THE HOUSE OF YOUTH label was founded c.1935) by Mr. Samuel Stein. By 1955 Mrs. Stein, his son, Philip, and his daughter, Elizabeth, all played an active part in the business. The connection with Dior came to them without seeking. Dior, that man of fashion genius, had come to the conclusion that the Australian market offered a scope he could not afford to ignore. He questioned many visitors to Paris and decided that the House of Youth was the obvious channel through which his designs should flow to the Australian woman. Completely versatile, this firm is capable of covering every phase of fashion production, from impeccably tailored suits and coats to softly draped, intricately cut dresses and evening gowns. Mr. Philip Stein was modest when asked what Dior thought of their copies, but confessed that Dior, had been "very flattering". Dior had-been greatly impressed with the standard of Australian craftsmanship, and, as a result of the success of this joint Parisian-Australian fashion venture, it is whispered that the great man himself is seriously contemplating a visit to Australia. (Source: The Argus 22 Feb 1955)Unlined pale grey linen two-piece suit with a fabric belt attached. The suit has the label "House of Youth Model" which may indicate that it is a licensed copy of a French original.Label: "House of Youth Model"women's clothing, australian fashion - 1950s, dresses, house of youth

Picnic Group (unknown) c1910Large group of men, women and children in an outdoor setting. Black and white photograph on a grey mount card. Ladies are dressed in light coloured, long frocks and hats. Men are wearing suits and hats.stawell

James Albon, far right, built a bowling green at his home on the corner of Mont Albert Road and Wilson Street (later occupied by the convent). This green was so popular with his friends that he organised the formation of a bowling club at the corner of Montrose and Wilson Streets. Mr John Kendrick Blogg, wearing the white hat, is standing in the doorway. Earliest club records date from 1916. This was the original club-house; it was rebuilt in 1922/23 using interlocking blocks as recommended by Walter Burley-Griffin. This was quite an innovative design at the time. In turn cream brick buildings replaced this building in the 1950s. The Surrey Hills Bowls Club disbanded in 1995. Our original is framed copy donated by the Surrey Hills Bowls Club (with a spare copy and negative). Someone from the club has the original. Thre is also a frames portrait of James Albon the 1st president in the collection. (NB/ Duplicate = 1813; No.1943 is from the Bowling Club). Some information from Mrs Merle Phillips (deceased) a member when the club closed.A black and white photograph of a group of men and women dressed in their finery. The ladies and men are wearing hats and most men in 3 piece suits. One lady is in position to roll a bowl. The women's dresses are all ankle length."SHBC 1912"mont albert road, wilson street, surrey hills, montrose street, surrey hills bowling club, 1912, clothing and dress, mr james albon, mr john kendrick blogg

This swimsuit belonged to Brighton local Joyce Fuller, nee Harries (1920-2018), who wore it at Dendy Beach in the 1950s. Ada of California was a Melbourne swimwear company founded in the early 1950s by Brighton locals Ada and Toni Murkies. Born in Poland in 1922, Ada was 17 when the Second World War reached her doorstep. She and her family were torn from their home by Soviet soldiers and sent to a brutal labour camp in Siberia as part of a series of mass deportations. In order to escape the horrific conditions of the camp, Ada and her sister Barbara joined the Soviet-backed Polish Army. During her time in the military she became close with a handsome young Jewish officer, Lieutenant Antoni Murkies, who later became her husband. After the war Toni was awarded 15 medals including the highest Polish military honour, the Virtuti Militari. Ada was awarded 10 medals, including the Order of the Cross of Grunwald. Emigrating to Australia as postwar refugees in 1948, Ada and Toni arrived in Melbourne with little to their name. Working initially in garment factories and building their connections, by the mid-1950s the couple were able to start a company of their own, with Ada designing the garments and Toni managing the business. Within ten years, Ada of California swimwear was being sold in department stores throughout Australia, and the Murkies family were able to build a permanent home of their own in Brighton. By the early 1980s they had acquired several other major labels, including Watersun. Visiting Brighton Historical Society in 2019, Ada recalled this particular swimsuit style to be a popular one, particularly with older women, as the cinched waist and pleated modesty skirt suited many body types. This was important to her, as she wanted women of all ages and sizes to look and feel good in her swimwear, and she devoted much time and attention to the fit and finish of the garments. When the company began introducing padded bras, such as the one in this swimsuit, Ada insisted on using lacy floral lining and a small ribbon rosette in the centre gore, to give women a sense of quality, femininity and care in construction.Blue one-piece swimsuit with waist tie and short finely pleated overskirt. Sleeveless with thin elasticised straps. Inbuilt padded underwire bra with label and pale pink ribbon rosette on centre gore. Fastens with back zip.Label: "Ada / OF CALIFORNIA / 38"swimwear, brighton, dendy street beach, ada of california, ada murkies, toni murkies, joyce fuller, joyce harries

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8122.1 - A laminated A3 sketchbook page depicting a design for the Men's 1992 Barcelona Olympics Australian Official's Uniform. The main drawing shows the design for blue suit pants and blazer with six gold buttons, a yellow shirt and a red, green, yellow and cream striped tie. To the left of the main image are four smaller detail drawings of the belt buckle, gold bottons, blazer and shoes. 8122.2 - A laminated A3 sketchbook page depicting a design for the Women's 1992 Barcelona Olympics Australian Official's Uniform. The main drawing shows the design for a blue elbow length, square necked blazer with gold buttons on both the front of the jacket and sleeves paired with a blue pencil skirt and a red, green, yellow and cream shirt. To the right of the main drawing are four smaller detail drawings showing the pattern for a scarf, the striped shirt, the blazer and the shoes. 1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

This photo is probably the oldest known photographic record of the Balliang Football Club, an Australian Rules football team in the Bacchus Marsh area. Australian Rules football was played in this area as early as the 1870s. An organized competition to play regular matches was formed in the early years of the twentieth century. This item has historic and social significance as an image of one of the early sporting teams of Bacchus Marsh and district. It is a typical example of team photographs of this era. It is evidence of the transition of football from a social informal setting to an organised activity and signals the growth of importance of sport, in this case Australian Rules football, as a cultural and social activity central to the Australian ethos.A sepia photograph print mounted on mounting board, showing a group of 20 men arranged in two rows with two men reclining in front. Fifteen men are wearing horizontally striped football guernseys, one wearing a guernsey which is vertically striped. Two men wear white guernseys with a diagonal sash, one man in the back row is dressed formally in suit, collar and tie. One man, identified as the umpire, is in a white polo-necked sweater and is holding a football. The photo is taken in a clearing in an outdoor setting. It is possible to see the figures of three women in the background, two looking on from under a tree, one walking along a footpath.Above the photo in red ink:"Balliang Football Team 1912." Beneath the photo in red ink with one alteration in blue ink the names: "J.Davie, C. Bissell, F. Dodemaide (these two names showing a reversal of position), J.Turnbull, G.Dodemaide, A. Phalp, A. Bissell, A. Cashmore, J.Sharkey. R.McArthur, J.Cashmore., W. Loats, C. Smith. Elliott (ump), B.Phalp. W.Cashmore, L. Beggs. Because the number of names given does not tally with the number of men in the photo, it is not possible to accurately ascribe a name to any individual player. Underneath the hand-written names, there is a circular professional stamp of the photographer, reading: PHOTO ARTIST BACCHUS MARSH. A.BESELERballiang football team, australian rules football

In 1880, the Melbourne Benevolent Asylum launched an appeal to raise funds to relocate away from the inner city. The location in North Melbourne was considered a great risk for the residents, particularly the 'old and feeble', in the event of an epidemic. In 1887, the secretary to the Premier of Victoria wrote to the Asylum, suggesting Frankston as a possible alternative to North Melbourne. The Asylum committee considered Frankston to be too far away. The Royal Commission into Charitable Organisations (1890) strongly recommended Cheltenham as the preferred location but the government failed to act on that recommendation. Former Asylum committee member, Mr James Hingston, bequeathed £25,000 to the Asylum on his death in 1902. After many more years of toing and froing, the foundation stone for the new asylum at Cheltenham was laid in 1909. It was almost two years later that the transfer of residents from North Melbourne to Cheltenham began. The move happened in stages over three days, with the first group of residents to move to Cheltenham being 125 women from the invalid wards. The Asylum continued to operate throughout the 20th Century and, in 1970, was renamed the Kingston Centre. The focus of services also changed. This photograph captures the laying of the foundation stone in 1909.Black and white image depicting a large group of citizens gathered to watch the laying of the foundation stone for the Benevolent Asylum in Cheltenham. There is a raised platform with a group of men dressed in suits standing on it. These appear to be the dignitaries for the day. There are flags flying in the background, others standing on poles at the corners of the raised platform. Handwritten in red ink on reverse: 50%cheltenham, charity, north melbourne, welfare

Black and white image of thirteen (13) women dressed in white blouses and skirts, in three rows. The front row of women are sitting on the floor and flanked by men dressed in suits, holding cricket bats across their knees. The middle row are seated and a woman dressed in dark clothes is seated second from left. The back row are standing and man dressed in a suit is standing, third from left. Four women have been identified in the back row (L - R): M Howard, L Ward, G Parry and R Gays.cricket, sport, women, team

Black and white photograph showing twenty two member of the Lee family. Men and boys all well dressed, some in suits, shirt and tie. Women in style of era. Taken at the Lee family home Hunter street Lakes Entrance VictoriaThe Lee Family 1935genealogy

During summer, after the last load of rock for the week had been delivered to the landing, the trolley would be used as transport for a picnic in the bush nearby.Black and white photograph of two men and three young women in summer dresses and hats sitting on a trolley on the Mississippi Creek tramline. One man in tidy suit, the other appears to be in working clothes. Dense bush in background, tea cup on cross beam of trolley. East Gippsland Victoriatramline, people

Golden Square Methodist Choir. Mid - late 1930s. Black and white photograph of eleven men and eighteen women arranged in three rows. The men are dressed in dinner suits with bow ties. The women are wearing dresses. One man is seated in the centre of the front row with a small Shield resting against his feet. The photograph is taken against a fence with two buildings in the back ground. Photograph is mounted on grey board. The names of the choir members are written in ink on the reverse. Joan McDonald Collection. Golden Square Methodist Choir Back Row L- R J.C. Chamney, Alan Jones, Mel? Warne, Tom Washington, W Henderson, A Tredinnick, Fred Cattran, Norm J ?, W (Darby) Bemmett, Albert Trabinger. 2nd Row Effie Olds, Hilda Shalwell, Hilda Trabinger, Mrs Alf Brown, Holly Salters, Alice Graham, G... Davidson, Jeannie Thomas, Sylvie Olds, Em Shipp. Front Row Nell Washington, Else Medlin, Doris Goddard, E Chamney, Cyril Warne (Conductor), Laura Doenan ? , Win McQuillan, Doris Sampson, Muriel Wishart. Jack Chamney married Edith Henderson in 1935. parents of Donor.golden square methodist church, choir

Hardcover book, 287 pages. Front cover of book has a colour image of a woman wearing a brown suit standing at the top of a set of stairs leading to the front door of a building.fictionStory about 3 women running a guest house.joan kennedy, fiction

Photograph. 25 tin types stuck to piece of cardboard, scanned on cardboard and carefully removed and placed in plastic pockets. On top of card is written 'Spring Gully' Images include men , women and children. Formal photos, men in three piece suits. Appears to be late 1800's ? Written on back 'Miss Hargreaves'.john hargreaves, tin type, spring gully

Carol Porter’s artwork Don’t get mad, get elected! features a woman towering over Parliament House in Canberra. Below her, tiny suit-clad politicians run screaming as she holds one of their colleagues upside-down, and another tumbles from her grasp. The look on her face is cool and determined; it is a reversal of the more common horror poster trope of ‘damsel in distress’. Porter says of the work: ‘It was tapping into the fact that women should get into power and make a difference’. Porter is a contemporary political cartoonist and poster artist who has worked out of Melbourne since the 1970s. She uses humour in her social commentary on various Australian issues and is well known for the prints she produced at RedPlanet – the alternative poster press inspired by an anti-elitist mission to reconnect art with communities. The poster was commissioned by the Victorian Women’s Trust. It first appeared on Melbourne billboards in 1997, a year after the federal election that swept John Howard to power.Donated by the artist

Black and white copy of original photograph which shows several children seated in a group on the ground, listening to what is being said by a man wearing a suit and hat who is crouched on the ground with them. The man is holding a piece of paper and is smoking a cigarette. Numerous women and children are in the background. The photograph appears to have been taken at a school sports day or similar function.don ringin, john kavanagh, charlie caldow, graeme ellis, walter ("snow") ringin, gordon smith, mannibadar

Susie Voutier (1863-1942) married Frank Bryant of Linton in 1908, and for many years they ran a popular shop in Sussex Street, which sold pies, confectionery, ice-cream, hot drinks and other refreshments. Frank Bryant died in 1919, and in 1931 Susie married Philip Burden. This photograph of the Bryant family shows Susie and Frank Bryant (centre) with Frank's sister Alice Bryant (1850-1931) on the left, and Susie's sister Elizabeth Voutier (1859-1942) on the right.Sepia photograph of three women, and a man who is wearing a three-piece suit, collar and tie."From Mr and Mrs Bryant and Mrs Park". "Alice, Mrs Bryant, Mr Bryant and Miss V".alice bryant, susie bryant, frank bryant, elizabeth voutier

Black and white copy of original family portrait, showing 4 women standing behind and 2 men in dark suits and a lady seated and dressed in a light coloured floral dress and a flower pinned to her dark coat and stole."1339 Ernest Ball & Family"ernest alfred ball, fanny louisa, horace, mavis, gladys, hazel, bernice

Sepia photo: large group - 3 rows of women dressed in long white dresses; all women are wearing a ribbon on their chest. Two rows of men dressed in black suits, with stand up collars and bow ties. Woman in centre of 2 row has lace covered long dress and is carrying a pointer. Possibly Bendigo Choral Society 1912?Richard & Co., 23 Sturt Street, Ballaratperson, group, performing group

The Linton Methodist Church held its Jubilee at Easter 1910. This was to celebrate the 50th anniversary of the establishment of the church in Linton. After a day of church services on Easter Sunday, a party "numbering about thirty" went on Easter Monday on an outing to Flagstaff Hill.Sepia photograph of a large group of well dressed men (mostly wearing suits and hats) and women with long gowns and hats posed in outdoor setting.On back, handwritten in pencil: " Mrs Hall / Jubilee of the / Methodist Church". "L.D.H.S" inscribed across top left corner.methodist church, events, jubilee

Black and white photographs of four woman and four men. Two women in black dresses standing. Two women in white dresses standing. Two men in black suits sitting. Two men in black suits standing.person, group, men and women

This book was produced by the Alexandria Spinning Mills, Sydney. It was owned by Billie Rech, the aunt of the donor, who was a great knitter.Knitting book, 28pp. Cover printed in black and white with a photo of a woman wearing a knitted dress. She is posed outdoors, leaning on a tree. Contains photos and patterns for women's dresses.Sun-glo / Frock / Book / DESIGN No. / 2426 / Page 20 / SERIES 50 / containing ... / MODEL FROCKS / and SUITS / 1'3handicrafts - history knitting, alexandria spinning mills pty ltd, handicrafts - history, knitting

A very dark black and white copy of a photo of staff and students at Bendigo Teachers College in 1928. The men are all in suits with collar and tie and the women are in skirts or dresses with stockings and formal shoes. Back row - R. Burton, A.J. Ure, F. Clarke, A .Smith, H. Prentice, R. Mason, F. Chapman, W. Porter, H. Parker, L. Soulsby, E. Daniels, S. Pollock, E. Bunny, J. Baines, C. Ellis, E. Harvey. Second row - W. Ballantine, J. Turner, M. Bourke, E. Atkinson, V. Bunworth, I. Burbury, M. Ruby, D. Lloyd, E. Ruby, H. Alexander, E. Puckey, M. O. Smith, K. Gillies, M. Cork, G. Pearson, M. Ryan, J. Fyfe, M. Lee, D. Allan, H. Fulford. Third row - M. Betts, N. Lupton, M. Tobin, E. Graham, E. Earnshaw, F.R. Sides, F. Sunderman, P.G. Samson, D.A. Mackay, T.F. Scott (Principal), M. McGawley, L. Waide, M. Renshaw, B. Lockhart, D. Russell, E. Wells, M. Ward, M.M. Smith. Front row - F. Muller, C. Greenway, C. Le Grande, M. Daffey, W. Rye, L. Murphy, H.G. Nixon. See 3320.100bendigo, education, bendigo teachers' college, la trobe university collection, collection, bendigo, education, tertiary education, teacher training, photo, photos, photograph, photographs, photography, bendigo teachers' college, teacher training, miss j.c. burnett, mr. geoff. pryor, teaching, r. burton, a.j. ure, f. clarke, a. smith, h. prentice, r. mason, f. chapman, w. porter, h. parker, l. soulsby, e. daniels, s. pollock, e. bunny, j. baines, c. ellis, e. harvey, w. balentine, j. turner, m. bourke, e. atkinson, v. bunworth, i. burbury, m. ruby, d, lloyd, e. ruby, h. alexander, e. puckey, m.o. smith, k. gillies, m. cork, g. pearson, m. ryan, j. fyfe, m. lee, d. allan, h. fulford, m. betts, n, lupton, m. tobin, e, graham, e. earnshaw, f.r. sydes, f. sunderman, p.g. samson, d.a. mackay, t.f. scott, m. mcgawley, l. waide, m. renshaw, b. lockhart, d. russell, e. wells, m. ward, m.m. smith, f. muller, c. greenway, c. le grande, m. daffey, w, rye, l. murphy, h.g. nixon

A black and white photograph of Bendigo Teachers' College students on a visit to Ballarat Teachers' College in 1927. The unnamed staff and students are seated at a main entrance with formal iron fence and pillars. In the foreground on the right is a garden and trees which are along the iron fence which runs up a hill to a fence and more garden the background. Also in the background is a building with ornate features. The men are all in suits with white collar and tie and some wear formal hats. The women are also in formal attire and most wear fashionable hats. See 3320.100bendigo, education, bendigo teachers' college, la trobe university bendigo collection, collection, bendigo, education, tertiary education, teacher training, photo, photograph, photographs, photography, ballarat teachers' college, bendigo teachers' college, costume, fashion, attire, clothing, history, miss j.c. burnett, mr. geoff. pryor, place

A black and white photograph of staff and students at Bendigo Teachers' College located at Long Gully Primary School. Names unknown. 1926. The formal clothing of the day is evident here. The men all wear suits with white collar and tie. Many wear a waistcoat. The women all wear frocks or skirts with stockings. One lady wears a hat. Long Gully Primary School is in the background. See 3320.100bendigo, education, bendigo teachers' college, la trobe university bendigo collection, collection, bendigo, education, long gully primary school, state schools, primary schools, bendigo teachers' college, students, tertiary education, teacher training, photo, photograph, photographs, photography, clothing, attire, fashion, costume, miss j.c. burnett, mr. geoff. pryor

A very dark copy of a photo of the staff and students at Bendigo Teachers' College 1929. They are all dressed formally - the men with suits or jackets with ties.The women in frocks or skirts and all with short hair. The staff and students are listed in order from the back to the front row. Back row - R. Frankling, R. Jackman, K. Mitchell, A. Rebbechi, A.C. Macmichael, T. Condon, N. McLennon, C. Streader, R. Harry, T. Seymour, H. Brown, J. Leach, J. Day, A. Willey, H. Sergeant, A. Gomarsall. Second row - Misses B. Duggan, J. Mackenzie, O. Clarke, R. Nicholas, J. Bowling, B. Bradford, J. Metcalf, K. Fleischer, A. McInnes, L. Haines, M. Westwood, G. Stuart, B. Glasson, E. Kelly, M. Haydock, E. Armstrong, D. McKernan, N. Fraser. Third row - Misses J. Young, I. Collard, N. Comer, S. McKinnon, M. Roberts, M. Wickham, Miss Alice Smith, Mr. P. G. Samson, Miss D.A. Mackay, Mr. T. F. Scott, Miss M. McGawley, Misses W. Nixon, E. Liddell, M. Rowe, A. John, I. Lawson, V. Davis, G. Harris. Fourth row - J. Cunningham, F. Ryall, J. Hendry, J. Flanagan, W. Stephens, J.O'Dwyer, N. Wearne, G. Downing, L. Culhane, H. Parker, A. Elliott, E. Craving, S. Thompson, A. Keating. Absent - Miss A. Rosan. See 3320.100bendigo, education, bendigo teachers' college, la trobe university bendigo collection, collection, bendigo, education, tertiary education, teaching, teacher training, bendigo teachers' college, photo, photos, photograph, photographs, photography, history miss j.c. burnett, mr. geoff. pryor, history, staff, students, r. frankling, r. jackman, k. mitchell, a. rebbechi, a.c. macmichael, t. condon, n. mclennon, c. streader, r. harry, t. seymour, h. brown, j. leach, j. day, a. willey, h. sargeant, a. gomarshall b. duggan, j. mackenzie, o. clarke, r. nicholas, j. bowling, b. bradford, j. metcalf, k. fleischer, a. mcinnes, l. haines, m. westwood, g. stuart, b. glasson, e. kelly, m. haydock, e. armstrong, d. mckernan, n. fraser, j. young, i. collard, n. comer, s. mckinnon, m. roberts, m. wickham, alice smith, p. g. samson, d.a. mackay, t. f. scott, m. mcgawley, w. nixon, e. liddell, m. rowe, a. john, i. lawson, v. davis, g. harris, j. cunningham, f. ryall, j. hendry, j. flanagan, w. stephens, j. o'dwyer, n. wearne, g. downing, l. culhane, h. parker, a. elliott, e. cravino, s. shompson, a. keating, a. rosan

Attached George Gross Biography. Vogue Australia|With more than 40 years in the industry,- George Gross is one of Australia's best known fashion designers. Designing his own. label for the last 35 years, Gross is renowned for his glamorous evening wear, corporate and race wear ranges. Embodying style and sophistication, Gross has dressed celebrities the world over in his eponymous label.|With his first creation - a sequined shift, at the tender age of 16 George still believes 'every collection starts with the fabric and is all about the cut and proper finishing. The looks and silhouettes change every season but not dramatically, it is more that they evolve from season to season.'|The George Gross label was first conceived in Adelaide by Gross and his business partner Harry Watt. As designer, both were working for other fashion houses and saw a gap In the market for elegant evening wear, suiting and separates. Joining with his twin sister Kathy, the three began with a small Adelaide store and expanded to include more than 500 retailers worldwide at the height of their business.|Inspired by real women, Gross showcases his love of colour, cut and quality with each collection. His aim is to create sensuous clothing that women of any age, shape or taste look fabulous wearing. Attributing his longevity to a desire for experimentation while also listening to his customers' needs, Gross designs the fabric prints and only uses the best quality natural fibres from Europe.|Gross and Watt have won 13 Australian fashion design awards between them and both work closely with charities throughout Australia. Working primarily with Breast and Prostate Cancer Research, George organises parades around Australia, especially in their home town of Adelaide.|Gross now has seven stand alone stores, nine concession areas in David Jones department stores and numerous wholesale clients Australia wide. Having finished summer 2009, George is now working on winter 2010, his 73rd collection with many more to come.Three piece Grey - brown pin stripe pants suit. Fully lined pants, shaped waist band. Zip front & turned up cuffs. Jacket fully lined, wide reveres, single breasted, one button. Two pockets. Tailored waistcoat, 5 buttons. Two imitation pockets. Stretched lace backGeorge Grosscostume, female

aFramed portrait of William Paterson who was President of the Association for the Advancement of the Blind, from 1948-1952. It is part of a series of paintings commissioned by the VAF Board to commemorate the work of past presidents of the organisation. Mr Paterson is dressed in a 3 piece gray suit, white shirt and wearing a blue tie and black hat. He sits outside a house reading a red coloured book, whilst in the background an elderly man takes a step out on to the gravelled driveway. Two women, one with a white cane, rest on chairs under the verendah of the building. The plaque at the base of the painting reads 'Mr William H. Paterson / President 1948-1952 / Association for Advancement of the Blind'. 1 art original in gold frameThe plaque at the base of the painting reads 'Mr William H. Paterson / President 1948-1952 / Association for Advancement of the Blind'association for the advancement of the blind, william paterson

Tibetan felt hats, typically made from wool felt crafted from sheep or yak wool, are well-suited to the harsh, cold climate of the Tibetan Plateau. A lining and decorative elements, such as embroidery or patterns, are often added. The fur flaps, made from rabbit or fox fur, provide extra warmth. Felt hats are worn by both men and women.Tibetan hats (also known as ‘chuba hats’ or ‘tsamtha’) are rich in cultural significance. They are often worn during religious ceremonies, festivals, and other important occasions. The design and quality of a hat can indicate the wearer's social status or role within the community.Traditional Tibetan hat with silk brocaded crown in dark and light brown colours, with orange and green flower pattern, and large fur flaps.everyday life, clothing, hats

Tibetan felt hats, typically made from wool felt crafted from sheep or yak wool, are well-suited to the harsh, cold climate of the Tibetan Plateau. A lining and decorative elements, such as embroidery or patterns, are often added. The fur flaps, made from rabbit or fox fur, provide extra warmth. Felt hats are worn by both men and women. Tibetan hats (also known as ‘chuba hats’ or ‘tsamtha’) are rich in cultural significance. They are often worn during religious ceremonies, festivals, and other important occasions. The design and quality of a hat can indicate the wearer's social status or role within the community.Traditional Tibetan hat with silk brocaded crown in blue, red and golden colours, and large fur flaps. The TFG initials written in ink inside.everyday life, clothing, hats