Showing 383 items
matching decorative work
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Ballarat Tramway Museum
Painting - Framed Painting of tram 26, Lerrick Quinn, c2018
... Parade Painting Art Work Framed painting - decorative wood frame ...Painting of Museum tram 26 at St Aidans Drive. Note the man in a wheel chair, a man alongside leading a dog above the signature.Has a strong association with the artist and demonstrates activities the Ballarat Tramway MuseumFramed painting - decorative wood frame with black plastic outside frame with gold inside edge, glass sheet, acrylic? on canvas of tram 26 in Wendouree Parade at St Aidans Drive. Painted by Lerrick Quinn. Plywood backing with light brown tape. No hanging wire installed at the time of donation.trams, tramways, wendouree parade, painting, art work -
Ballarat Tramway Museum
Painting - Framed Painting, Alan Dixon, c2001
... Parade Painting Art Work Framed painting - decorative frame made ...Has a strong association with the artist and demonstrates activities the Ballarat Tramway MuseumFramed painting - decorative frame made from wood with card cut outs, glass sheet, oil on Masonite of tram 26 in Wendouree Parade. Painted by Alan Dixon, husband of donor, approx. 2000 to 2003. White card and brown tape on rear with label "219", with wire hanging cable with screwed ends.trams, tramways, wendouree parade, painting, art work -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, Black plastic, "ARCHER" inscribed. "ARCHER" inscribed.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, tortoise-shellflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, black plastic flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, Ivoryflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework -
Flagstaff Hill Maritime Museum and Village
Tatting Shuttle
Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, ivory, flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework -
Port Fairy Historical Society Museum and Archives
Decorative object - Painting, F. I. Endeavour
For many years this painting hung in the offices of the Belfast & Koroit Steam Navigation Company in Port Fairy. It was painted by Arthur Victor Gregory (1867-1957), a water colourist and marine artist. It depicts the Fisheries Investigation Ship Endeavour, a trawler built to the specifications of the Commonwealth Government in 1909 to assist in identifying new fishing grounds in the seas around Australia. The Endeavour was lost in December 1914 between Macquarie Island and Hobart with the loss of all twenty-one men on board, including Harald Dannevig, the Commonwealth Director of Fisheries.A Painting of a forgotten ship and crew that were forerunners of investigating the reserves of fish in our oceans.A painting of the F. I. Endeavour in a wooden frame. Scroll work on frame.Front - The F. I. Endeavour crossing Bass's Straits A. V. Gregory 10 Reverse - Regal Patronage ?.8.1854 Arthur V. Gregory Marine ? Arthur V. Gregoryship, fishing, scientific, belfast & koroit steam navigation company, endeavour, macquarie island, hobart, harald dannevig -
Federation University Art Collection
Ceramic - Artwork - Ceramics, Kurt Webb, [Whimsical Vessel] by Kurt Webb, 1988
Kurt WEBB United States of America Lives Chicago Webb draws his driving force in life and artistic vision from consequential discoveries he makes, while deliberately preferring less ordinary paths to his destinations. Inspirational methodologies in art history including the Dance of Death, Four Horsemen of the Apocalypse, Ship of Fools and Woodcut Novels are cornerstones of his artwork. In 1988, during a visit to Australia, while viewing a small porcelain woodfired bowl and teapot by Australian artist Gwyn Hanssen Pigott, Kurt Webb decided to abandon his desire to make functional pottery. He realized that Piggott’s clay work was beyond comparison or emulation and was impossibly inimitable. In 2015, inspired by using impeccably made, functional commercial tea ware, Webb decided to give pottery making a second chance. As a result, Webb’s new functional work acknowledges traditional influences while he pursues individuality through eclectic subject matter, meticulous construction, and decoratively glazed surfaces–all produced within a contemporary context. A tall vessel with a house and figures at the top.kurt webb, jan feder memorial ceramics collection, ceramics, gippsland campus, sculpture -
Kiewa Valley Historical Society
Patchwork Quilts- Hand-made x2
Patch work quilts were made by women to decorate a cot or bed and to use left over material. They were backed to increase the warmth of the bedding. It was a leisurely occupation sometimes done in the home or with a group. These two quilts are of a decorative nature using scrap material and do not have a theme or particular pattern to them. These two quilts were made by women in the Kiewa Valley and were hand stitched.1. Hand-made cotton patchwork of varying colours and shapes of squares and rectangles. Back by a flannel sheet of flowers on beige or blue background. Suitable for a cot. No filling and slightly damaged with a small tear. 2. Handmade cotton patchwork of a square whose sides have been extended with rectangular strips of material. The back is a coarse wool with a greenish tinge and thin colored strips along its length on the sides. Suitable for a cot. No filling.patchwork quilts, home sewing -
Whitehorse Historical Society Inc.
Decorative object - Doyley, circa 1910
Donor's grandmother, Martha Edwards own work about 1910Round off white doyley of central flower shape, circle of radiating lines and outer circle of flower circles.handcrafts, crocheting or crochet work -
Flagstaff Hill Maritime Museum and Village
Tool - Fuller, Grooving iron, 19th and early-20th centuries
This hand groover is sometimes called a seamer, grooving iron, punch or fuller. It would have been used by a metal smith, such as a blacksmith, tinsmith or sheet metal worker. It is used to join two edges of metal. The smith overlaps the edges of the metal, then places the tool on top and beats it with a hammer on the top, forcing the metal into the tool's groove, which joins the metal. The device would be moved along the edges to complete the seam. The same tool could give a decorative finish to an artisan's work.This hand groover is sometimes called a seamer, grooving iron, punch or fuller. It would have been used by a metal smith, such as a blacksmith, tinsmith or sheet metal worker. It is used to join two edges of metal. The smith overlaps the edges of the metal, then places the tool on top and beats it with a hammer on the top, forcing the metal into the tool's groove, which joins the metal. The device would be moved along the edges to complete the seam. The same tool could give a decorative finish to an artisan's work.Tool: a fuller, used to form a groove in heated iron. It is also referred to as a groover, seamer or fuller punch. Hand tool with round handle, flat round top and indented rectangular base. Base has grooves on long edges. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, blacksmith tool, vintage tool, sheet metal fabrication, groover, seamer, hand tool, tinsmth, metalsmith, seaming tool, sheet metal worker, manual tool, smith's tool, fuller, grooving iron, punch -
Flagstaff Hill Maritime Museum and Village
Tool - Fuller, Grooving iron, 19th and early-20th centuries
This hand groover is sometimes called a seamer, grooving iron, punch or fuller. It would have been used by a metal smith, such as a blacksmith, tinsmith or sheet metal worker. It is used to join two edges of metal. The smith overlaps the edges of the metal, then places the tool on top and beats it with a hammer on the top, forcing the metal into the tool's groove, which joins the metal. The device would be moved along the edges to complete the seam. The same tool could give a decorative finish to an artisan's work.This handmade tool was made for the particular purpose of joining sheets of metal together. The metal formed in this way could be used for water tanks, boilers and other similar items. It is an example of the equipment made and used in the trades of a metalsmith and blacksmith in the 19th and early 20th centuries.Tool: a fuller, used to form a groove in heated iron. It is also referred to as a groover, seamer or fuller punch. Hand tool with round handle, flat round top and indented rectangular base. Base has grooves on long edges. flagstaff hill maritime museum, maritime museum, shipwreck coast, great ocean road, blacksmith tool, vintage tool, sheet metal fabrication, groover, seamer, hand tool, tinsmth, metalsmith, seaming tool, sheet metal worker, manual tool, smith's tool, fuller, grooving iron, punch -
Wodonga & District Historical Society Inc
Domestic object - Ceramic mixing bowls, 1900 - 1950
Mixing bowls of this design were a common item in Austrailan kitchens in the late 19th and early 20th centuries. At this time the majority of women worked at home looking after their family and producing home-cooked meals. This type of bowl was a common domestic appliance used daily in Australian homes.This item is typical of kitchen utensils used in Australian homes in the early 20th century. No clear provence determined3 ceramic round mixing bowls of various widths - 340 mm, 300 mm and 265 mm. Each bowl has a pouring lip and decorative scallop relief around body. There is no indication of makers mark or source of production.Nonemixing bowl, domestic appliances -
Wodonga & District Historical Society Inc
Plaque - Plaque 1981 Rotary International Pacific Region Conference, Betty L. Barberis
This item was donated to Wodonga Historical Society by the artist, Betty L. Barberis. Betty Barberis nee Barton was one of 12 children born to Roderick Barton and Myrtle Ann Hore of Gundowring in the Kiewa Valley. She was born in 1927 and attended Upper Gundowring Primary School. Betty was encouraged to enter a project for the "Young Farmers" by illustrating a book. She won first prize for Victoria and the book was exhibited at the Royal Melbourne Show. This resulted in Betty attaining a Manual Art Teacher's Studentship which she completed at Wangaratta Technical School. Here she learned many new skills ranging from garment design to ceramics. She also attended Melbourne Teachers College. Betty created many decorative banners, the first being for the Australian section of the World Scout Jamboree in 1948. Over her long career she was to create many other banners and commissioned work for significant organisations and institutions . Betty’s great body of work included landscapes, millinery, ceramics, and a bronze sculpture of her husband Vern Barberis who was a fellow schoolteacher and represented Australia as a weightlifter, winning a bronze medal at the Helsinki Olympics in 1952. She also illustrated several books and had exhibitions in many galleries including in Albury. Betty passed away at The Grange, Wodonga on 26 November 2013. The 1981 Rotary International Pacific Region Conference was held in the Royal Exhibition Building, Melbourne, between 26 and 29 November 1981. More than 5,000 Rotarians from around the Pacific attended the conference in Melbourne to discuss 'The Future of the Pacific Region'. Speakers included the Honourable Malcolm Fraser, Rotary International President Stan McCaffrey, President Elect Horoji Mukasa, Ranald McDonald, representing the media, Sir Ian McLennan, representing industry, Japanese former Ambassador Nobuhiko Ushiba and Philippines Deputy Consul General Mrs Minerva Falcon, both representing diplomatic services, as well as other Rotarians. A limited number of plaques were produced from quality imported porcelain.This item represents a major event held in Melbourne for Rotary International and is also the work of a prominent artist from the Wodonga district.2 ceramic plaques designed by Betty Barberis for the emblem of the 198T Rotary International Pacific Region Conference held in Melbourne in 1981. The plaque bears the Rotary emblem, slogan and other text as well as an image of a kangaroo and lyre bird.In top banner: "SERVICE - ABOVE - SELF" In central circle: "ROTARY INTERNATIONAL" around 1981 In lower banners: "PACIFIC REGIONAL CONFERENCE / MELBOURNE AUSTRALIA".betty barberis, rotary international, 1981 rotary international pacific region conference -
Flagstaff Hill Maritime Museum and Village
Decorative object - Ship model in a bottle, c. early 20th century
The handmade model in a bottle is the work of a hobbyist, in about the mid-20th century. The word 'Cork" may indicate the location of the maker. The Pamir was a four-masted barque built for the German shipping company F. Laeisz. One of their famous Flying P-Liners, she was the last commercial sailing ship to round Cape Horn, in 1949. By 1957, she had been outmoded by modern bulk carriers and could not operate at a profit. Her shipping consortium's inability to finance much-needed repairs or to recruit sufficient sail-trained officers caused severe technical difficulties. On 21 September 1957, she was caught in Hurricane Carrie and sank off the Azores, with only six survivors rescued after an extensive search.The model represents the work of an individual as a hobby project in the early to mid-20th century.Ship in bottle. The "Pamir", a 4-masted ship, and avsmall motorized vessel the "Theodore Storm" set against a European background inside large bottle. Mounted on varnished wooden stand. "Pamir" "Theodore Storm" "Cork"pamir vessel, flagstaff hill museum, four masted vessel, ship in bottle, theodore storm, ship model, cork, handmade, 20th century handcraft, hobby ship model, hobbyist made -
Flagstaff Hill Maritime Museum and Village
Artwork, other - Wall decoration, late 19th century
This unusual wall decoration was created by Anna Wilson (nee Henry), daughter of pioneer John Stephenson Henry, who arrived in Australia from Ireland with his children in 1851. Family documents confirm that Anna most probably made the diorama for her sister-in-law, who married a member of the Giles family. The diorama was later given to Vera Giles who was a family friend and possibly related to Anna’s sister-in-law by marriage. The diorama is now part of the Giles Collection. Anna married William Wilson in 1860, who had arrived in Australia from County Tarrane in about 1850, aged 19. In 1869 they moved to their new property called ‘Glenlyall’ in Cooramook, north of Grassmere, Victoria, where he lived for 49 years until his death in 1918. He left behind a family of four sons and a daughter. The Giles Family There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. The family of the creator Anna Wilson nee Henry and her husband William Wilson are of significance to the early history of Victoria and the South West of Victoria in particular, being pioneer families who farmed the land, built the towns and cities and contributed to their communities. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established. Wall decoration, diorama with decorative gild frame and glass front. The 3-dimensional seascape includes sailing boats, land and sea, all made from materials such as shells, coral and seaweed. The work was made by Anna Wilson. It is part of the Giles Collection.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods, 19th century decor, 19th century handcraft, handcraft, wall hanging, diorama of a seascape -
Federation University Historical Collection
Artwork, other - Enamelled punch bowl and ladle, Frederick Gladstone Procter, c1932
Frederick Gladstone PROCTER (1898-1977) This decorative enamelled punch bowl mounted on blackwood pillars drew attention when it was exhibited in a shop window display to attract new students in 1932. The Ballarat Technical Art School was well known for its art metal work which was applied to product, interior and commemorative designs. Students undertook many commissions. A small jewellery and enamelling class was also introduced in 1922. Metal punch bowl (probably nickel silver), with enamelled features on blackwood stand, floating bowl and matching ladle. -
Warrnambool and District Historical Society Inc.
Poster - Print and Lithograph of Western Victorian towns and businesses, McCarron Bird & Co, Birds Eye Views in Western Victoria, c. 1900
This poster has been produced as a saleable item by the firm of McCarron Bird & Co of Melbourne about 1900. This firm was founded in 1872 and is best known for its publication of the two-volume work, 'Victoria and its Metropolis' (1888). The poster was intended to be hung on a wall for decorative and advertising purposes. It contains four attractive lithographs of the towns, Warrnambool, Port Fairy, Portland and Hamilton and a great number of advertisements and illustrations, some from Melbourne and the rest from the Westen District towns mentioned above. One Warrnambool advertisement is for the general merchant business of William Caffin in Kepler Street and two others are advertisements for the coastal ships, Flinders, Dawn and Casino which came into the port of Warrnambool. This poster has local historical significance as it has a descriptive drawing of the town of Warrnambool about 1900 and shows the buildings that were existing at that time.This is a cream-coloured sheet of paper with a coloured centre piece showing the title of the poster, four coloured lithographs of Western Victorian towns and advertisements printed and illustrated in black and white. The edges of the poster are frayed and the paper is torn at the centre left edge.warrnambool 1900, western victorian towns 1900, william caffin general merchant warrnambool -
Footscray Community Arts
Home Sweet Home, Edwina Bach, (exact); 2003
MEDIUM: Mixed media on wood. DESCRIPTION: A three dimensional work, assemblage art. The base a dark stained natural wood, the second layer is painted in pastels with mixed media. Three painted and mixed media pieces are attached symmetrically positioned alongside one another. Ornate and decorative the centre piece spells home sweet home, also the title of the work.NILhome, art, bach, assemblage, sweet -
Footscray Community Arts
Oh Matise, Jo Darvall, (exact); 2006
MEDIUM: Acrylic on canvas. DESCRIPTION: Blue and black, no external frame. A figurative nude, the close up takes most of the canvas. It sits on a dark background in undefined surroundings. The blue woman sits flat as many of Matisse’s works do, favouring this style over the illusionistic depth to achieve his aim, here we see this replicated. Matisse is also noted for his use of colour as a means of expression rather than description. Here we have a woman painted all in blue, with this knowledge we could say the artist has painted his subject as someone who has been captured in a very relaxed, very calm version of herself, an ocean onto herself, mysterious and captivating in this moment. Her arm slung confidently above and around her head, her view directly facing the viewer provocatively. The only other colour on her other than the thick black lines which outline and shadow her contours, is the circular red of her earring -mirroring the generous sweeping curves of the work. The presence of visible brushstrokes produces a sense of movement and energy as well as providing a decorative quality to the painting.Signed and dated on bottom proper left of center of image (on reverse of canvas).acrylic, darvall, matisse -
Flagstaff Hill Maritime Museum and Village
Craft - Scrimshaw, After 1975
When scrimshaw is mentioned, most people think of carving on sperm whale teeth only. But scrimshaw also includes engravings on skeletal whale bone–such as the jaw bone, called panbone–and ivory from other marine mammals such as walrus. Although scrimshaw is widely associated with nautical themes and designs of the 19th century whaling industry, vintage scrimshaw was also produced as tribal art in many cultures. Today, scrimshaw is recognized as a unique medium in which present-day artists have developed their own modern themes. Scrimshaw reproductions may take several forms. There are - New carvings on genuine ivory or bone with the deliberate intent to create an "antique” - New carvings on genuine ivory or bone sold as signed and dated contemporary art - Clearly marked synthetic museum reproductions and mass marketed - Unmarked synthetic replicas Painstakingly carved deliberate replicas are directed towards the scrimshaw collector and seldom appear in the general market. Pieces of contemporary art and museum copies are usually clearly marked and openly sold for what they are. The biggest problems in the general antiques market are the mass produced synthetic reproduction pieces, such as this item, that can be mistaken for the genuine item. The scrimshaw is a modern reproduction of a typical scrimshaw scene and engraved onto a synthetic substance. It has been created as a decorative piece and is currently displayed as a representation of the craft of scrimshaw.Scrimshaw carved on a non-natural material in the shape of a whale tooth. Engraving depicts a grizzly bear with two cubs next to a fallen tree. Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, craft work, carving on bones, whale bone carving, engraving, scrimshaw, carving, reproduction scrimshaw -
Kew Historical Society Inc
Ceramic - Lidded container, Viola Ayling
Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade container, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade, lidded container, constructed through coil work, and using the different forms of coiling as a decorative element. The container has been glazed in yellow and green.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), containers, viola ayling -
Flagstaff Hill Maritime Museum and Village
Book - Religious, University Press, The Holy Bible, Ca. 1850s
This Bible belonged to the Bell family. Joseph Bell was born on May 9th 1829. He married Elizabeth, who was born on October 22nd, 1833. Their marriage was conducted on September 12th, 1854, at St Pauls, Bristol, England. On the front pages of the bible there used to be a list of their ten children and their birthdates but there are only remnants of a heavy weight paper; the opposite Fly page with publication details is also missing, along with the Family Records section, which no longer has pages for Births and Marriages, only precise edges of two pages . The Bible is the King James Version, named after James Charles Stuart (1556-1625) who was King James VI of Scotland from 24 July 1567, and who was crowned King James I of England, France and Ireland from 24 March 1603 until his death in 1625. The Hampton Court Conference of 1604 commissioned a new and more accurate version of the Holy Bible that was translated from the original Sacred Scriptures and that included only the approved books. This task was undertaken be a group of learned scholars who worked in teams and compared notes, working to ensure a true and accurate version. It was completed in 1611 and became widely known as the King James Version (KJV) of the Bible and is still widely used and greatly respected for its poetic language. The first printed page of this Bible is the Translators Speech at the completed work which was handed over to King James I in 1611.This Bible was published after 1611, and likely to have been purchased at the time of the marriage of the previous owners, Joseph and Elizabeth Bell, in 1854, so it is possibly a century and a half old. The decorative cover and metal clasp are a sign that the Bible was a book to be treasured,. Indeed, our Collection included several Bibles brought to Australia by immigrants, even though luggage was tightly restricted. This Bible was once used as a family record, similar to Bibles printed in modern times, with lined blank pages in the centre for the owners to record their own, their ancestors' and their descendants' life events. Sadly, these pages are no longer within the Bible.Book, black textured leather front and back covers, gold leaf page edges, metal clasp on centre edge of front and back covers holds them together. The title is inscribed in gold embossing on the front cover. The Bible has coloured illustrations, cross references and maps. The front inside cover has remnants of a previous stuck-down page, the Fly page, and the Family Records pages for Births and Marriages has been cut out of the book. TITLE: The Holy Bible. PRINTER: University Press, London, England PREVIOUS OWNERS; Joseph and Elizabeth Bell, married in Bristol, England in 1854.Embossed in gold on cover: "HOLY BIBLE"warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, religious book, bible, holy bible, king james bible, king james vi, king james i, 1611, kjv, joseph bell, elizabeth bell, st paul's church bristol, 1829, 1833, 1854, authorised king james version, authorised version, av, sacred scriptures -
Kew Historical Society Inc
Ceramic - Lidded ewer, Viola Ayling
Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade ewer, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Peyte.Handmade ceramic lidded ewer fully covered in an olive green glaze. The lower section of the body, the spout and the lid reveal the coil work construction technique used, whereas the upper body is smoothed.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), ewers, viola ayling -
Kew Historical Society Inc
Ceramic - Lidded container, Viola Ayling
Viola Annie Ayling (1911-1990), was born in Korumburra. After her marriage to William John Ayling in 1932 she moved with her husband to Tennyson Street [Kew]. A professional tailoress, Viola Ayling was also a talented amateur potter. She created her ceramics at her home at 128 Pakington Street [Kew], where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. This pot is part of a collection of 15 glazed ceramic functional and decorative items donated by her granddaughter to the collection in 2024. A handmade ceramic container, expertly potted and glazed which is representative of Australian ceramic design of the period.Handmade ceramic container, constructed through coil work with the lid and upper body fully glazed and the lower half part glazed in orange.Signature to base: "V. Ayling"ceramics, containers, pakington street -- kew (vic.), viola ayling -
Hymettus Cottage & Garden
Decorative object - Decorative panel, Foliate decorative panel
Example of wood work and woodgraining popular in 1901 when the room was decorated. Mantel and mantel surround of pine turned and carved with this central panel beneath the mantel shelf all woodgrained in an oak finish.Fireplace surround featuring under-mantel panel with decorative carved acanthus leaves in urn with a rose at each extremity all in a woodgrain finish.woodgrain, decoration, mantel, oak finish, pine -
Bendigo Historical Society Inc.
Pamphlet - Bendigo Town Hall Self Tour and conservation timeline brochure, 2003
Parry Collection In 2003, the Bendigo Town Hall was returned to its 19th-century splendour after an extensive restoration and renovation program including plasterworks, murals and gold leaf worked by artists and artisans. The original Bendigo Town Hall was designed in 1859 by Bendigo's town clerk, George Avery Fletcher. A council chamber was added in 1866 and a hall for the trading of grain, known as the Corn Exchange, was added in 1871-72. Although the architecture of the additional buildings adhered to that of the original building, the completed building was unpopular with both the citizens and council of the era. In a series of major works from 1878 to 1902 the Bendigo Town Hall was transformed by the architect William Vahland who was given the task of converting the hall into something worthy of Bendigo's leading position as the "City of Gold".[2] His work included extensive new offices, enlargement of the main hall and council chambers, the introduction of an interior decorative scheme, a clock tower and mansard roof. The exterior facades were also remodelled in the classical style. Vahland commissioned Otto Waschatz, who had just decorated the Royal Palace in Copenhagen, Denmark, to design the hall's interior which featured decorative plaster adorned with 22-carat gold leaf, reflecting the opulence of the "city built on gold". The end result, completed in 1885, was one of Vahland's most significant works and has been considered the finest "boom style" building of its kind in Victoria.Bendigo Town Hall Self Tour and conservation timeline brochure. 1. A yellow paper map with the history of the town hall on one side and a self guide tour and plans on the other side. 2. A glossy 4 page guide to the history of the town hall and timeline.history, bendigo, merle lummis collection, bendigo town hall -
Bendigo Historical Society Inc.
Administrative record - Factory Order Book
The item is a soft cover book recording work of T.J. Connolly, Ironmongers, Sandhurst. Each handwritten page records the month and year at the top of the page and then lists dates, quantities, customer name and item details. Some customers names include location of customer. The soft cardboard cover is green with red and brown marbling on both front and back with some wearing at the corners and fading at the spine. "Factory Order Book" and decorative swirls are hand drawn in black on the front cover. The dates are stamped on the cover also. The pages are bound together with string. The book includes the date range of November 1895 to October 1896. All pages have been used. This item is part of the Margaret Roberts Collection. "Factory Order Book" and decorative swirls are hand drawn in black on the front cover. "From Nov 95 to Oct 96" is stamped in black on the front cover. The back cover has some black ink spots. margaret roberts collection, ironmongers, forest street, bendigo businesses -
Flagstaff Hill Maritime Museum and Village
Equipment - Show Harness, R. Mitchell, Saddler, Early to mid-20th century
The early settlers of Victoria depended on horse drawn vehicles to farm, make roads and railways, deliver produce and transport people. Horse harnesses were an important requisite for all drivers and could be found wherever there were working horses. Horse Harnesses have played an essential role in different cultures throughout history. Simple, utilitarian horse harnesses made of leather straps and iron rings were being used in early China before AD 500 as well as ancient Greece and Rome, allowing horses to pull chariots and ploughs. The Greeks and Romans were the first to use a "horse collar" which distributed the weight of the harness evenly across the horse's chest rather than relying on a "throat harness" that could damage a horse's throat or choke them. During the medieval period, European horse harnesses became more elaborate and decorative. Variations of different horse harnesses were also found in Native American and Middle Eastern cultures. Horse Harnesses usually have four basic components which include - 1. Communication - the bridle, bit and reins allows the driver to communicate instructions and commands to the horse, guiding its movement and direction. 2. Draft - the collar, hame straps, hames, traces and chains enables the horse to draw and pull the load efficiently by distributing the weight and transferring the pulling force to the vehicle. 3. Stopping - the breeching band, pole straps and breast strap helps to control or stabilise the horse and vehicle when moving downhill or stopping. 4. Support - the back pad, backband, belly band and back saddle keep the harness in the correct position and proper alignment. This show harness was used by Mr. Andy Bourke when showing his Clydesdales at shows or demonstrations. Although a more modern example with decorative embellishments, it still has many essential components traditionally found in an everyday working horse harness. The original purpose of the "housen" for example, was to run rain or drizzle off the horse's neck when they had to work in wet conditions - it was laid flat for this purpose on the top of the collar. Nowadays it is purely for show and is often used to advertise a business or stud. Horse brasses and fly terrets were fastened to various parts of a horse's harness. In the early days they probably began as amulets to ward off evil and to bring good luck and continued to be used as a festive decoration. The heyday of horse brasses was between the years 1851 and 1900. Horse brasses are fastened to various parts of the harness with many of their designs being symbolic. The ornamentation on this harness (although not authentic horse brasses) are based on the horse brasses that were popular in the 19th century. This horse harness is a significant example of the equipment that was needed wherever heavy horses were being used - particularly in the early years of Victoria's settlement by white settlers. Harnesses such as this example were used with stage coaches, drays, farming equipment, delivery carts and personal transportation.A leather and metal horse harness used when showing a Clydesdale (or other breed of heavy horse). It is made up of a number of components. 1. Decorative leather cart saddle with two large cloth pads underneath (which have a scalloped leather and stud border), a raised leather pommel and a silver and red coloured metal back strap holder across the top. It has two symmetrical sets of ornamentation (silver hearts and circles) in the front and a wide strap or girth (with a maker's stamp reading "R. Mitchell Saddler") and buckle which attaches the saddle to the horse. 2. Pair of steel hames which are gently curved (to fit on a horse collar) and are topped with steel knobs. They have several steel rings and lugs (to hold straps and chains) and a "Made in England Warranted Steel" stamp. 3. Breeching harness which consists of a number of leather straps, chains and metal rings including a wide padded leather strap with a scalloped edge that sits on the back of the horse and a thick leather strap that goes around the hind quarters of a horse which is joined to the back strap with four shorter vertical straps and buckles. These straps feature silver and red patent leather trim and silver heart shaped ornamentation. The strap also features the maker's stamp of "R. Mitchell". 4. Decorative leather bridle with blinkers featuring the same silver and red patent leather trim on the cheek piece, brow band and throatlatch. It has a stainless steel "Liverpool Driving Bit" with a curb chain, a variety of decorative silver ornaments (rosettes, diamonds plus a heart and two circles) on each end of the forehead band, dropper and strap as well as a silver metal bell (sometimes known as a "fly terret" or "swinger") that sits on the headpiece of the bridle. 5. Leather "violin shaped" dropper (or hanger) with two silver rosette shaped ornaments and a stainless steel clip on the top 6. Stainless steel "Liverpool Driving Bit" with a straight mouthpiece which is ribbed on one side. It has three rein spots (spaces) and a curb chain. 7. Leather arch shaped "Housen" covered in black and red patent leather and decorated with silver studs (some spelling out F H) and bordered with a red fringe. It has a leather strap at the back and two leather loops on the front. 8. Leather padded backband (Australian style "Stallion Draught Roller") decorated with two groups of nine metal "horse brasses" or harness ornaments displaying horseshoe, starburst and horse head designs on blue, red and white striped webbing. The backband has three notched straps at each end, a buckle near the centre and the initial B stamped in two places underneath. 9. Bellyband made of leather and red, white and blue striped webbing. It has a set of three buckles at each end (which correspond with the notched straps of the backband). 10. Wide, thick leather strap which has a buckle and notches at each end. It also has the maker's stamp of "R. Mitchell Saddler". 11.One pair of long leather traces - each with a buckle and notched loop at one end, decorated with a small silver diamond shaped harness ornament. 12. Length of stainless steel heavy duty chain with two swivel connectors.Saddle - "R.MITCHELL / SADDLER" Hames - "MADE IN ENGLAND / WARRANTED / STEEL" "MADE IN ENGLAND / WARRANTED / unclear" Breeching Straps - "R. MITCHELL / MAKER / R. MITCHELL MAKER" Housen - "F H" Backband "B / B' Wide leather strap - "R. MITCHELL / SADDLER"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, harness, horse harness, show harness, clydesdale horses, andy bourke, horse drawn cart, housen, bridle, hames, breeching straps, dropper, bit, liverpool bit, backband, harness ornamentation, bellyband, back saddle, fly terret