Oxfordshire has been involved with warfare throughout its history, ranging from Dark Age conflicts and the Viking Wars of the ninth and tenth centuries, to the cataclysmic conflicts of the twentieth century.
From its beginnings as an Anglo-Saxon settlement, through its development as an agricultural centre with all its related trades and services, the market town of Otley has seen many changes.
The history of the canals and waterways of North West England, including the Ashton Canal, Peak Forest Canal, Rochdale Canal, Huddersfield Canals, Manchester Bolton & Bury Canal and River Ribble, is traced through old and modern colour photographs.
The Manor of Northam dates back to the Norman invasion and is well recorded in the Domesday Book, being part of lands owned by a Saxon Lord called Bristric, and this appears to be the first recorded evidence of what was in the area.
Now part of an almost continuous suburban built-up area on the northern fringes of the City of Sheffield, Ecclesfield, Chapeltown and High Green were for centuries three distinct communities.
Although, in pre-Grouping days, Oxfordshire was primarily Great Western territory, the county was also served by the Buckinghamshire branch of the London & North Western Railway, which was in many ways a 'foreign' intruder.
Stoke-upon-Trent, described as a village in 1795, grew rapidly from the 1820s and 1830s, by which time a new Anglican church had been built as well as new streets.
This is the first book to be published that takes a 'then and now' view of the fourteen lifeboat stations on the north east coast between Sunderland and the Humber estuary.
Woolwich is unique for its succession of iconic identities, which no longer exist, yet have not been lost to living memory - Woolwich Dockyard, founded by King Henry VIII in 1512 and closed in 1869, Woolwich Arsenal and its Laboratory Square, built in 1696 and roofed over in 1854 to provide the heart of the expanding munitions factory, which closed in 1967, and Woolwich Arsenal FC, formed by munitions workers in 1886 and moved from Manor Ground to Highbury in 1913.
Redland, Cotham & Kingsdown Through Time is a vibrant, historical exploration through a wonderful selection of old and new photographs of the neighbouring suburbs just north of Bristol's city centre.
'Stoke Bishop has less community of interest with Bristol than London has with Brighton,' stated Francis Tagart from his luxurious Old Sneed Park mansion in January 1885.
The neighbouring communities of Neyland and Llanstadwell, on the northern bank of the mighty Milford Haven waterway, have a fascinating history full of diversity.
The Kyle of Lochalsh Line was opened in 1870 to connect the ferry terminus at Stromeferry on Scotland's west coast with Dingwall and Inverness on the east coast.
The Border Counties Railway ran from the old railway village of Riccarton Junction on the Waverley Route across the Border and through Northumberland to Hexham.
The Oxford, Worcester & Wolverhampton Railway originated during the 'Railway Mania' years of the mid-1840s, when ambitious landowners and industrialists conceived the idea of a main line link between London and the West Midlands industrial areas.
Pembroke, which gave its name to the present County of Pembrokeshire, is a medieval walled town complete with a magnificent castle dating back to the eleventh century.
From early reports of the invention to its wide application during World War I, the idea of photography created anticipation and participation in the modern world.
This is an authoritative and comprehensive reference for understanding clinical photography and improving the reader's ability to hone their skills and knowledge.
Stillness in Motion brings together the writing of scholars, theorists, and artists on the uneasy relationship between Italian culture and photography.
Stillness in Motion brings together the writing of scholars, theorists, and artists on the uneasy relationship between Italian culture and photography.
In Ghostly Landscapes, Patricia M Keller analyses the aesthetics of haunting and the relationship between ideology and image production by revisiting twentieth-century Spanish history through the camera’s lens.
