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Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,icon,iconic,in,letters,M1,welcome,to,city,gateway,centre,light-up,sculpture,industrial,steel,riveted,rivets,cast iron,style,public,art,urban,transport,hub,tram stop,heritage,manufacturing,history,symbol,branding,hostile vehicle mitigation,proud,regeneration,cottonopolis,northern powerhouse,landmark,selfie spot,design
Description: Tony Smith image Alamy 3EDKYFJ - Large riveted MCR stock-photo/gotonysmith-Sculpture.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>sculpture outside Manchester Piccadilly railway station, photographed by the south side station entrance and taxi rank area on Fairfield Street, with the glass station frontage reflected behind the heavy industrial-style metal letters. The artwork uses bold black steel lettering, visible rivets and a robust engineering look to spell MCR , the familiar shorthand for Manchester, creating a modern city welcome sign that deliberately echoes the city's railway, manufacturing, engineering, cotton, warehouse and industrial heritage. Network Rail announced the 8-foot light-up sculpture in March 2025, describing it as a new artwork outside the station taxi rank on Fairfield Street to welcome passengers in and out of the city while also forming part of a wider project to protect busy pedestrian areas from vehicles. This photograph is useful for editorial and commercial searches about Manchester Piccadilly, MCR sign, MCR sculpture, Manchester public art, station entrance, Metrolink interchange, city branding, railway travel, tram travel, public realm, station security, hostile vehicle mitigation, protective street furniture, transport infrastructure, urban regeneration, industrial design and arrival in Manchester. The scene can illustrate stories about Piccadilly as Manchester's main railway gateway, city centre tourism, transport hubs, rail passengers, commuter journeys, public safety, civic identity, northern England, modern Manchester and the reuse of industrial visual language in contemporary placemaking. The reflective glass, pedestrians, taxi-rank setting, sunny daylight and oversized letters make the image suitable for travel guides, local news, transport features, architecture blogs, urban design reports, tourism marketing and stock photo buyers needing a recognisable Manchester city centre landmark. The sculpture works as both a photo opportunity and a symbolic threshold between station, street, tram, taxi, city centre and the wider Manchester story
Large riveted MCR sculpture at Manchester Piccadilly, reflecting the city's industrial and railway h
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,255A0585,Trafford Parsons art in Levenshulme,Trafford,Parsons,art,Levenshulme,Manchester,Greater,England,culture,tourism,design,heritage,creative,public,local,identity
Description: Tony Smith image Alamy 3E9ANWW - Trafford Parsons art in Levenshulme, photographed in Manchester, Greater Manchester, England, UK. The photograph is suitable for editorial coverage of public art, sculpture, murals, cultural attractions, music, design, tourism, local identity and contemporary or historic creative culture. The image clearly records the visible subject, signage, branding, architecture, object or activity associated with Trafford Parsons art in Levenshulme. 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,Denmark,Danish,København,Kobenhavn,The,icon,bronze,statue,sculpture,Edvard Eriksen,Hans Christian Andersen,fairy tale,Andersen,public,art,Carl Jacobsen,Carlsberg,waterside,Scandinavian,travel,Nordic,heritage,storytelling,culture,walk,Langelinie Quay,harbour,literary,tourism,selfie,travel guide,image,city,symbol,on rock,København Ø,skyline
Description: Tony Smith image Alamy 3EBGJG7 - The Little Mermaid statue, known in Danish as Den Lille Havfrue, sits on a waterside rock at Langelinie in Copenhagen harbour, Denmark. This famous bronze sculpture by Edvard Eriksen was unveiled in 1913 and was inspired by Hans Christian Andersen's fairy tale about a mermaid who longs for human life. The statue was commissioned by Carl Jacobsen, the Carlsberg brewer and art patron, after he saw a ballet based on the story at the Royal Theatre in Copenhagen. The image shows the small green-patinated figure seated beside the water, with harbour vessels, cranes and the Copenhagen waterfront in the background, giving useful context for travel, tourism, literary heritage and Danish cultural identity. Although modest in scale, the statue has become one of Copenhagen's best-known landmarks and a powerful city symbol, frequently photographed by visitors walking along Langelinie, touring the harbour, visiting nearby Kastellet, or exploring the waterfront north of the city centre. The photograph has strong editorial value for articles about Copenhagen sightseeing, Denmark travel, Scandinavian city breaks, Hans Christian Andersen, fairy tale tourism, public sculpture, bronze monuments, harbour promenades and the relationship between Copenhagen and the sea. The green bronze surface, rounded rock, calm water and open sky create a classic documentary view of a much visited landmark, while the industrial and maritime background helps avoid a purely postcard reading by placing the sculpture in the working harbour landscape. The Little Mermaid is also useful for wider themes around cultural memory, national icons, literary adaptation, tourist expectations, public access to art and the continuing appeal of understated civic monuments. The scene suits guidebooks, travel features, educational publishing, cultural history, cruise tourism, Nordic destination marketing and stock photography uses needing a recognisable image of Copenhagen and Denmark.
The Little Mermaid, Edvard Eriksen's bronze statue on Langelinie, Copenhagen, inspired by Hans Chris
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,IMG_5440,Dundee,Orange,Marmalade,mural,Scotland,Keiller,streetart,heritage,food,jars,fruit,public,art,history,New,Inn,Entry,city,centre
Description: Tony Smith image Alamy 3E5TC1E - Dundee Orange Marmalade heritage mural by New Inn Entry in Dundee city centre, Scotland, UK. The photograph is a contemporary editorial record of the subject and its surroundings at New Inn Entry, Dundee, Scotland, UK. Visible signage, lettering, architecture, street furniture, transport infrastructure, public art, commercial branding or landscape details are retained where present, giving the image value both as a description of the immediate scene and as a reference for how the place looked at the time of photography. This colourful city-centre mural draws on Dundee's long association with Keiller marmalade, using oversized jars, oranges and historic advertising imagery. It provides a contemporary interpretation of an industry that became strongly identified with the city and records the use of public art to celebrate local industrial and food heritage. The image has wider editorial relevance for local history, heritage, tourism, transport, retail, planning, regeneration, business and social change where those themes apply to the subject. It can support news and feature coverage as well as retrospective comparison if the building, business, artwork, service, route or streetscape is altered, redeveloped, rebranded, closed or otherwise changes in future. The composition also preserves small visual details that are easily lost over time, including materials, signs, logos, road or rail features, shopfront treatment, public-realm design and the relationship of the subject to neighbouring buildings or open space. This makes the photograph useful not only as a straightforward location image but also as a documentary record of everyday urban and cultural life.
New Inn Entry, Dundee, Scotland, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,IMG_1842,Ozzy the Bull,mechanical,sculpture,Birmingham New Street,Birmingham,England,UK,bull,public,art,legacy,engineering,tourism,station,concourse,city,identity,metal
Description: Tony Smith image Alamy 3EFEG0M - . Ozzy the Bull mechanical sculpture inside Birmingham New Street station, Birmingham, England, UK. Photographed on 2 October 2023. The recorded location is Birmingham New Street station, Birmingham, West Midlands, England, UK. The large metal bull stands in the station concourse with exposed gears, articulated bodywork and dramatic industrial detailing, drawing attention from passengers and visitors. The sculpture originated from the Birmingham 2022 Commonwealth Games opening ceremony and was later given a permanent home in the city. The striking construction can illustrate stories about cultural legacy, engineering, public sculpture, visitor attractions and Birmingham's use of the bull as a civic symbol. For cultural identity, the historical context is 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 evolution the meaning of an apparently permanent object. Looking at commuter travel, the longer history is that stations are both functional transport interchanges and pieces of civic architecture
Their canopies, footbridges, booking halls, signal boxes and signage reveal how passenger expectations and railway technology changed from steam-era operation to today's increasingly digital network. For cultural identity, the 2026 context 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 history is visible in public space. In 2026, commuter travel remains relevant because rail reform, fares, accessibility and passenger information remain central issues as government develops the Great British Railways model
Photographs of stations, trains and earlier operating equipment can illustrate both current public transport and the rapid disappearance of previous brands and systems.
Birmingham New Street station, Birmingham, West Midlands, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,England,UK,history,historic,heritage,man,Hope Street,L1 9BW,L1,award,awarded,Freedom of the City of Liverpool,the,Anglican,bronze,statue,archbishop,religion,religious,Sheppard-Worlock,memorials,portrait,portraits,former,bishops,bishop,Baron Sheppard of Liverpool,of,West Kirby,street,public,art,Stephen Broadbent,artist,sculptor,2005
Description: Tony Smith image Alamy 2RJCCB4 - David Stuart Sheppard, Baron Sheppard of Liverpool (6 March 1929 5 March 2005) was a Church of England bishop who played cricket for Sussex and England in his youth, before serving as Bishop of Liverpool from 1975 to 1997. Sheppard remains the only ordained minister to have played Test cricket,[2] though others such as Tom Killick were ordained after playing Tests
Sheppard was born in Reigate and brought up in Charlwood, Surrey. His father was a solicitor, and a cousin of Tubby Clayton, founder of Toc H
Sheppard was converted to evangelical Christianity whilst at Cambridge, influenced by Donald Grey Barnhouse, and trained for the ministry at Ridley Hall, Cambridge from 1953 to 1955, where he attended the lectures of Owen Chadwick and Maurice Wiles, and was much impressed by a visiting lecturer, Donald Soper. He was involved with the ministry of E. J. H. Nash. He was ordained in 1955, serving his title as curate at St Mary's Church, Islington, but continued to play Test cricket sporadically until 1963, being the first ordained minister to do so. From 1957, he was warden of the Mayflower Family Centre in Canning Town.
Sheppard worked closely with the Roman Catholic Archbishop of Liverpool, Derek Worlock, on these issues, and was often an outspoken critic of Margaret Thatcher's government. The Queen visited both Liverpool cathedrals in 1978 to celebrate the long-delayed completion of the Anglican cathedral, and Pope John Paul II visited both cathedrals during his tour of England in 1982. The bishops worked together in the aftermath of the 1981 Toxteth riots, the 1985 Heysel stadium disaster and the 1989 Hillsborough Stadium disaster. Sheppard also worked with other church leaders in Liverpool, including the Methodist chairman John Newton. He gave the Dimbleby Lecture in 1984, on The Other Britain. In 1985 he was appointed as a member of the Archbishop of Canterbury's Commission on Urban Priority Areas
Hope St, Liverpool, Merseyside, England, UK, L1 9BW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Greater Manchester,Bury,England,UK,Chips@No8,M25,murals,music,musicians,bands,mural,on,at,of,chippy,fish and chip,shop,fish & chip,art,artwork,artist,painting,painted,smokes,cigarettes,building,Prestwich Arts Festival,giant,village,centre,Akse P19,Akse,P19,AkseP19,obesity,MES
Description: Tony Smith image Alamy 2RGPNA3 - Large mural of Mark E Smith, frontman of The Fall, painted on the gable end of Chips at No8 on Clifton Road in Prestwich, Greater Manchester. The wider street view shows the famous portrait beside the blue frontage of the independent fish and chip shop, with visible signage for Chips@No.8, fish and chips, take away and eat in. Smith is shown in a white open neck shirt and dark jacket with a cigarette, a confrontational and instantly recognisable image that reflects the abrasive wit and cult presence of one of British post-punk's most uncompromising performers. The mural was created by street artist Akse P19 for Prestwich Arts Festival in 2018 after Smith's death, and was reported as a six metre painting on the side of the local chippy. Pitchfork also reported that the mural was based on a photograph by Alex Whitton. The Fall emerged from Prestwich and Greater Manchester in the late 1970s, building a fierce reputation through jagged repetition, literary bite, dry northern humour and Smith's unmistakable vocal delivery. The setting matters because this is not a formal monument in a gallery or civic square, but a music icon painted on a working chippy in a local high street environment. The image is useful for editorial stories about Manchester music heritage, The Fall, Mark E Smith, post-punk, fan pilgrimage, public art, grassroots culture, Prestwich identity, independent businesses and the role of murals in preserving local memory. Details such as the red brick shop, blue fascia, rendered side wall, flue pipe, overhead wires, drainpipe, clear blue sky and strong sunshine place the artwork firmly in an everyday northern street scene. The photograph also works for wider coverage of music tourism, urban art, cultural landmarks, British alternative rock, working class creativity and the way ordinary local businesses become points of pilgrimage for fans.
8 Clifton Road, Prestwich, Bury, Manchester, England, UK, M25 3HQ
Description
Keywords: 2023,July,British,UK,England,GoTonySmith,HotpixUK,@HotpixUK,NN12,at,driver,Silverstone,Towcester,Northamptonshire,NN12 8TL,the,mural,painting,paintings,art,union,flag,union jack,patriotic,English,three current,British drivers,MurWalls x Silverstone,MurWallsxSilverstone,Street Artists,Street Artist,British Grand Prix,Grand Prix,face,faces,Hamilton,Norris,Russell
Description: Tony Smith image Alamy 2RCC5T3 - . Lewis Hamilton, Lando Norris and George Russell, Mural by Murwalls , at Silverstone, Towcester, Northamptonshire, England, UK, NN12 8TL. Photographed on 7 July 2023. The recorded location is Silverstone Circuit, Silverstone, Towcester, Northamptonshire, England, UK, NN12 8TL. Murwalls - Portrait created for British and Belgian racing driver. @LandoNorris. who is competing for McLaren in F1 ðŸŽï¸. This was done in Silverstone ahead of the British Grand Prix last Sunday, where Lando placed second ðŸ. #F1 #LandoNorris #McLaren #Silverstone #britishgrandprix #StreetArt. Silverstone Circuit occupies a former Second World War RAF airfield and hosted the first Formula One World Championship race in 1950. It remains the home of the British Grand Prix and one of the UK's most important motorsport venues, combining historic track heritage with continually upgraded spectator, hospitality and safety infrastructure. In relation to urban culture, historical context shows 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. For the story of motorsport engineering, it is useful to note that motor racing venues combine sport with engineering, hospitality and large-scale event management
Circuit buildings, grandstands and temporary branding can change rapidly as safety standards, sponsorship and commercial expectations evolve. The historical setting for supporter culture is 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. Further relevant terminology includes stadium architecture, sports memorabilia, Murwalls, and drivers.
Silverstone Circuit, Silverstone, Towcester, Northamptonshire, England, UK, NN12 8TL
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,England,UK,L18,Beatles,fab four,The Cavern,i Love John,Stuart Sutcliffe,Merseyside,art,wall,I love paul,Only you need is love,love,I love George,A place to remember,Yoko,sign,streetsign,street,tourist,attraction,tourists,tourism,gifted,from,Liverpool City Council,visitor,centre,center,charity,history,historic
Description: Tony Smith image Alamy 2K0KXBG - Penny Lane is a song by the English rock band the Beatles that was released in February 1967 as a double A-side single with Strawberry Fields Forever. It was written primarily by Paul McCartney and credited to the LennonMcCartney songwriting partnership. The lyrics refer to Penny Lane, a street in Liverpool, and make mention of the sights and characters that McCartney recalled from his upbringing in the city.
The Beatles began recording Penny Lane in December 1966, intending it as a song for their album Sgt. Pepper's Lonely Hearts Club Band. Instead, after it was issued as a single to satisfy record company demand for a new release, the band adhered to their policy of omitting previously released singles from their albums. The song features numerous modulations that occur mid-verse and between its choruses. Session musician David Mason played a piccolo trumpet solo for its bridge section
Penny Lane is a road in the south Liverpool suburb of Mossley Hill. The name also applies to the area surrounding its junction with Smithdown Road and Allerton Road, and to the roundabout at Smithdown Place that was the location for a major bus terminus, originally an important tram junction of Liverpool Corporation Tramways. The roundabout was a frequent stopping place for John Lennon, Paul McCartney and George Harrison during their years as schoolchildren and students. Bus journeys via Penny Lane and the area itself subsequently became familiar elements in the early years of the LennonMcCartney songwriting partnership. In 2009, McCartney reflected:
Penny Lane was kind of nostalgic, but it was really [about] a place that John and I knew ... I'd get a bus to his house and I'd have to change at Penny Lane, or the same with him to me, so we often hung out at that terminus, like a roundabout. It was a place that we both knew, and so we both knew the things that turned up in the story
Penny Lane Development Trust, 70 Penny Ln, Liverpool, Merseyside, England, UK, L18 1BW
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,poster,banner,art,artwork,The Unfurlings,the,unfurling,unfurlings,banners,for,hope,and,change,created,by,dementia,Bradford,West Yorkshire,England,UK,Yorkshire,2022,red,Dementia,creation,flag,flags,artworks,colourful,colour,celebrating,celebration,empowerment,esta,2017
Description: Tony Smith image Alamy 2JTNA1E - Let us celebrate the gradual opening
Of a banner taking its place in the world
A long unravelling and a fine unwinding,
Like a flower unwrapping itself from itself,
A parcel of thinking softly untying
Or an origami of ideas hugely unfolding
As, caught by the breeze, image and language
Spread their twin messages into the air.
Ian McMillan
Saltaire village,Bradford,West Yorkshire,England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,poster,banner,art,artwork,The Unfurlings,the,unfurling,unfurlings,banners,for,hope,and,change,created,by,dementia,Bradford,West Yorkshire,England,UK,Yorkshire,2022,2015,yellow,Dementia,creation,flag,flags,artworks,colourful,colour,celebrating,celebration
Description: Tony Smith image Alamy 2JTNA1G - Let us celebrate the gradual opening
Of a banner taking its place in the world
A long unravelling and a fine unwinding,
Like a flower unwrapping itself from itself,
A parcel of thinking softly untying
Or an origami of ideas hugely unfolding
As, caught by the breeze, image and language
Spread their twin messages into the air.
Ian McMillan
Saltaire village,Bradford,West Yorkshire,England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,poster,banner,art,artwork,The Unfurlings,the,unfurling,unfurlings,banners,for,hope,and,change,created,by,dementia,Bradford,West Yorkshire,England,UK,Yorkshire,2022,standing,together,growing,a,the new seasiders,pathfinders,Swale,Creating a dementia friendly community,East Kent Forget-Me-Nots,white,Dementia
Description: Tony Smith image Alamy 2JTNA1M - Let us celebrate the gradual opening
Of a banner taking its place in the world
A long unravelling and a fine unwinding,
Like a flower unwrapping itself from itself,
A parcel of thinking softly untying
Or an origami of ideas hugely unfolding
As, caught by the breeze, image and language
Spread their twin messages into the air.
Ian McMillan
Saltaire village,Bradford,West Yorkshire,England, UK
Description
Keywords: GoTonySmith,Hotpixuk,@HotpixUK,Widewalls,project,Is Inviolable,man,disabled,on a,gable end,in,art,German,graffiti,artist,MaClaim,charity,backontrackmanchester,holistic support,community learning,Ancoats,Cities of Hope festival,Swan Buildings,Cable Street,5 Cable St,Manchester,England,UK,M4 5EQ,wide walls,artworks,mind,pain,mental,health,mental health
Description: Tony Smith image Alamy 2JYYR48 - The streets of Manchester have recently gotten richer by a number of gorgeous street art pieces because of the Cities of Hope festival. Case Ma'Claim was one of the invited artists, and he created a stunning piece entitled Human Dignity is Inviolable. He worked with the charity Back on Track and decided to depict one of the people they support. The German graffiti artist employed his signature life-like imagery to create this amazingly realistic piece that sends a positive message that anyone can make their life better. Just like a man depicted in the mural, we all need to recollect for a moment, and reflect on our decisions and think about are plans before venturing onto a wonderful journey called life. And sometimes, in this world full of negativity and death, it is nice to be reminded that not everything is lost and that we can always get back on track when we fail.
Swan Buildings, 5 Cable St, Manchester , England, UK, M4 5EQ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Lancs,Lancashire,England,UK,The,Deansgate,FY1 1BN,old,rock,factory,art,space,artspace,artist,artists,girl,in,the,eye,decay,subversion,street art,pasted,Blackpools,community,derelict,repurposed,canvas,creativity,expression,buildings,brick,walls
Description: Tony Smith image Alamy 2JRFF51 - . This scene at The Old rock factory, Deansgate, Blackpool , Lancs, England, FY1 1BN in 2022 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 location is represented through Girl in the door - The Old rock factory, Deansgate, Blackpool , Lancs, England, FY1 1BN. The subject also carries associations with place-making, contemporary social history, community identity, mixed-use redevelopment, regional identity, town-centre renewal, documentary photography, local history, historic townscape, social history, commercial redevelopment, archival record, visual archive, and changing land use. From a 2025-onward perspective, housing pressure and town-centre regeneration are closely linked to this subject, alongside the tension between preserving local character and creating modern commercial space. As a dated visual record of The Old rock factory, Deansgate, Blackpool , Lancs, England, FY1 1BN, the frame retains transport arrangements and footfall, making it especially useful if later reinterpretation subsequently changes the scene. Further associations within the scene are urban fabric, period detail, changing streetscape, built heritage, civic architecture, historical comparison, everyday life, and public-realm investment. The combination of Deansgate, factory, Blackpool, and Lancs anchors the frame to a recognisable activity, place or moment. The period setting at The Old rock factory, Deansgate, Blackpool , Lancs, England, FY1 1BN helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The wider significance includes housing pressure and how regeneration tries to create reasons to visit traditional town centres within the real-world context of The Old rock factory, Deansgate, Blackpool , Lancs, England, FY1 1BN.
The Old rock factory, Deansgate, Blackpool , Lancs, England, FY1 1BN
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Lancs,Lancashire,England,UK,FY1,The,pub,bar,9,FY1 5DE,Liverpool,fab4,Fab 4,John,Paul,George,Ringo,McCartney,Lennon,Harrison,Starr,nostalgia,pop,music,fab,vibe,vibes,1960,1960s,art,artwork,nightclub,club,venue,tribute,to
Description: Tony Smith image Alamy 2JRM3C5 - . An identifiable period record of 9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The subject captured here is The yellow Submarine Beatles bar - 9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE. The wider scene also brings together local music culture, music-themed venue, popular-music heritage, music tourism, neighbourhood drinking venue, traditional hostelry, archival record, song-inspired design, everyday life, music iconography, licensed hospitality, street-level dining, place identity, and customer-facing leisure. Today's relevance is strengthened by licensing, cultural heritage and the continuing question of the role of music heritage in attracting visitors beyond conventional attractions. From a 2025-onward perspective, hospitality costs and food inflation are closely linked to this subject, alongside how familiar pubs and restaurants shape neighbourhood identity. The image fixes commercial use and occupation within 9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE at one identifiable point, providing a benchmark against conservation work. The photograph additionally reflects popular culture, Beatles memorabilia, community identity, local history, cultural branding, casual dining, contemporary social history, and regional identity. References to Blackpool, yellow, Rigby, Beatles, and Lancashire give the picture a strong period identity and tie it closely to its named subject. By fixing the subject within 9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE, the image preserves more than the headline object or building: it records part of the locality's everyday history. The image also provides a reference for licensing and how memorial benches and themed venues turn music into place-based memory as part of the longer story of 9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE.
9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE
Description
Keywords: @HotpixUK,HotpixUK,GotonySmith,Warrington,town,Cheshire,England,factory,works,in,ornate,UK,WA1,Bank Quay,4 Liverpool Road,WA5 1AB,maritime,sea,fish,sealife,art,sculpture,of,a,creature,at,outside,factories,J Crossfields,Crossfield,Crossfields,tail,swimming,tails,face,head
Description: Tony Smith image Alamy 2JJM7HT - . An on-location photograph from Bank Quay, 4 Liverpool Road, Warrington , Cheshire, England, UK, WA5 1AB in 2022, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The photograph centres on Crossfields factory in Warrington entrance, stone fish stonework, Liverpool Road, Warrington, Cheshire, England, UK, WA1. The subject also carries associations with changing streetscape, industrial artefact, local history, contemporary city life, historic freight equipment, heavy-industry heritage, manufacturing heritage, period detail, changing land use, social landscape, everyday street life, contemporary social history, everyday life, and pedestrian environment. From a 2025-onward perspective, embodied carbon and manufacturing decline are closely linked to this subject, alongside the reuse of former industrial land and buildings. The wider contemporary story combines commercial change, local identity and how ordinary street scenes become valuable records as businesses and infrastructure change. For later comparison, the photograph preserves equipment and working practice at Bank Quay, 4 Liverpool Road, Warrington , Cheshire, England, UK, WA5 1AB, details that may look very different after changed technology. The location also brings in urban change, local character, city-centre activity, working-industry history, public realm, documentary photography, community life, and regional identity. References to entrance, stone, stonework, factory, and Crossfields give the picture a strong period identity and tie it closely to its named subject. Around Bank Quay, 4 Liverpool Road, Warrington , Cheshire, England, UK, WA5 1AB, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The view records evidence of changing use before later change alters the scene.
Bank Quay, 4 Liverpool Road, Warrington , Cheshire, England, UK, WA5 1AB
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,statue,station,rail,railway,art,artist,romance,affair,affairs,infidelity,adultery,sexual,attraction,kiss,kissing,lovers,international,amorous,romantic,passion,bronze,British,Eurostar terminal,a very good example of the crap out there,Lonely Planet,woman,checks,phone,messages,iphone,glued,to,phones,Paul Day,carriage
Description: Tony Smith image Alamy 2K16ARC - The Meeting Place is a 9-metre-high (30 ft), 20-tonne (20-long-ton) bronze sculpture that stands at the south end of the upper level of St Pancras railway station. Designed by the British artist Paul Day and unveiled in 2007, it is intended to evoke the romance of travel through the depiction of a couple locked in an amorous embrace.
The statue, which stands in the Eurostar terminal, is reported to have cost £1 million and was installed as the centrepiece of the refurbished station. The work, commissioned by London and Continental Railways, is modelled on the sculptor and his wife
The sculpture received a poor critical reception, being cited by Antony Gormley as a very good example of the crap out there, comparing it to other examples of public art in the UK,[4] and later referred to as a terrible, schmaltzy, sentimental piece of kitsch by Tim Marlow of the Royal Academy of Arts. Jeremy Deller dismissed it as barely a work of art. Day commented that lot of people will no doubt detest it because it is not violent or controversial.
Further controversy was caused by Day's 2008 planned addition of a bronze relief frieze around the plinth. Originally depicting a commuter falling into the path of an Underground train driven by the Grim Reaper, Day believed the piece to be a tragi-comic style and was supposed to be a metaphor for the way people's imaginations ran wild but revised the frieze before the final version was installed.
Despite harsh criticism from major figures in the British art world, the statue has become popular with the public and contributed to its perception of St Pancras. In 2011, an edition of The World's Most Romantic Spots by Lonely Planet described the station as one of the most romantic meeting places in the world, citing the statue as a key reason
The Grand Terrace, St Pancras International, London, England, UK, N1C 4QP
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,statue,station,rail,railway,Paul Day,art,artist,Eurostar terminal,out,of,carriage,goodbye,man,Lonely Planet,a very good example of the crap out there,passion,bronze,British,romantic,amorous,international,attraction,kiss,kissing,lovers,phone,to,messages,iphone,checks,woman,phones
Description: Tony Smith image Alamy 2K16ARE - The Meeting Place is a 9-metre-high (30 ft), 20-tonne (20-long-ton) bronze sculpture that stands at the south end of the upper level of St Pancras railway station. Designed by the British artist Paul Day and unveiled in 2007, it is intended to evoke the romance of travel through the depiction of a couple locked in an amorous embrace.
The statue, which stands in the Eurostar terminal, is reported to have cost £1 million and was installed as the centrepiece of the refurbished station. The work, commissioned by London and Continental Railways, is modelled on the sculptor and his wife
The sculpture received a poor critical reception, being cited by Antony Gormley as a very good example of the crap out there, comparing it to other examples of public art in the UK,[4] and later referred to as a terrible, schmaltzy, sentimental piece of kitsch by Tim Marlow of the Royal Academy of Arts. Jeremy Deller dismissed it as barely a work of art. Day commented that lot of people will no doubt detest it because it is not violent or controversial.
Further controversy was caused by Day's 2008 planned addition of a bronze relief frieze around the plinth. Originally depicting a commuter falling into the path of an Underground train driven by the Grim Reaper, Day believed the piece to be a tragi-comic style and was supposed to be a metaphor for the way people's imaginations ran wild but revised the frieze before the final version was installed.
Despite harsh criticism from major figures in the British art world, the statue has become popular with the public and contributed to its perception of St Pancras. In 2011, an edition of The World's Most Romantic Spots by Lonely Planet described the station as one of the most romantic meeting places in the world, citing the statue as a key reason
The Grand Terrace, St Pancras International, London, England, UK, N1C 4QP
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,statue,station,rail,railway,art,artist,romance,affair,affairs,infidelity,adultery,sexual,attraction,kiss,kissing,lovers,international,amorous,romantic,passion,bronze,British,Eurostar terminal,a very good example of the crap out there,Lonely Planet,holds,holding,each,other,erotic,the,Meeting Place,iconic,statues
Description: Tony Smith image Alamy 2K16ARF - The Meeting Place is a 9-metre-high (30 ft), 20-tonne (20-long-ton) bronze sculpture that stands at the south end of the upper level of St Pancras railway station. Designed by the British artist Paul Day and unveiled in 2007, it is intended to evoke the romance of travel through the depiction of a couple locked in an amorous embrace.
The statue, which stands in the Eurostar terminal, is reported to have cost £1 million and was installed as the centrepiece of the refurbished station. The work, commissioned by London and Continental Railways, is modelled on the sculptor and his wife
The sculpture received a poor critical reception, being cited by Antony Gormley as a very good example of the crap out there, comparing it to other examples of public art in the UK,[4] and later referred to as a terrible, schmaltzy, sentimental piece of kitsch by Tim Marlow of the Royal Academy of Arts. Jeremy Deller dismissed it as barely a work of art. Day commented that lot of people will no doubt detest it because it is not violent or controversial.
Further controversy was caused by Day's 2008 planned addition of a bronze relief frieze around the plinth. Originally depicting a commuter falling into the path of an Underground train driven by the Grim Reaper, Day believed the piece to be a tragi-comic style and was supposed to be a metaphor for the way people's imaginations ran wild but revised the frieze before the final version was installed.
Despite harsh criticism from major figures in the British art world, the statue has become popular with the public and contributed to its perception of St Pancras. In 2011, an edition of The World's Most Romantic Spots by Lonely Planet described the station as one of the most romantic meeting places in the world, citing the statue as a key reason
The Grand Terrace, St Pancras International, London, England, UK, N1C 4QP
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,statue,station,rail,railway,art,artist,romance,affair,infidelity,adultery,sexual,attraction,kiss,kissing,lovers,international,amorous,romantic,passion,bronze,British,Eurostar terminal,a very good example of the crap out there,Lonely Planet,holds,holding,each,other,erotic,the,Meeting Place,iconic,statues,people,dating
Description: Tony Smith image Alamy 2K16ARG - The Meeting Place is a 9-metre-high (30 ft), 20-tonne (20-long-ton) bronze sculpture that stands at the south end of the upper level of St Pancras railway station. Designed by the British artist Paul Day and unveiled in 2007, it is intended to evoke the romance of travel through the depiction of a couple locked in an amorous embrace.
The statue, which stands in the Eurostar terminal, is reported to have cost £1 million and was installed as the centrepiece of the refurbished station. The work, commissioned by London and Continental Railways, is modelled on the sculptor and his wife
The sculpture received a poor critical reception, being cited by Antony Gormley as a very good example of the crap out there, comparing it to other examples of public art in the UK,[4] and later referred to as a terrible, schmaltzy, sentimental piece of kitsch by Tim Marlow of the Royal Academy of Arts. Jeremy Deller dismissed it as barely a work of art. Day commented that lot of people will no doubt detest it because it is not violent or controversial.
Further controversy was caused by Day's 2008 planned addition of a bronze relief frieze around the plinth. Originally depicting a commuter falling into the path of an Underground train driven by the Grim Reaper, Day believed the piece to be a tragi-comic style and was supposed to be a metaphor for the way people's imaginations ran wild but revised the frieze before the final version was installed.
Despite harsh criticism from major figures in the British art world, the statue has become popular with the public and contributed to its perception of St Pancras. In 2011, an edition of The World's Most Romantic Spots by Lonely Planet described the station as one of the most romantic meeting places in the world, citing the statue as a key reason
The Grand Terrace, St Pancras International, London, England, UK, N1C 4QP
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,statue,station,rail,railway,art,artist,romance,affair,affairs,infidelity,adultery,sexual,attraction,kiss,kissing,lovers,international,amorous,romantic,passion,bronze,British,Eurostar terminal,a very good example of the crap out there,Lonely Planet,holds,holding,each,other,erotic,the,Meeting Place,iconic,statues
Description: Tony Smith image Alamy 2K16ARH - The Meeting Place is a 9-metre-high (30 ft), 20-tonne (20-long-ton) bronze sculpture that stands at the south end of the upper level of St Pancras railway station. Designed by the British artist Paul Day and unveiled in 2007, it is intended to evoke the romance of travel through the depiction of a couple locked in an amorous embrace.
The statue, which stands in the Eurostar terminal, is reported to have cost £1 million and was installed as the centrepiece of the refurbished station. The work, commissioned by London and Continental Railways, is modelled on the sculptor and his wife
The sculpture received a poor critical reception, being cited by Antony Gormley as a very good example of the crap out there, comparing it to other examples of public art in the UK,[4] and later referred to as a terrible, schmaltzy, sentimental piece of kitsch by Tim Marlow of the Royal Academy of Arts. Jeremy Deller dismissed it as barely a work of art. Day commented that lot of people will no doubt detest it because it is not violent or controversial.
Further controversy was caused by Day's 2008 planned addition of a bronze relief frieze around the plinth. Originally depicting a commuter falling into the path of an Underground train driven by the Grim Reaper, Day believed the piece to be a tragi-comic style and was supposed to be a metaphor for the way people's imaginations ran wild but revised the frieze before the final version was installed.
Despite harsh criticism from major figures in the British art world, the statue has become popular with the public and contributed to its perception of St Pancras. In 2011, an edition of The World's Most Romantic Spots by Lonely Planet described the station as one of the most romantic meeting places in the world, citing the statue as a key reason
The Grand Terrace, St Pancras International, London, England, UK, N1C 4QP
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Southport,Lancs,Lancashire,Merseyside,seaside,coast,town,England,UK,PR8,art gallery,art,summer,architecture,listed,blue,sky,box office,culture,arts,Art Gallery,and,&,Library,grade II,buildings,sunny,blue sky,blue skies,building,architect,attraction,attractions,tourist,tourism
Description: Tony Smith image Alamy 2JHW8CC - The Atkinson is a building on the east side of Lord Street extending round the corner into Eastbank Street, Southport, Sefton, Merseyside, England. The building is a combination of two former buildings, the original Atkinson Art Gallery and Library that opened in 1878, and the adjacent Manchester and Liverpool District Bank that was built in 1879. These were combined in 192324 and the interiors have been integrated. The original building is in Neoclassical style, and the former bank is in Renaissance style.
The art gallery and library has been integrated with the Southport Arts Centre and is now known as The Atkinson.
The two former buildings are each recorded in the National Heritage List for England as designated Grade II listed buildings.
History
The Atkinson was built following a donation of £6,000 in 1875 by William Atkinson, a cotton manufacturer from Knaresborough, North Yorkshire, and a frequent visitor to Southport. The building was designed by Waddington and Son of Burnley, Lancashire and opened in 1878. The total cost, donated by Atkinson, was £15,000. In 192324 the building was extended by incorporating an adjacent bank on the corner of Eastbank Street, that had been built for the Manchester and Liverpool District Bank in 1879. The interior of the combined building was remodeled in the late 20th century, and the interiors were internally integrated. As of 2014 the organisation of the library and art gallery is integrated with the Southport Arts Centre and it is known as The Atkinson.
Original building
The original building is constructed in sandstone with a slate roof in Neoclassical style. It is in three storeys and has a symmetrical three-bay front. The central bay projects forward and contains a square-headed doorway above which is a roundel and a band of three panels. It is flanked by pairs of engaged Corinthian columns, above which is an entablature with a frieze inscribed with ATKINSON FREE LIBRARY and a pediment.
Lord Street, Southport, Lancashire, England, UK, PR8 1DB
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,PR8,Merseyside,PR8 1DB,skies,elegant,arts,art,venue,staging,music,comedy,and,theatre,pano,wide,panorama,of,the,Atkinson,the Atkinson,major,redevelopment,programme,building,architecture,William Atkinson,Waddington & Son of Burnley,cotton manufacturer,from,Knaresborough,1874,Maxwell & Tuke,Sefton Council
Description: Tony Smith image Alamy 2JHW8CF - The Grade II-listed Cambridge Hall was built in 1874 to designs by Maxwell & Tuke. It is a grandiose stone building on Southport's main shopping boulevard, with an imposing clock tower. Entrance is through the ornamented porte-cochère. Inside the foyer has a large stone fireplace inscribed with the date of the hall. A majestic staircase leads up to the old Cambridge Hall. A public hall created at first floor level, the Cambridge Hall was originally flat-floored with a platform stage, with a raised gallery on three sides and large French windows leading onto the balcony.
In 1875, William Atkinson offered Southport Corporation £6,000 to build an art gallery and library for the town.
William Atkinson was a cotton manufacturer from Knaresborough who frequently visited Southport with his sick wife looking for the refreshing sea air. He eventually moved to Southport and generously donated approximately £40,000 to the town during his lifetime and played an active part in its development. The architects Waddington & Son of Burnley designed the Atkinson Art Gallery and Library, which opened in 1878.
The portrait of William Atkinson, currently on display in the local history gallery you can see the plans for the art gallery being held in his hands.
In 1974, when the entire building was converted to Southport Arts Centre, the hall was transformed into the main auditorium. The gallery was removed, and stadium style seating provided in a single rake, facing the improved stage facilities. The smaller Victoria Hall was converted to a rehearsal room and then, in 1990, to a 300-seat studio theatre.
It had been suggested that retail development permitted in the 1980s to the side and rear of the building would limit the opportunity to improve facilities in the arts centre any further. However funding from Sefton Council, the North West Development Agency and the Government's Sea Change initiative from 2008 onwards led to a major redevelopment programme for the building.
Lord Street, Southport, Merseyside, England, UK, PR8 1DB
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,M2,Manchester M2 5PD,Xmas,decorations,history,Christmas,outside,Christmas hat,on a,Santa,hat,cap,MCR,Manchester,city,centre,Central Library,library,St Peters,Peter,square,Sq,seasonal,decorated,golden,sparkle,sparkly,historic,exterior,display,displays,art,arts,artistic
Description: Tony Smith image Alamy 2ADR2B5 - . A grounded documentary photograph made at St Peter's Square, Manchester,England,UK, M2 5PD in 2019, preserving the main subject alongside smaller details that may become more historically useful with time. The view centres on Christmas hat on a MCR,Christmas decorations,outside Manchester Central Library,St Peter's Square, Manchester M2 5PD. A broader reading of the scene brings in social history, archival record, architectural character, visual archive, heritage landmark, before-and-after reference, built heritage, changing streetscape, period detail, place identity, everyday life, historical comparison, historic commercial architecture, and local history. For contemporary context, energy retrofit and planning control are closely related themes, especially where the issue becomes the contrast between preservation and redevelopment. Looking back from the mid-2020s, the photograph anchors small features of identity that written records may overlook in the immediate surroundings of St Peter's Square, Manchester,England,UK, M2 5PD. The surrounding context also covers regional identity, historic townscape, adaptive reuse, period building, traditional masonry, conservation interest, architectural detailing, and cityscape history. References to decorations, Central, outside, Peter's, and Square help fix the photograph to its own subject and period rather than reducing it to a generic view. The surrounding context at St Peter's Square, Manchester,England,UK, M2 5PD matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. A further contemporary connection is energy retrofit and the contrast between preservation and redevelopment when considered against later change at St Peter's Square, Manchester,England,UK, M2 5PD. The image fixes evidence of earlier appearance as part of St Peter's Square, Manchester,England,UK, M2 5PD's history.
St Peter's Square, Manchester,England,UK, M2 5PD
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,M2,Manchester M2 5PD,Xmas,decorations,history,Christmas,outside,Christmas bee,symbol,bee symbol,Central Library,library,St Peters,Peter,square,Sq,seasonal,decorated,golden,sparkle,sparkly,MCR,historic,exterior,display,displays,art,arts,artistic,bees,worker bee,symbolic,Xmas bee
Description: Tony Smith image Alamy 2ADR2B8 - . Photographed at St Peter's Square, Manchester,England,UK, M2 5PD in 2019, this is a specific real-world record of the subject, its setting and the period details surrounding it. The location is represented through Gold bee,Christmas decorations,outside Manchester Central Library,St Peter's Square, Manchester M2 5PD. The locality and subject together evoke local history, period streetscape, architectural detailing, contemporary social history, conservation architecture, changing streetscape, heritage asset, historic frontage, place identity, architectural character, archival record, period building, regional identity, and conservation interest. The present-day relevance extends to maintenance costs and embodied carbon, while a wider concern is the contrast between preservation and redevelopment. With the passage of time, the image retains signage, materials, design and everyday use within the setting of St Peter's Square, Manchester,England,UK, M2 5PD. The setting also brings in historic townscape, documentary photography, visual archive, built heritage, historical comparison, urban fabric, cityscape history, and everyday life. The recorded references to decorations, Peter's, Square, Christmas, and outside preserve clues about how the subject was presented, used or understood at the time. The surrounding context at St Peter's Square, Manchester,England,UK, M2 5PD matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Its period value extends to maintenance costs and the role of distinctive architecture in local identity as part of the longer story of St Peter's Square, Manchester,England,UK, M2 5PD. The location additionally provides evidence of heritage conservation and keeping older buildings useful without erasing their character when considered against later change at St Peter's Square, Manchester,England,UK, M2 5PD.
St Peter's Square, Manchester,England,UK, M2 5PD
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,grafitti,artist,stencil,stencils,London,E1,BrickLane,Tower Hamlets,old,bar,bars,78,Brick Ln,historic,flowers,flower,comment,spray,art,spraycan,artists,mixed,media,techniques,paste up,pasted,derelict,closed,unused,urban city,inner,imagination,paint,paintings
Description: Tony Smith image Alamy 2AE0295 - . Recorded at Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL in 2019, the image fixes a particular place, use and appearance for later comparison as buildings, businesses, signs and public activity change. The main subject is Old pub, 78 Brick Lane,art and graffiti,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL. Other connected aspects include beer tourism, cask-beer tradition, production technology, independent brewing, building-material production, documentary photography, engineering heritage, production works, local history, industrial material culture, drinks hospitality, period detail, brewing heritage, and licensed hospitality. Current discussion around this subject increasingly includes independent brewing alongside consumer spending, with particular attention to the cultural role of real ale and regional brewing. From a 2025-onward perspective, the scene also connects with adaptive reuse, labour history and recording industries that shaped northern towns. For later comparison, the photograph preserves a particular stage in the life of the location at Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL. The surrounding context also covers factory history, hand-pulled beer, contemporary social history, working-industry history, pub trade, before-and-after reference, industrial artefact, and changing land use. The recorded references to Hamlets, London, graffiti, Tower, and Brick preserve clues about how the subject was presented, used or understood at the time. For Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The view records a point of historical comparison as a date-specific reference. The image fixes part of the area's social history for later comparison.
Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,grafitti,artist,stencil,stencils,London,E1,BrickLane,Tower Hamlets,bird,comment,spray,art,spraycan,artists,mixed,media,techniques,paste up,pasted,derelict,closed,unused,urban city,inner,imagination,paint,paintings,stork on wall,44 Hanbury St,44 Hanbury Street,wall,bird painted
Description: Tony Smith image Alamy 2AE0298 - . An on-location image from Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL in 2019, useful both for the specific subject shown and for the evidence it retains about local identity, design, use and everyday life. The photograph records Stork,Hanbury Street,Brick Lane,art and graffiti,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL. The photograph also reflects conservation interest, historic townscape, conservation architecture, industrial supply chain, changing land use, industrial artefact, built heritage, historic manufacturing, regional identity, heritage asset, period streetscape, historic context, documentary photography, and changing streetscape. For contemporary context, labour history and regional industry are closely related themes, especially where the issue becomes recording industries that shaped northern towns. Viewed from the mid-2020s, the subject sits within continuing debate about embodied carbon, maintenance costs and the contrast between preservation and redevelopment. As a documentary source, the scene keeps a record of the visual character of the locality at the time around Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL. The photograph additionally reflects social history, visual archive, period building, historical comparison, place identity, traditional masonry, local history, and period detail. The combination of Shoreditch, graffiti, Hamlets, Stork, and Tower anchors the image to a recognisable activity, place or moment. The period setting at Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The image fixes a trace of local identity as a date-specific reference. It also preserves a local visual benchmark for later comparison.
Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,grafitti,artist,stencil,stencils,London,E1,BrickLane,Tower Hamlets,of the,spray can,aerosol,can,comment,spray,art,spraycan,artists,mixed,media,techniques,paste up,pasted,derelict,closed,unused,urban city,inner,imagination,paint,paintings,blue,plaque,memorial
Description: Tony Smith image Alamy 2AE0299 - . An on-location image from Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL in 2019, useful both for the specific subject shown and for the evidence it retains about local identity, design, use and everyday life. The view centres on History has Stopped,Ed Seymour,Brick Lane,art and graffiti,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL. The scene additionally carries associations with documentary photography, labour history, historic manufacturing, military commemoration, working-industry history, production works, industrial-community remembrance, industrial material culture, collective memory, visual archive, place identity, factory history, wartime sacrifice, and engineering heritage. From a 2025-onward perspective, the scene also connects with remembrance culture, industrial communities and the value of memorials as both historic evidence and places of reflection. In the mid-2020s, construction materials and manufacturing history keep the subject current, particularly through recording industries that shaped northern towns. For future researchers, the view leaves evidence of period details that may disappear after redevelopment or refurbishment at Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL. Further connections include historic context, social history, war dead, community identity, industrial supply chain, building-material production, contemporary social history, and industrial archaeology. The recorded references to Stopped, Shoreditch, Seymour, Hamlets, and London preserve clues about how the subject was presented, used or understood at the time. The surrounding context at Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned.
Brick Lane,Shoreditch,Tower Hamlets,East End,London,South East,England,UK, E1 6QL
Description
Keywords: GoTonySmith,HotpixUK,@hotpixUK,Cheshire,England,UK,big,WA1 2PF,in Warrington Town Centre,LMS,corner,showroom,pair,20-24,Crossley St,Warrington,WA1,sexy,art,space,open,show,dancing,high,heel,high heels,heels,fashion,fashionable,in,town,centre,town centre,large,giant,biggest,largest,landlord,Kelvin Smith,Crossley Street
Description: Tony Smith image Alamy 2AF5ECC - . This documentary view of 20-24 Crossley St, Warrington, Cheshire, England, UK, WA1 2PF in 2019 captures the subject within its actual surroundings, preserving a dated piece of visual history rather than an isolated object study. The main subject is Giant Red Shoes, town centre, 20-24 Crossley St, Warrington, Cheshire, England, UK, WA1 2PF. The photograph also reflects historical comparison, consumer retail, shopfront economy, retail property, historic townscape, commercial frontage, public realm, period streetscape, period building, urban fabric, everyday life, heritage landmark, architectural detailing, and social history. The subject remains useful for current coverage of consumer spending and online shopping, not least because of the rapid turnover of shopfronts and trading names. Today's wider story includes maintenance costs, planning control and the practical question of keeping older buildings useful without erasing their character. As a dated visual record, the frame preserves a particular stage in the life of the location in this part of 20-24 Crossley St, Warrington, Cheshire, England, UK, WA1 2PF. The wider local story also touches on community identity, period detail, traditional masonry, archival record, historic commercial architecture, changing land use, changing streetscape, and town-centre economy. Elements such as centre, Giant, Crossley, Warrington, and 20-24 add documentary specificity and may become more useful when compared with later records. The surrounding context at 20-24 Crossley St, Warrington, Cheshire, England, UK, WA1 2PF matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Another strand within the photograph is consumer spending and how high streets adapt when traditional retail contracts in a form that can be compared with future views of 20-24 Crossley St, Warrington, Cheshire, England, UK, WA1 2PF.
20-24 Crossley St, Warrington, Cheshire, England, UK, WA1 2PF
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,town centre,art,Greater Manchester,England,UK,WN1 1YB,Manchester,night,Wiend,The Wiend,at night,Marylebone,Wigan Council,artworks,art-works,public art,sculptured,sculptured portrait,portrait,Winstanley,monument,Gerrard Winstanley Gardens,1609,1676,reform,garden,gardens,socialism,socialists,workers,working men,Gerrard,Winstanleys,activist,English,Protestant,religious reformer
Description: Tony Smith image Alamy 2AGPHA7 - Gerrard Winstanley (19 October 1609 10 September 1676) was an English Protestant religious reformer, political philosopher, and activist during The Protectorate of Oliver Cromwell. Winstanley was the leader and one of the founders of the English group known as the True Levellers or Diggers for their beliefs, and for their actions. The group occupied public lands that had been privatised by enclosures and dug them over, pulling down hedges and filling in ditches, to plant crops. True Levellers was the name they used to describe themselves, whereas the term Diggers was coined by contemporaries.
Gerrard Winstanley was born on 19 October 1609 and was baptised in the parish of Wigan, then part of the West Derby hundred of Lancashire. He was the son of an Edward Winstanley, mercer. His mother's identity remains unknown and he could have been born anywhere in the parish of Wigan. The parish of Wigan contained the townships of Abram, Aspull, Billinge-and-Winstanley, Dalton, Haigh, Hindley, Ince-in-Makerfield, Orrell, Pemberton, and Upholland, as well as Wigan itself.
He moved in 1630 to London, where he became an apprentice and ultimately, in 1638, a freeman of the Merchant Tailors' Company or guild. He married Susan King, the daughter of London surgeon William King, in 1639. The English Civil War, however, disrupted his business, and in 1643 he was made bankrupt. His father-in-law helped Winstanley move to Cobham, Surrey, where he initially worked as a cowherd
The Wiend, Wigan town centre, Greater Manchester, England, UK, WN1 1YB
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,North West England,Town,dusk,night,at night,nighttime,Face of wigan at Night,stainless steel sculpture of a face,stainless steel,art,artist,sculpture,of a face,sculptor Rick Kirby,sculptor,centre,town centre,nightlife,night life,night image,steel structure,artwork,icon,iconic,Marylebone,Wigan,Marylebone Wigan,sculpture of a face,face,English sculptor,English,public art,WN1,illuminated,statue
Description: Tony Smith image Alamy RG982H - Face of Wigan sculpture, Wigan
The Face of Wigan is a dramatic 5.5m high stainless steel sculpture of a face, which is destined to become another iconic image of the borough.
The piece is a new take on an old favourite as its creator, acclaimed English sculptor Rick Kirby explains: The face is a play on the many portraits and busts of the good and glorious' that adorn the parks and centres of every town and city throughout Britain.
The sculptured portrait is intended to represent not a single celebrity, but all of the inhabitants of the area, the very people of Wigan. These are the people who make the place what it is today, and indeed have the power to determine what will be the future.
The rear of the piece is a highly reflective surface set at different angles which will mirror fragments of people passing as well as the surrounding landscape.
Mr Kirby is known for a vast collection of striking public art works including Continuum' at Alexandra Park Lake in Hastings and Cross the divide' at the South Bank in London.
Funding for the project totalling almost £80,000 was provided by Modus Properties, developers of Wigan's Grand Arcade shopping centre as part of an agreement with Wigan Council to provide a major piece of public art in the town centre.
Louise Pearson, Development Manager for Modus says: We are delighted to have assisted in the delivery of this important piece of public art. Plus, we're happy to see that it is in a prime location to oversee the next phase of regeneration in the town centre.
Consultation about the piece took place with shoppers and visitors to the town centre over the summer of 2007, with people giving their thoughts and suggestions on a number of designs. At the end of the process, The Face of Wigan was the clear winner.
The Face came to its new home at The Wiend in Wigan town centre on Tuesday (December 9).
It will spend up to 18 months in this location before embarking on a tour of different locations in the borough ov
Wigan, England, UK, WN1 1YB
Description
Keywords: City centre,city,@HotpixUK,HotpixUK,GoTonySmith,North West England,UK,England,paste ups,stickers,tags,from,in various colours,artist,Ready to use,Wheatpaste,pop art,street art,Out House project,OutHouse project,street-art,arts,street,centre,spray paint,expression,open air gallery,decorated,decoration,graffiti,art,figures,Northern Quarter,NorthernQuarter,colourful,colorful,colours
Description: Tony Smith image Alamy RFF638 - Here's a little insight into the world of D7606
Picking spots is not always easy, a lot of areas like the east end of London are quite saturated with street art, finding a spot without going over other peoples work and tags is always a priority. Being respectful to others work is very important to me. So I like to find new spots and go into areas where no one has been before, I did a series of Bollywood actors and found myself in a busy Southall one night, that was fun. I have been into the urbex spots around Sheffield where the spray can and letters are king, so adding brightly coloured paste ups to those grimy walls is a risk and one I'm glad I have taken, some will approve and others will not but that's the joy of trying new places.
Mostly I am a lover of other peoples work and my photography of that work is how I find different neighbourhoods. Most areas are well know so often I just wander around taking photos, this then gives me that opportunity to do my own work too. I guess my favourite areas right now are Sheffield in the UK and Kreuzberg in Berlin, the back streets are full of grimy walls and doors, a perfect place for paste ups, stickers and tags..
I love those iconic British symbols, ask an American to name an iconic British symbol and a lot will say our red phone box or post box. They featured in my first work and still do in a big way.
Oh yes, I love to take those iconic British symbols abroad, I have travelled a fair bit in the last year- France, Germany and the USA. Hard to say a favourite place really, all have great art and great spots. Overall New York was the most impressive but maybe that was a size thing? It is massive, so much to see and so much good original work around.
Have you ever got in trouble with the police or other people for putting up your work?
Ha oh no, everything I do is within the law !!! I am sure I have annoyed people with my work, some artists are honest enough to say stop !! That's too much !! or that latest work
Stevenson Square, Northern Quarter,Manchester, England, UK , M1 1DN
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,North West England,manchester,city centre,NQ4,brick wall,NQ,bottle art,art,artist,gable,end,Cross Keys St,Manchester NQ4,M4 5ET,M4,Esher,Art,Cross Keys Street,Manchester,North West,history,historic gable,gable-end,of,a,city,centre,MC Esher,graphic,in,the,style,graffiti trail
Description: Tony Smith image Alamy RG98JK - . A contemporary documentary view depicts the working environment around Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET, in an image captured in 2019. The described feature is Esher Art bottle, Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET. The wider setting includes rail transport, transport interchange, rail modernisation, contemporary mural, mural culture, street-level design, commuter transport, passenger railway, community expression, mass transit, heritage streetscape, and historic environment. Current debate around train travel often combines town-centre connectivity, fares and affordability and the practical challenge of more dependable regional connections. In the mid-2020s, creative hoardings is increasingly discussed through regeneration and youth culture, with attention turning to creative reuse of redevelopment sites. For present-day editorial use, older urban fabric can also illustrate debates about redevelopment pressure and adaptive reuse, particularly where these affect lower-carbon reuse rather than demolition. Documentary value is strengthened by the precise setting at Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET, where even ordinary details of frontage, equipment, signs, traffic or public activity may disappear as the area evolves. The view also records themes involving local landmark, period property, passenger connectivity, visual placemaking, station environment, trackside infrastructure. The scene is further associated with gableend, urban artwork, artwork, bottle on a brick wall, bottle brick wall, Northern Quarter. Other relevant facets include art-led regeneration, local identity, city artwork, intercity travel, public realm art, rail mobility, historic fabric, rail corridor, graphic intervention, and temporary artwork. The record also holds the surrounding streetscape as part of the area's social history.
Cross Keys St, Manchester NQ4, North West England, UK, M4 5ET
Description
Keywords: @HotpixUK,HotpixUK,German,Mainz,Rhineland,Rhine,City Centre,Deutschland,city,Landeshauptstadt,55116,Europe,celebration,celebrate,centre,city centre,fools,figures,Meenzer,people,1967,Blasius Spreng,art,artist,kunst,monument,cityscape,tradition,mythology,stories,Father Rhine,the monk,man with the blockhead,blockhead,Till Eulenspiegel,city goddess,Mogontia,purse scrubber,GoTonySmith,fastnacht
Description: Tony Smith image Alamy RGGE73 - The Mainz Carnival (Mainzer Fastnacht) is a months-long citywide carnival celebration in Mainz, Germany that traditionally begins on 11 November but culminates in the days before Ash Wednesday in the spring.
It is one of the largest carnival events in Germany and, along with the Cologne and Düsseldorfer carnivals, Mainz is one of the three cities prominent in the rhenish carnival tradition. Aside from the celebrations, parades, and jollity which are typical of carnival traditions in many countries, the Mainz carnival has an unusual emphasis on political and literary humor and commentary.
The fountain is vitally important to all real Meenzer (people from Mainz): Every year on 11/11, all people celebrating Carnival in Mainz (fools) gather here when the clock on the balcony of the facing Osteiner Hof (Court of Ostein) strikes 11:11 p.m., which marks the fifth season of Carnival. The carnival is traditionally opened with the announcement of the 11 carnival laws.
The 8.50 metre-high carnival fountain, unveiled in 1967, designed by Blasius Spreng, is a comparatively young monument in Mainz. Nevertheless, you can't imagine it not being in the cityscape. With over 200 figures from carnival and mythology, it is a symbol of typical Mainz joie de vivre
Detailaufnahme des Fastnachtsbrunnens von unten
Detailed view of the fountain© Landeshauptstadt Mainz
Look a little closer - which figures do you recognise? Father Rhine, the monk and the man with the blockhead, the cat, Till Eulenspiegel and the city goddess, Mogontia, the purse scrubber and the paragraph rider. They are all examples of the variety of fantasy motifs that populate the Carnival fountain.
During the 19th century celebrants began using the carnival as an opportunity to mock the military forces occupying the city's fortress. The uniforms of the carnival guards are still reminders of the uniforms of the Austrian, Prussian, and French troops which were present in the town between 1792 and 1866.
Fastnachtsbrunnen, Landeshauptstadt , Schillerpl., 55116 Mainz, Germany, Europe
Description
Keywords: @HotpixUK,HotpixUK,Real Life,Glasgow,Love,Love Glasgow,love,We Love,neon,sign,shop,office,city,centre,UK,heart,GSofA,School of art,art,2017,Sinclair,Ross,Ross Sinclair artist,GSA,Neon Sculptural Installation,Neon Sculpture,red,yellow,red heart,Glasgow School Of Art,writer,musician,Scottish,Professor of Contemporary Art Practice,School of Fine Art,Real Life project,project,lighting,GoTonysmith,Commonwealth Games
Description: Tony Smith image Alamy 2A4PJJX - Ross Sinclair is an artist, writer and musician who is Professor of Contemporary Art Practice within the School of Fine Art at The Glasgow School of Art. He is best known for his Real Life' research project initiated when he had the words REAL LIFE tattooed in black ink across his back, at Terry's Tattoo parlour in Glasgow, 1994.
Sinclair completed a PhD by Published Work in 2016 where he interrogated and articulated the innovative nature of the Real Life project, unusual in its scale and duration, defining the contribution to contemporary art practice across the fields of sculpture, painting, performance, installation, critical writing and music. Drawing on these multi-disciplinary methodologies Sinclair maps out the forms, materials and processes activated over almost 25 Years of Real Life Projects, that often combine unusual and unorthodox approaches challenging conventional modes of exhibition practice, enabling new means of engagement with the viewer. The multi part thesis submitted claims these routes as an autonomous, artist initiated project, connecting with the public at a dynamic intersection of ideas, context, performance and art-practice.
Sinclair's Real Life Project is set in a critical framework of contested paradigms of Everyday Life and The Real and acknowledges the influence of key critical thinkers over the quarter century of its development from Barthes, Baudrillard and De Certeau, through Bourriaud, Bishop and Kester and more recently in Harman, Mark Fisher and Paul O'Neill amongst many others. The project has been punctuated by the exploration of individual and collective relationships with Real Life particularly viewed through contemporary paradigms constructing society such as: Democracy, Utopia, Justice, Capitalism, Geography and History, the Church, the Bank, the State, while in parallel addressing the role of the tattooed artist himself.
Description
Keywords: GoTonySmith,@HotpixUK,art exhibition,The Gateway Community Resource Centre,Charity Resources,89 Sankey Street,Cheshire,North West England,UK,Charity,Charities,WA1,inside,interior,exhibition space,community space,Clock Tower Cafe,cafe,gateway cafe,charity space,Warrington charity space,Warrington,voluntary organisation,voluntary organisations,office,offices,Gateway Reception,TheGateway,TheGatewayOrg,TheGateway.org,Lynne Bennett,WAND,Warrington Housing Association,WHA,independent charity,building,historic building,art,display boards,art display
Description: Tony Smith image Alamy PCTAD9 - The Gateway Community Resource Centre is a wonderful location for charities in Warrington to be based. The Gateway serves as a bridge between the local community, public sector and voluntary/community organisations and provides assistance, advice and guidance to cater for community needs. It provides a much needed place for people from different backgrounds to engage and interact.
The Gateway has a variety of sized rooms able to cater for all types of events from conferences, seminars and board meetings to exhibitions and we can easily tailor our facilities to suit your requirements. We aim to provide a comprehensive service to fulfil your business needs.
Gateway organisations include:
Acorn Recovery Projects, Cheshire & Warrington Carers Centre, Citizens Advice, Connect, Cooper McCann Counselling Services, Footsteps, Healthwatch Warrington, Housing Plus, Lifetime, Military Veterans Hub, O.P.E.G OPEG, Private Sector Housing, Relate, River Reeves Foundation, Speak Up, The Children's Society, Vunerable Tenancy Support Scheme (VTSS), Warrington Community Living (WCL), Warrington & Halton Eating Disorder Clinic (EDS), Warrington Housing Association (WHA), Warrington Home Improvement Agency (WHiA), Warrington Voluntary Action (WVA), Warrington Wellbeing, Warrington Women's Aid
The Gateway is an independent charity and all of its tenants are committed to improving the quality of life of people in Warrington. Providing a joint 'first stop shop' giving access to advice, services and opportunities for all, whilst enabling the voluntary sector to work together and in partnership with others, efficiently and effectively. Built in 1875 and following a reconstruction in 1972-1974, Warrington Housing Association purchased the building in 2002.
89 Sankey St, Warrington WA1 1SR
Description
Keywords: GoTonySmith,@HotpixUK,North West England,UK - Narrowboat,canals,Cheshire,Ring,UK,water,summer,tourism,tourist,Canal Anderton,Canal Northwich,tow path,towpath,pano,panorama,Bramley,Green Barge,Chregamour,blue barge,clouds,cloud,reflection,reflections,painting,art,Anderton Lift,wide shot,wide,shot,two barges,2 barges,Two barge,reflecting,boat,holiday
Description: Tony Smith image Alamy P9FFM0 - The Cheshire Ring is a canal cruising circuit or canal ring, which includes sections of six canals in and around Cheshire and Greater Manchester in North West England: the Ashton Canal, Peak Forest Canal, Macclesfield Canal, Trent and Mersey Canal, water.htm Target=_Blank>Bridgewater Canal and Rochdale Canal.
Because it takes boats approximately one week to complete the circuit, it is suited to narrowboat holidays that start at and return to the same location. The route has 92 locks and is 97 miles (156 km) long. It passes through contrasting landscapes between Manchester city centre and rural Cheshire with views of the Peak District and the Cheshire Plain.
The term Cheshire Ring first appeared in the Inland Waterways Association (IWA) Bulletin in 1965,[2] where it was coined as part of a campaign to prevent the abandonment of, and restore navigation to, part of what had been known as the Peak Forest Circular Route between Manchester and Marple. When commercial carrying declined after the Second World War, sections of the Rochdale, Ashton and Peak Forest Canals that make up the urban part of the ring had gradually fallen into disuse, and by the early 1960s were impassable, with little depth of water and many locks in an unusable condition. There was a risk that the canals would be abandoned, and infilled, as they were becoming stinking eyesores. Perseverance by the IWA and the Peak Forest Canal Society paid off, and on 1 April 1974, following restoration, the ring was re-opened to navigation.
The Rochdale Canal (unlike most other canals in England) was not nationalised in 1947, and remained in the ownership of the Rochdale Canal Company. Both the Rochdale Canal and Bridgewater Canal escaped nationalisation as a result of being owned subsidiaries of the Manchester Ship Canal company.
In 2002, as part of the restoration of the Rochdale, ownership of the Rochdale Canal Company passed to the Waterways Trust, and British Waterways became the navigation authority, bringing to an end the £3
Anderton, Northwich, Cheshire, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,North West England,UK - Narrowboat,canals,Cheshire,Ring,UK,water,summer,tourism,tourist,Canal Anderton,Canal Northwich,tow path,towpath,No40,No 40,Bramley,Green,Green Barge,Green Narrowboat,clouds,cloud,reflection,reflections,painting,art,Anderton Lift,canal art,painted,painted canal boat,The Stanley Arms Anderton,Stanley Arms Anderton,Stanley Arms,pub,Anderton,boat,holiday,sunny day
Description: Tony Smith image Alamy P9FFM1 - The Cheshire Ring is a canal cruising circuit or canal ring, which includes sections of six canals in and around Cheshire and Greater Manchester in North West England: the Ashton Canal, Peak Forest Canal, Macclesfield Canal, Trent and Mersey Canal, water.htm Target=_Blank>Bridgewater Canal and Rochdale Canal.
Because it takes boats approximately one week to complete the circuit, it is suited to narrowboat holidays that start at and return to the same location. The route has 92 locks and is 97 miles (156 km) long. It passes through contrasting landscapes between Manchester city centre and rural Cheshire with views of the Peak District and the Cheshire Plain.
The term Cheshire Ring first appeared in the Inland Waterways Association (IWA) Bulletin in 1965,[2] where it was coined as part of a campaign to prevent the abandonment of, and restore navigation to, part of what had been known as the Peak Forest Circular Route between Manchester and Marple. When commercial carrying declined after the Second World War, sections of the Rochdale, Ashton and Peak Forest Canals that make up the urban part of the ring had gradually fallen into disuse, and by the early 1960s were impassable, with little depth of water and many locks in an unusable condition. There was a risk that the canals would be abandoned, and infilled, as they were becoming stinking eyesores. Perseverance by the IWA and the Peak Forest Canal Society paid off, and on 1 April 1974, following restoration, the ring was re-opened to navigation.
The Rochdale Canal (unlike most other canals in England) was not nationalised in 1947, and remained in the ownership of the Rochdale Canal Company. Both the Rochdale Canal and Bridgewater Canal escaped nationalisation as a result of being owned subsidiaries of the Manchester Ship Canal company.
In 2002, as part of the restoration of the Rochdale, ownership of the Rochdale Canal Company passed to the Waterways Trust, and British Waterways became the navigation authority, bringing to an end the £3
Anderton, Northwich, Cheshire, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,North West England,UK - Narrowboat,canals,Cheshire,Ring,UK,water,summer,tourism,tourist,Canal Anderton,Canal Northwich,tow path,towpath,Tug services,tug,services,Kennet Avon,Kennet,Avon,Mervyn,No14,No 14,No40,No 40,Bramley,Green,Green Barge,Green Narrowboat,clouds,cloud,reflection,reflections,painting,art,Anderton Lift
Description: Tony Smith image Alamy P9FFM2 - The Cheshire Ring is a canal cruising circuit or canal ring, which includes sections of six canals in and around Cheshire and Greater Manchester in North West England: the Ashton Canal, Peak Forest Canal, Macclesfield Canal, Trent and Mersey Canal, water.htm Target=_Blank>Bridgewater Canal and Rochdale Canal.
Because it takes boats approximately one week to complete the circuit, it is suited to narrowboat holidays that start at and return to the same location. The route has 92 locks and is 97 miles (156 km) long. It passes through contrasting landscapes between Manchester city centre and rural Cheshire with views of the Peak District and the Cheshire Plain.
The term Cheshire Ring first appeared in the Inland Waterways Association (IWA) Bulletin in 1965,[2] where it was coined as part of a campaign to prevent the abandonment of, and restore navigation to, part of what had been known as the Peak Forest Circular Route between Manchester and Marple. When commercial carrying declined after the Second World War, sections of the Rochdale, Ashton and Peak Forest Canals that make up the urban part of the ring had gradually fallen into disuse, and by the early 1960s were impassable, with little depth of water and many locks in an unusable condition. There was a risk that the canals would be abandoned, and infilled, as they were becoming stinking eyesores. Perseverance by the IWA and the Peak Forest Canal Society paid off, and on 1 April 1974, following restoration, the ring was re-opened to navigation.
The Rochdale Canal (unlike most other canals in England) was not nationalised in 1947, and remained in the ownership of the Rochdale Canal Company. Both the Rochdale Canal and Bridgewater Canal escaped nationalisation as a result of being owned subsidiaries of the Manchester Ship Canal company.
In 2002, as part of the restoration of the Rochdale, ownership of the Rochdale Canal Company passed to the Waterways Trust, and British Waterways became the navigation authority, bringing to an end the £3
Anderton, Northwich, Cheshire, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,the past,future,peace,gable,end,211,Newtownards Rd,Belfast,Northern Ireland,BT4 1EA,mural,traditional,history,historic,end-terrace,gable-end,understanding,futures,Belfast peace,ECHR
Description: Tony Smith image Alamy 2PM64N2 - . Community mural - Peace cannot be kept by force, it can only be achieved by understanding - Belfast Looking to a better future. Photographed on 19 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is 211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, the past, future, peace, providing natural SEO coverage without losing the specific documentary identity of the photograph. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed.
211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA
Description
Keywords: Gotonysmith,North West England,UK,Parr,North West,Cheshire,black,marble,WBC,Warrington,Borough,Council,icon,iconic,Charlton,of,Grappenhall,heyes,Grappenhall Heys,gift,gifted,event,art,theatre,town,centre,town centre,victorian,philanthropist,26th September 1895,1895,26/09/1895,James Fairclough,mayor,James,Fairclough,building,architecture,Grade II listed building,English
Description: Tony Smith image Alamy MHM662 - . This dated editorial view of the recorded location in 2017 captures more than the immediate subject, retaining clues about local use, design, activity and change. The photograph centres on The Parr Hall Warrington, Plaque, North West England, UK. The image also relates to regional identity, conservation interest, architectural detail, adaptive reuse, urban fabric, period detail, contemporary social history, local character, public realm, commemorative plaque, everyday life, heritage asset, social-history object, and before-and-after reference. Current relevance extends to local history and provenance, particularly through how everyday objects can survive as evidence of earlier work and domestic life. In present-day coverage, the subject reaches into adaptive reuse and tourism, not least because of how historic buildings acquire new uses as cities change. The image fixes commercial use and occupation within the recorded location at one identifiable point, providing a benchmark against different community use. A second descriptive layer includes museum object, period architecture, antique object, historical comparison, archival record, visual archive, historic inscription, and local-history evidence. References to Plaque give the picture a strong period identity and tie it closely to its named subject. A later view of the recorded location may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. Another strand within the photograph is local history and how museums turn individual objects into wider stories about place and people within the real-world context of the recorded location. The setting also helps illustrate adaptive reuse and how historic buildings acquire new uses as cities change within the specific setting of the recorded location. The frame retains details of everyday use for later comparison. Image MHM662 also remains a dated record of the recorded location.
Description
Keywords: Northern Ireland,Peace,Belfast,Irish,art,artworks,tagged,graffitti,grafitti,No,Days,Off,art,work,artwork,Berlin wall,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM00F - 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: Northern Ireland,Peace,Wall,West Belfast,Irish,artworks,artwork,May,we,all,Learn,To,Be,Bridge,Berlin wall,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM08W - 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: Northern Ireland,Peace,Wall,Cupar way,West Belfast,Belfast,Irish,art,artworks,Hope,Lost,rd,Road,boat,ship,weld,welded,Berlin wall,Shankill ingenuity,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM137 - 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: Northern Ireland,Peace,Wall,Cupar way,West Belfast,Belfast,Irish,art,artworks,artwork,common,than,divides,separates,us,peace,space invaders,space,invaders,wire,barbed,barbed wire,razor wire,invader,PacMan,Pac-man,Pac,man,Berlin wall,Theres more in common,Than what divides us,Irish history,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM16Y - 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: Road,painting,graffiti,resistance,IRA,peace,Northern Ireland,NI,UK,St,street,Eire,Irish,Republic,Irish Republic,conflict,Irish Republican Army,Political Change,Unionist,Peace Wall,Mural,Climate Change,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDM1FR - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,English,British,England,problem,with,problem with,issue with,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,craft,design,city centre,NQ,studio,cafe,pottery,village,art,artists,jewelry,M4,M4 5JD,Oak St
Description: Tony Smith image Alamy GJ795F - . An on-location photograph from 17 Oak St, Manchester M4 5JD, UK in 2016, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The scene records Manchester Craft and Design Centre, 17 Oak St, Manchester, UK M4 5JD. The surrounding context encompasses commercial ephemera, everyday life, social history, local character, historical comparison, street-level message, place identity, urban typography, changing land use, historic sign, printed message, community identity, period lettering, and regional identity. From a 2025-onward perspective, local history and digital substitution are closely linked to this subject, alongside the way lettering and materials contribute to local visual identity. The image fixes period objects and surrounding context within 17 Oak St, Manchester M4 5JD, UK at one identifiable point, providing a benchmark against different community use. The wider setting retains connections with public-facing signage, visual communication, graphic street detail, wayfinding detail, public realm, changing streetscape, material sign design, and period detail. Elements such as Centre, Manchester, Design, and Craft add documentary specificity and may become increasingly useful when compared with later records. A later view of 17 Oak St, Manchester M4 5JD, UK may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The image also provides a reference for local history and the way lettering and materials contribute to local visual identity without losing the local specificity of 17 Oak St, Manchester M4 5JD, UK. Another useful connection is local history and the way lettering and materials contribute to local visual identity in a form that can be compared with future views of 17 Oak St, Manchester M4 5JD, UK. The view records evidence of changing use for future local research.
17 Oak St, Manchester M4 5JD, UK
Description
Keywords: GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,English,British,England,problem,with,problem with,issue with,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Author,Brightwell walk,Manchester,M4 5JD,M4,wall,walls,gableend,gable end,side,side of building,Burgess,art,N4Q
Description: Tony Smith image Alamy GJ795M - . This location-specific image from Brightwell walk, Manchester M4 5JD in 2016 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The scene records Author Anthony Burgess mural art work, Northern Quarter, Brightwell walk, Manchester M4 5JD. The setting additionally reflects period detail, public realm, contemporary mural, regional identity, visual archive, urban artwork, changing land use, place identity, visual street culture, community identity, street creativity, before-and-after reference, public-realm art, and documentary photography. For current editorial use, tourism and local identity provide additional context, especially through the blurred line between commissioned public art and unsanctioned graffiti. The image fixes public access and movement within Brightwell walk, Manchester M4 5JD at one identifiable point, providing a benchmark against new ownership. Other useful contextual ideas include mural culture, urban graphics, street-level design, creative placemaking, archival record, temporary artwork, graffiti heritage, and local character. The recorded references to Manchester, Burgess, Quarter, Northern, and Author preserve clues about how the subject was presented, used or understood at the time. Around Brightwell walk, Manchester M4 5JD, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The image also provides a reference for tourism and the blurred line between commissioned public art and unsanctioned graffiti within the real-world context of Brightwell walk, Manchester M4 5JD. Another useful connection is temporary works and the blurred line between commissioned public art and unsanctioned graffiti within the specific setting of Brightwell walk, Manchester M4 5JD. The record includes part of the area's social history before later change alters the scene.
Brightwell walk, Manchester M4 5JD
Description
Keywords: Oxen Oxon United Kingdom,UK,English,Saint,Marys,Church,of,chancel,and,the,bell,tower,2000,new,art,artwork,Norman,stonework,Early,Gothic,chancel,Cherwell,Valley,Benefice,middle,window,on,south,side,of,nave,built,in,1792,England,early,in,the,21st,century,postcard,classic,historic,parishes,Somerton
Description: Tony Smith image Alamy ECW51T - The Church of England parish church of Saint Mary dates from at least 1074. The original church was demolished and completely rebuilt, but both the chancel and the bell tower of the present building contain small amounts of re-used Norman stonework.
The present Early English Gothic chancel was built late in the 12th or early in the 13th century. The tower has a saddleback roof and may have been built in the 13th or 14th century. The present nave was built in 1793 and has a west gallery that was added in 1834.
St. Mary's is now part of the Cherwell Valley Benefice along with five other ecclesiastical parishes: Fritwell, Lower Heyford, Somerton, Souldern and Upper Heyford.
Here is shown, middle window on south side of nave
built in 1792, blocked for many years and then restored with a new stained glass window early in the 21st century.
Ardley, Oxfordshire, England, United Kingdom
Description
Keywords: UK,English,Saint,Marys,Church,of,chancel,and,the,bell,tower,2000,new,art,artwork,Norman,stonework,Early,Gothic,chancel,Benefice,middle,window,south,side,of,nave,built,1792,blocked,for,years,and,with,a,new,stained,glass,GoTonySmith
Description: Tony Smith image Alamy ECW524 - The Church of England parish church of Saint Mary dates from at least 1074. The original church was demolished and completely rebuilt, but both the chancel and the bell tower of the present building contain small amounts of re-used Norman stonework.
The present Early English Gothic chancel was built late in the 12th or early in the 13th century. The tower has a saddleback roof and may have been built in the 13th or 14th century. The present nave was built in 1793 and has a west gallery that was added in 1834.
St. Mary's is now part of the Cherwell Valley Benefice along with five other ecclesiastical parishes: Fritwell, Lower Heyford, Somerton, Souldern and Upper Heyford.
Here is shown, middle window on south side of nave
built in 1792, blocked for many years and then restored with a new stained glass window early in the 21st century.
Ardley with Fewcott civil parish in Oxfordshire, England, UK
Description
Keywords: UK,English,Saint,Marys,Church,of,chancel,and,the,bell,tower,2000,new,art,artwork,Norman,stonework,Early,Gothic,chancel,Benefice,middle,window,south,side,of,nave,built,1792,blocked,for,years,and,with,a,new,stained,glass,GoTonySmith
Description: Tony Smith image Alamy ECW525 - The Church of England parish church of Saint Mary dates from at least 1074. The original church was demolished and completely rebuilt, but both the chancel and the bell tower of the present building contain small amounts of re-used Norman stonework.
The present Early English Gothic chancel was built late in the 12th or early in the 13th century. The tower has a saddleback roof and may have been built in the 13th or 14th century. The present nave was built in 1793 and has a west gallery that was added in 1834.
St. Mary's is now part of the Cherwell Valley Benefice along with five other ecclesiastical parishes: Fritwell, Lower Heyford, Somerton, Souldern and Upper Heyford.
Here is shown, middle window on south side of nave
built in 1792, blocked for many years and then restored with a new stained glass window early in the 21st century.
Ardley with Fewcott civil parish in Oxfordshire, England, UK
Description
Keywords: Oxen Oxon United Kingdom,UK,English,Saint,Church,of,chancel,and,the,2000,new,art,artwork,Norman,stonework,Early,Gothic,chancel,Benefice,middle,window,on,south,side,of,nave,built,in,GotonySmith Ardley with Fewcott civil parish in Oxfordshire,England,early,in,the,21st,century,postcard,classic,historic,history,ecclesiastical,parishes,Fritwell,Lower Heyford,Somerton,Souldern and Upper Heyford,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy ECW526 - The Church of England parish church of Saint Mary dates from at least 1074. The original church was demolished and completely rebuilt, but both the chancel and the bell tower of the present building contain small amounts of re-used Norman stonework.
The present Early English Gothic chancel was built late in the 12th or early in the 13th century. The tower has a saddleback roof and may have been built in the 13th or 14th century. The present nave was built in 1793 and has a west gallery that was added in 1834.
St. Mary's is now part of the Cherwell Valley Benefice along with five other ecclesiastical parishes: Fritwell, Lower Heyford, Somerton, Souldern and Upper Heyford.
Here is shown, middle window on south side of nave
built in 1792, blocked for many years and then restored with a new stained glass window early in the 21st century.
Ardley, Oxfordshire, England, United Kingdom
Description
Keywords: Oxen Oxon United Kingdom,UK,English,Saint,Marys,of,chancel,and,the,2000,new,art,artwork,stonework,Early,Gothic,chancel,Benefice,middle,window,on,south,side,of,nave,built,in,1792,pano,panorama,wide,angle,wideangle,winter,sunset,sunrise,GotonySmith Ardley with Fewcott civil parish in Oxfordshire,England,early,in,the,21st,century,postcard,classic,historic,history,ecclesiastical,parishes,Fritwell,Lower Heyford,Somerton,Souldern and Upper Heyford,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy ECW528 - The Church of England parish church of Saint Mary dates from at least 1074. The original church was demolished and completely rebuilt, but both the chancel and the bell tower of the present building contain small amounts of re-used Norman stonework.
The present Early English Gothic chancel was built late in the 12th or early in the 13th century. The tower has a saddleback roof and may have been built in the 13th or 14th century. The present nave was built in 1793 and has a west gallery that was added in 1834.
St. Mary's is now part of the Cherwell Valley Benefice along with five other ecclesiastical parishes: Fritwell, Lower Heyford, Somerton, Souldern and Upper Heyford.
Here is shown, middle window on south side of nave
built in 1792, blocked for many years and then restored with a new stained glass window early in the 21st century.
Ardley, Oxfordshire, England, United Kingdom
Description
Keywords: Tower,of,Greater,London,England,UK,installation,art,moat,between,July,and,November,2014,commemorating,the,centenary,of,the,outbreak,of,World,War,I,one,ceramic,poppies,888,246,British,or,Colonial,serviceman,killed,in,the,War,Paul,Cummings,Cummins,Tom,Piper,attraction,2014,tourist,tourism,red,flower,Gotonysmith,first,line,of,a,poem,by,an,unknown,World,War,I,soldier,pool,of,blood,which,appeared,to,be,pouring,out,of,a,bastion,window,(the,Buy,Pictures,of,Buy Images Of,Weeping,Window,remembrance,respect,ex-serviceman,ex-servicemen,flowers,summer,autumn,sun,sky,blue,bluesky,pano,panorama,from,north,tower,hill,towerhill,,,
Description: Tony Smith image Alamy EC2T10 - Blood Swept Lands and Seas of Red was a work of installation art placed in the moat of the Tower of London, England, between July and November 2014, commemorating the centenary of the outbreak of World War I.
It consisted of 888,246 ceramic red poppies, each intended to represent one British or Colonial serviceman killed in the War. The artist was Paul Cummins, with setting by stage designer Tom Piper. The work's title was taken from the first line of a poem by an unknown World War I soldier.
The installation was visited by the Princes William and Harry and the Duchess of Cambridge on the day of its opening, and by the Queen and Duke of Edinburgh on 16 October. It is estimated that five million people saw the memorial, and the huge visitor demand saw Prime Minister David Cameron and other politicians join calls to try and extend the period for which the installation remained at the Tower so that more visitors would be able to pay their respects.
Tower officials resisted such calls, stating that the transience of the installation was a key part of the artistic concept, and that the poppies would be removed as planned and distributed to their purchasers. On 8 November it was announced that the Wave segment a steel construction with poppies around the Tower entrance would remain in place until the end of the month, and that the Wave and the Weeping Window segments (both made by the Theatre Royal, Plymouth) would be taken on a tour of the UK lasting until 2018, and would then go on permanent display at the Imperial War Museums in London and Manchester.
Tower Hill, London, England UK
Description
Keywords: Tower,of,Greater,London,England,UK,installation,art,moat,between,July,and,November,2014,commemorating,the,centenary,of,the,outbreak,of,World,War,I,one,ceramic,poppies,888,246,British,or,Colonial,serviceman,killed,in,the,War,Paul,Cummings,Cummins,Tom,Piper,attraction,2014,tourist,tourism,red,flower,Gotonysmith,first,line,of,a,poem,by,an,unknown,World,War,I,soldier,pool,of,blood,which,appeared,to,be,pouring,out,of,a,bastion,window,(the,Weeping,Window,remembrance,respect,ex-serviceman,ex-servicemen,flowers,summer,autumn,sun,sky,blue,bluesky
Description: Tony Smith image Alamy EC2T16 - Blood Swept Lands and Seas of Red was a work of installation art placed in the moat of the Tower of London, England, between July and November 2014, commemorating the centenary of the outbreak of World War I.
It consisted of 888,246 ceramic red poppies, each intended to represent one British or Colonial serviceman killed in the War. The artist was Paul Cummins, with setting by stage designer Tom Piper. The work's title was taken from the first line of a poem by an unknown World War I soldier.
The installation was visited by the Princes William and Harry and the Duchess of Cambridge on the day of its opening, and by the Queen and Duke of Edinburgh on 16 October. It is estimated that five million people saw the memorial, and the huge visitor demand saw Prime Minister David Cameron and other politicians join calls to try and extend the period for which the installation remained at the Tower so that more visitors would be able to pay their respects.
Tower officials resisted such calls, stating that the transience of the installation was a key part of the artistic concept, and that the poppies would be removed as planned and distributed to their purchasers. On 8 November it was announced that the Wave segment a steel construction with poppies around the Tower entrance would remain in place until the end of the month, and that the Wave and the Weeping Window segments (both made by the Theatre Royal, Plymouth) would be taken on a tour of the UK lasting until 2018, and would then go on permanent display at the Imperial War Museums in London and Manchester.
Tower Hill, London, England UK
Description
Keywords: GB,great,britain,hope,st,street,tourist,trail,tourism,famous,pubs,bars,pub,bar,artdeco,art,deco,victorian,Cain,Cains,Tetley,GB,Great,Britain,British,CAMRA,real,ale,The,Phil,grade,2,gradeii,listed,building,exuberant,free,style,of,architecture,in,Gold,Liverpool,maritime,England,UK,blue,heritage,plaque,gotonysmith,Art,Nouveau,hardman,st,street,most,richly,decorated,of,Liverpools,Victorian,public,houses,Gem,gems,Pollard,and,Pevsner,in the Buildings of England series,state,that,it,is,the,most,richly,decorated,of,Liverpools,Victorian,public,houses,and that,.,The,Grade,II*,listing,means,that,it,is,included,among,. Pye describes it as one of Liverpools architectural gems,heritage,Liverpools,scouse,Merseyside,L7 7EE,L77EE,bar,bars,boozer,bar,bars,boozer,pub,pubs,bars,bar,hotpixuk,@hotpixuk,@hotpixuk,Phillharmonic,Philharmonic pub liverpool pub,Liverpool Pubs,pubs,bars,bar,history,historic,it is of exceptional quality in national terms,particularly important buildings of more than special interest,Buy Pictures of,Buy Images Of,Liverpool Pub,Liverpool Pubs,Liverpool Pub,Liverpool Pubs
Description: Tony Smith image Alamy DRH8E0 - The Philharmonic Dining Rooms is a public house at the corner of Hope Street and Hardman Street in Liverpool, Merseyside, England, and stands diagonally opposite the Liverpool Philharmonic Hall.
It is commonly known as The Phil. It has been designated by English Heritage as a Grade II* listed building
Pollard and Pevsner, in the Buildings of England series, state that it is the most richly decorated of Liverpool's Victorian public houses, and that it is of exceptional quality in national terms. The Grade II* listing means that it is included among particularly important buildings of more than special interest. Pye describes it as one of Liverpool's architectural gems
Hope st, Liverpool, Merseyside, England, UK L7 7EE
Description
Keywords: arts,venue,Nicolson,street,performance,performances,opera,ballet,empire,tourist,attraction,glass-fronted,structure,for,the,new,entrance,created,by,architect,Colin,Ross,glass,fronted,building,architecture,dramatic,mix,of,art,nouveau,beaux,arts,and,neo-classicism,neoclassicism,Gotonysmith,The,Edinburgh,Festival,Theatre,is,a,performing,located,on,Street,in,Edinburgh,Scotland used primarily for performances of opera and ballet,large-scale musical events,and touring groups. After its most recent renovation in 1994,it seats 1,915.,It,is,one,of,the,major,venues,of,the,annual,summer,Edinburgh,International,Festival,and,is,the,venue,for,the,Opera,and,the,Scottish,Ballet.,The,present,theatre's,location,is,Edinburgh's,longest,continuous,theatre,site,for,there,has,been,a,theatre,in,that,location,since,1830.,From,being,Dunedin,Hall,the Royal Amphitheatre,Alhambra Music Hall,the Queen's Theatre,Pablo Fanques Amphitheatre,13-29 Nicolson St,Edinburgh EH89FT EH8 9FT 13 29,oldtown,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy DDXKFR - The Edinburgh Festival Theatre is a performing arts venue located on Nicolson Street in Edinburgh, Scotland used primarily for performances of opera and ballet, large-scale musical events, and touring groups. After its most recent renovation in 1994, it seats 1,915. It is one of the major venues of the annual summer Edinburgh International Festival and is the Edinburgh venue for the Scottish Opera and the Scottish Ballet.
The present theatre's location is Edinburgh's longest continuous theatre site, for there has been a theatre in that location since 1830. From being Dunedin Hall, the Royal Amphitheatre, Alhambra Music Hall, the Queen's Theatre, Pablo Fanque's Amphitheatre, and Newsome's Circus, the site became the Empire Palace Theatre, the first of the famous Moss Empires' chain, opening on 7 November 1892.
Designed by the great British theatre architect, Frank Matcham, (who built the London Coliseum, among others) its décor was lavish, with elephants with Nubian riders, nymphs and cherubs in abundance on the plasterwork, and it seated 3000 people on four levels.
13-29 Nicolson St, Edinburgh, Scotland, UK EH8 9FT
Description
Keywords: 55 St Enoch Square,Glasgow,Scotland,UK,G1,4EQ,G14EQ,saint,shop,shops,mall,GMW,Architects,Sir,Robert,McAlpine,station,Argyle,Street,architectural,critics,architecture,eco,eco-friendly,largest,glass-covered,enclosed,area,in,Europe,Greenhouse,Scott,Lithgow,Gotonysmith,inside,interior,space,art,lamps,lights,art,arty,design,innovation,innovative,ceailing,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy DG3968 - The St. Enoch Centre is a shopping mall located in the central area of Glasgow, the largest city in Scotland. The Architects were the GMW Architects. The construction, undertaken by Sir Robert McAlpine, began in 1986, and the building was opened to the public in May 1989. It was officially opened by the then-Prime Minister Margaret Thatcher, in February of the following year.
Located on the site of the former St Enoch Station, the building is just off Glasgow's famous shopping thoroughfare, Argyle Street and overlooks the historic St. Enoch Square and the original Subway station building (on the right of the photograph). The present St Enoch subway station is now accessible by escalators.
Whilst the target of many architectural critics, the building is notable for its massive glass roof, which makes it the largest glass-covered enclosed area in Europe. Not only does this substantially reduce heating and lighting loads - the mall area is lit entirely by natural daylight in summer, whilst the solar heat generated by the roof means that mechanical heating is only required for a week on average per year - it also earned the building its affectionate nickname The Glasgow Greenhouse. The roof's steel framework was fabricated by the shipbuilders Scott Lithgow.
The glass roofed element surrounds a seven storey car park, and when originally opened, an ice rink. This was closed in 1999 when a refurbishment programme (initiated to compete with the newer Buchanan Galleries), saw it being replaced by more shops and an enlarged restaurant area.
55 St Enoch Square, Glasgow , Scotland, UK G1 4EQ
Description
Keywords: City,cities,grafitti,cartoon,mixed,media,artist,colour,faces,district,ghetto,bilderkombinat,Ihavetogotoparis,poster,el Bocho,GoTonySmith,Deutsche,Deutschland,Buy Pictures of,Buy Images Of,yellow,lips,colors,posters,elBocho,have,the,wash,off,colours,city,centre,hat,hats,street,art,streetart,paste,up,pasted
Description: Tony Smith image Alamy F0G6A5 - This documentary stock photograph shows Girl Grafitti on a Berlin wall,street,art,Germany. The image records Berlin Mitte street art and graffiti, making it useful for editorial features on urban art, alternative tourism, wall culture, counterculture, gentrification, visual satire and layered public space. Berlin is a city where ordinary street details often carry heavy layers of history, from Prussian and imperial architecture to the Weimar period, Nazi rule, wartime destruction, division, the DDR, reunification, tourism, gentrification and contemporary creative culture. The caption and visible subject detail provide a specific point of entry into that wider story rather than a generic German city view. Buyers could use the photograph for articles about Berlin travel, Cold War memory, street art, museum interpretation, urban nightlife, river sightseeing, architecture, souvenir culture, public transport, pedestrian design or the way history is repackaged in modern tourism. Search-friendly composite terms include Berlin Mitte street art, DDR surveillance display, Berlin Fernsehturm skyline, River Spree pleasure boat, Ampelmann crossing light, Berliner Dom interior, Berlin urban culture and German capital tourism. If the subject is graffiti, it can illustrate the city as a living wall of political humour, youth culture, commercial branding and layered paste-ups. If it is heritage or church architecture, it can support more formal travel, culture, history and education uses. If it is a boat, toy or street sign, it gives editors an accessible human-scale route into a large city story. The documentary style keeps the image credible for web, magazine, guidebook, education, museum, travel, urban policy, politics, design, consumer and social commentary use. Its strength for Alamy search is the mix of precise caption wording and broader Berlin themes, allowing it to be found for both narrow subject searches and wider editorial needs.
Mitte,DircksenStr,Berlin,Germany
Description
Keywords: City,cities,grafitti,cartoon,mixed,media,artist,colour,faces,district,ghetto,bilderkombinat,Ihavetogotoparis,el Bocho,GoTonySmith,Buy Pictures of,Buy Images Of,Deutsche,poster,yellow,lips,Deutschland,colors,posters,elBocho,have,the,wash,off,colours,city,centre,hat,hats,street,art,streetart,paste,up,pasted
Description: Tony Smith image Alamy F0G6A6 - This documentary stock photograph shows Girl Grafitti on a Berlin wall,street,art,Germany - I have to go to Paris in pink. The image records Berlin Mitte street art and graffiti, making it useful for editorial features on urban art, alternative tourism, wall culture, counterculture, gentrification, visual satire and layered public space. Berlin is a city where ordinary street details often carry heavy layers of history, from Prussian and imperial architecture to the Weimar period, Nazi rule, wartime destruction, division, the DDR, reunification, tourism, gentrification and contemporary creative culture. The caption and visible subject detail provide a specific point of entry into that wider story rather than a generic German city view. Buyers could use the photograph for articles about Berlin travel, Cold War memory, street art, museum interpretation, urban nightlife, river sightseeing, architecture, souvenir culture, public transport, pedestrian design or the way history is repackaged in modern tourism. Search-friendly composite terms include Berlin Mitte street art, DDR surveillance display, Berlin Fernsehturm skyline, River Spree pleasure boat, Ampelmann crossing light, Berliner Dom interior, Berlin urban culture and German capital tourism. If the subject is graffiti, it can illustrate the city as a living wall of political humour, youth culture, commercial branding and layered paste-ups. If it is heritage or church architecture, it can support more formal travel, culture, history and education uses. If it is a boat, toy or street sign, it gives editors an accessible human-scale route into a large city story. The documentary style keeps the image credible for web, magazine, guidebook, education, museum, travel, urban policy, politics, design, consumer and social commentary use. Its strength for Alamy search is the mix of precise caption wording and broader Berlin themes, allowing it to be found for both narrow subject searches and wider.
Mitte,DircksenStr,Berlin,Germany
Description
Keywords: 3,Statue,by,the,Spree,River,Moabit,Berlin,Germany,bronze,bank,side,of,art,artist,public,publicart,German,sculptor,DomAquarée,DomAquaree,summer,sunny,bright,city,cities,culture,side,view,recline,reclining,GoTonySmith,Buy Pictures of,Buy Images Of,Three girls and one boy,Three girls,and,one boy,3 girls and 1 boy,Wilfried Fitzenreiter,portrait,from
Description: Tony Smith image Alamy F0G6Y4 - . Three girls and a boy by Wilfried Fitzenreiter - Statue by the Spree River, Moabit, Berlin, Germany, reclining. Photographed on 8 August 2012. 1988: Three girls and one boy, DomAquarée, Berlin (originally created between 1977 and 1979 as a group back to back in the midst of a bubbling fountain between Karl-Liebknecht-Straße and Palace Hotel on the sidewalk freely accessible). In historical terms, everyday family scenes provide a social-history record of relationships, clothing and public behaviour
They can be especially valuable when the setting or activity changes over time, such as libraries, playgrounds, streets or travel. The wider historical story is that art in public and historic settings adds another layer to the built environment
Sculpture, mosaic, painting and street art can interpret heritage, provoke debate, memorialise communities or create landmarks, and photographs preserve works that may later change or disappear. During 2026, contemporary editorial use often places ordinary family interaction within broader discussions of public space, services, wellbeing and community life. In the present 2026 context, public art and murals continue to be important to place-making, tourism and regeneration, particularly in city districts where street art has become part of the visitor economy
They also raise questions about conservation, ownership, temporary work and the rapid redevelopment of urban neighbourhoods. In the longer view, images of parents, children and couples combine personal emotion with wider social context
They can illustrate care, intergenerational relationships, childhood and companionship while also documenting the environment in which those interactions take place. Against the 2026 backdrop, contemporary editorial use often places ordinary family interaction within broader discussions of public space, services, wellbeing and community life.
Spree River, Moabit, Berlin, Germany
Description
Keywords: 3,Statue,by,the,Spree,River,Moabit,Berlin,Germany,bronze,bank,side,of,art,artist,public,publicart,German,sculptor,DomAquarée,DomAquaree,summer,sunny,bright,city,cities,culture,front,view,frontal,GoTonySmith,Buy Pictures of,Buy Images Of,body,bodies,history,historic
Description: Tony Smith image Alamy F0G6Y6 - . Three girls and a boy by Wilfried Fitzenreiter - Statue by the Spree River, Moabit, Berlin, Germany,frontview. Photographed on 8 August 2012. 1988: Three girls and one boy, DomAquarée, Berlin (originally created between 1977 and 1979 as a group back to back in the midst of a bubbling fountain between Karl-Liebknecht-Straße and Palace Hotel on the sidewalk freely accessible). Historically, human-interest photographs record gestures and relationships that sit outside formal institutions: family care, childhood, friendship and affection
Small interactions such as holding hands can communicate age, dependence and connection without requiring a staged portrait. As background, murals, sculptures and civic artworks turn public space into a record of local culture
They can commemorate people and events, respond to politics, celebrate industry or simply enliven streets, while the artists' materials and styles place the work within a particular period. In 2026, family and community imagery remains widely used for coverage of childcare, public services, wellbeing, intergenerational relationships and everyday life, particularly when the scene includes identifiable civic or leisure settings. Against the 2026 backdrop, contemporary interest in public art is closely linked to regeneration and cultural tourism. murals and sculpture still be used to express identity and animate public space, while redevelopment can make photographic records of earlier works increasingly valuable. The historical context is that everyday family scenes provide a social-history record of relationships, clothing and public behaviour
They can be especially useful when the setting or activity changes over time, such as libraries, playgrounds, streets or travel. Current 2026 relevance comes from the fact that contemporary editorial use often places ordinary family interaction within broader discussions of public space, services, wellbeing and community life.
Spree River, Moabit, Berlin, Germany
Description
Keywords: bluehour,blue,hour,dusk,Scotland,Stornoway,western,isles,Lewis,Harris,UK,GB,great,britain,castle,moon,grounds,wicker,art,woman,tony,smith,hotpix,tonysmithhotpix,tonysmith,CNES,Hebrides,painting,with,light,long,exposure,tripod,HDR
Description: Tony Smith image Flickr 6056544163 - 'Lews Castle (Scottish Gaelic: Caisteal Le\u00f2dhais) is a Victorian era castle located west of the town of Stornoway, Isle of Lewis, Scotland. The name Stornoway (Scottish Gaelic-'Steornabhagh') derives from 'Sjornavagr', the Old Norse for 'steering bay'. Stornoway has been settled since at least Viking times although there is archaeological evidence of Neolithic activity in the near vicinity of the town.
King James VI granted ownership of Lewis to the Mackenzies of Kintail in 1610. By about 1680, Lord Seaforth had established his estate house, Seaforth Lodge, on the Gearraidh Chruaidh, an area of rough sheiling ground on the west side of Stornoway harbour. Parts of this original building can still be seen within the stripped out walls of the mezzanine at the rear of the present Castle.
The castle was built in the years 1847-57 as a country house for Sir James Matheson who had bought the whole island a few years previously with his fortune from the Chinese Opium trade. It was designed by the Glasgow architect Charles Wilson.
In 1918, the Lewis estate including the castle was bought by soap industrialist Lord Leverhulme from the Matheson family. He gifted the castle to the people of Stornoway parish in 1923.
During World War II the Castle was taken over as accommodation for air and ground crew of 700 Naval Air Squadron, who operated a detachment of six Supermarine Walrus aircraft from a slipway at Cuddy Point in the Grounds. The base was referred to as HMS Mentor. It was also used for accommodation for students of Lews Castle College in the 1950s.
Today the building is owned by the local council, Comhairle nan Eilean Siar (CNES) and is category A listed building.
The rather spooky wicker woman in the grounds of the castle (castle green) was created in July 2010 at the time of the Hebridean Celtic Festival.
Many thanks to Dena &
Catriona for providing company and transport 8-)
Checkout more w=33062170@N08\' target=\'_blank\'>nature from my photostream.
Keep in touch, add me as a contact www.flickr.com/relationship.gne?id=33062170@N08 so I can follow all your new uploads.
\u00bfWhats this iPod Shuffle set all about? Read about it here
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC
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Description
Keywords: An,Art,Nouveau,Paris,metro,station,entrance,taken,with,an,IR,Infra-Red,adapted,Canon,5D,camera,DSLR,France,Europe,french,capital,unusual,gotonysmith,Guimard,entrances,tube,mass,transit,720nm,infrared,cast-iron,balustrade,decorated,in,plant-like,motifs,accompanied by a Métropolitain sign supported,cast,iron,two,orange,globes,atop,ornate,cast-iron,supports,in,the,form,of,plant,stems,Metropolitan,Metropolitain,gotonysmith,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy D8HF87 - . An Art Nouveau Paris metro station entrance taken with an IR Infra-Red adapted Canon 5D camera, France, Europe. Photographed on 1 August 2011. The recorded location is Paris, France. The wider historical story is that monochrome, sepia, selective-colour and infrared treatments belong to a long tradition of photographers using tonal interpretation rather than literal colour
Infrared records wavelengths beyond normal vision, while black-and-white presentation emphasises form, contrast, texture and light. In historical terms, stations and railway infrastructure are both working transport assets and historical records
Their changing operators, signage, ticketing systems, rolling stock and architecture chart the development of British rail travel from the Victorian era to modern inter-city and commuter services. Historically, technology objects become historical remarkably quickly
Telephones, calculators, cameras, valves, televisions and workplace machines chart successive shifts from mechanical and analogue systems to electronics, digital processing, smartphones and cloud-connected services. In the present 2026 context, these effects can be produced digitally with ease, but their usefulness still depends on the underlying subject and the visual information retained
Older examples also document the aesthetics of an era when strong selective colour and infrared processing were especially popular in creative digital photography. During 2026, rail reform gives this type of image extra context
The government is legislating for Great British Railways to coordinate infrastructure, services, fares and timetables, while historic operator liveries and station equipment increasingly become records of the post-privatisation era. Additional natural-language search terms include black and white, infrared photography, creative photography, tonal contrast, high contrast, fine art photography, photographic technique, image treatment, and visual style.
Paris, France
Description
Keywords: Earthwood,Heavy,Metal,Rock,Band,Warrington,UK,North,west,Northwest,music,bands,gigs,gig,stage,musician,performer,unsigned,indie,player,this photo rocks,Tatuaje,\u0442\u0430\u0442\u0443\u0438\u0440\u043e\u0432\u043a\u0430,T\u00e4towierung,tatouage,tatoegering,\u7d0b\u8eab\u82b1\u523a,tatoo,tonysmith,tony,smith,Tatuada,tat2,tatto,tats,tattoo,ink,bodyart,body,art,hot pix,rickhagen,rick,hagan,richard,hagen
Description: Tony Smith image Flickr 3827403203 - '100% musician, Rick or Ian as lead singer of warrington based British heavy metal band Earthwood.
Rick is now lead vocalist in a brilliant tribute to Billy Idol called Rebel Yell.
More Rock www.flickr.com/photos/hotpixuk/3712678726/
(c) Hotpix Tony Smith - Hotpix.freeserve.co.uk WDCC',
Description
Keywords: @HotpixUK,HotpixUK,Real Life,Glasgow,Love,Love Glasgow,love,We Love,neon,sign,shop,office,city,centre,UK,heart,GSofA,School of art,art,2017,Sinclair,Ross,Ross Sinclair artist,GSA,Neon Sculptural Installation,Neon Sculpture,red,yellow,red heart,Glasgow School Of Art,writer,musician,Scottish,Professor of Contemporary Art Practice,School of Fine Art,Real Life project,project,lighting,GoTonysmith
Description: Tony Smith image Alamy 2A4PJJP - Ross Sinclair is an artist, writer and musician who is Professor of Contemporary Art Practice within the School of Fine Art at The Glasgow School of Art. He is best known for his Real Life' research project initiated when he had the words REAL LIFE tattooed in black ink across his back, at Terry's Tattoo parlour in Glasgow, 1994.
Sinclair completed a PhD by Published Work in 2016 where he interrogated and articulated the innovative nature of the Real Life project, unusual in its scale and duration, defining the contribution to contemporary art practice across the fields of sculpture, painting, performance, installation, critical writing and music. Drawing on these multi-disciplinary methodologies Sinclair maps out the forms, materials and processes activated over almost 25 Years of Real Life Projects, that often combine unusual and unorthodox approaches challenging conventional modes of exhibition practice, enabling new means of engagement with the viewer. The multi part thesis submitted claims these routes as an autonomous, artist initiated project, connecting with the public at a dynamic intersection of ideas, context, performance and art-practice.
Sinclair's Real Life Project is set in a critical framework of contested paradigms of Everyday Life and The Real and acknowledges the influence of key critical thinkers over the quarter century of its development from Barthes, Baudrillard and De Certeau, through Bourriaud, Bishop and Kester and more recently in Harman, Mark Fisher and Paul O'Neill amongst many others. The project has been punctuated by the exploration of individual and collective relationships with Real Life particularly viewed through contemporary paradigms constructing society such as: Democracy, Utopia, Justice, Capitalism, Geography and History, the Church, the Bank, the State, while in parallel addressing the role of the tattooed artist himself.
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,England,UK,L1,L1 7AZ,an,player,at,the,T-shirt,musician,music,stops,Anglican,St James Mount,St James Road,Cathedral of the Anglican Diocese of Liverpool,Cathedral Church of the Risen Christ,Easter,Lent,art,holy week,foot pedals,foot pedal,plays,playing,organ,keyboard,keys,Passion Play,2023,sit,sits sitting
Description: Tony Smith image Alamy 2PKA5M9 - . Organ player, at the Liverpool Passion Plays 2023, at Anglican Cathedral, St James Mt, St James Rd, Liverpool, Merseyside, England, UK, L1 7AZ. Photographed on 1 April 2023. The recorded location is Liverpool Anglican Cathedral, St James Mt, Church of England Cathedral of the Diocese of Liverpool. The Liverpool Passion Plays tell the story of the Passion of Christ, including Jesus' arrest, trial and crucifixion. Using the Cathedral's architecture and artwork as a backdrop, the audience watch the story of Jesus unfold, starting as a young boy, and witnessing his entry into Jerusalem, his betrayal by Judas, and his trial and crucifixion. The performance will use the vast central space of Liverpool Cathedral as a backdrop with the crucifixion scene taking place on our very own Calvary, high above the audience, on the Dulverton Bridge. The performance combines music, script and liturgy to demonstrate what Christ's suffering and resurrection means for us today. The performance has been put together by cast, crew and musicians who are volunteers from the cathedral's congregations, choirs and young peoples' groups, and the public.'. Within the history of parish church, parish churches and cathedrals are among Britain's richest sources of architectural and social history
Medieval fabric, later chapels, organs, altars, monuments and inscriptions can coexist within a single building, revealing generations of craftsmanship and evolving liturgy. In relation to performer, historical context shows that concert culture changed with amplification, arena touring, festivals and digital promotion, yet the basic relationship between performer, venue and audience remains central
Older gig photographs can gain significance as bands, buildings and local scenes evolution. For the story of food branding, it is useful to note that chocolate Easter eggs developed from nineteenth-century confectionery innovations and became a major part of British seasonal retail
Branded.
Liverpool Anglican Cathedral, St James Mt, Church of England Cathedral of the Diocese of Liverpool,
Description
Keywords: Banksie on a wall urban art Edinburgh,Scotland,UK spray paint spraypaint Browns Place of Grassmarket Browns,GoTonySmith,Buy Pictures of,Buy Images Of,Vennel,Edinburgh,art,artist,spray,EDN,policemen kissing,kiss,police,gay,Kissing Coppers,political activist,Woke,Tory Culture war,Culture war,polis,mystery,who is,Banksy,stencil,sexy,fruity,romance,romantic,kisses,kissing,people
Description: Tony Smith image Alamy ED4M2N - Banksy is a pseudonymous England-based street artist, political activist and film director whose real name and identity remain unconfirmed and the subject of speculation. Active since the 1990s, his satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have appeared on streets, walls and bridges throughout the world. Banksy's work grew out of the Bristol underground scene, which involved collaborations between artists and musicians. Banksy says that he was inspired by 3D, a graffiti artist and founding member of the musical group Massive Attack.
Banksy displays his art on publicly visible surfaces such as walls and self-built physical prop pieces. Banksy no longer sells photographs or reproductions of his street graffiti, but his public installations are regularly resold, often even by removing the wall they were painted on. Much of his work can be classified as temporary art. A small number of Banksy's works are officially, non-publicly, sold through an agency created by Banksy named Pest Control. Banksy's documentary film Exit Through the Gift Shop (2010) made its debut at the 2010 Sundance Film Festival. In January 2011, he was nominated for the Academy Award for Best Documentary Feature for the film. In 2014, he was awarded Person of the Year at the 2014 Webby Awards.
The Vennel, Edinburgh City, Scotland, UK
Description
Keywords: religion,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,occupation,good,Friday,agreement,peace,reconciliation,IRA,terror,terrorists,genocide,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause
Description: Tony Smith image Alamy HDM1C8 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
Falls Rd, Belfast, Northern Ireland, UK
Description
Keywords: 30s,30,1930,1940,40s,1930s,20s,1920,1920s,design,of,England,Welsh,Wales,Scotland,home,semidetached,bedroom,triangle,Grappenhall,Cheshire,St,Annes,Ave,Avenue,house,with,triangles,over,bedrooms,front garden shared chimney Warrington UK suburbanisation urban suburbs suburban,Gotonysmith,St,Rd,street,road,building,architecture,development,new,duplex,twin,housing,boom,John,Shaw,Art,Deco,movement,council,common,property,type,WA42PL,WA4,2PL
Description: Tony Smith image Alamy DN6MPR - Photo shows Typical 1930s English brick built semi-detached house with triangles over bedrooms, front garden shared chimney Warrington UK. The image is useful for lifestyle, housing, domestic life, gardens, weather, landscape, property, heritage interiors and everyday British place imagery. These subjects can illustrate how people live with buildings, seasons, homes, public spaces and rural or suburban surroundings. The supplied location evidence places the subject at or near Warrington, UK, which adds value for buyers searching by town, city, region or postcode. Season, sky and weather should be read from the photograph where visible
the caption suggests an everyday real location rather than a staged scene. It should work for editorial buyers needing authentic, non-staged British or travel imagery for news, magazine, blog, local government, heritage, housing, transport, tourism, retail, public policy or social commentary use. The caption should be checked against the visible photograph before upload so that any readable signs, weather, time of day and people context are accurately reflected without overstating facts not shown in the image. The strongest sales value is the combination of named subject, real location and everyday documentary style, giving picture editors a flexible image that can sit alongside features, opinion pieces, explainers, historical retrospectives and local news. Search relevance is helped by including concise place names, visible brand or wording, functional subject terms, and wider editorial concepts such as public realm, consumer behaviour, heritage, travel, leisure and community life where they genuinely match the picture.
Grappenhall, Warrington, Cheshire, England, UK WA4 2PL
