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Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,known as,by,artist,footy,match,Merseyside,England,UK,GB,Great Britain,at,the,L1 2TR,L1,church,garden,shake,shaking,hand,hands,Christmas,Xmas,truce,British,German,soldier,poppy,poppies,soccer,game,1914,December,remembrance,memorial
Description: Tony Smith image Alamy 2RJ3YKE - . Christmas truce sculpture, known as All Together Now by Andy Edwards, at St Lukes, the Bombed Out Church, Reece St, Liverpool, L1 2TR. Photographed on 19 August 2023. The recorded location is Leece St, Liverpool, Merseyside, England, UK, L1 2TR. Christmas truce sculpture, known as All Together Now by Andy Edwards in the garden, depicting a British and German soldier commencing a football game at Christmas 1914. Andy Edwards' sculpture All Together Now commemorates the unofficial Christmas Truce of 1914, when British and German troops in sectors of the Western Front left their trenches, exchanged greetings and, in some accounts, kicked footballs between the lines. The work uses two soldiers and a football to represent a moment of temporary humanity amid industrialised warfare. Its setting at St Luke's, Liverpool's bomb-damaged 'Bombed Out Church', adds another layer of war memory: the church was devastated by incendiary bombing during the May Blitz of 1941 and survives as a roofless cultural landmark. Historically, art in public and historical 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 evolution or disappear. The wider historical story is that christmas imagery ranges from religious observance to commercial decoration, seasonal entertainment and humour
Cards, shop displays, lights and novelty messages reveal how the festival has been represented in popular culture as well as how retail and public spaces respond to the winter season. In the longer view, parish churches and cathedrals are among Britain's richest sources of architectural and social history
Medieval fabric, Victorian restoration, monuments, stained glass, organs, altars and inscriptions can coexist in a single building, reflecting generations of worship and local patronage.
Leece St, Liverpool, Merseyside, England, UK, L1 2TR
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,known as,by,artist,footy,match,Merseyside,England,UK,GB,Great Britain,at,the,L1 2TR,L1,church,garden,shake,shaking,hand,hands,Christmas,Xmas,truce,British,German,soldier,poppy,poppies,soccer,game,1914,December,remembrance,memorial
Description: Tony Smith image Alamy 2RJ3YKT - . Christmas truce sculpture, known as All Together Now by Andy Edwards, at St Lukes, the Bombed Out Church, Reece St, Liverpool, L1 2TR. Photographed on 19 August 2023. The recorded location is Leece St, Liverpool, Merseyside, England, UK, L1 2TR. Christmas truce sculpture, known as All Together Now by Andy Edwards in the garden, depicting a British and German soldier commencing a football game at Christmas 1914. Andy Edwards' sculpture All Together Now commemorates the unofficial Christmas Truce of 1914, when British and German troops in sectors of the Western Front left their trenches, exchanged greetings and, in some accounts, kicked footballs between the lines. The work uses two soldiers and a football to represent a moment of temporary humanity amid industrialised warfare. Its setting at St Luke's, Liverpool's bomb-damaged 'Bombed Out Church', adds another layer of war memory: the church was devastated by incendiary bombing during the May Blitz of 1941 and survives as a roofless cultural landmark. The wider historical story is that 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. As background, seasonal photographs document the mixture of tradition, commerce and community activity surrounding Christmas
Domestic lights, cards, street attractions and anti-Christmas jokes all sit within a broader culture of winter celebration. The historical context is that churches combine worship with architecture, local memory and centuries of community history
Their stonework, stained glass, memorials, furnishings and churchyards often record successive periods of rebuilding, changing liturgy, local benefactors, war remembrance and family history. Further editorial search language includes public art, street art, and visual culture.
Leece St, Liverpool, Merseyside, England, UK, L1 2TR
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,L2,Merseyside,history,historic,soldier,remembrance,wreath,at,Association,WWI,WWII,1918,1914,IWM,Serviceman,Servicewoman,holds,holding,a,rifle,Field Marshal,The Earl Haig,KT GCB OM,Haig,Walker House,WM Reference,2339,Exchange Passage West,troop,troops,soldiers
Description: Tony Smith image Alamy 2P6JHK8 - Statue of soldier is a life-size representation in bronze of a British soldier of the First World War in full uniform and equipment, advancing his rifle at the port. There is a nearby plaque and roll of honour plus second copy of roll of honour in other location Bronze plaque has a decorative borderand gold lettering Plastic roll of honour is black writing on yellowed background without ornamentation Paper roll of honour is framed in wood and has colour illumination at the top with union jack and other flags plus crown and 1914-1918/1939-1945 scrolls
Inscription
Metal Tablet: This memorial was unveiled at the Cotton Exchange by / Field Marshal Earl Haig of Bemersyde on 5th April 1922 / It is dedicated to those men from / The Liverpool Cotton Association . who died for their defence of liberty and justice in the Great War 1914-1918 and World War 1939-1945 / Their name liveth forevermore Metal tablet: THE BOOK OF SERVICE / LIES IN THE NEWS ROOM PRO PATRIA / 1914 - 1919 IN REMEMBRANCE OF MEMBERS OF THE LIVERPOOL EXCHANGE / NEWSROOM WHO GAVE THEIR LIVES OF RIGHT AND FREEDOM / AND WHOSE NAMES ARE RECORDED IN THE ADJOINING TABLETS / AND OF THOSE SONS OF MEMBERS WHO LAID / DOWN THEIR LIVES IN THE SAME GREAT CAUSE / IN GRATITUDE ALSO TO ALL MEMBERS AND SONS OF MEMBERS / WHO SERVED THEIR COUNTRY / DURING THE WAR / THE NAME OF ALL RECORDED / IN THE BOOK OF SERVICE Inscription below metal tablet difficult to read: THIS MEMORIAL WAS RE-ERECTED / IN THIS POSITION IN 1953 The section below does not seem an accurate transcription, needs checking. METAL PLAQUE: 1914-1919/ THIS MEMORIAL/ WAS UNVEILED BY/ FIELD-MARSHAL/ EARL HAIG/ OF BEMERSYDE/ 5TH APRIL 1922 PLASTIC ROLL OF HONOUR: THIS PLAQUE RECORDS THE NAMES OF THOSE MEN WHO/ WENT FROM THE LIVERPOOL COTTON ASSOCIATION TO THE/ GREAT WAR 1914-1918 AND TO THE WORLD WAR 1939-1945/ AND DIED FOR THEIR COUNTRY IN DEFENCE OF/ LIBERTY AND JUSTICE/ 1914-1918 / (Names)/ 1939-1945 / (Names)/ THEIR NAME LIVETH FOR EVERMORE FRAMED ILLUMINATED
Exchange Flags, Liverpool, Merseyside, England, UK, L2 3YL
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,south,Cheshire,England,UK,church,Grappenhall Village,South Warrington,inside,interior,in memory,of,Christ,being,Greenalls,family,brewer,brewing,resurrected,detail,detailed,Gropenhale,rector,Greenall,families,Jesus,Roman,soldier,Roman Soldier,born,8th,8,April,1848,1878,hotpix.org.uk
Description: Tony Smith image Alamy 2K7NBPA - . An identifiable period record of Church Lane, Grappenhall Village, South Warrington, Cheshire, England, UK in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The defining feature is St Wilfrids Church interior, Thomas Greenall window, Grappenhall Village, South Warrington, Cheshire, England, UK - Detail. Other connected aspects include religious landmark, historical comparison, Christian heritage, regional identity, place identity, documentary photography, local history, historic church fabric, everyday life, visual archive, public realm, sacred architecture, faith community, and ecclesiastical architecture. Current relevance extends to faith communities and maintenance costs, particularly through how churches combine active worship with heritage and community roles. The image fixes materials and architectural details within Church Lane, Grappenhall Village, South Warrington, Cheshire, England, UK at one identifiable point, providing a benchmark against closure or conversion. A second descriptive layer includes archival record, before-and-after reference, changing streetscape, heritage worship space, changing land use, local character, community identity, and contemporary social history. References to Village, window, Greenall, Thomas, and interior give the picture a strong period identity and tie it closely to its named subject. A later view of Church Lane, Grappenhall Village, South Warrington, Cheshire, England, UK may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes faith communities and the challenge of maintaining historic fabric amid rising costs in a form that can be compared with future views of Church Lane, Grappenhall Village, South Warrington, Cheshire, England, UK. That local specificity strengthens the long-term documentary value of image 2K7NBPA.
Church Lane, Grappenhall Village, South Warrington, Cheshire, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,one,I,time line,SK6 6BB,Fred Atkinson,Fred Riley,Robert Edward Speakman,Robert Ashton,Arthur Rhodes,WWII,world war,two,II,WWI,timeline,face,faces,people,and,their,stories,story,men,soldier,soldiers,volunteer,volunteers,history,historic,heritage,old
Description: Tony Smith image Alamy 2M4CAJC - . This location-specific image from Marple Memorial Park, Marple, Stockport, Greater Manchester, Cheshire, England, UK, SK6 6BB in 2022 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The image documents WWI Timeline at Marple cenotaph, Marple Memorial Park, Marple, Stockport, Greater Manchester, Cheshire, England, UK, SK6 6BB. Further facets of the scene include historic streetscape, architectural detailing, architectural character, visual archive, regional identity, before-and-after reference, period detail, urban fabric, built heritage, historic townscape, community identity, historical comparison, traditional materials, and everyday life. In present-day coverage, the subject reaches into tourism and energy retrofit, not least because of the value of architectural landmarks to local identity. Small period details of period objects and surrounding context at Marple Memorial Park, Marple, Stockport, Greater Manchester, Cheshire, England, UK, SK6 6BB may become more significant with time, particularly following different community use. The wider setting retains connections with public realm, local character, changing streetscape, contemporary social history, archival record, period architecture, heritage asset, and period building. Elements such as Marple, Manchester, Stockport, Memorial, and Timeline add documentary specificity and may become increasingly useful when compared with later records. A later view of Marple Memorial Park, Marple, Stockport, Greater Manchester, Cheshire, England, UK, SK6 6BB may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes tourism and the value of architectural landmarks to local identity when considered against later change at Marple Memorial Park, Marple, Stockport, Greater Manchester, Cheshire, England, UK, SK6 6BB.
Marple Memorial Park, Marple, Stockport, Greater Manchester, Cheshire, England, UK, SK6 6BB
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,Cheshire,SK11 6NG,SK10 1DY,SK10,&,statue,St Michaels,Thomas Savage,3rd,Earl Rivers,Rivers,Sculpture,by,William Stanton,erected,1694,English,nobleman,soldier,1628,Major General,at,architectural,inside,interior,religion,religious,churches,history,historic,heritage
Description: Tony Smith image Alamy 2JP0K9M - Monument in St Michael and All Angels parish church, Macclesfield, Cheshire, England to Thomas Savage, 3rd Earl Rivers, Date Monument erected 1694. Sculpture by William Stanton
Major General Thomas Savage, 3rd Earl Rivers (c.‰1628 “ 14 September 1694) was an English nobleman and soldier.
He was the first son of John Savage, 2nd Earl Rivers by his wife Catherine, daughter of William Parker, 13th Baron Morley. His father was closely involved in the English Civil War on the Royalist side from 1641. Consequently, he lost his castles at Halton and Rocksavage and their contents were confiscated.
About 1647, he married firstly Elizabeth (b. 1627), illegitimate daughter of Emanuel Scrope, 1st Earl of Sunderland by his mistress Martha Jeanes. Their children included: Thomas, who married Charlotte, daughter of Charles Stanley, 8th Earl of Derby
Richard, who succeeded as 4th Earl Rivers
Elizabeth
and Annabella. They also had other children who died young.
He was widely believed to be a Roman Catholic, and during the Popish Plot he was denounced by informers, but the evidence was so flimsy that no charges were ever brought against him.
About 1684, he married secondly Arabella, daughter of Robert Bertie, 3rd Earl of Lindsey. They had no issue.
He died at his house in Great Queen Street in the Parish of St Giles in the Fields, Middlesex. A memorial to him by William Stanton was installed in St Michaels Church, Macclesfield.
Documented evidence exists in the form of a pamphlet which details a murder by a Thomas Savage of St Giles in the Fields. It is likely the Thomas in question is the son of the 3rd Earl Rivers, or a family relation
Market Place, Macclesfield, Cheshire, England, UK, SK10 1DY
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,London,Westminster,England,UK,The,designer,Designed,by,British,national,to,the,and,dead,soldier,first world war,casualties,respect,Woke,mourning,National,Service,of,remembrance,services,architect,laurel,wreath,wreaths,flag,union,flags,jack,poppy,poppies
Description: Tony Smith image Alamy 2M07A92 - Whitehall is a road and area in the City of Westminster, Central London. The road forms the first part of the A3212 road from Trafalgar Square to Chelsea. It is the main thoroughfare running south from Trafalgar Square towards Parliament Square. The street is recognised as the centre of the Government of the United Kingdom and is lined with numerous departments and ministries, including the Ministry of Defence, Horse Guards and the Cabinet Office. Consequently, the name Whitehall is used as a metonym for the British civil service and government, and as the geographic name for the surrounding area.
The name was taken from the Palace of Whitehall that was the residence of Kings Henry VIII through to William III, before its destruction by fire in 1698
only the Banqueting House has survived. Whitehall was originally a wide road that led to the front of the palace
the route to the south was widened in the 18th century following the destruction of the palace.
As well as government buildings, the street is known for its memorial statues and monuments, including the UK's primary war memorial, the Cenotaph. South of the Cenotaph the thoroughfare becomes Parliament Street.
The name Whitehall was used for several buildings in the Tudor period. It either referred to a building made of light stone, or as a general term for any festival building. This included the Royal Palace of Whitehall, which in turn gave its name to the street
Numerous London bus routes run along Whitehall, including 12, 24, 88, 159 and 453
Downing Street leads off the south-west end of Whitehall, just above Parliament Street. It was named after Sir George Downing, who built a row of houses along the street around 1680 leading west from Whitehall.
Richmond House, at No. 79, has held the Department of Health since 1987. The building is scheduled to be a temporary debating chamber from 2025, while the Houses of Parliament undergo a refurbishment and modernisation programme
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,service,serviceman,ex,flies,fly,at,flying,Grappenhall,Warrington,Cheshire,England,UK,WA4 2QG,Chester Rd,Chester Road,Royal British Legion,clubs,soldier,soldiers,pole,flagpole,flag pole,flutter,fluttering,half-staff,half-mast,half,mast,protocol,symbol,of,mourning,distress,or,a,salute to the fallen
Description: Tony Smith image Alamy 2JH3W46 - . An on-location photograph from Grappenhall, Warrington, Cheshire, England, UK, WA4 2QG in 2022, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The frame specifically shows British Flag flying at half mast, indicating a colleague has passed away, at a British legion / ex-Servicemans Club, Grappenhall, Warrington, UK. The setting additionally reflects contemporary city life, local character, archival record, urban change, contemporary social history, street-level documentary, everyday street life, historical comparison, changing streetscape, community life, everyday life, public realm, community identity, and period detail. For current editorial use, public-realm change and street safety provide additional context, especially through how regeneration alters the character of familiar places. Small period details of signage and branding at Grappenhall, Warrington, Cheshire, England, UK, WA4 2QG may become more significant with time, particularly following refurbishment. The location also brings in urban social history, place identity, pedestrian environment, visual archive, social landscape, local identity, before-and-after reference, and townscape record. The combination of flying, Grappenhall, ex-Servicemans, legion, and British anchors the frame to a recognisable activity, place or moment. A later view of Grappenhall, Warrington, Cheshire, England, UK, WA4 2QG may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. Its period value extends to public-realm change and how ordinary street scenes become valuable records as businesses and infrastructure change within the specific setting of Grappenhall, Warrington, Cheshire, England, UK, WA4 2QG. The record includes period character as part of Grappenhall, Warrington, Cheshire, England, UK, WA4 2QG's history.
Grappenhall, Warrington, Cheshire, England, UK, WA4 2QG
Description
Keywords: @Hotpixuk,HotpixUK,GoTonySmith,UK,England,London,SE1 2HH,SE1,bar,bars,pub,boozer,21 Druid St,21,Druid Street,real ale,beer,Arthur Wellesley,1st,Duke of Wellington,Anglo-Irish,statesman,soldier,and,Tory politician,politician,the,Iron Duke,icon,iconic,pubs,old,the Marquis of Wellington,21 Druid Street,CAMRA,realale
Description: Tony Smith image Alamy 2AE02FA - Arthur Wellesley, 1st Duke of Wellington, KG, GCB, GCH, PC, FRS (1 May 1769 “ 14 September 1852) was a Anglo-Irish statesman, soldier, and Tory politician who was one of the leading military and political figures of 19th-century Britain, serving twice as prime minister of the United Kingdom. He is among the commanders who won and ended the Napoleonic Wars when the Seventh Coalition defeated Napoleon at the Battle of Waterloo in 1815.
Wellesley was born in Dublin into the Protestant Ascendancy in Ireland. He was commissioned as an ensign in the British Army in 1787, serving in Ireland as aide-de-camp to two successive lords lieutenant of Ireland. He was also elected as a member of Parliament in the Irish House of Commons. He was a colonel by 1796 and saw action in the Netherlands and in India, where he fought in the Fourth Anglo-Mysore War at the Battle of Seringapatam. He was appointed governor of Seringapatam and Mysore in 1799 and, as a newly appointed major-general, won a decisive victory over the Maratha Confederacy at the Battle of Assaye in 1803.
Wellesley rose to prominence as a general during the Peninsular campaign of the Napoleonic Wars, and was promoted to the rank of field marshal after leading the allied forces to victory against the French Empire at the Battle of Vitoria in 1813. Following Napoleon's exile in 1814, he served as the ambassador to France and was granted a dukedom. During the Hundred Days in 1815, he commanded the allied army which, together with a Prussian Army under Field Marshal Gebhard von Blücher, defeated Napoleon at Waterloo. Wellington's battle record is exemplary
he ultimately participated in some 60 battles during the course of his military career.
21 Druid St, Bermondsey, London,England, UK, SE1 2HH
Description
Keywords: Brixton,England,UK,Bellefields,Road,city,centre,One,love,luv,street,BRXTN,city,of,London,BlackPoppy,commemoration,commonwealth,soldier,soldiers,Bellefields Road,South London,Brixton London,city centre,City Of London,Black Poppy,The Black Poppy,Artful Dodger,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,English,London,Cockney,Cockneys,England,LDN,British,England,problem,with,problem with,issue with,art,artist,clever,fun,capital,city,Commonwealth,soldier,soldiers,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,South London,Capital city,Commonwealth Soldier,Commonwealth Soldiers
Description: Tony Smith image Alamy HK3J4E - . This location-specific image from Bellefields Road, Brixton,South London, England, UK in 2017 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The subject captured here is Street art in Brixton London, England, UK - The Black Poppy. The image also relates to stencil art, historical comparison, community art, roadside transit, changing land use, street-level design, urban graphics, urban artwork, roadside stop, temporary artwork, contemporary social history, changing streetscape, surface public transport, and public transport stop. From a 2025-onward perspective, creative districts and local identity are closely linked to this subject, alongside how regeneration can both promote and displace informal urban art. The wider contemporary story combines rural transport, local connectivity and the challenge of maintaining reliable services outside dense city centres. Small period details of local activity and public use at Bellefields Road, Brixton,South London, England, UK may become more significant with time, particularly following later reinterpretation. The subject also sits alongside local character, public art, visual street culture, archival record, street-side transport, graffiti heritage, transport accessibility, and regional identity. References to Brixton, Poppy, Black, and London give the picture a strong period identity and tie it closely to its named subject. Around Bellefields Road, Brixton,South London, England, UK, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Another useful connection is creative districts and how regeneration can both promote and displace informal urban art without losing the local specificity of Bellefields Road, Brixton,South London, England, UK. The view records period character for later comparison.
Bellefields Road, Brixton,South London, England, UK
Description
Keywords: Unionist,British,Shankil,rd,painting,artist,fighter,soldier,wall,end,gable end,Shankill Road Mural,West,West Belfast,NI,Northern Ireland,Welcome To The Shankill Rd,Welcome,To,The,Shankill Road,flag,poster,sign,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,unionism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,DUP,democratic Unionist,red hand,of Ulster,Red Hand Of Ulster,Shankill,Rd,road,Shankill Road,streets of Belfast,protestant,religion,intolerance,prejudice,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Irish History,Ireland History,Northern Ireland History
Description: Tony Smith image Alamy HEW11T - . Made at Shankill Road,West Belfast, County Antrim, Northern Ireland, UK in 2016, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. The subject captured here is Shankill Road Mural -Welcome To The Shankill Road, West Belfast, Northern Ireland, UK. The surrounding context encompasses public transport information, regional identity, transport accessibility, street-level design, contemporary social history, public realm, changing land use, temporary artwork, visual street culture, mural culture, street-side transport, public-realm art, contemporary mural, and archival record. The modern context includes continuing discussion of temporary works, creative districts and the blurred boundary between commissioned public art and unsanctioned graffiti. For current editorial use, integrated transport and local connectivity provide additional context, especially through the shift toward cleaner buses and integrated ticketing. The archival value lies partly in recording materials and architectural details around Shankill Road,West Belfast, County Antrim, Northern Ireland, UK before changing commercial priorities alters the character of the place. The wider setting retains connections with local bus network, everyday life, community identity, surface public transport, historical comparison, before-and-after reference, local history, and creative placemaking. Elements such as Mural, Ireland, -Welcome, Belfast, and Northern add documentary specificity and may become increasingly useful when compared with later records. For Shankill Road,West Belfast, County Antrim, Northern Ireland, UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Image HEW11T also remains a dated record of Shankill Road,West Belfast, County Antrim, Northern Ireland, UK.
Shankill Road,West Belfast, County Antrim, Northern Ireland, 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,Buy,Pictures,of,Buy Images Of,Weeping,Window,remembrance,respect,ex-serviceman,ex-servicemen,flowers,summer,autumn,sun,sky,blue,bluesky,volunteers,dismantling,building,creating,,,
Description: Tony Smith image Alamy EC2T20 - 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,Buy,Pictures,of,Buy Images Of,Weeping,Window,remembrance,respect,ex-serviceman,ex-servicemen,flowers,summer,autumn,sun,sky,blue,bluesky,west,side,of,,,
Description: Tony Smith image Alamy EC2T22 - 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,volunteer,passes,walks,past
Description: Tony Smith image Alamy EC2T25 - 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,Buy,Pictures,of,Buy Images Of,Weeping,Window,remembrance,respect,ex-serviceman,ex-servicemen,flowers,summer,autumn,sun,sky,blue,bluesky,volunteer,walks,beside,split,page,triangle,,,
Description: Tony Smith image Alamy EC2T28 - 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: GoTonySmith,HotpixUK,@HotpixUK,11/11,November,1918,Remembrance Day,day,First World,War memorial,WWI,remembrance,fallen,soldier,Cheshire,England,UK,Royal British Legion poppy wreath,in remembrance inscription,war dead names,1914""“1918,World War One casualties,memorial stone,local war memorial,village remembrance,armistice remembrance,military history,community commemoration,honour and sacrifice,red poppies,British remembrance tradition,civic ceremony,editorial photography,documentary image,civic,local
Description: Tony Smith image Alamy 2R64KGP - This image shows a red poppy wreath laid against a stone war memorial in Grappenhall and Thelwall, near Warrington in Cheshire, as part of Remembrance Day commemorations. The memorial bears the names of local men who lost their lives during the First World War, with dates spanning 1914 to 1918 carved into the stone.
The poppy wreath, traditionally associated with remembrance in the UK and Commonwealth countries, symbolises sacrifice, loss, and collective memory. Its placement reflects long-standing national and local customs observed each November to honour those who served and died in conflict.
Village and parish war memorials such as this play a central role in community remembrance, providing a focal point for ceremonies, silence, and reflection. The close-up framing highlights the contrast between the bright red poppies and the weathered stone inscription, reinforcing the enduring connection between present-day remembrance and historic loss.
Photographed in natural daylight, the image is well suited for editorial use covering Remembrance Day, First World War history, local heritage, civic commemoration, and the continuing cultural importance of war memorials within British towns and villages.
Grappenhall and Thelwall, Warrington, Cheshire, England, UK
Description
Keywords: remembrance,we,shall,remember,them,City,of,Edinburgh,Squadron,603,at,Kirk,church,chapel,November,2013,2012,Day,or,Armistice,11/11,war,hero,heroes,dead,armed,forces,soldier,soldiers,In,Flanders,Fields,red,blood,spilled,spilt,two,minutes,of,silence,minute,Royal,British,Legion,gotonysmith haig fund association for ex-servicemen exservicemen ex servicemen,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy DECXB8 - Remembrance Day (also known as Poppy Day or Armistice Day) is a memorial day observed in Commonwealth countries since the end of World War I to remember the members of their armed forces who have died in the line of duty. This day, or alternative dates, are also recognised as special days for war remembrances in many non-Commonwealth countries. Remembrance Day is observed on 11 November to recall the end of hostilities of World War I on that date in 1918. Hostilities formally ended at the 11th hour of the 11th day of the 11th month, in accordance with the Armistice, signed by representatives of Germany and the Entente between 5:12 and 5:20 that morning. (At the 11th hour refers to the passing of the 11th hour, or 11:00 am) World War I officially ended with the signing of the Treaty of Versailles on 28 June 1919.
The day was specifically dedicated by King George V on 7 November 1919 as a day of remembrance for members of the armed forces who were killed during World War I. This was possibly done upon the suggestion of Edward George Honey to Wellesley Tudor Pole, who established two ceremonial periods of remembrance based on events in 1917.
The Initial or Very First Armistice Day was held at Buckingham Palace commencing with King George V hosting a Banquet in Honour of The President of the French Republic during the evening hours of November 10 1919. The First Official Armistice Day was subsequently held on the Grounds of Buckingham Palace on the Morning of November 11th 1919. This would set the trend for a day of Remembrance for decades to come.
The red remembrance poppy has become a familiar emblem of Remembrance Day due to the poem In Flanders Fields. These poppies bloomed across some of the worst battlefields of Flanders in World War I, their brilliant red colour an appropriate symbol for the blood spilled in the war.
Canongate Kirk, Canongate, Royal Mile, Edinburgh, Scotland UK
Description
Keywords: tony,smith,hotpix,tonysmith,tonysmithhotpix,soldier,army,book,signing,Warrington,cheshire,uk,portrait,waterstones,december,2011,dec,dec2011
Description: Tony Smith image Flickr 6561696353 - 'Bjork - 'Army Of Me' - Play this track here.
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I was always a fan of the Icelantic led Sugar Cubes, meeting Steven McLaughlin doing a signing in my local bookstore, just meant this was my next post.
'Army of Me' is a song by Bj\u00f6rk, released in 1995 as the first, and leading, single from her second solo album Post. The song also appeared, later in the same year on the soundtrack of Tank Girl as well as in the soundtrack of Sucker Punch in 2011.
The song is dedicated to Bj\u00f6rk's brother. It shows Bj\u00f6rk daring him to move up and find a job to keep his life on, and also for him to not fall into bad things and learn to defend himself.
The music video for the song was directed by filmmaker Michel Gondry. It opens with Bj\u00f6rk, clad in a black karate gi, driving a large vehicle. The vehicle begins to sputter and slow, prompting Bj\u00f6rk to check the motor. The vehicle's engine assembly consists of a mouth in which and all of the teeth appear rotten, comically exaggerated by a shaggy-looking man engulfed in a stench-cloud crawling out of the mouth and offending passers-by.
Bj\u00f6rk touches her cheek, appearing to have a toothache, and proceeds to a nearby dentist's office. She is examined by the dentist, a anthropomorphic gorilla, who discovers a diamond in her mouth. The dentist attempts to steal the diamond for himself, but Bj\u00f6rk leaps onto his back and pummels him, and retrieving the diamond, escapes the office. She takes the diamond back to her vehicle, all the while it multiplies in size until she is barely able to carry it. Bj\u00f6rk tosses the diamond into the vehicle's mouth, apparently correcting its earlier affliction.
She then drives to a museum and proceeds inside, carrying a satchel containing a bomb. Sneaking past the museum's guards, she places the bomb on one of the exhibits, a man lying on an altar in a deep sleep. She then bolts toward the museum's exit, concerning the guards and other patrons. She makes it out of the building just moments before the bomb explodes. After the explosion, she re-enters the building to find the man from the altar, who appears to have been wakened by the blast. Bj\u00f6rk hugs him, crying teardrops of jewels, and the shot fades to black, showing a message 'To Be Continued.'.
I had a nice chat with Steven, he was a genuine bloke and I realised that soldiers are in some ways they are detached from the (often wrong) decisions that send them to the various war zones.
The book is a rivitting read, as described here in an Amazon review: 'Squaddie is without doubt the most original soldier's story of recent times
it is long overdue and most welcome, particularly for anyone who has ever served in the British Infantry. I myself served eight satisfying years in the QLR and left as a Platoon Sergeant, but until now I had never read a book that accurately captured the Squaddie experience - both the good, bad, and truly awful bits too!
The level of detail that McLaughlin goes into is astounding, and whether he is describing weapons systems, basic training, battalion life or operational tours - his descriptions are always bang-on, totally convincing, and unnervingly accurate. Several times reading this book I had to put it down and have a little daydream, such is the level of personal recall it stirred inside.
Those of us who have been there will know what he is talking about
being beasted around Catterick by depot-screws, trying to reassemble an SA80 in the field and losing your camstud, scraping the carbon off a Gimpy when your hands are so cold you just want to curl up and die, platoon mongs and stag bitches, etc - I swear this book took me right back in an instant.
In this day and age of overblown and exaggerated Special Forces accounts it's refreshing to see an ordinary soldier embracing his experience and celebrating the sheer bloody grind of being an Infantryman. What I particularly liked about this book is the total lack of heroics and the grim honesty with which the author appraises his own fears and weaknesses - and he confesses to many. McLaughlin is his own severest critic and openly admits his failings, going so far as to show himself in an extremely bad light at times - unlike other `heroes' we could mention. '
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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,oppression Breeds Resistance,Resistance Brings Freedom,Falls Curfew,July 1970,Curfew,1970,woman,women,military,military aggression,soldier,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,catholic,community,catholics,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,republican cause,British Soldier,Belfast Catholic Community
Description: Tony Smith image Alamy HEEF62 - 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: history,airmen,airman,soldier,soldiers,battle,battles,war,uk,england,britain,british,united,kingdom,empire,red,sepia,mono,b/w,rememberence,rememberance,toned,old,brown,hotpix!
Description: Tony Smith image Flickr 4645364243 - 'This is a page from the book of remembrance inside the Priory chapel at Christchurch, Dorset,UK.
It is the Royal British Legion War Memorial Chapel and seeks to remember those who have died in the First and Second World Wars, but also more recently the Falklands and Bosnia.
This is the entry for Bert Hiscock service number 33287. He held the rank of private and he belonged to the 1st Royal Berkshire Regiment. He is posted missing at Battle of Arras 3rd May 1917.
Throughout the books, soldiers were recorded as killed in action, at battles like the Somme, died of disease attributable to service, many reported missing, Drowned at sea in Battle of Jutland and Died of heatstroke at Aden. Approximately a hundred bound sheets of paper, each a life, frozen in this book of history.
Always a shame that the civilian casualties are not accessible in this way. It has been said though that 'The Truth, is always the first casualty of war'. (Often attributed to Winston Churchill).
If you are in the area, the chapel is well worth a visit.
NB: Like all the images on this stream, full size prints up to 30x20inches are available, Check my profile for how to contact me.
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s=int\'>selective colour shots from my photostream.
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Description
Keywords: Granny,Passport,British,British Passport,watch,RNIB,blind,braile,braille,partially,sighted,sepia,black,white,photograph,woman,lady,grandmother,document,stamp,stamps,London,1936,prewar,pre,war,secret,spy,code,codebreaker,blechley,park,enigma,MI5,MI6,under,cover,undercover,alied,soldier,WRAF,RAF,air,ministry,airministry,ATS,Auxiliary,Territorial,Services,foreign,office,Foreign Office,clock,hands,pocket,pocketwatch,grandma,grannie,paper,paperwork,vintage,old,documents,B/W,mono,monochrome,this photo rocks,clocks,time,photos,grannies,tonysmith,tony,smith,HOT PIX
Description: Tony Smith image Flickr 4241858374 - ''Yes, the past is a strange place...' as someone once said.
As the cypher work got more intense, her sight started to faulter.
Her nemesis www.flickr.com/photos/hotpixuk/4002064079/ would never realise her role in his downfall.
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC 07092182899',
Description
Keywords: veteran,medal,medals,wr,old,soldier,pier,head,liverpool,mersey,merseyside,day,rememberence,rememberance,celebration,cenataph,england,english,UK,British,britain,great,royal,air,force,association,GB,november,11,11/11,11th,liver,building,cunard
Description: Tony Smith image Flickr 6333779781 - 'Manic Street Preachers - 'If You Tolerate This Your Children Will Be Next' - Play this track here.
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Well what else could you post on 11/11?
The Manic Street Preachers are a Welsh alternative rock band, formed in 1986. They are James Dean Bradfield, Nicky Wire, Richey Edwards and Sean Moore. The band are part of the Cardiff music scene, and were at their most prominent during the 1990s. They are colloquially known as 'The Manics' or 'Manics'.
The band were originally a quartet: main lyricist and guitarist Richey Edwards vanished on 1 February 1995. In November 2008, thirteen years after his disappearance, he was officially declared presumed deceased.
The Manics released their debut album, Generation Terrorists in 1992. Their combination of androgynous glam punk imagery, outspoken invective and songs about 'culture, alienation, boredom and despair' soon gained them a loyal following and cult status. The band's later albums retained a leftist politicisation and intellectual lyrical style, while adopting a broader alternative rock sound.
Enigmatic lyricist Richey Edwards gained early notoriety by cutting the words '4REAL' into his arm with a razor blade (narrowly missing an artery and requiring seventeen stitches) in response to the suggestion that the band were less than authentic. The dark nature of 1994's The Holy Bible reflected the culmination of Edwards' instability.
'If You Tolerate This Your Children Will Be Next' is one of the best known tracks by the Manic Street Preachers, released as the first single from their fifth studio album, This Is My Truth Tell Me Yours, with lyrics written by Nicky Wire (credited as Nick Jones), and music written by James Dean Bradfield and Sean Moore.
It was released on 24 August 1998 and became the first of the band's two number one singles in the United Kingdom to date. The song is in the Guinness World Records as the number one single with the longest title without brackets. The song was voted no 20 on Channel 4's 100 Greatest Number One Singles, is the group's biggest success on the Irish singles chart (where it reached no 3), and is the only Manic Street Preachers track ever to be released as a single in the United States.
Various works on the Spanish Civil War were the inspiration for this song, most notably George Orwell's first-hand account, 'Homage to Catalonia.' (one of my favourite authors). Wire has acknowledged that he was also inspired by a song by The Clash, 'Spanish Bombs', which has a similar subject.
In March 2009, it was discovered that the song was used on the website of the British National Party as the soundtrack of an article describing 'the violence, hatred, fragmentation and despair' wrought on London by the 'great multicultural experiment'. The choice of this song was considered ironic by many, considering the song contains lyrics such as 'So if I can shoot rabbits/Then I can shoot fascists'. Record company Sony were successfully able to have the song removed from the site on the grounds of unauthorised use.
The BNP later released a press statement claiming that 'the song had mistakenly been automatically streamed on to its site and had nothing to do with the official party' and that 'you can interpret the lyrics any way you want'.
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Description
Keywords: soldiers,soldier,stained,glass,memorial,blue,Scottish,Edinburgh,Scotland,UK,The,last,to,forsake,thee,Royal,Regiment,Royal Scots,Stained Glass,Holyrood House,Regimental Kirk,The first to follow,GoTonySmith,@HotpixUK,church,chapel,Buy Pictures of,Buy Images Of,Images of,Stock Images,Royal Regiment window,Canongate Kirk
Description: Tony Smith image Alamy DED0AD - . The Royal Regiment window, Canongate Kirk,Edinburgh,Scotland,UK
The first to follow, The last to forsake thee. Photographed on 26 August 2013. The recorded location is Canongate, Edinburgh, Scotland, UK. Commissioned by
1st Battalion, The Royal Scots
(The Royal Regiment)
originally installed in the kirk at
Albuhera Barracks, Werl, Germany. Transferred to the Regimental Kirk, Canongate
(The Kirk of Holyrood House)
27th March 1994. Canongate Kirk was built between 1688 and 1691 after the congregation was displaced from Holyrood Abbey. The distinctive Dutch-gabled church serves the Canongate parish at the lower end of Edinburgh's Royal Mile and has longstanding links with Holyroodhouse and the military. Its interior, monuments, organ and stained glass sit within one of Scotland's most historically dense streetscapes. In historical terms, churches combine worship with architecture, local memory and centuries of community history
Their stonework, stained glass, memorials, furnishings and churchyards often record successive periods of rebuilding, changing liturgy, local benefactors, war remembrance and family history. The historical context is that objects from the First and Second World Wars often have significance beyond their immediate function
Uniform items, medical equipment, memorials and museum displays illustrate logistics, casualty care, military identity and the long cultural memory of industrialised warfare. In the longer view, historic inscriptions offer unusually direct documentary evidence
Names, dates, dedications and symbolic imagery can connect a present-day location with former residents, workers, congregations or wartime casualties, making the object relevant to both genealogy and wider social history. During 2026, historic places of worship remain important not only for faith but also for conservation, tourism, music, community use and local identity
Their maintenance illustrates the continuing challenge of caring for ageing heritage.
Canongate, Edinburgh, Scotland, UK
