View allAll Photos Tagged lightfitting
It just goes to show that you can never be too careful! I had usually credited these fluorescent lanterns for British Railways station platforms to GEC as part of their 'Clearmain' product range but here is evidence of at least one other manufacturer. The Falks Organisation was a long standing electrical and lighting supplier based around Falk, Stadelmann Co Ltd of London and the Ionlite Limited was one of their subsidiaries based in Scrubs Lane, London, NW10.
This 1958 advert shows a range of lanterns that included the 'Overlite' for post mounting and the Trilite for under canopy fittings. They can be seen with the Gill Sans lettering forming the station name and such installations became common on BR stations fromt he late 1950s onwards. Indeed a few still survive such as at Manchester Oxford Road. The larger Newlite lantern, with vertical tubes, was found I think as a few of the rebuilt BR stations of the period, possibly as at Chichester.
This pretty floral style reading lamp casting a honeyed glow across a tabletop is French and made of brass. Featuring its original ruffled glass shade of cream glass, the lamp’s stand is perhaps its most interesting feature. Decorated with vine leaves, the sinewy vine holding the glass shade “flower” is held aloft by a little hand whose fingers grip the vine very tightly. It is very Art Nouveau in its form and design, and has its original Edwardian flex of brown and cream woven cotton.
Private collection.
Bishop Edward King chapel, Rippon College, Cuddesdon, Oxfordshire; Niall McLaughlin Architects.
Taken on an Oxford Flickr group First Friday meetup
Beautiful Light in the old City Hall which now houses the Museo de Caguas.
Caguas
Puerto Rico 17/1/2014
This pretty floral style reading lamp casting a honeyed glow across a tabletop is French and made of brass. Featuring its original ruffled glass shade of cream glass, the lamp’s stand is perhaps its most interesting feature. Decorated with vine leaves, the sinewy vine holding the glass shade “flower” is held aloft by a little hand whose fingers grip the vine very tightly. It is very Art Nouveau in its form and design, and has its original Edwardian flex of brown and cream woven cotton.
Private collection.
Adjustable spotlights designed by John and Sylvia Reid for Rotaflex (Great Britain) Ltd., winner of a CoID Design Centre Award in 1961.
[DCSC/2341]
Three floor standards with lanterns for electric lamps from the Pearson Page Co. Ltd. catalogue, Birmingham. 1927. With 9.5 in. diameter bases and heights of 5ft 6in., these seem to be asking to get knocked over; the 2 and 3-lamp models in particular are 'accidents waiting to happen'.
This is a tribute to Captured Light by asleepyfrog, one of the first two photos on which I voted in the Active Assignment Weekly group (AAW), just on four years ago. The original topic was "I've seen the light!".
Leslie, aka asleepyfrog, was one of those active in AAW in the early days, and captured some interesting images which took my fancy.
The AAW group is my favourite on flickr, and I find it is always of interest. I trust it continues for many more years.
Submitted for the weekly assignment finishing 5apr2010, "Tribute", in the Active Assignment Weekly group.
What it took:
I printed asleepyfrog's photo, and clipped it to the end of a rod, positioned near to the ceiling light in my bedroom — which could do with a bit of a dusting. To balance the exposure of the light and the photo, I used an off-camera flash, aimed directly at the photo. My intent was to leave the rest of the room (ceiling, and walls behind), in darkness, with only the two subject items illuminated. You can see a photo of the arrangement here.
Pentax K-7, 31mm, f/16, 1/180s, ISO 200, Matrix metering. 21:06 5apr2010 UTC+10.
'Chelsea' pendant lamp fitting designed by Richard Stevens and Peter Rodd for Atlas Lighting Ltd., with glass shades made by James Powell & Sons (Whitefriars) Ltd. Winner of a CoID Design Centre Award in 1960.
[DCSC/1724]
George Faulkner Armitage, a architect and designer based in nearby Altrincham but with an international practice, adapted Bramall Hall to the tastes and needs pf Charles and Mary Nevill in the 1880's and 90's. His work was strongly influenced by the thinking of the Arts and Crafts Movement but was also very much in sympathy with the history of the Hall.
Some of the wrought iron light fittings were installed to be electric lights, others, though, had been designed as gas lights. Whether they ever did have a gas supply is uncertain, but the fact that some are equipped with have gas taps but others not points to the work having’s having been carried out whilst the house was undergoing adaptation to electric light.
Unwanted B pose while trying a self portrait in a large mirror.
Original shot taken with a Seagull 4A twin reflex camera, 6x6 format on Fujichrome Astia 100 asa film for slides, light post processing.
A visit to the Dorset town of Shaftesbury - home of Gold Hill.
This is King Alfred's Kitchen on the High Street in Shaftesbury. We went here for out lunch the day we went to Shaftesbury.
At 17 and 19 High Street.
King Alfred's Kitchen 17 and 19, Shaftesbury
1.
1615 HIGH STREET
(South Side)
Nos 17 & 19
(King Alfred's Kitchen)
ST 8622 2/58 20.6.52.
II GV
2.
Plastered front. The south end has very low room with oak beams etc internally
and has a C17 origin [see RCBM] 2 storeys; 1 window above, 4 windows
below including 1 canted bay and 1 C18 sash window to left of it. North
end has a 3rd storey and most of the external features are quite modern.
Nos 5 to 13 (odd), The Fruit Shop, Nos 17 and 19 form a group.
Listing NGR: ST8623022947
Inside King Alfred's Kitchen.
On the first floor.
The room we had out lunch in, you could see the inside of the roof! Looks like it's medieval (made to look like).
Basic light fitting (before the chandelier evolved).
There was coat of arms shields on the roof / ceiling.
Troughton & Young made Ultralux lighting that is so "1930s style" - this interesting advert shows the range of these chromium plated fittings.
The interior of Dyffryn House at Dyffryn Gardens.
It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).
Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.
Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.
The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.
The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.
In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.
The house is Grade II* listed.
Interior
Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.
Staircase and light fitting
Been ages since I've been to this Starbucks (only my second visit).
Drink and food in takeaway packaging (coffee cup and paper bag).
Saw this lights opposite my table.
This is a light fitting I saw in a furniture shop. The light is turned on.
See what it looks like when the light is not turned on.
Within the Belgian pavilion, one aspect of the artists design were these light fittings made of glass bottles. I thought it really struck out as a bold design but works so well, the distortion taking place, the different parts of the bottle (the neck, the body, the base) creating different shades from the glow within.
04 Sep 2008, UK --- Seating around coffee table in living room in UK home --- Image by Richard Powers/Arcaid/Corbis
A low exposure shot of a light in the stairwell, shot against the 'V' forming the stairs makes an interesting abstract.
For once had my Friday lunch in Costa Snow Hill.
This time sitting at a table looking out to the Snow Hill Square and Colmore Row.
For some reason, the views reminded me of London a bit!
Outside is one of my usual Colmore Row places to get lunch: Sainsbury's Local! There is also a new Pret a Manger to the right.
This opaque glass Art Deco shade of an unusual, bulbulous shape features a geometric pattern picked out by hand in red, black and green paint. It appears atop a 1920s chrome standard lamp with a Bakelite base.
Private collection.
Surrounded by modern office and apartment blocks the grand red brick mansion “Warwillah”, built on the corner of Beatrice Street and St Kilda Road, is one of the few remaining examples of a time Melbourne’s St Kilda Road was still a grand boulevard of elegant residences.
In March 1875 the government announced that the land on the western side of St Kilda Road would be alienated from parkland and that the land would be sold for residential purposes. Following the subdivision, a gentleman of means named Rudolph D. Benjamin purchased the land on which he planned to build an elegant residence as befitting his station.
Designed by well known Melbourne architect John Beswicke, “Redholme” was a sixteen-roomed brick mansion built on Mr. Benjamin’s block in 1896 by the builder James Downie. Although not in the Benjamin family, “Redholme” survived the death taxes that came after the Great War and the Great Depression of 1929. It was still a privately owned home in its entirety in 1939 when it was owned by Mr. and Mrs. C. J. Reddish. Sadly, after the Second World War, “Redholme” changed ownership, usage and even name. From the early 1950s, the red brick building became the “Warwilla Guest House”. The name “Warwilla” is what the house has been known as ever since.
“Warwilla” is an unusual mansion as it is an early example of a transition from Modern Gothic to Queen Anne design. The red brick tuckpointed facade is asymmetrical with picturesque massing, but the larger half-timbered gable and cantilevered banked window on the south side is balanced by the octagonal corner tower and ‘candle snuffer’ roof on the north. The Modern Gothic is suggested by the depressed pointed arches to main openings, and engaged colonettes at the porch entrance, whilst the half-timbered gable, octagonal tower with ‘candle snuffer’ roof and Art Nouveau stained glass windows are very much stylistic elements of Queen Anne architecture. These elements were to remain popular for at least another decade. The tall banded brick chimneys (done in the style of Henry Kemp) dominate the terracotta tile roof, as do the decorative finials which include a dragon.
Walking through the stained glass framed front door, you enter “Warwilla’s” lofty entrance hall. The original ornate Art Nouveau plaster ceilings and foyer fireplace with brass, wood and tiled surround still remain intact. A grand early twentieth century crystal chandelier hangs from the central ceiling rose. On the landing of the original staircase a fine stained glass window by British born, German trained, Melbourne stained glass artist William Montgomery still overlooks St Kilda Road. Featuring a beautiful woman in Tudor garb in a garden setting, the window is typical of the British Arts and Crafts Movement which would have dominated interior design at the time. Framed by stylised Tudor flowers and pomegranates the line “a merlin sat upon her wrist, held by a leash of silken twist” appears on a scroll. Taken from the long narrative poem “The Lay of the Last Minstrel” written in 1805 by Sir Walter Scott (1771 – 1832) the choice of image and literary quote hark back to heraldic times, a great driver of the aesthetics of the British Arts and Crafts Movement. The stair hall window is signed by William Montgomery in the bottom left-hand corner of the frame, where it also lists his address as 164 Flinders Street.
At the time of photographing “Warwilla” was partly a Seasons heritage boutique hotel and partly the entrance to a towering modern apartment block which has been built directly behind it.
John Beswicke (1847 – 1925) was a Melbourne architect and surveyor between 1882 and 1915. He was apprenticed to the firm Crouch and Wilson at the age of sixteen. He worked there for eighteen years, finishing as head assistant. In 1882 Ralph Wilson and John Beswicke formed the partnership Wilson and Beswicke. Through his career he was in sole practice as J. Beswicke, between and following three partnerships including Beswicke and Hutchins, and Beswicke and Coote. John Beswicke designed many commercial and residential buildings during his career. These include: the Brighton Town Hall, the Dandenong Town Hall, the Essendon Town Hall, the Hawthorn Town Hall, the Malvern Town Hall, the St Kilda Presbyterian Church, the Auburn shopping strip along Auburn road, “Bendigonia” in Leopold Street Melbourne which runs off St Kilda Road, “Tudor House” in Williamstown, “Tudor Lodge” (later renamed “Hilton House”) home to Mr. Cullis Hill in Hawthorn, “Redholme” (later renamed Warwilla) and his own Hawthorn home “Rotha”.