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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 BrayDaly 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,ebikes
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,seafront
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,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,255A0739,Lovely Day For a Guinness,7-9 New Wakefield Street Manchester,Lovely,Day,Guinness,7-9,New,Wakefield,Street,Manchester,Greater,England,food,drink,hospitality,local,traditional,retail,consumer,heritage,business,7,9,Ireland,is good for you
Description: Tony Smith image Alamy 3E9AP5Y - Lovely Day For a Guinness, 7-9 New Wakefield Street Manchester, photographed in Manchester, Greater Manchester, England, UK. The photograph is suitable for editorial coverage of food and drink, brewing, pubs, specialist products, hospitality, local businesses, consumer culture and regional culinary heritage. The image clearly records the visible subject, signage, branding, architecture, object or activity associated with Lovely Day For a Guinness, 7-9 New Wakefield Street Manchester. It provides useful documentary context for news, features, travel, social history and contemporary editorial coverage. Details visible in the scene help identify the place or subject and show how it appears in everyday use, making the photograph useful for stories about local identity, economic and social change, public services, transport, leisure, heritage, tourism, community life and the built environment. The photograph can also support retrospective or comparative coverage where the survival, redevelopment, reuse or changing role of the location or object is relevant.
Manchester, Greater Manchester, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0122,DART,train,mural,78 Talbot Street,Dublin,Ireland,Kameleon Turkish Barber,street,art,green,commuter,graffiti,portraits,barber,shop,railway,transport,public,urban,culture,business,regeneration,city-centre,Irish,visual,neighbourhood,identity,irish rail train,Ireland rail train,Leap card
Description: Tony Smith image Alamy 3EM2JFH - DART train mural at 78 Talbot Street in Dublin 1, Ireland, beside Kameleon Turkish Barber. The large street artwork covers the upper wall with a stylised green commuter train, colourful graffiti lettering and painted portraits, while the barber shop occupies the ground floor. The mural combines railway imagery with Dublin street culture and gives the otherwise functional commercial building a striking visual identity. The photograph is suitable for editorial coverage of DART, Dublin railways, street art, murals, graffiti, Talbot Street, public art, urban culture, commuter trains, Irish transport, local businesses, barber shops, regeneration and city-centre streetscapes. The strong green train motif is likely to attract buyers looking for an unusual visual representation of Dublin public transport rather than a conventional railway photograph. It also works for stories about mural art, neighbourhood identity, independent businesses and the way transport imagery becomes part of popular urban culture.
78 Talbot Street, Dublin 1, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0051,The Voyager,pub,Dublin,customers,drinking,outside,summer,Ireland,red,frontage,gold,hospitality,beer,outdoor,nightlife,tourism,socialising,licensed,premises,Irish,culture,alcohol,business,seating,employment,city,life,warm
Description: Tony Smith image Alamy 3EM2JFP - The Voyager pub Dublin with customers drinking outside on a warm summer day in Dublin, Ireland. The bright red traditional-style frontage carries large gold THE VOYAGER lettering while customers sit on barrels and outdoor seats and others stand around the entrance. The busy scene provides a strong illustration of Dublin's pub and hospitality culture, particularly the popularity of outdoor socialising during good weather. The photograph is suitable for editorial coverage of The Voyager, Dublin pubs, Irish drinking culture, hospitality, beer, outdoor drinking, nightlife, summer tourism, city breaks, pub trade, socialising and licensed premises. The vivid red facade and gold lettering create an immediately recognisable pub image while the groups of customers add an authentic everyday atmosphere. It can illustrate stories about pub business, tourism, alcohol consumption, licensing, outdoor seating, hospitality employment and the continuing social role of pubs in Irish city life.
The Voyager, Dublin, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0003,Dublin City Council,Civic Offices,Wood Quay,Dublin,Ireland,trees,summer,municipal,council,government,local,public,administration,services,planning,politics,employment,architecture,glass,Irish,flag,housing,transport,budgets,elections,authority,city,LA,centre
Description: Tony Smith image Alamy 3EM2JFR - Dublin City Council Civic Offices at Wood Quay in Dublin 8, Ireland, seen through mature trees in summer. The modern glass-fronted municipal complex stands close to the River Liffey and is one of the principal administrative centres for Dublin City Council. The buildings at Wood Quay occupy a historically significant site and form a distinctive part of the civic landscape of central Dublin. The photograph is suitable for editorial coverage of Dublin City Council, local government, civic offices, municipal services, public administration, Wood Quay, city planning, council services, Irish politics, public-sector employment and modern civic architecture. The combination of reflective glazing, greenery and the Irish flag gives the exterior a softer summer character while retaining a clear institutional identity. It can be used for stories concerning council decisions, housing, planning, transport, public services, budgets, local elections and the day-to-day administration of Ireland's largest city authority.
Dublin City Council Civic Offices, Wood Quay, Dublin 8, 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,IMG_2941,Whitelocks Ale House,Guinness,sign,Leeds,city,centre,West,Yorkshire,England,UK,beer,pub,harp,stout,branding,historic,heritage,1715,hospitality,Briggate,ale,drinking,tourism,British,traditional,licensed,premises,black,Ireland,is good for you
Description: Tony Smith image Alamy 3F2PH53 - . Whitelock's Ale House Guinness sign in Leeds city centre, West Yorkshire, England, UK. Photographed on 18 July 2026. The recorded location is Whitelock's Ale House, Turk's Head Yard, Leeds LS1 6HB, West Yorkshire, England, UK. The dark decorative panel carries Whitelock's branding, its established 1715 date, a Guinness harp and stout branding, reflecting the historic pub's long association with beer and traditional British drinking culture. Whitelock's occupies Turk's Head Yard just off Briggate and first opened in 1715 as the Turk's Head, later taking the Whitelock family name. The surviving pub is known for its historic interior and is a notable part of Leeds hospitality heritage. The background to nightlife 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. Within the history of street furniture, 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 change. In relation to souvenir, historical context shows that material culture includes the ordinary products people bought, used, collected or displayed
Small manufactured objects can reveal national identity, advertising, technology and popular taste in ways that formal records do not. Current 2026 context around nightlife is that in England eligible pubs and live-music venues receive a 15% business-rates relief for the 2026/27 billing year, reflecting continuing concern about operating costs, closures and the role of hospitality in town-centre vitality. Closely related concepts are souvenir, consumer object, vintage object, memorabilia, and branding.
Whitelock's Ale House, Turk's Head Yard, Leeds LS1 6HB, West Yorkshire, England, UK
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,murals
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,murals,pub,bar
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
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,Dublin,SIPTU,Eden Quay,Always Proud,LGBT,Pride banner,Bródúil i gcónaí,queer,Pride,Liberty Hall,building,headquarters,rainbow,banner,Tip Toe,Ireland,visibility,Pride march,2026,Saturday 27 June 2026,public,inclusion,equality campaign,diversity celebration,union solidarity,rainbow colours,community celebration,social progress,festival branding,landmark building display,inclusive city,Irish capital,tourism image,event promotion,human rights,belonging,celebration of identity
Description: Tony Smith image Alamy 3EM2JNY - Large rainbow Dublin Always Proud banner hanging on Liberty Hall, the SIPTU headquarters on Eden Quay in Dublin 1, ahead of the Dublin Pride March and Parade on Saturday 27 June 2026. The vertical banner carries the colours of the Pride flag and the bilingual message Bródúil i gcónaí , meaning always proud, along with smiling faces at the top and the Dublin.ie and SIPTU logos at the bottom. An Irish tricolour flag flies beside the building, adding a strong civic and national backdrop to the public display. The image is useful for editorial coverage of Dublin Pride, LGBTQ+ visibility, equality, inclusion, union support for Pride, city-centre banners, public celebrations, Irish social change, queer identity, diversity and landmark buildings used for major cultural statements. Liberty Hall is one of Dublin's best-known modern buildings and the long-time headquarters of SIPTU, making it a prominent and recognisable location for a Pride banner of this scale. The official Dublin Pride website states that Dublin Pride Festival 2026 runs from 24 to 28 June, with the main March and Parade on Saturday 27 June 2026. As a stock image, the photograph has strong value for stories about Pride month, Dublin events, public support for LGBTQ+ communities, trade union solidarity, rainbow symbolism, festival promotion, city branding, social progress and inclusive Ireland. The combination of the bright multicoloured banner, the office-tower facade, the Irish flag and the central riverside setting creates a clear visual shorthand for Dublin Pride in the capital city. The image can also illustrate tourism features, event listings, social history, Pride marketing, city dressing, Dublin 1 landmarks and the use of major public-facing buildings to project messages of acceptance and belonging during a festival week.
Liberty Hall, Eden Quay, Dublin 1, D01 E5Y3, Ireland.
--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,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,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,urban,city,centre,Ireland,poster,affordable,crisis,on,street,banner,housing,at the,Dail,17/06/2025,sign,signs,protests,public demonstration,housing crisis,Dáil Éireann,political protest,social housing,cost of living crisis,urban protest,Dublin housing crisis,June 2025,protest sign,political activism,public campaign,housing shortage,homelessness,social justice,city streets,civic protest,public policy,Ireland politics,grassroots movement,street signage,urban issues,public awareness campaigns
Description: Tony Smith image Alamy 3BKDJH6 - A close-up view of a housing protest poster attached to a street pole in Dublin city centre, Ireland, photographed in June 2025. The poster advertises a planned demonstration at Dáil Éireann and describes the housing situation as an emergency, reflecting widespread public concern over housing supply, affordability, and homelessness in Ireland.
The sign features bold red and yellow typography designed for high visibility in an urban environment and references organised protest activity involving speeches, music, and public participation. Such posters are a common feature of Dublin's streetscape during periods of heightened political debate and social mobilisation.
Ireland has experienced sustained pressure on housing availability in recent years, particularly in major cities such as Dublin, leading to regular protests, policy discussions, and public campaigns focused on housing provision and reform. Temporary street posters like this document how political messaging is communicated at ground level in public spaces.
This image is suitable for editorial use illustrating housing protests, urban political activism, social policy debates, cost of living issues, public demonstrations in Ireland, and contemporary civic life in European capital cities.
Dublin city centre, Dublin, Ireland
Description
Keywords: GoTonySmith,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,misleading,sales,tactics,tactic
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: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,CHI at Temple Street,Temple Street,Temple street,Childrens,University,Temple St,Rotunda,Dublin 1,D01 XD99,teaching hospital of University College Dublin and Trinity College,student,Childrens Health Ireland,building,Victorian,history,historic,architecture,1872,acute paediatric,foundation,system,health,healthcare,Sláinte Leanaí Éireann,ED,Emergency Department,NCIMD,Sarah Atkinson,Ellen Woodlock,Earls of Bellomont,at,15 Temple Street,waiting list,waiting lists
Description: Tony Smith image Alamy 2M84JCF - Children's Health Ireland at Temple Street (Irish: Sláinte Leanaí Éireann ag Sráid an Teampaill) is a children's hospital located on Temple Street, Dublin, Ireland. It is a teaching hospital of University College Dublin and Trinity College Dublin
The hospital was founded by Mrs. Ellen Woodlock and her close friend Sarah Atkinson at 9 Upper Buckingham Street in 1872. It had just 8 beds when it opened. In 1876, the growing success of the hospital prompted the governing committee to invite the Religious Sisters of Charity to take over the running of the hospital.
In May 1879 the lease at 9 Upper Buckingham Street expired and, with the help of a bequest, the sisters purchased the former home of the Earls of Bellomont at 15 Temple Street. Over the following years adjoining houses were purchased such as the residence of the Parnell family, number 14. The hospital expanded in the 1930s with help from the Irish Hospitals' Sweepstake.
A new nurses' home and a new x-ray department was officially opened by Minister of Lands, Seán Flanagan, in the presence of the President of Ireland, Éamon de Valera, in 1972.
In line with other teaching hospitals, the facility changed its name from the Children's Hospital, Temple Street to the Children's University Hospital, Temple Street in the late 1990s and changed its name again to the Temple Street Children's University Hospital in 2012
The hospital changed its name from Temple Street Children's University Hospital to Children's Health Ireland at Temple Street as part of the rebranding of three hospitals under the Children's Health Ireland banner on 1 January 2019
Temple St, Rotunda, Dublin 1, D01 XD99, 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,Harland Wolff
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 (183195) and Hamburg-born Gustav Wilhelm Wolff (18341913) 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,Harland Wolff
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 (183195) and Hamburg-born Gustav Wilhelm Wolff (18341913) 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,Ireland,Northern Ireland,UK,centre,walled,BT48,Orchard St,County Derry,shop,dept,department,store,Stores,Centre,Mall,Irish,neon,green,multinational,retail,chain,brand,Ben Dunne,shopping centre,shopping,shoppers,designer,designers,door,entrance,outside,logo,community,branch,group,garment,busy
Description: Tony Smith image Alamy 2RD738P - Dunnes Stores is an Irish multinational retail chain that primarily sells food, clothes and household wares. It was founded by Ben Dunne in 1944. In addition to its main customer base in Ireland, the chain also has operations in Spain, and formerly in England and Scotland. The format of most of the chain's stores in Ireland involves a grocery supermarket operating alongside a clothing/textiles store, although some stores contain only textiles and some contain only a supermarket. The grocery side of the business does not operate outside of Ireland, save for a limited grocery range in the Spanish stores. The larger stores usually contain a café branded as either Café Sol, Dunnes Stores Café or Baxter & Greene Market Café.
Dunnes Stores' original own brand of groceries was sold under the St Bernard brand introduced in 1956, becoming an Irish household name, but was rebranded as My Family Favourites in 2013.
The main domestic competitors in the supermarket business are Tesco, SuperValu, Lidl and Aldi. For many years, Dunnes Stores has maintained a top-three market share in Ireland's grocery market, alongside SuperValu and Tesco. Combined, these three supermarket chains account for approximately 70% of Ireland's grocery market.
In clothing, their rivals include Penneys and Marks and Spencer. Dunnes collaborate for many clothing/home wares collections from a number of Irish designers such as Paul Costelloe, Padraic Harrington, Carolyn Donnelly, Lennon Courtney and new clothing from Paul Galvin. They also sell in-house clothings brands such as Savida and Gallery, along with their own Dunnes Stores brand of clothing.
Foyleside Shopping Centre, Orchard St, Londonderry, County Derry, Northern Ireland, UK, BT48 6XY
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Northern Ireland,UK,centre,walled,moural,girls,comedy,show,series,C4,channel,four,channel4,Ulster,BT48 6EG,BT48,art,tourism,NW,North West,Orchard St,artwork,UVArts,18,Badgers Bar,Lisa McGee,Elizabeth McGee,city,uniforms,Catholic,school,Catholics,Erin Orla Clare michelle James
Description: Tony Smith image Alamy 2RD738X - Derry Girls is a British teen sitcom, created and written by Lisa McGee, that premiered on 4 January 2018 on Channel 4 and ran for three series. The channel's most successful comedy since Father Ted, the series was inspired by McGee's own experiences growing up in Derry, Northern Ireland, in the 1990s, during the final years of the Troubles. It stars Saoirse-Monica Jackson, Louisa Harland, Nicola Coughlan, Jamie-Lee O'Donnell, and Dylan Llewellyn as five teenagers living in mid-1990s Derry while attending Our Lady Immaculate College, a fictional girls' Catholic secondary school based on the real-life Thornhill College, where McGee herself studied. Produced by British production company Hat Trick Productions, Derry Girls is filmed in Northern Ireland, with most scenes shot on location in Derry and some in Belfast.
Although the plot lines of Derry Girls are fictional, the series frequently references actual events of the Troubles and the Northern Ireland peace process, including the 1994 IRA ceasefire announcement, the 1995 visit to Northern Ireland of President Bill Clinton and First Lady Hillary Clinton, and the Good Friday referendum of 1998. Archival
Derry Girls has inspired a mural of its main characters painted on the side of Badgers Bar and Restaurant at 18 Orchard Street, Derry, which has become a popular tourist attraction.
18 Orchard St, Derry, Londonderry, Ulster, Northern Ireland, UK, BT48 6EG
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,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,3 graces,three graces,Royal Liver Building,Pierhead,Pier Head,the,direct,sailings,bow
Description: Tony Smith image Alamy 2R64KTM - . 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,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: GoTonySmith,HotpixUK,@HotpixUK,bomb,terrorist,St,Paddy,celebration,remembrance,saint,march,parade,2023,by,the,artwork,fountain,Cheshire,England,UK,WA1,to,IRA,bombing,memorial,flag,Ireland,patron,Red Action,wide,pano,panorama,crowd,Mayor,Warrington mayoress,River of Life memorial,River of Life,NI troubles,troubles
Description: Tony Smith image Alamy 2PBE6RT - . Photographed at Bridge Street, Warrington, Cheshire, England, UK, WA1 2HE 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 frame specifically shows 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 social history, contemporary social history, Irish diaspora, changing land use, Irish social history, Irish community culture, visual archive, before-and-after reference, Irish heritage, civic procession, archival record, regional identity, Irish-British history, and diaspora celebration. Viewed from the mid-2020s, the subject also connects with cultural celebration, diaspora identity and how Irish cultural events connect migration history with contemporary civic life. Future viewers can use this scene from Bridge Street, Warrington, Cheshire, England, UK, WA1 2HE to compare commercial use and occupation with whatever follows after later reinterpretation. The surrounding story also includes everyday life, changing streetscape, historical comparison, period detail, St Patrick's Day tradition, documentary photography, public commemoration, and place identity. The combination of parade, Patricks, memorial, Community, and Irish anchors the frame to a recognisable activity, place or moment. A later view of Bridge Street, Warrington, Cheshire, England, UK, WA1 2HE may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes cultural celebration and how diaspora communities sustain national traditions in British towns without losing the local specificity of Bridge Street, Warrington, Cheshire, England, UK, WA1 2HE. It also preserves period character before later change alters the scene.
Bridge Street, Warrington, Cheshire, England, UK, WA1 2HE
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,Dublin,city,centre,Eire,Ireland,tourist,tourism,attraction,art,street,artist,artists,heart,hearts,lanes,in,a,backstreet,back,streets,of,The,Temple Bar,tile,and,text,Dublin love,heart Dublin,Irish,loves,love,ceramic,pink,Love Lane
Description: Tony Smith image Alamy 2MCGACB - . An identifiable period record of Temple Bar, Dublin, Eire, Ireland in 2019, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The photograph centres on Art in a Love Lane backstreet of The Temple Bar, tiles and text / poems - Love from Dublin, hold my hand and I will go anywhere with you. The broader subject matter reaches into changing land use, regional identity, regional food identity, public realm, local speciality shop, historic hostelry, regional branding, local character, visitor hospitality, contemporary social history, pub interior heritage, community identity, social history, and visual archive. Today's relevance is strengthened by consumer spending, changing drinking habits and the continuing question of the survival of local pubs as social meeting places. From a 2025-onward perspective, visitor footfall and rural economy are closely linked to this subject, alongside the role of gateway towns in national-park visitor economies. Future viewers can use this scene from Temple Bar, Dublin, Eire, Ireland to compare transport arrangements and footfall with whatever follows after conservation work. Other useful contextual ideas include traditional pub, tourist town economy, public-house heritage, local produce retail, visitor retail, licensed hospitality, traditional ale house, and beer-led hospitality. References to anywhere, Temple, poems, backstreet, and tiles give the picture a strong period identity and tie it closely to its named subject. A later view of Temple Bar, Dublin, Eire, Ireland may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. Its period value extends to consumer spending and how food, drink and heritage combine in destination pubs when considered against later change at Temple Bar, Dublin, Eire, Ireland. Image 2MCGACB also remains a dated record of Temple Bar, Dublin, Eire, Ireland.
Temple Bar, Dublin, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Eire,Ireland,the,Dame,tavern,Inn,D02 W683,republicans,flags,bunting,outside,pub,bar,P. H. PFarse,Eamonn Ceannt,James Connolly,Joseph Plunkett,Thomas J. Clarke,Sean Mac Diarmada,Thomas MacDonagh,POBLACHT NA H EIREANN,The Provisional Government,IRISH REPUBLIC,To The People of Ireland,the Dame Tavern,famous,iconic,classic,tourist,tourism,attraction,bars,pubs
Description: Tony Smith image Alamy 2MCGA3H - Irishmen and Irishwomen: In the name of God and in the dead generations from which she receives her old tradition of nationhood , Ireland, through us, summons her children to her flag and strikes for her freedom.
Having organised and trained her manhood through her secret revolutionary organisation, the Irish Republican Brotherhood, and through her open military organisations, the Irish Volunteers and the Irish Citizen Army, having patiently perfected her discipline, having resolutely waited for the right moment to reveal itself, she now seizes that moment, and, supported by her exiled children in America and by gallant allies in Europe, but relying in the first on her own strenght, she strikes in full confidence of victory.
We declare the right of the people of Ireland to the ownership of Ireland and to unfettered control of Irish destinies, to be sovereign and indefeasible. The long usurpation of that right by a foreign people and government has not extinguished the right, nor can it ever be extinguished except by the destruction of the Irish people. In every generation the Irish people have asserted the right to national freedom and sovereingty: six times during the past three hundred years they have asserted it in arms. Standing on that fundamental right and again asserting it in arms in the face of the world, we hereby proclaim the Irish Republic as a Sovereign Independent State, and we pledge our lives and the lives of our comrades-in-arms to the cause of its freedom, of its welfare, and of its exaltation among the nations.
The Irish Republic is entitled to, and hereby claims, the allegiance of every Irishman and Irishwoman. The Republic guarantees religious and eivil liberty, equal rights and equal opportunities to all its citizens, and declares its resolve to persue the happyness and prosperity of the whole nation and of all its parts, cherishing all the children of the nation equally, and oblivious of the differences carefully fostered by an alien govt
18 Dame Ct, Dublin 2, D02 W683, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Eire,Ireland,the,Dame,tavern,Inn,D02 W683,republicans,flags,bunting,outside,pub,bar,P. H. PFarse,Eamonn Ceannt,James Connolly,Joseph Plunkett,Thomas J. Clarke,Sean Mac Diarmada,Thomas MacDonagh,POBLACHT NA H EIREANN,The Provisional Government,IRISH REPUBLIC,To The People of Ireland,the Dame Tavern,famous,iconic,classic,tourist,tourism,attraction,bars,pubs,St Patricks Day
Description: Tony Smith image Alamy 2MCGA3N - Irishmen and Irishwomen: In the name of God and in the dead generations from which she receives her old tradition of nationhood , Ireland, through us, summons her children to her flag and strikes for her freedom.
Having organised and trained her manhood through her secret revolutionary organisation, the Irish Republican Brotherhood, and through her open military organisations, the Irish Volunteers and the Irish Citizen Army, having patiently perfected her discipline, having resolutely waited for the right moment to reveal itself, she now seizes that moment, and, supported by her exiled children in America and by gallant allies in Europe, but relying in the first on her own strenght, she strikes in full confidence of victory.
We declare the right of the people of Ireland to the ownership of Ireland and to unfettered control of Irish destinies, to be sovereign and indefeasible. The long usurpation of that right by a foreign people and government has not extinguished the right, nor can it ever be extinguished except by the destruction of the Irish people. In every generation the Irish people have asserted the right to national freedom and sovereingty: six times during the past three hundred years they have asserted it in arms. Standing on that fundamental right and again asserting it in arms in the face of the world, we hereby proclaim the Irish Republic as a Sovereign Independent State, and we pledge our lives and the lives of our comrades-in-arms to the cause of its freedom, of its welfare, and of its exaltation among the nations.
The Irish Republic is entitled to, and hereby claims, the allegiance of every Irishman and Irishwoman. The Republic guarantees religious and eivil liberty, equal rights and equal opportunities to all its citizens, and declares its resolve to persue the happyness and prosperity of the whole nation and of all its parts, cherishing all the children of the nation equally, and oblivious of the differences carefully fostered by an alien govt
18 Dame Ct, Dublin 2, D02 W683, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,city,centre,Eire,Ireland,spray,paint,in,of,will,be,dearly,missed,1977,2019,1977-2019,Moran,walking,stick,frame,historic,heritage,history,quaint,arts,ingenuity,expression,travel,area,district,rundown,neglected,resistance,character,sayings,phrases,urban,stencil,graffiti
Description: Tony Smith image Alamy 2MCGA3X - . This scene at Dublin, Eire, Ireland in 2019 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The main point of reference is Graffiti - Disobey, Memory of Darragh Moran 1977-2019, Dublin, Eire, Ireland. The image also relates to historic townscape, conservation interest, community identity, mural culture, public art, changing land use, local history, heritage asset, urban graphics, visual archive, visual street culture, before-and-after reference, public realm, and urban artwork. From a 2025-onward perspective, graffiti policy and creative districts are closely linked to this subject, alongside the role of murals in giving neighbourhoods a distinctive identity. The wider contemporary story combines heritage conservation, planning control and the value of architectural landmarks to local identity. Small period details of public access and movement at Dublin, Eire, Ireland may become more significant with time, particularly following later reinterpretation. Further associations within the scene are documentary photography, period architecture, regional identity, architectural character, historic streetscape, period building, public-realm art, and built heritage. Elements such as Moran, Memory, Darragh, Disobey, and Dublin add documentary specificity and may become increasingly useful when compared with later records. Around Dublin, Eire, Ireland, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Its period value extends to graffiti policy and the role of murals in giving neighbourhoods a distinctive identity as part of the longer story of Dublin, Eire, Ireland. The location additionally provides evidence of adaptive reuse and the balance between conservation and modern commercial use when considered against later change at Dublin, Eire, Ireland.
Dublin, Eire, Ireland
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,crime
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: 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: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,D08 WC64,Irelands,est,1198,the,Brazen Head,20,Bridge St,Bridge Street,scroll,design,Inn,pub,pubs,bar,bars,historic,history,Richard and Elinor Fagan,Richard Fagan,and,Elinor Fagan,flag,old,oldest,stone,castle,tessellations,tessellation,live,music
Description: Tony Smith image Alamy 2M84JKA - The Brazen Head is located on Bridge Street. This is the area from where the original settlement that was to become Dublin got its name.
The Irish name for Dublin is Baile Atha Cliath (pronounced: Ball-ya-Awha-Clia) which means The Town of the Ford of the Reed Hurdles .
Beside the pub is the Father Matthew Bridge crosses the river Liffey. It was at this very spot that the original crossing of the river was located. Here reed matting was positioned on the river bed which enabled travellers to cross safely at low tide.
The Brazen Head is Ireland's oldest pub. In fact there has been a hostelry here since 1198. The present building was built in 1754 as a coaching inn. However The Brazen Head appears in documents as far back as 1653.
An advertisement from the 1750's reads Christopher Quinn of The Brazen Head in Bridge Street has fitted said house with neat accommodations and commodious cellars for said business .
20 Lower Bridge St, Usher's Quay, Dublin, D08 WC64, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,cast iron,grid,communications,internet,Broadband,Eireann,cast,iron,foundry,metal,steel,rust,rusty,rusting,Éireann,telecommunication,telecommunications,connections,connectivity,Department of Posts and Telegraphs,Eircom,Eir,telecoms,connection,broadband,telephone,telephones,wiring,cables,cabling
Description: Tony Smith image Alamy 2M84JKF - Telecom Éireann meaning Telecommunications of Ireland) was an Irish state-owned telecommunications company that operated from 1983 to 1999. Prior to then a telephone and postal service was provided by the Department of Posts and Telegraphs (known as P and T or P⁊Ꞇ in gaelic script), as part of the civil service. Telecom Éireann was established by the Postal and Telecommunications Services Act, 1983
its full formal title was Bord Telecom Éireann or, in the English language, The Irish Telecommunications Board. Telecom Éireann may be translated as Telecom of Ireland. In 1999, the company was privatised and renamed as eircom.
Telecom Éireann rolled out digital telephone switching technology, across the country along with an extensive fibre optic and digital microwave backbone. Two digital switching systems were selected
CIT-Alcatel's E10 and Ericsson's AXE telephone exchange. Digital technology quickly replaced analogue systems at national and major regional switching centres and new international gateway switches were installed. The oldest electromechanical step-by-step exchanges and manual operator-manned local exchanges were the first to be converted to digital technology. More modern electromechanical crossbar exchanges, using Ericsson ARF, Hitachi and ITT Pentaconta technology dating from the 1960s and 1970s were converted to digital bit by bit through the late 1980s and early 1990s. These crossbar switches were capable of providing voice service that was comparable to digital switching technology.
Eir is currently majority owned by Xavier Niel's Iliad SA and his Paris-based NJJ Telecom Europe investment fund. The group includes French telecommunications provider Free and Iliad Italia
Dublin, Eire, 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,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,entrance,to,door,doors
Description: Tony Smith image Alamy 2M84KAB - 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,vinylS
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: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Irish,3-6 Anglesea St,Temple Bar,Dublin 2,D02 FK84,wall,rooms,3-6,Anglesea Street,city,centre,1922,Ulysses,Leopold Bloom,16 June,16th June,James Joyce,Stephen Dedalus,Republic of Ireland,architecture,bed and breakfast,block,B&B,hotel,building,sign,signs,landmark,literary,book,colorful,colourful
Description: Tony Smith image Alamy 2M8BNP4 - James Joyce's Ulysses was published in 1922 and is considered to be one of the most important books of the 20th century. The narrative follows the journey of two characters, Stephen Dedalus and Leopold Bloom, as they criss-cross Dublin on 16 June 1904. Dublin takes centre stage in the book and the soul of the city is captured in all its gritty glory.
The narrative parallels Homer's Odyssey, with one notable difference, Guinness. The two boys travel across the city in what is basically a marathon pub crawl.
Every year a bunch of Joycean enthusiasts re-enact this epic pub crawl. It's dressed up as literary event, don't let that fool you, its drink broken up by a bit of walking. The event is known as Bloomsday.
2004 was the 100th birthday of the event, and there were lots of events organised that appealed to the high and low brow alike.
We think that the Catholic Church would have beatified Leopold Bloom if he really existed and wasn't Jewish. We decided to name the liveliest and loveliest hotel in Temple Bar after the great literary character - Blooms Hotel.
Blooms of Dublin is a musical play or operetta in two acts with music and text by Anthony Burgess. The work, nearly three hours long, was first performed (in a concert version) for the Dublin Joyce Centenary in 1982 by the RTE Singers and RTE Concert Orchestra and broadcast on BBC and RTE radio. It was produced by John Tydeman and Michael Heffernan.
The operetta is based on James Joyce's 1922 novel Ulysses. It was published in book form in 1986. The texts of some of the songs also appear in the novels Earthly Powers (1980) and The End of World News (1982)
3-6 Anglesea St, Temple Bar, Dublin 2, , Eire, Ireland, D02 FK84
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,Dublin 2,D02 NX25,brass,bronze,metal,street,art,embossed,face,memorial,culture,the arts,heritage,history,entertainment,walk of fame,icon,iconic,literary,writer,pavement,sidewalk,portrait,plaque,of,poet,Kavanagh,Twin ironies by which great saints are made,The agonising pincer,jaws of heaven,On Raglan Road,Tarry Flynn
Description: Tony Smith image Alamy 2M8DJE4 - Patrick Kavanagh (21 October 1904 30 November 1967) was an Irish poet and novelist. His best-known works include the novel Tarry Flynn, and the poems On Raglan Road and The Great Hunger. He is known for his accounts of Irish life through reference to the everyday and commonplace
Patrick Kavanagh was born in rural Inniskeen, County Monaghan, in 1904, the fourth of ten children of James Kavanagh and Bridget Quinn
Kavanagh's first published work appeared in 1928[7] in the Dundalk Democrat and the Irish Independent. Kavanagh had encountered a copy of the Irish Statesman, edited by George William Russell, who published under the pen name AE and was a leader of the Irish Literary Revival. Russell at first rejected Kavanagh's work but encouraged him to keep submitting, and he went on to publish verse by Kavanagh in 1929 and 1930. This inspired the farmer to leave home and attempt to further his aspirations. In 1931, he walked 80 miles (abt. 129 kilometres) to meet Russell in Dublin, where Kavanagh's brother was a teacher. Russell gave Kavanagh books, among them works by Fyodor Dostoyevsky, Victor Hugo, Walt Whitman, Ralph Waldo Emerson and Robert Browning, and became Kavanagh's literary adviser. Kavanagh joined Dundalk Library and the first book he borrowed was The Waste Land by T. S. Eliot.
Kavanagh's first collection, Ploughman and Other Poems, was published in 1936. It is notable for its realistic portrayal of Irish country life, free of the romantic sentiment often seen at the time in rural poems, a trait he abhorred. Published by Macmillan in its series on new poets, the book expressed a commitment to colloquial speech and the unvarnished lives of real people, which made him unpopular with the literary establishment. Two years after his first collection was published he had yet to make a significant impression. The Times Literary Supplement described him as a young Irish poet of promise rather than of achievement
Fleet St, Temple Bar, Dublin 2, D02 NX25, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,Dublin 2,D02 NX25,brass,bronze,metal,street,art,embossed,face,memorial,culture,the arts,heritage,history,entertainment,walk of fame,icon,iconic,literary,writer,pavement,sidewalk,portrait,Kerry,and my heart says the kingdom,Kerryman,sportswriter,sports,journalist,Irish Press,Evening Press,The Sunday Press
Description: Tony Smith image Alamy 2M8DJE9 - Con Houlihan (6 December 1925 4 August 2012) was an Irish sportswriter. Despite only progressing to national journalism at the age of 46, he became the greatest and the best-loved Irish sports journalist of all
Over a lengthy career, Houlihan covered many Irish and international sporting events, from Gaelic football and hurling finals, to soccer and rugby World Cups, the Olympics and numberless race meetings inside and outside Ireland.
He was a journalist with the Irish Press group writing for The Irish Press, Evening Press and sometimes The Sunday Press, until the group's demise in 1995. He wrote the Tributaries column and Evening Press back sports page Con Houlihan column
Houlihan died in the morning of 4 August 2012 in St James's Hospital in Dublin. Often considered one of Ireland's finest writers, he left behind a legacy of immense sports journalism that spanned over 60 years. A minute's silence was observed in his memory ahead of Kerry's All-Ireland Senior Football Championship quarter-final defeat to Donegal at Croke Park the following day. His last column, in which he wished Katie Taylor well, was published the day after his death.[6] His funeral took place on 8 August 2012
A bronze bust of Houlihan was unveiled in his hometown of Castleisland in 2004. In 2011, a bronze plaque was installed outside The Palace bar in Dublin. The sculpture is in the foyer of The Bank pub on College Green. Cons Corner and a Bronze Bust with a quote are in The Palace Bar.
Fleet St, Temple Bar, Dublin 2, D02 NX25, 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,nightlife,crime
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
-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
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUk,Ballymurphy,Irish,Ireland,IRA,political,politics,gable-end,gable wall,housing estate,street,art,Northern Ireland,Troubles,memorial,commemorative,public art,wall,painting,County Antrim,murals,tour,tourism,peace,Good Friday Agreement,history,tricolour,republican,symbolism,conflict,memory,contested,heritage,post-conflict,culture,nationalist,area,Falls Road
Description: Tony Smith image Alamy HEW1D4 - Gable-end Republican memorial mural on Divismore Way in Ballymurphy, West Belfast, showing three figures, the Irish tricolour and republican shield symbols painted across the side wall of a housing estate property. The mural is identified by CAIN as the IRA Mural and Plaque on Divismore Way, at the junction of Divismore Way and Springfield Road, commemorating Bobby McCrudden, Mundo O'Rawe and Pearse Jordan. The visible inscription is a memorial dedication and includes the line asking passers-by to pause, pray and smile, giving the wall painting a commemorative and community remembrance function rather than simply decorative street art. This image has editorial value for themes including Belfast murals, West Belfast, Ballymurphy, political murals, Republican mural art, The Troubles, conflict memory, contested heritage, community identity, public art, Irish republican symbolism, housing estate culture and Northern Ireland history. The mural sits on a residential gable end behind a timber fence, with grass, weeds, houses and a cloudy sky placing it in an everyday neighbourhood landscape rather than a formal memorial site. That setting matters because many Belfast political murals are embedded in lived residential streets, where public memory, local identity, political messaging and tourism overlap. The photograph is useful for articles on mural tours, post-conflict Belfast, visual culture, memorialisation, community commemoration, urban history and the role of walls and public space in telling the story of the Troubles. It also suits critical coverage of how paramilitary, Republican and Loyalist imagery remains visible in parts of Belfast, and how such murals can be read as heritage, political statement, memorial and tourist attraction depending on viewer and context. The overcast daylight, housing estate background and clear gable composition make the image a valuable documentary record of West Belfast political street art and commemorative mural culture.
Divismore Way, Ballymurphy, Belfast West, County Antrim, Northern Ireland, BT12.
Description
Keywords: Note,Eire,republic,of,Sterling,legal tender,from the,bank,of,Ireland,region,regional,economy,economic,money,UK,United Kingdom,housekeeping,good,bad,currency,wealth,capital,worth,rich,wealthy,fund,funds,ready money,hard cash,ten,five,fiver,GoTonySmith,legal,tender,small,smallest,Europe,european,GB,EC,EU,EEC,hard,cash,ready,Derry,Londonderry,Sinn Fein,politics,political,twentypence,twenty,pence,banknote,billetes,bureau,business,buy,buying,caja,change,commerce,commercialism,capitalism,austerity,global,crash,global crash,cuenta,debt,dinero,dollar,enterprise,euro,exchange,export,exporting,global,globalization,historical,history,negocio,number,paper,paper money,folding,power,saving,spending,profit,prosperity,prosperous,queen,rate,spend,spending,system,trade,viajar,vintage,wealth,world,bailout,bail out,bail,out,six counties,6,six,county,counties,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy EWARJG - . Northern Irish £5, £10 notes and pound coins, legal tender from the Bank Of Ireland , Belfast. Photographed on 21 June 2015. The recorded location is Belfast, Northern Ireland, UK. Northern Ireland has a distinctive banknote system in which several commercial banks issue sterling notes under statutory arrangements, alongside Bank of England currency. Bank of Ireland is one of the authorised issuers. The notes are denominated in pounds sterling and are legal currency, but they are not technically 'legal tender' in Northern Ireland or elsewhere in the UK, a distinction often misunderstood by the public. Images of older paper issues also document changing security features and the transition to polymer notes. The historical context is that cash, banknotes and banking equipment document the everyday financial system before contactless cards and mobile payments became dominant
Bank buildings, notes, coins, cheques and cash machines also trace the history of regional banking, savings institutions and the changing design of money. In the longer view, heritage photography is particularly useful where structures or objects have changed function
A former workplace, shop, transport structure or piece of equipment can become a museum object or landmark, linking everyday history with conservation and interpretation. The subject remains topical in 2026 because cash is used less often than in previous decades but remains important, particularly for vulnerable consumers and some small businesses
FCA access-to-cash rules require designated banks and building societies to assess local provision and address significant gaps, making images of ATMs, notes and former branches relevant to financial inclusion. Current 2026 relevance comes from the fact that heritage remains economically and culturally significant through tourism, education and place-making, while the cost of maintaining historic fabric creates continuing debate about conservation and reuse.
Belfast, Northern Ireland, 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: 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: GoTonySmith,@HotpixUK,HotpixUK,mural,murals,Falls,Askatasuna,Not Spain,Not France,solidarity,Northern Ireland,Venceremos,republican,republicans,political,street,art,1959,fifty years of revolution,revolution,united,Ireland,map,Askatasuna mural,struggle,independence,self determination,Martin Meehan Ardoyne,Cuba mural,Cuba,famous,Troubles,tourism,The Troubles,Irish,history,IRA,Provos,separatism,self-determination
Description: Tony Smith image Alamy HEEFCN - Republican and international-solidarity murals on the International Wall at Divis Street, West Belfast, Northern Ireland, including panels supporting Basque self-determination, commemorating republican activist Martin Meehan and marking the 50th anniversary of the Cuban Revolution. The central mural carries the Basque word Askatasuna , meaning freedom, above a map of western Europe and the slogans Not Spain and Not France , with text advocating self-determination for the Basque Country. It also refers to political prisoners, banned political parties, allegations of torture and civil-rights abuses, reflecting the political message presented by the mural's creators. Beside it is a memorial portrait of Martin Meehan of Ardoyne, Belfast, with the words A leader is gone, the legend forever lives on . Meehan, who died in 2007, was a former Provisional IRA commander and later a supporter of the republican peace strategy and the Northern Ireland peace process. To the right, a Cuba-themed panel shows Che Guevara and Fidel Castro, the Spanish word Venceremos and imagery marking 19592009, fifty years since the Cuban Revolution. Its text criticises the United States embargo on Cuba and cites a United Nations General Assembly vote opposing the blockade. The International Wall, also known as the Solidarity Wall, developed along Divis Street after the Good Friday Agreement and has displayed changing murals connecting Irish republican and nationalist politics with international causes including Cuba, the Basque Country, Palestine and other political movements. The scene records a distinctive period of Belfast political street art in which local republican remembrance sits alongside international solidarity campaigns, making the wall both a visitor landmark and a visual record of political messages displayed in West Belfast. The adjoining panels show how the wall combined local commemoration with wider international political themes.
International Wall, Divis Street, West Belfast, Belfast BT12, Northern Ireland, 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
Checkout more w=33062170@N08\' target=\'_blank\'>buildings from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 so I can follow all your new uploads.
(c) TonySmith Hotpix / HotpixUK
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Description
Keywords: tony,smith,hotpix,tonysmith,tonysmithhotpix,ir,720nm,720,R72,Hoya,infra,red,infrared,Dublin,Trinity,college,university,Ireland,Eire,Republic,spring,europa,europe,euro,sun,education,educacion,false,color,colour,5d,mkii,mk2,5dmk2,5dmkii,pano,panorama,join,joiner,stitch,stitched,stitcher,autostitch,#tonysmithotpix
Description: Tony Smith image Flickr 5601384233 - 'School Mam - 'The Stranglers' - Play this track here..
\u00bfWhats this iPod Shuffle set all about? Read about it here
Gives herself to teacher although he doesn't know
Works herself into a frenzied state and it shows....'
*** By Request ***
This is a track from 'No more heroes' the second Stranglers album. It was produced by Martin Rushent, and released in 1977. The classic cover featured a photo of a wreath placed on a coffin with the tails of several rats (the Stranglers' 'trademark'). It was one of the first albums I bought, after many plugs on the John Peel show.
They are said to be the longest-surviving and most 'continuously successful' band to have originated in the UK punk scene of the mid to late 1970s. Beginning life as the Guildford Stranglers on the 11th September 1974 with pub rock origins.
The Stranglers' early sound was driven by Jean-Jacques Burnel's melodic bass, but also gave prominence to Dave Greenfield's keyboards at a time when the instrument was seen as unfashionable. Their early music was also characterised by the growling vocals and sometimes misanthropic lyrics of both Jean-Jacques Burnel and Hugh Cornwell.
To hear more (for my money), checkout any or all of the first 3 albums: Rattus Norvegicus (1977), No More Heroes (1977) &
Black and White (1978 - I still have a promo grey/white vinyl version in my loft). Do tell 'em I sent you...
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Trinity College, Dublin (TCD
Irish: Col\u00e1iste na Tr\u00edon\u00f3ide, Baile \u00c1tha Cliath), formally known as the College of the Holy and Undivided Trinity of Queen Elizabeth near Dublin, was founded in 1592 by letters patent from Queen Elizabeth I as the 'mother of a university', and is the only constituent college of the University of Dublin. Located in Dublin, Ireland, it is Ireland's oldest university.
Trinity was set up in part to consolidate the rule of the Tudor monarchy in Ireland, and it was seen as the university of the Protestant Ascendancy for much of its history
although Roman Catholics and Dissenters had been permitted to enter as early as 1793, certain restrictions on their membership of the college remained until 1873 (professorships, fellowships and scholarships were reserved for Protestants) , and the Catholic Church in Ireland forbade its adherents, without permission from their bishop, from attending until 1970. Women were first admitted to the college as full members in 1904.
Its a cool place, make time in your busy life to spend an afternoon there.
This is the place to see the Book Of Kells or just to enjoy the green on a sunny afternoon. My thanks to MOB (you know who you are) for the suggested Dublin tour. I met some old friends and old ghosts during my afternoon.
This shot uses a 720nm filter and is composed of 4 x colour infrared shots joined in a panorama. Original size 11,400x2,800pixels.
Checkout more w=33062170@N08\' target=\'_blank\'>neat architechture from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 so I can follow all your new uploads.
(c) TonySmith Hotpix / HotpixUK
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Description
Keywords: with a,of,black stuff,NI,saloon,BT2,46 Great Victoria St,Belfast,County Antrim,Northern Ireland,BT2 7BA,Ireland,Irish,beer,46,The Crown Liquor Saloon,The,Crown,Liquor Saloon,Victorian,gin palace,Antrim,National Trust,NT,dry,stout,Guinness & Co,brewing,brewer,porter,history,historic,Diageo,PLC,alcoholic,drink,pint,full,glass,GoTonySmith
Description: Tony Smith image Alamy CEHRHC - The Crown Liquor Saloon, also known as the Crown Bar, is a pub in Great Victoria Street in Belfast, Northern Ireland. Refurbished in 1885, and at least twice since, it is an outstanding example of a Victorian gin palace, and one of Northern Ireland's best-known pubs. It is owned by the National Trust and is leased to Mitchells & Butlers who run it as a Nicholson's pub
Opened by Felix O'Hanlon as The Railway Tavern, the pub was then bought by Michael Flanagan. Flanagan's son Patrick renamed and renovated it in 1885.
The Crown owes its elaborate tiling, stained glass and woodwork to the Italian craftsmen whom Flanagan 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
Guinness is an Irish dry stout that originated in the brewery of Arthur Guinness at St. James's Gate, Dublin, Ireland, in 1759. It is one of the most successful alcohol brands worldwide, brewed in almost 50 countries, and available in over 120. Sales in 2011 amounted to 850,000,000 litres (190,000,000 imp gal
220,000,000 U.S. gal). In spite of declining consumption since 2001, it is the best-selling alcoholic drink in Ireland where Guinness & Co. Brewery makes almost €2 billion worth of beer annually.
46 Great Victoria St, Belfast, County Antrim, Northern Ireland, BT2 7BA
