Walking sticks with carved snakes such as this one were very popular household items in the late 19th and early 20th centuries and were often given as presents to older men. They were novelty pieces of carving requiring considerable skill and patience and walking sticks were usually hand-made in those days. This walking stick has no known local provenance but it is a fine example of a hand-made household item of 100 to 150 years ago This is a piece of brown wood with the shaft of the stick carved to a smooth round shape tapering down towards the end and with a snake shape carved over the shaft from the same piece of wood. The head of the snake juts out from the shaft top and the snake has scaly patterns worked on its surface. The stick has a larger round knob at the top and a metal covering at the bottom. When the stick is held upright and twirled around it gives the impression of a snake coiling and moving up the stick. household items, walking sticks

Leo Wimmer who lived locally was commissioned to do the painting for the Mt Beauty, S. K. Pearce Pty. Ltd., Supermarket as a display was wanted to fit against the blank walls opposite the cash registers (where the liquor store is now). His idea was to break up the parts in the painting and use these as large replicas painted on wood for the display. An official opening was held and Leo used the money earned to visit his homeland, Austria. Leo trained as a restorer of church art in Austria.This painting was commissioned for a Cattlemen's display behind the cash registers at the Mt Beauty S. K. Pearce Supermarket. Each part of the foreground was painted separately onto stand alone boards -the cattle, the hut, the grass and the Mt Beauty township. Leo Wimmer lived locally and was a professional frame conservator. Leo Wimmer specialised in gilding and worked at the National Gallery of Victoria and later the National Gallery of Australia (NGA Nov. 1981 - 1990) where he was responsible for conservation of gilded frames in the national collection. This involved crafting of missing pieces on period frames, conservation/restoration of gilded surfaces, crafting of period frames, and lecturing at galleries and institutions on gilding, wood carving, Australian frame history and crafting of period frames. Framed painting of Mt Bogong with cattle, Mt Beauty township and cattleman's hut in foreground.Circular watermark (illegible) on bottom right corner. "Wimmer / 1" is underneath the watermark.cattlemen; bogong high plains; s.k.pearce; mt beauty supermarket; leo wimmer;

Wife of the Rev T D Cairns, Minister of St Andrews Kirk, Mrs Mary Cairns served on the Council of Clarendon Presbyterian Ladies College 1919 - 1949. Her generous guarantee of loans from the Ballarat Banking Company, together with other donations, enabled the Presbytery of Ballarat to purchase Clarendon Ladies College from Mr Kennedy in 1919 for 1500 pounds. Mrs Cairns was an inaugural member of the new Clarendon Presbyterian Ladies College Council, established 1919 and remained on the Council for 30 years. This chair was a personal gift to Mrs Cairns by the PWMU to honour of her long and devoted service to that organisation. Mrs Cairns donated the chair back to St Andrews Kirk where it remained in use until the sale of the property in 2019. Congregation member, Max Harris, kindly arranged the donation of the chair to the school because of Mrs Cairn's long association with Clarendon PLC. Solid wood chancel chair with discreet carving; plaque on front side of back supportPlaque: This chair was presented by the / Members of the St Andrews P W M U / on the occasion of the retirement of / Mrs T R Cairns / from the Presidency of the Branch / after holding that office for more than fifty years / as an acknowledgement of her devoted service / as President / & of their deep personal regard. mrs mary cairns, 1919, st andrews kirk, clarendon presbyterian ladies college

WILLIAM THOMAS SHUFFLEBOTHAM No 2544 enlisted in 5th reinforcements 58th Batt on 11.6.1916 age 32 years. Embarked for England 25.9.1916. Embarked for France 2.1.1917, hospitalised 22.2.1917 with Gastro Enteritis, embarks for France 30.8.1917, listed WIA and missing 25.9.1917 Polygon Wood. Classed KIA by a Court of inquiry in the Field 25.9.1917.Tan wooden frame with carving, glass front, cardboard backing & hanging cord. Sepia photo of soldier in uniform, jacket, trousers, puttees, boots & peaked cap. Flag draped in background.On front: “WILLIAM THOMAS SHUFFLEBOTHAM, No 2544, 5th REO's 58th Batt AIF, Enlisted 11.06.1916, Report KIA 25.09.1917 at Polygon Wood” On back in black biro: “WILLIAM THOMAS SHUFFLEBOTHAM” info. Sticker on back: Lennox Gallery Pty Ltd, C/N 49592photography-photographs, frame accessories, military history-army, shufflebotham

The Australian Heritage Festival is a yearly event organised by the National Trust. Organisations can register their events held during a month, with dates varying in each state.The Mission to Seafarers holds tours and other events every year during this Festival for the community to discover its history. In 2019, The Mission hosted "Practice Makes Perfect", a showcase of rare trades: stained glass windows, lace making, marine knots, wood carving etc.australian heritage festival, 2019, events, victorian program, national trust, friend of the festival, practice makes perfect, lost trades, artisans, rare trades, gordon byrne, artisan's guild of australia, bruce hutton, bruce walker, henry hakopian, keiran dunleavy, david stephenson, duncan mcharg, james charlwood, barry smith

Owned by William Albert HARRISON (Service Number VX41478; above Link ["WW2 Record"] Sent home to his mother from Liban on 25-10-41 Soldier's name known. Items donated (date unknown) by brother-in-law who was living in Montmorency and was a committee member of MERSL when item donated.Oval shaped slice of wood from the cedar tree in Lebanon. Carving of a cedar tree across top and emblem of Australian Commonwealth Military Services half way down and Cedar of Lebanon across the bottom half. Stained with light brown varnish. Original bark of tree all the way around the edge.Two stamps in French possibly where it was made, Artiols bois des cedres. Becharry Liban. Salim Kabalan. Hand written message;- Mother with all the best to you Bill. Dated 25-10-41

The Medallions and the Magazine are dedicated to National Service and National Servicemen who served during the period 1951-1972. The Memorial for National Service is located at the Australian War Memorial, Canberra.The items are the original that were raised to acknowledge National Service and National Servicemen, 1951-1972.1 x round Medallion on a wood base in a lined cardboard case 2 x round Medallion in a lined black case 1 x magazine 'Australian War Memorial, National Service MemorialThe large medallion has a carving of the Memorial that is at the Australian War Memorial, around the medallion 'Dedicated to all Australian National Servicemen and in Memory of those who died. Thh two smaller medallions has the tri service logo in the centre and round the outside of the medallion is Anniversary of National Service 1951-1972. The Magazine 20 page history of National Service in Australia and the history of the National Service Memorial Dedicated 8 September 2010.awm, national service, magazine, medallions

Part of the Mooney Collection held at Langi Morgala Museum. Wooden bowl carved by Australian Indigenous people. Long carved out boat hull shaped bow. It has carvings of water or an eel on the outside. Used to carry food or wood.Carvings of water or an eel on the outside of the bowl.

This item is an example of domestic furniture created to reflect an Australiana type design with Australian motifs.Australiana lyre bird wood dining chair. Lyre bird carving on head rest. Wood turned structuressRID 254chair dining-chair furniture-domestic

Inspected by Joanna Freslov (2.6.2008) - possibly made in New Guines.A hand-carved walking stick of light brown wood. It has a carved snaked curled around its length. Wood burning has been used to decorate the snake decoration.carving eyhnographic walking-stick

Founded in1903 when William E.Sessions and some of his family took over E.N.Welch Co. in Forestville. E.N.Welch Manufacturing Company used a local foundry to produce their castings. The foundry owner's son,William E.Sessions, took an interest in horology and ,along with other Sessions family members, bought controlling interest in the E.N.Welch Company., which was a joint stock corporation formed July 6th 1864 to succeed an older private firm who made clocks under the name of E.N.Welch. Elisha N. Welch (1809-1887),had been making clocks at a factory on East Main Street Forestville Conneticut after taking over J.C.Browns bankrupt business around 1856.Under William Sessions management the firm produced all components of their clocks including movements,cases,dials,artworks and castings.In 1930 the company expanded to produce electric clocks,timers for radios,televisions and other devices as well as their traditional brass mechanicial movements.In 1956 Sessions was absorbed by another company while retaining the name and in 1969 the business went into liquidation.Clock is made of black wood with Corinthian style columns,three set on each front corner. These are black metal, and show remains of gilt paint on top of columns.On the base of the clock is carved decoration with similar carvings on each of the four corners of square around clock face.Dial is cream with Roman numerals. the hands are set in gilt centre piece.Below the 12 is the name WELCH.The glass dial cover is edged in gilt. It is spring wound and has settings-day/night,1/2 hour strike(hour on gong -1/2 0n bell), Cathederal Gong, turn back hands. THE SESSIONS CLOCK COMPANY. Successors to the E.N.WELCH MANUFACTURING COMPANY.Forestville.Conneticut.United States of America.mantle clock, the sessions clock company, forestville conneticut united states of america

Caulking is the traditional technique used on wooden vessels built with butted or clinker-built planks to fill the gaps between these planks while still allowing the wood to flex and move. This involved driving the irons, hammered in with the mallet, deep into the seams to open them up. After this, spun yarn, oakum (hemp) or cotton was driven deep into the gaps. The hemp or cotton was soaked in creosote or pine tar to make the joins watertight. Caulking also played a structural role in tightening up the hull or deck by reducing the longitudinal movement of the neighbouring planks. The subject item was made by Ward & Payne of the Limbrick Works at Hillsborough, Sheffield England manufacturers of hand-forged tools. Their trademark registered in 1850 was a Letter "W" & "P" stamped into the steel. The firm was established by David Ward (1767-1822) in 1803 the company became David Ward & Sons, in 1837 after Ward's son Edward joined the firm. In 1845 Henry Payne the founder's son-in-law became a partner but died in 1850 after which the company reverted to the Ward family. The business then concentrated on making carving tools, chisels and gouges. In 1882 David Ward's grandson David Ward Jr. (1835-1889) purchased land and built a factory at Sheffield North known as the "Limerick Wheel". For a time Wards operated from both 106-114 West Street Sheffield and at Limbrick Road, Hillsborough on the river Loxley. By 1911 they had expanded into making spades, forks, sheep shears and many other types of edged tools including drills and wood planes. In 1967 Wilkinson Sword purchased all the company's share capital and continued to sell Ward & Payne tools until 1970 when a fire burned the factory down and housing development was built on the site. The subject item is significant as it gives a snapshot of the technological development of sailing ships and their operation before steam-powered vessels took over around the world. Tools such as the subject item demonstrate the traditional craftsmanship and skill of the shipwright and the aesthetic quality of the timber ships designs of the time. Caulking tool with square end"WARD Sheffield"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, james s steele, caulking iron, caulking tool, shipwright tools, ward & payne sheffield, forged tools

A gentleman's chair, gent's chair or grandfather chair is a term usually applied in Australia to a deep upholstered Victorian easy chair, often button-backed and with upholstered arms. The chair generally stood on short cabriole legs and had a 'spoon' or a wide balloon back. The 'show wood', that is, the polished frame, was usually mahogany or walnut, although many examples in Australian red cedar have survived. There are Australian versions of the gentleman's chair, ladies chair and matching settees, usually made from cedar, and occasionally from blackwood. As cedar is a softer timber than walnut, mahogany and rosewood, from which the English versions were made, the carving is usually not as crisp as in the imported version. However the Australian blackwood gentleman's chair is often difficult to distinguish from a good quality English walnut example. The Edwardian form of the gentleman's chair is much squarer in outline, with short turned legs and the arms are often supported by spindles. There was sometimes a row of spindles, like a gallery, beneath the top rail. The chairs were frequently upholstered in leather.An item probably made in Australia during the latter half of the Victorian era and is significant as it was made in Australia at a time when furniture and many other household items were imported from either America or England.Cedar Gentleman's armchair, upholstered and buttoned in brown leather, scalloped and carved with Prince of Wales Feather on back, arms are scrolled and carved with Acanthus leaf design and finished on tulip turned legs with brass and porcelain castors. circa 1870 Australian made. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, furniture, chair, armchair

A scotch eye auger is perfect for quickly making holes in dry or wet wood for making chairs, stools, and any number of woodworking projects. The scotch eye serves as a peg gauge and whatever peg you make to go into the hole should fit into the augers eye. Robert Sorby & Sons: The forbearer's of Robert Sorby had been cutlers in the Sheffield region of England, dating from the mid 17th century. Robert Sorby and Sons were registered in Sheffield in 1828 as a manufacturer of edge tools, saws, scythes and hay knives. In addition to manufacturing tools, they also diversified into the manufacture of crucible steel for tool manufacture. From circa 1860-1967, the Sorby factory in Sheffield was known as the “Kangaroo Works”. The Kangaroo Brand of tools was made by Robert Sorby & Sons. During the 19th century, they had a large trade in Australasia. By the early 20th century, they were manufacturing carving tools, planes and plane irons, circular saws, wood saws, butchers saws and cleavers, garden tools, pruning knives, coopers’ knives, bricklayers tools and joiners tools. In 1923 Robert Sorby & Sons was bought by Sheffield company Hattersley and Davidson. They are today one of the few remaining British tool manufacturers.The company has a long tradition of making edged tools for various uses and exporting them to Australia, however the subject item was probably made from the early 20th century up until 1967 when the company stopped exporting to Australia.Scotch Eye Auger, Double Twist with Lead Screw, square shaft, socket set at right angleRob Sorbey Sheffield stamped on shaft with Kangaroo trade markflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ring auger, carpenders tools, hole drilling, rob sorby & sons

Bread board wooden round blonde wood with faded carved leaf pattern around edge. Has carving possible 'Old Geelong' around edge. Has circular indentation around board.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Chair wooden with missing round seat & plain legs. Has 6 turned back supports & decorative carving on back piece. Bracing ring under seat & on sides. Chair is reddish coloured woodflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, wooden chair

This type of Chest of drawers was a common and practical piece of furniture 20thC . The 8 eight various sized drawers were suitable for the secure storage of small and large items of clothing, haberdashery, linen, Bouquets of lavender, bay leaves, camphor etc prevented damage by moths, silverfish and the strong wood deterred mice .This item is one of many donated by Ms Carole Green whose family were early settlers in Moorabbin Shire.A french-polished mahogany wood chest of drawers often mistakenly known as a 'tallboy.' There are ornate carvings at the top drawers.furniture, early settlers, pioneers, market gardeners, moorabbin, brighton, bentleigh, wood work, craftsmen, carpenters

This item was donated to the Moorabbin Historical Society in the 1980's by Mr John Herron of Bentleigh. It was brought back from the Boer War by Private W.F. Daff of South Brighton [Later Moorabbin] Private Daff served in the Second Contingent sent to the Boer War 1899 - 1902 South Africa.This item is of Historical Significance because it is linked to the Boer War [1899- 1902] and is of native South African origin.Mr John Herron is a descendant of James Jones an early settler in Moorabbin Shire and the Daff family were early settlers in South Brighton ( Moorabbin).A large natual wood pipe in three pieces with carved bone mouth piece.The bottom piece is on an angle so it stands upright. A hole is bored through the middle of the pipe at different sizes so the smoke is drawn up through the pipe slowly by the smoker.The carvings around the join for the top section of the pipe are very fine and delicate and extend up an over the join to camouflage it.boer war, daff w.f., pipe, native, moorabbin, brighton, south africa, bentleigh, herron john

Handwork for Schools by W.R.Dean and H. Jolly. 1953 Reprint. Book has light blue cloth cover with black printing. Back cover has part of the jacket which is light brown with dark red and blue printing and decoration pasted on it. Subjects covered are: Modelling and Carving; Pattern and Decoration; paper and Cardboard Handwork; Printed Decorations; Weaving; Handwork in Wood; Other Crafts; Decorative Needlework and PuppetryGeoffrey Cumberlege, Oxford University Press, Melbourne. Wellington. Brown, Prior, Anderson Pty Ltd., 430 Little Bourke Street., Melbourne, C.1.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - handwork for schools, w r dean, h jolly, geoffrey cumberlege, oxford university press, j mcrae, g s browne, a h ramsay

Studio portrait of young lady in graduation gown in a wooden frame. Frame is made of wood and is of an irregular shape with decorative carvings surrounding the portrait. Decorative carvings were possibly painted gilt which has since largely worn away. Portrait is covered in glass. Portrait is of a young lady wearing a white dress with a graduation gown over it. She has a mortarboard with a tassel on her head with a large bow at the back and she is holding a scroll in her right hand. She has a locket around her neck and a brooch suspending a cross at her neck. Bracelets are on both wrists. The words Bartlett Bros Bendigo are printed on the bottom of the matte surrounding the photograph. Subject is probably either Mary or Kathleen Foster.Bartlett Bros Bendigophotograph, portrait, female

Professor Alan Merry commissioned the work from New Zealand artist Heke Collier as a gift to the College at his retirement from Council. This artwork was carved by Heke Collier in May-July 2016. It is made from native New Zealand Rimu timber. Heke named this carving Mauri Ora which translates to vitality, well-being or the healing life-force. Tihei Mauri Ora (breath of life) is a well-known Māori saying that was uttered by the first human being. Māori believe that all people and all things have mauri. This carving symbolises the many shapes and forms of mauri with reference to the Māori creation story, and the spiritual and natural worlds. Māori refer to the heavens as Ranginui the sky-father and according to the Māori creation story, Ranginui was pressed against Papatūānuku the earth mother. Their children did not like living in the cramped, dark space between them. One of their sons Tāne separated Ranginui and Papatūānuku to allow light and life into the world. The central male figure carved into Mauri Ora (above) is Tāne. To his right (far right) is his mother Papatūānuku and to his left (far left) is his father Ranginui. Papatūānuku gives birth to all things including human kind and provides the physical and spiritual basis for life. The takarangi (spiral) design in the carving (to the left of Tāne) symbolises the life cycle. Whenua, the word for land also means placenta - organ that nourishes the baby in the womb. Women are associated with the land (whenua) because the land gives birth to people and so do women. In tribal history women have had influence over land and men. Papatūānuku is depicted in the carving to the right of Tāne. Ranginui played a pivotal role in the birth of the sun, moon, planets, stars and constellations – collectively called Te Whānau Mārama (the family of light). Human life and knowledge were said to originate in the realm of Ranginui. Tāne ascended the heavens to retrieve three baskets of knowledge: te kete-tuatea (basket of light), te kete-tuauri (basket of darkness) and te kete-aronui (basket of pursuit). Ranginui is depicted in the carving to the left of Tāne. Tāne had many different roles, and he was given different names to reflect these roles. He is called Tāne-mahuta as god of the forest, Tāne-te-wānanga as the bringer of knowledge, and Tāne-te-waiora as the bringer of life, prosperity, and welfare. His teachings and knowledge are relevant in contemporary times, and the cell-phone carved into his left hand represents this. Tuatara feature in the Māori creation story and some tribes view Tuatara as kaitiaki (guardians) of knowledge. Given that they have lived for more than 220million years. There are birds or manu surrounding Tāne in the carving, who represent Tane’s voice or the voice of the forest. The flax or harakeke depicted in the carving represent the family unit and reinforce the importance of kinship ties. There are plants, ferns, and birds carved into Mauri Ora play an integral role in the life-cycle which represent rongoa Māori or Māori medicine. Traditional Māori carving in Rimu, a native New Zealand wood, with paua insets.merry, alan, anzca council, collier, heke, kaiwhakairo, master carver, rimu

There has been a fair amount of confusion about this object as the paperwork states that a 'greenstone' gavel with a maori head carving and plaque mounted on green nephrite stone' was gifted when in fact the gavel is made of wood with a silver plaque. There has been no suggestion made as to what happened to the greenstone gavel. We can assume that it was lost or stolen and replaced with a plain wooden one that we now hold at ANZCA. From the attached plaque the Gavel was gifted to the Faculty of Anaesthetists by the New Zealand Fellows of the Faculty in 1965. Plain highly polished wooden pestle sits on a central walnut block on a flat wooden board, a silver plaque is attached on a piece of nephrite stone to one side of the board.[silver plaque] PRESENTED BY THE / NEW ZEALAND FELLOWS / 1965 [in black ink on back of stand] 1992/9aotearoa, new zealand, wood, nephrite, corporate gift

Tray made by unknown internee in Camp 3.1 of 2 wooden trays donated. Wooden base and sides, fancy scroll type carving at either end. Base has a map of Australia and a kangaroo carved into the wood.wooden trays, woodwork, camp 3 woodwork

Carved by Mr A Koenig an internee in camp 3 Tatura.Wooden cut-out silhouette wall hanging of 2 dwarf-like characters. Hand painted in various colours. Has dark brown base featuring white spotted toadstool. String attached to 2 leather tags attached to wood cut. Handmade.Handwritten inscription, date, addresshandcrafts, woodcarving, wooden silhouette, camp 3 tatura, alfons koenig, emma polocsek, emma hoffmann, camp 3 wood carvings

Made by internees at Camp 3, Tatura. Handpainted by Georg Hoffmann in Camp 1Wooden carving of a hen positioned as if pecking something on the ground. Green painted base. Hen coloured brown/black, red and yellowhen, wood, hoffmann g, kazenwadel k, camp 1, camp 3, tatura, ww2 camps 1 and 3, handcrafts, woodcarving, toys, general

made in Camp 3 by internees with wood from wood heapOrnate carved edged wooden rectangular tray.TATURA tray, camp 3, wood, tatura, o'toole, ivy, domestic, trays, food, drink, consumption, handcrafts, carving

.1 BLACK AND WHITE COPY OF PHOTOGRAPH OF THE LOWER FRASER STREET BAND, CROWD OF PEOPLE IN BACKGROUND. .2 FRAMED ORIGINAL SEPIA PHOTOGRAPH - WOOD FRAME WITH LEAF SHAPED CARVING AROUND THE FRAMEA FURTHER COPY OF THE PHOTOGRAPH IS TAPED TO THE REVERSE OF THE FRAME, HANDWRITTEN IN RED PEN "CARL WEICKHARDT"local history, photography, photographs, bands, lower fraser street, music

Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar

This fan belonged to Julia Charlotte Sargood (Charlie), youngest daughter of Sir Frederick Sargood and only child of Lady Julia Sargood.Black carved wood fan with black net. Three flowers with leaves are embroidered in black thread and small black sequins. Carving on black wooden frame is a floral design. One black metal ring joins the fan at its base.rippon lea, sargood family, sargood, charlotte