Showing 1681 items matching art
Artwork, other (1199) Ceramic (742) Decorative object (662) Drawing (4550) Mixed media (467) Painting (2349) Print (1647) Sculpture (392) Textile (1019) Work on paper (1999)-
Arapiles Historical Society
Decorative object - Store sign, c. 1904
John Grump was an entrepreneur and had stores in Natimuk, Horsham in the late 19th century. He was mayor of Horsham in 1903-1904. That same year he left Horsham for Dandenong where he opened a general store on Lonsdale Street.Light relief sign with two deer and a pocketJ Crump General Storekeeper Natimuk and Dandenongnatimuk, horsham, dandenong, general store, john crump, antlers, chamois, migration, deers -
Churchill Island Heritage Farm
Textile - Lace Trim
Whether machine made or handmade, this length of trim is dainty and delicate in the true Valenciennes style. Circles surrounding six-petalled flowers with little spiders above and below where the circles meet, it is quite beautiful. The diamond ground is typically Valenciennes as is the pattern of flowers. Valenciennes was a lace making town on the French- Flemish border which in 1780 had 4000 lace makers but due to the revolution of 1789 the number was reduced to 250. It was initially Flemish but was claimed by the French, however the centre for Valenciennes lace eventually diverted back to Ghent and Ypres in Belgium. Due to its lightness and neatness Valenciennes lace, although very expensive was simpler to produce than Mechlin lace, and was never used for expensive garments. Instead it was applied to bed linen, lingerie, and the fichu (a woman's scarf wrapped over the shoulders and fastened in front).This lace was favoured by Queen Victoria, the Empress Eugenie and others as a trim on undergarments. The basic undergarments were stays, shift (smock, chemise or shirt), petticoat and drawers although drawers were not in general use until the mid-19th century when the tendency of the fashionable crinoline to become airborne or to tilt itself at embarrassing angles made a covering garment for the nether regions essential. Drawers were just two cylinders for the legs, joined at the waist with the lower ends frilled or trimmed with lace. This trim is also suited to trimming a mob cap.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide representative examples of techniques from the late nineteenth to the early twentieth centuries. Valenciennes lace with floral motifs with six petals enclosed within a circular motif.janet amess lace collection, lace, churchill island, janet, amess -
Working Heritage Crown Land Collection
Decorative object - Light fitting, Mint Light Fitting
Decorative brass light fitting, possibly a replica.historic building, former royal mint -
Whitehorse Historical Society Inc.
Textile - Table Centre
Heavy white cotton crocheted table centre with fringing.manchester, bath linen, handcrafts, crocheting or crochet work -
Whitehorse Historical Society Inc.
Decorative object - Doyley
Square white cotton knitted lace doyleymanchester, table linen -
Gippsland Art Gallery
Textile, Peck, T.P, Lady Charlotte Campbell, Undated
Donated by the artist, 1977Needlework tapestrygippsland, artwork, permanent collection -
Mont De Lancey
Decorative object - Conestoga Wagon, Mr Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Canestoga Wagon replicates the vehicle that enjoyed respect from the public during the 1880's. A model of a long covered Conestoga Wagon with two horses, brown and tan. The cream fabric covers curved shaped metal bands and is laced with string around the base to attach it to the wagon.It has a green base, green wooden seat and footrest. There are two wooden barrels attached by wire on one side and the other side has a luggage box. It has two small gold painted spoked wheels with painted black tyres at the front and two larger ones at the back. The forerunner of the Conestoga Wagon had its origin in Europe as a mobile home for shepherds and nomads in the early 1800's. The east coast of America became home to people from all over Western Europe so the old wagon designs were carried to the New World. The wagons were named after a river in Lancaster County Pennsylvania where the Stutz family built them for the western treks of history. Fondly known as the 'Prairie Schooner', the cost in 1840 was $48.00, unpainted spare wheels $8.00, Lawson axles $12.00. They came in 12 and 14 feet beds.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, drays -
Port Melbourne Historical & Preservation Society
Decorative object - Roundel, concrete, Melbourne Harbor Trust, Centenary Bridge, 1934
Melbourne Harbor Trust monogrammed concrete roundel from pylon of Centenary Bridge, 1934.centenary bridge, celebrations fetes and exhibitions, town planning - proposals shelved - bayside -
Port Fairy Historical Society Museum and Archives
Decorative object - Necklace
Aboriginal necklace made from snake backbones,, threaded on cotton. no catchlocal history, ethnographic material, dress and ornament, necklace, snake, aboriginal -
The 5th/6th Battalion Royal Victoria Regiment Historical Collection
Decorative object - 5/6 RVR miniature rifle and badges, 5/6 RVR miniature rifle and patch and badges
1/4 scale EF-88 rifle in plastic materials, with a rising hat badge, 5/6 RVR hat badge, AUS flag colour patch and 5/6 unit patchall the items are fixed onto the board -
Mont De Lancey
Textile - Tablecloth
Donated by Mrs. Adamson in early 1900.White linen rectangular tablecloth, heavily embroidered in white. Edge has open weave with machine crocheted lace. Has floral round embroidered centre piece. tablecloth -
Whitehorse Historical Society Inc.
Textile - Table Cloth, c1917
Purchased by Bruce Reynolds Aunt, Emily Templeman for her glory box in 1917.Cream cotton lace machine made all over pattern medallions, flowers and squares.manchester, table linen -
Kew Historical Society Inc
Decorative object - Wallpaper sample from 'Reno', St John's Parade, 1870s
Comparatively few weatherboard houses in Kew survived from the early years of settlement into the second half of the 20th century. One such property was ‘Reno’, which once stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. None of these are apparent in photographs dating from the 1960s, where the garden, which once included rare plants provided by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977. Wallpaper fragment from ‘Reno’. These three boldly designed samples from a single room are in shades of green and brown, highlighted by yellow and red floral sprays. While more accurately printed and coloured, the fragment lacks the freedom of design of the earlier samples.wallpaper, reno, st john's parade, kew, samuel cocking -
Whitehorse Historical Society Inc.
Textile - Table Cloth
Table cloth purchased by donor from Pannam's store in vermont in 1948-49 for her glory box and was used by her in her family home in 6 McDowall Street Mitcham.White cotton table cloth with green patterned border design. The cloth has one hem on the right (top) side and one on the wrong (bottom )side.manchester, table linen, domestic items, table setting -
Wangaratta Art Gallery
Textile, Treahna Hamm, Cormorant, 2011
The cormorant weaving was depicted through the traditional weaving method of the blanket stitch of the Yorta Yorta people. As birds are very significant and important in Aboriginal culture, the cormorant was created to represent the meaning of Wangaratta for the local people and wider community. The weaving is an extension of my series of works which represent wildlife along the waterways, particularly in the North East of Victoria and within my tribal homelands. In 2001 I was taught to weave at a weaving workshop held at Gas Works in Port Melbourne by old aunties from Victoria and South Australia which included Yvonne Koolmatrie. A body of my weaving works, which include turtles and spirits, is held at the National Gallery of Victoria. Other collections which hold my fibre weavings are the National Museum of Australia, Albury Museum and Wagga Wagga MuseumWangaratta Art Gallery CollectionA textile sculpture of a cormorant woven from natural and man made fibres.cormorant, treahna hamm, yorta yorta people, traditional weaving, weaving -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Decorative Object - Hat Badge, 13th LHR Dancing Devil Hat Badge, 1916
Dancing Devil hat badge was originally privately comissioned and purchased by members of 13th LHR circa 1916, in recognition that the 13th LHR was nicknamed "The Devils Own" This hat badge was unauthorised but still worn by members of the 13th Light Horse Regiment while on operations on the Western Front.An unauthorised hat badge of the 13th LHR used by members of the Regt while on operations on the Western Front.Brass Hat Badge, dancing devil with pitch fork above wreath with 13 ALH inscibed. Two lugs on rear."13 ALH" inscribed on base of wreathheraldry, badges, devils, aif, western front, light horse regiment -
Flagstaff Hill Maritime Museum and Village
Textile - Doily, ca. 1910
In the Words of donor, Betty Stone , … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” Baby's Crocheted Bonnet - This finely crocheted bonnet was made by Sarah (nee Chamberlain) Lees and is at least one hundred years old. Due to the condition of the original ribbon ties, they have been replaced with new ribbon. Table Runner with insertions, Tray cover and various Doylies, sauce bottle covers etc. - These articles were made by Sarah Lees or her daughter Ann (nee Lees) Dale. Pair of Embroidered Pillow Shams, and various embroidered mats - These items were made by my mother Daisy (nee Dale) Welsh. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families) This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is a fine example of early 20th-century needlework.Doily; round white cotton fabric centre with wide crocheted border of 15 point star shape. From the Chamberlain Dale Lees Collectionflagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, doily, needlework, crochet, handmade, craft, manchester, linen, haberdashery -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Traditional Diamond Design, Pick and Gold Cloak (protection and survival of our men and women), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). This cloak represents a traditional shield and stands for strength, resilience and standing proud. It protects us as we move forward. The gold represents the gold fields of Ballarat and Golden Plains shire. It also represents fool’s gold (pyrite) as First People had no use of gold, instead the people are the gold.Black, white, and red stripe design with flower and stem motif on outer cloak. Lining is a red and white stripe motif. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong -
Vision Australia
Textile - Object, Association for the Blind South East Water
Yellow fronted and Green backed medium sized long sleeve tee shirt with alternate writing 'Association for the Blind' and 'South East Water'.Yellow fronted and Green backed long sleeve tee shirt with alternate writing 'Association for the Blind' South East WaterAssociation for the Blind South East Waterassociation for the blind, advertising, south east water -
Whitehorse Historical Society Inc.
Textile - Lace Piece
Long piece of knitted lacehandcrafts, lacemaking -
Whitehorse Historical Society Inc.
Decorative object - Picture Frame
Leather tooled picture frame with laced edged edge, oval centre for picture, tooled around edge. Has picture of Gum nut babies. See Na2848 for the type of tools used to decorate this frame.handcrafts, leatherworking, trades -
Stawell Historical Society Inc
Textile - Costume and Accessories, c1930
Jug Cover. White circular net with crochet edge . With blue beads weighing the edge.stawell clothing material -
Wodonga & District Historical Society Inc
Decorative object - Gold toned necklace with an oval-shaped pendant from the Sarah Coventry jewellery range, c. 1970s - 1980s
Sarah Coventry Pty. Ltd. was a North American jewellery company that was established in 1949 by the Stuart family as part of Emmons Jewelry, Inc. It began operations in England and Australia in 1968, and in Australia it moved from Carlton in Melbourne to Wodonga in 1969. The premises were originally on High St. in Wodonga, but a new warehouse was built in Melbourne Rd. later in 1969. It was a direct selling jewellery business using a party-plan model similar to Tupperware and Avon. The sales reps or 'Hostesses' were provided with jewellery samples in demonstration kits, which they displayed at jewellery parties in their homes. The designs for jewellery such as brooches, necklaces, earrings, chokers and bracelets were purchased from freelance designers and jewellery manufacturers rather than in-house designers. In 1979 Sarah Coventry Pty. Ltd. in Wodonga was bought by three Australian businessmen, including Wodonga local Jim Sawyer, and continued to sell jewellery under the name "Sargem Pty. Ltd”, for several more years in the 1980s. As part of the Sarah Coventry collection, the necklace has local significance with the decentralised commercial development of regional centres such as Wodonga in NE Victoria, as well as national and international significance from the perspective of social and economic developments for women after World War II. The direct selling party-plan business model Sarah Coventry was based on is also considered the first of its kind for jewellery. Gold toned metal neckalce with an oval-shaped pendant inlaid with a brown resinous material, which appears to be faux amber. The patent number is stamped on the back of the clasp."Sarah" on the front side of the clasp "PATENT 3427691" on the back of the clasp.sarah coventry, jewellery, wodonga, costume jewellery, vintage fashion jewellery, necklace, necklaces, amber, faux amber -
National Wool Museum
Textile - Tapestry, Weighing The Fleece, 2001
Hand-stitched tapestry by M. Baker in 2001. Tapestry represents part of the family history of working in the wool industry as owners of a sheep property for five generations. The family has run Corriedale sheep in Lismore, Victoria.Brown timber framed woollen tapestry with cream mounting board. Tapestry is handstitched and features various colours. Scene depicts four men and a woman in a shearing shed. Two of the men are handling sheep, one man is weighing a fleece while the last man and woman look on. Back of frame has a horizontal hanging wire, a framers stamp at the bottom centre and a handwritten creators name and date at the top right corner.lismore, sheep breeding, tapestry -
Wodonga & District Historical Society Inc
Decorative object - Brooch from the Sarah Coventry jewellery range, c. 1970s - 1980s
Sarah Coventry Pty. Ltd. was a North American jewellery company that was established in 1949 by the Stuart family as part of Emmons Jewelry, Inc. It began operations in England and Australia in 1968, and in Australia it moved from Carlton in Melbourne to Wodonga in 1969. The premises were originally on High St. in Wodonga, but a new warehouse was built in Melbourne Rd. later in 1969. It was a direct selling jewellery business using a party-plan model similar to Tupperware and Avon. The sales reps or 'Hostesses' were provided with jewellery samples in demonstration kits, which they displayed at jewellery parties in their homes. The designs for jewellery such as brooches, necklaces, earrings, chokers and bracelets were purchased from freelance designers and jewellery manufacturers rather than in-house designers. In 1979 Sarah Coventry Pty. Ltd. in Wodonga was bought by three Australian businessmen, including Wodonga local Jim Sawyer, and continued to sell jewellery under the name "Sargem Pty. Ltd”, for several more years in the 1980s. As part of the Sarah Coventry collection, the brooch has local significance with the decentralised commercial development of regional centres such as Wodonga in NE Victoria, as well as national and international significance from the perspective of social and economic developments for women after World War II. The direct selling party-plan business model Sarah Coventry was based on is also considered the first of its kind for jewellery.Gold-toned metal brooch from the Sarah Coventry Pty. Ltd. jewellery range in the shape of a flower. Two layers of petals with the upper one white and the lower one gold-toned. "© SARAH COV. / MADE IN CANADA" on the back surface.sarah coventry, jewellery, wodonga, costume jewellery, vintage fashion jewellery, brooch, brooches -
Whitehorse Historical Society Inc.
Textile - Handkerchief
White nylon handkerchief with a blue scalloped edging and white and blue embroidered flowers.costume accessories, female -
Flagstaff Hill Maritime Museum and Village
Textile - Jug Cover, ca 1910
The jug cover was made by diagonally overlapping two squares of net fabric and stitching them together. The beads on the cover are used to weigh the cover down and keep it on the jug. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is significant for its association with a ‘glory box’ or hope chest, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future marriage. The item is a fine example of early 20th-century needlework and handmade domestic items.Jug cover; net fabric eight-point star shape, with white crocheted edges and red, white and green beads on each point. Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, handmade, craft, manchester, linen, haberdashery, needlework, crochet, miss a.e. emery dressmaker, jug cover, beaded cover, beaded jug cover -
Wodonga & District Historical Society Inc
Textile - Haeusler Collection White Wear Pillow Sham c.1920s
The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women.The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.A handmade white pillow sham with needlework.textiles, sewing, handiwork, women's history, domestic, craft, family, social history, hauseler, haeusler collection, wodonga -
The Beechworth Burke Museum
Decorative object - Swinging Clock, Charles Frederick Falck, 1870
This clock was made by Charles Frederick Falck who was a watchmaker and jeweller in Beechworth from 1863-1908. Falck was born in Körlin, Prussia on May 22nd in 1833 and died at the age of 75 in 1908. Ovens and Murray Advertiser, Beechworth: edition June 13, 1908 OBITUARY: Falck was brought up to the business of watch-making, in which he developed exceptional mechanical ingenuity. Attracted by the favourable prospects held out by the Australian discoveries of gold he, like many other young adventurous spirits, left his native land to seek his fortune in the great southern Eldorado, arriving in Adelaide in 1854, and shortly after came to Melbourne where he worked as a journeyman, and subsequently started in business on his own account. Feeling inclined to test his fortune on the goldfields, he went to Blackwood but, meeting with little success, he returned to Melbourne where he was married. In 1862, he moved to Beechworth, where he commenced business as watchmaker and gold-buyer. He then embarked in vine-growing on the Sydney road, but eventually resumed his business avocations. His skill in practical horology was evinced in a clock of his own design and manufacture, surmounted by a golden eagle, which was exhibited at the first Melbourne Exhibition in 1856, and which afterwards formed a pre-eminent attraction in the window of his business premises in Ford Street. For many years, he filled the position of timekeeper to the Beechworth Racing Club, with complete satisfaction also at various sports meetings. He leaves a family of six sons and one daughter (Mrs. Jas. Broadfoot) all arrived at maturity. The funeral, which was well attended by a number of residents, took place at the Beechworth Cemetery on Sunday, the burial service being performed by the Ven. Archdeacon Potter. The cortege was capably supervised by Mr. D. Wilson, undertaker. The clock was returned to Beechworth in 2020 through the generous support of the Copland Foundation and the Friends of the Burke. Given that Mr. C. F. Falck traded as a watchmaker and jeweller in Beechworth for 45 years and traded with the 1855 clock mounted in his front window, there is a direct link between the clocks and the social, cultural and economic life of nineteenth century Beechworth at time when the town was developing and expanding in response to gold mining. This clock represent the significant skill and expertise of Charles Falck as an horologist. Large swinging clock featuring a carved gilt wood eagle with its wings outstretched (abaisé - expanded with wing-tips lowered) and perched above a pendulum rod that holds a silvered dial clock face within a reeded sunburst surround. (Similar to #2019.056.01) The clock has an eight-day fuse movement with dead beat escapement wound from the clock face. C. F. FALCK / WATCHMAKERburke museum, copland foundation, beechworth, leonard joel, auction, purchase, clock, pendulum, eagle, eagle clock, charles frederick falck, c. f. falck, falck, horology, pendulum clock, melbourne -
Churchill Island Heritage Farm
Textile - Lace Trim, Section
This is a section of a machine made embroidered eyelet insertion piece. The holes are made for the insertion of ribbon and it would have been a pretty addition to a petticoat, bed linen or nightwear. The embroidered design is an indicator that perhaps this is later than the 19th century with the use of satin stitch. The edging is a type of fagoting where stitches are used to join two pieces of fabric together or threads are drawn and the gap created is decorated using a strong embroidery thread usually in a herringbone pattern but in a straight pattern in this case. In its most traditional form fagoting was done by removing weft threads and decorating the gap. When a plain linen chemise was your nightwear, it was an easy method for all classes of society to decorate their undergarment.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women.Length of machine made embroidered eyelet insertion piece.janet amess lace collection, lace, churchill island, amess, machine, embroidery