Slide. Garden (Flowers) 12 Hope Street, Cacti red flower.slide, bendigo, garden (flowers) 12 hope street, garden (flowers) 12 hope street

This postcard is part of an album of postcards which date from late 19th century to mid 20th century.This postcard is in an album of postcards dating from the late 19th century to mid 20th century and, as such, indicate the popularity of postcards during that time.Postcard decorated with two pink flowers surrounded by small white flowers.On front: 'A bright / and happy New Year / Be your New Year free from care / Cloudless all its days and fair' On back, written: 'From Willie / To Mother / 1 January 1894'postcard, new year, 1890s, "green postcard album"

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). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

A group of people with flowers and gifts after an Annual Demonstration. They appear to have been thanked for their efforts in producing the demonstration. The lady with the largest box of flowers was Miss Enez Domec-Carre, Miss Williams on far left was the Elocution teacher, other names are unknown. Enez was the instructor for the girls' classes for many years, she organised many annual demonstrations and was held in high regard by Legacy. The library at Legacy House is named in her honour. See also a newspaper article at 00978 which outlines her achievements, a summary of her career at 00458 and 00129, and her 80th birthday at 01541. She was a former Miss Victoria and was known for her physical education skills and for introducing grace and culture to Melbourne. In 1932 she joined Melbourne Legacy as assistant to Mrs Gilles (wife of a Legatee) later became the chief instructor of girls' physical education until she retired aged 65. In the post World War II baby boom the Legacy evening classes were attended by about 400 girls. She helped organise Legacy Widows and Legatee wives to sew the costumes for performances. Among her proudest moments was a display by 1000 Junior Legatees at the MCG during the 1954 visit of Queen Elizabeth II. As well her work for Legacy she ran physical education, ballroom dancing and debutante preparation classes in Windsor, Elsternwick, Gardenvale and Geelong. She also held a position on the Board of Studies and as director of physical education in Catholic Schools. Recognition of her work included being awarded an MBE in 1971. And in 1997 she received Legacy's highest award, the title of Guest of Honour, for her years of service. The year is unknown. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and Eurythmics. The Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to the late 1970's, usually held at Melbourne Town Hall or Olympic Pool Stadium. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association.Miss Domec-Carre worked for Legacy for many years and had a significant impact on the lives of many junior legatees. Black and white photo x 2 of Miss Enez Domec-Carre and others with flowers or gifts after an Annual Demonstration.annual demonstration, enez domec carre

White rose with green stem and leaves made from a 100% cotton handkerchief.Seward 100% cottonhandcrafts, country crafts, flower

David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available

The photograph shows Tottie Todd with her Tainsh relatives - her cousins Lizzy Tainsh and Jane Hicks, and her uncle (by marriage) Thomas Hicks. Tottie was born Eliza Jane Todd to parents John Todd and Jane Tainsh in 1883.Black and white photograph taken at the wedding of Eliza ("Tottie") Todd and Alex Begg. Photograph shows groom and two other men in formal attire, bride and attendant in long gowns holding flower bouquets, two flower girls in short dresses and large hats, one standing the other seated in front of her on the floor, both holding bouquets."Bride "Tottie" Todd, groom Alex Begg, Bank Manager Kerang. Right hand end: Thomas Francis Hicks. From left to right: Lizzie Tainsh, daughter of William Tainsh and cousin of Tottie Todd; Charlie Bennett of Linton; Tottie (nee Todd) Begg; Alex Begg; Jane Hicks, daughter of Thomas Hicks; Thomas Francis Hicks, uncle of Tottie; front Lily Todd, sister of Tottie." "Mrs Todd made flowers / no wire used".tottie todd, weddings, thomas francis hicks, lizzie tainsh, charlie bennett, alex begg, jane hicks, lily todd

Specimen flower vase. Glass with hobnail pattern, brass top with holes for flowers.ornaments, glass, vase

Slide, Garden (Flowers) 12 Hope Street. Lilac tree without flowers.slide, bendigo, garden (flowers) 12 hope street, garden (flowers) 12 hope street

A photograph on the wedding day of Erigoni (Nitsa) Vlassopoulos (Kopela) and Kyriakos Kyriakakis in Ithaca. Freda Lucas (nee Benias) pictured on the left is the flower girl. The couple migrated to Australia in the 1950s and settled in Red Cliffs near Mildura where they ran the Vlass family business, The Golden Key café. Erigoni is the daughter of Dimitri and Eugenia Vlassopoulos and sister of Stathis, Panos, Costas and Nikos. Nitsa and Kyriako had three children, George and Eugenia born in Ithaca and Dimitri (Jim) born in Red Cliffs. Nitsa and Kyriako eventually retired in Greece.A black and white photograph edged with a crinkle cut white border of bride and her flower girls with a man and a lady standing on each side of her. They are standing in an open area with shrubs growing behind them

These Tray Covers were made by women of the early settler families in Moorabbin Shire c1900 and show their needlework skills . Although living conditions were basic families still held onto their traditional English and European customs and took pride in presenting elements of refined society. These tray covers are examples of the dressmaking, crochet and needlework skills of the women of the early settler families in Moorabbin Shire c1900 5 x Linen Tray Covers with coloured silk needle work and crochet edging a) oval with flowers, b) oval with 2 small baskets of flowers, c) oval with large flowers, d) rectangle with flowers, cup ,saucer , writing, e) oval with 2 large baskets of flowers clothing, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, hunt ailsa, dairy farms, fruit orchards

Melbourne Water inherited many of its water assets, such as reservoirs from its predecessor the Melbourne Metropolitan Board of Works (MMBW). They have served the organisation well and have long been celebrated for both their natural beauty and engineering ingenuity. In the nineteenth century Victoria’s fundamental need for water infrastructure went beyond merely functional solutions and reflected the English ideal of the romance and beauty that was embodied in expanses of water. The MMBW further enhanced this notion by incorporating beauty and function in to the Classical and Italianate designs of its infrastructure such as pumping houses and reservoir outlet towers. The reservoir gardens and picnic areas were landscaped with ornamental stonework, exotic trees, decorative flower beds, fern glades pools and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance. This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. Clear glass flower shaped 'depression ware' confectionery bowl, with photographic image of Maroondah Reservoir outlet tower on basemelbourne metropolitan board of works, mmbw, maroondah reservoir, melbourne water, scenic view, souvenir, glass bowl

The Ithacan Philanthropic Society, 'The Ulysses' celebrated its 80th Anniversary at the Debutante Ball on Saturday 21 September 1996 at the Carlton Crest Hotel Grand Waldorf Ballroom. Much loved Ithacan actress Irini Papas was MC for the evening and guest of honour was the Consul of Greece, Mr. George Veis. Dance instructor and coordinator of the debutante group was Olga Black who worked with the fourteen debutantes and their escorts and the young flower girl to prepare for the memorable night. Pictured (above left) are debutantes Faye Baker and Angela Thomas. For the Ithacan Philanthropic Society to endure as an active organisation for eighty years was a memorable achievement. Debutante balls was an Anglo tradition that was taken up by the Ithacan Philanthropic Society and were particularly popular in the period 1940 - 1960. There was a resurgence in popularity in the 1980s - 2000. A black and white newspaper photograph of five debutants and one flower girl on the dance floor. The photograph has been backed onto white cardboard and laminated. The photograph is one of a pair which was published in the 'Neos Kosmos' newspaper.

Document. Greeting Cards. Cream tri-fold card with scollop edges edged in gold. Small flowers embossed around the edges. A green vase with a white flower pattern holds a bunch of purple flowers. Next to the flowers 'Wishes' is printed in gold. Some flowers are lying next ot the vase.person, greeting cards, malone collection, malone collection, greeting cards

Archibald James Bower enlisted in World War I in November 1915, and was killed in action in France in August 1916. Before he left Australia, he drew designs on linen for his mother, Harriet Bower nee Harper, to embroider a quilt - mainly flowers, butterflies and moths. Mrs Bower finished the quilt, which was then used for many years by her grandson, Archibald William Luxford. He went to sleep every night, knowing the designs were drawn by the uncle he had never known, after whom he had been named.This quilt has historic significance as a memorial to a soldier lost in World War I. It is important as a tangible reminder of loss in war, and an example of how memorials to those lost in war take many forms. It has aestetic significance as an example of needlework that is original in design, with an impressive range of different stitches used to execute the design. It has spiritual significance to the Luxford family and the Munro community (even though Archie Bower was from Sale and the quilt moved later to Munro), as the quilt that Arch Luxford, a prominent member of the community, often spoke about as one his most important possessions. He was born after the death of his uncle, and named in memory of him. He grew up sleeping under the quilt, and knowing the story of his loss in World War I.A bedspread made principally of three sections of white linen sewn together with panels of crochet, with a deep linen edging and crochet edging. There are moths, butterflies and flowers embroidered on all sections in white cotton, as a form of candlewicking.world war 1914-1918, craft, needlework

Made by Internee at Camp 3 TaturaBeaten metal (appears made from Australian coin) brooch.Leaf with flower and flower budaccessories, jewellery, brooch, camp 3, beaten metal, leaf, tatura, internees, costume, accessory

Sent by Cpl William Edward WENNERBOM Reg'n 2249, 3 October 1918. E. Coy, 12th Battn, Oct 1914, Discharged Dec 1919.Postcard - Cream cardboard, coloured thread embroidery, red, blue, white, green, yellow, purple.“To My Dear Father” French, British, American Flags, Flowers, Leaves.postcard, ww1

Made to protect clothing when doing domestic duties.Embroidered calico apron with scalloped edging across the bottom. Apron bound with red bias binding.Indigenous women (possibly Maori) in traditional dress amongst native flowersapron, women's clothing

Hardcover, No Dust JacketTwo flower clippings pressed inside between sheets of baking paperwalsh st library

Three colour photographs Central Park Gardens Easter 1988Coloured photos of Central Park Gardens, one of No.1 Grandstand and the other two photos of the fountain in Central Park.Inscriptions on fountain postcards Easter flowers, Central Park Easter 1988stawell

Four page booklet featuring black and white graphics and text. The front cover features an image of a woman wearing a hat and gloves. [printed] Presented with / English / WOMAN’S / WEEKLY / CROCHET GLOVES / WITH FLOWER GAUNTLETSfashion, women, knitting, crochet, home life, patterns

This doily is typical of items of household linen in popular use in the 19th and early-to-mid 20th centuries. It was a tradition for brides to have a 'glory box' containing linen and embroidered and crocheted articles to take to their new home. The chosen design of Kookaburra and wattle flowers and leaves reflects the creator's interest in Australian flora and fauna. 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.” (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. It is also significant for its reflection on the new Australian fauna and flora.Doily, round, white cotton. Embroidered Kookaburra on a branch, wattle flowers and leaves, and edged with brown crochet. 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, embroidery, needlework, crochet, handmade, craft, manchester, linen, haberdashery, kookaburra, wattle, australiana

Part of "Woolcock Gallery Collection". Exhibited CEMA 1989.Drawings of cutting and flower heads with brown stem and green foliage and white start-shaped flowers with pink and green centres. Six drawings include cutting with flowers, flower bud details and flower details from above and side. The work is on white paper, mounted in a double matt (grey on dark pink), unframed.Front: CEW/82 (signature, lower left in image, next to stem) (green pencil) Snow Beard-heath - Leucopogon montanus (lower centre) (pencil) Back: 32 (upper left) (pen) Snow Beard-Heath $80 (Leucopogon montanus) CE Woolcockcema, botanical, collin woolcock, woolcock collection, botanical drawings

Slide, Garden (Flowers) 12 Hope Street. Flower bed with white iris & other plants.slide, bendigo, garden (flowers) 12 hope street., garden (flowers) 12 hope street.

Slide, Garden (Flowers) 12 Hope Street. White 5 pointed flower with red centre.slide, bendigo, garden (flowers) 12 hope street., garden (flowers) 12 hope street.

Associated with Joseph and Herbert Nott WW1 soldiers and sent to their sister (Mrs. Fuge) whilst overseas during WW1. Associated with WW1 Joseph Nott soldier and sent to him by his sister Mrs. Fuge. Small white flower with larger leaf arrangement. Leaf is starched silk and flower is cotton hessian. leaf and flower keepsake sent to mrs. ethel fuge from jospeh and herbert nott ww1, ww1 joseph and herbert nott, ethel fuge

Necklace constructed of single-size bone (sic) flowers with a single bone flower used as a pendant.necklaces, costume jewellery

Handmade black lace and fabric flower bonnet. The flowers are edged in white. The lining is in black net.visiting, outing, dressed up

These white linen circular doilies were made by women of the early settler families in Moorabbin Shire c1900 and show their needlework skills . Although living conditions were basic families still held onto their traditional English and European customs and took pride in presenting elements of refined society. These linen doilies are examples of the dressmaking, crochet and needlework skills of the women of the early settler families in Moorabbin Shire c1900 5 x Linen doilies with coloured silk needle work and crochet edging a) square with coloured flowers and crochet edge , b) round with blue flowers and crochet edge , c) round with coloured flowers and crochet edge, d) round with coloured vase of flowers and crochet edge , e) round with blue flowers and crochet edge clothing, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, dairy farms, fruit orchards