BRITISH PUB FURNITURE. BRITISH PUB

British Pub Furniture. Furniture For A Bedroom. Mahogany Bathroom Furniture

British Pub Furniture


british pub furniture
    furniture
  • Large movable equipment, such as tables and chairs, used to make a house, office, or other space suitable for living or working
  • Furniture is the mass noun for the movable objects ('mobile' in Latin languages) intended to support various human activities such as seating and sleeping in beds, to hold objects at a convenient height for work using horizontal surfaces above the ground, or to store things.
  • A person's habitual attitude, outlook, and way of thinking
  • Small accessories or fittings for a particular use or piece of equipment
  • furnishings that make a room or other area ready for occupancy; "they had too much furniture for the small apartment"; "there was only one piece of furniture in the room"
  • Furniture + 2 is the most recent EP released by American post-hardcore band Fugazi. It was recorded in January and February 2001, the same time that the band was recording their last album, The Argument, and released in October 2001 on 7" and on CD.
    british
  • The British (also known as Britons, informally Brits, or archaically Britishers) are citizens of the United Kingdom, of the Isle of Man, one of the Channel Islands, or of one of the British overseas territories, and their descendants.
  • The Britons (sometimes Brythons or British) were the Celtic people living in Great Britain from the Iron Age through the Early Middle Ages.Koch, pp. 291–292. They spoke the Insular Celtic language known as British or Brythonic.
  • Of or relating to Great Britain or the United Kingdom, or to its people or language
  • Of the British Commonwealth or (formerly) the British Empire
  • the people of Great Britain
    pub
  • A hotel
  • A public house, informally known as a pub and sometimes referred to as the 'local', is an establishment licensed to serve alcoholic drinks for consumption on the premises in countries and regions of British influence. Britannica.com; Subscription Required. Retrieved 03-07-08.
  • A tavern or bar
  • public house: tavern consisting of a building with a bar and public rooms; often provides light meals
  • Microsoft Publisher, formerly Microsoft Office Publisher, is a desktop publishing application from Microsoft. It is an entry-level application, differing from Microsoft Word in that the emphasis is placed on page layout and design rather than text composition and proofing.
british pub furniture - Bangers and
Bangers and Mash Metal Sign, Traditional British Food Kitchen Decor
Bangers and Mash Metal Sign, Traditional British Food Kitchen Decor
Featuring art by Martin Wiscombe Born and raised in Lyme Regis, Dorset , Martin studied illustration and design in the west country, then went on to spend more than 15 years working in London. After a successful career in advertising he left to pursue a less stressful life painting and illustrating in Wiltshire. He took inspiration from the farmland around and specialised in paintings and carvings of farm animals, having a book published in 2000 titled 'The Old Pig", about the old english rare breeds. He now lives and works in rural France with his wife, dogs and horses. His retro artwork conjours up a lost world of the 1950's, of cupcakes, beach huts and village fetes. Hand-made in America, these sturdy metal signs will perfectly accent any kitchen, home, bar, pub, game room, office or garage. Each metal sign is produced using a baked enamel coating for rich color and detail. If you have any questions, feel free to e-mail; you will get a prompt response.

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The Earl Grey Inn and London Silk Mill at Leek
The Earl Grey Inn and London Silk Mill at Leek
This is the Earl Grey Inn and London Silk Mill at Leek, Staffordshire, England, UK. Its UK OS Grid Reference is SJ989563. In October 1685 the King of France had a bad idea. He decided to issue The Edict of Fontainebleau that revoked the 1598 Edict of Nantes which had granted toleration to French Protestants: The Huguenots. These Huguenots comprised a landless class of craftsmen in silk, silver, glass and furniture. As a result of the bloody persecution that resumed, half a million Huguenots took themselves and their skills to England. Settling at first in Spitalfields ( London ) and the Derby area, by the early eighteenth century a number of them had infiltrated the East Cheshire and North Staffordshire area to the South of Manchester. Meanwhile, even in England, you could not vote unless you owned land and you could not own land unless you were a Confirmed and jurant member of The Church of England. The Commonwealth and the events of the last half of the seventeenth century had begotten numerous native Presbyterians and Quakers. None of these English or French non-conformists, and of course no Jew or Catholic, could attend a university, sit in judgment, obtain a commission, or in any way participate in civic life. But they could work, and to such men the route to wealth and respect led through the shop. By the 1670’s a silk industry had engendered in Leek. Leek Friends’ Meeting had opened a house by 1700, as had the Baptists, whilst Leek Presbyterians had a meeting house by 1715. During the 1730’s people with not-quite-English names like Myott, Lombe or Davenport set up in Leek as silk twisters or weavers, sometimes dabbling in mohair or linen as the winds of trade directed. By 1799, three thousand practiced silk manufacture in the town. The spinners and weavers of Leek were by and large small independent craftsmen in their own premises. So they were reluctant to heed the wooing of the Right or the Left. When the Jacobite army passed by in 1745 the men of Leek greeted it with apathy and when fifty years later the Blanketeers stormed through to assault the capital our lads had little comfort for them or their Government pursuers. Gradually the silk trade grew and in the 1820’s well-lit weavers’ houses were constructed around Albion Street in South-West Leek. This is now a cobbled conservation area and when in about 2004 some barmy official ordered his men to tear up the cobbles and lay tarmacadam, the residents told him to put the stones back in short order! In 1816 Badnall and Langharn had introduced steam to their mill in Mill Street and by 1835 Leek had seven steam mills with 119 power looms served by 744 operatives of whom 477 were women or girls. By 1818 there were in Leek 200 weavers on engine looms and 100 on hand looms, absorbing the output of the spinning mills. As in the Scottish silk town of Paisley, the introduction of the Jacquard loom, programmed with punched cards, introduced something of a revolution in patterned weaves. In addition to these numbers there were fifty broadloom weavers making handkerchiefs and shawls. By 1839 over three hundred domestic looms worked full-time, either on ribbon or broad goods. In the 1820’s there were plenty of mill owners and prosperous working men around Leek as around other industrial towns of the Midlands and the North. The few who were represented voted for county seats and their interest was swamped by the country landed and nabob retirees who could purchase votes, either in the shires or in decrepit rural townlets. Many weavers were purchasing, or already had purchased, their modest premises with mutual finance. The Leek Building Society opened its doors in 1824 and was soon joined by several more, who with other co-operative institutions were to play a major role in the future of the town and of Britain. On 15 November 1830, the Swing Riots precipitated a vote of no confidence in the Tory government of Arthur Wellesley, Duke of Wellington, and his government fell. Two years previously Charles Grey, the 2nd Earl Grey and leader of the Whigs had attempted to enfranchise Manchester and Birmingham, at the respective expense of rotten boroughs Penryn and East Retford. He had failed. Now the Whigs came to power and Grey introduced The Representation of the People Act 1832 ( “The Reform Act” ) to abolish the rotten boroughs, suppress electoral corruption and enfranchise the new industrial towns and cities. The suffrage doubled overnight from 200,000 to include all adult males who owned or rented land above a threshold rental value: Fourteen percent of males could now vote. It was not until 1867, however, that non-propertied men could vote. And for an encore Grey and his Whigs abolished slavery in the British Empire. Across the road the severely functional four-story structure is London Mill, built at a time when the Ashbourne Road it fronts was called London Road. It was built in 1853 for unknown silk spinners and was purchased in 1863 by
St Saviour's Limerick
St Saviour's Limerick
ST. SAVIOUR, LIMERICK. FOUNDED in 1227. According to the ancient calendar of the abbey, from which Father Quirke, prior of the community, took extracts in 1627, the founder was Donough Carbreagh O'Brien, King ot Munster. On the other hand, as we shall see later on, Edward I. claimed that his own ancestors were the founders. The ancient calendar of Limerick is corroborated by the ancient Registry of the Friars Preachers of Athenry, which also states that Donough Carbreagh O'Brien was the founder of our abbey in Limerick. Father Quirke's account, which we shall have occasion to quote several times, is embodied in two MSS. in the British Museum. It was probably written, judging from the phrase ut antea ad dominationem vestram scripsi and other internal evidence, for Sir James Ware, who was then making his researches into the monastic antiquities of Ireland. Though most of it is confessedly taken from the ancient calendar of the Dominican house in Limerick, other items of information regarding the abbeys of Tralee, Cashel, Youghal and Cork, are added, evidently from other sources. The following is the translation of Father Quirke's account, as far as regards Limerick : " 1227. The first founder of the Dominican abbey in Limerick was Donough Carbreagh O'Brien, who asked St. Dominic himself for some friars for the purpose of preaching among the Irish. This Donough O'Brien, as appears from the old calendar of the martyr ology of the said abbey, died on the eighth of May, 1241. " So that, between the confirmation of the Dominican Order (which was confirmed by Honorius III., the supreme pontiff, in 1216), and the death of the said founder, there were twenty-five years. " Regarding the founder, the following lines were inscribed in the margin after the last day of the aforesaid month : " Here lies Donogh Carbreagh O'Brien, a valiant Leader in arms, Prince of Thomond, made a Knight by the King of England, who built the Church of the Friars of the Order of Preachers, who died on the eighth day of March, 1241. On whose soul may the Lord have mercy. Amen. Let each devoutly say a Pater and Ave." The assertion made by Edward I., that his ancestors were the founders may be reconciled with the foregoing, on the supposition that O'Brien built the church and the King (Henry III.), the abbey; or O'Brien may have built all and the Kingjnay have given the site. The site was probably given by the King, as O'Brien, though Lord of Thomond, had no jurisdiction within the city, which, having no charter at the time, was governed by an English provost for the King. It is also probable that the King built the abbey, both from, the use of the word "house" and also because the inscription on O'Brien's tomb mentions merely the building of the church. The abbey, unlike most of the other foundations, was situated within the city walls. It was to the east side, not far from King John's Castle, adjoining the city wall. The abbey, in ancient times, was a favourite place of burial, and, amongst others, eight bishops were buried here, viz., Hubert de Burgh, bishop of Limerick, in 1250; Donald O'Kennedy, bishop of Killaloe, in 1252; Christian, bishop of Kilfenora, in 1254; Matthew O'Hogan, bishop of Killaloe, in 1281; Simon O'Currin, bishop of Kilfenora, in 1303 ; Maurice O'Brien, bishop of Kilfenora, in 1321 ; Maurice O'Grady, archbishop of Cashel, in 1345 ; Matthew Magrath, bishop of Kilfenora, in 1391. Six of these prelates are commemorated in the following Latin verses, inscribed on their sepulchral monument formerly existing in the church, and translated by Father Quirke from the old calendar, in which he found them placed after the Rule of St. Augustine : Senos pontifices in se locus claudit iste, Illis multiplices, Te posco, prsemia, Christe. Omnes hi fuerant Fratrum Laris hujus amici ; Hubertus de Burgo, prsesul quondam Limerici ; Donaldus, Matthseus, pastores Laonenses ; Christianus, Mauritius, Simon quoque Fenaborenses. Ergo, benigne Pater, locus hos non comprimat ater. Qui legas ista, PATER dicas et AVE reboa ter, Centum namque dies quisquis rogitando meretur Detur ut his requies, si pura mente precetur. Qui legis hos versus, ad te quandoque reversus, Quid sis et quid eris animo vigili mediteris ; Si minor his fueris seu major eorumve sodalis, Tandem pulvis eris, nee fallit regula talis. Harris, the historian, gives the following translation : " Six prelates here do lie, and in their favour, I beg your friendly prayers to Christ our Saviour ; Who in their lifetime for this House did work, The first of whom I name was Hubert Burke Who graced the See of Limerick, and Matthew, With Donald, bishops both of Killaloe ; Christian and Maurice I should name before, And Simon, bishops late of Fenabore. Therefore, kind Father, let not any soul Of these good men be lodged in the Black Hole. You, who read this, kneel down in humble posture, Bellow three AVES, say one

british pub furniture
british pub furniture
Sculpture And the Garden (Subject/Object: New Studies in Sculpture)
Although the integration of sculpture in gardens is part of a long tradition dating back at least to antiquity, the sculptures themselves are often overlooked, both in the history of art and in the history of the garden. This collection of essays considers the changing relationship between sculpture and gardens over the last three centuries, focusing on four English archetypes: the Georgian landscape garden, the Victorian urban park, the outdoor spaces of twentieth-century modernism and the late-twentieth-century sculpture park. Through a series of case studies exploring the contemporary audiences of gardens, the book uncovers the social, political and gendered messages revealed by sculpture's placement and suggests that the garden can itself be read as a sculptural landscape.

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