Guy STUART (1942 - 06 June 2024 ) Born Canberra, Australia Guy Stuart was a student of John Brack at Melbourne Grammar School (1955-60), and attended RMIT where he studied Painting from 1961-1962. Stuart held his debut exhibition in 1968, at the height of new abstraction, and sold out the entire show of figurative works. 'November Apple' was part of a travelling exhibition called 'Imaging the Apple' which travelled from 2004 to 2005. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed painting of an apple exhibited in the travelling exhibition 'Imaging the Apple.art, artwork, guy stuart, stuart, apple, fruit, imaging the apple

Joanna K, Natica SCHROEDER & Pat GRAINGER at the launch of the Women of Port Melbourne Exhibition & book, October 2005.Joanna K, Natica SCHROEDER & Pat GRAINGER at the launch of the Women of Port Melbourne exhibition18/10/2005 Joanna K, Natica Schroder, Pat Graingerwomen of port melbourne, pat grainger, natica schroeder, joanna k

2 postcards advertising for the exhibition of photographs curated by Uma Kothari. One displays the Mission around 1925 and the second the Mission in 2018.pr uma kothari, now and then, exhibitions, 2019, university of melbourne, university of manchester, nicholas walton-healey

From its beginnings in 1958, the Society has mounted exhibitions and/or displays, in early days in shop window and in community spaces located in the Kew City Hall (later Kew Library), and since 2010 at the Kew Court House. Exhibitions typically coincided with the annual Kew Community Festival in March, but after 2013 evolved into three new exhibitions yearly at the Kew Court House. Smaller displays continue to be mounted in the Kew Library.Display of objects and costumes owned by members of the Kew Historical Society or derived from the collection, exhibited during the Festival of Kew in 1979. Recognisable items include a Chinese black evening jacket embroidered with chrysanthemums in satin stitch belonging to Dione McIntyre.Inscribed verso: " Society's exhibition Festival of Kew / Donated by Janet McDermott 1979"kew historical society -- exhibitions, festival of kew -- 1979

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

As part of the National Trust's Australian Heritage Festival 2021, the Kew Historical Society and the Villa Alba Museum collaborated to mount a fashion and design exhibition. The theme of the exhibition took its focus from the year-long program at the Museum featuring the use of flowers in design. The walls and ceilings of the house are notable for their use of floral and narrative painted decoration produced, in the early 1880s, for William and Anna Maria Greenlaw by the Melbourne art decoration firm the Paterson Brothers. The examples of fashion and design from the collection of the Kew Historical Society were located on the ground floor of the house: in the drawing room, dining room, morning room and in the vestibule, or ballroom as it was sometimes described in nineteenth century newspapers. The exhibition was supported by the City of Boroondara through Triennial Operational Grant funding for the Kew Historical Society and the Villa Alba Museum.Series of photographs of exhibition pieces in situ at the Villa Alba Museum in May 2021.fashion & design, exhibitions -- kew historical society, exhibitions --- villa alba museum, textiles in bloom, fashion - nineteenth century, fashion -- twentieth century, textiles - nineteenth century, headwear -- twentieth century

Demonstrates the work done by the BTM/BTPS to celebrate the 50 years since the end of the Second World War and the documents prepared for the CHHA Exhibition in 1995.Two postcard sized colour photographs of the Museum's "Australia Remembers" Exhibition boards at the CHHA display and depot Oct. - Dec. 1995. Shows layout of Boards, captions etc. Kodak - official sponsor and Olympic logos on rear. Both photos re-imaged 18/7/2019.btm, exhibitions, world war ii

This is a souvenir of the British Empire Exhibition of 1925. This exhibition, designed to showcase the industrial and natural resources of the countries in the British Empire was on a 216 acre site at Wembley, England. In 1923 the Wembley Stadium was completed and the F.A. Cup Final was held there. In 1924 the Exhibition was opened by King George V in a first ever radio broadcast by a British monarch. There were Palaces of Industry, Engineering, Horticulture and Art and Pavilions housing exhibits from most countries in the British Empire. 17 million people visited in 1923 and there were 11 million visitors in 1925 when the exhibiton was re-developed. Wembley Stadium was reconstructed in 2002. This item has no local provenance but is of some interest because of its connection to the British Empire Exhibition of 1925. It is a good example of the type of souvenir that was bought by visitors to the Exhibition. This is an enamelled metal container, circular (octagonal on the outside edges) in shape with a short handle. The central area is slightly recessed to take a small amount of rouge (a red powder compound for the face, usually the cheeks). A pad to apply the rouge to the face is missing. There is a metal hinged lid with a clip and a small ring at the end of the handle, possibly to contain a chain for it to hang around the neck. The wording on the front is black on a blue and green enamelled backgroundRaised image of a lion with the words underneath ‘British Empire Exhibition, 1925’rouge holder, british empire exhibition 1925

Group at the launch of the Women of Port Melbourne Exhibition & book, October 2005.L-R - Unknown, Dina MANN, Jan SOLDATAS in front of painting of Jerri MANN.Group in front of portrait of Jerri Mann at the launch of the Women of Port Melbourne exhibition18/10/2005 Dina Mann, Jan Soldataswomen of port melbourne, jerri mann, dina mann, jan soldatos

A competition was announced to design a suitable building for the proposed Melbourne International Exhibition in December 1877. Eighteen entries were received. The winner of 300 pounds was Joseph Reed of the architectual firm Reed and Barnes. The foundation stone was laid by Governor Sir George Bowen on 19 February 1879. Prominent Melbounre builder David Mitchell, father of Dame Nellie Melba, won the tender to construct the main building. Exhibitors were able to move in by May 1880. On 01 October 1880 the Melbourne International Exhibition opened, when over 6000 people entered the main hall to see the Governor, the Marquess of Normanby open the show. Thirty three nations participated and ofver 32,000 exhibits were displayed. At the close of the exhibition on 30 April 1881 over 1.3 million people had visited the exhibition. In 1881 Victoria's population was just over 250,000. The management of the Exhibition Building and eight hectares of the Carlton Gardens was handed to the Exhibition Trustees by the Melbourne International Exhibition Commissioners on 01 OCtober 1881. The Trustees maintained the building for 'future public exhibitions and ... general public instruction and recreation' until 1996 when management of the building was transferred to Museum Victoria. In 1901 when the Australian colonies federated there was no capital and no federal parliament building. The Federal Parliament moved into the Victorian State Parliament building, and the State Parliament moved into the Western Annexe of the Exhibition Building for 26 years. After World War One, on 04 February 1919, the exhibition Building was turned into a hospital to treat Melbournians struck down with the Spanis 'Flu'. Initially housing 500 beds, the hospital grew to accomodate 2000 patients. Femals were located between the concert platform in the western nave and the done; male patients occupied the spaces beyond. The basement was used a a morgue. With the departure of the State Parliament in 1927 the western annexe became home to the Country Roads Board. In 1932 it was joined by the MOtor Registration Branch, and the Transport Regulation Board in 1934. They co-existedin cramped offices until the 1960s. In 1949 the oval at the rear of the ExhibitionBuilding was leased to the Commonealth Government for the establishment of the Migrant Reception Centre. When it closed in 1961-62, the centre comrised 29 bungalows over 1.4 hectare. The centre provided temporary accomodation for thousands of new arrivals from Britain. On 01 July 2004 the Royal Exhibition Building and Carlton Gardens were inscribed on the World Heritage List. It is the only 19th century Great Hall to survive largely intact, still in its original landscape setting, and still used as a palace of industry. The Melbourne International Flower and Garden Show is a flower show held annually since 1995 in early April each year, in Melbourne, Australia. It is located in the World Heritage Site of Carlton Gardens and the Royal Exhibition Building.[1] It is the largest horticultural event in the southern hemisphere, attracting over 100,000 visitors. It is rated among the top five flower and garden shows in the world. (Wikipedia)Colour photograph of the interior of the Melbourne Exhibition Buildings during the 2019 Melbourne Flower and Garden Show.melbourne international flower and garden show, carlton gardens, melbourne exhibition building, royal exhibition buildings

From its beginnings in 1958, the Society has mounted exhibitions and/or displays, in early days in shop window and in community spaces located in the Kew City Hall (later Kew Library), and since 2010 at the Kew Court House. Exhibitions typically coincided with the annual Kew Community Festival in March, but after 2013 evolved into three new exhibitions yearly at the Kew Court House. Smaller displays continue to be mounted in the Kew Library. A series of photographs of objects and pictures of the second exhibition at the Kew Court House for 2018, mounted by the Kew Historical Society.kew historical society - exhibitions, water -- kew (vic.)

Dina MANN & portrait of her mother, Jerri at the launch of the Women of Port Melbourne Exhibition & book, October 2005.Dina MANN with portrait of her mother, Jerri MANN at the launch of the Women of Port Melbourne exhibition18/10/2005 Dina Mann with portrait of her mother, Jerri Mann.women of port melbourne, dina mann, jerri mann

Photos taken at the 13th Annual Widows' Art and Craft Exhibition held at Legacy House in 1994. The note with the photos says: "The quality and ingenuity of the arts and crafts entered were outstanding and quite a daunting task for the judge, Mrs Janice Bridges". This was an Annual Art and Craft Exhibition that was run by the widows club. The items could be sold at trading tables and at the table outside Legacy House during Badge Week in September to raise funds. There were craft afternoons throughout the year for widows to learn new skills and gather together at Legacy House. These regular meetings, fetes and workshops provided important opportunities for widows to meet, socialise and be active.A record of the type of activities Legacy provided as a social outlet for widows.Colour photo x 9 of exhibits at the 1994 Art and Craft Exhibition.widows, craft, activities

Photos taken at the 13th Annual Widows' Art and Craft Exhibition held at Legacy House. The note with the photos says: "The quality and ingenuity of the arts and crafts entered were outstanding and quite a daunting task for the judge, Mrs Janice Bridges". This was an Annual Art and Craft Exhibition that was run by the widows club. The items could be sold at trading tables and at the table outside Legacy House during Badge Week in September to raise funds. There were craft afternoons throughout the year for widows to learn new skills and gather together at Legacy House. These regular meetings, fetes and workshops provided important opportunities for widows to meet, socialise and be active.A record of the type of activities Legacy provided as a social outlet for widows.Colour photo x 8 of exhibits at the 1994 Art and Craft Exhibition.widows, craft, activities

From its beginnings in 1958, the Society has mounted exhibitions and/or displays, in early days in shop window and in community spaces located in the Kew City Hall (later Kew Library), and since 2010 at the Kew Court House. Exhibitions typically coincided with the annual Kew Community Festival in March, but after 2013 evolved into three new exhibitions yearly at the Kew Court House. Smaller displays continue to be mounted in the Kew Library. A series of photographs taken of current traders and members of the Society at the opening of the first exhibition for 2018 of the Kew Historical Society in its rooms at the Kew Court House. The exhibition was one of the Society's events at the annual Kew Festival. Honoured guests included Robert Stewart, Mr & Mrs Toscano, and Angela Pakula.kew historical society - exhibitions, traders of kew

9 members attended the minister's breakfast celebrating the sesquintennial of the M&HB Railway & Pier, and others joined them at noon to see the "Making Tracks" exhibition. Both exhibition and the book "Welcome & Farewell" were launched at the breakfast, and also plaques for Station Pier, PMR Station & Flinders Street Station. Ref items 1947.01-.13 for presentation material. 1946 for book launched at this event.Set of 24 photos taken at 'Making Tracks' exhibition launch breakfast at Station Pier celebrating 150th anniversay of Pier & railway (12-09-2004). Includes: .01: Launch of "Farewell & Welcome" with Transport Minister Peter Batchelor and Jill Barnard with Sonia Jennings. .02: Jill Barnard presenting the book to PMH&PS Secretary Pat Grainger. .03 & .04: RHSV launch of 'Making Tracks'. .05 & .06: Meyer Eidelson & Pat Grainger at exhibition. .07: Norah Howard & Lois Daley at exhibition. .08: Norah Howard & Pat Grainger. .09-.24: Exhibition details.transport - railways, celebrations fetes and exhibitions, arts and entertainment - literature, barnard, jill, jennings, sonia, norah howard, meyer eidelson, pat grainger, batchelor, peter

A report in the Ballarat Star on 8 May 1901 recorded that: "THE CONVERSAZIONE. A GREAT SUCCESS. The conversazion given by the Government of Victoria at the Exhibition was very largely patronised. the guests includ ing the Prime Minister and a goodly proportion of the distinguished personages now in Melbourne. A programme of high-class music was gone through, and refreshments were served during the evening. Australian wines were very prominent."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items owned and displayed by Mrs Grace Tabulo, the owner of 'Fairyland', 57 Malmsbury Street, Kew.Colour lithograph mounted on card to an evening event, a conversazione, held in the Exhibition Building on the evening of Tuesday 7th May 1901, as part of the Australian Commonwealth Celebrations. The Government of Victoria hosted the event. The invitation shows an etching of the Exhibition Building, surrounded by an ornate border of heraldic shields, portraits of the Duke and Duchess, views of Perth, Adelaide, Melbourne, Sydney, Brisbane and Hobart, and native flora (including wattle, waratah, pink heath, Sturt’s desert pea, and flannel flower), and native fauna (kookaburra, possum, lyre bird, cockatoo and koala). The royal crest ‘Dieu et mon droit’ and the Australian crest, ‘Advance Australia’ are also included.Printed front: UNITED AUSTRALIA 1901 / ONE FLAG / ONE HOPE / ONE DESTINY; AUSTRALIAN COMMONWEALTH CELEBRATIONS / THE GOVERNMENT OF VICTORIA requests the honour of the presence of / [name deleted] / at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901 at 8 P.M. Reverse [handwritten]: Mrs G. Tabulo, 57 Malmsbury St.sands & mcdougall ltd, documents - invitations, first commonwealth parliament 1901, grace tabulo -- fairyland -- 57 malmsbury street -- kew (vic.)

W8693.1 Exhibition booklet with printed text and graphics in black, white and cream. The front cover features printed text and a graphic of a man, woman and child. W8693.2 A4 Stapled pages containing black and white text listing the items and artists on display. front: [printed] HANDKNITTERS GUILD INC. PRESENTS / BEDJACKETS / BOOTEES / & BALACLAVAS / EXHIBITION / RE-INTERPRETING THE HANDKNITTING OF THE / 1930s / 1940sfashion, women, knitting, crochet, home life, patterns

A report in the Ballarat Star on 8 May 1901 recorded that: "THE CONVERSAZIONE. A GREAT SUCCESS. The conversazion given by the Government of Victoria at the Exhibition was very largely patronised. the guests includ ing the Prime Minister and a goodly proportion of the distinguished personages now in Melbourne. A programme of high-class music was gone through, and refreshments were served during the evening. Australian wines were very prominent."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items issued to James Maitland Campbell (and his wife). Campbell was three times mayor of Kew in the second half of the 19th Century and the owner of Ramornie in Pakington Street, one of the significant extant mansions in Kew.Colour lithograph mounted on card to an evening event, a conversazione, held in the Exhibition Building on the evening of Tuesday 7th May 1901, as part of the Australian Commonwealth Celebrations. The recipients of the invitation were Mr and Mrs James Maitland Campbell of Kew. The Government of Victoria hosted the event. The invitation shows an etching of the Exhibition Building, surrounded by an ornate border of heraldic shields, portraits of the Duke and Duchess, views of Perth, Adelaide, Melbourne, Sydney, Brisbane and Hobart, and native flora (including wattle, waratah, pink heath, Sturt’s desert pea, and flannel flower), and native fauna (kookaburra, possum, lyre bird, cockatoo and koala). The royal crest ‘Dieu et mon droit’ and the Australian crest, ‘Advance Australia’ are also included.Printed: UNITED AUSTRALIA 1901 / ONE FLAG / ONE HOPE / ONE DESTINY; AUSTRALIAN COMMONWEALTH CELEBRATIONS / THE GOVERNMENT OF VICTORIA requests the honour of the presence of / / at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901 at 8 P.M. Handwritten: Mr & Mrs J. M. Campbell.sands & mcdougall ltd, documents - invitations, first commonwealth parliament 1901, james maitland campbell (1847-1930), ramornie, ramornie - pakington street

On the 21st of July 2018, Clare McCracken boarded the ANL Wahroonga container ship to travel to China mirroring her great-great-grandmother's journey from Australia to Asia in 1874. Artist statement from the back of the flyer: "In 1874, my great-great-grandmother, Elizabeth Amy Cathcart Payne, sailed unaccompanied from Australia to Asia, writing a detailed journal of her experiences. This exhibition weaves together sections of her diary with my own voyage from Australia to the world's busiest port, Shanghai. In doing so, The Place Between, is a meditation upon the social and political nature of international trade, the mobility and the place between Australia and the rest of the world in the 19th and 21st century." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Postcard size flyer advertising for an exhibitionthe place between, clare mccracken, cultural events, sea voyage, andrew ferris, arun munoz, video installation

Photograph of Legatee Bob Cowper and another man by displays of paintings of aircraft. It was the launch of Legacy Week in 1990 which included an exhibition of Aviation Art at Legacy House. Paintings were by Frank Harding of Renmark, South Australia. The photo was used for a newspaper article published on 23 August 1990, mentions that Frank Harding had painted over 50 paintings of aircraft flown by Australians and published a book of the images. It was called 'They flew for the King'. Each painting had been extensively researched to capture a specific moment in the World War 2 combat career of various pilots, flight officers or bomb-aimers. His aim was to honour the fine efforts of these great individuals. Unfortunately the artist died a few weeks after the exhibition and launch of his book. Photos are at 01523, the article at 01522, also see media release at 01521. Date is assumed to be 22 August 1990 from the reference number on the back 900822.An example of an art exhibition being held at Legacy House to promote Legacy during Legacy week in 1990.Black and white photo of Legatee Bob Cowper at the aviation exhibition. Stamped on back Copyright Herald and Weekly Times in green ink. Handwritten "900822 / 261" in blue ink, "Pic 7" in black ink.legacy promotion, legacy week, painting

The 1888 Centennial International Exhibition, celebrating a century of Australian settlement, surpassed even the grand scale of the1880 Melbourne International Exhibition. It attracted over two million people, but the Victorian government had to spend £250 000 on it, ten times the amount estimated. The exhibition had a distinctively imperial focus, and a greater emphasis on culture than in 1880, particularly on music and painting (1). (1. https://collections.museumsvictoria.com.au/items/273830) S.D. Gadd was appointed Curator of Parks and Gardens in 1874 an lived in residence in Rosalind Park. He resigned in 1905 and moved to Melbourne where he died in 1917. Mr Gadd was a prominent member of the Masonic Lodge. It is not clear why he was awarded this medal.The bronze medal of the Centennial International Exhibition awarded to S.G. Gadd. Obverse - Portrait: bust of Queen Victoria in left profile wearing a crown, veil and 3 medals. Reverse - Field: Victor's wreath consisting of leaves and acorns of British oak and the leaves and acorns of the wattle. The oak and wattle were tied together 'by a true-lover's knot, 'symbolizing the unity and affection between the mother country and the colony'. Southern Cross inside surrounded by a legend. (https://collections.museumsvictoria.com.au/items/273822) Obverse - Motto: Centennial International Exhibition Melbourne Reverse - Legend: (Latin) Artibus Dignis Honor Insignis (To the deserving arts, distinguished honor) (Mint) left: Melbourne Mint. (Date) Lower Centre: MDCCCLXXXVIII. (Engraver) Right: Stokes & Martin S.C. Edge - Plain, impressed with S.G. Gadd ESQ.centennial international exhibition melbourne 1888, s.g. gadd, rosalind park, city of greater bendigo medals

To celebrate the 50th anniversary of the discovery of gold in Bendigo the Jubilee Exhibition ran from November 1901 to May 1902. It was opened on the 13th November 1901 by the Governor General Lord Hopetoun. Also in attendance was the Prime Minister Edmund Barton. The exhibition was promoted as far away as London.Souvenir jubilee exhibition handkerchief. Cream fine linen with ''Jubilee Exhibition'' embroidered with blue cotton and ''Bendigo 1851 - 1901'' embroidered in red cotton below a scene embroidered with yellow, green, fawn and blue cotton. It has a 3.7cm border. On the back is a white tag with the numbers DI-419 fixed to the handkerchief with tape.costume accessories, male, handkerchief

This book deals with the care of collections including curating a collection, cleaning, storage and exhibition, handling works and emergency treatments.This book deals with the care of collections including curating a collection, cleaning, storage and exhibition, handling works and emergency treatments.museum conservation methods, museum techniques, (mr) simon j knell