Decorative window headers : Seashell bath decor : 1960's decorating ideas.

Decorative Window Headers

decorative window headers
  • Serving to make something look more attractive; ornamental
  • Relating to decoration
  • (decoratively) in a decorative manner; "used decoratively at Christmas"
  • (decorativeness) an appearance that serves to decorate and make something more attractive
  • cosmetic: serving an esthetic rather than a useful purpose; "cosmetic fenders on cars"; "the buildings were utilitarian rather than decorative"
  • A shot or pass made with the head
  • (header) horizontal beam used as a finishing piece over a door or window
  • (header) brick that is laid sideways at the top of a wall
  • A brick or stone laid at right angles to the face of a wall
  • A headlong fall or dive
  • (header) heading: a line of text serving to indicate what the passage below it is about; "the heading seemed to have little to do with the text"
  • a framework of wood or metal that contains a glass windowpane and is built into a wall or roof to admit light or air
  • A pane of glass filling such an opening
  • a transparent opening in a vehicle that allow vision out of the sides or back; usually is capable of being opened
  • An opening in a wall or screen through which customers are served in a bank, ticket office, or similar building
  • An opening in the wall or roof of a building or vehicle that is fitted with glass or other transparent material in a frame to admit light or air and allow people to see out
  • a transparent panel (as of an envelope) inserted in an otherwise opaque material
decorative window headers - Wallmonkeys Peel
Wallmonkeys Peel and Stick Wall Graphic - Header Windows to the World - 24"W x 6"H
Wallmonkeys Peel and Stick Wall Graphic - Header Windows to the World - 24"W x 6"H
WallMonkeys wall graphics are printed on the highest quality re-positionable, self-adhesive fabric paper. Each order is printed in-house and on-demand. WallMonkeys uses premium materials & state-of-the-art production technologies. Our white fabric material is superior to vinyl decals. You can literally see and feel the difference. Our wall graphics apply in minutes and won't damage your paint or leave any mess. PLEASE double check the size of the image you are ordering prior to clicking the 'ADD TO CART' button. Our graphics are offered in a variety of sizes and prices.
WallMonkeys are intended for indoor use only.
Printed on-demand in the United States Your order will ship within 3 business days, often sooner. Some orders require the full 3 days to allow dark colors and inks to fully dry prior to shipping. Quality is worth waiting an extra day for!
Removable and will not leave a mark on your walls.
'Fotolia' trademark will be removed when printed.
Our catalog of over 10 million images is perfect for virtually any use: school projects, trade shows, teachers classrooms, colleges, nurseries, college dorms, event planners, and corporations of all size.

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Panhellenic Tower
Panhellenic Tower
Turtle Bay, Manhattan, New York City, New York, United States Prominently sited at the top of Beekman Hill, the Panhellenic Tower (now the Beekman Tower Hotel) is one of the great Art Deco skyscrapers in Midtown Manhattan. Erected in 1927-29 as a residence and clubhouse for women belonging to national Greek-letter college sororities, the Panhellenic Tower provided affordable housing for young college-educated women who were entering the work force in record numbers in the 1920s. Designed by the noted architect John Mead Howells, this striking modernistic building features a square-plan twenty-six story tower with chamfered corners and setbacks. The tower is renowned for its dramatic volumetric massing and bold vertical striping created by deeply recessed window-and-spandrel bays set between narrow piers which rise unbroken from a two-stoiy base to a parapet crown. Though sparsely decorated, the building incorporates handsome Gothic-inspired Art Deco ornament by the leading architectural sculptor Rene Chambellan. Description The Panhellenic Tower is located on a rectangular lot which extends 126 feet along Mitchell Place and eighty-one feet along First Avenue. The building occupies almost the entire lot except for a narrow service passage at the north end of the lot which extends eastward about twenty-five feet from First Avenue. The building is comprised of three distinct sections — the twenty-six-story hotel tower; the three-story wing, which originally contained a dining room and auditorium, now converted to apartments; and a ten-story apartment wing which was completed a year after the main building. Both the hotel and apartment annex have steel frames and are clad in brick. Generally orange-tan in color, the bricks vary in hue from buff to gray-brown and are laid in a Flemish-bond pattern. The Art Deco design of the building depends largely on the dramatic massing of the setback skyscraper tower and on the interplay of volumes and lights and darks created by the projected piers and recessed window bays. The ornament is concentrated at the base and top of the building and consists primarily of decorative brick pilaster strips and corbeling and the cast-stone Art Deco ornament. Most of the building's windows were replaced in the early 1990s except for the arched steel sash windows with leaded-glass lights at the second stoy of the tower and auditorium wing and twenty-sixth story of the tower. The Tower The twenty-six-story, seventy-five-foot-wide tower is basically square in plan at street level, but has an angled corner on First Avenue and Mitchell Place and an extension on the north side of the building adjoining the dining room-auditorium wing. The facades are articulated into seven bays. The five center bays set back at the third story to form light courts which are flanked by powerful angled corner bays. At the twentieth and twenty-second stories the corner bays set back to create balconies which are surrounded by brick parapets. At the twenty-fourth story the three center bays are set back and have balconies with brick parapets. The entire twenty-sixth story is set back and is surrounded by balconies which have been enclosed with glass and metal partitions on the east and west sides of the building. Base: The base is two stories high, except on Mitchell Place where the center three bays rise to three stories emphasizing the main hotel entrance. The angled southern corner at the intersection of the two street facades is recessed and contains the entrance to a ground story restaurant. The northern corner which was also originally angled and recessed has been filled with a one-story extension which is unarticulated. On Mitchell Place the triple bay is articulated by wide pilaster strips which terminate above the third story in a cresting of stylized cast-stone fleurs-de-lis and foliate moldings. Wide pilaster strips also are used at the ground story to frame the corner bay and the end bays on Mitchell Place and First Avenue. Narrower strips capped by cast-stone finials articulate the second story. In 1990-91 marble, travertine, and Diyvit facing materials, which had been installed at the ground story, were removed and the masonry on the base was repaired and repointed. Mitchell Place facade: On the ground story the brick pilasters articulating the three center bays are decorated with bricks with incised Greek lettering. A cornerstone at the base of the eastern pilaster is inscribed with the date "1928." The main hotel entrance at the center of the facade and the adjacent window bays have arched surrounds which retain their original shaped transom bars. The transoms contain backlit etched glass lunettes which are decorated with a stylized palmette pattern. The central entrance has deep brick-faced jambs. This doorway opens into a small vestibule with a travertine floor and travertine-faced walls; the ceiling is vaulted. There are light boxes at the base of the vault. At the rear of the v
190 and 192 Grand Street Houses
190 and 192 Grand Street Houses
Little Italy, Manhattan, New York City, United States of America Built c.1833, the rowhouses at 190-192 Grand Street were built as a grand, late Federal style residence at a time when this neighborhood, now known as Little Italy, was an affluent residential quarter. Evidence indicates that it was constructed as an investment property by Stephen Van Rensselaer, one of New York State’s leading citizens, who founded in 1826 the school which eventually became Rensselaer Polytechnic Institute. It is part of a larger row of five houses that Rensselaer built, of which it and the neighboring house at 192 Grand Street are the two best remaining examples. Located from the Battery as far north as 23rd Street and constructed between the 1780s and 1830s, Federal-era houses are among the oldest and relatively rarest buildings in Manhattan. This house retains a significant amount of its original architectural fabric, including Flemish bond brick, molded brownstone lintels at the third story, a pitched roof, and prominent segmental dormers, which retain their original decorative wood trim including molded segmental-arched window surrounds and keystones. Historic Renaissance Revival style galvanized steel lintels, probably added in the mid- to late-19th century, remain at the second-story windows. Occupancy of the house over time reflected New York City’s demographic changes as the area’s original affluent residents moved to new neighborhoods uptown to be replaced by a progression of immigrant groups and, later, by new generations of artists and young professionals attracted to urban living. The first story was lowered to ground level to accommodate a storefront prior to c.1930. Francesco R. Stabile, an Italian immigrant and founder of the nearby Banca Stabile, purchased the building as an investment in 1901 at a time when the neighborhood was transitioning from a community of Germans and German-Americans to Little Italy. Stabile’s descendents still own the building, which remains at the core of Little Italy. Despite some alterations, 190 Grand Street, notable singly and as part of a pair along with 192, is among the relatively rare surviving and significantly intact Manhattan buildings of the Federal period, and an excellent example of the 3-?-story, Federal style house with peaked roof and segmental dormers. DESCRIPTION AND ANALYSIS New York’s 14th Ward Manhattan’s 14th Ward, now part of "Little Italy," extended from the Bowery to Broadway and from Canal Street to Houston Street. Residential development began in the first years of the nineteenth century when the area's uneven terrain was graded and the streets laid in a rectangular grid. Development in the area had been slowed by the War of 1812, but after the economy recovered, construction activity briskly rebounded. House after house was built for the city’s growing population of middle-class families. The period between 1815 and 1825 was a decade of enormous growth for the Fourteenth Ward. Its population more than doubled, transforming it into the city’s most populous ward. During the decade that followed, a highly desirable residential quarter developed, attracting such prominent New Yorkers as Stephen Van Rensselaer (1764-1839), who constructed 190 Grand Street and several others in the area, including a two-story Federal style house (c. 1816, a designated New York City Landmark) originally located at the northwest corner of Mulberry and Grand Streets, while serving as commissioner of the Erie Canal project. Representative of the district's fashionable character during this period are two extant structures, St. Patrick's Old Cathedral (Joseph-Francois Mangin, 1809-15, a designated New York City Landmark) on Mott Street near Prince Street, and the Odd Fellows Hall (Trench & Snook, 1847-48, a designated New York City Landmark) at Grand and Centre Streets. By 1850, the area around 190 Grand Street had developed into a stabile residential community with a mix of row houses, a few free-standing dwellings, some small shops, and stables. By mid-century, many of the neighborhood's well-to-do families had begun to leave the neighborhood, to be replaced by working class Irish, German, Jews, and other immigrant groups. Crowded, walk-up tenements were built in place of many of the Federal-era houses, which themselves were converted to small apartments and lodging houses when they survived at all. After the Civil War, the ward's Italian population increased dramatically, reaching 110,000 residents by 1920. While the blocks surrounding 190 Grand Street may not have contained the city's largest Italian population, they formed what was probably the city’s best known Italian community due to its population density, its colorful street festivals, and its proximity to the Mulberry Street and later Centre Street headquarters of the New York Police Department. During the last two decades of the nineteenth century, social critics and reformers often focu

decorative window headers
decorative window headers
A.L. Ellis 50x84" Carlisle Lined Panel 3" Rod Pocket 3" Header, SAGE
A.L. Ellis Carlisle Lined Panel. Classic design done right! Timeless, elegant... it's classical style at its best and most affordable! The classic neutral colors of the Carlisle Collection create a soothing backdrop for your life at home, with a design that will still look great years down the road. Spun and sewn right here in the USA, the Carlisle Collection features Panels in a variety of colors to meet your decorating needs. Take a look below for more! 100% cotton. Dry clean only. State Color. A whole new look for a whole lot less! Order Yours Today! A.L. Ellis 50x84" Carlisle Lined Panel, 3" Rod Pocket, 3" Header