Decorating A Small Entryway. Room Decor Paint. Funny Bathroom Decor.
Decorating A Small Entryway
- (decorate) deck: be beautiful to look at; "Flowers adorned the tables everywhere"
- (decorate) make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"
- (decorate) award a mark of honor, such as a medal, to; "He was decorated for his services in the military"
- Provide (a room or building) with a color scheme, paint, wallpaper, etc
- Confer an award or medal on (a member of the armed forces)
- Make (something) look more attractive by adding ornament to it
- An opening or hallway allowing entry into a structure
- entrance: something that provides access (to get in or get out); "they waited at the entrance to the garden"; "beggars waited just outside the entryway to the cathedral"
- A way in to somewhere or something; an entrance
- An entryway is a hall that is generally located at the front entrance of a house. An entryway often has a coat closet, and usually has linoleum or tile flooring rather than carpet, making it an easy-to-clean transition space between the outdoor and indoor areas.
- Small items of clothing, esp. underwear
- the slender part of the back
- limited or below average in number or quantity or magnitude or extent; "a little dining room"; "a little house"; "a small car"; "a little (or small) group"
Shabby Vintage Metal Crystal CHANDELIER electric antique white FRENCH COUNTRY Chic 42" NEW
Add a functional and beautiful bit of understated elegance to just about any room in your home. This wonderful chandelier is brand new, with the antiqued white color finish that complements any decor theme. Chandeliers are the NEW decorating rage and not just for the dining room or entryway any longer. Perfect in the living room, bedroom or a dark corner. Why not treat yourself and hang it in your bathroom? A fantastic housewarming or wedding shower gift. Ready to be installed, flush mount or hanging. Measures 42-7/8" high, from the metal base to the bottom crystal. Approximately 21" across. Takes four 25 watt, type B or smaller replacement bulbs (not included.) High quality, all metal construction. Acrylic crystals. Includes a plug that can easily converted to hard wire.
Benevolent And Protective Order Of Elks
Benevolent And Protective Order Of Elks (New Life Fellowship Church), Queens Boulevard, Elmhurst, Queens
The Benevolent and Protective Order of Elks, Lodge Number 878, located in Elmhurst, Queens, was built in 1923-24 to the designs of the architectural firm, the Ballinger Company. The neoclassical style building is modeled on the Italian Renaissance palazzo type and is clad in brick, limestone, and granite. The Benevolent and Protective Order of Elks is a fraternal organization founded in New York in 1868 by a group of professional entertainers and actors. The structure, which contains a series of recreational and social spaces, was considered one of the largest and best-equipped fraternal homes in the country, and one of Queen's most handsome buildings at the time of its completion. The building was prominently featured in an article about the design of fraternal buildings that appeared in the Architectural Forum in 1926. The freestanding building is distinguished by a full-width front terrace, an ornate entryway, carved keystones with lions' heads, festooned panels, and a prominent cornice. A large bronze statue of an elk, based on the prototype statue designed for the club by the noted sculptor, Eli Harvey, is located on the front terrace. The lodge, one of most prominent buildings in Elmhurst and along Queens Boulevard, remains remarkably intact.
The Elks Club building, three stories with a raised basement and a fenestrated attic level, consists of a granite base, limestone first-story facade, and brick upper facade with carved limestone ornament. The building's main facade, facing north towards Queens Boulevard, is five bays wide. It has a full-width granite terrace reached from the boulevard via a flight of granite steps with non-historic wrought-iron railings. A granite pedestal at the center of the staircase contains a sculpted bronze elk. The base of the terrace has regularly-spaced windows with historic wrought-iron grilles. The terrace has a concrete deck, which is enclosed by limestone balustrades. The terrace and stairs are surrounded by small lawns.
The main entry way, located in the center bay of the rusticated first-story facade, is reached by way of the front steps and the terrace. The entryway consists of a round-arched opening with an ornately-carved, oversized keystone, flanked by unusual banded and fluted Doric half-columns. It is surmounted by a molded hood, featuring brackets, metopes, guttae, and a carved frieze with incised lettering. The entryway contains two historic, paneled wood-and-glass doors decorated with rosettes, and surmounted by a denticulated wood lintel and curved transom. Non-historic lighting has been installed in the soffit.
Four segmentally-arched, secondary entryways lead from the terrace to the first-floor interior. The entryways feature paired, historic paneled wood-and-glass doors (the easternmost and westernmost pairs have been modified), molded architraves, divided-light transoms, and carved keystones with lions' heads. The first-story is topped by a decorative crown featuring carved rosettes and floral ornamentation. Non-historic metal wire channels and lighting have been installed at the upper part of the first-story facade.
The second-story fenestration features balusters, eared architraves, and segmental pediments. The easternmost bay retains the historic wood casements
and divided transom, while the remaining bays have paired, non-historic, one-over-one metal sash with historic, divided wood-and-glass transoms. The third-story fenestration has bracketed sills, eared architraves, scrolled keystones, and non-historic, one-over-one metal sash. Carved limestone panels, decorated with swags, are located above the third-story windows. The center panel features a bronze and glass clock with flanking ums and foliation. The attic story features windows alternating with elaborately-carved panels. The windows contain non-historic, one-over-one metal sash, although the easternmost bay retains the historic two-over-one wood sash. The facade is topped by a prominent cornice featuring brackets, dentils, and egg-and-dart moldings.
The west facade, facing Simonson Street, is seven bays and features similar ornament to the main facade. The west facade has a granite basement containing windows with historic wrought-iron grilles. The first-story windows have bracketed sills. The three southernmost window openings of the first story contain grouped fenestration with non-historic, one-over-one metal sash; other bays have paired, non-historic, one-over-one metal sash, while the northernmost bay is a blind window. The second-story fenestration of the west facade has historic wood casements in some of the windows and paired, non-historic, one-over-one metal sash in the others. All these windows retain their historic wood-framed transoms. The third-story fenestration of the west facade has paired, non-historic, one-over-one metal sash in some bays and historic wood-and-sta
Former Aberdeen Hotel (now Best Western Manhattan)
Tenderloin District, Manhattan
The Aberdeen Hotel was built in 1902-04 as an apartment hotel to the designs of architect Harry B. Mulliken for the Old Colony Company, a real estate development firm. At that time, the Herald Square area was a center of entertainment with theaters, restaurants, clubs, and hotels, as well as a maj or transportation hub, while Fifth Avenue in the Thirties was developing as a major shopping district. In 1912, the hotel's suites were subdivided and it began to accept transient guests; during the 1920s, the Aberdeen became one of the first hotels in the city to admit women travelers unaccompanied by men without subjecting them to strict rules.
The brick and limestone structure is a significant example of an ornate, early-twentieth-century, Beaux-arts style apartment hotel building. Notable features include the rusticated stone base, the elaborate sculptural entryway with oversized Atlantes, the projecting central bay of windows with decorative metal spandrel panels, and the broken pediment that surmounts the central bay at the tenth story. The exterior of the hotel remains largely intact. It is now the Best Western Manhattan Hotel.
In late 1901, J.R. Todd, Henry Clay Irons, and Willard Barse incorporated the Old Colony Company, a real estate development firm, with a capitalization of $100,000. On June 3, 1902, Old Colony acquired three lots with masonry houses on West 32nd Street between Fifth Avenue and Broadway from the Alliance Realty Company. In August, architect Harry B. Mulliken filed an application on behalf of the Old Colony Company with the New York City Department of Buildings to construct a twelve-story hotel on the site.
Old Colony's decision to develop its newly-acquired parcel on West 32nd Street as an apartment hotel made economic sense. With Herald Square an entertainment center and its importance as a transportation hub increasing with the proposed Pennsylvania Station, even more people would be going to the area's theaters, restaurants, and hotels. The trade magazine, Aew FcTr Hotel Record reported in April 1903 that the Old Colony Company has secured financing for its hotel project from the Alliance Realty Company and the Metropolitan Life Insurance Company for $207,130 and $400,000, respectively. Construction of the hotel began on May 3, 1903. The 154-room hotel was finished on September 15, 1904. Afterwards the Old Colony Company leased the building to the Thirty-Second Street Hotel Company, which managed the hotel for the next several years.
In the 1920s, the Aberdeen became one of a growing number of transient hotels to admit women travelers unaccompanied by men without subjecting them to strict rules. Most hotels at the time refused to register women arriving alone during nighttime hours, and did not permit registered single female guests to return to the hotel after dark.
Some hotels restricted single women to particular floors only. A number of hotels, such as the Martha Washington (29 East 29th Street) and the Allerton House (130 East 57th Street, now an office building), were open to women only and kept them under even closer supervision. ^ider's New Fork (1923) listed the Aberdeen as a small hotel "catering to the traveler of moderate means, especially women traveling alone."
According to ^dar's, only the Aberdeen, the Great Northern Hotel, at 118 West 57th Street, and the Hotel Willard, at 252 West 76th Street treated men and women as equals.
The exterior of the Aberdeen Hotel has remained largely intact. The building's original stoop was replaced with a smaller one in 1914, storefronts were installed on the first floor in 1933, and the cornice was altered prior to 1938. Additional interior alterations took place in 1938-41 and 1953. Since 1978, the hotel has been owned and operated by the Apple Core chain and its affiliates. Apple Core licensed the Best Western name in 1995 and the hotel has been operated as the Best Western Manhattan since that time.
The limestone and brick, Beaux-arts style Aberdeen Hotel has five bays and twelve stories, including a three-story base, a seven-story central section, and a two-story crown. The utilitarian west elevation and light court are partially visible.
The first two stories of the three-story base are faced with banded limestone, while the third story has alternating bands of brick and limestone, and is topped by a wide, convex molding. An elaborate three-story, central portico features a recessed, two-story segmental arch with surmounting cartouche and festoons, containing the main entryway and a window at the second story. The portico consists of figurine brackets, banded and vermiculated columns, Ionic orders decorated with foliation, and scrolled consoles, which support an elaborate, undulating balcony at the third-story.
The balcony features a paneled soffit,
festoons, scrolled brackets, paneled corner pedestals, historic doors and sash, and an attached, non-historic
decorating a small entryway
Dimension: 48"W x 11.5"D x 16.5"H
Material: Laminated Composite Woods
Entryway Cubbie Shelf Coat Hanger in White Finish
This practical storage design is well suited for any front hallway, mudroom or home office.
The three storage compartments are ideal for hats, gloves and schoolbooks while four large hooks accommodate coats & jackets.
Comes with our easy to install, two-piece hanging rail system and is an ideal companion piece for the Cubbie Bench.
Constructed from a combination of high quality, laminated composite woods with an attractively profiled MDF top.
Matching cubbie bench is sold separately.
Also available in Black, Maple and Espresso finish.
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Decorative Security Bars : Home Modern Decor.
Decorative Security Bars
- (Security Bar) n. A device typically fastened to the outside of a desk or filing cabinet that provides higher protection and is locked with a padlock.
- cosmetic: serving an esthetic rather than a useful purpose; "cosmetic fenders on cars"; "the buildings were utilitarian rather than decorative"
- (decorativeness) an appearance that serves to decorate and make something more attractive
- Serving to make something look more attractive; ornamental
- Relating to decoration
Decorative Sliding Door Stopper - Improvements
use the Decorative Sliding Door Stopper to protect your family from break-ins. This patio sliding door security bar is discreet, attractive and effective. The Decorative Sliding Door Stopper is easy to use -- simply adjust to fit snugly in the track of your sliding door. Decorative Sliding Door Stopper secures your sliding door effectively, beautifully, and is only $12.99! Of course a block of wood works perfectly well as a patio sliding door security bar. But it doesn't look very appealing in your home. Crafted of durable carbon steel, this Decorative Sliding Door Stopper's black metal scrollwork will add a stylish touch to any door. Once in place, the Decorative Sliding Door Stopper will prevent anyone from forcing open the door from the outside. This patio sliding door security bar extends from 30" to 32" long to fit most standard sliding doors. Benefits of the Decorative Sliding Door Stopper: Use the Decorative Sliding Door Stopper to protect your family from break-ins
Birmingham Coat Of Arms And Supporters Statue
This early unofficial design for the Birmingham Coat of Arms and Supporters quite closely resembles the later official version. Art, on the left in classical robes, leans her arm on a pitcher of classical shape and proportion, with a bust of a bearded man at her feet. Industry, on the other hand, in contemporary working clothes with sleeves rolled up, leans a hammer on an anvil and holds a pair of dividers in his lap. However, in some significant details they depart from the fundamental tenets of traditional heraldry. By reversing the usually standing left hand position of the male and the right hand position of the female figure, by representing them seated with their heads looking down to the street and by placing a helmet with a flowing tasselled veil and a regal crown over the shield of the Coat of Arms, Lynn adapted his sculpture to its iconographical, functional, architectural and environmental context. Her attributes, the classical dress, antique pitcher and the sculpted bust, but without her customary brushes and palette, seems to suggest the contemporary Arts and Crafts idea that the origin of Art is in ancient craftsmanship. Such a shift in emphasis towards crafts in this personification of Art through the city’s emblem, together with the modern workman appearance of Industry, must have been relevant to the Bank’s clientele in Birmingham. By representing Art and Industry seated, Lynn not only changed their emblematic role as standing supporters, but also transformed them into a three-dimensional monumental free-standing sculptural group. In contrast to the figures, the imposing splendour of the Coat of Arms with the unorthodox use of a helmet with a flowing, tasselled veil and a regal crown, shows the extent to which the new industrial middle class society continued to use the decorative vocabulary of the fundamentally aristocratic Baroque. The position of the crown over the shield was to signify the power of the nation upheld by Birmingham’s industrial and manufacturing success which grew rapidly in the 19th century.
When the original building by C.R. Cockerell of 1833 was rebuilt in 1869 by John Gibson, the National Provincial Bank (changed to the National Westminster Bank, nnow under new ownership) commissioned S. F. Lynn to produce the monumental free-standing Coat of Arms, together with the four finely carved reliefs in the porch representing the industry and crafts associated with the city. Although the shield of the coat of arms was only adopted by the Corporation in 1867, to replace others which had been used at random ever since Birmingham was incorporated as a Borough in 1838, the honour of the supporters was only officially granted in 1889 when the title of City was conferred on Birmingham.
High on the roof, above the main entrance, the shield of the Coat of Arms flanked by supporters personifying Art and Industry is a characteristic expression of civic pride in Birmingham’s industrial and commercial achievement. Banks not only had an all important financial overview and contribution to this development, but indirectly, they also had an ideological role, spreading and implanting the notion of permanent and powerful economic progress. In the midst of the series of 19th century banking crises which caused the demise of so many country banks, architecture and sculpture were often used to convey an image of security by municipal and imperial authority. The fact that the coat of arms over the Bank was made twenty years before either the shield or the supporters were authorised, shows the Bank’s concern to associate itself equally with the nation and the city.
Old Bank on Bennetts Hill now a trendy wine bar
Typical Costa Rican house
Having been under the impression that Costa Rica was a relatively safe society, and one not plagued by desperate poverty like many developing nations, I was frankly shocked at the prevailing level of security. Practically every house -- even the most modest, ones that would qualify as downright poor by US standards -- was protected by serious-looking iron bars. Occasionally it would just be window bars, but the sort of arrangement seen here, with the entire property fenced off and the car parked inside the fence, was pretty typical. Sometimes the fence would reach up to an extended patio roof attached to the house to create a sealed space; sometimes it would be freestanding, in which case it might have razor wire along the top. Simple vertical bars were the more common, but some houses, like this one, had decorative ironwork patterns.
That said, we never felt afraid for our persons. Theft of unguarded property is the only real concern.
decorative security bars
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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