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>redevelopment and changing commercial uses continue to alter the character of inner-city neighbourhoods. Details in the fabric, signage and surrounding streetscape help locate the subject in its real urban setting rather than presenting it as an isolated landmark. It can therefore support features comparing historic London with twenty-first-century development, tourism and conservation policy, as well as archive-style coverage of places whose appearance may change through restoration, conversion or redevelopment.
Cable Street, Shadwell, London E1, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Merseyside,England,UK,sunny,blue sky,Eberle Street,Liverpool,L2 2AG,L2,Ukraine,art,street,gable,end,NCP,Quakers Alley,parking,Ukrainian artist Somari,British artist Neil Keating,part,of,EuroFestival,the,world,cooperation,political,social,cultural,Wall project,wall,artists,with,Ukrainian Institute
Description: Tony Smith image Alamy 2R6AHYX - Sound of Freedom' is a unique work of street art, the result of a collaboration between Ukrainian artist Somari and British artist Neil Keating.
Sound of Freedom focuses on cooperation between Ukraine and the world at all levels: political, social, and cultural. This cooperation starts with artistic interaction, an example of prosperity created by joint efforts.
The artwork explores the cultural identity of the nations through music. It examines the musical background of each country and finds common ground, celebrating diversity, talent, and creativity.
The project is commissioned by the Culture Liverpool, curated by Katya Taylor, and implemented by the Port. agency based in Kyiv, Ukraine.
Liverpool joins The Wall project, created in cooperation with the Ukrainian Institute, with this vibrant Sound of Freedom mural. The city joins Vienna, Berlin, Marseilles, Brussels and Nairobi with a unique work of street art, the result of a collaboration between Ukrainian artist Somari and British artist Neil Keating.
Hackins Hey, Quakers Alley, Eberle St, Liverpool , Merseyside, England, UK, L2 2AG
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Merseyside,England,UK,sunny,blue sky,Eberle Street,Liverpool,L2 2AG,L2,Ukraine,art,street,gable,end,NCP,Quakers Alley,parking,Ukrainian artist Somari,British artist Neil Keating,part,of,EuroFestival,the,world,cooperation,political,social,cultural,Wall project,wall,artists,with,Ukrainian Institute
Description: Tony Smith image Alamy 2R6AJ04 - Sound of Freedom' is a unique work of street art, the result of a collaboration between Ukrainian artist Somari and British artist Neil Keating.
Sound of Freedom focuses on cooperation between Ukraine and the world at all levels: political, social, and cultural. This cooperation starts with artistic interaction, an example of prosperity created by joint efforts.
The artwork explores the cultural identity of the nations through music. It examines the musical background of each country and finds common ground, celebrating diversity, talent, and creativity.
The project is commissioned by the Culture Liverpool, curated by Katya Taylor, and implemented by the Port. agency based in Kyiv, Ukraine.
Liverpool joins The Wall project, created in cooperation with the Ukrainian Institute, with this vibrant Sound of Freedom mural. The city joins Vienna, Berlin, Marseilles, Brussels and Nairobi with a unique work of street art, the result of a collaboration between Ukrainian artist Somari and British artist Neil Keating.
Hackins Hey, Quakers Alley, Eberle St, Liverpool , Merseyside, England, UK, L2 2AG
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,S1,Yorkshire,South Yorkshire,England,UK,S1 1AA,Brit pop,scene,music,city,23 Alma St,Kelham Island,Sheffield,S3 8SA,S3,painting,gable,end,GableEnd,graffiti,front,man,and,vocalist,the,side of,Fat,cat,FatCat,real ale,pub,bar,Jarvis Branson Cocker,icon,Sheffielder,Arabacus
Description: Tony Smith image Alamy 2MKF91K - Jarvis Branson Cocker (born 19 September 1963) is an English musician and radio presenter. As the founder, frontman, lyricist and only consistent member of the band Pulp, he became a figurehead of the Britpop genre of the mid-1990s. Following Pulp's hiatus, Cocker has pursued a solo career, and for seven years he presented the BBC Radio 6 Music show Jarvis Cocker's Sunday Service.
Cocker gained international attention when he invaded the stage at the 1996 Brit Awards during a performance by Michael Jackson.
Early life
Cocker was born in Sheffield, grew up in the Intake area of the city, and attended City School. His father, Mac Cocker, a DJ and actor, left the family and moved to Sydney when Cocker was seven, and had no contact with Cocker or his sister, Saskia, until Jarvis was in his thirties. Following their father's departure, both children were brought up by their mother, Christine Connolly, who later became a Conservative councillor.
Cocker founded the band Pulp originally under the name Arabacus Pulp (named after a tradable commodity he learned about in an economics class) at the age of 15 while he was a pupil at The City School, Sheffield. After numerous line-up changes, and shortening the name to Pulp, the band eventually found fame in the 1990s with the success of the albums His 'n' Hers (1994) and Different Class (1995). Cocker was Pulp's frontman, and part of his trademark image was his glasses, which seemed to stay magically on his face no matter what antics he performed. This feat was achieved using a huge rubber band round the back of his glasses.
Pulp released two more albums (This Is Hardcore and We Love Life) to critical acclaim, though neither achieved the commercial success of Different Class. After releasing a greatest hits album, the band went on hiatus from 2003 to 2010, then returned to activity in 2011.
Cocker is also renowned for his wit and observations of the cultural scene.
23 Alma St, Kelham Island, Sheffield, South Yorkshire, England, UK, S3 8SA
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Liverpool,Merseyside,England,UK,dusk,musician,Pier Head,gig,gable,end,advert,advertisement,promotion,L1,L1 4BX,Slater Street,Rope walks,Rope walk,urban,attractions,nightlife,tourism,bar,entertainment,interesting,heritage,festivals,events,streets,lanes,avenues,arty,Street art
Description: Tony Smith image Alamy 2P4JWMG - . An identifiable period record of Slater St, Liverpool, Merseyside, England, UK, L1 4BX in 2023, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The frame specifically shows Jamie Webster Pier Head gig Friday 30th June 2023 Tickets onsale now, Slater St, Liverpool, Merseyside, England, UK, L1 4BX. The surrounding context encompasses changing streetscape, memorial culture, street food culture, public realm, regional music heritage, regional food culture, documentary photography, historical comparison, social history, traditional takeaway, local history, local character, archival record, and British food tradition. Today's relevance is strengthened by commemoration, local history and the continuing question of how memorials preserve figures from regional music scenes outside formal institutions. From a 2025-onward perspective, nutrition and tourism are closely linked to this subject, alongside the pressure of food and energy prices on small hospitality businesses. As a dated visual record of Slater St, Liverpool, Merseyside, England, UK, L1 4BX, the frame retains materials and architectural details, making it especially useful if altered transport patterns subsequently changes the scene. The subject also sits alongside visual archive, comfort food, place identity, music memorial, popular cuisine, community tribute, everyday life, and hospitality food service. The combination of onsale, Slater, Tickets, Webster, and Liverpool anchors the frame to a recognisable activity, place or moment. Around Slater St, Liverpool, Merseyside, England, UK, L1 4BX, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The period view preserves period character for future local research. The view records a trace of local identity before later change alters the scene.
Slater St, Liverpool, Merseyside, England, UK, L1 4BX
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,new,art,painting,artwork,The Beatles,gable,end,of,L18,icons,guitar,Merseybeat,Merseyside,1960s,building,shop,centre,street,large,big,Scouse,Scouser,There beneath the blue suburban skies,fresh from,Hamburg,PennyLane,JohnLennon,paulmccartney,Penny,Lane,work,works,Penny Lane,pennylane
Description: Tony Smith image Alamy 2K0GF8W - Penny Lane is a road in the south Liverpool suburb of Mossley Hill. The name also applies to the area surrounding its junction with Smithdown Road and Allerton Road, and to the roundabout at Smithdown Place that was the location for a major bus terminus, originally an important tram junction of Liverpool Corporation Tramways. The roundabout was a frequent stopping place for John Lennon, Paul McCartney and George Harrison during their years as schoolchildren and students. Bus journeys via Penny Lane and the area itself subsequently became familiar elements in the early years of the Lennon“McCartney songwriting partnership. In 2009, McCartney reflected:
Penny Lane was kind of nostalgic, but it was really [about] a place that John and I knew ... I'd get a bus to his house and I'd have to change at Penny Lane, or the same with him to me, so we often hung out at that terminus, like a roundabout. It was a place that we both knew, and so we both knew the things that turned up in the story.
Lennon's original lyrics for In My Life had included a reference to Penny Lane. Soon after the Beatles recorded In My Life in October 1965, McCartney mentioned to an interviewer that he wanted to write a song about Penny Lane. A year later, he was spurred to write the song once presented with Lennon's Strawberry Fields Forever. McCartney also cited Dylan Thomas's nostalgic poem Fern Hill as an inspiration for Penny Lane. Lennon co-wrote the lyrics with McCartney. He recalled in a 1970 interview: The bank was there, and that was where the trams sheds were and people waiting and the inspector stood there, the fire engines were down there. It was reliving childhood
Penny Lane, Moseley Hill, South Liverpool, Merseyside, England, UK, L18 1DE
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,new,art,painting,artwork,The Beatles,gable,end,of,L18,icons,guitar,Merseybeat,Merseyside,1960s,building,shop,centre,street,large,big,Scouse,Scouser,There beneath the blue suburban skies,fresh from,Hamburg,PennyLane,JohnLennon,paulmccartney,Penny,Lane,work,works,Penny Lane,pennylane
Description: Tony Smith image Alamy 2K0GF94 - Penny Lane is a road in the south Liverpool suburb of Mossley Hill. The name also applies to the area surrounding its junction with Smithdown Road and Allerton Road, and to the roundabout at Smithdown Place that was the location for a major bus terminus, originally an important tram junction of Liverpool Corporation Tramways. The roundabout was a frequent stopping place for John Lennon, Paul McCartney and George Harrison during their years as schoolchildren and students. Bus journeys via Penny Lane and the area itself subsequently became familiar elements in the early years of the Lennon“McCartney songwriting partnership. In 2009, McCartney reflected:
Penny Lane was kind of nostalgic, but it was really [about] a place that John and I knew ... I'd get a bus to his house and I'd have to change at Penny Lane, or the same with him to me, so we often hung out at that terminus, like a roundabout. It was a place that we both knew, and so we both knew the things that turned up in the story.
Lennon's original lyrics for In My Life had included a reference to Penny Lane. Soon after the Beatles recorded In My Life in October 1965, McCartney mentioned to an interviewer that he wanted to write a song about Penny Lane. A year later, he was spurred to write the song once presented with Lennon's Strawberry Fields Forever. McCartney also cited Dylan Thomas's nostalgic poem Fern Hill as an inspiration for Penny Lane. Lennon co-wrote the lyrics with McCartney. He recalled in a 1970 interview: The bank was there, and that was where the trams sheds were and people waiting and the inspector stood there, the fire engines were down there. It was reliving childhood
Penny Lane, Moseley Hill, South Liverpool, Merseyside, England, UK, L18 1DE
Description
Keywords: black,wall,gable,end,of,building,GoTonySmith,HotpixUK,@HotpixUK,painted,over,destroyed,art,street,port street,NQ4,Northern Quarter,mental,health,frontman,with,by,Rapper,local hero,outcry,music,icon,album,new,P19,billboard,punk,MC,graffiti,artist,World Mental Health Day,M1
Description: Tony Smith image Alamy 2JTD2MX - Mural of Joy Division frontman Ian Curtis painted over with advert
Rapper Aitch has vowed to remove advert for his new album and restore the painting of ˜local hero' in Manchester
A mural of former Joy Division frontman Ian Curtis on Port Street, Manchester, has been painted over with an advert for local rapper Aitch, prompting such an outcry that the rapper has promised to restore the original painting.
Aitch, an MC from Moston in north Manchester, said he had no control over which billboards were used to advertise his new album and would never have sanctioned such an act of disrespect against a local hero .
It's come to light that the iconic Ian Curtis mural on Port Street has been painted over with my album artwork. This is the first time I've heard of this, me and my team are getting this fixed pronto. No way on earth would I want to disrespect a local hero like Ian, he tweeted. I don't just choose locations for billboards, he added.
The monochrome mural by graffiti artist Akse P19 was created in October 2020 to commemorate World Mental Health Day. It depicts Curtis performing in Brussels in 1979, a year before he killed himself.
Port Street, NQ4, Northern Quarter,Manchester, England, UK, M1 2EQ
Description
Keywords: Manchester,city,centre,Greater,England,UK,M1 1EG,Northern Quarter gable end,in,a,red,dress,tribute,to,all,that,stand against injustice,Suffragette,Stevenson Square,project,paint,painted,painting,wall,gable-end,gable,end,people,figure,figures,portrait,portraits,float,floating,hover,hovering,levitate
Description: Tony Smith image Alamy 2JTD2N0 - Serenity is a large mural by street art duo SNIK at the back of the Greater Manchester Police Museum & Archives. It is a tribute to all women that stand against injustice. Over 100 years ago the Suffragettes gathered around the corner in Stevenson Square in a stance for equality so it is fitting that this mural is located just off the square on Little Lever Street.
This piece was organised by the Cities of Hope project.
Little Lever Street, Northern Quarter gable end, NQ4, Manchester, England, UK, M1 1EG
Description
Keywords: Manchester,city,centre,Greater,England,UK,Northern Quarter,M1 1JF,M1,Akse_P19,Akse,P19,of,Ste_Wing,project,art,graffiti,street art,streetart,free,tattoo,hand,covering,covers,eye,Crew,paint,painted,painting,wall,gable-end,gable,end,people,figure,figures,portrait,portraits
Description: Tony Smith image Alamy 2JTD2N4 - . An identifiable period record of Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The image documents Stevenson Square / Little Lever St, Akse_P19 portrait of Ste_Wing, , Northern Quarter, Manchester, England, UK, M1 1JF. The wider scene also brings together adaptive reuse, period architecture, civic architecture, public-realm investment, mixed-use redevelopment, public realm, regional identity, local history, social history, architectural character, everyday life, visual archive, built heritage, and period detail. Today's relevance is strengthened by housing pressure, planning and the continuing question of how regeneration tries to create reasons to visit traditional town centres. Small period details of local activity and public use at Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF may become more significant with time, particularly following later reinterpretation. The subject also sits alongside contemporary social history, community identity, changing land use, commercial redevelopment, urban regeneration, urban fabric, place-making, and historic townscape. The recorded references to Quarter, Little, Square, portrait, and Lever preserve clues about how the subject was presented, used or understood at the time. A later view of Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes housing pressure and the tension between preserving local character and creating modern commercial space when considered against later change at Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF. The period view preserves part of the area's social history as a date-specific reference.
Stephenson Square, Northern Quarter, Manchester, England, UK, M1 1JF
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,2022,woman,ad,advert,advertisement,PR,England,UK,Shude Hill,M4,M4 2AF,gable,end,gable end,media account,to,moves,Coutts,group,Nat West,NatWest,National Westminster,bank,banking,bankers,finance,scandal,opening,accounts,account,Nigel Farage,controversy,promotion,student bank accounts
Description: Tony Smith image Alamy 2JYYR2M - Large NatWest advertising mural covers the gable wall of the Hare and Hounds public house on Shudehill in Manchester city centre. The colourful artwork shows an older woman wearing glasses, a purple university-style hoodie marked Class of '22 and brightly patterned floral trousers. Behind her is a painted auditorium or lecture theatre, while the prominent slogan Never stop starting appears across the lower half of the wall.
The mural formed part of NatWest's wider Tomorrow Begins Today advertising platform, which encouraged people to take practical steps towards personal ambitions rather than delaying change. The campaign used people of different ages and backgrounds to challenge conventional banking advertising and present financial confidence, education, employment, entrepreneurship and personal development as goals that could be started at any stage of life.
This particular image places an older female learner at the centre of the campaign. The university clothing and Class of '22 wording suggest adult education, lifelong learning, a return to study or a new beginning later in life. The representation contrasts with the frequent advertising focus on younger consumers and promotes a more inclusive view of ambition, ageing and personal reinvention.
The artwork was installed as a temporary painted advertisement on a prominent Shudehill gable regularly used for changing commercial murals. The wall belongs to the Hare and Hounds, a Grade II listed public house at 46 Shudehill, close to Manchester's Northern Quarter and Shudehill transport interchange. Other temporary artworks and campaigns have occupied the same highly visible wall.
Parked cars, pedestrians, surrounding offices and historic red-brick architecture place the campaign firmly within the busy urban streetscape. The photograph records the growing use of large-scale hand-painted advertising as a form of outdoor media, combining the visual impact of street art with corporate branding.
ShudeHill, Manchester, England, UK, M4 2AF
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,Manchester,city,centre,Union St,art,gable,end,fiction,England,UK,M4 1PE,and,of,street,building,buildings,architecture,telephone exchange,BT,Openreach,arts,urban,decoration,decorated,streets,scene,Manc,Manchester City centre,Mancunian,trendy,funky,tourist,tourism,attraction,attractions
Description: Tony Smith image Alamy 2JYYR7W - . Photographed at Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE in 2022, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The defining feature is Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE. Another layer of the photograph includes community identity, heritage worship space, Christian iconography, religious heritage, documentary photography, everyday life, urban regeneration, local history, mixed-use redevelopment, public realm, changing land use, sacred decoration, liturgical art, and sacred architecture. For current editorial use, adaptive reuse and commercial viability provide additional context, especially through the value of reusing existing buildings rather than wholesale demolition. Current relevance extends to visitor tourism and accessibility, particularly through the role of parish churches in local identity and genealogy. Small period details of equipment and working practice at Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE may become more significant with time, particularly following new construction. Other useful contextual ideas include changing streetscape, local character, historic townscape, public-realm investment, period architecture, parish church heritage, historical comparison, and archival record. Elements such as Quarter, junction, Church, Union, and Northern add documentary specificity and may become increasingly useful when compared with later records. By fixing the subject within Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE, the image preserves more than the headline object or building: it records part of the locality's everyday history. Image 2JYYR7W also remains a dated record of Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE.
Church St and junction of Union St, Northern Quarter, Manchester, England, UK, M4 1PE
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Lancashire,England,UK,holidays,holiday,coast,coastline,art,street,streetart,street-art,Waterloo,rd,Road,Apollo,gable,end,terrace,Artists,artist,Annual,Festival,2013,urban,paint,spraypaint,FY4 1AD,FY4,coastal,charm,charms,diversions,classic,northern,experience,experiences
Description: Tony Smith image Alamy 2JRM306 - . Made at Waterloo Road, Blackpool, Lancashire, England, UK, FY4 1AD in 2022, 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 image documents Apollo gable end, Waterloo rd - Street Artists Annual Blackpool Urban Art Festival 2013, FY4 1AD. The setting additionally reflects bus infrastructure, local bus network, surface public transport, everyday life, period detail, archival record, place identity, historical comparison, regional identity, social history, public-transport wayfinding, changing land use, visual archive, and local mobility. The modern context includes continuing discussion of decarbonisation, reliability and the challenge of maintaining reliable services outside dense urban centres. The image fixes transport arrangements and footfall within Waterloo Road, Blackpool, Lancashire, England, UK, FY4 1AD at one identifiable point, providing a benchmark against new construction. Other useful contextual ideas include roadside transit, community identity, public realm, street-side transport, public transport stop, bus route infrastructure, contemporary social history, and changing streetscape. Details involving Blackpool, Urban, Waterloo, Annual, and Apollo make the image more specific than a generic view and strengthen its local or historical value. A later view of Waterloo Road, Blackpool, Lancashire, England, UK, FY4 1AD may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes decarbonisation and how local bus services affect access to work, education and healthcare as part of the longer story of Waterloo Road, Blackpool, Lancashire, England, UK, FY4 1AD. The photograph keeps evidence of changing use as a date-specific reference. The record includes evidence of earlier appearance for later comparison.
Waterloo Road, Blackpool, Lancashire, England, UK, FY4 1AD
Description
Keywords: GotonySmith,HotpixUK,@HotpixUK,W1F,England,UK,the,parish,of,gable,end,art,artwork,St Ann,W1,&,Fitzrovia,Broadwick Street,murals,The Spirit of Soho,1991,St Annes,Parish of St Annes,overseeing,various,Soho,luminaries,restored,2006,Freeform Arts Trust,Ltd,Freeform,Soho parish school,a dog and hare standing on a Union Jack,a,Willow Pattern dish,Soho Street Theatre,presented by Alternative Arts,West End
Description: Tony Smith image Alamy 2JJYRF1 - Site: Spirit of Soho Mural (1 memorial)
W1, BROADWICK STREET
The flame-haired St Anne holds out her skirt on which is depicted a map of Soho. Crowded below her lacey, fruity hem are some of the famous characters connected with the area. To left and right are six scenes representing a film animator in his studio (possibly Bob Godfrey), the fashion trades, food and international restaurants (pictured), the Palladium, Carnaby Street and Ronnie Scott's.
A green border at the bottom carries little pictures of, left to right:
Soho parish school
a dog and hare standing on a Union Jack
a Willow Pattern dish
Soho Street Theatre - presented by Alternative Arts
In the frame, along the bottom edge, blue plaques, reading, left to right:
BSI, Business Sponsorship Incentive Scheme
Sponsored by City of Westminster
Goldsmiths & silversmiths
Gunmakers
Jewellers & clockmakers
Furniture & woodworkers
Engravers
Science & medicine
Commissioned & sponsored by Wereldhave
FreeForm 1991. Designed & made by Freeform Arts Trust Ltd
Carnaby St, London, England, UK, W1F 9PS
Description
Keywords: GotonySmith,HotpixUK,@HotpixUK,W1F,England,UK,the,parish,of,gable,end,art,artwork,St Ann,W1,&,Fitzrovia,Broadwick Street,murals,The Spirit of Soho,1991,St Annes,Parish of St Annes,overseeing,various,Soho,luminaries,restored,2006,Freeform Arts Trust,Ltd,Freeform,Soho parish school,a dog and hare standing on a Union Jack,a,Willow Pattern dish,Soho Street Theatre,presented by Alternative Arts,West End
Description: Tony Smith image Alamy 2JJYRF3 - Site: Spirit of Soho Mural (1 memorial)
W1, BROADWICK STREET
The flame-haired St Anne holds out her skirt on which is depicted a map of Soho. Crowded below her lacey, fruity hem are some of the famous characters connected with the area. To left and right are six scenes representing a film animator in his studio (possibly Bob Godfrey), the fashion trades, food and international restaurants (pictured), the Palladium, Carnaby Street and Ronnie Scott's.
A green border at the bottom carries little pictures of, left to right:
Soho parish school
a dog and hare standing on a Union Jack
a Willow Pattern dish
Soho Street Theatre - presented by Alternative Arts
In the frame, along the bottom edge, blue plaques, reading, left to right:
BSI, Business Sponsorship Incentive Scheme
Sponsored by City of Westminster
Goldsmiths & silversmiths
Gunmakers
Jewellers & clockmakers
Furniture & woodworkers
Engravers
Science & medicine
Commissioned & sponsored by Wereldhave
FreeForm 1991. Designed & made by Freeform Arts Trust Ltd
Carnaby St, London, England, UK, W1F 9PS
Description
Keywords: Great Western Road,Maida Hill,London,England,UK,W9 3BT,W9,ales,stout,stouts,history,historic,gable,end,painted,ad,brewery,brewer,Fullers,Fuller,Smith,Turner,GoTonySmith,HotpixUK,@HotpixUK,pub,bar,alcohol,alcoholic,beverage,beverages,Chiswick,red,white,Victorian,heritage
Description: Tony Smith image Alamy 2M0F6JG - . This dated editorial view of Great Western Road, Maida Hill,London, England , UK, W9 3BT in 2022 captures more than the immediate subject, retaining clues about local use, design, activity and change. The image documents Brewers, Fuller Smith & Turner - historic Gable End advert for Well Known Ales and Stouts, Great Western Road, Maida Hill,London, England , UK, W9 3BT. The frame also records themes of archival record, bus route infrastructure, public realm, roadside transit, bus infrastructure, changing streetscape, everyday life, historical comparison, period detail, regional identity, transport accessibility, before-and-after reference, public transport stop, and place identity. The modern context includes continuing discussion of service frequency, accessibility and the challenge of maintaining reliable local services. Small period details of street furniture and boundaries at Great Western Road, Maida Hill,London, England , UK, W9 3BT may become more significant with time, particularly following different community use. The subject also sits alongside visual archive, social history, local mobility, passenger transport, community identity, public-transport wayfinding, contemporary social history, and changing land use. Elements such as historic, Maida, Gable, advert, and Smith add documentary specificity and may become increasingly useful when compared with later records. For Great Western Road, Maida Hill,London, England , UK, W9 3BT, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The image also provides a reference for service frequency and the shift toward cleaner buses and integrated ticketing within the specific setting of Great Western Road, Maida Hill,London, England , UK, W9 3BT. The photograph keeps a trace of local identity within the wider story of Great Western Road, Maida Hill,London, England , UK, W9 3BT.
Great Western Road, Maida Hill,London, England , UK, W9 3BT
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,London,NW1,boot,boots,shoes,shoe,building,store,shop,mural,artwork,advert,ad,advertisement,on,a,in,fashion,British,Airwair,DMs,DM,Made In England,English,tough,as you,Jamestown Road,corner,gable,gable-end,end,Wollaston,Camden Town,design,studio
Description: Tony Smith image Alamy 2K16AXJ - Dr. Martens, also commonly known as Doc Martens, Docs or DMs, is a German-founded British footwear and clothing brand, headquartered in Wollaston in the Wellingborough district of Northamptonshire, England. Although famous for its footwear, Dr. Martens also makes a range of accessories “ such as shoe care products, clothing, and bags. The footwear is distinguished by its air-cushioned sole (dubbed Bouncing Soles), upper shape, welted construction and yellow stitching. Dr Martens' design studio is in Camden Town, London
the manufacturing is in the UK, China, Vietnam, Laos and Thailand. The company is listed on the London Stock Exchange and is a constituent of the FTSE 250 Index.
Klaus Märtens was a doctor in the German Army during World War II. After he injured his ankle in 1945, he found that his standard-issue army boots were too uncomfortable on his injured foot. While recuperating, he designed improvements to the boots, with soft leather and air-padded soles made of tyres. When the war ended and some Germans recovered valuables from their own cities, Märtens looted leather from a cobbler's shop. With that leather he made himself a pair of boots with air-cushioned soles
Märtens did not have much success selling his shoes until he met up with an old university friend, Herbert Funck, a Luxembourger, in Munich in 1947. Funck was intrigued by the new shoe design, and the two went into business that year in Seeshaupt, Germany, using discarded rubber shaped by moulds. The comfortable soles were a big hit with housewives, with 80% of sales in the first decade to women over the age of 40
Sales had grown so much by 1952 that they opened a factory in Munich. In 1959, the company had grown large enough that Märtens and Funck looked at marketing the footwear internationally. Almost immediately, British shoe manufacturer R. Griggs Group bought patent rights to manufacture the shoes in the United Kingdom. Griggs anglicised the name to Dr. Martens
Camden High Street, Camden Town, London, England, UK, NW1
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Greater Manchester,England,UK,BL1,BL3,127,Lancashire,The,mural,art,painting,rail,crash,accident,cask ale,juke box,16/03/1918,history,historic,heritage,gable,end,side,of,the,pub,bar,pubs,bars,crashed,crashing,accidents,train,trains,disaster,disasters
Description: Tony Smith image Alamy 2K0WRH6 - Extract for the LNWR railway Accident at Bolton Crook Street on 16th March 1918
In this case a special coal train from Hulton Sidings, when approaching Bolton Terminal Station, got out of control. It was turned into one of the lines in the goods yard (Crook Street), ran through the yard on the metals, forced its way through the boundary wall, crossed the public road diagonally and completely wrecked two small dwelling-houses. The guard jumped from the brake-van
the driver and fireman remained on the footplate. None of the men suffered more than minor injuries. Eight persons living in the houses were injured, though fortunately not seriously. In addition to the damage to the engine and house property, five wagons were demolished and seven others damaged.
Train Operator
London & North Western Railway
Primary Causes
Driver error, inadequate brake power, excessive train load, guard error, site staff error
Secondary Cause
None
Result
Runaway train, derailment, collision with structure
0 fatalities, 11 injured
127 ,Crook St, Bolton, Lancashire, England, UK, BL3 6DD
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,house,Grappenhall,Team,WA4 3EH,WA4,village,Cheshire villages,Grappers,cricket mural,ball,bowl,bowler,art,County,County League,Neil Fairbrother,Steve Tichard,Richard Green,Duncan Martindale,Steve Bramhall,shoe,shoes,mushroom,drama,comedy,time,clock,Candice,spot,spots,side,gable,end,gableend,gable-end
Description: Tony Smith image Alamy 2JCMKBK - Grappenhall Cricket Club, one of the premier Cheshire cricket clubs in the North-West. played its first game in 1881 on a ground in Bellhouse Lane. The club moved to its current home of Broad Lane in 1892 with a new clubhouse. There have been several new clubhouses built on the existing site with the most recent developments coming in the late 1980's with significant improvements to the facilities in 2011.
In the early days the club played a number of friendly matches. Grappers then played regular fixtures up to the 2nd World War. In 1939, before war broke out, Grappers were founder members of the North Cheshire League but the league was stopped at the start of the war and was never resumed. From the 1960's onwards GCC were members of the Manchester Association which was the prelude to the clubs most successful period.
The 70's & 80's “ the golden years
In 1981, after a couple of good seasons following promotion to the top division in the late 70's, the 1st XI won the top flight for the first time. One of Grappenhall's best teams, it included some famous Grappers names such as Duncan Martindale, Rick Houghton, Chris Ashton, Neil Titchard, Jim Green, Nick Sharp and a young Neil Fairbrother, only a few years before he headed off for big things with Lancashire and England.
In 1982, the 1st XI went one better, this time winning the league and cup double with the HC Cup Final being one of a number of appearances the club mate at Old Trafford in the 80's. The double was repeated in 1987 with another appearance at Old Trafford, this time with the team including another future Lancashire star and future Grappers captain in Steve Titchard. In the same season, the 2nd XI also tasted success by winning the Worthington Cup. There were a number of other cup successes for the club during this period for the different senior and junior teams, with many a memorable game taking place and the tales still being regaled today.
Grappenhall, Warrington, Cheshire,England, UK, WA4 3EH
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,outdoor,street,streets,Manchester,England,UK,WA14 1SA,historic,WA14,end,of,AD,red,brick,heritage,buildings,bricks,gable,gable-end,stonework,marble,logo,roof,stations,Altrincham station,facade,façade,the,side,ornate,architectural,shell,tiles,tiling
Description: Tony Smith image Alamy 2JC411T - . An identifiable period record of Altrincham outdoor market, Greenwood street, Altrincham, Manchester, England, UK, WA14 1SA in 2022, retaining the practical detail and local context that distinguish a documentary photograph from a generic illustration. The defining feature is Gable-end of Station Buildings, AD1905, Altrincham, Manchester, England, UK, WA14 1SA. Another layer of the photograph includes architectural character, regional identity, archival record, changing streetscape, period detail, station environment, place identity, social history, built heritage, freight wagon, period streetscape, public realm, traditional structure, and historic streetscape. The modern context includes continuing discussion of decarbonisation, regional connectivity and how historic rolling stock documents the industrial railway. For current editorial use, heritage conservation and adaptive reuse provide additional context, especially through how historic fabric can be retained while places adapt to modern use. The archival value lies partly in recording materials and architectural details around Altrincham outdoor market, Greenwood street, Altrincham, Manchester, England, UK, WA14 1SA before changing commercial priorities alters the character of the place. Further associations within the scene are rail infrastructure, visual archive, historical comparison, historic townscape, local history, before-and-after reference, trackside history, and historic frontage. Elements such as AD1905, Altrincham, Manchester, Buildings, and Station add documentary specificity and may become increasingly useful when compared with later records. The period setting at Altrincham outdoor market, Greenwood street, Altrincham, Manchester, England, UK, WA14 1SA helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The photograph keeps evidence of changing use before later change alters the scene.
Altrincham outdoor market, Greenwood street, Altrincham, Manchester, England, UK, WA14 1SA
Description
Keywords: @HotpixUK,HotpixUK,GoTonySmith,UK,Scotland,City Centre,Strathclyde,city centre,East End,history,historic,Barrack Street,Calton,D,sign,brick wall,Tyres,Distributor,buildings,architecture,city,centre,urban,ghost,signs,painted,painting,G4,G4 0TZ,rundown,gable,end,gable-end,old sign,old signs,G40TZ
Description: Tony Smith image Alamy 2ABJGCT - . Made at Barrack Street, Calton,Glasgow,Scotland,UK,, G4 0TZ in 2019, this photograph records a real place and subject in context, allowing later viewers to compare what has survived, changed, closed, moved or been replaced. The subject recorded here is Jas D.Galloway,Tyre,Distributors, Barrack Street, Calton,Glasgow,Scotland,UK,, G4 0TZ. The wider subject matter also includes traditional building materials, local character, community identity, historical comparison, before-and-after reference, working-industry history, historic frontage, cityscape history, period streetscape, historic manufacturing, industrial material culture, heritage asset, period detail, and historic commercial architecture. Current discussion around this subject increasingly includes embodied carbon alongside factory closures, with particular attention to the historical importance of everyday manufactured objects and materials. From a 2025-onward perspective, the scene also connects with redevelopment pressure, adaptive reuse and the contrast between preservation and redevelopment. For future researchers, the frame records the relationship between the subject and its surroundings in this part of Barrack Street, Calton,Glasgow,Scotland,UK,, G4 0TZ. Further connections include traditional masonry, everyday life, manufacturing heritage, architectural detailing, factory history, heritage landmark, changing land use, and local history. The recorded references to Scotland, Distributors, Calton, Barrack, and Galloway preserve clues about how the subject was presented, used or understood at the time. Around Barrack Street, Calton,Glasgow,Scotland,UK,, G4 0TZ, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The view records evidence of earlier appearance for future local research. The image fixes period character before later change alters the scene.
Barrack Street, Calton,Glasgow,Scotland,UK,, G4 0TZ
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,support,final,match,poster,on,side,of Glynns,pub,the,bar,Wellington House,Upper,Dublin 1,D01 V6X5,oneils,Ath Cliath,sport,sports,shirt,blue,ales & porter,supporting,local,team,teams,gable-end,gable,end,Dubs,nickname,Irish,blues,old,painting
Description: Tony Smith image Alamy 2M84JFB - . An on-location photograph from the recorded location in 2019, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The subject captured here is Up the Dubs, Five in a row, poster on Gynns, Wellington bar, 100 Dorset Street Upper, Dublin 1, D01 V6X5. The setting additionally reflects public-house heritage, changing streetscape, social history, period detail, place identity, regional identity, public realm, visual archive, local character, night-time economy, before-and-after reference, historical comparison, everyday life, and hospitality economy. Viewed from the mid-2020s, the subject also connects with pub closures, staffing pressure and the survival of local pubs as social meeting places. Future viewers can use this scene from the recorded location to compare landscape treatment and surrounding development with whatever follows after new ownership. The subject also sits alongside local social venue, traditional ale house, community drinking venue, community identity, archival record, local history, licensed hospitality, and documentary photography. Details involving poster, Dublin, Wellington, Upper, and Dorset 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 scene further reflects pub closures and pressure on hospitality margins in a high-cost economy as part of the longer story of the recorded location. Its period value extends to business rates and how food, drink and heritage combine in destination pubs when considered against later change at the recorded location. The location additionally provides evidence of consumer spending and how food, drink and heritage combine in destination pubs without losing the local specificity of the recorded location.
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Stirrup Lane,Dublin 7,man,on,street,art,streetart,glasses,red,green,gable,end,three dimensional,3D glasses,centre,sights,vibe,atmosphere,buildings,urban,architecture,creativity,creative,creativeness,sign,signs,artistic,tour,touring,streets
Description: Tony Smith image Alamy 2M84JJC - . Recorded at the recorded location in 2019, the image fixes a recognisable subject and its environment at one point in time, giving later viewers a reliable basis for comparison. The location is represented through Stirrup Lane, 3D art, Dublin 7, Eire, Ireland. The surrounding context encompasses shop display, local character, period architecture, documentary photography, historic townscape, built heritage, changing land use, period advertising, public realm, before-and-after reference, street-level marketing, public information notice, retail graphics, and traditional materials. Current relevance extends to planning control and heritage conservation, particularly through the balance between conservation and modern commercial use. In present-day coverage, the subject reaches into public safety and branding, not least because of the speed at which branding and promotional styles change. Future viewers can use this scene from the recorded location to compare equipment and working practice with whatever follows after changed technology. The surrounding story also includes heritage landmark, historical comparison, place identity, period detail, adaptive reuse, historic signage, heritage asset, and conservation architecture. The recorded references to Ireland, Stirrup, and Dublin preserve clues about how the subject was presented, used or understood at the time. 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 location additionally provides evidence of planning control and keeping older buildings useful without erasing their character in a form that can be compared with future views of the recorded location. A further contemporary connection is advertising regulation and the speed at which branding and promotional styles change within the real-world context of the recorded location.
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,Somerset,SDC,Sedgemoor,Sedgemoor District Council,South West England,England,UK,South West,town,Traveling and hand bags,hand bags,Trundle,Saddler,sign on side of BOS cafe,Travelling and Hand Bags,Purses,Dog Collars,and luggage,of all descriptions,high st,historic,hoarding,gable end,gable,end,history,ghost,sign,signs,retail,Bos,cafe,café,TGJones,TG Jones
Description: Tony Smith image Alamy 2AFMKJ2 - . This period scene at 34 High St, Bridgwater, Somerset,South west England,UK, TA6 3BL in 2019 provides a visual reference to the named subject and the wider commercial, social, cultural or physical environment around it. The image documents WH Smith,Plowman,Trundle,Saddler,sign on side of BOS cafe,Travelling and Hand Bags,Purses,Dog Collars,and luggage,of all descriptions. Further facets of the subject include high-street commerce, traditional cuisine, period detail, archival record, regional food culture, heritage dish, public realm, cultural gastronomy, place identity, documentary photography, food heritage, festive eating, historical comparison, and everyday life. Today's wider story includes food prices, cultural identity and the practical question of the tourism and cultural value of distinctive local cuisine. For contemporary context, commercial rents and town-centre regeneration are closely related themes, especially where the issue becomes the shift toward mixed retail, leisure, service and residential centres. From an archival perspective, the photograph anchors the combination of built form, activity and local identity within the setting of 34 High St, Bridgwater, Somerset,South west England,UK, TA6 3BL. The setting also brings in shopfront economy, visual archive, changing streetscape, before-and-after reference, regional identity, retail property, customer footfall, and commercial frontage. Details involving descriptions, Smith, Trundle, luggage, and Travelling give the scene useful specificity and strengthen its local, cultural or historical identity. The period setting at 34 High St, Bridgwater, Somerset,South west England,UK, TA6 3BL helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The record includes a trace of local identity for later comparison. Image 2AFMKJ2 also remains a dated record of 34 High St, Bridgwater, Somerset,South west England,UK, TA6 3BL.
34 High St, Bridgwater, Somerset,South west England,UK, TA6 3BL
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,England,UK,L1,art,outside,exterior,gable,end,face,woman,female,Mr Cenz,Mr,Cenz,artist,1F London Rd,1F London Road,blue,L3 8HR,Contrast Mural,fest,festival,girl,women,feminine,ladylike,painting,iF,London Rd,city,centre,impressionistic,street art,street,arts
Description: Tony Smith image Alamy 2M475EA - . This authentic period view of 1F London Road, Liverpool., Merseyside, England, UK, L3 8HR in 2019 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. At the centre of the view is Mr Cenz Street art, on gable end, of Lord Warden, 1F London Road, Liverpool., Merseyside, England, UK, L3 8HR. The wider scene also brings together documentary photography, graffiti heritage, public transport stop, street creativity, place identity, historical comparison, local character, temporary artwork, bus route infrastructure, mural culture, urban artwork, roadside transit, before-and-after reference, and transport accessibility. From a 2025-onward perspective, public art and graffiti policy are closely linked to this subject, alongside how temporary street art becomes an important visual archive. The wider contemporary story combines decarbonisation, integrated transport and the challenge of maintaining reliable local services. Future viewers can use this scene from 1F London Road, Liverpool., Merseyside, England, UK, L3 8HR to compare lettering, decoration and surface detail with whatever follows after replacement signage. A second descriptive layer includes passenger transport, public realm, regional identity, passenger information, surface public transport, period detail, creative placemaking, and social history. The recorded references to Warden, Liverpool, Merseyside, and gable preserve clues about how the subject was presented, used or understood at the time. The wider setting at 1F London Road, Liverpool., Merseyside, England, UK, L3 8HR matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The scene further reflects public art and how regeneration can support and displace informal culture at the same time within the specific setting of 1F London Road, Liverpool., Merseyside, England, UK, L3 8HR.
1F London Road, Liverpool., Merseyside, England, UK, L3 8HR
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,England,UK,L1,art,outside,exterior,gable,end,face,woman,female,Mr Cenz,Mr,Cenz,artist,1F London Rd,1F London Road,blue,L3 8HR,Contrast Mural,fest,festival,girl,women,feminine,ladylike,painting,iF,London Rd,city,centre,impressionistic,street art,street,arts
Description: Tony Smith image Alamy 2M475FD - . This scene at 1F London Road, Liverpool., Merseyside, England, UK, L3 8HR 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 Mr Cenz Street art, on gable end, of Lord Warden, 1F London Road, Liverpool., Merseyside, England, UK, L3 8HR. Another layer of the photograph includes everyday life, place identity, documentary photography, transport accessibility, visual street culture, archival record, local mobility, public transport stop, urban artwork, historical comparison, visual archive, public art, contemporary mural, and mural culture. Viewed from the mid-2020s, the subject also connects with gentrification, creative industries and the blurred line between commissioned public art and unsanctioned graffiti. The modern context includes continuing discussion of local connectivity, service frequency and the shift toward cleaner buses and integrated ticketing. For later comparison, the photograph preserves landscape treatment and surrounding development at 1F London Road, Liverpool., Merseyside, England, UK, L3 8HR, details that may look very different after later reinterpretation. A second descriptive layer includes local bus network, before-and-after reference, creative district, public-realm art, changing land use, temporary artwork, passenger transport, and changing streetscape. The combination of Liverpool, Merseyside, Warden, and gable anchors the frame to a recognisable activity, place or moment. For 1F London Road, Liverpool., Merseyside, England, UK, L3 8HR, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. It also preserves a point of historical comparison before later change alters the scene. The photograph keeps part of the area's social history as a date-specific reference.
1F London Road, Liverpool., Merseyside, England, UK, L3 8HR
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,North West England,manchester,city centre,NQ4,brick wall,NQ,bottle art,art,artist,gable,end,Cross Keys St,Manchester NQ4,M4 5ET,M4,Esher,Art,Cross Keys Street,Manchester,North West,history,historic gable,gable-end,of,a,city,centre,MC Esher,graphic,in,the,style,graffiti trail
Description: Tony Smith image Alamy RG98JK - . A contemporary documentary view depicts the working environment around Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET, in an image captured in 2019. The described feature is Esher Art bottle, Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET. The wider setting includes rail transport, transport interchange, rail modernisation, contemporary mural, mural culture, street-level design, commuter transport, passenger railway, community expression, mass transit, heritage streetscape, and historic environment. Current debate around train travel often combines town-centre connectivity, fares and affordability and the practical challenge of more dependable regional connections. In the mid-2020s, creative hoardings is increasingly discussed through regeneration and youth culture, with attention turning to creative reuse of redevelopment sites. For present-day editorial use, older urban fabric can also illustrate debates about redevelopment pressure and adaptive reuse, particularly where these affect lower-carbon reuse rather than demolition. Documentary value is strengthened by the precise setting at Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET, where even ordinary details of frontage, equipment, signs, traffic or public activity may disappear as the area evolves. The view also records themes involving local landmark, period property, passenger connectivity, visual placemaking, station environment, trackside infrastructure. The scene is further associated with gableend, urban artwork, artwork, bottle on a brick wall, bottle brick wall, Northern Quarter. Other relevant facets include art-led regeneration, local identity, city artwork, intercity travel, public realm art, rail mobility, historic fabric, rail corridor, graphic intervention, and temporary artwork. The record also holds the surrounding streetscape as part of the area's social history.
Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,the,April,14,1912,BT4,Dee Street,Belfast,Northern Ireland,BT4 1FT,HW,April 14 1912,mural,Est,1861,RMS,gable,end,history,historic,heritage,ECHR
Description: Tony Smith image Alamy 2PM62P8 - . HW, RMS Titanic 14 April ,1912 H&W Est 1861 mural, Dee Street, Belfast, Northern Ireland, UK, BT4 1FT. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is Dee Street, Belfast, Northern Ireland, UK, BT4 1FT, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, April, BT4, Dee Street, providing natural SEO coverage without losing the specific documentary identity of the photograph. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. The scene contributes a specific, place-based record rather than a generic illustration.
Dee Street, Belfast, Northern Ireland, UK, BT4 1FT
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,the,April,14,1912,BT4,Dee Street,Belfast,Northern Ireland,BT4 1FT,HW,April 14 1912,mural,Est,1861,RMS,gable,end,history,historic,heritage,ECHR
Description: Tony Smith image Alamy 2PM62XD - . HW, RMS Titanic 14 April ,1912 H&W Est 1861 mural, Dee Street, Belfast, Northern Ireland, UK, BT4 1FT. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is Dee Street, Belfast, Northern Ireland, UK, BT4 1FT, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, April, BT4, Dee Street, providing natural SEO coverage without losing the specific documentary identity of the photograph. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. The scene contributes a specific, place-based record rather than a generic illustration.
Dee Street, Belfast, Northern Ireland, UK, BT4 1FT
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,dedicated,to,for,gable,end,protestant,unionist,royalist,crown,monarchy,royal,The Salvation Army - Care and Share Shop,349-351,Newtownards Rd,Belfast,BT4 1AJ,shop,Salvation Army,Our message is simple,where our music is welcome we will play it loud,Where our music is challenged,we will play it louder
Description: Tony Smith image Alamy 2PM63CR - . Mural, For God, and Ulster, East Belfast Protestant Boys - UDF Gareth Keys 1981-2008, Salvation Army, 349-351 Newtownards Rd, Belfast BT4 1AJ. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 349-351 Newtownards Rd, Belfast BT4 1AJ, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, dedicated, gable, end, providing natural SEO coverage without losing the specific documentary identity of the photograph. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed.
349-351 Newtownards Rd, Belfast BT4 1AJ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,the past,future,peace,gable,end,211,Newtownards Rd,Belfast,Northern Ireland,BT4 1EA,mural,traditional,history,historic,end-terrace,gable-end,understanding,futures,Belfast peace
Description: Tony Smith image Alamy 2PM64K4 - . Community mural - Peace cannot be kept by force, it can only be achieved by understanding - Belfast Looking to a better future. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, the past, future, peace, providing natural SEO coverage without losing the specific documentary identity of the photograph. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed.
211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,the past,future,peace,gable,end,211,Newtownards Rd,Belfast,Northern Ireland,BT4 1EA,mural,traditional,history,historic,end-terrace,gable-end,understanding,futures,Belfast peace,ECHR
Description: Tony Smith image Alamy 2PM64N2 - . Community mural - Peace cannot be kept by force, it can only be achieved by understanding - Belfast Looking to a better future. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, the past, future, peace, providing natural SEO coverage without losing the specific documentary identity of the photograph. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed.
211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Britains,Genocide,By,Starvation,Irelands,Holocaust,gable,end,gableend,Irish Famine,Britains Genocide By Starvation,Irelands Holocaust,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,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Belfast streets,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,Belfast Catholic Community
Description: Tony Smith image Alamy HEW1HD - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Unionist,British,Shankil,rd,painting,art,artist,martyr,fighter,para,paramilitary,soldier,wall,gable,end,gable end,community,protestant,Shankill Road Mural,West,West Belfast,NI,Northern Ireland,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,protestant,religion,intolerance,prejudice,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEW12C - . This authentic period view of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. At the centre of the view is Shankill Road Mural -Lest we Forget, West Belfast, Northern Ireland, UK. Other connected aspects include memorial culture, memorial stone, graveyard heritage, visual archive, social history, stencil art, historic commemoration, street creativity, public realm, before-and-after reference, public monument, historical comparison, creative placemaking, and place identity. In present-day coverage, the subject reaches into gentrification and local identity, not least because of how temporary street art can become an important record of neighbourhood culture. Today's relevance is strengthened by heritage conservation, genealogy and the continuing question of the conservation challenge posed by weathered historic stone and lettering. Future viewers can use this scene from Shankill Road,West Belfast, County Antrim, Northern Ireland, UK to compare commercial use and occupation with whatever follows after replacement signage. The subject also sits alongside street-level design, local history, everyday life, mural culture, period detail, temporary artwork, community memory, and archival record. The recorded references to Mural, -Lest, Shankill, Northern, and Belfast preserve clues about how the subject was presented, used or understood at the time. Around Shankill Road,West Belfast, County Antrim, Northern Ireland, UK, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The location additionally provides evidence of gentrification and how regeneration can both promote and displace informal urban art within the specific setting of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: Unionist,British,Shankil,rd,painting,art,artist,martyr,fighter,para,paramilitary,soldier,wall,gable,end,gable end,community,protestant,Shankill Road Mural,West,West Belfast,NI,Northern Ireland,brick,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,protestant,religion,intolerance,prejudice,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEW12K - . An on-location photograph from Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The scene records Shankill Road Mural -Lest we Forget, West Belfast, Northern Ireland, UK. The surrounding context encompasses changing streetscape, graveyard heritage, historical comparison, contemporary social history, stencil art, before-and-after reference, commemorative text, local history, mural culture, graffiti heritage, memorial stone, creative placemaking, public realm, and changing land use. Viewed from the mid-2020s, the subject also connects with temporary works, graffiti policy and the blurred boundary between commissioned public art and unsanctioned graffiti. The modern context includes continuing discussion of local history, bereavement and how public monuments become focal points for collective memory. For later comparison, the photograph preserves lettering, decoration and surface detail at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK, details that may look very different after new construction. The wider setting retains connections with urban graphics, mortality symbolism, regional identity, local character, historic commemoration, street-level design, visual archive, and period detail. Details involving Shankill, Mural, Ireland, Forget, and -Lest make the image more specific than a generic view and strengthen its local or historical value. By fixing the subject within Shankill Road,West Belfast, County Antrim, Northern Ireland, UK, the image preserves more than the headline object or building: it records part of the locality's everyday history. It also preserves details of everyday use before later change alters the scene. The photograph keeps evidence of changing use as a date-specific reference. The record includes evidence of earlier appearance for later comparison.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: Unionist,British,Shankil,rd,painting,art,artist,fighter,para,paramilitary,soldier,wall,gable,end,community,protestant,Shankill Road Mural,West,West Belfast,NI,Northern Ireland,Union,Flag,Long,To,Rein,Over,Us,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,protestant,religion,intolerance,prejudice,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Irish History,Ireland History,Northern Ireland History
Description: Tony Smith image Alamy HEW12R - . Made at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016, 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 principal subject is Shankill Road Mural -Long To Rein Over Us, West Belfast, Northern Ireland, UKUnion flags at. Other connected aspects include residential flag display, patriotic symbolism, creative placemaking, street-level symbolism, everyday life, before-and-after reference, national flag display, documentary photography, archival record, visual archive, flag culture, local history, community identity, and civic identity. The modern context includes continuing discussion of community cohesion, patriotism and the way familiar symbols acquire different meanings during major events. For current editorial use, creative districts and tourism provide additional context, especially through how regeneration can both promote and displace informal urban art. For later comparison, the photograph preserves signage and branding at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK, details that may look very different after closure or conversion. The wider setting retains connections with period detail, public expression of identity, place identity, visual street culture, regional identity, street creativity, contemporary social history, and urban artwork. References to UKUnion, Mural, Northern, Belfast, and flags give the picture a strong period identity and tie it closely to its named subject. For Shankill Road,West Belfast, County Antrim, Northern Ireland, UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The photograph keeps part of the area's social history for future local research. The record includes details of everyday use before later change alters the scene.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: Unionist,British,Shankil,rd,painting,art,artist,martyr,fighter,para,paramilitary,soldier,wall,gable,end,gable end,community,protestant,Shankill Road Mural,West,West Belfast,NI,Northern Ireland,1952,Queen,Long To Rein Over Us,union,flag,union flag,harp,crest,British Crest,car,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,protestant,religion,intolerance,prejudice,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEW130 - . A grounded documentary photograph made at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The main point of reference is Shankill Road Mural -Queen Long To Rein Over Us, West Belfast, Northern Ireland, UK. The locality and subject together evoke stencil art, archival record, public realm, before-and-after reference, community identity, public-realm art, visual archive, local mobility, roadside stop, visual street culture, bus infrastructure, local bus network, everyday life, and contemporary mural. The modern context includes continuing discussion of public art, gentrification and the blurred boundary between commissioned public art and unsanctioned graffiti. For current editorial use, local connectivity and integrated transport provide additional context, especially through the challenge of maintaining reliable services outside dense city centres. As a dated visual record of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK, the frame retains landscape treatment and surrounding development, making it especially useful if new ownership subsequently changes the scene. The subject also sits alongside place identity, street creativity, public transport information, changing land use, graffiti heritage, mural culture, regional identity, and contemporary social history. Elements such as Shankill, Belfast, Northern, -Queen, and Mural add documentary specificity and may become increasingly useful when compared with later records. The period setting at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The photograph keeps evidence of changing use for later comparison. That local specificity strengthens the long-term documentary value of image HEW130.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: British,Shankil,rd,painting,art,martyr,fighter,para,paramilitary,soldier,wall,gable,end,gable end,community,Shankill Road Mural,West,West Belfast,NI,Northern Ireland,30 years of indiscriminate Slaughter,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Peace,honour,painting,wall,walls,tribute,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,protestant,religion,intolerance,prejudice,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEW14C - . This location-specific image from Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The frame specifically shows Shankill Road Mural -30 years of Slaughter, West Belfast, Northern Ireland, UK. Other connected aspects include changing streetscape, documentary photography, mural culture, local mobility, place identity, street-level design, bus route infrastructure, period detail, graffiti heritage, historical comparison, creative placemaking, contemporary mural, street creativity, and public art. From a 2025-onward perspective, local identity and temporary works are closely linked to this subject, alongside how temporary street art can become an important record of neighbourhood culture. The wider contemporary story combines rural transport, local connectivity and the shift toward cleaner buses and integrated ticketing. The image fixes local activity and public use within Shankill Road,West Belfast, County Antrim, Northern Ireland, UK at one identifiable point, providing a benchmark against new construction. A second descriptive layer includes archival record, public realm, changing land use, stencil art, public transport information, visual archive, social history, and passenger transport. References to Northern, Mural, Ireland, years, and Belfast give the picture a strong period identity and tie it closely to its named subject. A later view of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. Another useful connection is local identity and the blurred boundary between commissioned public art and unsanctioned graffiti when considered against later change at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: Unionist,British,Shankil,rd,artist,martyr,fighter,para,soldier,wall,gable,end,gable end,West,NI,Northern Ireland,thirty,years,of,slaughter,30,30 years of slaughter,terrace,terraced,house,houses,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,protestant,religion,intolerance,prejudice,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEW14P - . Recorded at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016, the image fixes a recognisable subject and its environment at one point in time, giving later viewers a reliable basis for comparison. The main point of reference is Shankill Road Mural -thirty years of slaughter, West Belfast, Northern Ireland, UK. The subject also carries associations with stencil art, visual street culture, local bus network, place identity, temporary artwork, public transport information, mural culture, surface public transport, community identity, before-and-after reference, roadside stop, graffiti heritage, local character, and creative placemaking. Current relevance extends to temporary works and graffiti policy, particularly through the blurred boundary between commissioned public art and unsanctioned graffiti. In present-day coverage, the subject reaches into rural transport and bus service funding, not least because of the challenge of maintaining reliable services outside dense city centres. The image fixes building condition and alterations within Shankill Road,West Belfast, County Antrim, Northern Ireland, UK at one identifiable point, providing a benchmark against later reinterpretation. Further associations within the scene are changing streetscape, urban artwork, roadside transit, changing land use, documentary photography, regional identity, bus infrastructure, and local mobility. The combination of Ireland, Shankill, Mural, years, and Belfast anchors the frame to a recognisable activity, place or moment. The wider setting at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The frame retains period character before later change alters the scene. The scene captures a trace of local identity as a date-specific reference.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: British,Shankil,rd,painting,art,artist,martyr,fighter,para,wall,gable,end,gable end,West,NI,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEW16F - . Recorded at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016, the image fixes a recognisable subject and its environment at one point in time, giving later viewers a reliable basis for comparison. The location is represented through Shankill Road Mural -Lamh Dearg Abu, Ulster To Victory, West Belfast, Northern Ireland, UK. The surrounding context encompasses street creativity, public-realm art, visual archive, passenger transport, local history, public realm, documentary photography, community identity, transport accessibility, social history, public transport stop, contemporary social history, bus infrastructure, and surface public transport. Today's relevance is strengthened by public art, local identity and the continuing question of how regeneration can both promote and displace informal urban art. From a 2025-onward perspective, rural transport and passenger information are closely linked to this subject, alongside the challenge of maintaining reliable services outside dense city centres. As a dated visual record of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK, the frame retains commercial use and occupation, making it especially useful if different community use subsequently changes the scene. The subject also sits alongside urban graphics, temporary artwork, before-and-after reference, creative placemaking, public transport information, place identity, changing streetscape, and period detail. Elements such as Ireland, Belfast, Ulster, Dearg, and Shankill add documentary specificity and may become increasingly useful when compared with later records. A later view of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The period view preserves evidence of changing use for later comparison. That local specificity strengthens the long-term documentary value of image HEW16F.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: Shankil,rd,art,artist,martyr,fighter,para,paramilitary,soldier,wall,gable,end,gable end,Shankill Road Mural,West,NI,Northern Ireland,For,God,and,Ulster,God and Ulster,protestant,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEW16N - . A grounded documentary photograph made at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The principal subject is Shankill Road Mural -Purple For God and Ulster, West Belfast, Northern Ireland, UK. The broader subject matter reaches into passenger transport, before-and-after reference, street-level design, public art, historical comparison, bus infrastructure, archival record, documentary photography, contemporary mural, creative placemaking, local history, street-side transport, graffiti heritage, and urban graphics. The wider contemporary story combines tourism, graffiti policy and the role of murals and stencils in giving creative districts a distinctive identity. Viewed from the mid-2020s, the subject also connects with decarbonisation, local connectivity and the shift toward cleaner buses and integrated ticketing. Small period details of public access and movement at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK may become more significant with time, particularly following different community use. Other useful contextual ideas include roadside transit, everyday life, urban artwork, transport accessibility, social history, local bus network, public-realm art, and local mobility. The combination of Ireland, Ulster, Shankill, Mural, and Belfast anchors the frame to a recognisable activity, place or moment. Around Shankill Road,West Belfast, County Antrim, Northern Ireland, UK, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The location additionally provides evidence of tourism and the role of murals and stencils in giving creative districts a distinctive identity without losing the local specificity of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: Unionist,British,Shankil,rd,painting,art,artist,martyr,fighter,para,paramilitary,soldier,wall,gable,end,gable end,community,protestant,Shankill Road Mural,West,West Belfast,NI,Northern Ireland,90 years of resistance,ninety,boy,football,ball,kick,kicking,child,children,streets of Belfast,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Irish History,Ireland History,Northern Ireland History
Description: Tony Smith image Alamy HEW170 - . Recorded at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016, the image fixes a recognisable subject and its environment at one point in time, giving later viewers a reliable basis for comparison. The principal subject is Shankill Road Mural -90 years of resistance, West Belfast, Northern Ireland, UK, with boy kicking football. The subject also carries associations with temporary artwork, stencil art, public transport information, public realm, street-side transport, transport accessibility, visual archive, local character, documentary photography, creative placemaking, roadside transit, visual street culture, contemporary mural, and regional identity. Current relevance extends to regeneration and gentrification, particularly through the blurred boundary between commissioned public art and unsanctioned graffiti. In present-day coverage, the subject reaches into passenger information and rural transport, not least because of how local bus services affect access to work, education and healthcare. The archival value lies partly in recording local activity and public use around Shankill Road,West Belfast, County Antrim, Northern Ireland, UK before changed technology alters the character of the place. Other useful contextual ideas include historical comparison, bus infrastructure, mural culture, contemporary social history, urban graphics, roadside stop, street creativity, and everyday life. The combination of resistance, Mural, Ireland, Belfast, and Shankill anchors the frame to a recognisable activity, place or moment. The wider setting at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The frame retains period character as a date-specific reference. The scene captures a trace of local identity for later comparison.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: British,Shankil,rd,artist,martyr,fighter,para,soldier,wall,gable,end,Shankill Road Mural,West,West Belfast,NI,Northern Ireland,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEW181 - . Made at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016, 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 image documents Shankill Road Mural -UDF, Ulster To Victory, West Belfast, Northern Ireland, UK. The image also relates to graffiti heritage, transport accessibility, contemporary mural, passenger transport, contemporary social history, local mobility, public transport information, creative placemaking, street-side transport, mural culture, visual archive, public realm, surface public transport, and public art. Today's relevance is strengthened by public art, tourism and the continuing question of the blurred boundary between commissioned public art and unsanctioned graffiti. From a 2025-onward perspective, bus service funding and decarbonisation are closely linked to this subject, alongside how local bus services affect access to work, education and healthcare. Future viewers can use this scene from Shankill Road,West Belfast, County Antrim, Northern Ireland, UK to compare commercial use and occupation with whatever follows after new ownership. The location also brings in bus infrastructure, stencil art, place identity, local bus network, temporary artwork, roadside stop, period detail, and visual street culture. The recorded references to Ireland, Victory, Northern, Mural, and Shankill preserve clues about how the subject was presented, used or understood at the time. A later view of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK 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 public art and the blurred boundary between commissioned public art and unsanctioned graffiti when considered against later change at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: Unionist,British,Shankil,rd,painting,art,artist,martyr,fighter,para,paramilitary,soldier,wall,gable,end,gable end,community,protestant,Shankill Road Mural,West,West Belfast,NI,Northern Ireland,For God for Ulster,For Ulster,For God,flags,flying,flags flying,poppy,poppies,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEW18C - . This dated editorial view of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016 captures more than the immediate subject, retaining clues about local use, design, activity and change. The defining feature is Shankill Road Mural -For God for Ulster, West Belfast, Northern Ireland, UK. Other connected aspects include surface public transport, passenger transport, local mobility, street-side transport, public-realm art, everyday life, bus infrastructure, creative placemaking, before-and-after reference, roadside transit, visual street culture, street creativity, community identity, and local character. The modern context includes continuing discussion of regeneration, public art and how regeneration can both promote and displace informal urban art. For current editorial use, accessibility and passenger information provide additional context, especially through the challenge of maintaining reliable services outside dense city centres. The archival value lies partly in recording period objects and surrounding context around Shankill Road,West Belfast, County Antrim, Northern Ireland, UK before conservation work alters the character of the place. The surrounding story also includes place identity, mural culture, changing streetscape, graffiti heritage, documentary photography, stencil art, contemporary social history, and public transport stop. References to Mural, Northern, Shankill, Belfast, and Ulster give the picture a strong period identity and tie it closely to its named subject. The period setting at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. Its period value extends to regeneration and the role of murals and stencils in giving creative districts a distinctive identity in a form that can be compared with future views of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: Road,rd,Garden,of,members,deceased,ex-prisoners,West,Belfast,NI,UK,Society,map,gable,end,gableend,gable-end,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,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Catholic,community,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Catholic Community
Description: Tony Smith image Alamy HDPM7H - Memorial Title:
Garden of Remembrance (Falls Road)
Commemorating:
IRA members killed during the conflict also civilians killed
also deceased ex-prisoners.
Information about person(s) commemorated
Date of Incident:
January
Description:
Medium sized garden
series of monuments and plaques. Large number of names listed on the plaques.
Inscription(s):
Numerous inscriptions on panels around the garden and on the central memorial wall.
Just a line
Location Address:
Falls Road, Falls, Belfast West,
County Antrim, Northern Ireland.
BT12 ??
Location Guide:
Close to, and opposite to, the junction of Falls Road and Conway Street.
Map Grid Ref:
IJ325742
X,Y Co-ordinates:
X: 332543, Y: 374213
Previous Location:
Just a line
Nature:
Paramilitary, Republican, IRA
Physical Type:
Memorial Garden
Physical Materials:
Stone Granite, Plants, Hard Landscaping
Setting:
Garden
Access:
Private Unrestricted (gate usually open)
Post Unveiling:
Commissioned By:
Falls Cultural Society
Junction Falls Road / Conway Street,West Belfast, Northern Ireland,UK
Description
Keywords: Red hand,Ulster,memorial,UFF,Unionist,mural,off,Shankill,rd,Road,West Belfast,Northern Ireland,UK,Ireland,fighter,fighting,60 years,Queen Elizabeth II,Royal subjects,royal,subjects,Queen,Elizabeth,reign,over,QE2,QEII,gable,end,gable end,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,Unionist,unionism,Protestant,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army
Description: Tony Smith image Alamy HDWT10 - Elizabeth II (Elizabeth Alexandra Mary
born 21 April 1926 has been Queen of the United Kingdom, Canada, Australia, and New Zealand since 6 February 1952. She is also Head of the Commonwealth and the queen of 12 countries that have become independent since her accession: Jamaica, Barbados, the Bahamas, Grenada, Papua New Guinea, Solomon Islands, Tuvalu, Saint Lucia, Saint Vincent and the Grenadines, Belize, Antigua and Barbuda, and Saint Kitts and Nevis.[b]
Elizabeth was born in London as the first child of the Duke and Duchess of York, later King George VI and Queen Elizabeth. She was educated privately at home. Her father acceded to the throne on the abdication of his brother Edward VIII in 1936, from which time she was the heir presumptive. She began to undertake public duties during the Second World War, serving in the Auxiliary Territorial Service. In 1947, she married Philip, Duke of Edinburgh, a former prince of Greece and Denmark, with whom she has four children: Charles, Prince of Wales
Anne, Princess Royal
Prince Andrew, Duke of York
and Prince Edward, Earl of Wessex.
Elizabeth's many historic visits and meetings include a state visit to the Republic of Ireland and visits to or from five popes. She has seen major constitutional changes, such as devolution in the United Kingdom, Canadian patriation, and the decolonisation of Africa. She has also reigned through various wars and conflicts involving many of her realms. She is the world's oldest reigning monarch as well as Britain's longest-lived. In 2015, she surpassed the reign of her great-great-grandmother, Queen Victoria, to become the longest-reigning British monarch and the longest-reigning queen regnant and female head of state in world history. In October 2016, she became the longest currently reigning monarch and head of state following the death of King Bhumibol Adulyadej of Thailand.
Shankill Road, West Belfast, NI, UK
Description
Keywords: UFF,Unionist,mural,off,Shankill,rd,Road,West Belfast,Northern Ireland,UK,Ireland,fighter,fighting,gable,end,Longkesh,USSF,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,Unionist,unionism,Protestant,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army
Description: Tony Smith image Alamy HDWT2E - SHANKILL PROTESTANT BOYS FLUTE BAND
The Shankill Protestant Boys Flute Band”or as they are more famously known now”The SPB”were formed in the Shankill area in 1980. The reasons for forming the band were much more than simply establishing another flute band”the Shankill had many at that time. The men behind the formation had other ideas. They wanted to promote and express their Protestant culture and also remember the brave Volunteers and Servicemen who had fought and died during two World Wars”in particular during the Somme offensive”and to remember those in more recent times who perished during the conflict in the war against violent Republicanism.
Sadly many of those who served the band since their beginnings 33 years ago are no longer with us”either passed away or in many instances murdered. However of the original founders around ten remain. Some, remarkably are still marching while others retain honorary membership. Gary Lenaghan”The Hunters”Harold Reynolds-The Young's”The Freel's”John McQuade”Derek Mawhinney”The Finlay's were all there at the start and remain heavily involved today.
The SPB were the first flute band to receive and carry the colours of the 1st Battalion of the Ulster Volunteer Force”in 1982”and to this day carry those colours with pride and dignity. It is a commonly known fact that these colours are carried on ALL occasions”at no time are they excluded”and in the past this has caused some difficulties”with both the Police and indeed with certain sections of the Loyal Orders. At one stage during the Eighties the band came into conflict with the Scottish Orange Institution which forced the band off the road because of their refusal to parade without their beloved colours. Since then the SPB have not walked in Scotland with the Orange.
Around the same time and with the concept of the Supergrass system being implemented the band became heavily involved with Families For Legal Rights. For ma
Shankill Road, West Belfast, NI, UK
Description
Keywords: Red hand,UFF,Unionist,mural,off,rd,Road,West Belfast,Northern Ireland,UK,Ireland,fighter,fighting,St,A,Company,battalion,ACompany,gable,end,sunset,gable-end,A Company,gable end,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,Unionist,unionism,Protestant,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army
Description: Tony Smith image Alamy HDWT54 - . Made at Shankill Road, West Belfast, NI, UK in 2016, 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 location is represented through UFF Unionist mural, off Glenwood St/Shankill Road West Belfast,Northern Ireland,UK - A Company battalion. Other connected aspects include historical comparison, social history, local history, street-side transport, local bus network, changing streetscape, public art, contemporary social history, local mobility, regional identity, urban graphics, documentary photography, bus route infrastructure, and creative placemaking. Current relevance extends to regeneration and creative districts, particularly through how temporary street art can become an important record of neighbourhood culture. In present-day coverage, the subject reaches into rural transport and passenger information, not least because of the importance of bus stops as the physical interface between passengers and public transport. Future viewers can use this scene from Shankill Road, West Belfast, NI, UK to compare equipment and working practice with whatever follows after altered transport patterns. The wider setting retains connections with community identity, transport accessibility, visual archive, urban artwork, roadside transit, archival record, mural culture, and place identity. The combination of Unionist, Shankill, Ireland, Northern, and battalion anchors the frame to a recognisable activity, place or moment. For Shankill Road, West Belfast, NI, UK, 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 regeneration and how temporary street art can become an important record of neighbourhood culture within the specific setting of Shankill Road, West Belfast, NI, UK.
Shankill Road, West Belfast, NI, UK
Description
Keywords: off,Shankill,rd,Road,West Belfast,Northern Ireland,UK,Ireland,fighter,fighting,Vol,Ulster Volunteers,heroic,men,gun,guns,weapons,ready,to,fight,gable,end,gable-end,gable end,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,Unionist,unionism,Protestant,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army
Description: Tony Smith image Alamy HDWT6A - . This dated editorial view of Shankill Road, West Belfast, NI, UK in 2016 captures more than the immediate subject, retaining clues about local use, design, activity and change. The main point of reference is Ulster Volunteers Unionist mural, off Shankill Road West Belfast,Northern Ireland,UK. The setting additionally reflects roadside transit, graffiti heritage, visual archive, bus route infrastructure, urban artwork, street creativity, social history, roadside stop, public transport information, creative placemaking, public transport stop, historical comparison, documentary photography, and local bus network. Today's relevance is strengthened by local identity, temporary works and the continuing question of how temporary street art can become an important record of neighbourhood culture. From a 2025-onward perspective, integrated transport and rural transport are closely linked to this subject, alongside the importance of bus stops as the physical interface between passengers and public transport. For later comparison, the photograph preserves street furniture and boundaries at Shankill Road, West Belfast, NI, UK, details that may look very different after conservation work. The location also brings in period detail, urban graphics, changing streetscape, before-and-after reference, street-level design, community identity, passenger transport, and stencil art. The recorded references to Northern, Shankill, Ireland, mural, and Belfast preserve clues about how the subject was presented, used or understood at the time. For Shankill Road, West Belfast, NI, UK, 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 local identity and the blurred boundary between commissioned public art and unsanctioned graffiti without losing the local specificity of Shankill Road, West Belfast, NI, UK.
Shankill Road, West Belfast, NI, UK
Description
Keywords: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,You Will Never Walk Alone,You,Will,Never,Walk,Alone,Never Walk Alone,help,line,helpline,Help Line,smartphone,headphones,gable,end,Gable End,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,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,street,Ballymurphy,St,Ballymurphy St,Belfast streets,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDWTNT - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Ballymurphy St, off Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: Street,face,faces,mixed,media,car,park,carpark,gun,pipe,drain,drainpipe,wall,gable,end,artistic,window,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,English,British,England,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Hip-Hop,HipHop
Description: Tony Smith image Alamy H4HMNG - . An identifiable period record of Smithfield St, Liverpool, England, UK in 2016, retaining the practical detail and local context that distinguish a documentary photograph from a generic illustration. The frame specifically shows Graffiti Art Smithfield/Tithebarn St,Liverpool,England,UK. Further facets of the scene include public realm, period detail, visual archive, documentary photography, urban graphics, temporary artwork, street creativity, local history, street-level design, contemporary mural, visual street culture, social history, changing streetscape, and contemporary social history. The wider contemporary story combines local identity, temporary works and the role of murals and stencils in giving creative districts a distinctive identity. Small period details of landscape treatment and surrounding development at Smithfield St, Liverpool, England, UK may become more significant with time, particularly following changing commercial priorities. The wider setting retains connections with regional identity, urban artwork, public art, stencil art, mural culture, local character, place identity, and creative placemaking. The combination of Tithebarn, Smithfield, Graffiti, and Liverpool anchors the frame to a recognisable activity, place or moment. The period setting at Smithfield St, Liverpool, England, UK helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The wider significance includes local identity and the blurred boundary between commissioned public art and unsanctioned graffiti within the real-world context of Smithfield St, Liverpool, England, UK. Another strand within the photograph is gentrification and how temporary street art can become an important record of neighbourhood culture within the specific setting of Smithfield St, Liverpool, England, UK. The image fixes evidence of earlier appearance for future local research.
Smithfield St, Liverpool, England, UK
Description
Keywords: Street,face,faces,car,park,gun,pipe,drain,drainpipe,wall,gable,end,with,parking,machine,artistic,urban,gun,Street Art,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,English,British,England,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy H4HMR7 - . An on-location photograph from Smithfield St, Liverpool, England, UK in 2016, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The frame specifically shows Graffiti Art Smithfield/Tithebarn St,Liverpool,England,UK - with parking machine. The broader subject matter reaches into graffiti heritage, public art, archival record, public realm, changing land use, visual archive, contemporary mural, stencil art, public-realm art, before-and-after reference, period detail, regional identity, social history, and changing streetscape. From a 2025-onward perspective, local identity and regeneration are closely linked to this subject, alongside how temporary street art can become an important record of neighbourhood culture. Future viewers can use this scene from Smithfield St, Liverpool, England, UK to compare landscape treatment and surrounding development with whatever follows after redevelopment. The photograph additionally reflects local character, community identity, temporary artwork, visual street culture, street creativity, mural culture, urban graphics, and historical comparison. Details involving Smithfield, Graffiti, Liverpool, machine, and Tithebarn make the image more specific than a generic view and strengthen its local or historical value. The wider setting at Smithfield St, Liverpool, England, UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Another useful connection is local identity and how temporary street art can become an important record of neighbourhood culture in a form that can be compared with future views of Smithfield St, Liverpool, England, UK. The scene further reflects regeneration and the blurred boundary between commissioned public art and unsanctioned graffiti within the real-world context of Smithfield St, Liverpool, England, UK.
Smithfield St, Liverpool, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Scotish,Scotch,British,Scotland,problem,with,Tony Smith,United Kingdom,Great Britain,British Isles,urban,city,centre,city centre,mural,art,culture,gable,end,gableend,Scots,gotonysmith,Badminton,Glasgow,two,activity,cultural,2014,street
Description: Tony Smith image Alamy HGC817 - . This scene at Glasgow, United Kingdom, G1 1EJ in 2016 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 Glasgow commonwealth games 2014, Badminton mural, city centre, Scotland, UK, G1 1EJ. The subject also carries associations with social history, contemporary social history, stencil art, temporary artwork, place identity, changing land use, graffiti heritage, visual street culture, public-realm art, everyday life, local history, changing streetscape, local character, and creative placemaking. In present-day coverage, the subject reaches into temporary works and gentrification, not least because of how regeneration can both promote and displace informal urban art. Future viewers can use this scene from Glasgow, United Kingdom, G1 1EJ to compare transport arrangements and footfall with whatever follows after replacement signage. The photograph additionally reflects community art, period detail, urban artwork, street-level design, archival record, community identity, contemporary mural, and urban graphics. The combination of Badminton, Glasgow, mural, games, and commonwealth anchors the frame to a recognisable activity, place or moment. Around Glasgow, United Kingdom, G1 1EJ, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The wider significance includes temporary works and how regeneration can both promote and displace informal urban art when considered against later change at Glasgow, United Kingdom, G1 1EJ. Another strand within the photograph is public art and the role of murals and stencils in giving creative districts a distinctive identity without losing the local specificity of Glasgow, United Kingdom, G1 1EJ. The scene captures details of everyday use before later change alters the scene.
Glasgow, United Kingdom, G1 1EJ
Description
Keywords: GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Scotish,Scotch,British,Scotland,problem,with,Tony Smith,United Kingdom,Great Britain,British Isles,commonwealth,games,activity,Scots,art,mural,culture,gable,end,gableend,cultural,G1,2014,two,men,Badminton,painted,gable end,sport
Description: Tony Smith image Alamy HGC81B - . An identifiable period record of Glasgow, United Kingdom, G1 1EJ in 2016, retaining the practical detail and local context that distinguish a documentary photograph from a generic illustration. The principal subject is Glasgow commonwealth games 2014, Badminton mural, city centre, Scotland, UK, G1 1EJ. The subject also carries associations with stencil art, creative placemaking, graffiti heritage, period detail, local character, historical comparison, social history, visual archive, community art, community identity, place identity, local history, documentary photography, and urban graphics. The wider contemporary story combines temporary works, tourism and how temporary street art can become an important record of neighbourhood culture. As a dated visual record of Glasgow, United Kingdom, G1 1EJ, the frame retains commercial use and occupation, making it especially useful if redevelopment subsequently changes the scene. The location also brings in visual street culture, changing streetscape, street-level design, before-and-after reference, contemporary mural, archival record, public realm, and public-realm art. Details involving Glasgow, mural, commonwealth, games, and Badminton make the image more specific than a generic view and strengthen its local or historical value. A later view of Glasgow, United Kingdom, G1 1EJ may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes temporary works and how temporary street art can become an important record of neighbourhood culture without losing the local specificity of Glasgow, United Kingdom, G1 1EJ. Another strand within the photograph is creative districts and the role of murals and stencils in giving creative districts a distinctive identity in a form that can be compared with future views of Glasgow, United Kingdom, G1 1EJ. The image fixes period character as a date-specific reference.
Glasgow, United Kingdom, G1 1EJ
Description
Keywords: EH8,8BN,EH88BN,outside,historic,tourist,travel,building,architecture,kirkyard,churchyard,yard,Canon,gate,of,old,town,oldtown,parish,castle,cots,Scottish,scotch,burgh,city,Dutch-style,end,gable,worship,services,Sunday,anglican,religion,religion,Christianity,royal,gotonysmith,Palace,of,Holyroodhouse,Holyrood,capital,Dutch,style,small,doric-columned,portico,over,the,entrance,doric,column,columned,Regiment,of,the,British,Army,chapel,inscription,reads,read,in,1688,king,james,VII,ordained,that,the,mortification,of,oldtown,Thos.,Moodie,granted,in,1649,to,build,a,church,should,be,applied,to,the,erection,of,this,structure,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy DECXHM - The Kirk of the Canongate, or Canongate Kirk, serves the Parish of Canongate in Edinburgh's Old Town, in Scotland. It is a congregation of the Church of Scotland.
The parish includes the Palace of Holyroodhouse and the Scottish Parliament. It is also the parish church of Edinburgh Castle, even though the castle is detached from the rest of the parish. The wedding of Zara Phillips, the Queen's granddaughter, and Mike Tindall, took place at the church on 30 July 2011
The inscription reads - in 1688 king james VII ordained that the mortification of
Thos. Moodie granted in 1649 to build a church should be applied
to the erection of this structure
153 Canongate, Edinburgh, Midlothian, Scotland, UK EH8 8BN
Description
Keywords: EH8,8BN,EH88BN,interior,outside,historic,tourist,travel,building,architecture,kirkyard,churchyard,yard,Canon,gate,of,old,town,oldtown,castle,cots,Scottish,scotch,burgh,city,Dutch-style,end,gable,worship,services,Sunday,anglican,religion,religion,Christianity,royal,pano,panorama,gotonysmith,Palace,of,Holyroodhouse,capital,Dutch,style,small,doric-columned,portico,over,the,entrance,doric,column,columned,Regiment,of,the,British,Army,chapel,pew,pews,oldtown,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy DECXPD - The Kirk of the Canongate, or Canongate Kirk, serves the Parish of Canongate in Edinburgh's Old Town, in Scotland. It is a congregation of the Church of Scotland.
The parish includes the Palace of Holyroodhouse and the Scottish Parliament. It is also the parish church of Edinburgh Castle, even though the castle is detached from the rest of the parish. The wedding of Zara Phillips, the Queen's granddaughter, and Mike Tindall, took place at the church on 30 July 2011
153 Canongate, Edinburgh, Midlothian, Scotland, UK EH8 8BN
Description
Keywords: EH8,8BN,EH88BN,exterior,wall,outside,historic,tourist,travel,building,architecture,kirkyard,churchyard,yard,Canon,gate,of,old,town,oldtown,parish,castle,cots,Scottish,scotch,burgh,city,Dutch-style,end,gable,worship,services,Sunday,anglican,religion,religion,Christianity,royal,IN,DEFENCE,crest,stone,gotonysmith,Palace,of,Holyroodhouse,Holyrood,capital,Dutch,style,small,doric-columned,portico,over,the,entrance,doric,column,columned,Regiment,of,the,British,Army,chapel,coat,of,arms,oldtown,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy DECYBM - The Kirk of the Canongate, or Canongate Kirk, serves the Parish of Canongate in Edinburgh's Old Town, in Scotland. It is a congregation of the Church of Scotland.
The parish includes the Palace of Holyroodhouse and the Scottish Parliament. It is also the parish church of Edinburgh Castle, even though the castle is detached from the rest of the parish. The wedding of Zara Phillips, the Queen's granddaughter, and Mike Tindall, took place at the church on 30 July 2011
153 Canongate, Edinburgh, Midlothian, Scotland, UK EH8 8BN
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,rd,Belfast,with,red,white,blue,bunting,Northern Ireland,polarised,sectarian,orange,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,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFDC - The Shankill Road is one of the main roads leading through west Belfast, Northern Ireland. It runs through the predominantly loyalist working class area known as the Shankill. The road stretches westwards for about 2.4 km (1.5 mi) from central Belfast and is lined, to an extent, by shops. The residents live in the many streets which branch off the main road. The area along the Shankill Road forms part of Court district electoral area.
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,Bar,Aberdeen St,attack slaughter by IRA Brendan McFarlane,orange,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,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFDR - The Bayardo Bar attack took place on 13 August 1975 in Belfast, Northern Ireland. A unit of the Provisional IRA Belfast Brigade, led by Brendan McFarlane, launched a bombing and shooting attack on the pub on Aberdeen Street (off the loyalist Shankill Road), which was frequented by Ulster Volunteer Force (UVF) members as well as civilians. Four Protestant civilians and one UVF member were killed.
According to journalists Alan Murray and Peter Taylor, it was retaliation for the Miami Showband massacre almost a fortnight earlier, when the popular Dublin-based band were ambushed by the UVF at a bogus military checkpoint. Three band members were shot dead by the UVF gunmen after their minibus was blown up in a premature explosion.
McFarlane and two other IRA volunteers, Peter Skeet Hamilton and Seamus Clarke, were sentenced to life imprisonment for perpetrating the Bayardo attack.
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,politics,political,road,elections,DUP,PUP,with,union,flags,election,orange,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,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFE7 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,well,I,can,stand,alone,rifle,CYV,orange,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,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFJ9 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,mosaic mural,orange,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,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4F - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Unionist,British,Shankil,rd,painting,art,artist,martyr,fighter,para,paramilitary,soldier,wall,gable,end,gable end,community,protestant,Shankill Road Mural,West,West Belfast,NI,Northern Ireland,best,Ulster Freedom Fighters,Battalion,Simply The Best,firewood,Bonfire,tinder,July,marching season,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,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,protestant,religion,intolerance,prejudice,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEW138 - . An on-location photograph from Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2005, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The defining feature is Shankill Road Mural -2nd Batt UFF UDA Simply The Best, West Belfast, Northern Ireland, UK. The locality and subject together evoke public-realm art, street-level design, community identity, historical comparison, regional identity, visual archive, street creativity, stencil art, public realm, public transport stop, visual street culture, street-side transport, social history, and changing streetscape. From a 2025-onward perspective, public art and tourism are closely linked to this subject, alongside the role of murals and stencils in giving creative districts a distinctive identity. The wider contemporary story combines accessibility, decarbonisation and how local bus services affect access to work, education and healthcare. Future viewers can use this scene from Shankill Road,West Belfast, County Antrim, Northern Ireland, UK to compare commercial use and occupation with whatever follows after new ownership. Other useful contextual ideas include passenger transport, bus route infrastructure, graffiti heritage, roadside stop, period detail, bus infrastructure, contemporary mural, and roadside transit. References to Mural, Northern, Shankill, Simply, and Belfast give the picture a strong period identity and tie it closely to its named subject. A later view of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The scene further reflects public art and the role of murals and stencils in giving creative districts a distinctive identity when considered against later change at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK.
Shankill Road,West Belfast, County Antrim, Northern Ireland, UK
Description
Keywords: West,Midlands,England,UK,famous,clock,tower,clocks,timepiece,time,piece,gate,entrance,port,portal,red,brick,flowers,summer,best,loved,parks,saddlers,saddler,things,to,see,in,tourist,tourism,attraction,lodge,fine,old,victorian,building,gotonysmith,buildings,flanking,bays,contain,gates,below,a,depressed,gothic,arch,and,slate,saddle-back,roof,linking,to,two,storey,bays,below,a,stepped,gable,with,stone,dressed,tripartite,windows.,Chimney,stacks,are,at,the,extremities,with,that,on,the,right,showing,its,original,crenellated,pot.,Low,single,storey,end,bays,stand,below,slate,saddlebacks,with stepped gable ends and double lancets stone dressed,Black,Country,Buy Pictures of,Buy Images Of,Black Country,Walsall Black Country
Description: Tony Smith image Alamy DHGYW0 - The ˜jewel in the crown' of Walsall town is, perhaps, its famous Victorian park, The Arboretum, and the setting of that jewel is entered through the historic gateways of a fine old Victorian building “ the main Arboretum Lodge, with its distinctive clock tower.
Once home of the legendary Walsall Illuminations festival of lights enjoyed annually by millions since its inauguration in 1952, Walsall Arboretum itself has its origins in another much more ancient activity in the town “ limestone mining.
The area now occupied by the Arboretum was originally part of Rushall until 1876. Limestone had been quarried in the vicinity since at least the late 18th century, with the Persehouse family demolishing Reynolds Hall so that the very profitable quarrying could continue. However, operations had ceased by the 1840's, leaving two great pits to fill up with water, both from the nearby stream and from springs and general drainage. The larger of the two pits, now lakes, was named Hatherton Lake by 1845, and the fine old row of houses now known as Victoria Terrace just to the north was in fact built as Hatherton Lake Villas by the early 1850's.
Lichfield Road, Walsall, West Midlands, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,London,NW1,boot,boots,shoes,shoe,building,store,shop,mural,artwork,advert,ad,advertisement,on,a,in,fashion,British,Airwair,DMs,DM,Made In England,English,tough,as you,Jamestown Road,corner,gable,gable-end,end,Wollaston,Camden Town,design,studio
Description: Tony Smith image Alamy 2K16AXK - Dr. Martens, also commonly known as Doc Martens, Docs or DMs, is a German-founded British footwear and clothing brand, headquartered in Wollaston in the Wellingborough district of Northamptonshire, England. Although famous for its footwear, Dr. Martens also makes a range of accessories “ such as shoe care products, clothing, and bags. The footwear is distinguished by its air-cushioned sole (dubbed Bouncing Soles), upper shape, welted construction and yellow stitching. Dr Martens' design studio is in Camden Town, London
the manufacturing is in the UK, China, Vietnam, Laos and Thailand. The company is listed on the London Stock Exchange and is a constituent of the FTSE 250 Index.
Klaus Märtens was a doctor in the German Army during World War II. After he injured his ankle in 1945, he found that his standard-issue army boots were too uncomfortable on his injured foot. While recuperating, he designed improvements to the boots, with soft leather and air-padded soles made of tyres. When the war ended and some Germans recovered valuables from their own cities, Märtens looted leather from a cobbler's shop. With that leather he made himself a pair of boots with air-cushioned soles
Märtens did not have much success selling his shoes until he met up with an old university friend, Herbert Funck, a Luxembourger, in Munich in 1947. Funck was intrigued by the new shoe design, and the two went into business that year in Seeshaupt, Germany, using discarded rubber shaped by moulds. The comfortable soles were a big hit with housewives, with 80% of sales in the first decade to women over the age of 40
Sales had grown so much by 1952 that they opened a factory in Munich. In 1959, the company had grown large enough that Märtens and Funck looked at marketing the footwear internationally. Almost immediately, British shoe manufacturer R. Griggs Group bought patent rights to manufacture the shoes in the United Kingdom. Griggs anglicised the name to Dr. Martens
Camden High Street, Camden Town, London, England, UK, NW1
Description
Keywords: EH8,8BN,EH88BN,exterior,outside,historic,tourist,travel,building,architecture,yard,Canon,gate,of,old,town,oldtown,parish,castle,cots,Scottish,scotch,burgh,city,Dutch-style,end,gable,worship,services,Sunday,anglican,religion,religion,Christianity,royal,old,gas,st,gotonysmith,Palace,of,Holyroodhouse,Holyrood,capital,Dutch,style,small,doric-columned,portico,over,the,entrance,doric,column,columned,Regiment,of,the,British,Army,chapelstreet,oldtown,Ediburgh,Edinburg,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy DECWWK - Old Princes St gas lamp and Kirk.
The Kirk of the Canongate, or Canongate Kirk, serves the Parish of Canongate in Edinburgh's Old Town, in Scotland. It is a congregation of the Church of Scotland.
The parish includes the Palace of Holyroodhouse and the Scottish Parliament. It is also the parish church of Edinburgh Castle, even though the castle is detached from the rest of the parish. The wedding of Zara Phillips, the Queen's granddaughter, and Mike Tindall, took place at the church on 30 July 2011
153 Canongate, Edinburgh, Midlothian, Scotland, UK EH8 8BN
