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Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A9718,DublinBus,hybrid,Dublin,Ireland,bus,TFI,Irish,urban,transport,commuters,people,tourism,Europe,street,signage,bilingual,city,travel,infrastructure,local,daily,heritage,commercial,pedestrians,mobility,double decker,Westmoreland Street,centre,public transport,Irish language,low emission,public transport Ireland,Ireland public transport
Description: Tony Smith image Alamy 3FGH3H8 - . A green-and-yellow hybrid Dublin Bus double-decker travels along Westmoreland Street, passing the Everest Language School and other central Dublin businesses. The bus carries Irish-language environmental branding highlighting cleaner public transport. Hybrid buses reduce fuel use and local emissions compared with conventional diesel vehicles and have formed part of the gradual decarbonisation of Dublin's large bus fleet. Westmoreland Street is a major city-centre public-transport corridor between College Green, O'Connell Bridge and the south side. The image combines changing bus technology with the intensive everyday use of streets shared by commuters, students, tourists and businesses. The green livery and Irish wording draw attention to environmental messaging rather than presenting the hybrid technology only as an engineering detail. Double-deck design remains valuable on constrained city streets because it provides high capacity without lengthening the vehicle. Westmoreland Street carries buses through an area where road space is intensely contested between public transport, taxis, deliveries, cyclists and large numbers of pedestrians. Changes to bus fleets and rail services are increasingly linked to climate policy, with hybrid, electric and higher-capacity public transport intended to reduce reliance on private cars. Dublin's passenger network is not a single system: national rail, DART, commuter trains, Luas and multiple bus operators have to function as a connected whole for journeys across the city region. Irish and English names routinely appear together on transport signs, bringing the Irish language into ordinary daily journeys rather than reserving it for ceremonial or historic contexts. Historic buildings and modern transport systems sit unusually close together in central Dublin, so infrastructure changes often have to work within streets shaped long before mass motor traffic.
Westmoreland Street, Dublin 2, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A9729,DART train and urban art,DART,Dublin,street art,urban mural,graffiti,Iarnród Éireann,Irish Rail,electric train,commuter rail,railway wall,public art,urban art,Dublin Area Rapid Transit,railway,city transport,public transport,colourful mural,graffiti art,Ireland,urban landscape,rail corridor,commuters,electric railway,city culture,wall painting,Dublin street art,transport,suburban railway,contemporary art
Description: Tony Smith image Alamy 3FGH3X8 - . A DART electric train passes a wall covered with colourful murals and graffiti in Dublin, bringing two highly visible elements of the contemporary city into the same railway scene. The Dublin Area Rapid Transit network has carried commuters through the capital since electric services began in 1984, using a north-south rail corridor that cuts through neighbourhoods with very different architecture, land uses and social histories. Railway boundaries, arches, retaining walls and industrial buildings often provide large surfaces for both commissioned street art and unofficial graffiti, making rail journeys an evolving gallery of urban visual culture. The work visible here includes large lettering, figurative imagery and layered tags, suggesting a wall that has accumulated different interventions over time. DART trains are themselves moving pieces of the cityscape, their familiar green livery appearing repeatedly behind housing, businesses, bridges and public art as they travel through Dublin. Street art can transform neglected or defensive infrastructure by adding colour and local character, although distinctions between legal murals, commissioned pieces and unauthorised graffiti remain important to property owners and councils. The railway setting also affects how the artwork is seen: passengers may encounter it only for seconds from a moving train, while pedestrians experience the wall at street level. Dublin has developed a substantial street-art scene alongside its more formal cultural institutions, with murals increasingly used for regeneration, business promotion, political expression and community projects. The juxtaposition with DART emphasises a city constantly moving past surfaces that are themselves repeatedly repainted and reinterpreted. Rail corridors are particularly valuable documentary locations because they preserve layers of advertising, industrial history, informal art and infrastructure within a narrow strip of urban land.
Dublin, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A9757,DART,Bray,Wicklow,Ireland,electric,EMU,footbridge,overhead,railway,train,station,transport,passengers,commuter,platform,travel,rail,infrastructure,transit,Europe,urban,mobility,service,network,signage,city,journey,tracks,foot bridge,rolling stock,public transport,Bray Daly,public transport Ireland,Ireland public transport
Description: Tony Smith image Alamy 3FGH4CA - . A DART electric multiple-unit waits at Bray Daly station, photographed side-on beneath the overhead power lines and station footbridge. The stock-photo/gotonysmith-Train.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>train's green livery is strongly associated with Dublin's suburban coastal rail network. Bray is a major stop at the southern edge of the long-established DART electrified corridor. Frequent trains connect the town with Dublin city centre, employment areas and northern branches, while other rail services continue further through County Wicklow. The station's mix of commuter traffic and seaside visitors demonstrates how suburban rail serves both routine mobility and tourism. The footbridge and overhead line equipment frame the side of the DART train, showing the infrastructure needed to operate electric suburban rail. Bray's station is large enough to handle varied movements and passenger flows, while retaining older railway elements. The scene is typical of a working commuter station where historic fabric, electrification and modern train operations coexist rather than being presented as preserved railway heritage. Commuter rail shapes where people can live and work by making longer daily journeys practical without a car, which in turn influences housing growth around stations. Interchange quality matters because a rail trip often begins or ends by bus, tram, bicycle or on foot, so station design influences the whole journey rather than only the time spent on a train. The continued visibility of unit numbers, liveries and route displays makes everyday passenger trains useful records of fleet changes as operators refurbish or replace rolling stock. Electric and high-capacity rail is central to attempts to reduce car dependence on busy urban and intercity corridors, although passengers judge the network just as strongly on reliability, frequency and fares. The working railway environment is visible alongside the train, station or passenger information rather than being cropped away.
Bray Daly railway station, Bray, County Wicklow, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A9762,DART,Bray,Wicklow,Ireland,electric,EMU,bilingual,railway,train,station,transport,passengers,commuter,platform,travel,rail,infrastructure,transit,Europe,urban,mobility,service,network,signage,city,journey,tracks,rolling stock,public transport,station name,Bray Daly,public transport Ireland,Ireland public transport
Description: Tony Smith image Alamy 3FGH4CF - . A green DART electric train stands beside the bilingual Bray“Daly station nameboard, clearly linking the rolling stock with its County Wicklow location. The photograph concentrates on the platform identity and everyday suburban service. Bray is one of the best-known stations on the DART coastal route and an important origin and destination for both commuters and visitors. Bilingual Irish and English signage is standard across the network. The electrified service has shaped commuting patterns south of Dublin by providing a direct rail alternative to road travel along a heavily populated coastal corridor. The station nameboard dominates the frame, making the bilingual identity as important as the train behind it. 'Bré - Ó Dálaigh / Bray - Daly' combines the Irish place name with the dedication to Edward Daly. Such signage is part of the everyday visibility of the Irish language, while the green DART carriage behind it immediately places the sign within Dublin's best-known suburban rail system. Older stations frequently combine historic buildings with modern accessibility and passenger systems, producing layers of railway architecture rather than a single design period. Rail travel also carries a strong leisure market, particularly on scenic or heritage-rich routes where day visitors share the same trains used by regular commuters. A working station has to combine platform safety, passenger information, accessibility, ticketing and interchange in a space that may have been built long before modern traffic levels were imagined. Commuter rail shapes where people can live and work by making longer daily journeys practical without a car, which in turn influences housing growth around stations. Interchange quality matters because a rail trip often begins or ends by bus, tram, bicycle or on foot, so station design influences the whole journey rather than only the time spent on a train.
Bray Daly railway station, Bray, County Wicklow, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A9764,MOBY e-bikes,MOBY bikes,electric hire bikes,shared e-bikes,Bray,County Wicklow,bike share,electric bike sharing,public bicycles,e-bike,micromobility,cycle hire,sustainable transport,active travel,green transport,app based transport,bike parking,public bike stand,Wicklow County Council,urban mobility,cycling,commuting,tourism,Ireland,Bray transport,low carbon travel,shared mobility,electric bicycle,cycle scheme,transport
Description: Tony Smith image Alamy 3FGH4CT - . A row of MOBY shared electric bicycles is parked at a public cycle stand in Bray, County Wicklow, showing the town's growing use of app-based micromobility alongside buses, trains, cars and walking. Wicklow County Council and MOBY relaunched and expanded a public e-bike sharing scheme in Bray in March 2025 with an initial fleet of 100 bicycles. Users locate and unlock the bikes through the MOBY MOVE app, with parking managed through designated physical stands and virtual mandatory parking locations. Electric assistance makes shared cycling practical for a wider range of people and journeys because hills, distance and headwinds require less physical effort than on a conventional bicycle. In Bray that can support everyday trips between the station, seafront, residential areas, shops and employment as well as leisure journeys by visitors. The scheme was planned to expand beyond Bray into other County Wicklow towns, creating the possibility of inter-town journeys and links with MOBY operations in County Dublin. Shared e-bikes sit between traditional public transport and private vehicle ownership: the customer uses an individual vehicle on demand but does not need to store, maintain or purchase it. Their success depends heavily on responsible parking, battery charging, maintenance and enough bikes being available where users actually need them. The conspicuous green, red and black frames also turn the cycles into mobile advertising for the service as they circulate through the town. Public bike schemes are increasingly part of climate and transport policy because short car journeys are among the trips most readily replaced by walking, cycling or electric-assisted cycling. Bray's DART connection means e-bikes can also solve the 'last mile' problem, allowing rail passengers to complete a local journey without waiting for a bus or using a car. Mandatory parking locations are intended to prevent shared bicycles obstructing footways after a journey ends.
Bray, County Wicklow, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A9768,DART,8112,Bray,Wicklow,Ireland,electric,EMU,coastal,railway,train,station,transport,passengers,commuter,platform,travel,rail,infrastructure,transit,Europe,urban,mobility,service,network,signage,city,journey,public transport Ireland,Ireland public transport
Description: Tony Smith image Alamy 3FGH4GA - . DART electric multiple-unit 8112 is photographed at Bray Daly station, with the green suburban train beneath overhead wires and the station platforms stretching alongside. Bray Head rises behind the railway, giving the transport scene a distinctive coastal County Wicklow setting. The DART links Bray directly with Dublin city centre and northern coastal suburbs, making the station important both for commuting and leisure travel. Electric suburban rail provides high-capacity movement along a corridor where road congestion can be severe. Bray is also the point where the urban coastal railway begins to encounter more dramatic terrain before continuing south towards Greystones. The number 8112 is visible on a green DART set beneath the overhead wires, while Bray Head immediately identifies the southern coastal setting. The juxtaposition of commuter rolling stock and steep landscape is characteristic of this part of the network. Regular electric trains have made Bray a practical place to live while working or studying in Dublin, but the same service also brings large numbers of day visitors to the seafront during good weather. Older stations frequently combine historic buildings with modern accessibility and passenger systems, producing layers of railway architecture rather than a single design period. Rail travel also carries a strong leisure market, particularly on scenic or heritage-rich routes where day visitors share the same trains used by regular commuters. A working station has to combine platform safety, passenger information, accessibility, ticketing and interchange in a space that may have been built long before modern traffic levels were imagined. Commuter rail shapes where people can live and work by making longer daily journeys practical without a car, which in turn influences housing growth around stations. The working railway environment is visible alongside the train, station or passenger information rather than being cropped away.
Bray Daly railway station, Bray, County Wicklow, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A9790,EasyGo,GO,EV,charger,charging,Bray,seafront,Ireland,urban,street,signage,infrastructure,people,city,town,transport,local,Europe,travel,architecture,daily,modern,contemporary,service,commercial,community,environment,electric vehicle
Description: Tony Smith image Alamy 3FGH4GD - . An EasyGo-branded GO electric-vehicle charger is installed at Bray waterfront, with charging cables and green-and-white branding visible beside public parking. The unit forms part of the growing network of street and destination charging for electric cars in Ireland. Competition between EV charging operators is increasing as electric-car ownership grows and local authorities seek more public charge points. Networks must balance charging speed, payment access, maintenance and parking turnover. Seafront locations such as Bray are useful for destination charging because vehicles may remain parked while drivers spend time in cafes, shops or on leisure activities. EasyGo is one of the private charging brands competing for drivers in an expanding Irish EV market. The tethered cables and prominent green markings distinguish the equipment from a conventional parking meter and signal that the bay has an energy function as well as a parking function. Public chargers are particularly important in apartments and older streets where residents may have no driveway on which to install a private home charger. Different charging brands in the same town show a market developing beyond a single national provider, with apps and roaming arrangements becoming part of the driver's experience. Charging infrastructure replaces a simple parking bay with electrical equipment, cabling, payment technology and maintenance obligations, so the transition to electric motoring changes ordinary streets as well as vehicles. Kerbside and destination chargers are particularly important for people living in flats or older terraced streets who cannot install a private charge point at home. Public EV charging is most valuable where drivers naturally leave a car for long enough to add useful range, making town centres, seafronts and leisure destinations logical locations. The charger is shown in an ordinary parking environment, making the practical change to the street easy to see.
Bray seafront, Bray, County Wicklow, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A9801,ESB,EV,charger,charging,22kW,Bray,Wicklow,seafront,Ireland,urban,street,signage,infrastructure,people,city,town,publicspace,transport,local,Europe,travel,architecture,daily,modern,contemporary,service,commercial,community,environment,public realm,electric vehicle
Description: Tony Smith image Alamy 3FGH4GR - . An ESB electric-vehicle charging unit stands beside parking on Bray waterfront, providing a 22 kW public charging option for plug-in vehicles. The blue charger is installed in a conventional streetside parking environment close to the seafront. Public charging infrastructure is essential to the transition from petrol and diesel cars to battery-electric vehicles, particularly for drivers without private off-street charging. Ireland's ESB has been a major operator of public EV charging networks. Destination chargers at seafronts and town centres allow vehicles to recharge while drivers shop, work or visit local attractions, but availability, reliability and charging speed remain important policy and consumer issues. A 22 kW unit is best understood as destination rather than ultra-rapid charging: it can add useful range while a driver is parked for a meal, walk or shopping trip. That makes waterfront parking a logical location, because dwell times are longer than at a roadside fuel stop. The charger also shows how the transition to electric motoring requires visible changes to ordinary kerbs, parking bays, electrical connections and payment systems. Charging infrastructure replaces a simple parking bay with electrical equipment, cabling, payment technology and maintenance obligations, so the transition to electric motoring changes ordinary streets as well as vehicles. Kerbside and destination chargers are particularly important for people living in flats or older terraced streets who cannot install a private charge point at home. Public EV charging is most valuable where drivers naturally leave a car for long enough to add useful range, making town centres, seafronts and leisure destinations logical locations. Drivers compare public chargers on speed, reliability, price and ease of payment, while operators need enough use to justify installation and grid-connection costs.
Bray seafront, Bray, County Wicklow, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A9806,Welcome to Bray mural,Bray,County Wicklow,Welcome to Bray,mural,public art,street art,seaside town,tourism,local identity,town branding,colourful mural,wall art,Ireland,Wicklow,Bray seafront,visitor welcome,public realm,urban art,coastal town,community art,place marketing,Irish seaside resort,Bray Head,DART,commuter town,tourist destination,lettering,local pride,urban regeneration
Description: Tony Smith image Alamy 3FGH4GX - . A brightly coloured mural announces 'Welcome to Bray' in large stylised lettering, using playful seaside imagery to greet people arriving in the County Wicklow town. Bray developed into one of Ireland's best-known seaside resorts during the nineteenth century, when the railway made day trips and holidays from Dublin much easier and encouraged the growth of hotels, promenades and entertainment along the coast. That visitor economy still shapes the town's identity, although modern Bray is also a substantial residential and commuter centre linked to Dublin by the DART railway. A welcome mural compresses these different roles into a single piece of public art: it promotes civic pride to residents while giving visitors an immediate visual cue that they have entered a distinctive place. The vivid colours and retro-influenced typography suit a town associated with the seafront, amusement, summer crowds and views towards Bray Head. Public murals are increasingly used in Irish towns to animate blank walls, strengthen local identity and create landmarks that circulate widely through photographs and social media. Unlike a standard road sign, this work presents arrival as an experience and deliberately adds personality to the built environment. Bray's long history as a resort means that visual promotion is not new
railway posters, postcards and holiday advertising have presented the town to outside audiences for generations. The modern mural continues that tradition in a more informal form, using street-art language and bold design where earlier campaigns relied on printed tourism publicity. Its position within a busy urban setting connects the historic resort image with the everyday town used by commuters, shoppers, families and students throughout the year. The work also demonstrates how relatively simple interventions to walls and public spaces can become recognisable markers of place without requiring major new construction.
Bray, County Wicklow, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A9812,DART,Bray,Daly,route,map,Howth,Malahide,Dublin,Wicklow,Ireland,Irish,urban,transport,commuters,people,tourism,Europe,street,signage,bilingual,city,travel,infrastructure,local,daily,heritage,commercial,pedestrians,Irish language,public transport,city centre,public transport Ireland,Ireland public transport
Description: Tony Smith image Alamy 3FGH4N4 - . A bilingual DART route display at Bray Daly station shows the coastal suburban rail line north through Dublin city centre towards Howth and Malahide. The sign uses Irish and English place names and combines a network diagram with platform information. The Dublin Area Rapid Transit system is the electrified backbone of rail commuting along the Dublin Bay corridor. Route maps help visitors understand how Bray connects directly with central Dublin and northern coastal branches without changing mode. Irish-language station names alongside English reflect the bilingual presentation used by public transport operators in the Republic of Ireland. The diagram makes the geography of the DART legible in one glance: Bray lies south of the city, trains pass through central Dublin, and northern services branch towards Howth or Malahide. For tourists the map is especially useful because many major destinations can be reached without understanding the wider Irish Rail network. The sign also demonstrates how Irish transport information routinely pairs Bré with Bray and other Irish-language place names with their English forms. Changes to bus fleets and rail services are increasingly linked to climate policy, with hybrid, electric and higher-capacity public transport intended to reduce reliance on private cars. Dublin's passenger network is not a single system: national rail, DART, commuter trains, Luas and multiple bus operators have to function as a connected whole for journeys across the city region. Irish and English names routinely appear together on transport signs, bringing the Irish language into ordinary daily journeys rather than reserving it for ceremonial or historic contexts. Historic buildings and modern transport systems sit unusually close together in central Dublin, so infrastructure changes often have to work within streets shaped long before mass motor traffic. The setting remains clearly identifiable.
Bray Daly railway station, Bray, County Wicklow, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Southern,Republic,airports,phone,smartphone,charging,expensive,top up,essential,lockers,at,departures,Ireland,Cork,Charge.it.IE,IE,UV-C,UVC,Apple,Android,Charge-it.ie,Charge-it,quick,fast,Built-in,UV,lights,rental,install,installation,Charge It Management,Irish,locker
Description: Tony Smith image Alamy 3C4CYH7 - This contemporary British and Irish stock photograph captures ChargeIt airport charging station locker at Cork Airport, Ireland - Charge Your Mobile Here , from Charge.it.IE, IE. The row metadata places the subject at Cork Airport, Kinsale Road, Cork, T12P5NF, Ireland. The spreadsheet date indicates 20 July 2025, so the picture can also work as a time-specific archive record. Plainly, the image is useful because it shows Ireland, Irish, airport, Charge It, Here, Charge Your Mobile, Cork Airport, locker, with search-relevant terms including Ireland, Irish, airport, Charge It, Here, Charge Your Mobile, Cork Airport, locker, station, ChargeIt, Southern, Republic, airports, phone. Transport pictures are especially useful because they show the infrastructure and passenger experience behind policy debates about connectivity, reliability and regional investment. Cork Airport is an important regional gateway for southern Ireland. Airport details like baggage, passenger notices, airline rules and mobile charging are useful for stories about travel stress, low-cost aviation, regional connectivity and the changing passenger experience. The detail speaks to modern dependence on smartphones while travelling, with battery life, charging lockers, apps, boarding passes, maps, mobile payments and digital identity now part of the everyday airport and transport experience. It has strong value for publishers needing authentic documentary imagery for news pages, blog articles, council reports, social media graphics, presentations, magazine features and local-history explainers. Historically and socially, this kind of image can help connect past and present: older streets, civic institutions, transport systems, shops, signs, political messages or public services are not frozen museum pieces, but part of how people understand modern life, local identity and economic change.
Cork Airport, Kinsale Road, Cork, T12P5NF, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A1668,Dingle,Way,walking,trail,Ireland,Kerry,sign,bilingual,Irish,Gaelic,hiking,tourism,route,outdoors,heritage,Dingle way sign,Dingle Peninsula,County Kerry,historic object,signage,graphic design,printed text,everyday object,material culture,social history,detail,close up,visual culture,design history,documentary detail,collectable,historic record,ephemera,historic ephemera,printed ephemera,lettering,typography,design detail,collectors item,contemporary Britain,editorial photography,place identity,local culture,visual history,2020s
Description: Tony Smith image Alamy 3FA7WYA - . Around Dingle way sign, Dingle Peninsula in Dingle Peninsula, County Kerry, Ireland, historic record meets ephemera
design detail supplies a further strand of context. Dingle way sign, Dingle Peninsula and regional character share the Dingle Peninsula, County Kerry, Ireland setting
everyday life places community setting, and visual detail introduces extra meaning. Dingle way sign, Dingle Peninsula and graphic design share the Dingle Peninsula, County Kerry, Ireland setting
printed text sets everyday object, and material culture contributes extra specificity. Within Dingle Peninsula, County Kerry, Ireland, Dingle way sign, Dingle Peninsula joins visual culture to design history
documentary detail introduces identity, with collectable reinforcing the place. printed ephemera appears with Dingle way sign, Dingle Peninsula in Dingle Peninsula, County Kerry, Ireland
lettering positions typography, while design detail contributes the wider evidence. Dingle way sign, Dingle Peninsula and place identity share the Dingle Peninsula, County Kerry, Ireland setting
local culture connects visual history, and 2020s extends extra specificity. Dingle way sign, Dingle Peninsula sets public realm with British culture in Dingle Peninsula, County Kerry, Ireland
local history gives clearly meaning, while contemporary life broadens the same scene. everyday life and community setting sit beside Dingle way sign, Dingle Peninsula
visual detail associates through Dingle Peninsula, County Kerry, Ireland, and local geography sharpens useful identity. Dingle way sign, Dingle Peninsula and printed text share the Dingle Peninsula, County Kerry, Ireland setting
everyday object frames material culture, and social history supports extra setting. Within Dingle Peninsula, County Kerry, Ireland, Dingle way sign, Dingle Peninsula ends with visual culture, typography and local culture all tied to the same photographed place.
Dingle Peninsula, County Kerry, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A1709,Guinness,Blasket,Bar,Tralee,Kerry,Ireland,mural,pub,beer,stout,advertising,painting,hospitality,streetart,drinks,Need a Guinness Blasket Bar 28 Lower Castle St Tralee,Co. Kerry V92 AD60 Ireland,Need a Guinness Blasket Bar 28 Lower Castle St,Co. Kerry,V92 AD60,28 Lower Castle Street,County Kerry,British pub culture,drinks industry,licensed premises,food and drink,pub exterior,local business,traditional pub,consumer culture,branding,retail hospitality,social history,leisure,British drinking culture,pub sign,beer culture,food retail,hospitality industry,independent business,local pub,contemporary Britain,editorial photography
Description: Tony Smith image Alamy 3FA7WYK - . In 28 Lower Castle Street, Tralee, County Kerry, Ireland, V92 AD60, Need a Guinness Blasket Bar 28 Lower Castle St, Tralee, Co. Kerry, V92 AD60, Ireland brings British drinking culture beside pub sign
local pub adds another identifiable detail. Seen in 28 Lower Castle Street, Tralee, Need a Guinness Blasket Bar 28 Lower Castle St, Tralee, Co. Need a Guinness Blasket Bar 28 Lower Castle St, Tralee, Co. Within 28 Lower Castle Street, Tralee, County Kerry, Ireland, V92 AD60, Need a Guinness Blasket Bar 28 Lower Castle St, Tralee, Co. Kerry, V92 AD60, Ireland joins drinks industry to hospitality
licensed premises gives background, with food and drink reinforcing the place. Need a Guinness Blasket Bar 28 Lower Castle St, Tralee, Co. Kerry, V92 AD60, Ireland at 28 Lower Castle Street, Tralee, County Kerry, Ireland, V92 AD60 includes consumer culture
branding sets with retail hospitality, and social history introduces a second layer of meaning. Need a Guinness Blasket Bar 28 Lower Castle St, Tralee, Co. Kerry, V92 AD60, Ireland at 28 Lower Castle Street, Tralee, County Kerry, Ireland, V92 AD60 includes beer culture
food retail connects with hospitality industry, and independent business supports a second layer of relevance. Around Need a Guinness Blasket Bar 28 Lower Castle St, Tralee, Co. Kerry, V92 AD60, Ireland, local identity relates built environment
in 28 Lower Castle Street, Tralee, County Kerry, Ireland, V92 AD60, street scene supplies visibly specificity through public realm. Need a Guinness Blasket Bar 28 Lower Castle St, Tralee, Co. Kerry, V92 AD60, Ireland adds hospitality to beer culture at 28 Lower Castle Street, Tralee, County Kerry, Ireland, V92 AD60. social history and contemporary Britain keep Need a Guinness Blasket Bar 28 Lower Castle St, Tralee, Co. Kerry, V92 AD60, Ireland rooted in 28 Lower Castle Street, Tralee, County Kerry, Ireland, V92 AD60, while British culture completes the contemporary view.
28 Lower Castle Street, Tralee, County Kerry, Ireland, V92 AD60
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A1715,Gilbey,whisky,advert,Tralee,Ireland,historic,advertising,spirits,heritage,sign,Dublin,London,Edinburgh,retail,pub,auction
Description: Tony Smith image Alamy 3FA7X03 - . Historic W and A Gilbey whisky advertising sign in Tralee, Ireland. Photographed on 18 July 2025. The recorded location is Tralee, County Kerry, Ireland. Historic W and A Gilbey advertising sign photographed in Tralee, County Kerry, promoting the firm's wine and whisky business and naming Dublin, London and Edinburgh. The aged painted panel is a piece of commercial and drinks heritage and can illustrate historic advertising, Irish pub culture, whisky retailing, brand history, typography and the survival of traditional signage in older hospitality interiors. For direction sign, the historical context is that signs are functional pieces of graphic design that organise movement and communicate rules, names or destinations
Lettering, symbols, colours and materials can date public space as clearly as architecture, particularly when organisations rebrand or regulations evolution. Looking at alcohol, the longer history is that scotch whisky became one of Scotland's most recognisable exports, while local liqueurs and gins use ingredients, packaging and place names to build regional identity
Distilleries increasingly developed visitor centres alongside production. The background to local pub is that public houses form a distinctive strand of British social past
Coaching routes, tied brewery estates, Victorian urban growth and twentieth-century leisure each shaped the location and appearance of pubs, many of which later became restaurants, shops, housing or community assets. For direction sign, the 2026 context is that digital maps and smartphone navigation are ubiquitous, but physical signage remains essential for safety, accessibility, legal restrictions and visitors without reliable connectivity. In 2026, alcohol remains relevant because duty-free and visitor retail continue to use regional drinks as souvenirs, linking alcohol branding with destination identity and travel.
Tralee, County Kerry, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A1348,Murphys Farmhouse,sign,directional,Britain,UK,countryside,pub,inn,roadside,rural,wayfinding,hospitality,business,exterior,tourism,travel,white,black,lettering,direction,signpost,farmhouse,destination,local,place name,Ireland,Irish,pilgrim,pilgrims,travellers,camino
Description: Tony Smith image Alamy 3F3NDMJ - . Murphys Farmhouse directional sign photographed in Ireland. Photographed on 17 July 2025. The black and white signpost style image is suitable for editorial use on rural hospitality, inns, pubs, local businesses, wayfinding, country roads and British place-name or destination signage. The background to information sign is that wayfinding developed from painted names and fingerposts into standardised road, rail and public-information systems
Local signs still retain distinctive typography or bilingual wording even within increasingly consistent national standards. Within the history of climate adaptation, irrigation and crop management became increasingly mechanised during the twentieth century, allowing farmers to control water and improve yields but also increasing attention to resource use and environmental impact. In relation to high street, historical context shows that local businesses offer unusually precise social-history evidence because names, branding and uses change more quickly than the buildings they occupy
A shop, café, pub or service company can disappear while the façade survives, leaving photographs as a record of the previous commercial life of the street. Current 2026 context around information sign is that digital maps and smartphone navigation are ubiquitous, but physical signage remains essential for safety, accessibility, legal restrictions and visitors without reliable connectivity. Against the 2026 backdrop for climate adaptation, seasonal nature photography also has growing relevance to phenology , as researchers and the public pay more attention to changes in flowering, rainfall and the timing of autumn or spring. Closely associated editorial terms include public information, direction sign, street sign, notice, lettering, public realm, visitor guidance, bilingual signage, accessibility sign, graphic communication, street furniture, agriculture, crop field, farming, rural landscape, and food production.
Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A1123,St Marys GAA,St Marys,GAA,Killarney,County Kerry,Ireland,Gaelic,games,Kerry,mural,sport,player,football,Irish,community,club,heritage,painting,wall,pride,athletic,association,public,art
Description: Tony Smith image Alamy 3F3NDEH - . St Marys GAA mural celebrating Gaelic games and representing Kerry, Killarney, County Kerry, Ireland. Photographed on 16 July 2025. St Marys GAA mural showing a Gaelic games player and wording celebrating local sporting identity and representation of Kerry. The painted wall artwork is suitable for editorial use on Gaelic Athletic Association culture, Gaelic football, Irish sport, community clubs, local pride, public murals and sporting heritage in County Kerry. The background to sculpture is that public art turns streets and buildings into records of local culture
Murals, statues and memorial sculpture can commemorate people and events, celebrate industry, respond to politics or simply enliven public space, while materials and style often identify a particular era. Within the history of minority language, gaelic declined sharply through historical social and economic pressures but remained strong in parts of the Highlands and Islands
Twentieth- and twenty-first-century revival measures increased its use in education, broadcasting, public signage and official services. In relation to football history, historical context shows that british sports venues often have histories extending far beyond their present-day appearance, with rebuilt stands, sponsorship names and safety standards reflecting the professionalisation and commercial growth of spectator sport. Current 2026 context around sculpture is that public art is closely connected with regeneration, tourism, identity and debate about representation
Murals and sculptures can become visitor landmarks while also prompting discussion about whose past is visible in public space. Against the 2026 backdrop for minority language, current Scottish language policy continues to encourage the normalisation of Gaelic in public life, particularly in areas with strong historical links to the language
Bilingual signs therefore have contemporary relevance beyond their.
Killarney, County Kerry, Ireland
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A1175,Support Your Local,Killarney,County Kerry,Ireland,mural,support,local,community,healthcare,sport,street,art,wall,painting,solidarity,team,Irish,culture,public,urban,people,portrait,campaign,town,Kerry
Description: Tony Smith image Alamy 3F3NDKC - . Support Your Local mural in Killarney, County Kerry, Ireland, showing healthcare and community figures. Photographed on 16 July 2025. The artwork shows a group of community figures including a suited man, a healthcare worker and a sportsperson beneath the words support your local and stand by your team. For the story of public realm, it is useful to note that monuments and civic artworks are part of the visual history of place
Their subjects reveal whom a community chose to celebrate, while later reinterpretation or controversy can change the meaning of an apparently permanent object. The historical setting for plastic figures is that toys preserve popular culture in miniature, reflecting television, film, manufacturing techniques and children's interests at a particular time
Character figures can outlast the programmes or marketing campaigns that originally made them familiar. Seen through campaign sign, the earlier context is that election material, protest signs and campaign imagery preserve the language of politics as it was presented to voters at the time
Posters, slogans and public meetings can reveal local issues and political identities more directly than later summaries. For present-day public realm, 2026 is significant because contemporary street art continues to blur the line between unofficial expression, commissioned mural and tourist attraction
Images are therefore relevant to urban culture, creative industries, heritage interpretation and place-making. In the 2026 discussion of plastic figures, vintage toys form a significant nostalgia and collectors' market, amplified by online resale and renewed interest in classic television franchises. Additional discoverability terms include public art, sculpture, statue, cultural identity, visual culture, community art, memorial art, cultural landmark, collectable toy, Thunderbirds, TV memorabilia, retro toy, toy collecting, science fiction toy, children's television, and memorabilia.
Killarney, County Kerry, Ireland
Description
Keywords: GoTonySmith,HotpixUK,€110 million,euro,prize,National Lottery,lottery,flutter,sign,advertising,town,centre,County,Ireland,everyday,high street,harms,dangers,ticket,promotion,pavement sign,retailer,chance,based,life changing,sales,orange,temptation,Euro Millions,household money pressures,awareness,problem,purchase,community exposure to gambling,retail gambling environment,jackpot marketing,tactics,poverty financial vulnerability small town gambling,compliance,regulation
Description: Tony Smith image Alamy 3F3NDKH - Portable Irish National Lottery pavement sign advertises a potential €110 million jackpot on Main Street in Cahersiveen, County Kerry. The weathered metal display uses large black numerals against a vivid orange panel, making the enormous prize visible to pedestrians passing shops, pubs and other businesses in the town centre. The wording Euro Lotto Jackpot appears beneath National Lottery branding, while a small EuroMillions symbol indicates that the promotion relates to the multinational EuroMillions draw.
The close-up street scene records how lottery gambling is marketed within an ordinary retail environment rather than a casino or betting shop. Adjustable number panels allow the advertised jackpot to rise as draws roll over without a top-prize winner. A sum of €110 million presents the possibility of instant, life-changing wealth, using an exceptional potential reward to encourage attention, ticket purchases and dreams of financial freedom.
For many adults, buying an occasional lottery ticket is a recreational activity. However, prominent jackpot advertising can also contribute to the normalisation of gambling by placing it alongside routine shopping, eating, drinking and other everyday high street activity. Large prize figures may be particularly persuasive during periods of rising living costs, household financial pressure or economic insecurity, when the prospect of escaping money worries through a single winning ticket can appear especially attractive.
The chance of winning the main EuroMillions jackpot remains extremely small, and money spent on repeated entries can accumulate without any return. Irish National Lottery responsible-play guidance advises customers to understand the odds, avoid chasing losses, spend only what they can afford to lose and regard lottery products as entertainment rather than a way of earning money or solving financial problems.
Daylight in the centre of Cahersiveen, a tourism and service town on the Ring of Kerry
Main Street, Cahersiveen, County Kerry, Ireland, V23
--County-Cork--Ireland--3DCX6C0.jpg)
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,Ireland,city,centre,Cork Savings Bank building,Cork banking history,historic bank Ireland,County Cork landmark,building,history,historic,financial,cash,is king,Irish banking heritage,savings banks history,Victorian finance institutions,civic trust and thrift,economic development Ireland,architecture of finance,urban commercial history,heritage preservation,historic streetscapes Cork,institutions and memory,South Mall Cork City,Cork T12,Cork Ireland Eire,historic financial institution,stone façade detail,wrought iron railings,engraved bank sign,nineteenth century bank,Irish economic history,editorial image,daytime exterior,cash is king
Description: Tony Smith image Alamy 3DCX6C0 - The engraved stone signage of Cork Savings Bank, photographed on the historic South Mall in Cork City, County Cork, Ireland (postal district T12). The image shows the bank's name set into the building's façade above decorative wrought-iron railings, emphasising craftsmanship and permanence typical of nineteenth-century financial architecture.
Savings banks played a significant role in Irish social and economic history, promoting thrift and financial inclusion among working communities during a period of rapid urban and commercial growth. Cork Savings Bank was part of this wider movement, reflecting the city's importance as a regional centre of trade, shipping and finance in southern Ireland.
South Mall has long been associated with banking, commerce and professional services, forming one of Cork's most prestigious historic streets. Buildings along the Mall were designed to convey stability, trust and civic responsibility, values that were central to public confidence in financial institutions before the modern era of digital banking.
The architectural detailing visible in the image ” carved stonework, restrained classical proportions and ornamental ironwork ” reflects Victorian and Edwardian influences common to bank buildings of the period. Today, such structures contribute to Cork's historic streetscape and remain important markers of the city's commercial heritage.
Photographed in daylight with architectural textures clearly visible, the image offers strong editorial value for themes including Irish banking history, financial institutions, heritage architecture, urban commercial development and the preservation of historic city centres. It is suitable for use in history publications, financial commentary, education, and cultural or architectural features relating to Ireland.
Signage and architectural detail of the Cork Savings Bank building on South Mall, Cork City (postal
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Saggart,The Point,city centre,two,light rail,Ireland,transport,tram tracks,city,tram,urban transit,integrated transport,Lower Abbey Street,OConnell Street area,system,mobility,mass transit,electric tram,overhead wires,catenary system,platform stop,pedestrian crossing,commuter travel,retail district,accessible travel,green,low carbon travel,public realm,active travel,regeneration,everyday,tourism,travel,rush hour,busy,leap card,Luas Dublin
Description: Tony Smith image Alamy 3EM2JP7 - Two Luas Red Line trams passing on Abbey Street in Dublin city centre, with pedestrians, shops, street signs, overhead power lines and reserved tram tracks creating a busy urban transport scene. The photograph shows the light rail system operating at street level through one of the capital's central shopping and movement corridors, close to O'Connell Street, Marlborough Street, the Abbey Theatre, the Spire, bus connections and the wider northside retail district. Luas is Dublin's tram network, with the Red Line linking Tallaght and Saggart in the west to Connolly and The Point in the east via the city centre, making Abbey Street an important stop for commuters, shoppers, tourists, students and workers crossing the city. The image is useful for editorial stories about integrated public transport, sustainable mobility, city-centre congestion, pedestrian safety, tram priority, transport planning, light rail investment, accessible travel, urban regeneration, retail footfall and Dublin's changing streetscape. Visible signage in Irish and English, including the instruction for tram access, adds a clear Dublin context and shows how the tram environment is managed within a dense mixed-use street. The scene appears to have been taken in daylight under a bright but overcast sky, with summer or mild-weather clothing among pedestrians and a lively flow of people around the platforms and crossings. The side-by-side trams, overhead catenary and rails embedded in the road surface make the picture suitable for transport, infrastructure, planning, climate, tourism, commuting, Ireland travel and public realm features. It also illustrates the everyday operation of a modern European light rail system in a historic city centre where public transport, walking, retail activity and heritage streets all share limited street space.
Luas stop, Lower Abbey Street, Dublin 1, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,boat,Dublin,Irish famine ship replica,Dublin Docklands ship,Dublin maritime heritage,historic ship Dublin,heritage,spring,early,summer,blue sky,partly,sunny,cloudy sky,fair,bright,weather Ireland,calm river conditions,daylight Ireland,Dublin cityscape,south bank River Liffey,Dublin quays,tall ship moored,maritime,Ireland,Irish,diaspora,history,tourism,regeneration,city,centre,dock,docks,dockside,river boat Europe
Description: Tony Smith image Alamy 3CPAWW8 - The Jeanie Johnston, a full-scale replica of a nineteenth-century Irish emigrant ship, lies moored on the north bank of the River Liffey in Dublin, viewed here from the south bank. The scene is photographed in daylight under a blue sky with scattered cloud, suggesting mild spring or early summer conditions typical of fair weather in Ireland.
The ship's tall masts, rigging and traditional wooden hull stand in contrast to the modern glass and brick architecture of Dublin Docklands, reflecting the city's blend of historic memory and contemporary regeneration. Calm river conditions and soft natural light enhance the clarity of the waterfront setting.
The Jeanie Johnston serves as a floating museum and powerful symbol of Irish emigration during the Great Famine, when thousands left Ireland for North America. Today it remains a prominent riverside landmark, frequently used in editorial contexts relating to Irish history, migration, maritime heritage, tourism and Dublin's evolving urban landscape.
River Liffey, Dublin Docklands, Dublin 1, Ireland (north bank mooring, viewed from south bank)
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,centre,Dublin 8,D08 W449,M,Wall,1913,Greeting Cards,office,Post Office,An Post,Dublin,Ushers Quay,Oifis an Poist,Irish post office,green shopfront,traditional shopfront,Dublin city,public service,postal services,greeting cards,stationery,historic building,retail frontage,branding,Irish language signage,bilingual signage,green painted frontage,Victorian shopfront,Edwardian shopfront,city streetscape,Irish streets,urban Ireland,local services,community services
Description: Tony Smith image Alamy 3CPAXRB - A traditional Irish post office operated by An Post at 5 Ushers Quay in Dublin 8, photographed from street level. The building features a distinctive green-painted wooden shopfront, a colour long associated with Irish public services and heritage retail premises. Prominent bilingual signage across the fascia reads Oifis an Poist , reflecting Ireland's official use of both the Irish and English languages.
The frontage includes wooden double doors, flanking windows, and signage advertising post office services, stationery, and greeting cards. Additional posters visible in the windows reference modern An Post services, highlighting the contrast between the historic appearance of the building and the contemporary financial and digital services now offered by Ireland's national postal operator.
Ushers Quay runs along the south bank of the River Liffey, close to Dublin city centre, an area characterised by a mix of historic commercial buildings, residential properties, and long-established local services. The image captures a moment in the ongoing evolution of Ireland's high streets, where traditional public service buildings face pressure from digital communication, changing retail habits, and urban regeneration.
This photograph is suitable for editorial use illustrating Irish public services, postal history, bilingual signage in Ireland, Dublin streetscapes, heritage shopfronts, and discussions around the future of traditional post offices in European cities.
5 Ushers Quay, Dublin, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0087,Samuel Beckett Bridge,River Liffey,Jeanie Johnston,Dublin Docklands,Dublin,Ireland,bridge,river,tall,ship,waterfront,modern,offices,architecture,engineering,regeneration,tourism,maritime,heritage,transport,infrastructure,cityscape,Calatrava,boat,development,Irish,landmark
Description: Tony Smith image Alamy 3EM2JH7 - Samuel Beckett Bridge over the River Liffey with the Jeanie Johnston tall ship and Dublin Docklands in Dublin, Ireland. The distinctive white cable-stayed bridge spans the river against a backdrop of modern offices and waterfront development, while a red passenger boat and the masts of the historic Jeanie Johnston add maritime detail to the scene. Designed by Santiago Calatrava, the bridge has become one of the most recognisable contemporary landmarks in Dublin and forms an important road and pedestrian crossing through the Docklands. The photograph is suitable for editorial coverage of Dublin architecture, the River Liffey, Samuel Beckett Bridge, Docklands regeneration, Irish tourism, civil engineering, bridges, modern cityscapes, transport infrastructure, waterfront development, the Jeanie Johnston and maritime heritage. Bright daylight and calm water provide clear reflections and a strong sense of the regenerated riverside environment. The combination of historic ship, modern bridge and contemporary buildings neatly illustrates the mixture of heritage and redevelopment that characterises Dublin's eastern city centre.
Samuel Beckett Bridge, River Liffey, Dublin Docklands, Dublin, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0050,Teeling Whiskey,red,neon,sign,Dublin,Ireland,Irish,whiskey,brand,phoenix,logo,illuminated,distillery,distilling,drinks,spirits,alcohol,pub,bar,tourism,heritage,nightlife,branding,marketing,premium,exports,commercial,interior,traditional,modern
Description: Tony Smith image Alamy 3EM2JP5 - Teeling Whiskey red neon sign in Dublin, Ireland, promoting the Irish whiskey brand with its distinctive phoenix logo. The illuminated sign glows against a dark background, combining the TEELING WHISKEY name with the stylised bird emblem strongly associated with the Dublin distillery. Teeling is part of the revival of whiskey production in the Irish capital and has become a prominent modern Irish drinks brand, linking contemporary distilling with Dublin's long whiskey heritage. The image is suitable for editorial coverage of Irish whiskey, Dublin distilleries, drinks branding, neon signs, alcohol marketing, pubs, bars, tourism, Irish food and drink, distilling heritage, nightlife and branded interiors. The strong red lettering and graphic phoenix make the photograph especially useful as a bold illustrative image for stories about premium spirits, the resurgence of Irish whiskey, drinks exports, tourism experiences and the visual identity used by modern distillers. The simple composition also works well for features on neon signage, bar decoration, brand recognition and the commercial presentation of traditional Irish products to contemporary consumers.
Dublin, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,NI,Northern Ireland,UK,centre,Harland and Wolf,Harland and Wolfe,BT3,historic,icons,BT3 9EU,ship,building,famous,yellow,crane,cranes,in,shipyard,Samson,&,Goliath,Samson and Goliath,industry,legacy,yard,repair,company,cityscape,skyline,H&W,H & W,British,Irish,Ireland,city
Description: Tony Smith image Alamy 2RFJ35H - Harland & Wolff is a British shipbuilding and fabrication company headquartered in London with sites in Belfast, Arnish, Appledore and Methil. It specialises in ship repair, shipbuilding and offshore construction. Harland & Wolff is famous for having built the majority of the ocean liners for the White Star Line, including Olympic-class trio “ RMS Olympic, RMS Titanic and HMHS Britannic. Outside of White Star Line, other ships that have been built include the Royal Navy's HMS Belfast
Royal Mail Line's Andes
Shaw, Savill & Albion's Southern Cross
Union-Castle's RMS Pendennis Castle
P&O's Canberra
and Hamburg-America's SS Amerika of 1905. Harland and Wolff's official history, Shipbuilders to the World, was published in 1986.
Today, the company is focused on supporting five sectors: Defence, Energy, Cruise & Ferry, Renewables and Commercial. It offers services including technical services, fabrication & construction, repair & maintenance, in-service support, conversion and decommissioning.
In 2022, the company was awarded a major naval contract as part of Team Resolute (alongside Navantia UK and BMT), to deliver the Royal Fleet Auxiliarys' three new Fleet Solid Support vessels.
Harland & Wolff was formed in 1861 by Edward James Harland (1831“95) and Hamburg-born Gustav Wilhelm Wolff (1834“1913) who came to the UK aged 14. In 1858 Harland, then general manager, bought the small shipyard on Queen's Island from his employer Robert Hickson.
After buying Hickson's shipyard, Harland made his assistant Wolff a partner in the company. Wolff was the nephew of Gustav Schwabe, Hamburg, who was heavily invested in the Bibby Line, and the first three ships that the newly incorporated shipyard built were for that line. Harland made a success of the business through several innovations, notably replacing the wooden upper decks with iron ones which increased the strength of the ships
and giving the hulls a flatter bottom and squarer cross section
Queen's Island, Belfast , Northern Ireland, UK, BT3 9EU
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,NI,Northern Ireland,UK,centre,Harland and Wolf,Harland and Wolfe,BT3,historic,icons,BT3 9EU,ship,building,famous,yellow,crane,cranes,in,shipyard,Samson,&,Goliath,Samson and Goliath,industry,legacy,yard,repair,company,cityscape,skyline,H&W,H & W,British,Irish,Ireland,city
Description: Tony Smith image Alamy 2RFJ35N - Harland & Wolff is a British shipbuilding and fabrication company headquartered in London with sites in Belfast, Arnish, Appledore and Methil. It specialises in ship repair, shipbuilding and offshore construction. Harland & Wolff is famous for having built the majority of the ocean liners for the White Star Line, including Olympic-class trio “ RMS Olympic, RMS Titanic and HMHS Britannic. Outside of White Star Line, other ships that have been built include the Royal Navy's HMS Belfast
Royal Mail Line's Andes
Shaw, Savill & Albion's Southern Cross
Union-Castle's RMS Pendennis Castle
P&O's Canberra
and Hamburg-America's SS Amerika of 1905. Harland and Wolff's official history, Shipbuilders to the World, was published in 1986.
Today, the company is focused on supporting five sectors: Defence, Energy, Cruise & Ferry, Renewables and Commercial. It offers services including technical services, fabrication & construction, repair & maintenance, in-service support, conversion and decommissioning.
In 2022, the company was awarded a major naval contract as part of Team Resolute (alongside Navantia UK and BMT), to deliver the Royal Fleet Auxiliarys' three new Fleet Solid Support vessels.
Harland & Wolff was formed in 1861 by Edward James Harland (1831“95) and Hamburg-born Gustav Wilhelm Wolff (1834“1913) who came to the UK aged 14. In 1858 Harland, then general manager, bought the small shipyard on Queen's Island from his employer Robert Hickson.
After buying Hickson's shipyard, Harland made his assistant Wolff a partner in the company. Wolff was the nephew of Gustav Schwabe, Hamburg, who was heavily invested in the Bibby Line, and the first three ships that the newly incorporated shipyard built were for that line. Harland made a success of the business through several innovations, notably replacing the wooden upper decks with iron ones which increased the strength of the ships
and giving the hulls a flatter bottom and squarer cross section
Queen's Island, Belfast , Northern Ireland, UK, BT3 9EU
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,NI,Northern Ireland,UK,centre,signs,sign,humorous,pub,bar,pubs,bars,chalkboard,pavement,signage,marketing,humour,sarcastic,city,street sign,irony,promising,hospitality,sandwich board sign,chalk lettering,handwritten sign,street humour UK,warning,Irish,Ireland,novelty sign,social commentary,visible text sign,fun,funny
Description: Tony Smith image Alamy 2RFJ3B7 - This image shows a chalkboard A-frame sign placed on a pedestrian pavement outside a bar, using humour and irony to attract attention. The sign initially advertises Free cocktails and topless bartenders in bold handwritten lettering, before undercutting the claim with the phrase false advertising at the bottom. The joke relies on deliberate misdirection, a familiar style of British pub and bar humour designed to stop passers-by and provoke a smile.
The sign is painted in contrasting white chalk on a dark background and framed by a turquoise-painted wooden A-board, giving it a casual, informal appearance typical of independent bars and pubs. The surrounding pavement and shopfronts suggest a busy urban street, likely in a town or city centre with foot traffic and nightlife activity.
Such novelty signage is commonly used as a low-cost marketing tactic within the hospitality sector, blending comedy, irony, and street-level advertising to engage potential customers. The image captures a light-hearted moment of everyday urban culture, reflecting how humour is often used in public spaces to cut through advertising fatigue and create a sense of personality for bars and pubs.
Belfast, Northern Ireland, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Northern Ireland,BT52 1DP,United Kingdom,stained glass window,heraldic,window,Ulster heraldry,civic heraldry,coat of arms,armorial glass,municipal building,Victorian stained glass,Edwardian stained glass,Irish heraldry,Northern Ireland history,County Londonderry,Coleraine heritage,town hall interior,decorative glass,coloured glass window,historic artwork,local government history,British Isles heraldry,symbolic imagery,crest,shield,motto banner,local,cicic,Northern Irish history,Irish,Ireland,bones
Description: Tony Smith image Alamy 2RAP368 - This image shows a richly coloured stained glass heraldic panel inside Coleraine Town Hall, County Londonderry, Northern Ireland. The central shield bears crossed symbols and decorative floral motifs, surmounted by the Red Hand of Ulster, one of the most recognisable and historically significant emblems of the province of Ulster.
The banner text reading Newton Governor references civic or administrative authority connected with Coleraine's historical governance, reflecting the town's importance as a regional centre during the nineteenth and early twentieth centuries. Surrounding the shield are elaborate decorative elements typical of Victorian and Edwardian stained glass, including scrollwork, symbolic objects, and vibrant blue, gold, and green glass.
Stained glass such as this was commonly installed in municipal buildings to express civic pride, authority, and continuity, combining local identity with broader Ulster and British heraldic traditions. The image is suitable for editorial use relating to Northern Irish history, heraldry, civic architecture, stained glass art, and local government heritage.
Stained glass window, Coleraine Town Hall, The Diamond, Coleraine, County Londonderry, Northern Irel
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,centre,NI,Northern Ireland,Irish,Ireland,UK,BT48,NE,North East,faith,hope,charity,union,jack,the,fountain,144,BT486QH,The Fountain Derry,Derry mural,Londonderry mural,community mural Northern Ireland,charity mural,public art Northern Ireland,Union flag mural,loyalist area mural,urban mural art,peace and community artwork,community artwork,neighbourhood identity,wall art,painted mural,British identity,cultural symbolism,charity organisation,Ghana charity,international aid
Description: Tony Smith image Alamy 2RGHXB0 - A large, brightly coloured mural promoting Faith Hope Charity, painted on the side of a small brick building in The Fountain, a predominantly loyalist residential area of Derry / Londonderry, Northern Ireland. The artwork features portraits, religious and charitable symbolism, and references to international outreach, including Ghana, alongside strong expressions of British identity. A large Union flag painted on an adjacent wall reinforces the cultural and political context of the neighbourhood.
The Fountain is one of the oldest inhabited areas of the city and is well known for its distinct community identity and extensive use of murals and painted symbols as expressions of heritage, belief, and local values. Murals in this area often combine themes of religion, charity, history, and identity, serving both as community statements and as visual markers within the urban landscape.
Photographed in daylight under overcast skies, the image captures the mural's bold colours contrasted against the surrounding residential environment. The photograph is suitable for editorial and commercial uses illustrating Northern Irish mural culture, community identity, charitable organisations, peace and reconciliation contexts, and the continuing role of public art in expressing local narratives within divided or post-conflict urban settings.
Location: The Fountain, Derry / Londonderry, County Londonderry, Northern Ireland, BT48 (exact street and full postcode not visible on the image).
Faith Hope Charity mural in The Fountain area, 144 The Fountain, Londonderry BT48 6QH
Description
Keywords: GoTonySmith,HotpixUK,centre,NI,Northern Ireland,Irish,Ireland,UK,BT48,kerb,stone,stones,estate,kerbs,street,paint,marked,marking,territory,British,within,the,walls,kerbstone,Union Flag,celebrating,history,heritage,sectarian,historic,housing,council,social housing,kerb stones,Protestant,area,of,on,loyalist,symbolism
Description: Tony Smith image Alamy 2RGHXB1 - . Unionist Kerbstones, red, white & blue of the union jack, Protestant area of The Fountain, Londonderry, Northern Ireland, UK, BT48 6QH. Photographed on 20 June 2023, 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 The Fountain, Londonderry, Northern Ireland, UK, BT48 6QH, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Northern Ireland, Irish, Ireland, BT48, kerb, stone, stones, estate, kerbs, paint, marked, marking, providing natural SEO coverage without losing the specific documentary identity of the photograph. The political or campaigning content is suitable for neutral editorial coverage of protest, organised labour, elections, public debate, campaigning, civil society and the way political messages are presented in public. Placards, posters, leaflets, slogans and demonstrations are valuable documentary evidence of a particular moment and can support later historical comparison without implying endorsement of the views displayed. 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 Fountain, Londonderry, Northern Ireland, UK, BT48 6QH
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,CH41 6DU,CH41,Merseyside,England,UK,Liverpool waterfront,panorama,pano,from,river,Stena,ferry,service,sailing,Belfast,on,ship,boat,route,Ireland,sunny,summer,blue sky,blue skies,Liver,building,white,ferries,direct,sailings,bow,car ferry,mooring,moored
Description: Tony Smith image Alamy 2R64KH5 - . Stena Embla ferry to Belfast on the Liverpool waterfront panorama from Woodside, Birkenhead, Wirral, Merseyside, England, UK, CH41 6DU. Photographed on 27 May 2023, this spring 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 Woodside, Birkenhead, Wirral, Merseyside, England, UK, CH41 6DU, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include CH41 6DU, CH41, Merseyside, Liverpool waterfront, panorama, pano, river, Stena, ferry, service, sailing, Belfast, providing natural SEO coverage without losing the specific documentary identity of the photograph. The broad field of view gives useful spatial context, showing how the main subject sits within the wider urban or landscape setting. The transport setting gives the image wider relevance to mobility, infrastructure, roads and public transport, travel behaviour, local connectivity, logistics and the relationship between vehicles and the built environment. It can illustrate planning, transport policy, accessibility, congestion, public investment and the changing technologies and services used to move people or goods. The waterside context adds themes of ports, docks, harbours, rivers, canals, ferries, leisure boating, maritime transport and waterfront regeneration. Such views are useful for travel and infrastructure coverage as well as for documenting how working waterfronts, passenger services and former industrial land change over time. The wider panoramic composition places the principal subject within its surrounding streetscape or landscape, giving additional context about scale, neighbouring buildings, public space and the relationship between different landmarks. The scene contributes a specific, place-based record rather than a generic illustration.
Woodside, Birkenhead, Wirral, Merseyside, England, UK, CH41 6DU
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,CH41 6DU,CH41,Merseyside,England,UK,Liverpool waterfront,panorama,pano,from,river,Stena,ferry,service,sailing,Belfast,on,ship,boat,route,Ireland,sunny,summer,blue sky,blue skies,Liver,building,white,ferries,direct,sailings,mooring,moored,dock,dock area,river boat Europe
Description: Tony Smith image Alamy 2R64KH8 - . Stena Embla ferry to Belfast on the Liverpool waterfront panorama from Woodside, Birkenhead, Wirral, Merseyside, England, UK, CH41 6DU. Photographed on 27 May 2023, this spring 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 Woodside, Birkenhead, Wirral, Merseyside, England, UK, CH41 6DU, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include CH41 6DU, CH41, Merseyside, Liverpool waterfront, panorama, pano, river, Stena, ferry, service, sailing, Belfast, providing natural SEO coverage without losing the specific documentary identity of the photograph. The broad field of view gives useful spatial context, showing how the main subject sits within the wider urban or landscape setting. The transport setting gives the image wider relevance to mobility, infrastructure, roads and public transport, travel behaviour, local connectivity, logistics and the relationship between vehicles and the built environment. It can illustrate planning, transport policy, accessibility, congestion, public investment and the changing technologies and services used to move people or goods. The waterside context adds themes of ports, docks, harbours, rivers, canals, ferries, leisure boating, maritime transport and waterfront regeneration. Such views are useful for travel and infrastructure coverage as well as for documenting how working waterfronts, passenger services and former industrial land change over time. The wider panoramic composition places the principal subject within its surrounding streetscape or landscape, giving additional context about scale, neighbouring buildings, public space and the relationship between different landmarks. The scene contributes a specific, place-based record rather than a generic illustration.
Woodside, Birkenhead, Wirral, Merseyside, England, UK, CH41 6DU
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,CH41 6DU,CH41,Merseyside,England,UK,Liverpool waterfront,panorama,pano,from,river,Stena,ferry,service,sailing,Belfast,on,ship,boat,route,Ireland,sunny,summer,blue sky,blue skies,direct,sailings,mooring,moored,dock,dock area,tunnel exhaust,docks,Liverpool Port,Alfred dock
Description: Tony Smith image Alamy 2R64KP3 - . Stena Embla ferry to Belfast on the Liverpool waterfront panorama from Alfred dock, Woodside, Birkenhead, Wirral, Merseyside, England, UK, CH41 6DU. Photographed on 27 May 2023, this spring 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 Woodside, Birkenhead, Wirral, Merseyside, England, UK, CH41 6DU, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include CH41 6DU, CH41, Merseyside, Liverpool waterfront, panorama, pano, river, Stena, ferry, service, sailing, Belfast, providing natural SEO coverage without losing the specific documentary identity of the photograph. The broad field of view gives useful spatial context, showing how the main subject sits within the wider urban or landscape setting. The transport setting gives the image wider relevance to mobility, infrastructure, roads and public transport, travel behaviour, local connectivity, logistics and the relationship between vehicles and the built environment. It can illustrate planning, transport policy, accessibility, congestion, public investment and the changing technologies and services used to move people or goods. The waterside context adds themes of ports, docks, harbours, rivers, canals, ferries, leisure boating, maritime transport and waterfront regeneration. Such views are useful for travel and infrastructure coverage as well as for documenting how working waterfronts, passenger services and former industrial land change over time. The wider panoramic composition places the principal subject within its surrounding streetscape or landscape, giving additional context about scale, neighbouring buildings, public space and the relationship between different landmarks. The scene contributes a specific, place-based record rather than a generic illustration.
Woodside, Birkenhead, Wirral, Merseyside, England, UK, CH41 6DU
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,bomb,terrorist,St,Paddy,celebration,remembrance,saint,march,parade,2023,by,the,local,Irish,Community,river of life,artwork,fountain,Cheshire,England,UK,WA1,to,IRA,bombing,memorial,flag,dressed,as,in,green,speech,speeches,councillor,Cllr,Ireland,patron
Description: Tony Smith image Alamy 2PBE700 - . An on-location photograph from 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW in 2023, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The photograph centres on St Patricks Day parade 2023 by the local Irish Community, Bridge Street Warrington, Cheshire, England, UK, WA1 to the IRA bombing memorial. Another layer of the photograph includes Irish cultural identity, period detail, Irish diaspora, local character, documentary photography, Irish social history, civic procession, historical comparison, local history, diaspora celebration, Irish heritage, visual archive, St Patrick's Day tradition, and everyday life. Viewed from the mid-2020s, the subject also connects with cross-community relations, security history and how Irish cultural events connect migration history with contemporary civic life. As a dated visual record of 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW, the frame retains transport arrangements and footfall, making it especially useful if closure or conversion subsequently changes the scene. Other useful contextual ideas include public commemoration, Irish-British history, before-and-after reference, archival record, community identity, public realm, regional identity, and changing streetscape. References to local, bombing, memorial, Bridge, and Patricks give the picture a strong period identity and tie it closely to its named subject. A later view of 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. Its period value extends to cross-community relations and how Irish cultural events connect migration history with contemporary civic life within the real-world context of 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW.
16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,bomb,terrorist,St,Paddy,celebration,remembrance,saint,march,parade,2023,by,the,local,Irish,Community,river of life,artwork,fountain,Cheshire,England,UK,WA1,to,IRA,bombing,memorial,flag,Ireland,patron,carry,carries,WA1 2QW,St Patrick
Description: Tony Smith image Alamy 2PBE7B4 - . This location-specific image from 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW in 2023 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The defining feature is St Patricks Day parade 2023 by the local Irish Community, Bridge Street Warrington, Cheshire, England, UK, WA1 to the IRA bombing memorial. Further facets of the scene include St Patrick's Day tradition, regional identity, community identity, Irish-British history, place identity, Irish community culture, visual archive, social history, changing streetscape, contemporary social history, archival record, diaspora celebration, local character, and local history. Viewed from the mid-2020s, the subject also connects with cultural celebration, public remembrance and how Irish cultural events connect migration history with contemporary civic life. The archival value lies partly in recording landscape treatment and surrounding development around 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW before new ownership alters the character of the place. A second descriptive layer includes public commemoration, period detail, civic procession, public realm, Irish heritage, Irish cultural identity, before-and-after reference, and everyday life. Details involving parade, Patricks, bombing, memorial, and Irish make the image more specific than a generic view and strengthen its local or historical value. By fixing the subject within 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW, the image preserves more than the headline object or building: it records part of the locality's everyday history. Another useful connection is cultural celebration and the role of annual parades in maintaining community identity within the specific setting of 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW. That local specificity strengthens the long-term documentary value of image 2PBE7B4.
16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,bomb,terrorist,St,Paddy,celebration,remembrance,saint,march,parade,2023,by,the,local,Irish,Community,river of life,artwork,fountain,Cheshire,England,UK,WA1,IRA,bombing,memorial,flag,walking,with,Ireland,patron,WA1 2QW,banner,NI troubles,troubles,Irish flag on pole,The Trouble Northern Ireland,The Troubles Northern Ireland
Description: Tony Smith image Alamy 2PBE7DR - . This dated editorial view of 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW in 2023 captures more than the immediate subject, retaining clues about local use, design, activity and change. The subject captured here is St Patricks Day parade 2023 by the local Irish Community, Bridge Street Warrington, Cheshire, England, UK, WA1 to the IRA bombing memorial. Further facets of the scene include contemporary social history, public realm, public commemoration, Irish heritage, Irish cultural identity, Irish community culture, community identity, civic procession, documentary photography, place identity, local character, Irish diaspora, Irish-British history, and social history. The modern context includes continuing discussion of migration, diaspora identity and the coexistence of celebration and remembrance in places marked by historic violence. For later comparison, the photograph preserves period objects and surrounding context at 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW, details that may look very different after new ownership. Other useful contextual ideas include Irish social history, archival record, local history, everyday life, historical comparison, diaspora celebration, St Patrick's Day tradition, and regional identity. Details involving memorial, Patricks, Bridge, local, and parade make the image more specific than a generic view and strengthen its local or historical value. The wider setting at 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Its period value extends to migration and how diaspora communities sustain national traditions in British towns within the real-world context of 16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW. The photograph keeps period character before later change alters the scene.
16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,city,centre,England,UK,L1,The,L1 2SP,87,Renshaw Street,old,1970s,at,on,a,history,historic,bars,pubs,St. Jamess Gate Dublin,St Jamess Gate Dublin,ornate,is,good,for,you,tap,dispenser,Irish,stout,Ireland,Eire,the,Black Stuff,St Patricks Day,St Patrick
Description: Tony Smith image Alamy 2MA7NF1 - . Photographed at 87 Renshaw St, Liverpool, Merseyside, England, UK, L1 2SP in 2023, 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 Old 1970s Guinness pump at The Dispensary, 87 Renshaw St, Liverpool, Merseyside, England, UK, L1 2SP. Other connected aspects include traditional ale house, traditional materials, archival record, licensed trade, local character, documentary photography, conservation interest, historic streetscape, everyday life, traditional pub, place identity, changing streetscape, period architecture, and contemporary social history. In present-day coverage, the subject reaches into consumer spending and business rates, not least because of the survival of local pubs as social meeting places. Today's relevance is strengthened by heritage conservation, adaptive reuse and the continuing question of how historic fabric can support regeneration rather than demolition. Small period details of materials and architectural details at 87 Renshaw St, Liverpool, Merseyside, England, UK, L1 2SP may become more significant with time, particularly following changing commercial priorities. Other useful contextual ideas include period building, changing land use, regional identity, community identity, public-house heritage, built heritage, heritage landmark, and local social venue. Elements such as 1970s, Liverpool, Dispensary, Merseyside, and Guinness add documentary specificity and may become increasingly useful when compared with later records. By fixing the subject within 87 Renshaw St, Liverpool, Merseyside, England, UK, L1 2SP, the image preserves more than the headline object or building: it records part of the locality's everyday history. The scene captures details of everyday use for future local research. The period view preserves evidence of changing use before later change alters the scene.
87 Renshaw St, Liverpool, Merseyside, England, UK, L1 2SP
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,67,OConnell,St,Street,Upper,North City,Dublin 1,D01 C1Y6,Dublin,city,centre,entertainment,entertainments,leisure,light,lighting,red neon,and,when the fun stops,stop,open,slots,addiction,addict,addicts,building,Leinster,push,or,fold,games,FOBTs,Irish
Description: Tony Smith image Alamy 2MG4022 - . A grounded documentary photograph made at 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland in 2019, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The location is represented through Funland Casino, red neon, Come In and visit, and gamble, 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland. The broader subject matter reaches into place identity, period architecture, Trossachs tourism, local history, changing streetscape, local produce retail, adaptive reuse, built heritage, visitor retail, archival record, changing land use, public realm, destination shopping, and everyday life. The modern context includes continuing discussion of embodied carbon, tourism and how historic fabric can support regeneration rather than demolition. For current editorial use, tourism spending and local business provide additional context, especially through the role of gateway towns in national-park visitor economies. The archival value lies partly in recording building condition and alterations around 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland before new construction alters the character of the place. The subject also sits alongside architectural detailing, historic townscape, conservation architecture, documentary photography, historical comparison, social history, traditional materials, and historic streetscape. Details involving Funland, gamble, Upper, O'Connell, and Ireland make the image more specific than a generic view and strengthen its local or historical value. For 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Image 2MG4022 also remains a dated record of 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland.
67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,signs,signage,lit,night,sign,open,67,OConnell,St,Street,Upper,North City,Dublin 1,D01 C1Y6,Dublin,city,centre,entertainment,entertainments,leisure,Irish,nightlife,life,ring,rings,shop,well known,bright,lights,up
Description: Tony Smith image Alamy 2MG405P - . An on-location photograph from 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland in 2019, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The main point of reference is Donuts, Come in and visit, red neon sign at night, Dublin, Eire, Ireland. A broader reading of the photograph includes promotional board, tourist town economy, regional food identity, local produce retail, street-level marketing, advertising ephemera, period detail, visual merchandising, before-and-after reference, regional branding, local speciality shop, community identity, changing streetscape, and tourism business. For current editorial use, cost of living and regional branding provide additional context, especially through the role of gateway towns in national-park visitor economies. Current relevance extends to commercial competition and advertising regulation, particularly through how signs and displays become time-specific records of commercial language. Future viewers can use this scene from 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland to compare local activity and public use with whatever follows after new construction. The location also brings in Highland gateway retail, contemporary social history, Trossachs tourism, public realm, visual archive, documentary photography, historic signage, and visitor retail. References to visit, Dublin, night, Donuts, and Ireland give the picture a strong period identity and tie it closely to its named subject. A later view of 67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The record includes period character for future local research. The frame retains a trace of local identity before later change alters the scene.
67 O'Connell Street Upper, North City, Dublin 1, D01 C1Y6, Eire, Ireland
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,Dublin City,Ireland,IE,EU,tourism,tourist,building,historic,history,Irish,Christchurch Christ Church cathedral,religion,place,places of worship,worship,The Cathedral of the Holy Trinity,Dioceses,Glendalough,ecclesiastical province of the United Provinces of Dublin and Cashel,cathedral,capital city,city centre,Christchurch Place,Wood Quay,D8,Dublin 8,Viking king Sitric Silkenbeard,George Edmund Street,Synod House,cathedrals,buildings,outside,exterior,sunny,blue sky,blue skies
Description: Tony Smith image Alamy 2DPGJEY - Christ Church Cathedral, more formally The Cathedral of the Holy Trinity, is the cathedral of the United Dioceses of Dublin and Glendalough and the cathedral of the ecclesiastical province of the United Provinces of Dublin and Cashel in the (Anglican) Church of Ireland.[1] It is situated in Dublin, Ireland, and is the elder of the capital city's two medieval cathedrals, the other being St Patrick's Cathedral.
The cathedral was founded in the early 11th century under the Viking king Sitric Silkenbeard. It was rebuilt in stone in the late 12th century under the Norman potentate Strongbow, and considerably enlarged in the early 13th century, using Somerset stones and craftsmen. A partial collapse in the 16th century left it in poor shape and the building was extensively renovated and rebuilt in the late 19th century, giving it the form it has today, including the tower, flying buttresses, and distinctive covered footbridge. The cathedral was extensively renovated and rebuilt from 1871 to 1878 by George Edmund Street, with the sponsorship of distiller Henry Roe of Mount Anville. The great 14th-century choir was demolished and a new eastern end was built over the original crypt. He built a new chapter house. The tower was rebuilt. The south nave arcade was rebuilt. The flying buttresses were added as a decorative feature. The north porch was removed. The baptistry was built in its place.[7] Street built the adjacent Synod Hall, taking in the last remnant of St Michael and All Angels's Church, including the bell tower. The synod house is linked to the cathedral by Street's iconic covered footbridge
Christchurch Place, Wood Quay, Dublin 8, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,tiled,red,green,tiles,polished,words,St Patricks Day
Description: Tony Smith image Alamy 2M84K9R - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of ˜dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,2 Cecilia St,Temple Bar,Dublin 2,D02 DP62,vinyl,genre,and,Music,artists,musicians,music,song,songs,Records,trad,traditional,folky,folk,sheet music,Irish,musical,tourist,tourism,attraction,buy,share,discover,tunes,cassette,CD,cultural quarter
Description: Tony Smith image Alamy 2M84KAP - Temple Bar is an area on the south bank of the River Liffey in central Dublin, Ireland. The area is bounded by the Liffey to the north, Dame Street to the south, Westmoreland Street to the east and Fishamble Street to the west. It is promoted as Dublin's 'cultural quarter' and, as a centre of Dublin's city centre's nightlife, is a tourist destination. Temple Bar is in the Dublin 2 postal district.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,hotel,Dublin 2,D02 FK84,building,architecture,block,rooms,B&B,bed and breakfast,Irish,3-6 Anglesea St,Stephen Dedalus,16 June,1922,Anglesea Street,Temple Bar,wall,city,Ulysses,16th June,James Joyce,Leopold Bloom,centre,3-6,sign,signs,landmark,literary,book,colorful,colourful
Description: Tony Smith image Alamy 2M84KEY - . A grounded documentary photograph made at 3-6 Anglesea St, Temple Bar, Dublin 2, , Eire, Ireland, D02 FK84 in 2019, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The defining feature is Blooms Hotel, 3-6 Anglesea St, Temple Bar, Dublin 2, , Eire, Ireland, D02 FK84. The image also relates to contemporary social history, before-and-after reference, hospitality economy, fresh fruit breakfast, visual archive, historic hostelry, night-time economy, healthy eating, licensed hospitality, changing streetscape, fruit-topped cereal, documentary photography, healthy breakfast, and social history. Current relevance extends to food inflation and pub closures, particularly through how food, drink and heritage combine in destination pubs. In present-day coverage, the subject reaches into ultra-processed foods and nutrition, not least because of the effect of food prices on healthier choices. Future viewers can use this scene from 3-6 Anglesea St, Temple Bar, Dublin 2, , Eire, Ireland, D02 FK84 to compare signage and branding with whatever follows after later reinterpretation. Other useful contextual ideas include public-house heritage, visitor hospitality, breakfast bowl, traditional ale house, balanced breakfast, pub interior heritage, historical comparison, and morning meal. Details involving Dublin, Hotel, Anglesea, Temple, and Blooms make the image more specific than a generic view and strengthen its local or historical value. By fixing the subject within 3-6 Anglesea St, Temple Bar, Dublin 2, , Eire, Ireland, D02 FK84, the image preserves more than the headline object or building: it records part of the locality's everyday history. The image also provides a reference for food inflation and how food, drink and heritage combine in destination pubs when considered against later change at 3-6 Anglesea St, Temple Bar, Dublin 2, , Eire, Ireland, D02 FK84.
3-6 Anglesea St, Temple Bar, Dublin 2, , Eire, Ireland, D02 FK84
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Dublin,Eire,Irish,bar,flowers,flower,on,the,front,outside,exterior,classic,Dublin bar,2 Suffolk St,Dublin 2,D02 KX03,M.J.ONeills,city,centre,central,restaurant,building,architecture,tavern,Hogan,Brothers,Church Lane,William Butler,published,Volunteers Journal,Fabians,iron,three-dials,clock
Description: Tony Smith image Alamy 2M8DJFN - M.J.O'Neill's is a notable bar and restaurant in central Dublin. It has occupied 2 Suffolk Street and adjacent buildings, continuing round the corner into Church Lane. It is claimed there has been a tavern on the site for some three hundred years. From 1875 it was owned by the Hogan Brothers, until M.J. O'Neill bought and renamed the premises in August 1927.The part in Church Lane was the site of a printing house, where William Butler published The Volunteers Journal and the Irish Herald in 1783, and in 1789 Arthur O'Connor published The Press, supporting Wolfe Tone's republican views.
The corner structure is an impressive four-storey, vaguely of the Arts and Crafts Movement, red-brick and early twentieth century, with prominent Tudor-style projecting bay windows. There is a fine decorated iron three-dials clock on the Suffolk Street frontage. The building is protected and in a conservation area. Now, opposite the Dublin Tourist Centre, it is a fixture on the tourist trail and pub crawls.The house has a mixed clientele.
It is directly opposite Andrew Street Post Office, and near the shopping centre of Grafton Street. The discreet Church Lane door is convenient for the Bank of Ireland and other financial establishments in College Green. It is also the pub nearest to the Front Gate of Trinity College, Dublin and therefore attracting Arts undergraduates and academics. The original structure was divided into definite areas: a cocktail bar in the corner for the gentry, a public bar off Suffolk Street, and a back bar. In recent years the next-door premises in Church Lane have been added, as a carvery, and the interior has been opened up. A small snug, immediately inside the Church Lane entrance, was the significant venue for the Fabians of the early 1960s and for later left-wing students from Trinity College, Dublin.
2 Suffolk Street, Dublin 2, D02 KX03, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Dublin,Eire,Irish,bar,flowers,flower,on,the,front,outside,exterior,classic,Dublin bar,2 Suffolk St,Dublin 2,D02 KX03,M.J.ONeills,city,centre,central,restaurant,building,architecture,tavern,Hogan,Brothers,Church Lane,William Butler,published,Volunteers Journal,Fabians,iron,three-dials,clock
Description: Tony Smith image Alamy 2M8DJJD - M.J.O'Neill's is a notable bar and restaurant in central Dublin. It has occupied 2 Suffolk Street and adjacent buildings, continuing round the corner into Church Lane. It is claimed there has been a tavern on the site for some three hundred years. From 1875 it was owned by the Hogan Brothers, until M.J. O'Neill bought and renamed the premises in August 1927.The part in Church Lane was the site of a printing house, where William Butler published The Volunteers Journal and the Irish Herald in 1783, and in 1789 Arthur O'Connor published The Press, supporting Wolfe Tone's republican views.
The corner structure is an impressive four-storey, vaguely of the Arts and Crafts Movement, red-brick and early twentieth century, with prominent Tudor-style projecting bay windows. There is a fine decorated iron three-dials clock on the Suffolk Street frontage. The building is protected and in a conservation area. Now, opposite the Dublin Tourist Centre, it is a fixture on the tourist trail and pub crawls.The house has a mixed clientele.
It is directly opposite Andrew Street Post Office, and near the shopping centre of Grafton Street. The discreet Church Lane door is convenient for the Bank of Ireland and other financial establishments in College Green. It is also the pub nearest to the Front Gate of Trinity College, Dublin and therefore attracting Arts undergraduates and academics. The original structure was divided into definite areas: a cocktail bar in the corner for the gentry, a public bar off Suffolk Street, and a back bar. In recent years the next-door premises in Church Lane have been added, as a carvery, and the interior has been opened up. A small snug, immediately inside the Church Lane entrance, was the significant venue for the Fabians of the early 1960s and for later left-wing students from Trinity College, Dublin.
2 Suffolk Street, Dublin 2, D02 KX03, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,Dublin 2,Molly Malone,Malone,by,Jeanne,Rynhart,large,chest,breast,breasts,voluptuous,woman,lady,wench,girl,hussy,urban,centre,legend,art,artwork,revealing,Mary Malone,heroine,song,music,Georgian Quarter,History,historic,Cockles and Mussels,lyrics,folk ballad,cart,The Tart With The Cart
Description: Tony Smith image Alamy 2M8DJJM - Molly Malone is the enigmatic heroine of the famous song of the same name, widely recognised as Dublin's unofficial anthem. Immortalised in bronze during the 1988 Dublin Millennium celebrations, the Molly Malone statue stands in the heart of the city's historic Georgian Quarter. Though regularly upheld as a traditional Irish ballad, it's not known where the song originated or if Molly Malone ever existed
According to the lyrics of the undeniably catchy tune “ also known as Cockles and Mussels “ Molly was a young and beautiful fishmonger who sold her yield from a cart on the streets of Dublin. The song's final verse states that after she died of a fever, she began haunting the city.
Although set in Ireland's capital and beloved by many Dubliners, the song was originally published in the USA in 1876. While this version might be based on an older Irish folk ballad, cultural academics have argued that the melody and tragicomic lyrics are more akin to the music-hall style that was popular in Britain during the Victorian era. Indeed, in 1884, a version attributed to the Scottish composer James Yorkston was published in London.
To complicate matters further, in 2010, an earlier mention of Molly Malone was found in an 18th-century book of songs called Apollo's Medley, printed in England in 1790. This more risqué version describes Molly as living in Howth, a fishing village northeast of Dublin. It recounts the singer's yearning to share her bed, contributing to widespread speculation that the song's leading lady worked as both a street vendor and a prostitute.
Created by the Irish sculptor Jeanne Rynhart, the statue depicts Molly in traditional but revealing 17th-century dress, hinting at her supposed job as a part-time prostitute and leading the bronze figure to be colloquially christened The Tart with the Cart.
Suffolk St, Dublin 2, D02 KX03, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,Dublin 2,Molly Malone,Malone,by,Jeanne,Rynhart,large,chest,breast,breasts,voluptuous,woman,lady,wench,girl,hussy,urban,centre,legend,art,artwork,revealing,Mary Malone,heroine,song,music,Georgian Quarter,History,historic,Cockles and Mussels,lyrics,folk ballad,cart,The Tart With The Cart
Description: Tony Smith image Alamy 2M8DJJX - Molly Malone is the enigmatic heroine of the famous song of the same name, widely recognised as Dublin's unofficial anthem. Immortalised in bronze during the 1988 Dublin Millennium celebrations, the Molly Malone statue stands in the heart of the city's historic Georgian Quarter. Though regularly upheld as a traditional Irish ballad, it's not known where the song originated or if Molly Malone ever existed
According to the lyrics of the undeniably catchy tune “ also known as Cockles and Mussels “ Molly was a young and beautiful fishmonger who sold her yield from a cart on the streets of Dublin. The song's final verse states that after she died of a fever, she began haunting the city.
Although set in Ireland's capital and beloved by many Dubliners, the song was originally published in the USA in 1876. While this version might be based on an older Irish folk ballad, cultural academics have argued that the melody and tragicomic lyrics are more akin to the music-hall style that was popular in Britain during the Victorian era. Indeed, in 1884, a version attributed to the Scottish composer James Yorkston was published in London.
To complicate matters further, in 2010, an earlier mention of Molly Malone was found in an 18th-century book of songs called Apollo's Medley, printed in England in 1790. This more risqué version describes Molly as living in Howth, a fishing village northeast of Dublin. It recounts the singer's yearning to share her bed, contributing to widespread speculation that the song's leading lady worked as both a street vendor and a prostitute.
Created by the Irish sculptor Jeanne Rynhart, the statue depicts Molly in traditional but revealing 17th-century dress, hinting at her supposed job as a part-time prostitute and leading the bronze figure to be colloquially christened The Tart with the Cart.
Suffolk St, Dublin 2, D02 KX03, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,boozer,Temple Bar,Temple Lane South,Dublin 2,exterior,bars,pubs,famous,D02 N725,47-48,47-48 Temple Bar,art,artwork,Dublin2,man,male,icon,iconic,Bill,William,Sir,bronze,metal,outside,profile,view,in profile,in,the
Description: Tony Smith image Alamy 2MCGAW9 - William Temple was born the son of the Leicestershire man Anthony Temple, whose family name was said to descend from the Knight Templars, a once powerful monastic order during the Crusades, but which was outlawed by Pope Clement V. The rituals and the secrets of the order survived and many of the Knight Templars families came to prominence in 16th-century England when Protestantism was embraced. He was educated at Eton College and passed with a scholarship to King's College, Cambridge, in 1573. In 1576 he was elected a fellow of King's, and graduated with a B.A. in 1577“8 and M.A. in philosophy in 1581. He became Master of Lincoln Grammar School that same year. Though originally destined for the law, he became a tutor in logic at his college. In his logic readings, wrote a pupil, Anthony Wotton, in his Runne from Rome (1624), he always laboured to fit his pupils for the true use of that art rather than for vain and idle speculations. He accepted with enthusiasm the logical methods and views of Petrus Ramus, and became the most active champion of the Ramists in England.
William Temple's first sight of Ireland came as he landed at Howth in April 1599 to take up his position as secretary to the new lord lieutenant, Robert Devereux, and 2nd Earl of Essex. It was a baptism of fire as their first great task was to suppress a major rebellion of the native Irish tribes who had now united with the Anglo-Normans. While Essex campaigned around the country, Temple stayed behind in Dublin that summer relaying news of military deployment and successes to the Royal Court, Essex, once Elizabeth's most trusted confidant and intimate advisor, now became the unappreciated and maligned viceroy falling foul of the ageing queen. Both he and William Temple were ignominiously recalled to London that same autumn.
47-48 Temple Bar, Dublin 2, D02 N725, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Eire,Ireland,24 - 25,Auld,Dubliner,tourist,tourism,boozer,entrance,door,step,historic,history,doorway,St Patricks Day,classic,traditional,pubs,bars,bar,Victorian,old,building,pub crawl,crawl,traditional pub,the,auld,sign,signs,threshold,public houses
Description: Tony Smith image Alamy 2MCGB1X - . A grounded documentary photograph made at 24 - 25 Temple Bar, Dublin, Eire, Ireland in 2019, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The location is represented through The Auld Dubliner traditional pub, 24 - 25 Temple Bar, Dublin, Eire, Ireland. Other connected aspects include hospitality economy, licensed trade, changing land use, changing streetscape, period building, community drinking venue, local social venue, pub interior heritage, visitor hospitality, public realm, architectural character, historic streetscape, heritage asset, and traditional materials. Current relevance extends to energy retrofit and planning control, particularly through the value of architectural landmarks to local identity. In present-day coverage, the subject reaches into tourism and food inflation, not least because of the survival of local pubs as social meeting places. As a dated visual record of 24 - 25 Temple Bar, Dublin, Eire, Ireland, the frame retains building condition and alterations, making it especially useful if closure or conversion subsequently changes the scene. The location also brings in traditional ale house, adaptive reuse, contemporary social history, urban fabric, conservation interest, regional identity, local history, and food-and-drink business. Details involving traditional, Ireland, Temple, Dublin, and Dubliner make the image more specific than a generic view and strengthen its local or historical value. Around 24 - 25 Temple Bar, Dublin, Eire, Ireland, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Its period value extends to energy retrofit and how historic fabric can support regeneration rather than demolition as part of the longer story of 24 - 25 Temple Bar, Dublin, Eire, Ireland. The frame retains a local visual benchmark for later comparison.
24 - 25 Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,Irish,Dawson Street,D02 YV57,anns,1720,Church of Ireland,building,architecture,Georgian architecture,Dawson St,baroque style,baroque,style,parish,parishes,churches,Catholic,history,historic,heritage,stone,ornate,beautiful,architectural,Dawson,St,street,mass,masses,in,services,service
Description: Tony Smith image Alamy 2MG3YAE - St. Ann's Church on Dawson Street in Dublin, Ireland is a Church of Ireland church, constructed originally around 1720 following the establishment of the local Anglican parish in 1707.
In the early 21st century the church presents itself as ecumenical within the tradition of the Church of Ireland.
Building history
The building of the church in baroque style commenced in 1720, to a design by Isaac Wills.[2] The current façade dates to 1868.[3][4][5]
Exterior and façade
St. Ann's original façade was never completed above the first floor. In 1868, a competition was held for a new façade, with the architectural firm of Lanyon, Lynn & Lanyon losing the commission to the Deanes, Thomas Newenham Deane and his father. The younger Deane, who had been involved with the creation of significant buildings at Oxford University, designed a neo-Romanesque front.[6] Described by one travel guide as amazingly ornate,[7] the façade as it exists in the 21st century lacks some elements of Deane's original conception, most significantly the tallest tower
the design as Deane submitted it can be viewed online. From an architectural perspective, this omission has been criticised as disrupting the building's flow from the rectory to the spire
18 Dawson St, Dublin 2, D02 YV57, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,Irish,The,Dublin 2,D02 XE81,book,shop,store,retail,seller,historic,history,Dawson St,56-58,56,58,the,front,4,culture,literary,specialist,specialists,textbook,fiction,novels,1768,literature,facade,façade,green,sign,upper,floors
Description: Tony Smith image Alamy 2MG3YAJ - . Recorded at 56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland in 2019, the image fixes a recognisable subject and its environment at one point in time, giving later viewers a reliable basis for comparison. At the centre of the view is The Hodges Figgis bookstore,56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland - 1768. The locality and subject together evoke everyday life, period building, shopfront economy, place identity, documentary photography, small-business culture, heritage landmark, contemporary social history, public realm, urban fabric, town-centre economy, local character, historic streetscape, and architectural character. The wider contemporary story combines consumer spending, store closures and how physical shops adapt to online competition. Viewed from the mid-2020s, the subject also connects with energy retrofit, tourism and keeping older buildings useful without erasing their character. The image fixes commercial use and occupation within 56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland at one identifiable point, providing a benchmark against changed technology. The surrounding story also includes commercial streetscape, street-level trading, traditional materials, high-street commerce, customer footfall, period detail, historic townscape, and changing land use. References to Ireland, Dublin, Hodges, 56-58, and Figgis give the picture a strong period identity and tie it closely to its named subject. The wider setting at 56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The scene further reflects consumer spending and how physical shops adapt to online competition in a form that can be compared with future views of 56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland. The image fixes evidence of changing use as a date-specific reference.
56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,art,crest,motto,and,painted,lamps,crests,Obedientia Civium,Urbis Felicitas,scale,depicts,Justice,the obedience of the citizens produces a happy city,three,castles,three castles,3,sword,representing,Irish,icon,iconic,symbol,symbols,Dublin crest,Dublin crests,post,lamppost,history,historic,repainted,the,standard
Description: Tony Smith image Alamy 2MG3YEA - Dublin's Coat of Arms is the identifying emblem of the city and has been in use, in one form or another, for at least 400 years. The full Coat of Arms shows three burning castles on a shield, flanked by two female figures
One of the female figures holds a scale and depicts Justice (without the usual blindfold), the other has a sword representing Law, while each holds an olive branch. Below the shield on a scroll is the city's motto, Obedientia Civium Urbis Felicitas, which translates as the obedience of the citizens produces a happy city.
The origin of the Coat of Arms is unknown, but there are numerous theories, including:
The castles are watch towers outside the city walls.
The castle is Dublin Castle and is repeated three times because of the mystical significance of the number three.
The castles are not castles but represent three gates into the ancient Viking city.
Dublin city, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,art,crest,motto,and,painted,lamp,lamps,crests,1988 Dublin,honeycomb,hexagon,honeycombs,hexagons,Irish,icon,iconic,symbol,symbols,Dublin crest,Dublin crests,post,lamppost,history,historic,repainted,sponsored,sponsor,insurance,company,SAI,RSA,the,standard
Description: Tony Smith image Alamy 2MG3YEC - . This scene at Dublin city, Eire, Ireland in 2019 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The subject captured here is 1988 Dublin decorated embossed and painted lamppost, city centre, Eire, Ireland - sponsored by Sun Alliance Ireland. The broader subject matter reaches into historic townscape, contemporary social history, changing land use, traditional materials, archival record, adaptive reuse, Highland gateway retail, destination shopping, Scottish food culture, place identity, architectural detailing, local produce retail, urban fabric, and tourist town economy. Viewed from the mid-2020s, the subject also connects with embodied carbon, heritage conservation and keeping older buildings useful without erasing their character. The modern context includes continuing discussion of local business, seasonality and the seasonal pressure faced by tourism-dependent businesses. Small period details of lettering, decoration and surface detail at Dublin city, Eire, Ireland may become more significant with time, particularly following redevelopment. The location also brings in everyday life, Scottish visitor economy, historical comparison, before-and-after reference, conservation architecture, changing streetscape, local speciality shop, and period building. Elements such as Ireland, centre, painted, decorated, and Alliance add documentary specificity and may become increasingly useful when compared with later records. Around Dublin city, Eire, Ireland, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Another strand within the photograph is embodied carbon and keeping older buildings useful without erasing their character in a form that can be compared with future views of Dublin city, Eire, Ireland.
Dublin city, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,art,crest,motto,and,painted,lamps,crests,Obedientia Civium,Urbis Felicitas,scale,depicts,Justice,the obedience of the citizens produces a happy city,three,castles,three castles,3,sword,representing,Irish,icon,iconic,symbol,symbols,Dublin crest,Dublin crests,post,lamppost,history,historic,repainted
Description: Tony Smith image Alamy 2MG3YGY - Dublin's Coat of Arms is the identifying emblem of the city and has been in use, in one form or another, for at least 400 years. The full Coat of Arms shows three burning castles on a shield, flanked by two female figures
One of the female figures holds a scale and depicts Justice (without the usual blindfold), the other has a sword representing Law, while each holds an olive branch. Below the shield on a scroll is the city's motto, Obedientia Civium Urbis Felicitas, which translates as the obedience of the citizens produces a happy city.
The origin of the Coat of Arms is unknown, but there are numerous theories, including:
The castles are watch towers outside the city walls.
The castle is Dublin Castle and is repeated three times because of the mystical significance of the number three.
The castles are not castles but represent three gates into the ancient Viking city.
Dublin city, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,Dublin D01 TX49,88,D01 TX49,religion,place,of,worship,big,Jesus,crucified,above,candles,St. Marys,Pro,St Mary,Pro-Cathedral,chapel,The Pro,episcopal seat of the Roman Catholic Archbishop of Dublin,and,Primate of Ireland,Irish,catholic,RC,Roman Catholic,flames,flame,lit,lighted
Description: Tony Smith image Alamy 2MG3YX2 - St Mary's Church (Irish: Leas-Ardeaglais Naomh Muire), known also as St Mary's Pro-Cathedral or simply the Pro-Cathedral, the Chapel in Marlborough Street or the Pro, is a pro-cathedral and is the episcopal seat of the Roman Catholic Archbishop of Dublin and Primate of Ireland.
Status as pro-cathedral
The view toward the Sanctuary from the nave
Detail of the apse
Altar
The city of Dublin possesses two cathedrals, but unusually, both belong to one church, the minority Church of Ireland, which had been the Established Church in Ireland until 1871. In contrast, the majority religion in Ireland, Roman Catholicism, has no cathedral in the Republic of Ireland's capital city and has not had one since the Protestant Reformation. As the official church, the Church of Ireland took control of most church property, including the Cathedral of the Holy Trinity (generally known as Christchurch) and St Patrick's Cathedral.
The Pro-Cathedral owes its origins to the Penal Laws[b] which restricted Catholicism (and other non-Church of Ireland faiths) until the early nineteenth century. For centuries, Roman Catholics could not celebrate Mass or the sacraments in public and were subject to severe penalties (hence the word penal). While these laws ebbed and flowed in terms of the severity with which they were applied, Catholic churches if they were built at all, were built down narrow, difficult-to-find roadways. By the early nineteenth century, many of the Penal Laws had either been repealed or were no longer enforced
an unsuccessful attempt had already been made to grant Catholic Emancipation. As a result, Catholicism began to abandon its previous status as an underground religion
88 Marlborough place, Dublin D01 TX49 , Eire, Ireland
Description
Keywords: HotpixUK,@HotpixUk,GoTonySmith,NYC,NY,New York,USA,city,city centre,US,grill,lucky,Irish bar & Grill,Irish bar,Ireland,Shamrock,playwright bar grill new york,playwright bar grill,playwright Irish Bar,sign,neon sign,202,W 49th St.,NY 10019,the,49th,street,w,west,pub,pubs,bar,bars,sports,theme,Celtic Pub,at,dusk,rill,St Patricks Day
Description: Tony Smith image Alamy 2AFK6BJ - . Recorded at 202 W 49th St. New York, NY 10019, USA in 2018, the image fixes a particular place, use and appearance for later comparison as buildings, businesses, signs and public activity change. The defining feature is New York American, Irish bar and Grill, playwright bar grill new york,neon sign at dusk, 202 W 49th St. New York, NY 10019, USA. A broader reading of the scene brings in access-control notice, behavioural signage, historical comparison, changing streetscape, licensed trade, British brewing tradition, beer appreciation, place identity, site information, changing land use, community drinking venue, historic context, beer festival scene, and everyday life. Current discussion around this subject increasingly includes independent brewing alongside beer duty, with particular attention to the tension between heritage drinking culture and changing consumer habits. From a 2025-onward perspective, the scene also connects with customer management, clear communication and how public spaces communicate rules quickly and visibly. For future researchers, the image captures the visual character of the locality at the time within the setting of 202 W 49th St. New York, NY 10019, USA. The setting also brings in pub trade, customer guidance, documentary photography, beer judging, local history, before-and-after reference, contemporary social history, and brewing heritage. Details involving Irish, American, playwright, Grill, and 10019 give the scene useful specificity and strengthen its local, cultural or historical identity. For 202 W 49th St. New York, NY 10019, USA, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The scene further reflects independent brewing and the tension between heritage drinking culture and changing consumer habits within the specific setting of 202 W 49th St. New York, NY 10019, USA.
202 W 49th St. New York, NY 10019, USA
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,covered,East Bridge Street,Belfast,Antrim,Northern Ireland,BT1 3NQ,BT1,Victorian,crowds,busy,crowd,eating,bar,crowded,enjoying,customer,shopper,shoppers,Buster,rolls,roll,the,bargain,fast,food,breakfast,stall,vibrant
Description: Tony Smith image Alamy 2PM6261 - Belfast Bellybusters food stall inside St George's Market, Belfast, with customers standing at the counter and signs advertising hearty breakfast rolls. The large cream banner reads Belfast Bellybusters and There's fast food & then there's good food , while the front menu board promotes The Bust'R with two bacon, two sausages, egg and black pudding for £5. The photograph captures the everyday bustle of a covered city market, with café tables, hot drinks, counter service, cooking equipment, bread rolls and traders working beneath the market roof. St George's Market is one of Belfast's best-known visitor attractions and a working food, craft and produce market, so this scene is useful for editorial stories about Northern Irish street food, local independent traders, weekend markets, city-break tourism, breakfast culture, indoor markets, small businesses, hospitality and affordable eating out. The bacon and sausage baps, black pudding and cooked breakfast wording give the image a strong food photography angle, while the visible Belfast branding anchors it firmly in place. The composition also illustrates traditional market trading adapting to contemporary casual dining, with shoppers and tourists able to buy hot food, sit at informal tables and enjoy the atmosphere of a historic Victorian market building. It would suit features on Belfast's food scene, UK and Ireland market halls, artisan and casual food stalls, local economies, visitor attractions, weekend leisure, independent catering, public markets, city centre regeneration, heritage buildings used for modern retail, and the social role of markets as places to eat, meet, browse and support local enterprise. The indoor lighting, visible signage and customers in practical casual clothing suggest a typical market trading day rather than a staged restaurant scene, giving the image an authentic documentary feel.
East Bridge Street, Belfast, Antrim, Northern Ireland, UK, BT1 3NQ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,covered,East Bridge Street,Belfast,Antrim,Northern Ireland,BT1 3NQ,BT1,Victorian,crowds,busy,crowd,eating,bar,crowded,enjoying,bread,stall,baking,traditional,Irish,food,delicacy,delicacies,customer,shopper,shoppers,vibrant
Description: Tony Smith image Alamy 2PM6264 - St George's Market is the last surviving Victorian covered market in Belfast, Northern Ireland. It is located on May Street, close to the River Lagan and the Waterfront Hall. Belfast Corporation (now Belfast City Council) commissioned the building of St George's Market, which was built in three phases between 1890 and 1896. Before 1890 St George's Market was an open market and most likely contained a slaughterhouse and a meat market. Today it is a thriving market with 300 traders, crafters, musicians, and food vendors.
By the 1980s, St George's Market had developed into a general market and it became the last of Belfast's thriving Victorian markets. The market was pressured with increased maintenance costs and changes to hygiene regulations, among other issues, and Belfast City Council decided to source other uses for the listed building. A campaign backed by the city council, traders and the general public resulted in a Heritage Lottery Fund-backed £3.5 million refurbishment programme assisted by the Environment and Heritage Agency. Brick and stonework that had badly deteriorated was returned to good condition, and special bricks were produced in England to match the original unusually sized bricks. The fully renovated St George's Market reopened its doors on 14 May 1999.
St George's Market is primarily used as a market, however a number of other events are held at the site. These range from food festivals, art initiatives, exhibitions, charity launches, fashion shoots and live music events. Local software company Northbrook Technology hold their annual Staff Christmas Party at the venue.
The market has won a number of recent awards, including being voted Best Large Indoor Market 2014 and as one of the UK's top five markets by the National Association of British Market Authorities in 2006, and winning third place in the best markets category of the Observer Food Monthly/Waitrose Awards in 2004
East Bridge Street, Belfast, Antrim, Northern Ireland, UK, BT1 3NQ
Description
Keywords: Cupar Way,West Belfast,Northern Ireland,UK,International,Peace,Wall,Cupar,Spanish,Civil War,Civil,War,1936-1939,1936,1939,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tourists,urban,six,counties,6,backdrop,county,Antrim,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HDEYRA - Since the onset of the Troubles in 1971, Nationalist and Loyalist communities throughout Northern Ireland have been divided by Peace Walls. These large stone and steel constructions were designed to protect neighbourhoods from sporadic attacks and retain a sense of peace and protection.
Of the city's 17 walls, West Belfast's sections are the most visited. Once in the area it's easy to determine which side of the divide you're on: red, white and blue kerbstones, Loyalist murals and Union Jacks indicate you're on the Shankill. If the kerbs are green, white and gold, the flag is Irish and the murals are Republican, you're on the Falls.
You can cross from one side to the other via access roads at Lanark Way and Northumberland Street. These roads close in times of heightened tension, which may well be the case during the marching season (see The Twelfth).
Cupar Way,West Belfast, Northern Ireland, UK
Description
Keywords: Ulster,memorial,UFF,Unionist,mural,off,Road,Northern Ireland,UK,Ireland,fighter,fighting,empty,building,buildings,terrace,Shankill Rd,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,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,Peoples army
Description: Tony Smith image Alamy HDWT5G - . An identifiable period record of Shankill Road, West Belfast, NI, UK in 2016, retaining the practical detail and local context that distinguish a documentary photograph from a generic illustration. The image documents Empty buildings in the Shankill Road, West Belfast, Northern Ireland, UK. Other connected aspects include community identity, place identity, social history, public transport stop, before-and-after reference, local mobility, public realm, transport accessibility, changing land use, surface public transport, contemporary social history, archival record, bus infrastructure, and roadside transit. The wider contemporary story combines passenger information, rural transport and how local bus services affect access to work, education and healthcare. Small period details of public access and movement at Shankill Road, West Belfast, NI, UK may become more significant with time, particularly following changing commercial priorities. The surrounding story also includes documentary photography, everyday life, passenger transport, local bus network, regional identity, roadside stop, local character, and bus route infrastructure. The combination of Belfast, Northern, buildings, Shankill, and Ireland 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 wider significance includes passenger information and how local bus services affect access to work, education and healthcare without losing the local specificity of Shankill Road, West Belfast, NI, UK. Another strand within the photograph is local connectivity and how local bus services affect access to work, education and healthcare in a form that can be compared with future views of Shankill Road, West Belfast, NI, UK. The image fixes evidence of earlier appearance for future local research.
Shankill Road, West Belfast, NI, UK
Description
Keywords: Red hand,Ulster,memorial,UFF,Unionist,off,Shankill,rd,Road,West Belfast,Northern Ireland,UK,Ireland,fighter,fighting,flag,union,jack,sign,for,sale,poor,decay,decayed,run,down,For Sale,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 HDWT5Y - . This authentic period view of Shankill Road, West Belfast, NI, UK in 2016 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. The photograph centres on British flags, off Shankill Road West Belfast,Northern Ireland,UK. The subject also carries associations with street-level symbolism, transport accessibility, bus infrastructure, local character, place identity, public transport stop, patriotic symbolism, flag culture, regional identity, local mobility, changing streetscape, roadside stop, social history, and archival record. In present-day coverage, the subject reaches into political symbolism and social division, not least because of the visibility of English identity in residential streets and public space. Today's relevance is strengthened by integrated transport, local connectivity and the continuing question of the shift toward cleaner buses and integrated ticketing. Small period details of local activity and public use at Shankill Road, West Belfast, NI, UK may become more significant with time, particularly following refurbishment. Other useful contextual ideas include contemporary social history, local bus network, documentary photography, public realm, passenger transport, national flag display, public transport information, and changing land use. Elements such as flags, Shankill, Ireland, Belfast, and British add documentary specificity and may become increasingly useful when compared with later records. By fixing the subject within Shankill Road, West Belfast, NI, UK, the image preserves more than the headline object or building: it records part of the locality's everyday history. The setting also helps illustrate political symbolism and the visibility of English identity in residential streets and public space when considered against later change at Shankill Road, West Belfast, NI, UK.
Shankill Road, West Belfast, NI, UK
Description
Keywords: memorial,Cheshire,England,UK,Hand,prints,images,of,boys,killed,by,IRA,bombing,republican,republicans,irish,Ireland,good,Friday,agreement,history,historic,death,died,dead,murder,murdered,Stephen Broadbent,Bridge Street,Tim Parry,Jonathon Ball,GoTonySmith,@HotpixUK,Buy Pictures of,Buy Images Of,Images of,Stock Images
Description: Tony Smith image Alamy DE9AMP - This is a un-conventional fountain which works as a mini-canal. Water flows from a large pool at one end, down a winding holder and is poured over a formation at the end. The structure is concrete, headed by a bronze moulding which includes marine life. The 'bowl' into which the water finally flows, also bronze, is raised and contains a large number of children's hand prints. Around the side are a number of photographs of Tim Parry and Jonathan Ball, printed on copper.
Sculptor - Stephen Broadbent
Inaugurated by / her royal highness / The Duchess of Kent and / accompanied by the families of / Jonathan Ball / and / Tim Parry / 14 Nov 1996 / The water of life made possible / by a donation from / his grace the Duke of Westminster / OBE TD.THEN HE SHOWED ME THE RIVER AND THE WATER OF LIFE SPARKLING LIKE CRYSTAL AS IT FLOWED FROM THE THRONE OF GOD AND OF THE LAME / IN THE MIDDLE OF THE STREET OF THE CITY AND ON EITHER BANK OF THE RIVER / GREW THE TREE OF LIFE, BEARING TWELVE FRUITS, A DIFFERENT KIND FOR EACH MONTH / THE LEAVES OF THE TREE WERE FOR THE HEALING OF THE NATIONS, NOTHING THAT HAS CURSED MANKIND WILL EXIST ANY LONGER. Revelations, chapter 22, verse 43./ WARRINGTON REMEMBERS JONATHON BALL AGED 3, TIM PARRY AGED 12 AND ALL / WHO SUFFERED / AS INNOCENT VICTIMS OF A TERRORIST BOMB, BRIDGE STREET 20TH MARCH 1993
See more at: http://www.pmsa.org.uk/pmsa-database/4997/#sthash.ktI1bMVR.dpuf
Bridge st, Warrington, Cheshire, England, UK
Description
Keywords: memorial,Cheshire,England,UK,Hand,prints,images,of,boys,killed,by,IRA,bombing,republican,republicans,irish,Ireland,good,friday,agreement,history,historic,death,died,dead,murder,murdered,Stephen Broadbent,Bridge Street,Tim Parry,Jonathon Ball,GoTonySmith,@HotpixUK,Buy Pictures of,Buy Images Of,Images of,Stock Images
Description: Tony Smith image Alamy DE9AN5 - This is a un-conventional fountain which works as a mini-canal. Water flows from a large pool at one end, down a winding holder and is poured over a formation at the end. The structure is concrete, headed by a bronze moulding which includes marine life. The 'bowl' into which the water finally flows, also bronze, is raised and contains a large number of children's hand prints. Around the side are a number of photographs of Tim Parry and Jonathan Ball, printed on copper.
Sculptor - Stephen Broadbent
Inaugurated by / her royal highness / The Duchess of Kent and / accompanied by the families of / Jonathan Ball / and / Tim Parry / 14 Nov 1996 / The water of life made possible / by a donation from / his grace the Duke of Westminster / OBE TD.THEN HE SHOWED ME THE RIVER AND THE WATER OF LIFE SPARKLING LIKE CRYSTAL AS IT FLOWED FROM THE THRONE OF GOD AND OF THE LAME / IN THE MIDDLE OF THE STREET OF THE CITY AND ON EITHER BANK OF THE RIVER / GREW THE TREE OF LIFE, BEARING TWELVE FRUITS, A DIFFERENT KIND FOR EACH MONTH / THE LEAVES OF THE TREE WERE FOR THE HEALING OF THE NATIONS, NOTHING THAT HAS CURSED MANKIND WILL EXIST ANY LONGER. Revelations, chapter 22, verse 43./ WARRINGTON REMEMBERS JONATHON BALL AGED 3, TIM PARRY AGED 12 AND ALL / WHO SUFFERED / AS INNOCENT VICTIMS OF A TERRORIST BOMB, BRIDGE STREET 20TH MARCH 1993
See more at: http://www.pmsa.org.uk/pmsa-database/4997/#sthash.ktI1bMVR.dpuf
Bridge st, Warrington, Cheshire, England, UK
Description
Keywords: national librray of Ireland,dublin,libraries,tony,smith,hotpix,tonysmith,tonysmithhotpix,hot,pix,pics,picks,hotpicks,hotpics,europe,architecture,building,buildings,interior,insdide,HDR,inside,great,wide,pano,panorama,panoramas,bibliotheek,dome,eire,ierland,ireland,koepel,librarynational,librarynationale,FOGL
Description: Tony Smith image Flickr 5872814582 - 'The first national libraries had their origins in the royal collections of the sovereign or some other supreme body of the state.
One of the first plans for a national library was that devised by the Welsh mathematician John Dee, who in 1556 presented Mary I of England with a visionary plan for the preservation of old books, manuscripts and records and the founding of a national library but his proposal was not taken up.
The beautiful National Library of Ireland was established by the Dublin Science and Art Museum Act, 1877, which provided that the bulk of the collections in the possession of the Royal Dublin Society, should be vested in the then Department of Science and Art for the benefit of the public and of the Society, and for the purposes of the Act.
An Agreement of 1881 provided that the Library should operate under the superintendence of a Council of twelve Trustees, eight of whom were appointed by the Society and four by the Government
this Agreement also conferred on the Trustees the duty of appointing the officers of the Library. This arrangement remained in place until the library became an autonomous cultural institution in 2005.
After the foundation of the Irish Free State in 1924/5 the Library was transferred to the Department of Education under which it remained until 1986 when it was transferred to the Department of An Taoiseach. In 1927 the Library was granted legal deposit status under the Industrial and Commercial Property (Protection) Act, 1927. In 1992 the Library transferred to the newly established Department of Arts, Culture and the Gaeltacht (now Arts, Sport and Tourism) and on 3 May 2005 became an autonomous cultural institution under the National Cultural Institutions Act, 1997.
This is a joiner formed from 6 x 3 separate HDR images joined together.
\u00bfWhats this Library Tribe set all about? Read about it here
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(c) TonySmith Hotpix / HotpixUK
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Description
Keywords: tagged,face,orange,Spoom tag,grafitti,Belfast City,Northern,Ireland,UK,city,centre,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,painting,wall,walls,tribute,West,Beal,feirste,fun,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7M8F - . Made at Belfast, Northern Ireland, UK in 2011, 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 frame specifically shows Spoom tag grafitti,Belfast,Northern Ireland,UK. The wider scene also brings together street-level design, documentary photography, regional identity, temporary artwork, public art, graffiti heritage, street creativity, archival record, urban graphics, before-and-after reference, creative placemaking, community identity, visual archive, and changing land use. Current relevance extends to gentrification and local identity, particularly through the blurred boundary between commissioned public art and unsanctioned graffiti. Future viewers can use this scene from Belfast, Northern Ireland, UK to compare equipment and working practice with whatever follows after new ownership. The surrounding story also includes place identity, local history, historical comparison, public realm, community art, social history, everyday life, and visual street culture. The combination of Northern, Spoom, Ireland, Belfast, and grafitti anchors the frame to a recognisable activity, place or moment. Around Belfast, Northern Ireland, UK, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The setting also helps illustrate gentrification and how regeneration can both promote and displace informal urban art when considered against later change at Belfast, Northern Ireland, UK. The image also provides a reference for regeneration and the blurred boundary between commissioned public art and unsanctioned graffiti without losing the local specificity of Belfast, Northern Ireland, UK. The frame retains a trace of local identity before later change alters the scene. The scene captures a local visual benchmark as a date-specific reference.
Belfast, Northern Ireland, UK
Description
Keywords: Great,Street,bars,beer,pub,public,house,interior,exterior,historic,history,gin,palace,Victoriana,Liquor,Saloon,Liquor Saloon,National Trust,great,lounge,famous,Crown Bar,unique,BT2,Felix OHanlon,Tavern,beer,wine,spirit,whiskies,direct,barrel,barrels,Guinness,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,boozer,Real Ale,Real,Ale,CAMRA,beer,beers,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEGAM - Opened by Felix O'Hanlon as The Railway Tavern, the pub was then bought by Michael Fanigan. Fanigan's son Patrick renamed and renovated the pub in 1885.
The Crown owes its elaborate tiling, stained glass and woodwork to the Italian craftsmen whom Fanigan persuaded to work on the pub after hours. These craftsmen were brought to Ireland to work on the many new churches being built in Belfast at the time. It was this high standard of work that gave the Crown the reputation of being one of the finest Victorian Gin Palaces of its time.
In 1978, the National Trust, following persuasion by people including Sir John Betjeman, purchased the property and three years later completed a £400,000 renovation to restore the bar to its original Victorian state. Further restoration by the National Trust was done in 2007 at a cost of £500,000. This work is the subject of a BBC Northern Ireland documentary, The Crown Jewel, screened in 2008.
A recognisable landmark of Belfast, the pub has featured as a location in numerous film and television productions, such as David Caffrey's Divorcing Jack (1998) and Carol Reed's classic 1947 film Odd Man Out.
The Crown has been given a Grade A Listed Building status by the Environment and Heritage Service.
46 Great Victoria Street,Belfast,County Antrim, Northern Ireland, UK BT2 7BA
Description
Keywords: Belfast City Hall,white,stone,Donegall Square,Northern,Ireland,exhibition,Edwardian,Edwardian City,display,white,star,line,White star Line,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,urban,six,counties,6,backdrop,county,Antrim,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEGAW - Belfast City Hall is the civic building of Belfast City Council. Located in Donegall Square, Belfast, County Antrim, Northern Ireland, it faces north and effectively divides the commercial and business areas of the city centre.
The site now occupied by Belfast City Hall was once the home of the White Linen Hall, an important international Linen Exchange. The Street that runs from the back door of Belfast City Hall through the middle of Linen Quarter is Linen Hall Street.
Plans for the City Hall began in 1888 when Belfast was awarded city status by Queen Victoria. This was in recognition of Belfast's rapid expansion and thriving linen, rope-making, shipbuilding and engineering industries. During this period Belfast briefly overtook Dublin as the most populous city in Ireland.
Construction began in 1898 under the supervision of architect Sir Alfred Brumwell Thomas and was completed in 1906 at a cost of £369,000. Belfast Corporation (now the council) used their profits from the gas industry to pay for the construction of Belfast City Hall. Local firms H&J Martin and WH Stephens were among the companies involved in construction. James G. Gamble, architect, was the clerk of works.
Donegall Square, Belfast, Northern Ireland, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,capital,traffic sign,Ireland,contemporary design,urban,cityscape,skyline,modern,triangular sign,give way sign,street furniture,transport,road safety,blue sky,daylight,office buildings,docklands,Grand Canal Dock,financial district,urban development,European city,city life,reflective glass,infrastructure,public realm,summer,light,unique,lighting,street,streetscape,future,futuristic,D02 PA03,D02
Description: Tony Smith image Alamy 2R59WKD - This photograph shows a triangular yield road sign in the foreground, set against the modern glass façade of the Grand Canal Theatre, now known as the Bord Gáis Energy Theatre, located at Grand Canal Dock in Dublin. The image was taken in daylight under clear blue skies, highlighting the strong contrast between the red-bordered traffic sign and the reflective grid of the contemporary office and cultural buildings behind it.
The yield sign, a standard element of road safety infrastructure, represents regulation, priority, and controlled movement within urban transport systems. Its placement within the rapidly developed Docklands area illustrates the intersection of everyday traffic management with high-profile cultural and commercial architecture.
The surrounding buildings, characterised by steel frames and extensive glazing, reflect the regeneration of Dublin's Docklands from former industrial and port land into a modern mixed-use district housing offices, theatres, and public spaces. The clean lines and geometric repetition of the glass panels reinforce the contemporary character of the area.
Images such as this are often used to illustrate themes of urban development, transport infrastructure, road safety, modern European cities, and the coexistence of cultural landmarks with functional street furniture. The composition also lends itself to conceptual interpretations around caution, priority, and balance within fast-changing urban environments.
Grand Canal Dock, Dublin 2, Dublin, Ireland, D02 PA03
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,centre,apartment block,public housing,council housing,local authority housing,apartment building,flats,housing estate,residential building,urban housing,multi storey housing,modernist housing,affordable housing,rented housing,Dublin,documentary photography,AHB,housing,urban streetscape,residential street,city suburb,post war housing,1960s architecture,1970s architecture,balconies,communal living,inner city housing,housing density,social infrastructure,public,sector,neighbourhood life,street scene,Taylors Ln,disabled parking space,low income
Description: Tony Smith image Alamy 3CPAXPY - A multi-storey social housing apartment block on Taylors Lane in The Liberties, Dublin 8, photographed from the street with grey painted brickwork, repeated balconies, windows, railings and a marked wheelchair parking bay visible in the foreground. The image records older inner city public housing provision in one of Dublin's most historic urban districts, close to School Street, Marrowbone Lane and Thomas Court Bawn. Dublin City Council's regeneration material for the School Street and Thomas Court Bawn estate describes an existing site bounded by School Street, Taylor's Lane, Marrowbone Lane and Thomas Court Bawn, containing two five-storey housing blocks with homes and community facilities, with proposals for new and retrofitted council-managed housing. This photograph is useful for editorial coverage of Irish social housing, public housing estates, Dublin City Council homes, regeneration, retrofitting, housing maintenance, urban renewal, accessibility, tenant living conditions and housing supply pressure in the capital. The plain facade, balcony access and roadside setting make the image suitable for stories about local authority flats, apartment living, estate investment, city communities, public realm upgrades, social rented homes and the challenge of upgrading post-war housing stock while retaining communities in place. The cloudy daylight and visible street markings give the picture a neutral documentary feel rather than a promotional tone. It can support articles on housing policy, affordable homes, council housing, regeneration consultation, disability access, neighbourhood change, Dublin 8 planning, The Liberties, inner city deprivation, community services and the practical reality of maintaining older apartment blocks. With no identifiable close-up people, the image remains flexible for news, reports, websites, social housing presentations, local authority case studies and policy features on Ireland's housing crisis and public housing renewal.
Social housing flats on Taylors Lane in The Liberties, Dublin 8, showing public housing provision in
-HDM14K.jpg)
Description
Keywords: GoTonySmith,not,gone,away,terrorists,Ulster,Belfast,Northern,Ireland,Irish,dove,doves,peace,increased,threat,level,of,violence,Unionist,Unionists,danger,to,the,chaos,UFF,UDA,terrorism,Joe Biden,paramilitary,organisations,raised,Rishi Sunak,severe,MI5,terror threat,EU,Eire,trade,light touch,instability
Description: Tony Smith image Alamy HDM14K - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
