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Decorative Window Insert

decorative window insert

decorative window insert - Rose Tree

Rose Tree Madison 18 by 18 Pillow

Rose Tree Madison 18 by 18 Pillow

Madison by Rose Tree creates a perfect combination of Ivory, Camel and Chocolate floral print. The 2-inch chocolate flange around the European and Standard Sham along with the comforter creates a dramatic frame for this totally reversible collection. 20 by 20 mitered decorative pillows mirror the bold stripe of the 18-inch bed skirt. The Madison collection includes many accessory pillows which are totally reversible and has hidden zippers for ease with cleaning. Rounding out this ensemble are the coordinating window treatments.

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326 West 85th Street House

326 West 85th Street House

Upper West Side, Manhattan, New York City, New York, United States

Situated on the south side of West 85th Street between West End Avenue and Riverside Drive, the distinctive three-story 326 West 85th Street House — one house in a row of six houses — was planned by the noted architect Clarence True and was constructed for speculator-builder Charles G. Judson in 1892, at a time when the blocks in the West Eighties between West End Avenue and Riverside Drive were first developed. The overall design composition of this house is part of the A-B-A-A-B-A facade pattern of the row, and the 326 West 85th Street House represents a refined example of the Italian Renaissance style adapted to the requirements of the American basement plan, popularized on the Upper West Side by the architect Clarence True. This facade is a well-conceived and finely executed design. Its spare and well-cut ornament demonstrate great respect for the inherent quality of its exterior fabric — Maynard red sandstone, light orange Roman brick, and red pantiles. Indeed, the polychromy of these materials is an essential element of the facade's design. No. 326 West 85th Street has been changed very little since 1892 and retains much of its original ironwork and decorative door hardware.

The Development of the Upper West Side
The evolution of the present appearance of West 85th Street between West End Avenue and Riverside Drive is a reflection of the Upper West Side's greater development pattern. Largely undeveloped until the 1880s, the area was known as "Bloomingdale" prior to urbanization and was comprised of working farms in the eighteenth century and landed estates in the early nineteenth century. While included in the Commissioner's Map of 1811, which platted a grid of avenues and streets in Manhattan as far north as 155th Street, the area remained essentially rural and most of the streets were not laid out until after the Civil War. The creation of Central Park beginning in 1857 contributed to the growth of the areas around the Park's perimeter, but improved public transportation spurred the area's sustained development onward; in particular, the Ninth Avenue (Columbus Avenue) Elevated Railroad, completed in 1879 with stations at 72nd, 81st, 93rd, and 104th Streets, encouraged the area's growth. However, the biggest boost to the development of the West End, the area west of Broadway, was the creation, between 1876 and 1900, of Riverside Drive and Park (now a designated New York City Scenic Landmark) north of 72nd Street. Following the Financial Panic of 1873, development proceeded slowly but by 1885 the Upper West Side had become the scene of the city's most intense real estate speculation.

The tract now including the westernmost blocks of West 85th Street, once a portion of the Oliver DeLancey farm which was conveyed to John H. Howland in 1825, was not partitioned into lots until 1850. Subsequently, a parcel of four lots, each 25 by 100 feet, along West 85th Street's south side (comprising lots 40 through 43) was sold twice, in 1872 and in 1887. This parcel corresponds to the row at 316 through 326 West 85th Street. It should be rioted that this site is located on a gentle rise from West End Avenue west to Riverside Drive.

The Rowhouse and the Speculative Builder

The earliest Upper West Side rowhouse speculators owned the property on which the houses were constructed; Edward S. Clark, President of the Singer Sewing Machine Company, who commissioned Henry J. Hardenbergh to design the row at 41 to 49 West 73rd Street in 1879-80, has been cited as an example of this trend. The speculative builder followed close behind. Such a builder, often in concert with a property owner, would employ an architect with whom he often worked in partnership. Each received his share of the profit when the improved properties were sold. Charles G. Judson was listed as the owner at the time the New Building Application was filed for 326 West 85th Street and the other five houses east of it in this row of six buildings — April 21, 1892. Judson's architect for this commission, and for at least seven others, was Clarence True with whom he shared a business address at 102 West 82nd Street from 1892 until 1897.

A measure of how concentrated the development climate was throughout the city was the common practice among rowhouse developers of purchasing groups of lots and reconfiguring them, thus maximizing the number of houses within the row by building the houses narrower than the standard twenty-five foot lot. Judson subdivided these four lots on the south side of West 85th Street into six, each measuring sixteen feet, eight inches in width.

The Architect

Born in Massachusetts, Clarence Fagan True (1860-1928) received his earliest professional experience in New York in the office of Richard Michel 1 Upjohn (1828-1903), son of Richard Upjohn (1802-1878), one of this country's leading Gothic Revival architects. True began his architectural training in th

Dirleton Kirk

Dirleton Kirk

After 1612. Post Reformation church on long, narrow plan with W tower, S (Archerfield) aisle added 1656-674; W tower raised later (1825) to 4 stages. N vestry added. Sandstone rubble, formerly harled with freestone ashlar dressings and large ashlar masonry to aisle. Slated roof; overlapping slabs to aisle. Plain raised skews.

S ELEVATION: originally long low elevation with former entrance (now window) at left and round arched windows. Archerfield aisle projecting off centre to right in solid Scottish Renaissance style. Casped Gothic tripartite, loop traceried, round arched window to S set in moulded panel. Rusticated corner piers. Raised cill and base courses. Dentil corbels to shallow pediment above and to cill course. Cartouche panel with James Maxwell's arms in pediment. Doorway to E. Double doors in architrave with keystone linked to pediment bearing Maxwell shield. Corbelled memorial panel to right.

N ELEVATION: with later 19th century gabled vestry projecting at centre. Flanking bays gabled with round arched windows breaking eaves. Former N door to right blocked now window.
TOWER: 4-stage, set flush into W gable. Modern doorway at base. Small 1st stable light. Pointed arched, louvred 2nd stage opening with triple arched louvred lights above. Corbelled parapet with gabletted angle pinnacles and raised over incised cross to each face. Stair turret to N; conical roof at lower belfry level. Upper 2 stages of S and E sides as for W.

E ELEVATION: former doorway at centre, blocked 1930, Y-traceried round arched window inserted with interesting tracery. Wall monument 1728 left of window. Doric aedicule with swan neck pediment and cartouche. Flanking strapwork carving with symbols of mortality.

INTERIOR: plain in arrangement and decoration. Reorganised in 1930s when gallery was removed and chancel added. Open tie beam timber roof and stone barrel vault to aisle. Stained glass in 3-lights of aisle, St Francis and the Animals by Margaret Chilton 1935, executed by Marjorie Kemp under FC Mears. Oak pulpit and lectern. Organ by Ingram and Co 1900. Tower vaulted at ground stage with stair turret to bell-chamber above.

GRAVEYARD: contains good 18th century monuments including: SW of church, squat elaborate Baroque adstone to George Seton. Set into W wall, stone with unusual mask and artisan details.

GATEWAY AND BOUNDARY WALLS: coped squared rubble wall with polygonal, stugged ashlar gatepiers with pyramidal caps. Decorative iron gates and overthrow. Pedestrian entrance to W. Coped rubble boundary wall to N and W.

(source: Historic Scotland)

decorative window insert

decorative window insert

Plastic Wallet Inserts, Replacement Windows (A) Trifold)

Plastic Window Replacements by Rolfs. Since 1915, Rolfs has been an industry leader in men's personal leather accessories. Eight different quality constructed plastic inserts: A) Trifold Insert (3 3/4 x 2 3/4 inches), shows 10 photos or cards and fits trifolds and most billfold styles; B) Passcase Insert (2 5/8 x 3 3/4 inches), shows 8 photos or cards and fits all passcase billfolds styles; C) Pull Tab Insert (2 7/8 x 4 inches), shows 8 photos or cards and fits most billfolds styles; D) Credit Card Windows (4 7/8 x 3 3/4 inches), shows 24 photos or credit cards and fits most credit card wallets or hipsters (+.50); E) Stacked Windows (5 7/8 x 3 inches), shows 12 photos or cards, fits checkbooks, clutches and pocket secretaries (+.50); F) Accordian Windows(3 3/4 x 2 3/4 inches), shows 12 photos or cards and fits most billfold wallet styles G) Stacked Card Windows(3 1/2 x 3 3/4 inches), shows 10 photos or cards and fits most large hipster wallet styles H) French Purse Windows(3 1/2 x 2 1/2 inches), shows 8 photos or cards and fits most french purse and clutch styles.

See also:

decorating italian style

country cottage decorating

home decor library

decorate dorm walls

home decor retail store

decorator blog

outdoor wedding reception decor

how to decorate a bathroom

vintage style christmas decorations

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