View allAll Photos Tagged Fitting
WEEK 25 – Columbus Kmart, Set 1
Women's clothing was on either side of that center actionway we just looked at in the previous shot; now, spinning around to look the opposite direction, the children's clothing departments are in front of us – literally, the split between girls' and boys' is plainly visible. Taking advantage of that split is the store's fitting rooms, which is comfortably nestled between the two departments. Its triangle décor remains, but the wall behind it has been painted red; there's also a section of yellow paint visible on the right edge of this shot, and above these, a red stripe can be seen running the perimeter of the store. What's obvious is that these are somewhat-recent updates, but what's not obvious is just when these updates would have taken effect. If anyone knows or has a guess, please leave me a comment!
(c) 2018 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Everything in the church centres on the Altar of sacrifice, as is fitting and right, for the church building is principally for the Holy Mass celebrated on the Altar. From it the living Church, the People of God, is fed on Christ's Body and Blood, and so is built up as members of his Mystical Body.
The Museum of the Jewellery Quarter a museum at 75-79 Vyse Street in the Jewellery Quarter, Northside, Birmingham, West Midlands.
For over 80 years the family-run firm of Smith and Pepper produced gold jewellery from the factory that is now the Museum of the Jewellery Quarter, with very few changes in working practices, equipment or the appearance of the workshop. When the elderly owners retired in 1981, they simply locked the door. Everything was left as it was: tools on benches, overalls hanging on coat hooks, even cups of tea and jars of jam and Marmite.
The museum opened in 1992 originally as the Jewellery Quarter Discovery Centre, as part of the city's Heritage Development Plan. It preserves this 'time capsule' of a jewellery workshop and also tells the 200-year story of the Birmingham Jewellery Quarter, the centre of the British jewellery industry, and its traditional craft skills. Collections of jewellery exhibited there include coffin fittings. The museum is the starting point of the self-guided walking tour of the Jewellery Quarter.
It is one of the nine museums run by the Birmingham Museums Trust, the largest independent museums trust in the United Kingdom. In 2008, the Museum of the Jewellery Quarter was named as the third best free tourist attraction in Europe by TripAdvisor, behind the Pantheon in Rome and the National Gallery in London.
Information Source:
My favorite from this small set, brings out the sulphur clouds aspect the best.
Now that's a fitting climate change image: sitting on the balcony, enjoying these fantastic yellow clouds, not realizing they'll bring deadly sulphur vapors.
[Schillerkiez_20240525_1941_e-m10_05251606]
Target #811
Panama City, FL
Check out my blog post: northernfloridaretailblog.blogspot.com/2019/03/a-new-life...
Copyright Robert W. Dickinson. Unauthorized use of this image without my express permission is a violation of copyright law.
The northern entrance to the dying Paradise Valley Mall in northeast Phoenix. The broken sunglasses are a fitting match to the current condition of the mall. It's only a matter of time before the entire mall announces a closure date.
Three images each two stops apart merged in Aurora HDR 2019 and polished up in Photoshop CC.
Canon G9X Mark II.
East Stroudsburg, PA. June 2015.
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This wonderful ''totem pole'' like carving was made from the trunk of the in-situ dead tree - made possible by a lady who loved Tropical World here in Roundhay Park and all the animals here....so she left some money in her will, and when she died they commissioned an artist who carved this with a chainsaw direct into the tree trunk....carvings of all the diff animals go all the way around its circumference.....a wonderful legacy...June 2016...Roundhay Park, Leeds, West Yorkshire, UK.
Store closed April 2018 and is being replaced by Rural King.
Cambridge, OH. May 2017.
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Greenville, SC. May 2017.
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Behind this wall of metal is the Brooklyn Navy Yard which instead of using a fence to keep people out, built a wall made of shipping containers. In the lower left corner of this photo is a public sidewalk and in the lower right corner is me.
She looks pretty good in the dress I bought for myself, doesn't she? I think I've mentioned this before, but I hate how most everything seems to fit Daisy perfectly right of the rack....and my luck is all hits and misses. 😖
Oh well, the good news is that if something doesn't fit me right...I'll just gift it to Daisy. Oh yeah, of course it'll fit her. 😉
It was a lot easier to disguise early in my pregnancy....all it took was a super loose-fitting tunic sweater, jeans, Keds, unpolished nails, inconspicuous purse, and a ponytail - voila! Instant Tomboy.
But wearing a cute, fitted and frilled maternity blouse and maternity jeans to enhance my bump, bright lipstick with matching nail polish, and my huge purse, Tomboy disappeared, leaving only the image of an unmistakeably pregnant girly-girl.
The second approach is much more fun!
Exiting menswear and taking a look down toward the fitting rooms in the back right corner of the store. Gotta love that yellow wavy neon!
The blue display there is of father's day cards. Since there's always a slight bit of empty space back here, Target tends to put out seasonal tie-in items sometimes.
(c) 2016 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
A big 15th Century aisled church with a vaulted tower. It has contemporary wall paintings and an incised stone tomb-slab.
All Saints stands east of the castle hill and reconstruction after the raid of 1377, probably on the previous site, was leisurely, for a will of 1436 speaks of it as ‘new’ (VCH 9 p21) and it does not follow that it was finished even then. Built of local stone, some of it greensand, it forms a single whole. Re-used stones, some carved with chevrons, suggest its predecessor contained C12 work. In the early C19 the south porch is said to have had a rounded arch (Horsfield I p252), but it can hardly have survived from this earlier church, though some foundations of uncertain purpose and date found nearby (VCH ibid) might have.
The nave arcades of the present church confirm that the rebuilding was mainly in the early C15, for the heads of two moulded orders spring from upward extensions of the octagonal piers, a device more common in the C14. The aisle windows are renewed and with the exception of the east window in the north aisle their tracery was missing when Sir Stephen Glynne first visited the church before1840 (SRS 101 p141), but the Sharpe Collection drawing (1797) shows similar openings and the complete original east window in the north aisle shows the renewal of the tracery was accurately done. The rood-stair at the east end of the south aisle is contained in what looks like a big buttress. There is space for a clerestory but no windows and though there is flint and stone chequerwork decoration on the south side, the roof on the north side in 1797 was continuous, so this may not be original. Only the north aisle retains some old roof timbers.
The chancel, like the nave, has three-light side windows with panelled tracery. The chancel arch has thin abaci, chamfered responds and a head of two wave mouldings. All north windows except one are concealed by C19 vestries, entered by an original four-centred doorway that formerly led to the outside. The five-light C19 east window differs from the three-light one in the Sharpe drawing, which was not original as it had wooden mullions.
The tower was almost certainly built last, possibly as an afterthought or at least after a gap, for its north and south walls incorporate large buttresses belonging to the west end of the nave. Despite much restoration, it is massively handsome with a north east stair turret, a four-light west window with a castellated transom and a doorway with shields in the spandrels. Window and doorway are contained in a single arch, separated by a quatrefoil-frieze. The tower arch has a head of two moulded orders and in the tower space is a star-vault (cf St Clement), springing from grotesque corbels. The large central opening, surrounded by the signs of the zodiac, allowed the bells to be hoisted up. The two-light windows with ogee heads and finials of the second stage are doubtfully C15 and may be C19, but cannot be seen on the Sharpe drawing. Beneath them to north and south are big flintwork crosses. The third stage has chequered battlements above carved grotesques that include what looks like a cat, a tiled cap and square, uncusped bell-openings divided by transoms, which look later C15.
Changes to town churches after the Reformation were frequent, particularly in prosperous times, as the C18 was in Hastings. All but one window had been altered by the time of the Sharpe drawing (see above) and this was still the case at the time of Nibbs’s engraving (1851). The south porch noted by Horsfield probably dated from this period, though a predecessor, probably C15, in so large a church is likely. The Sharpe drawing also shows a dormer at the north west corner of the nave, which would have lit a gallery. Restoration started in the chancel and though no date is known, Sir Stephen Glynne on his second visit in 1868 (SRS 101 ibid) noted its windows had been restored and the roof is probably contemporary. The presence of C A Gibbs‘s glass of 1865 in the east window (see below) probably provides an approximate date and it is conceivable that W Butterfield did this earlier work, though of the Gibbs family it was A Gibbs with whom he usually worked. Butterfield certainly undertook the rest in 1869-70 (B 27 p421). In 1869 his work was already controversial and in reviewing his work here The Architect (1 p158) hoped he would not introduce any painted decoration. In fact, at All Saints he respected the existing fabric and his work did not extend beyond accurately replacing the tracery in the aisle windows and also most roofs and the south porch. The main later alteration was a north vestry and organ chamber by A J Style in 1894 (CDG 4 p62). The organ was placed behind one of the retained windows of the chancel.
B C G Shore was responsible for repairs between 1954 and 1958 (ICBS).
Fittings and monuments
Brasses: (South aisle) Thomas Goodenough (c1520) and his wife. Small figures with the popping eyes common at the time.
Carving: Adoration of the Magi, undated in yewwood by J Reid (inscription).
Chancel fittings: (Pulpit and altar rails) Designed by Butterfield, 1888-89 (Thompson p447).
Font: C15 octagonal. On the bowl blank shields in quatrefoils and trefoiled arcading alternate. The stem is also arcaded.
Glass:
1. (East window) C A Gibbs, Crucifixion, 1865 (BN 12 p91). This is presumably the glass that Sir George G Scott had in mind when he criticised the east window in his Recollections vehemently, using such terms as ‘mawkish’. It is brightly coloured and pictorial in nature, and by 1865 must have seemed very old-fashioned.
2. (South aisle, east window) H Hughes, 1880 (signed).
3. (South aisle, first and second windows) Lavers and Barraud, 1883 (CDK 1882 Pt 2 p142) (Rev Webster Whistler).
4. (West window of tower) Heaton and Co (i e Heaton, Butler and Bayne), 1886 (Stubbs/saints) (CDK 1886 pt 2 p146).
5. (North aisle, first and second windows) J Powell and Sons, (G A Foyster/Christ in the Temple), 1897 (CDG 49 p11) and 1912, designed by E Penwarden (Hadley list).
6. (South aisle, west window) Centre light by J Powell and Sons, 1908 (Order book) and side lights by P W Cole, 1958 (www.stainedglassrecords.org retrieved on 4/3/2013). This is now largely concealed by a children’s room.
Monuments:
1. (North aisle) Black marble slab to John atte Clyve, one-time Member of Parliament (Bertram p389), and his wife. It is of Flemish workmanship and the figures are clear, though the inscription is mostly illegible, including the date of death, said to be 1458 (VCH 9 p22).
2. (North aisle) Eliza Beazeley (d1823) signed Winter and Co of Hastings.
3. (South aisle) James Alderson (d1823) signed Winter (clearly the same as the last).
4. (North aisle) Elizabeth Barnouin (d1826) tablet by M Vidler (Roscoe p1314).
5. (North aisle) Sarah Thompson (d1826) signed W Vennall of Hastings. The one nearby to Eliza Brown (d1823) is by the same hand, though unsigned.
6. John Edmonds (d1847) by W H Burke and Co (ibid p167).
7. (Churchyard) Lady Harriet Paget (d1855) by E Richardson (ibid p1035).
8. (Churchyard) Tombstone by J Harmer. The terra cotta plaque is unmistakable, but Hastings is unusually far east for Harmer which perhaps explains why it was not recorded by G L Remnant.
Painting and decoration:
1. (Over chancel arch) C15 Doom, found in 1870 (2 p292). Christ is seated on a double rainbow with the damned on the right (one is shown being hanged) and the redeemed on the left. The central part is well preserved.
2. (North aisle) Paintings dated to the C16 with rhyming inscriptions were found in 1870, but not preserved (ibid p194).
3. (Chancel east wall decoration) E R Frampton junior, 1907 (CDG 165 p142). This perhaps contradicts the hope expressed in The Architect (see above), but is more subdued than anything by Butterfield. Their setting looks oddly truncated and not all of this may survive. It may belong to a decorative scheme which W H Romayne-Walker is said to have designed at an unknown date (BAL Biog file).
Piscinae:
1. (South chancel) C15 trefoil-headed, much restored.
2. (Reset in south porch) C15 pillar-piscina.
Reredos: Butterfield, 1888-89 (Thompson ibid). It was painted by Frampton in 1907 as part of his scheme of decoration (BE(E) p425).
Royal arms: (North aisle) George II.
Sedilia: (South chancel) C15 triple with cusped heads and traceried spandrels.
The photo were taken back in March 2012. I am just catching up with them. I had started to put up our trip to Northland but for some reason never got them all up.
The Greatest Tree in New Zealand
The kauri tree, Agathis australis, is New Zealand’s largest and most famous native tree. Located midway between Auckland and the Bay of Islands in the warm north of the country, The Kauri Museum tells some of the stories of this amazing tree.
Far more than a museum of timber, the Museum has stories of the Māori of the north eastern Kaipara, of European pioneers, of foresters and sawmillers, gum diggers and farmers, and of business people, fishers and the families who have made this area their home.
For More Info: www.kaurimuseum.com/
Poughkeepsie, NY. October 2016.
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Clarksburg, WV. June 2016.
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Belle Vernon, PA. June 2016.
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WEEK 26 – Southaven Gordmans Liquidation, Set III
Case in point, I wouldn't have been able to manage such a clear or people-free shot of the fitting rooms like this one any earlier in the liquidation! This is the same right side of the island that we were looking down in the previous shot. Apparently there were side entrances to the fitting rooms as well; I suppose people didn't have to go exclusively in and out the front entrance to them after all! Note also in this shot the purse picture on the poster, and the extra-large “G” on the jut-out fitting rooms sign.
(c) 2017 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Elkview, WV. June 2016.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com