MJ Maccardini (trailerfullofpix)'s photos with the keyword: hat

These were hanging in the cellar, so probably belonged to the servants. Charles Dickens Museum, Doughty Street, Holborn

People's Museum, Phoenix Road, Somers Town.

Outside a Georgian house in Fournier Street, Spitalfields

Walter ‘Snowy’ Farr MBE (1919 to 2007) was a well-known presence in Cambridge Market Square, where he would collect money for charity. Snowy Farr dressed distinctively in antique military wear and eccentric hats. He was often accompanied by live animals including mice, cats and a goat. He was awarded an MBE in 1995 in recognition of his fundraising. The aluminium and bronze sculpture in his honour was installed outside the Guildhall in 2012. www.cambridge-news.co.uk/news/history/local-legends-man-who-put-22812189

Fourth plinth, Trafalgar Square. Samson Kambalu’s bronze resin sculpture restages a photograph of Baptist preacher and pan-Africanist John Chilembwe and European missionary John Chorley, taken in 1914 in Nyasayland (now Malawi) at the opening of Chilembwe’s new Baptist church. Chilembwe is wearing a hat, defying the colonial rule that forbade Africans from wearing hats in front of white people, and is almost twice the size of Chorley. By increasing his scale, the artist is elevating Chilembwe and his story, revealing the hidden narratives of underrepresented peoples in the history of the British Empire in Africa, and beyond. John Chilembwe was a Baptist pastor and educator who led an uprising in 1915 against British colonial rule in Nyasaland triggered by the mistreatment of refugees from Mozambique and the conscription to fight German troops during WWI. He was killed and his church destroyed by the colonial police. Though his rebellion was ultimately unsuccessful, Malawi, which gained independence in 1964, celebrates John Chilembwe Day on January 15th and the uprising is viewed as the beginning of the Malawi independence struggle. The artist, Samson Kambalu, was born in 1975 in Malawi, and now lives and works in Oxford where he is Associate Professor of Fine Art and a lifelong fellow at Magdalen College, Oxford University.

Fourth plinth, Trafalgar Square. Samson Kambalu’s bronze resin sculpture restages a photograph of Baptist preacher and pan-Africanist John Chilembwe and European missionary John Chorley, taken in 1914 in Nyasayland (now Malawi) at the opening of Chilembwe’s new Baptist church. Chilembwe is wearing a hat, defying the colonial rule that forbade Africans from wearing hats in front of white people, and is almost twice the size of Chorley. By increasing his scale, the artist is elevating Chilembwe and his story, revealing the hidden narratives of underrepresented peoples in the history of the British Empire in Africa, and beyond. John Chilembwe was a Baptist pastor and educator who led an uprising in 1915 against British colonial rule in Nyasaland triggered by the mistreatment of refugees from Mozambique and the conscription to fight German troops during WWI. He was killed and his church destroyed by the colonial police. Though his rebellion was ultimately unsuccessful, Malawi, which gained independence in 1964, celebrates John Chilembwe Day on January 15th and the uprising is viewed as the beginning of the Malawi independence struggle. The artist, Samson Kambalu, was born in 1975 in Malawi, and now lives and works in Oxford where he is Associate Professor of Fine Art and a lifelong fellow at Magdalen College, Oxford University.

Fourth plinth, Trafalgar Square. Samson Kambalu’s bronze resin sculpture restages a photograph of Baptist preacher and pan-Africanist John Chilembwe and European missionary John Chorley, taken in 1914 in Nyasayland (now Malawi) at the opening of Chilembwe’s new Baptist church. Chilembwe is wearing a hat, defying the colonial rule that forbade Africans from wearing hats in front of white people, and is almost twice the size of Chorley. By increasing his scale, the artist is elevating Chilembwe and his story, revealing the hidden narratives of underrepresented peoples in the history of the British Empire in Africa, and beyond. John Chilembwe was a Baptist pastor and educator who led an uprising in 1915 against British colonial rule in Nyasaland triggered by the mistreatment of refugees from Mozambique and the conscription to fight German troops during WWI. He was killed and his church destroyed by the colonial police. Though his rebellion was ultimately unsuccessful, Malawi, which gained independence in 1964, celebrates John Chilembwe Day on January 15th and the uprising is viewed as the beginning of the Malawi independence struggle. The artist, Samson Kambalu, was born in 1975 in Malawi, and now lives and works in Oxford where he is Associate Professor of Fine Art and a lifelong fellow at Magdalen College, Oxford University.

Fourth plinth, Trafalgar Square. Samson Kambalu’s bronze resin sculpture restages a photograph of Baptist preacher and pan-Africanist John Chilembwe and European missionary John Chorley, taken in 1914 in Nyasayland (now Malawi) at the opening of Chilembwe’s new Baptist church. Chilembwe is wearing a hat, defying the colonial rule that forbade Africans from wearing hats in front of white people, and is almost twice the size of Chorley. By increasing his scale, the artist is elevating Chilembwe and his story, revealing the hidden narratives of underrepresented peoples in the history of the British Empire in Africa, and beyond. John Chilembwe was a Baptist pastor and educator who led an uprising in 1915 against British colonial rule in Nyasaland triggered by the mistreatment of refugees from Mozambique and the conscription to fight German troops during WWI. He was killed and his church destroyed by the colonial police. Though his rebellion was ultimately unsuccessful, Malawi, which gained independence in 1964, celebrates John Chilembwe Day on January 15th and the uprising is viewed as the beginning of the Malawi independence struggle. The artist, Samson Kambalu, was born in 1975 in Malawi, and now lives and works in Oxford where he is Associate Professor of Fine Art and a lifelong fellow at Magdalen College, Oxford University.

Lord Mayor of London, donor of Waterlow Park

This hat has been impaled on a hydrant next to the Smith College athletics complex for at least three months. It's a nice hat. In any other town, it would have been nicked.

I don't know who the artist is. Cheshire Street.

Shaker cliche. hancockshakervillage.org/museum/historic-architecture/1830-brick-dwelling

In the meeting room in the Brick Dwelling. hancockshakervillage.org/museum/historic-architecture/1830-brick-dwelling

In the meeting room in the Brick Dwelling. hancockshakervillage.org/museum/historic-architecture/1830-brick-dwelling

This is a photo of either my mother (Margaret, the eldest kid in the family) or her sister Geraldine (next eldest girl), probably taken in the early 1930s in Leelanau County, Michigan. I found it in a book after my mother died, so I really don't know much about it. I'm sure that they didn't own a pony -- they had enough trouble feeding six kids during the Depression. My guess is that there was some kind of traveling Wild West show, and kids could put on hats and chaps and have their pictures taken on a bucking pony.

If I decide I look too dorky in this hat, I'll either put it in the charity basket at Webs or use it as a tea cosy.

I have a pinhead, so it's hard to find hats that fit and that I'm willing to be seen wearing. But hats are a necessary evil here in New England, with all the cold air coming down on us from Canada. Shoppers come down across the border, also, and spend their Canadian dollars to bolster our crappy economy. We like that, but we wish they'd leave their weather on their side of the border.