This set of homemade shelves are part of the crafted domestic decoration popular in the early-to-mid 20th century.This decorative homemade wall shelf is typical of early 20th century room decoration.Display shelves; three narrow shelves on a decorative wood plaque. Plaque is is painted black and has had lacquer applied. Gold doves and plants have been painted onto the plaque. warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shelves, wall shelves, decorative shelves

Container tin decorative with hinge lid. Each of 4 sides has a coloured painting of a Dutch scene. Floral decoration around pictures is in gold and red. Nob missing from lid.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Pen holder, rectangular block of white marble with a metallic sculptured hand resting on surface. Fastened by 2 screws. Hand has decorative sleeve, nails and sleeve have been painted.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Lock, square shape with decorative work in metal. Key hole in the centre. Has HT&V stamped front and back. Broken internal workings. Made for a Right-hand hindged door.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lock

Royal Selangor high quality cast pewter consists of 92% to 97% tin, with a small proportion of copper and antimony added to strengthen the alloy – the highest international standard for pewter. It is heavier and stronger than spun pewter. When struck gently, it produces a resonant sound.Pewter Isthmus Tankard decorated with an exuberant foliate motif, this tankard carries design that symbolises the fusion of different cultures where decorative elements from the East and West meet. 0.5 pint. Best compliments from NUTP Malaysia.international visitors, international visits, souvenirs, gifts, tankard, nutp malaysia

Item is a buckle with an engraved decorative scroll across the centre. Sections have been punched out in the middle. Rverse has three metal loops that have been flattened. Item is rusted.bendigo, gold mining, qc binks, qc binks

Clothing. Black net fascinator hat with two black velvet bows (8cm X 2cm) and scattered pairs of black velvet leaf shapes with decorative clear diamantes between them.costume accessories, female, black net fascinator

Clothing. Orange silk full slip petticoat. V shaped neckline front and back with decorative spoke stitching 2cm below edge. 1.3 cm shoulders straps. Unshaped at bustline.costume, female underwear, orange silk full slip petticoat

Decorative prayer surrounded by angels, oakleaf decorated cross, setting sun, Abraham. Painted dark timber frame with overhanging corners, glass front. Raw timber backing with wire hanging.

Else-Lore Oertel, with her mother, was a German internee in Camp 3A as a child, from 1940-1945. The pendant was made for her & inscribed with her initials.Hand carved wooden heart pendant for use as jewellery. Small hole in carving on decorative piece on top of heart for inserting thread, chain, etc. to wear. Initials in black (ink?) on front."EL"tatura, ww2, camp 3, internment, internee camps, costume, accessory, jewellery, handcrafts, woodcarving, else-lore hukins, oertel

This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold

Thirty two stick sandalwood fan with decorative pierced design and hand painted design of blossom and butterfly. Sticks are secured with a gilt hinged wire loop threaded with a pale pink tassel.costume accessories, female, handcrafts, woodcarving

This knife and fork had been donor's mother's which she used quite frequently when she had friends over. They were treasured by her and very gently washed without putting the handles in water.Sliver plated mother of pearl handled knife and fork. The knife is engraved with vine leaves and grapes and a fairly plain base to the knife. The fork has a very decorative bas to the pearl handle.Knife 'Mappen and Webb Sheffield - London' Fork has no inscriptiondomestic items, cutlery

Black and white photograph, printed on postcard, with decorative printed frame. This one shows a view along the weir of Lake King, from the western end, with the bridge over the spill-way in the foreground,At bottom of photo: "The Park, Rutherglen"lake king, rutherglen park, dam

John Lundy-Clarke grew up in the Kalorama/Mt Dandenong area and later in life (1972-74) began to write a comprehensive history of the area working from an original settlement map in an effort to cover all areas. The building in the centre of the photograph is 'Kia-Ora' guest house. Situated on Barber’s Road, ‘Kia-Ora’ was built in 1912 by George Barber. It was later leased by a Mrs Pemberthy. “Kia-Ora’ was one of four places connected when the telephone was brought into the district in 1912. The other places were ‘Mountjoy’, ‘Cherry Farm’ and ‘Callum House’. ‘Kia-Ora’ was burnt down in 1924. Black and White copy of section of a Rose Series postcard. Shows view up the valley at Kalorama with a decorative building centre middle of photograph. Handwritten description by John Lundy-Clarke on reverse.View up valley at Kalorama from near junction of Barbers and Doughty’s Rds. “Kia Ora” guest house in centre. Paynter’s “Iona” top left with “Kalorama” to its right. About 1912. Rose Series copied by JLC 1973.kalorama, kalorama valley, john lundy-clarke, barbers road, george barber, kia-ora, guest house, iona

Black pottery vase made by the Jinshan Pottery Art Institiute in Shangai China. Features a decorative carved design around the belly of the vase which also featues a wide open neck.

Photo of the intersection of Sturt and Lydiard St Ballarat, with the National Mutual and Town Hall in view. Has an ESCo tram with a former horse trailer and another ESCo tram. The Clarks & Co. building is on the corner. See Reg Item 5128 for another version of this photograph/postcard.Demonstrates postcard printing mid 1910's and how they were used along with the use of former horse trams as trailers.Postcard - divided back, colour, Valentines and Sons of the intersection of Sturt and Lydiard St Ballarat. Printed in Great Britain. Has an embossed decorative border with a flower in the top right hand cornerOn the rear is a message to Lou from Les about arriving in Ballarat dated 1/7/1915. Has in pencil a "$4" price.ballarat, tramways, sturt street, esco, town hall, national mutual, trailers, horse trams

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s.Pair of leather women’s court shoes, manufactured by Mario Valentino of Italy. The yellow leather shoes have a cream leather insole and decorative white leather bows with black polka dots.Label: "MARIO VALENTINO / MADE IN ITALY"international fashion, women's shoes, court shoes, mario valentino

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. Rust coloured oval, pure silk throw or shawl. The fabric is very fine and decorative rather than functional. There are no joins in the fabric as it is made of one piece. Its cultural provenance is unclear.table cloths, table covers, shawls, throws

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Original monochrome photograph of architectural elements used in the decorative scheme on the exterior of Studley House in Nolan Avenue, Kew. The POV is of the rendered and painted Doric columns supporting the first floor colonnade.dorothy rogers, studley house -- nolan avenue (kew), xavier preparatory school

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Original monochrome photograph of architectural elements used in the decorative scheme on the exterior of Studley House in Nolan Avenue, Kew. The POV is of the rendered and painted Ionic columns forming the first floor colonnade.dorothy rogers, studley house -- nolan avenue (kew), xavier preparatory school

Silver rounded square pendant depicting a male and female to the right and left of a central fruit tree. The pendant has an attached barrel ring and cable chain with decorative S clasp with curlycues. Intersecting MS mark; two pin holes at 12 and 6. matcham skipper, pendant, necklace, silver, jewellery

Metal mesh purse, with a hand-sewn cream silk lining, and a small chain handle. Decorative floral markings on metal top and clasp, with 5 tiny metal beads on bottom of mesh."E.V.C.O. Dec. 1916 (Eileen Otter)"purses, money accessories

448 p. : frontispiece illustration. Decorative dark green and gold cover and end-papers, with design of leaves, flowers and berries. Title and author's name embossed in gold on front cover and spine. fictionfiction, dinah maria mulock craik

Framed oil painting on canvas by B. Polletti. Features a landscape. Decorative wood frame. Engraved brass plaque on lower edge of frame. Signed and dated by the artist lower left corner.

From the 17th century, sadirons or sad irons (from Middle English "sad", meaning "solid", used in English through the 1800s) began to be used. They were thick slabs of cast iron, triangular and with a handle, heated in a fire or on a stove. These were also called flat irons. A laundry worker would employ a cluster of solid irons that were heated from a single source: As the iron currently in use cooled down, it could be quickly replaced by a hot one. An antique heavy cast iron sad iron (from Middle English 'sad' meaning 'solid') with a rounded cast iron handle. It has a roughened surface with a decorative pattern on the top of the iron. irons, laundry irons

From the 17th century, sadirons or sad irons (from Middle English "sad", meaning "solid", used in English through the 1800s) began to be used. They were thick slabs of cast iron, triangular and with a handle, heated in a fire or on a stove. These were also called flat irons. A laundry worker would employ a cluster of solid irons that were heated from a single source: As the iron currently in use cooled down, it could be quickly replaced by a hot one. An antique heavy cast iron sad iron (from Middle English 'sad' meaning 'solid') with a rounded cast iron handle. It has a roughened surface with a decorative pattern on the top of the iron. 'Silverston Metals' irons, laundry irons