Sentences with phrase «year framed wall»

If I'd win, I'd choose the Most Wonderful Time Of The Year Framed Wall Plaque for my Dining Room.

Not exact matches

Though Shults is all of 30 in human years, his hair — cut Wall Street conservative — is starting to thin, and his wire - framed eyeglasses are distinctly unhip.

A print of that first micrograph of a two - celled human embryo is now framed and hangs on the wall above the desk in David Albertini's small, crowded office at Tufts University where, 30 years after he cleaned the monkey cages in Southborough, he conducts research trying to figure out how the fate of those two cells is determined.

Wood Hutch - Antique Mall / / Ceiling Light / / Black Frames - DIY / / Bamboo Blind / / Table: Bought It In College Several Years Ago / / Grain Sack Pillow: DIY / / Table Runner: DIY / / Jute Rug / / White Dishware: Thrift Stores / / Glass Dishware: Thrift Stores / / Wood Tray: DIY / / / / Metal «O»: Hobby Lobby / / Wall Lantern: Home Interiors, years ago / / Wicker Basket: Thrift Store / / Metal Cart: Thrift Store / / Metal Wall Clock: Home Interiors, years agYears Ago / / Grain Sack Pillow: DIY / / Table Runner: DIY / / Jute Rug / / White Dishware: Thrift Stores / / Glass Dishware: Thrift Stores / / Wood Tray: DIY / / / / Metal «O»: Hobby Lobby / / Wall Lantern: Home Interiors, years ago / / Wicker Basket: Thrift Store / / Metal Cart: Thrift Store / / Metal Wall Clock: Home Interiors, years agyears ago / / Wicker Basket: Thrift Store / / Metal Cart: Thrift Store / / Metal Wall Clock: Home Interiors, years agyears ago / /

Buy «My First Photo Frame» products like Baby Aspen ® «My First Year» Pennant Wall Frame, Baby Aspen ® «My First Year» Whale Wall Frame, Malden ® 13 - Photo «My First Year» Metal Collage Picture Frame, My First Day Of School Photo Frame, Pearhead ® «My First Year» 13 - Photo Collage Frame in White

® First Year Frames Jungle Wall Decals, Sweet Jojo Designs Animal Safari Wall Decals, Sweet Jojo Designs Monkey Time Wall Decals (Set of 4), NoJo ® Dreamy Nights Wall Decals (Set of 5)

Gold Bookshelf (Budget Friendly / Similar Version here & here), Rustic Wood Frames (similar here & here), Pineapple (similar here), Faux Succulents, (similar here and here), Books (collected over the years), Bird Cage (similar), White Pitcher (similar here & here), Large Faux Plant (similar), Humans Of New York Book, Tufted Sofa, Gold Frame on Wall (similar)

If y ’ all can remember, last year around this time I did a home office reveal that included a fun gallery wall featuring prints, canvases, framed words and more.

Featuring bright abstract prints in beautiful greens and blues, matted and encased in silver frames, the Set of 4 Organic Symbols Framed Wall Art from Uttermost will stay dazzling for years to come protected under glass.

For the next 20 years Doucette remains caged, staring at the same four walls, fed a staple diet of take away noodles and bottles of vodka, as he wrestles with abrupt realisation he has been framed for the murder of his ex-wife (as shown on his tv).

The pdf booklet provides a range of different activities to develop the comprehension of pupils in years 5/6 including, freeze frame, hot - seating, character on the wall.

1961 Chevrolet Corvette Convertible 350 Hi - Performance V - 8 Engine 4 - Speed Manual Transmission Red & White Exterior Over Red Interior Full Instrumentation Including Tach Removable Hard Top Included Spinner Style Factory Wheel Covers Last Year of Two Tone Painted Coves Radial White Wall Tires Frame Off Restoration

While these frames will most likely be hang on a wall at home (it will be easy to hand them, too), they can also be placed on your car, in restaurants, on windows - and wherever you like as there's no need for a power source (the battery should last for over a year).

When I go too long without working on my creative writing, I look at my degree, framed and hanging on my wall, and I remember that I spent three years immersed in my subject matter.

In the fair's Frame section, which includes galleries in existence for eight years or less, São Paulo's Jaqueline Martins gallery presents a selection of recent floor and wall installations by Brazilian artist Ana Mazzei.

The prints are large: years before Jeff Wall expanded photography so that it might compete with painting, and gave it the frames and colors to match, Burgin made it clear that «big photography» already existed in the form of advertising.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greaWall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

Spanning three years — a frame that seems arbitrary — the exhibition includes nine wall - mounted works along with six drawings.

They are the work of Edson Chagas, a 34 - year - old Luanda - based photographer who created the spare compositions by walking around his city in search of derelict objects (a broken chair, a shoe) and artfully framing ones that caught his eye against the wanly colored walls of the street.

Along with complimentary gray walls and plinths, the setting works as a perfect foil for the first 400 years of gilt - framed and white - marbled works.

There was nothing outwardly difficult about Talia Chetrit's second New York solo show; eight modestly scaled, soberly framed black - and - white photographs — all but one made this year — ranged evenly around the walls of a small gallery.

Since his first solo exhibition 50 years ago, Mangold's work has been the subject of numerous one artist and retrospective exhibitions throughout the United States and abroad, including Robert Mangold at the Guggenheim Museum, New York (1971); Robert Mangold: Paintings 1971 — 1984, organized by the Akron Art Museum with subsequent venues in New York, Texas and California (1984 — 86); Robert Mangold: The Oberlin Window at the Allen Memorial Art Museum, Oberlin College (1992), which coincided with the unveiling of a stained glass window designed by the artist for Oberlin's historic Finney Chapel by architect Cass Gilbert, Robert Mangold: Painting as Wall, Werke von 1964 bis 1993, organized by the Hallen für neue Kunst with subsequent venues in Paris, Münster and Lisbon (1993 — 95); Robert Mangold: X, Plus and Frame Paintings, Works from the 1980s at the Parasol Unit Foundation for Contemporary Art, London (2009); Robert Mangold, Beyond the Line: Paintings and Project 2000 — 2008 at the Albright - Knox Art Gallery, Buffalo, presented in 2009 in anticipation of commissioned glass windows at the Federal Courthouse Building in Buffalo, unveiled in 2012; and Robert Mangold: Continuity and Discontinuity, Cleveland Institute of Art, Ohio (2011).

A great starting place for administration officials, and anyone else considering ways to shape and frame an American push on energy action, from the kitchen wall socket to the White House, is a compelling and non-ideological 2003 lecture by Richard Smalley, the chemistry Nobelist who devoted the final years of his life, even while battling leukemia, to pressing the case for action on humanity's great energy challenge, and opportunity.

Over in Wales, Tony Wrench's «ecohome of wood frame, cobwood and recycled window walls, straw - insulated turf roof; with solar power and wind turbine for electricity, compost toilet and reed beds for grey water» has just been granted approval after a ten year fight - it was built without permission in a public park.

Last year, it unveiled the Frame TV, which is designed to look like a framed piece of art on the wall, featuring abstract designs and black and white images, when not in use.

Part art deco, part «50s suburban and part «60s mod, these awesome retro colors are fresh and refreshed to fit today's tastes, say the color mavens at Sherwin Williams, whose wall color faves this year include shades of pink, aqua and pale or mustard yellows with accents of slate or peppery coral — great ways to set off the stark white of baseboards, crown moldings and door frames.

Road Type / City / Town Street, Fencing / Wood Fence, Flooring / Tile, General / Security System, Appliances / Microwave, Appliances / Dishwasher, Basement / Slab Foundation, Interior / Walk - in Closet, Appliances / Range / Oven, General / Ceiling Fan (s), Kitchen Features / Granite Countertops, Heating - Fuel Type / Gas, Exterior Description / Brick, General / Smoke Detector, Flooring / Wall to Wall Carpet, Sewer / City, Fireplace Description / Fireplace, Garage Description / Attached Garage, Appliances / Garbage Disposal, Exterior Living Space / Patio, Water / City Water, Bath Features / Stall Shower, Location / Cul - de-sac, Cooling / Central A / C - Electric, Roof / Composition Shingle, Fireplace Count / 1 Fireplace, Kitchen Features / Eat - in Kitchen, Heating Type / Forced Air, Fencing / Fenced Yard, Pre - Wiring / Cable, Kitchen Features / Center Island, Lot Description / Access Type - Road, Lot Size / 1 -2 Acres, Exterior Description / Wood Frame, Bath Features / Stall Shower and Tub, Other / Association Fee, Exterior / Sidewalk, Fencing / Metal Fence, Pool Description / Indoor, Bath Features / Jacuzzi Tub, Age / 6 -10 Years Old, Garage Count / 4 Car Garage, Pre - Wiring / Security System

And at a small long time Chinese owned computer company that I have done business with in our area for 35 years; they are so proud of their award frame; it hangs on the wall for the 25 years where it still hangs even now.

Exterior / Double Pane / Storm Windows, Flooring / Tile, General / Security System, Appliances / Microwave, Appliances / Dishwasher, Interior / Walk - in Closet, Appliances / Range / Oven, General / Ceiling Fan (s), Heating - Fuel Type / Gas, Flooring / Wall to Wall Carpet, Pre - Wiring / Garage Door, Garage Description / Attached Garage, Appliances / Garbage Disposal, Exterior Living Space / Patio, Water / City Water, Area Amenities / Jogging / Biking Path, Cooling / Central A / C, Kitchen Features / Eat - in Kitchen, Interior / Vaulted Ceilings, Fencing / Fenced Yard, Pool Description / Inground, Pre - Wiring / Cable, Pool Description / Pool, Kitchen Features / Center Island, Sewer / Public, Exterior Description / Wood Frame, Bath Features / Stall Shower and Tub, Other / Association Fee, Exterior / Underground Lawn Sprinkler, Kitchen Features / Breakfast Bar, Garage Count / 3 Car Garage, Exterior Description / Stucco, Garage Description / Garage, Age / 11 -20 Years Old, Amenities / Playground, Kitchen Features / Butlers Pantry, Roof / Cement Tiles, Pre - Wiring / Security System

Last year, an exterior wall and framing needed replacing due to rotted wood and carpenter ants costing my landlord $ 12,000).

Area Amenities / Golf, Exterior / Double Pane / Storm Windows, Appliances / Refrigerator, Flooring / Tile, Appliances / Dishwasher, Appliances / Range / Oven, General / Ceiling Fan (s), Heating - Fuel Type / Gas, Flooring / Wall to Wall Carpet, Garage Description / Attached Garage, Appliances / Garbage Disposal, Water / City Water, Area Amenities / Jogging / Biking Path, Garage Count / 2 Car Garage, Cooling / Central A / C, Appliances / Dryer, Appliances / Washer, Kitchen Features / Eat - in Kitchen, Fencing / Fenced Yard, Pool Description / Inground, Pool Description / Pool, Sewer / Public, Body of Water / Lake, Exterior Description / Wood Frame, Bath Features / Stall Shower and Tub, Other / Association Fee, Exterior / Underground Lawn Sprinkler, Exterior Description / Stucco, Garage Description / Garage, Age / 11 -20 Years Old, Kitchen Features / Butlers Pantry, Roof / Cement Tiles

White Trim — Existing Walls — White Dove in Eggshell by Benjamin Moore Doors — Mopboard Black in Semi-gloss by Benjamin Moore Stair Runner — Existing (Some form of Berber) Beadboard Wallpaper Below Chair Rail — Can be found here Frames — Framebridge (you can click here for a post about them) Gold Ring Chest — Soft Surroundings several years ago (painted Wrought Iron by BM) Wreath — Balsam Hill Mirror — Soft Surroundings Tufted Wingback Bench — Birch Lane Artwork above Bench — I painted it over an old canvas and then framed it out with some inexpensive wood and painted that gold Faux Cowhide Rug — World Market Lumbar Pillow — HomeGoods Planter on Books Filled with Flowers — Wayfair Rattan Suitcase — Birch Lane Lamp — HomeGoods (similar one found here) Books — Vintage — similar ones can be found here, here and here Wood Beaded Garland — Soft Surroundings Gold Pheasant — Antique from family Boots — Frye Hooks — HomeGoods Hat — Joyfolie several year ago Scarf — Joyfolie

book art black + white alphabet art gray corner chair black + white textured pillow [HomeGoods] black + white rectangle pillow [Target, similar here] colored geometric pillow [Target last year] green storage cubes rug ceiling fan dresser knobs [Hobby Lobby, similar here] clear fillable lamp gray round stacked boxes scrabble letters + frame metal triangle wall decor ferris wheel art [Hobby Lobby + custom frame] large photo custom framed in Jambi frame metal ``?»

duvet cover [West Elm several years ago, similar here] blue + white euro pillows storage ottoman Word Art white frames ABC art stacked books art drop - down desk orange shag pillow light blue plaid sheets navy blue crosshatch check pillowcases «Ladies Love A Gentleman» wall art gold geometric finials + white rod [holding acrylic frame] curtains acrylic bookshelves [my other favorite item!]

My sister gave me the hardest time because I collected frames, numbers, letters, and signs for several years before I hung up my gallery wall.

By the way, I saw empty frames on a wall in a show home about five years ago and loved that look and still do.

I have removed all the little picture frames scattered about the house and on the walls, including the collage I made years ago of about 15 photos above the piano.

First thing we did when we bought our house 7 years ago was take out that builder full - wall mirror and replace it with individual framed mirrors above the dual sinks.

Print and frame your favourite photographs from the last year and hang in groups to create a beautiful wall display that'll make you smile every time you see it.