View allAll Photos Tagged lightfitting
from "Morco" Illuminating Fittings, Catalogue 102 (n.d. c.1930); T B Morley & Co. Ltd., Jameson St., Hull and Wheatley Hall Rd., Doncaster
Recent project: Mrs W has been redecorating our front room (a process I loath with a vengence, I must admit). She decided that she wanted to modernise it a bit, so she's brought it about twenty years more modern - from '30s to '50s style. So the deco glass lamp shade has gone into store, awaiting redeployment, and this item has been put up in place of the wooden patress and bakelite fittings.
It wasn't easy. The main mounting bracket was a doddle: there's already a joist directly above the position, so no problem there. The wiring mods were easy, as I had already organised all that from the previous time it was replaced. The light assembly itself hangs from the bracket by a large split pin, which goes through the top of the vertical chromed tube, and the conical cover then pushes up to the ceiling and is 'locked in place' by a single grub screw. I put 'locked in place' in inverted commas because, of course, a grub-screw is a fairly useless way of locating anything on a hard chrome surface, so I ended up super-glueing a small piece of rubber band on the end of the screw, to give it a bit of grip. It all took quite a lot of juggling, and I wouldn't want to disturb it more than I have to.
Interior Main Hall, Melbourne Town Hall.
Construction of the existing Melbourne Town Hall began in 1867 on the site of the first Town Hall at the corner of Swanston and Collins Streets. Architects Reed and Barnes won a competition for the design of the new Town Hall, and the firm was responsible for the portico which was added to the Swanston Street facade in 1887. An Administration Building was constructed to the north of the town hall in Swanston Street in 1908, and various alterations were made after a fire in 1925.
Reserved by the government in 1837, the site at the corner of Swanston and Collins Streets was issued as a Crown Grant to the Corporation of Melbourne in June 1849 as a site for a town hall. Designed by the City Surveyor, James Blackburn, the first Town Hall was subsequently completed c 1854. By the early 1860s it was already of insufficient size and the foundation stone of its successor was laid by the Duke of Edinburgh in 1867.
The new Town Hall included a public hall, administrative offices, Lord Mayor's rooms and council chambers. Built in a French Renaissance style with slate mansard roofs, this freestone building consists of a rusticated bluestone plinth, a two storey section of giant order Corinthian columns and pilasters, an attic storey and a corner clock tower. The main Swanston Street facade is divided into five parts, with a central and two end pavilions. The central portico, added to this facade some twenty years after the initial construction to provide a grand entrance and balcony, is of a pedimented, temple form, with materials and details used to match the existing building.
From the mid-1880s to the late 1890s, the Town Hall was the venue for several important meetings on the question of Federation. These meetings marked significant advances in the progress of the Federation movement and were attended by many prominent individuals who were intimately involved in the issue. Among the critically important meetings held at the Town Hall were the January 1890 Australian Natives' Association Inter-Colonial Conference on Federation, the series of meetings in mid-1894 to found the Australasian Federation League of Victoria, the public meeting attended by three colonial premiers in January 1895, and the large public meeting of May 1898 that marked the climax of the pro-Federation campaign in Victoria for the first Federation referendum.
In 1888 the Melbourne Council bought the adjacent Police Court building from the government, therefore securing a site for future offices. In 1908 a building was erected on this site to accommodate the administrative staff, including the office of the Town Clerk, and also incorporated committee rooms and a new council chamber. The exterior was designed by J. J. and E. J. Clark, emulating much of the detail of the adjacent building, and the interior was completed by Grainger, Little and Barlow. The council chamber has been the meeting place of the City Council since 1910 and its design displays a post-Federation pride in Australian materials.
A fire in 1925 effected the first changes made to the Town Hall building. The main hall, together with the organ, was destroyed and as a result a new hall, designed by Stephenson and Meldrum, was built. By extending to the adjacent site in Collins Street, a larger hall was constructed and the existing Collins Street facade was extended. An additional, lower hall was also created, a new organ was built by British firm, Hill, Norman and Beard and decorative murals, featuring larger than life size figures, were installed in the main hall, to designs by Napier Waller, in conjunction with J. Oliver and Sons.
The Melbourne Town Hall is of architectural significance as a distinguished and important work by the prominent Melbourne architects Reed and Barnes, who designed a number of significant Melbourne buildings. It is also important as a prototype for numerous suburban town halls that were built in the late 1870s and 1880s. The Administration Building is of architectural significance for its functional and stylistic relationship to the Town Hall, which results in a coherent civic centre.
The Melbourne Town Hall is of historical significance as the civic centre of Melbourne since 1867 and for its association with the Federation movement in Victoria.
The Melbourne Town Hall is of scientific (technical) significance for its organ which is an intact, large and rare example of 1920s British organ-building craftsmanship. As the second largest organ built in the British tradition between World War I and 2, it is now the third largest organ in Australia, those at the Sydney Town Hall and the Sydney Opera House being larger. Few organs of this size are intact from this period, particularly of a secular/concert hall design. As part of the 1925 rebuilding, the intact case, grilles, pipework and console of the organ are architecturally integral to the main hall.
The Melbourne Town Hall is of aesthetic significance for the murals by Napier Waller, which provide an example of this important artist's work.
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.
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
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.
'Satina' pendant light fitting made by the A.E.I. Lamp and Lighting Co Ltd, and designed by Nigel Chapman and the company's design team. A CoID Design of the Year in 1958.
[DCSC/873]
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.
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.
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.
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.