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Client : Banthai
Model : Ruma
Make over : Banthai
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Palais Württemberg - Hotel Imperial
1, Kärntner Ring 16
Architects: Arnold Zenetti, Heinrich Adam
1862 - 1865
The client - The Palais turns into hotel - War, soviet occupation - Reopening
Facade - Portal - Grand Staircase
(if you want like to see many more pictures please go to the link at the end of page!)
History - the builder
The Imperial Hotel began its history as a palace. It emerged as one of the first buildings on one of the best and most expensive grounds, with unobstructed views to the Karlskirche.
Even for a Adelspalais (noble palace) it was very representative. The room was divided wastefullly: Just the grand staircase would have provided space for two apartments in a normal apartment building. Who had built this way, did not have to pay attention to his money.
The client was according to this an illustrious figure: Closely related to the Württemberg Royal Family (1806 establishing the Kingdom of Württemberg) came Duke Philipp of Württemberg (1838 - 1917), son of Alexander Friedrich Wilhelm of Württemberg 1838 in the French Neuilly into the world.
His mother, a princess of Orleans, died a few months after Philip's birth, so he was baptized and brought up by his grandparents, the French citizen-king Louis Philippe, the last official King of France and his wife, Queen Marie Amelie, in Paris.
Duke Philipp of Württemberg
With ten years Philip had with the royal family in 1848 to flee from the revolting crowd of the capital and he returned to Bayreuth.
His father had later again married, to the displeasure of the Son, because the marriage was morganatic: she was his housekeeper.
Philip pursued a military career.
Shell Palais Württemberg
Wedding with (female) Habsburg
In the great conflict between Austria and Prussia, he was on the side of the Habsburgs and counted as one of the losers of Hradec Kralove (Königgrätz).
The Württemberg were on par with Europe's most powerful royal houses. Philip asked for the hand of the youngest sister of Empress Elisabeth, Princess Sophie, but the marriage did not materialize.
Finally, his love brought him to Vienna, the Duke married into the Habsburg family.
In 1865 he married Archduchess Marie Therese (1845 - 1927), daughter of Archduke Albrecht (Monument Albertina ramp), granddaughter of Archduke Charles, the victor of Aspern (Memorial Heldenplatz).
The wedding took place in the court chapel of the Hofburg in Vienna.
Wedding with Habsburg
Together they moved into the newly completed palace on the Ringstrasse.
It was built in 1863-65 by the Munich architect Arnold Zenetti, according to the plans of Heinrich Adam (grave Central Cemetery).
His wife had recently suffered a severe stroke of fate: her mother had so strongly caught a cold during the funeral of her brother that she died as a result. And soon should burn her sister Mathilde alive.
This one had dressed a gown made of Indian muslin for the theater. This type of material was impregnated at that time with glycerol to give the fabric more fullness.
Before leaving the theater she wanted to smoke a cigarette. When suddenly her father, who had strictly forbidden her smoking came in, she hid the cigarette behind her baggy dress. The highly combustible, glycerol impregnated fabric immediately went up in flames.
Floor Plan 1st storey
The view to the Charles Church was lost
A clear view to the Charles Church was lost by the building of the Musikverein.
The Duke could not enjoy his palace for long. Because behind it, to the Karlsplatz, there was a leafy park, which gave a clear view over to Charles Church.
But when he returned from Hradec Kralove, one was just digging the foundation of the Musikverein. 1870 was the "temple of music" finished and the beautiful view history.
Musikverein, on your left, behind the Imperial Hotel
That should have been the reason that Philip the following year sold his palace. I think this is one of the many "tales", because all the reception rooms were on the side of the ring road. If the view would have been sooo important to him, he would have also had laid out on the back of the Palais 'comfortable' rooms. Anyway, he moved to Strudelhof in the 9th District, a cheaper solution, it was the question here of a spacious villa. Incidentally, it is also told that he had gambling debts and therefore he could not afford the expensive palace on the Ringstrasse anymore.
Summer residence
Duke Philip, who did not feel quite at home in Vienna, lusted after a summer residence in the Salzkammergut.
(The Salzkammergut is a resort area located in Austria. It stretches from the City of Salzburg eastwards along the Austrian Alpine Foreland and the Northern Limestone Alps to the peaks of the Dachstein Mountains, spanning the federal states of Upper Austria, Salzburg, and Styria. The main river of the region is the Traun, a right tributary of the Danube. The name Salzkammergut literally means "Estate of the Salt Chamber" and derives from the Imperial Salt Chamber, the authority charged with running the precious salt mines of the Habsburg Monarchy.)
In addition to hunting around Gmunden the Duke dedicated his passion to the emerging photography.
The architect Heinrich Adam built for the Duke and Duchess in 1872 Villa Maria Theresia in Altmünster according to a French model high above the Lake Traun.
In the summer of 1875 they moved in, 1878-80, the chapel was rebuilt by Heinrich von Ferstel.
Summer residence in Altmünster in Gmunden
As the succession of the Stuttgart parent house fell on Philip's son Albrecht, Philipp moved in 1905 with his family to the Stuttgart Prince Palace. After his death in 1917 his widow Maria Theresa spent her lonely summers preferably in Altmünster until she died for herself in 1927.
The Palais becomes Hotel
The palace was in 1872 in the hands of the Budapest hotelier Johann Frohner. As businessman he sensed with the approaching World's Fair his chance.
And he knew that there was a lack of representative lodging in Vienna, so he turned the magnificent building into a hotel.
At the opening Emperor Franz Joseph I also was invited, which was served a cake. It is said that he had it appreciated, so was the Frohner cake, now called Imperial Torte, born. The special thing about it: it is square.
An original recipe of the Imperial Torte from the 19th Century, however, is not handed down. She is known for only a few decades. At that time it was begun to offer it as a house cake at Café Imperial.
Several years ago was launched a marketing campaign and it was accomplished that the Imperial Torte today is sent around the world and one, according to the house, needs a total mass of 40 tonnes per year for it.
Imperial square cake
Café Imperial, recording 1941
The conservatory
The courtyard becomes a winter garden.
Donauweibchen (Danube maiden) copy
Frohner had a sense for staging. The glass-covered courtyard became a dining room with conservatory flair.
In the middle was a copy of the Danube female from the city park. Today she is at the end of the grand staircase.
The newspapers were ironed so guests did not have ink on their fingers. And the butler service is available to this day.
Who has once looked into it, knows why we put most of our state guests there - it is just not a "normal" hotel, but still a palace, one of the most magnificent!
Between the lobby and the Café Imperial runs a narrow passage where the house's history is told in pictures and text. And it is also worthwhile to study the guest list shown there.
Lobby to Frohner times
2 World War II, Soviet occupation
The war and the occupation had left its mark on the house. Here, since Adolf Hitler took his accommodation at his few visits to Vienna, the hotel had to be equipped accordingly.
On the side of Canovagasse one built an underground bunker, but not in the usual way.
It was just the road dug up, the bunker built into a pit and then the road above concreted again.
Hitler rises from the Imperial
During the Allied air raids on Vienna here many people found refuge, especially the Vienna Philharmonic from neighboring Musikverein.
After the war, the Soviets used the house as an office building. As they moved out of here again after the occupation time, the house was practically empty.
About the state of the Imperial, in which they left it in the mid-fifties, there are different statements.
It appears that the shape of the house may not have been much worse than the other districts of the Soviet Army.
In the stuccolustro of the main staircase of the Imperial a soldier has immortalized himself with a small doodle.
Left: the people cheering in front of the Hotel Imperial on 15 March 1938
Swastika flags near the Hotel Imperial
Reopening of the hotel
The large portrait of Emperor Franz Joseph at the end of the stairs, a symbol of a reactionary attitude, remained untouched over the years .
Even as the Imperial again was a hotel, considered Russian politicians the house as a kind of ideological hereditary leasehold.
Only U.S. Secretary of State Henry Kissinger broke this monopoly, as he with his Soviet colleague Andrei Gromyko in Vienna lived at a meeting at the Imperial.
Because Gromyko did not want to spend the night with the representative of a capitalist world power under one roof, he departed angrily in the Soviet Embassy. Also for other state guests, the Imperial is recommended as the first address.
Re-opening of the hotel in 1958
Rooms at the Hotel Imperial in the then modern 50's style
Guests
The fact that the English Queen Elizabeth here took up accommodation during her visit to Vienna, was felt as a great honor because the Queen slept on visits abroad only rarely in hotels.
Therefore one replaced the by no means not unrepresentative furnitures of her suite against those from the Imperial Furniture Collection. And for the duration of her stay hung pictures from the Kunsthistorisches Museum in her premises.
Thus, the Queen could at least feel a touch of monarchical past. Finally, the hotel management did remove the seating from the lobby. No one should have the opportunity to insult the Queen, by just remaining seated in front of her.
Queen Elizabeth greets from the balcony of the hotel, in 1969
Plaque Rainer Maria Rilke
Plaque Richard Wagner
Inscription:
During 1916, Rainer Maria Rilke visited in the Hotel Imperial almost daily his "Unforgettable Café" and met here Oskar Kokoschka, Karl Kraus and Adolf Loos.
Austrian Society for Literature
Inscription:
Richard Wagner was at the end of the year 1875 with his family for nearly two months guest of this hotel to prepare for the performance of his operas Tannhäuser and Lohengrin.
The Vienna Schubertbund 50th Anniversary of the death of the artist, 1933
(Sculptor Robert Ullmann)
Facade
Important strictly historicist Palais, 1862-65 built by Arnold Zenetti and designed by Heinrich Adam. Monumental free-standing building of the beginning of strict historicism in forms of neo- Renaissance.
The main façade has a 6-axle central projection, which is further emphasized by the three-axis portal.
In 1928, the house was extented on the ring road by two floors. The attic was converted into a continuous balcony on the 4th floor.
1946, the portal has been simplified and the three-aisled hall (lobby) rebuilt to current form.
Floor plan 6th storey
1988 - 1994 followed a general refurbishment and the roof extension (Maurizio Papiri), which on the back of the palace was not very successful.
Portal
3 -axis portal above statues representing sovereign virtues.
As the duke had guarded the house round-the-clock, originally flanked two sentry house the wide entrance, which was designed for the entrance of the carriages.
The six-axle central projection visually protrudes a little bit and is rich decorated. The effect is mainly due to the generously employed sculptures of the portal and gable zone.
The statues above the entrance are from Franz Melnitzky and represent personalized Herschertugenden (souvereign virtues): wisdom - old man, lorbeerbekränzt (laurel-adorned) and scroll of honor - Woman with coat of arms, Justice - sword, strength - club.
In addition to the figures, by the same artist have been made reliefs, which were destroyed in 1946, as well as the lunettes.
Statues (ruler virtues)
Hotel entrance: reliefs and lunettes in 1946 destroyed
Wisdom
Honor
Justice
Strength
Above the balconies and windows of the first floor can be found the from the Orient stemming griffin motif: two griffins flanking each of them a vase. The lion's griffon, his head and body seem like that of a lion, but he has the wings of an eagle, he was apostrophized in antiquity as the guardian of the gold. Here he was reinterpreted as the guardian of the house.
In the triangular gable of the roof is an allegory of the house Wuerttemberg to see with the heraldic animals of the house, the deer and the lion. The very striking roof no longer exists, but it fell victim to the fact the hotel was increased in the 20th Century.
Grand Staircase
Former court (later conservatory, lounge today)
At the times of the Württemberg the palais still hand an open courtyard in the middle. This court allowed, as with all other buildings of that era, the coachmen to turn there after they get off their customers in the driveway.
So the coaches for this had sufficient space, the outrageously expensive main staircase had to be moved to the side. Who enters the hotel lobby of the Imperial today, does not immediately recognize the noble work, but he must climb a few stairs to the right. Such intricateness were then accepted.
The grand staircase leads to the main floor only. The stairs to the upper floors are designed very much simpler. Because here only circulated staff.
Grand Staircase
Grand Staircase piano nobile
Lobby
www.viennatouristguide.at/Palais/ringstrasse/wuerttemberg...
Client : Shironamhin
Purpose : New self-titled album "Shironamhin", released on 19/7/13!
Zia: Bass
Tuhin: Vocal
Diat: Guitar
Shafin: Drums
Russel: Keys
Official site : www.shironamhin.net/
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© "All rights are reserved" worldwide by Mortuza Alam & Shironamhin. Please do not use the picture without permission
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Contact : +88 0 1915220926 | +88 0 1717611995
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© "All rights are reserved" worldwide by Mortuza Alam. Please do not use the picture without permission
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I'm new at this. Any suggestions?
Thoughts on backgrounds?
Critique?
These are the photos the client selected for a collage.
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Victorian Kitchens
Private stairs (I used flash here).
sign
Strawberry Flame
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© "All rights are reserved" worldwide by Mortuza Alam. Please do not use the picture without permission
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project Title Marks awarded Total possible
1Questionnaire 23 25
2Concept Board 19 20
3Colour Wheel 36 40
4Survey sheet 17.5 20
5Drawing and measuring 111.5 120
total 207 225
percentage 92%grade A
Marks 23/25
Tutors Comments.
You’ve covered a lot in the questionnaire and gone into some good detail. Taking a brief is one of the most crucial parts of a project, if it is done thoroughly then the design element becomes so much easier.
The questionnaire is as much for you as it is the client, it enables you to keep the client focused and get all the relevant information you require. You could have given yourself some more detailed prompts in a few areas; lighting, bathroom and kitchen. For example you could ask if the client wants different mood settings in their lighting, possibly a 5amp circuit for table lamps and floor lamps? Does the client put their make up on in the bathroom? i.e. will they need wall lights either side of a mirror etc etc....
The kitchen is a place where clients tend to be really specific about how they function. Gas or electric hob? Eye level or undercounter oven? Double or single oven? Hip height or undercounter dishwasher? Full size or half size dishwasher? Etc etc. You absolutely need to know the answers to these questions so put them down on the questionnaire, they key really is to cover every eventuality.
Demonstration of understanding of the given brief:
You have clearly understood the brief.
Presentation of questionnaire:
Professional presentation.
All Hair4all Natural Lace + Light to Light Medium Density + Asian Hair with Human Grey
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Tasmanian Archive and Heritage Office: NS392/1/146
A selection of glass plate negatives taken by C.P. Ray. View the entire NS392 series
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Client : Westecs
Model : Hasin
Wardrobe : Westecs
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