Donor believes items were completed by her great aunts Lydia, Rosa, Olivia and Isabelle Pollard when the sisters were young girls. They were completed in Country Durham, England. The items have been passed down through the family by the girls' mother or aunt.Two handmade embroidered laundry bags. 6575.1 Red flowers with green leaves and white foliage embroidered on a cream cotton front, back of bag is undecorated. Hand and machine stitching evident. 6575.2 Gold flowers, green leaves and some white foliage. Four rings attached with gold and cream stitching on top of bag for hanging.A L 4 embroidered in top left hand corner of 6575.1 in yellow thread. A L embroidered at top L H corner of 6575.2 in red thread.late victorian needlework, handmade embroidery, lingerie bag, garment bags, cleary

Small ornamental figurine of seated bear holding a racquet and ball. Text on base states: 'BOYD'S BEARS AND FRIENDS/THE BEARSTONE COLLECTION/"LOVE MEANS NEVER WINNING A GAME"/-E.E.SMITH/EDITION/PC IE/3330/STYLE # 227717 CHRISSIE...GAME SET, MATCH/1999 THE BOYDS COLLECTION LTD/HANDMADE IN CHINA'. Materials: Ceramic, Pigmenttennis

This card table is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A handmade square wooden card table featuring an ornately patterned inlaid top of lighter coloured woods. It has a beautifully carved four legged base with a shelf at the bottom above the four clawed feet. The top lifts up to reveal a storage box below which is attached with screws to the base. The lid is attached with brass hinges and screws.furnitue, tables, card tables

This lockable wooden inlaid box is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Hilda Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A lockable rectangular handmade lidded wooden box with inlaid patterned wood panels on each side and the lid. It has red velvet lining inside the lid and inner base. There is a lift our red velvet lined wooden tray. The lid is attached with brass hinges. Keys for the inlaid cabinet in the same room are stored in the tray in this box.L W is written in grey pencil on the base of the box.boxes, objects, containers, storage boxes

Used in the 19th CenturyA large handmade wooden barrel shaped headed maul with two steel bands at each end. The handle is a metal pipe. It has a worn piece of a leather flap near the flanged join of the handle where it meets the head. A solid steel rectangular wedge which was used to split logs is displayed with the maul. It was used in the 19th Century.mauls, striking tools, long handled heavy wooden mallet, steel, wood, tools, wedge, splitting tools, splitting wedges, woodworking tools

A pair of long handled vintage handmade blacksmith tongs with two handles called reins, which are riveted together to form a hinge joint for the flat edged tongs. The blacksmith opens and closes the tongs using the handles. They are made of flat mild steel. They were used for holding steel in position and turning it over during forging operations.blacksmithing tools, forging tools, metalworking tools, furnace tongs, tools

The flags were used for communicating messages to passing ships. Knowledge of visual signaling was mandatory for all lightkeepers and all stations maintained a set of these flags. Although used for centuries, visual flag signaling formally developed in the nineteenth century and was published internationally as a system in 1857. By the early twentieth century it had developed into an effective means of conveying all kinds of short range visual messages.The Cape Nelson Lightstation is architecturally and scientifically (technologically) important as the most intact complex of lightstation buildings in Victoria. The octagonal signal station is a unique feature which is all the more important for its complete set of signal flags’. Cape Nelson Lightstation’s complete set of 41 alphabetic and numeric visual signaling flags (including substitute and answering pennants) are made of bunting, a coarse fabric of worsted (open yarn wool) in various colour combinations, and some of the fabric is hand sewn and bears inscriptions. Attachments include handmade wooden toggles, brass clips and hemp rope.

This Coolgardie safe is a significant example of late-19th-century Australian ingenuity and domestic adaptation in response to the challenges of life in remote and harsh environments. Invented in the late 1890s by Arthur Patrick McCormick at Coolgardie, then the center of a major Western Australian gold rush, the safe represents an important technological response to the need for preserving perishable foods in extreme heat before the availability of mechanical refrigeration. Using the same evaporative principles employed by explorer’s canvas water bags, the Coolgardie safe utilised a timber frame, zinc metal sheets, wire mesh panels and wet hessian cloth to create a naturally cooled storage chamber. When placed in a draught or breeze, evaporation lowered the internal temperature, allowing miners, settlers and later rural households to keep meat, dairy and vegetables safe for longer periods. Sylvia Schultz (nee Ziebell) remembers the Coolgardie safe at Ziebell’s Farmhouse “was always positioned in the pantry where it is today, near the window to allow the breeze in”. Items the Ziebell’s stored in the safe included meats, milk and cream, and home-made goods. This object embodies a pivotal moment in Australia’s social and technological history, illustrating resourcefulness, adaptation to climate, and the lived realities of those who settled and worked in remote regions. As an early form of sustainable refrigeration, it contributes valuable interpretive depth to domestic, rural and goldfields history. Handmade food safe with white painted wooden frame and perforated zinc screen panels. Galvanised sheet roof. Raised four beveled legs. Two rectangular doors, bottom door large, opens to main area with one shelf. top door small, opens to triangular roof section. Movable latches of wood on both doors.No visible markingsdomestic items, food storage and preservation, food, safe, storage, pantry, carl ziebell

There are many ways of travelling over snow - skis, toboggans, sleds, using snow shoes, machines, horses etc. This 'snow scooter' appears to have been handmade for faster transport (than walking) over snow. Machines with engines 'snow mobiles' are more commonly used nowadays. This snow scooter was possibly used at Falls Creek for moving around the village during winter.Wooden plank curved and lifting at the front and at the end of the back an attached small rectangular wooden framed plastic grid (for non slippery foothold). Underneath plank - at front is a metal rudder that swivels when the handle is turned and at the back are 2 metal fixed 'rudders'.At the front, on top, is a metal stand forming a triangle (for stability) with a steel rod which goes through the plank to the front rudder and up to a bicycle type handle at the top. The handle has red plastic handle grips on the ends. The join of the metal bars half way up is with a butterfly nut. snow scooter; snow transport; falls creek

This teacosy provides an example of handmade, domestic objects held within the collection and was constructed in 1930 by Miss Beatrice Symons of Creswick and Ararat. The lining is of newspaper enclosed in cotton, with each part handstitched including the joining of the hexagonal patches. The templates for the hexagonal-shaped patches were made of metal. Handstitched teacosy, featuring hexagon patchwork in multi-patterned cotton. Padded, pink lining with mauve flowered frill over the top of joining seam. Loop sewn to inside.handicraft, patchwork, sewing, teacosy, beatrice symons, creswick, ararat, 1930

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

Traditional Banjara (also known as Lambani) are an historically nomadic trading community originating in the Mewar region of Rajasthan, before migrating across central and southern India. "Bagchi" or dowry bags, traditionally handmade and gifted during weddings and engagements. Cowrie shells symbolize prosperity and good luck. Indian Banjara dowry bag embroidered on linen/cotton with Florentine style stitches in red, yellow, green and blue. Nine red tassels with cowrie shells attached and draw string with two cowrie shells attached.

The slim, green-tinged clear glass condiment bottle was possibly used for storing and serving sauce or salad oil. The handmade bottle would have had an applied lip. It has hand blown into a two-piece mould that finished just below the neck ring, with the rest of the neck and mouth hand blown. It was recovered from the wreck of the Schomberg. ABOUT THE SCHOMBERG (October 6 to December 27, 1855)- When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Baine’s Black Ball Line had commissioned her for their fleet of passenger liners. The Aberdeen builders designed her to sail faster than the clippers designed the three-masted wooden clipper ship to be fast. The timber used for the diagonal planking was British oak with layers of Scottish larch. This luxury emigrant vessel was designed for superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first-class passengers. The master for Schomberg’s maiden voyage was Captain ‘Bully’ Forbes. He drunkenly predicted at her launch that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The poor winds slowed Schomberg’s sail across the equator. She was 78 days out of Liverpool when she ran aground on a sand spit near Peterborough, Victoria, on 27 December; the sand spit and currents were not marked on Forbes’s map. The ship’s Chief Officer spotted the coastal steamer SS Queen at dawn and sent a signal. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers safely disembarked. In 1975, 120 years after the Schomberg was wrecked, divers from Flagstaff Hill found an ornate communion set at the wreck site along with many other artefacts. In 1978 a diamond ring was discovered under the concretion in the lid of the communion set, which is currently on display. Former Director of Flagstaff Hill, Peter Ronald, had salvaged most of the artefacts from the wreck. This bottle is significant as an example of an item in common use in the mid-19th century. The Schomberg collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered shipwreck (VHR S 612). The collection is of prime significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes.Bottle; slim, round, clear, slightly green-tinged, glass condiment bottle, possibly for salad oil or sauce. Handmade bottle with a broken and missing lip and base. The neck is straight and plain down to a high horizontal neck ring. The neck then flares outward towards the shoulder with a vertical ribbed design, finished with a scalloped border on the top of the body. The body has straight sides. Side seams run from below the neck ring to the heel. The glass has imperfections, bubbles and an uneven surface. There is brown sediment on its shoulder. A long white plug is in the narrow part of the neck. The bottle was recovered from the wreck of the Schomberg.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, 19th century bottle, collectable, bottle, two piece mould, food bottle, oil bottle, salad oil bottle, sauce bottle, condiments bottle, neck ring, ribbed sides

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pleated pink and white striped cotton apron interspersed with bands of a separate blue and white fabric.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Multicoloured cotton apron using a fabric design employing floral emblems and figurative detail. The apron is hemmed with a pleated fabric of a different colouraprons, protective clothing, handmade clothing, costume accessories, lisa sylvan

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Simple blue and white apron embroidered with a border in cross stitch, the same stitch used to create a repeated pattern of dogs and balls in profile.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pink and white cotton apron highted with blue braid.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan, fashion design, women's clothing -- 1950s, fashion -- 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Olive green and white pinafore decorated on the bodice with yellow braid. protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion -- 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pinafore using a fabric coverd with an abstract design in bue, pink and yellow. A plain pink cotton fabric is used to decorate the pocket and the shoulders.Label: "Admiration / All Cotton"protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion -- 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Brigtly coloured pinfaore using a representative 1950s fabric with a design of kitchen items in different coloursprotective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Navy blue and white pinafore picked out with sections of plain blue fabric on the pocket, waist and bodice.Label: "Taniwha / Quality Will Tell"protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1960s, fashion -- 1960s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.One of three single piece commercialy produced pinafores, each in a different size.protective clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1960s, fashion -- 1960s

One of a collection of fourteen items of clothing and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, often using commercial or patterns using fabrics originally deigned for dresses. Typically the examples, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen hand towel and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Cream linen hand towel, bordered at each end with bands of mustrad yellow linen. The towel is embroidered with a picture of a woman in period dress collecting flowers from a garden.lisa sylvan, household linen, supper cloths, fancy work

One of a collection of fourteen items of clothing and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, often using commercial or patterns using fabrics originally deigned for dresses. Typically the examples, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Linen table cloth with printed images of birds of Australia with a two-tone green borderlisa sylvan, household linen, table cloths, australiana, australian birds

The hanging was handwoven by Lilian Joyce Mann. Ms Mann owned a shop in Jacob Street which sold handmade soft toys and hand woven items. She was a gounding and life member of the Geelong Handweavers and Spinners Guild. She died on the 17th July 2007 in her 92nd year.A tightly woven brown wall handing with a geometric design of rectangles and squares and a bamboo rod at each end. There is a length of undyed wool on each rod to hand the piece, but on one end it had been cut and hangs loose.handicrafts, geelong handweavers and spinners guild inc., weaving, mann, ms lilian joyce, geelong, victoria