Showing 1683 items
matching floral.
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National Wool Museum
Uniform - 1992 Barcelona Olympic Games Women's Official Occasions Cotton Blouse, Wendy Powitt, c. 1992
About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.A long sleeve cream coloured dress shirt with a detachable printed neck tie. The neck tie is decorated in an Australian floral design inspired by the artist Margaret Preston. The shirt has two breast pockets and double sets of cream buttons. The rear of the shirt is unadorned. 8124.4 - Floral fabric sample. 8124.5 - Floral fabric sample.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform -
Chiltern Athenaeum Trust
Domestic object - Spoon belonging to W.C.Busse
Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. The floral motif on this particular spoon appears to be stylised in the decorative arts and craft style favoured in Europe between 1880-1920 and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards produced in Australia. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced. This spoon seems more likely to have been produced in Europe and imported to the colony. The hallmarks on the handle DON and BP indicate it may have been produced from English electroplating silver which is a more cost effective product than solid silver, most likely produced by Cooper Brothers, Don Plate Works, established in Sheffield in 1866 who distributed silverware in Europe, America and the colonies well into the 1950's.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This spoon represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. Wilfred Busse ate food and he did it from a beautiful silver floral detailed spoon.A silver tablespoon with floral embossed head and hallmarks embossed on reverse handleDON/ BP/silverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, spoon, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen -
National Wool Museum
Uniform - Shirt, Pelaco, 1992 Barcelona Olympic Games Official Occasions Woman's Shirt, c.1992
About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Yellow long sleeved shirt with detachable floral collar. Double breasted pockets.Label - Pelaco1992 barcelona olympics, australian wool corporation, wool -
Mont De Lancey
Textile - Tablecloth
White rectangular lace tablecloth, with floral pattern, rectangle in centre with oval floral design.tablecloths -
Flagstaff Hill Maritime Museum and Village
Ceramic - Cheese Dome, Prior to 1950
Over 1500 pottery firms have operated in Stoke-on-Trent since the early 1700's Some lasted only a few years and some for well over 200 years. Some potters built and owned their own works. Many others were tenants in works built by others and a succession of potters occupied the same works. It was also a common practice for a works to be split between two different pottery companies or for a larger manufacturer to let out a smaller section of his works to a potter who would make wares which were not of interest to the pot works owner. Some potters purchased 'blanks' from other manufacturers and put their own decoration on them some items have two back stamps some have no marks at all. This adds to the confusion and frustration of trying to trace details of a particular manufacturer such as the subject item.Item at this time appears to be an early example of British ironstone earthenware that could possibly be a Staffordshire piece but cannot be associated with an historical event, person or manufacturer, provenance is therefore unknown, as a result the subject item assessed as a collection asset given it was produced before 1950.Cheese dome round white ironstone, with flat base and a bell lid with ornate handle white Decorative relief floral design date letter "A" impressed in baseflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, ceramic dish, dish, kitchen ware, covered dish, ironstone cheese dome -
Flagstaff Hill Maritime Museum and Village
Ceramic - Gravy Boat & Plate, Burleigh Pottery, 1930
Burleigh Pottery (also known as Burgess & Leigh) is the name of a pottery manufacturer in Middleport, Stoke-on-Trent. The business specialises in traditionally shaped and patterned domestic earthenware of high quality. The business was established in 1851 at the Central Pottery in Burslem as Hulme and Booth. The pottery was taken over in 1862 by William Leigh and Frederick Rathbone Burgess, and traded from that date as Burgess & Leigh. The trademark "Burleigh", used from the 1930s, is a combination of the two names. Burgess and Leigh moved to different works, first in 1868 to the Hill Pottery in Burslem and then in 1889 to the present factory at Middleport, that at the time was regarded as a model pottery. Its scale and linear organisation was in contrast to other potteries constricted sites and haphazard layout of their working spaces. In 1887 Davenport Pottery was acquired by Burleigh primarily for its moulds. These historic moulds are still used today in the production of Burleigh ware. Leigh and Burgess died in 1889 and 1895 respectively, and were succeeded by their sons, Edmund Leigh and Richard Burgess. On Richard's death in 1912, the business passed entirely into the ownership of the Leigh family. In 1919 it became a private limited company, Burgess & Leigh Ltd. The years between the wars are often regarded as the company's "golden age", with a number of extremely talented designers and artists such as Harold Bennett, Charles Wilkes and Ernest Bailey. Perhaps the best known was Charlotte Rhead, who worked between 1926 and 1931, noted particularly for her work in tubelining. By 1939, the factory was employing over 500 people. The business took great pains, from as early as 1897, to build up a thriving export network, concentrating primarily on the Empire later becoming the Commonwealth and American markets, focusing later on Europe. After a run of financial difficulty, the company was sold in 1999 to the Dorling family, Rosemary and William Dorling, and traded as Burgess Dorling & Leigh. In 2010 it was acquired by Denby Holdings Ltd, the parent company of the Denby Pottery. A significant company producing pottery over many generations and exporting their products all over the world. Its designs are still in use today demonstrating the longevity and significance of the Burleigh Ware trade mark.Gravy Boat & plate-willow pattern Burleigh Ware "WILLOW" within a floral decoration & Made in England flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, willow pattern -
Federation University Art Collection
Bookplate, 'Ex Libris John Gartner'
John Gartner was a fine printer and publisher, an author, a noted philatelist, and also collector of Australian banknotes and coins. He was born on 16 July 1914 and was largely self-educated, leaving school at fourteen for work following the death of his father. Gartner developed a strong interest in the history of typography and printing and was apprenticed at the Advocate where his father had been a linotype operator. Aged 17, Gartner bought a hand press and some fonts of type, and in 1937 acquired a platen press from which he set and printed his private press books, published under the imprint of The Hawthorn Press. Gartner had a strong collection of Australian bookplates. He also looked at the work of artists overseas and commissioned personal plates. He subsequently built an international collection with preference for artists who printed from wood. His initial searches were in Belgium and Holland.(http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-84/t1-g-t7.html) Floral arrangement with butterflySignature D Rileybookplate, australian bookplate design award, keith wingrove memorial trust, printmaking -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Domestic object - Silver Serving Tray
Serving Tray, pressed metal, EPNS (?), circular. Floral design on tray, floral design aound rimPresented to 4/19 PWLH Sergeants' Mess by WO2 R Burke B Sqd (sic) 1962 - 1978 Under tray "Saracen"silver, serving tray, sergeants' mess -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Women's Scarf, Wendy Powitt, c. 1992
About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Short, cream coloured scarf printed with an Australian floral design inspired by the artist Margaret Preston. The floral design appears in red, green, white, yellow and black. Interspersed with the flowers are small motifs of Australia created through a curved cross hatching design.Label- Tee - Dee1992 barcelona olympics, sport, athletes, fashion, design, uniform -
Melbourne Legacy
Book, Honor Roll Legacy Club Melbourne
This book is a record, made in honour of deceased Legatees, who have given service to the cause of Legacy. This is labeled Book 3. There are two similar books on display at Legacy House Melbourne.This is a record of Legatees who have given up their spare time to assist the families of deceased service personnel.Black hardcover book, white pages with floral border. Back cover has some scuff marks at the top. Inside front and back cover is decorated with a coloured pattern.Front cover, title and Legacy logo embossed in gold, thin indented rectangular border. Spine has 5 raised horizontal bars set at equal distance down the spine. The raised bars have an indented, horizontal thin line along the top centre and bottom of each bar. These raised bars are interspersed with an indented floral arrangement. At the top and bottom of the spine are two horizontal indented thin lines (2mm apart). Back cover has a thin indented rectangle line as a border. Inside front and back cover, gold embossed border. Pages 4-5 three poems "In Flanders Fields" by Col. John McCrae, KIA Flanders 1916. "The Torch" (The Badge of Legacy). "The Spirit of Legacy". Honor Roll consists of fifty eight pages of deceased Legatees names written boldly, and date of death, in black ink. Thirty two pages pencilled in names of deceased Legatees, waiting to be inked. Remainder of Honor Roll is blank. All pages have a coloured floral border in red with the Legacy logo at the top, centre of the border. honour roll, legatees -
Working Heritage Crown Land Collection
Decorative object - Flower pedestal
Hand painted faience pedestal depicting flowers Floral markings painted with green, olive, white, blue and yellow glaze. historic object, former royal mint -
Mont De Lancey
Chair
Brown wooden miniature chair with floral tapestry seat, and floral tapestry tear-drop shape in back panel.chairs -
Phillip Island and District Historical Society Inc.
Jardiniere, 1890's approximate
Jardiniere used at Elsford Guesthouse, situated in Chapel Street, CowesLarge Floral China Jardinierelocal history, ceramics, earthenware, jardiniere -
Stawell Historical Society Inc
Memorabilia - Realia
Cup & Saucer with floral designstawell -
Queen's College
Faience mould, New Kingdom, 18th Dynasty, 1550-1295 BCE
This item is part of the Dodgson Collection, which was bequeathed to Queen's College in 1892 by the Rev. James Dodgson. The collection was created by Aquila Dodgson, brother of James. Aquila Dodgson was a friend of the English Egyptologist Flinders Petrie, and it was through this friendship the Aquila was able to acquire ancient Egyptian artefacts. A detailed study of the collection was made by Christine Elias "Discovering Egypt: Egyptian Antiquities at the University of Melbourne", M.A. thesis 2010.Faience mould for a floral element.james dodgson, aquila dodgson, flinders petrie, faience -
Queen's College
Faience mould, New Kingdom, 18th Dynasty, 1550-1295 BCE
This item is part of the Dodgson Collection, which was bequeathed to Queen's College in 1892 by the Rev. James Dodgson. The collection was created by Aquila Dodgson, brother of James. Aquila Dodgson was a friend of the English Egyptologist Flinders Petrie, and it was through this friendship the Aquila was able to acquire ancient Egyptian artefacts. A detailed study of the collection was made by Christine Elias "Discovering Egypt: Egyptian Antiquities at the University of Melbourne", M.A. thesis 2010.Faience mould for a floral element.james dodgson, aquila dodgson, flinders petrie, faience -
Queen's College
Faience mould, New Kingdom, 18th Dynasty, 1550-1295 BCE
This item is part of the Dodgson Collection, which was bequeathed to Queen's College in 1892 by the Rev. James Dodgson. The collection was created by Aquila Dodgson, brother of James. Aquila Dodgson was a friend of the English Egyptologist Flinders Petrie, and it was through this friendship the Aquila was able to acquire ancient Egyptian artefacts. A detailed study of the collection was made by Christine Elias "Discovering Egypt: Egyptian Antiquities at the University of Melbourne", M.A. thesis 2010.Faience mould for a floral element.james dodgson, aquila dodgson, flinders petrie, faience -
Stawell Historical Society Inc
Costume - Costume and Accessories, Cotton Frock 1946, 1946
During World War 2 A Popular Girl Quest was held - At a social evening for entran Gwen Kingston ( Boisen) . A raffle fr a dress length ( No Coupons) was held. I was the winner. I had this frock made up early 1946. Joyce DowsettCotton Frock Floral Patternww2 -
Bendigo Historical Society Inc.
Postcard - HAPPY BIRTHDAY 1939, 1939
happy Birthday (Floral). 1939. -
Mont De Lancey
Tile - Ceramic, Josiah Wedgwood & Sons
Three ceramic patterned decorative tiles. 1. Cream, brown and blue floral pattern. 2. Rust and green floral pattern. 3. Etruria - impressed tile with grey background and blue, green and white floral pattern.tiles, wall tiles -
Stawell Historical Society Inc
Photograph - Portrait Studio, Lorna
Huttley Martin FamilyB/W/ Portrait of a young woman in long floral dress, high heels, pearl necklace - headdress holding floral bouquetLorna ( as Madge's Bridesmaid)huttley, martin -
University of Melbourne, Burnley Campus Archives
Newspaper - Newspaper Cutting, 70a,b, 1931
Jean ScottChampion Cactus Dahlia. and "Floral Beauty and a Fair Admirer at the Royal Horticultural Show."cactus dahlia, royal horticultural show, jean scott -
Ringwood and District Historical Society
Certificate, Borough of Ringwood Garden Competition - Second Prize
Coloured photograph of floral arrangement paintingSECOND PRIZE Awarded to - Mrs D M Holloway Signed by Mayor - A G Lavis. President of Horticultural Society - J Kirby. Town Clerk - Alfred Kelly. Date - 23rd March 1957 Organised by the Ringwood Horticultural and Agricultural Society -
Ringwood and District Historical Society
Certificate, Borough of Ringwood Garden Competition - Second Prize
Coloured photograph of floral arrangement paintingSECOND PRIZE Awarded to - Mrs D M Holloway Signed by Mayor - A G Lavis. President of Horticultural Society - J Kirby. Town Clerk - Alfred Kelly. Date - 23rd March 1957 Organised by the Ringwood Horticultural and Agricultural Society -
Ringwood and District Historical Society
Certificate, Borough of Ringwood Garden Competition - First Prize (1958)
Coloured photograph of floral arrangement paintingFIRST PRIZE Awarded to Mrs M Holloway Signed by : Mayor - P Vergers, Town Clerk - Alfred Kelly Date 22nd March 1958 Organised by the Ringwood Horticultural and Agricultural Society -
Ringwood and District Historical Society
Certificate, City of Ringwood Garden Competition - Third Prize
Coloured photograph of floral arrangement photographTHIRD PRIZE Awarded to Mr R Yee ( Equal 3rd) Signed by: Mayor A G Lavis, President of Horticultural Society H James, Town Clerk F P Dwerryhouse. Date 26th March, 1960 Organised by the Ringwood Horticultural and Agricultural Society -
Slovenian Association Melbourne
drawing - pattern, Marcela Bole drawing-pattern, 1925
Young girls attending convent school were taught sewing and decorating the garmentsDrawing of a pattern for a nighty with floral decorationGhezzo, Gec M. and measurementssewing pattern, nighty, floral decoration, marcela bole -
Churchill Island Heritage Farm
Clothing - Camisole
This may have been the camisole worn by the same bride as in 0087. It would be worn over her corset and under the bodice of her gown. This fabric must have been bought with a camisole in mind and the machine embroidery in place. It would have been embroidered on a Schiffli machine. It is interesting that the seams are hand stitched which may indicate that it was an item from a trousseau. There are ribbon insertion points along the top and bottom of the garment and although there are satin shoulder straps they could easily be tucked away or removed so that this could be worn under an off the shoulder gown. Packaged with note: "White cotton camisole hand stitched seams. Probably purchased fabric pre 1900".The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women,.Machine embroidery with small floral motifs Packaged with note: "White cotton camisole hand stitched seams. Probably purchased fabric pre 1900".janet amess lace collection, lace, churchill island, janet, amess, jane, corset, cover, machine, embroidery -
Kyneton Fire Brigade
Memorabilia - Crystal vase
Fire Brigade trophy - no inscriptionPart of Kyneton Fire Brigade trophy collectionCrystal vase with decorative floral etchingManufacturers stickerkyneton fire brigade, country fire authority, trophy, fire brigade demonstrations -
Kilmore Historical Society
Nightdress
White cotton blue floral nightdress.