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HOW TO MEASURE FOR EXTERIOR SHUTTERS. HOW TO MEASURE


HOW TO MEASURE FOR EXTERIOR SHUTTERS. AWNINGS IRELAND. SOUTHWEST SHADE SOLUTIONS



How To Measure For Exterior Shutters





how to measure for exterior shutters






    exterior shutters
  • Designed specifically for outdoor use.

  • Often decorative panels fitted to the exterior of a house

  • Shutters constructed for use on the outside of a building or structure. Exterior shutters are generally built from materials that naturally withstand the outdoor environment.





    measure
  • determine the measurements of something or somebody, take measurements of; "Measure the length of the wall"

  • how much there is or how many there are of something that you can quantify

  • Be of (a specified size or degree)

  • Ascertain the size and proportions of (someone) in order to make or provide clothes for them

  • any maneuver made as part of progress toward a goal; "the situation called for strong measures"; "the police took steps to reduce crime"

  • Ascertain the size, amount, or degree of (something) by using an instrument or device marked in standard units or by comparing it with an object of known size





    how to
  • (How To’s) Multi-Speed Animations

  • Providing detailed and practical advice

  • Practical advice on a particular subject; that gives advice or instruction on a particular topic

  • A how-to or a how to is an informal, often short, description of how to accomplish some specific task. A how-to is usually meant to help non-experts, may leave out details that are only important to experts, and may also be greatly simplified from an overall discussion of the topic.











Reverend Isaac Coleman And Rebecca Gray Coleman House




Reverend Isaac Coleman And Rebecca Gray Coleman House





Rossville, Staten Island, New York City, New York

The Reverend Isaac Coleman and Rebecca Gray Coleman house is a vernacular frame structure that can be documented to the mid 19 century. The earliest section is probably older than that and is possibly the earliest extant building surviving from the period when Sandy Ground was a prosperous African-American community on Staten Island. The area’s first African-American residents purchased property in 1828. Their numbers were bolstered in the 1840s and 50s by the arrival from Snow Hill, Maryland on the Chesapeake Bay, of numerous families who were involved in the oyster trade and came to New York to escape harsh laws passed in this slave state prior to the Civil War. Sandy Ground is located in the southern part of Staten Island, not far from the shipping port of Rossville on the Arthur Kill to the north and the prime oyster grounds of Prince’s Bay on the south, and most of its residents were employed in the oyster trade or in farming. Beginning in the 1840s through the early 20 century, this area, called Woodrow, Little Africa, or (more commonly) Sandy Ground, was home to a group of free African Americans who resided here in more than 50 houses. The Sandy Ground community thrived for many years, creating institutions such as the Rossville A.M.E. Zion Church and a local school.

It is unclear when the Coleman-Gray House was originally constructed, although it is identified on one of the earliest surviving maps of the area, from 1859. It was occupied at that time by Ephraim Bishop, who arrived from Maryland in 1851. The house was purchased by Isaac Coleman and his wife Rebecca Gray Coleman when he came to Sandy Ground to serve as pastor of the Rossville A.M.E. Zion Church in 1864. Although Isaac Coleman probably lived in the house only one year, the building has been in the possession of descendants of Rebecca Gray Coleman since that time. The house was likely built as a 1 ? story structure, with a single room on each story. The shed roof addition to the east, probably used as a kitchen, was added at some point early in its existence and the two-story, two-bay addition was made on the western side, possibly sometime around the Coleman’s purchase. It is likely that the most recent section of the house, the two-story section on the western side, was added during the late 1880s to accommodate a growing extended family. Throughout this time, the basic form of the house has remained, although these later additions have enlarged the space. More recently, the house has been sided with contemporary materials and the window sash replaced. Its massing, fenestration pattern and siting on a large lot helps it stand out in this recently-developed part of Staten Island and its survival is a remarkable and rare reminder of this very early African-American community.

DESCRIPTION AND ANALYSIS

Development of the Community of Sandy Ground

The Sandy Ground community was founded on a section of high ground near the center of the southern part of Staten Island, halfway between the well-known oyster beds of Prince’s Bay on the south and the port of Rossville on the Arthur Kill to the north. This area has been known by various names through the years, such as Woodrow, Harrisville or Little Africa, and its center was at the confluence of what is now Woodrow and Bloomingdale Roads. Since this area is located inland, rather than along the shore, and was still wooded in the mid 1800s, it was not seen as desirable and therefore was not expensive. The name Sandy Ground first appears on records dating to 1779 and refers to the sandy soil of the area, particularly good for growing certain crops such as strawberries and asparagus.

Staten Island was inhabited for thousands of years by Native Americans. Archaeologist Alanson B. Skinner reported finding evidence of a Woodland Period (2700BP-AD 1500) Native American village at the center of what would become Sandy Ground. While most Native Americans left the island by 1700, a few remained and their descendents could be found on Staten Island as late as the early 1900s. At Sandy Ground, several black families claimed Native American descent and Skinner observed that the Native American tradition of grinding corn with wooden mortars and pestles continued at Sandy Ground into the 1890s.

During the colonial period, Staten Island was largely settled by Dutch and Huguenot families with a scattering of English and other Europeans. Many settlers brought white indentured servants or black slaves to the island, with slaves making up between 10 to 23 percent of the population. During the first half of the 19 century Staten Island’s African-American population continued to grow. Some of these people were previously slaves of local residents, while other free blacks chose to settle on Staten Island because land was available and inexpensive. Land ownership records show African-American residents purchased land in Sandy Ground before 1830. John











measuring rape :-(




measuring rape :-(





i was adding tags now and instead of adding 'measuring tape' i mistakely wrote 'measuring rape'. it made me wonder before deleting the tag. rape is measured!? before, during and later! it's measured. why? and if one has to measure it, what is the means? anything which goes against own conscience and collective conscience of humanity is rape. it is performed at 'ghat' (invisible and subtle autopilot as well as known thoughts) level. It happens in different forms at 'ghat' level and it first occurs inside.

Pindeshu Brahmandeshu. (??? ????? ??? ?????????? ): When land, air/breeze, water, light, space becomes 'unstable' (??????) then we find dangerous outcomes in world like recent earthquake and tsunami in Japan. But when our minds becomes ?????? (unstable) in varying degrees, we see the same dangerous outcomes (war, jihad, rape, child sexual abuse, materialism, pornography, abortion, illicit relations, AIDS and much more..and it exceeds natural disasters. The real terrorists thus live inside. We are aware of outside terrorism and also we fight for our rights, but till the core (inside) becomes stable (?????), one daily performs rape and also measures rape and escapes.

Make a change inside, as our outside is connected to inside. It's eternal principle of Vedas. (behavior of external objects over mortal body and universe are alike and our behavior which springs from inside affects the outside and universe). Problem and root of most problems is not really the 'poverty' outside but 'poverty of thoughts.'

Pramukh Swami Maharaj says: "The root of all bliss is God and to forget God is the root of all problems."

PS: even smallest of margin matters! this was my original title of image for a different context of which is explained in first tag and meant for self learning and reflection.









how to measure for exterior shutters







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MESH CANOPY - MESH


MESH CANOPY - NATURAL BLINDS - CHEAP HUNTER DOUGLAS BLINDS



Mesh Canopy





mesh canopy






    canopy
  • the transparent covering of an aircraft cockpit

  • cover with a canopy

  • the umbrellalike part of a parachute that fills with air

  • Cover or provide with a canopy





    mesh
  • engage: keep engaged; "engaged the gears"

  • The spacing of the strands of such material

  • An interlaced structure

  • engagement: contact by fitting together; "the engagement of the clutch"; "the meshing of gears"

  • Material made of a network of wire or thread

  • the number of openings per linear inch of a screen; measures size of particles; "a 100 mesh screen"; "100 mesh powdered cellulose"











mesh canopy - Dainolite 33963R-CM-OBB




Dainolite 33963R-CM-OBB 3-Light Pendant-Round Canopy, Clear Glass with Mesh Insert, Oil Brushed Bronze


Dainolite 33963R-CM-OBB 3-Light Pendant-Round Canopy, Clear Glass with Mesh Insert, Oil Brushed Bronze



33963R-CM-OBB Dainolite's cylindrical glass pendants with ultra sheer metal mesh insert redefine sleek and modern. This mixing of contemporary originality and beautiful sophistication is the key to this Dainolite creation. Features: -Pendant. -Pendant Series collection. -Oil brushed bronze finish. -Clear glass shade with mesh insert. -Comes with round canopy and black wire. Specifications: -Accommodates (3) 100W A medium base bulbs (not included). -Cable length: 72''. -Canopy dimensions: 12'' W x 12'' D. -Shade dimensions: 16'' H x 5.5'' W x 5.5'' D. -Overall dimensions: 16'' H x 12'' W.










82% (10)





Mesh Shadow Grid, Vertical




Mesh Shadow Grid, Vertical





A composition from a photo taken at the Desert Botanical Garden, Phoenix. Arizona. I was supposed to be shooting butterflies in the outdoor exhibit, but I kept seeing great abstract compositions in the temporary structure erected for the butterfly exhibit of the Maricosa Monarchs.











Noon Canopy




Noon Canopy





It was amazingly hot for so early in the season at this altitude in the Lagunas. I think it was around 95 F at noon. However, this backlit mesh of foliage above the campsite made it very bearable and comfortable. I think I have a green theme going this round of images.









mesh canopy








mesh canopy




Weather Gard 6 X 10 Black Mesh UV Tarp Shade Canopy Patio Yard 6x10






Heavy Duty 8 x 8 Reinforced Nylon WeaveWeather, mildew, water and rot resistant. All Temperature, All Season Use. Rust resistant, and aluminum grommets. Double reinforced eyelets on corners. 5 Mil thickness (3-ply). Note: All of our tarp sizes are "Cut Sizes", the industry standard. The "Finished Size" is usually 6" shorter on each side or can be up to 2% smaller than the "cut size." For example, a 10' x 20' tarp has a Finished Size of 9' 6" x 19' 6." Applications: All Perfect for Canopies, Patio Covers, Storage, Boats, Cars and Trucks, Gardens, Farming, Swap Meets, Picnics, and much more.....










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PENDANT LIGHT WITH SHADE - WITH SHADE


Pendant light with shade - Window glass cover



Pendant Light With Shade





pendant light with shade






    pendant light
  • A pendant light, sometimes called a drop or suspender, is a lone light fixture that hangs from the ceiling usually suspended by a cord, chain, or metal rod. Pendant lights are often used in multiples, hung in a straight line over kitchen countertops and dinette sets or sometimes in bathrooms.

  • (Pendant Lights) These are suspended from the ceiling and regularly seen in many homes.





    shade
  • Screen from direct light

  • shadow: cast a shadow over

  • Darken or color (an illustration or diagram) with parallel pencil lines or a block of color

  • represent the effect of shade or shadow on

  • Cover, moderate, or exclude the light of

  • relative darkness caused by light rays being intercepted by an opaque body; "it is much cooler in the shade"; "there's too much shadiness to take good photographs"











pendant light with shade - Nuvo Lighting




Nuvo Lighting 76/661 Warehouse Pendant 16-inch shade, Brushed Nickel


Nuvo Lighting 76/661 Warehouse Pendant 16-inch shade, Brushed Nickel



Founded in 1966, Satco is well known as a premier supplier of a variety of lighting products. The SATCO brand includes light bulbs, electrical accessories, lighting hardware and glassware. Nuvo Lighting was launched by Satco in 2005. From the beginning, energy efficiency was the cornerstone of Nuvo Lighting’s product development. Nuvo provides a unique combination of elegant and innovative designs, which are all Energy Star rated except the track kits. In 2009, Satco won the Energy Star Partner of the Year Award. Our distinctive designer collections include Odeon, Lucern, Moulan, Rockport, and Glenwood. Our exterior lighting is also Energy Star rated. In short the Nuvo brand has become synonymous with Energy Star. Nuvo Lighting Track Kits are designed for efficient use of light and energy, though they are not Energy Star rated. Each kit includes everything you need in one convenient package. Different models available in a choice of Gimbal Ring, Bullet, Straight Cylinder, Step Cylinder, Roundback, and Square track heads, you can choose which design best fits your needs.Warehouse Shade16-inch shade12-foot cordRetro DurableTransitional










83% (5)





Artemide Double Head Pendant Light




Artemide Double Head Pendant Light





Designed by Michele de Lucchi and Giancarlo Fassina

The Tolomeo Double Pendant Light gives an impression of lightness. Its two long and slender adjustable arms from polished aluminium are connected with a stem with adjustable height enabling to adapt the height of the luminaire to the one of the ceiling. The head of the lamp from mate anodized aluminium can be oriented in any direction with the aid of a little stick. This luminaire offers great possibilities of flexibility and mobility on account of the system of spring balancing using joints and fixations from polished aluminium as well as cables on guiding wheels. The spring system was first used in the nineteen-thirtees for the famous "Anglepoise" lamp with the aim to achieve more mobility. This version of the celebrated design classic spends an optimal direct and partly scattered reading and task light. A little aperture on top of the conical metallic shade gives off a small light beam. The Tolomeo was first presented to the public in 1987 on occasion of the famous light fair "Euroluce" in Italy and received an instant success. This success was confirmed again in 1989, when the two designers were awarded the Compasso d'Oro. To this day this lamp is a best-seller that is continuously developed and is available in a growing number of versions.











Green birdwing pendant vintagelights.com




Green birdwing pendant vintagelights.com





Here is a nice example of the diversity and style from the Art Deco Period. This late 20s to early 30s antique pendant lighting fixture has retained all its original colors. The base color is antique gold with overlays of cream and green. The green accents on the vintage fixture body are a great compliment to the vintage green slip shades (this particular slip shade is commonly referred to as "bat wing" or "bird wing"). The matching vintage shades are in excellent condition without any noticable chips and no cracks. The green shades of this pattern are indeed very rare and sought after. Probably less than 5% of these shades were ever green so with the matching antique fixture it is a stand out fixture.
Shades show darker green in person when lit.
Please forgive the water spots on the shades, they will be removed and additional images will be added without them.
Drop as shown: 33 inches (can be shortened at no additionsl charge)
Width: 12 1/2 inches










pendant light with shade







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UNIQUE DRAPERY IDEAS : UNIQUE DRAPERY


Unique Drapery Ideas : Drapery Swag Holder.



Unique Drapery Ideas





unique drapery ideas






    drapery
  • Long curtains of heavy fabric

  • cloth gracefully draped and arranged in loose folds

  • Cloth coverings hanging in loose folds

  • Drapery is a general word referring to cloths or textiles (Old French drap, from Late Latin drappus ). It may refer to cloth used for decorative purposes - such as around windows - or to the trade of retailing cloth, originally mostly for clothing, formerly conducted by drapers.

  • The artistic arrangement of clothing in sculpture or painting

  • curtain: hanging cloth used as a blind (especially for a window)





    unique
  • A unique person or thing

  • singular: the single one of its kind; "a singular example"; "the unique existing example of Donne's handwriting"; "a unique copy of an ancient manuscript"; "certain types of problems have unique solutions"

  • unique(p): (followed by `to') applying exclusively to a given category or condition or locality; "a species unique to Australia"

  • alone(p): radically distinctive and without equal; "he is alone in the field of microbiology"; "this theory is altogether alone in its penetration of the problem"; "Bach was unique in his handling of counterpoint"; "craftsmen whose skill is unequaled"; "unparalleled athletic ability"; "a





    ideas
  • An opinion or belief

  • (idea) mind: your intention; what you intend to do; "he had in mind to see his old teacher"; "the idea of the game is to capture all the pieces"

  • A concept or mental impression

  • (idea) a personal view; "he has an idea that we don't like him"

  • A thought or suggestion as to a possible course of action

  • (idea) the content of cognition; the main thing you are thinking about; "it was not a good idea"; "the thought never entered my mind"











unique drapery ideas - Overside Fluted




Overside Fluted Crystal Single Knobs on BiFold Doors, Wardrobes, Furniture or Closet French Doors with thickness of 1-1/8" through 1-3/4". Explore other decor accents for this unique simple idea, from our 3rd Generation Collection


Overside Fluted Crystal Single Knobs on BiFold Doors, Wardrobes, Furniture or Closet French Doors with thickness of 1-1/8" through 1-3/4". Explore other decor accents for this unique simple idea, from our 3rd Generation Collection



A very affordable way to install Overside Fluted Crystal knobs on BiFold Doors, Wardrobes, Cabinets, Furniture or Closet French Doors with thickness of 1-1/8" through 1-3/4" (we are able to custom make shorter spindles on request, email us for details). We designed and manufactured a special threaded spindle to install a one sided knob with finished hardware on the back side. When you only need a door knob on one side of a door which in not pre-drilled. Easy to install, just drill a ?" through hole in the door of drawer, slip in the spindle, screw on the knob and tighten the set screw on stem of the knob. This listing is for Polished Chrome hardware, also aviailable in most other finishes on our other listings on Amazon.










80% (17)
















Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas

(closeup)

Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.

Early life

Modigliani was born into a Jewish family in Livorno, Italy.

Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.

Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.

Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.

His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:

“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"

Art student years

Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.

At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.

Micheli and the Macchiaioli

Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.

Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.

In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre pain











Unique Forms of Continuity in Space




Unique Forms of Continuity in Space





The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999

In Unique Forms of Continuity in Space, Boccioni puts speed and force into sculptural form. The figure strides forward. Surpassing the limits of the body, its lines ripple outward in curving and streamlined flags, as if molded by the wind of its passing. Boccioni had developed these shapes over two years in paintings, drawings, and sculptures, exacting studies of human musculature. The result is a three-dimensional portrait of a powerful body in action.

In the early twentieth century, the new speed and force of machinery seemed to pour its power into radical social energy. The new technologies and the ideas attached to them would later reveal threatening aspects, but for Futurist artists like Boccioni, they were tremendously exhilarating. Innovative as Boccioni was, he fell short of his own ambition. In 1912, he had attacked the domination of sculpture by "the blind and foolish imitation of formulas inherited from the past," and particularly by "the burdensome weight of Greece." Yet Unique Forms of Continuity in Space bears an underlying resemblance to a classical work over 2,000 years old, the Nike of Samothrace. There, however, speed is encoded in the flowing stone draperies that wash around, and in the wake of, the figure. Here the body itself is reshaped, as if the new conditions of modernity were producing a new man.









unique drapery ideas







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