bob jenyns, requires framing

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Two identical black and white photographs of two men and one woman sitting on camels with two keepers standing in front holding their ropes. The man on the left is wearing a fez and white double breasted jacket, the woman in the middle is wearing a geometrical design dress and head scarf and the man on the right wearing a hat, shirt and tie is Frank Wright. They are posed in front of an Egyptian pyramid.frank wright, egypt, pyramid, camel, fez

This image is part of a collection of 35mm colour transparencies taken by photographer Katrina Lawrence at the opening of the carousel on the waterfront in Geelong on 14th October 2000. This image shows entertainment at the opening. The Steampacket Place Development Board, a joint team formed by the Victorian State Government and the City of Greater Geelong undertook the $30 million revitalisation of the entire Geelong Waterfront from 1995 to 2000. As part of the revitalisation, in August 1996, the Steampacket Place Development Board purchased an unrestored Armitage-Herschell portable steam-driven carousel to restore and locate as a major feature on the revitalised waterfront. The Carousel was manufactured around 1892 by the Armitage-Herschell company of New York. The Carousel operated on the Mordialloc Pier from the 1920s to the 1950s. Twenty-four of the 36 horses are original, and believed to be rare examples hand-carved by the American master, Charles Dare. Each horse took 300 hours to restore, with intricate carving, coating, filling, sanding, smoothing, painting and varnishing.Colour image showing a man wearing a red fez.merry go-round, horses, carousel, geelong, restoration, rides, j. j. miller, geelong waterfront, michael crutchfield, steam engine, katrina lawrence, opening, 35mm colour transparency, steampacket place development board, city of greater geelong, revitalisation, celebration, event, armitage-herschell, geelong memorial brass band

Worn by the donor in the 1960s.Brown fur hat - round fez style - brown satin lined.on label - S.R.McClean Pty Ltd Manufacturing Furrier 48 Royal Arcade Melbcostume, female headwear

This metal plaque was dug up in a Warrnambool garden in the early 1980s. It appears to be an item that would have been attached to a wall or building and is possibly a representation of a British military figure involved in military campaigns or colonial administration in a British Empire outpost in the 19th century or early 20th century, perhaps in the Middle East or in north Africa. It could also be a non-British military figure from the same areas. This item is of minor interest as an object found in Warrnambool but with no known details of what it represents. . It is retained pending further research. This is a metal plaque showing the head and shoulders of a man wearing a fez and a military uniform. The back is slightly hollowed out.warrnambool, metal plaque, military plaque

The Battle of Jerusalem occurred during the British Empire's "Jerusalem Operations" against the Ottoman Empire, when fighting for the city developed from 17 November, continuing after the surrender until 30 December 1917, to secure the final objective of the Southern Palestine Offensive during the Sinai and Palestine Campaign of World War I. (Wikipedia) On 11 December, General Edmund Allenby humbly entered the Old City on foot through the Jaffa Gate instead of horse or vehicles to show respect for the holy city. He was the first Christian in many centuries to control Jerusalem, which is a very important site for many faiths. The Prime Minister of the United Kingdom, David Lloyd George described the capture as "a Christmas present for the British people". The battle was a great morale boost for the British Empire.(wikipedia)Photograph showing a number of soldiers on a raised platform, including General Allanby. Locals look on from below, some wearing fez hats.Verso: Reading the proclamation at Jerusalem. General Allenby in centre. This photo no doubt will be valuable one day. Palestine, 1918world war one, jerusalem, palestine, allenby, general allenby

This hat is one commonly called a fez but there are many variations of the style and colour and many different names according to the country or group wearing this type of hat. The name fez comes from the city of Fez, the capital of Morocco up to 1927. This style of hat was part of the traditional clothing of Cyprus and introduced into the Balkan countries in the Byzantine era. In the early 1800s it was made part of men’s clothing by the Sultan of the Ottoman Empire and was used particularly as part of the military uniform. Today in military circles it is used as part of a dress uniform only but is extensively worn by men in many countries and is now seen to be part of oriental cultural identity. This particular fez appears to be a theatrical prop.This hat is not an authentic one, being a theatrical piece, but it will be useful for display.This is a short cylindrical peakless hat made of cardboard covered with a burgundy-coloured felt. There is a black tassel attached to the top and hanging down the side of the hat. The inside of the hat has a green and white striped material around the edge and patterned material covering the rest of the inside. ‘8’men’s headwear, history of warrnambool

Smoking caps were worn by men to prevent tobacco smoke from making their hair smell of smoke, when they were smoking at home. Dating from the Victorian era, they were apparently inspired by the Ottomon fez. They were usually made from panels of fabric joined at a central crown, and lightly lined to remain soft and comfortable for indoor relaxation. Often finished with a decoration such as a button, a tassel or a pom pom. Man’s soft black cotton smoking cap with white, red and green holly embroidery and tassel.smoking

This vintage smoking cap was worn by William Hall of Newport, an early farmer in the area to the east of Newport station. Smoking caps are typically soft flat topped hats, cylindrical or fez shaped, designed for indoor leisure time. They kept gentleman’s heads warm and stopped pipe and cigar smoke from clinging to their hair. The hats were often elaborately embroidered. They were made of soft materials like velvet, silk or brocade. They usually featured intricate beadwork, or gold thread embroidery and were often topped with a silk or gold tassel. For more infromation about William Hall see: https://www.williamstownhistsoc.org.au/williamstown-notables-william-hallMan’s green velvet smoking cap with a cream, tan and yellow twisted silk tassell on the top, attached by a tan silk crocheted knob. Cream, tan and yellow flowers embroidered around the bottom of the cap. Quilted wool lining. william hall, smoking, smoking accessories

Moroccan hand embroidery dates back to the earl 18th century. The Berber tribes of Morocco, North Africa, used permanent tattoo symbols on their bodies, as a sign of cultural beauty. Later this very decoration was transferred onto pottery and then as hand embroidery, and became a big part of the country's tradition. Many cities in the north of Morocco, like Meknes, Rabat, Salé, and Fez are all known for their unique way of embroidery style, technique, colours and fabric. This particular piece of hand embroidery was done in Meknes in 1991. It has no pattern transferred or drawn onto the actual fabric. The embroiderer simply counts each thread; one stitch spans two to four threads of the fabric. Embroidering horizontally, vertically or diagonally, leaving blanks to achieve the desired symmetrical design. This is an extremely time-consuming technique, which requires mathematical precision and a lot of concentration and patience, There is no reverse side.(a) Cotton handkerchief embroidered in blue tones in various stitches with a rolled buttonhole stitched edge (b) Linen mat with rolled buttonhole stitched edge and various even weave stitches.morocco, handkerchief, mat

Moroccan hand embroidery dates back to the earl 18th century. The Berber tribes of Morocco, North Africa, used permanent tattoo symbols on their bodies, as a sign of cultural beauty. Later this very decoration was transferred onto pottery and then as hand embroidery, and became a big part of the country's tradition. Many cities in the north of Morocco, like Meknes, Rabat, Salé, and Fez are all known for their unique way of embroidery style, technique, colours and fabric. This particular piece of hand embroidery was done in Meknes in 1991. It has no pattern transferred or drawn onto the actual fabric. The embroiderer simply counts each thread; one stitch spans two to four threads of the fabric. Embroidering horizontally, vertically or diagonally, leaving blanks to achieve the desired symmetrical design. This is an extremely time-consuming technique, which requires mathematical precision and a lot of concentration and patience, There is no reverse side.White cotton mat decorated with counted thread and with a rolled, buttonhole stitched hem in shades of blue,mat, embroidery, morocco, cross stitch

Edwin (Ted) Cannon was born at Ballarat on 30 July 1895, the only son of Edwin and Florence Cannon. He studied art at the Ballarat School of Mines Technical Art School. Ted displayed a talent for industrial design but it was his black and white work that 'drew' most attention. His cartoons and caricatures, heavily influenced by Phil May, were of a particularly high standard. During the Ballarat Exhibition of 1913 Ted's work was singled out for notice and he was awarded First Prize. After completing his art course Ted was employed as an assistant teacher at the Ballarat Technical Art School, before taking a position as cartoonist with the Ballarat Star newspaper at the end of 1914. With the war raging in Europe Ted discovered a darker aspect for his artwork, but, still, he could not resist depicting Turkey as a full-feathered, fez-wearing bird. In 1915 Ted was awarded the prestigious Victorian Education Department Senior Technical School Scholarship. Only months into his scholarship, Ted volunteered for the AIF. A keen member of the local 71st "City of Ballarat" Regiment Ted was already primed for a life in the army. He embarked from Port Melbourne on 23 November 1915 with reinforcements to the 6th Infantry Battalion bound for Egypt. It was during the Battle of Pozieres on the Western Front that Ted Cannon came into his own. His work with the Scout Platoon (under the command of Lieutenant Jack Rogers) sketching the enemy's gun emplacements proved invaluable to the Brigade and brought Ted to the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. See http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916 Digital images of a number of cartoons published in the Ballarat School of Mines Students' Magazine, 1916. Ted Cannon sent cartoons home to Ballarat from the World War One front.edwin cannon, ted cannon, cartoons, world war, world war 1

A variety of photos from a Comradeship album. The Comradeship committee gathered photos of events and compiled them in a Comradeship photo album for Legatees to look through. 01033.1 A photo of legatees seated around tables. The caption said: L/Donovan Joynt, V.C. at an Anzac party. 01033.2 A page of photos including "Meet the Pres." party in 1971. The photos of Legatees in fancy dress have 23 April 1970 stamped on the back. Also a party at Legatee Norman Lofts' house in London in 1974 and on the back it says Norman was preparing for Ascot June 1974. A legatee at lower right is Howard Hider. 01033.3 A post card of a first world war memorial in Albany WA. 01033.4 A photo of soldiers from the first world war made into a postcard. The names on the photo are L. Liddell, Sgt Harvey Etchins (?), W Brown of the 24th Battalion P__. On the back, handwritten in blue pen, "Yesterday to Day. To Frank from Wal Brown". L Liddell may be David Leslie Liddell, service no 680A (source AWM). Wal Brown may be Walter Charles Brown, Service no 3278 (source AWM). 01033.5-6 Two colour photos of "Meet the Pres. L'tee Bradie Healesville 1974. 01033.7 A black and white photo of Legatees at a table and labelled Anzac Parade 1974. 01033.8 A black and white photo of three Legatees, possibly in fancy dress (cowboy hat, fez). 01033.9-10 Two colour photos of Legatees on the overland train to Perth for the National Conference in 1977, including L/ Frank Doolan, L/ Louis and Amorel Lothian. The other photo is L/s Frank Doolan and Rex Hall sitting together. 01033.11 A colour photo of L/ Rex Hall being awarded first prize for a rendition of Maurice Chevellier "Leetle girls were make to love and kees", in July 1976 - event and venue not known. 01033.12 L/ Rex Hall sitting with Mrs Pat Cahill on the SS Oriana on 10 March 1974. Mrs Cahill was the daughter of David H Dureau whose associate donated funds that enabled the purchase of Legacy House in his memory. 01033.13 L/ Escott in Tewantin Qld in 1986 found an aged care home with his name. The handwriting on the back of the photo pointed out he was not a resident. 01033.14 L/ Escott with Sir Walter Campbell, Governor of Queensland on 11 April 1986 at Government House Qld. 01033.15 The governor of Queensland presenting Legatee Escott with the B.E.M. on 11 April 1986. The items were part of a photo album of Comradeship activities (from 1930 to 1977) see items 01027 to 01036.The Comradeship photo album was put together by the Comradeship committee and records events that Legatees did and places they lived or visited. Some appear to be trips to visit other Legatees living overseas and social occasions held in different places. It shows the bond that Legatees have with each other.Colour photo x 20 from a Comradeship committee photo album.Various labels for the photos.anzac day, comradeship

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Conical woman’s hat made of deep blue felt. The hat is decorated with a single feather.Nilheadwear, women's hats