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Flagstaff Hill Maritime Museum and Village
Craft - Ship Model, Portuguese Carvel, 1999
... is a fine example of a hand crafted ship made from plans, not from ...The Mahogany Ship is today regarded as a legend and refers to an ancient wreck that is purported to lie beneath the sand beside Armstrong Bay, several kilometres west of Warrnambool, Its location is currently unknown. For well over a century the mystery of this ship has fascinated Australians because the existence of such a vessel could throw a different light on the earliest phases of exploration of eastern Australia by Europeans. The story is that in January 1836 a party of whalers from Port Fairy travelled to the mouth of the Hopkins River in search of seals. Their boat overturned and one man was drowned. The three survivors were walking the 30 kilometres back to Port Fairy along the coast when, about halfway along, they discovered the wrecked ship in the dunes. It is said that Captain John Mills, who was in charge of the whaling station at Port Fairy promptly visited the wreck with several of his men, including Hugh Donnelly. Donnelly who was the originator of that version of events is now regarded as unreliable. Local history researcher Joan Fawcett believes Donnelly could not have visited the wreck in 1836 because he did not arrive in Victoria until 1841. The "mahogany" description can be traced to a letter from Port Fairy builder, architect and surveyor John Mason and published in the Melbourne Argus in 1876. He said he had seen the hull in 1846 and it "had the appearance of either cedar or mahogany." In 1884 Argus journalist `The Vagabond' wrote that the hull was built of "Spanish mahogany" and six years later Mason wrote another letter saying it might not have been mahogany but red gum or ironbark from New South Wales. He was too late with this new description as the wrecks mahogany tag was here to stay all through the hull was not visible as it had disappeared beneath the shifting sands by 1880. A more reliable account was later presented by the former editor of the Warrnambool Examiner, historian Richard Osburne, who wrote about the wreck in his book History of Warrnambool (published 1887). In it the author remembers to have noticed a wreck in the hummocks between Belfast and Warrnambool, in 1847 or 1848; he stated it was much nearer Warrnambool than Belfast, now known as Port Fairy, going on to state “in fact, it was only two or three miles from the former place, to the west of the big hummock which was supposed to fill Warrnambool Bay with drift sand washed by the Merri River before the cutting was made.” Osburne followed up with a letter to the Port Fairy Gazette on June 25, 1876, during a period of heightened interest in the wreck, although he was unsure of the provenance of the ship he went on to state in his letter. “The old wreck was, in fact, miles away from the Port Fairy beach, and only about four miles from Warrnambool. In the years 1847 and 1848. I have often seen the wreck and I regret to say I do not believe she was a foreign ship at all.”The ship model is significant for its association with the Warrnambool story of what is now referred to as the Mahogany Ship, an ancient shipwreck. The model is significant as it is an interpretation of a Portuguese caravel and possibly associated with the early history and exploration of Southern Australia. The model is a fine example of a hand crafted ship made from plans, not from a kit. Some of the materials used for the model are significant to the Gembrook community in that the timber used is a portion from a 30-meter pine tree that fell onto and destroyed the 120-year-old Gembrook church building. The model is also a dedication to Edward Kermond, who grew up in Warrnambool and claimed to have seen the shipwreck in the dunes when he was a lad in the late 19th century. (See note section of this document for further information on the creator and donation of the subject item).Ship model, an interpretation of a mahogany Portuguese carvel vessel in a glass display case with wood frame and a description plaque. Model is made from dark stained wood. The three masted vessel is fully rigged, with a Portuguese-like flag on mast. Plaque is rectangular, free standing on a pedestal. The model was handmade by Joe Hilder (Senior) in 1999 from flooring obtained from the Gembrook Uniting Church in Victoria. Inscriptions, hand written, under base of case and on plaque.Under base, black felt tip pen “Ship & Case made From / Flooring from Gembrook uniting Church, Flattened in 1999 / By Large Pine Tree.” On plaque, white paint "This interpretation of the Fabled Mahogany Ship was made by Joe Hilder, Gembrook Vic. is displayed in the memory of the late Edward Kermond (Ted) 1887-1973, a Warrnambool son who claimed to have seen the original ship as a child." flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ship model, mahogany ship, mahogany ship story, portuguese caravel, joe hilder, edward kermond, ted kermond, gembrook uniting church, gembrook storm 1999, port fairy whalers, belfast whalers -
Flagstaff Hill Maritime Museum and Village
Textile - Pillow Case, Mary Jane Giles (Mrs Harry Giles), Late 19th to Early 20th Century
... flagstaff-hill-maritime-village manchester pillowcases hand crafted ...These pillow cases are are of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Pillow Cases (2), white, with hand knitted lace border. (Giles Collection)Nonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, manchester, pillowcases, hand crafted pillowcases, bed linen, giles collection, henry giles, tower hill, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods, textiles -
Flagstaff Hill Maritime Museum and Village
Textile - Bedspread and Cushion, 1982
This hand-knitted, white double-bed bedspread and matching round cushion were hand-made by Vera Giles. The process took her nine-and-a-half months. She presented it to Flagstaff Hill to be part of the Giles Collection. There are many 19th-century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as a family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940.The Giles family collection has social significance at a local level because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established. The handmade items were knitted in the late 20th century using a craft and design that augment the late-19th to early 20th-century furnishings where they are displayed.Hand knitted white cotton bedspread and cushion with knitted floral pattern. Items are both part of the Giles Collection. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, flagstaff-hill-maritime-village, knitted bedspread, knitting, bedspread, giles collection, henry giles, vera giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, manchester, cushion -
Flagstaff Hill Maritime Museum and Village
Equipment - Rope Block, Mid to Late 19th
A sailing block is single or multiple pulleys with one or more sheaves that are enclosed in an assembly between cheeks or chocks. In use, a block is fixed to the end of a line, to a spar, or a surface. A rope line is reeved through the sheaves, and maybe through one or more matching blocks at the far end, to make up what's known as a tackle. The purchase of a tackle refers to its mechanical advantage. In general, the more sheaves in the blocks that make up a tackle, the higher its mechanical advantage. The matter is slightly complicated by the fact that every tackle has a working end where the final run of rope leaves the last sheave. More mechanical advantage can be obtained if this end is attached to the moving load rather than the fixed end of the tackle. Various types of blocks are used in sailing. Some blocks are used to increase mechanical advantage and others are used simply to change the direction of a line. A ratchet block turns freely when a line is pulled in one direction but does not turn the other direction, although the line may slip past the sheave. This kind of block makes a loaded line easier to hold by hand, and is sometimes used on smaller boats for lines like main and jib sheets that are frequently adjusted. A single, large, sail-powered warship in the mid-19th century required more than 1,400 blocks of various kinds and sizes. An item from an old sailing vessel from the late 19th to early 20th century, unfortunately, the item cannot be identified as to what vessel it belonged to. It does however give an insight into a piece of sailing equipment that's design is still in use today on pleasure sailing craft. Wooden closed spelter double rope block with two pully's between sheaves, block has metal frame around outside of the sheaves and 4 metal pins, 2 each side of the frame at top and 2 at bottom, joining the sheaves together. The shaft between the sheaves is also wooden. Remnants of orange and black paint on outside of block. Shafts are chipped, wood has borer holes. (NOTE: Block was rediscovered after relocating objects to new storage area)Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sailing ship, pulley, block, sheave, ship equipment, rope block, sail rigging -
Glenelg Shire Council Cultural Collection
Photograph, Bearded Man and Fish, n.d
Black and white photo of bearded man dressed in period costume 'wearing' a large, crafted fish, holding it in place with both hands, and a plaque reading 'THIS BIG FISH CAUGHT BY BOB BURNETT ON THE LONG PIER'. The man is standing near the door of small wooden building which is possibly an outdoor toilet.betty vivian collection, bob burnett, maritime, fishing -
Glenelg Shire Council Cultural Collection
Photograph, Man with Fish, n.d
Black and white photo of bearded man dressed in period costume 'wearing' a large, crafted fish, holding it in place with both hands, and a plaque reading 'THIS BIG FISH CAUGHT BY BOB BURNETT ON THE LONG PIER'. The man is standing near the door of small wooden building which is possibly an outdoor toilet. -
Greensborough Historical Society
Photograph - Photographs, Rosie Bray, Watsonia Neighbourhood House Creative Craft Group 2005, 2005
Photographs from Watsonia Neighbourhood House 2005 taken by Rosie Bray. Photo 1: Not only craft but good friends also at creative craft group Watsonia Neighbourhood House; photo 2: Group at creative craft group Watsonia Neighbourhood House; photo 3Joan showing her hand made dolls Watsonia Neighbourhood House creative craft group.3 colour photographs Captions on back of each photo.watsonia neighbourhood house, creative craft group, crafts -
Mission to Seafarers Victoria
Tool - Rigger's knife and sheath, 20th C
... a former seafarer who also presented us with two hand-crafted ...The rigger's knife is usually more square pointed and thicker than that of a sailmaker. ( C.W. Ashley 1944 Ashley book of Knots p. 19) The rigger usually had a kit of tools that would fit on a belt: a sheath knife, a marlingspike, and a grease horn containing tallow.Property of the anonymous donor a former seafarer who also presented us with two hand-crafted examples of knot tying.Knife; a wooden handle in two pieces either side of blade secured by two steel anchor points. The short steel blade is oxidised but the actual cutting edge is worn and honed. The yellow nylon sheath appears to be made from recycled material strongly stitched on two sides. Large font black lettering on the inside but indistinguishable.rigging, rigger, sailor, seamen -
Mission to Seafarers Victoria
Document - Prayer, Anglican Diocese of Melbourne, Prayer used by the Archbishop at the Dedication of this House on September 6th 1917, 1917
... of September, 1917 Hand crafted piece, of significance because ...Hand-inked prayer text, as used by the Archbishop of Melbourne, at the opening of MTSV, 717 Flinders Street, 6th of September, 1917 Hand crafted piece, of significance because of the use of this prayer at the opening of the new MTSV building at 717 Flinders Street, Melbourne.Thick card with ornate/styled hand-inked text and decoration, of Archbishop's prayer. Thinner, slightly larger backing card glued to front card. -
Mission to Seafarers Victoria
Ceremonial object - Alm's Dish, 1917
This platter is one of the objects in the St Peter chapel used for service. It appears to be an Alms' Dish and was recorded in the 1917 Annual Report as being donated to the Chapel by the Misses Godfrey: Ethel, Frederica and Winifred whose initials are engraved. Miss Godfrey is also listed as being a member of the Executive Committee as well as the Honorary Secretary (b.1871 d. 1938). The gift commemorates the Misses Godfrey's parents. Their father Frederick Race Godfrey was a squatter and significant 19thC settler and citizen of Victoria ( arr. 1847 ) esp Boort, Craigeburn and St Kilda besides serving in the Legislative Assembley see ADB, ANU and Ancestry links above. Misses Godfrey were instrumental in raising funds for the new Memorial Chapel to merchant seamen when it opened in 1917 and several gifts were presented by the Godfrey family.The Mission to Seafarers is now an Anglican based charity organisation with strong ties to the Anglican tradition. At one point services were held regularly for patronage by locals as well as seafarers. . The relationship between the organisation and the Anglican faith still exists, particularly through the establishment of the Chapel, the existence of many items used for worship, and representation on the board of the Mission. Circular brass platter hand beaten with four cabochon-set semi-precious stones (chrysoberyl or onyx) inserted in quarters around the edge. Also referred to by some as an offertory plate There is simple ornamental engraved scroll work in an Arts and crafts style, connecting the four semi-spherical stones. In the centre of the platter is a simple relief work cross and the quartered sections surrounding it have a dimpled effect. On the reverse the design is still evident as are the engraved inscriptions. The perimeter edge is probably hand rolled.Engraved around the edge, between the scroll work, on the reverse of the platter: "TO THE GREATER GLORY OF GOD/IN MEMORY OF OUR BELOVED PARENTS/MARGARET LILLIAS GODFREY/DIED SEPT. 23rd 1895/FREDERICK RACE GODFREY/DIED SEPT.11th 1910" Engraved in the centre of the reverse: "E.G./F.M.G./W.O.H.G." standing for "Ethel Godfrey/Frederica Mildred Godfrey/Whinifred Godfrey"art nouveau, alms, offertory, ethel augusta godfrey, winifred godfrey, frederic race godfrey, margaret lilias godfrey, frederica godfrey, rica godfrey, rita godfrey, gifts-1917, offertary plate -
Glenelg Shire Council Cultural Collection
Craft - Lithographic Letter Press Printing Ink, F.T. Wimble & Co Limited, Incorporated in New South Wales, n.d
Glass bottle with metal screw-capped lid, contains printing ink (black).Front: (Paper label with black printing) FT Wimble & Co Limited. Incorporated in New South Wales. Special black ink for hand numbering machines. Letterpress printing ink lithographic Gold silver and bronze medals. All Australian states and New Zealand. -
Glenelg Shire Council Cultural Collection
Craft - Rag Doll, c. 1910
Displayed at History HouseHand-made fabric doll. Cotton body (stocking material?), cotton print fabric (red and white flowers and squares on black background) for dress. Embroidered belt (green and gold), bonnet and cuffs. Felt boots with blue and green stitching. Beading at base of skirt in red, white, green, yellow and clear beads (plastic). Stuff with dried plant material. Red ribbon tied around waist. Curly brown hair (human?). Embroidered face.toy, doll, childhood -
Glenelg Shire Council Cultural Collection
Craft - Cotton Doily, n.d
Doily, oval, cream cotton, embroidered with pale and medium green fruits and darker cross stitches. Hand crocheted medium green borderwomens history, handicraft, embroider, needlework -
Glenelg Shire Council Cultural Collection
Craft - Doily, n.d
Doily, round, curved edges,, pale yellow cotton, ecru, hand crocheted border. Embroidered tree with brown trunk, light pink, dark pink, mauve, blue, yellow 5 petalled flowers, green leaves and branches. Pink, blue, yellow and blue aound flowers and green grass beneath tree.womens history, craft, handicraft, needlework -
Glenelg Shire Council Cultural Collection
Craft - Doily, n.d
Doily, round cream cotton, cream hand crocheted border. Embroidered blue bird on green branch, pink 5 petalled flowers and green leaveswomens history, craft, needlework -
Glenelg Shire Council Cultural Collection
Craft - Doily, n.d
... shades of green. Ecru hand crocheted border Craft Doily ...Doily, oval with curved edges, cream. Embroidered with bright pink flowers, with leaves and trellis in three different shades of green. Ecru hand crocheted bordercraft, womens history, needlework -
Glenelg Shire Council Cultural Collection
Craft - Doily, n.d
... , yellow, pink and purple hearts and green leaves. Hand crocheted ...Doily, rectangular, white cotton, embroidered with blue, yellow, pink and purple hearts and green leaves. Hand crocheted border.doily, womens history, needlework -
Glenelg Shire Council Cultural Collection
Craft - Doily, n.d
Doily, round, curved edges, cream cotton, cream hand crocheted border. Embroidered flower basket in brown, pink, blue, salmon, yellow, mauve lazy daisy stitch flowerswomens history, needlework -
Glenelg Shire Council Cultural Collection
Craft - Cotton Doyley, n.d
Part of a collection of doyleys and cloths, hand worked by Florence Millard, who won numerous prizes in local showsEmbroidered cotton doyley with crochet edging, cream, oval, yellow wattle design.domestic item, craft, handicraft, embroider, womens history -
Geelong RSL Sub Branch
Flag, Early 20th Century
The Australian Red Ensign or The Australian Civil Ensign is for use only at sea and officially never on land, but can be used by private citizens.At sea the flag is used by Merchant Ships registered in Australia. Pleasure craft may fly the Red Ensign.From 1901 to 1954 the Red Ensign was used as Australia's Civil Flag ie flown by private citizens on land. Australian Red Ensign, cloth, oblong, predominantly red, Union Jack in top left hand corner and the stars of the Australian National Flagflag, ensign, red, australia -
Glenelg Shire Council Cultural Collection
Craft - Doily, n.d
... doily handicraft craft crochet White, filet hand-crocheted doily ...White, filet hand-crocheted doily, 'Centenary of Victoria 1834-1934' incorporated in design.celebration, commemorative, doily, handicraft, craft, crochet -
Eltham District Historical Society Inc
Photograph, Shire of Eltham Historical Society Banner; Shire of Eltham, "As We Are" Community Banner Project, 1986, 1986
Tracey Naughton was the former Shire of Eltham Community Arts Officer and was responsible for developing the 'As We Are' project which encouraged a number of local community groups to develop banners. The Society was keen to be involved and the project was kicked off following a talk to the Society's members by Tracey in April 1986. The banner was completed and displayed with a number of other banners at the Eltham Community Centre in October 1986. It was then carried proudly for the first time in front of the Society's Parade Float in the 1986 Eltham Community Festival Parade and subsequent parades through to 1990. In December 1994 the Shire of Eltham ceased to exist and following council amalgamation and the establishment of the new Shire of Nillumbik, the Society's name (Shire of Eltham Historical Society) had become somewhat irrelevant and it was revised in 1995 to Eltham District Historical Society. The immediate downstream impact of this change was the rendering of the Society's Banner to history after only eight years of use. The banner now hangs proudly in our Local History Centre. The Historical Society Banner: Jud Degan worked with this group. The banner was designed by a male member and sewed by women. Sewing the banner renewed the group's knowledge of the area in an innovative way and, in turn, this has renewed the energy of the members to participate in the Society. The emphasis in this banner was to create a work of high standard which would last as part of the area's future heritage. The women particularly gained a sense of the history of their craft skills, enjoying the combination of hand embroidery and new machine embroidery skills shared by Jud. (The banner habits of the Eltham tribes : Eltham Shire "as we are" Community Banner Project report / by Jacky Talbot, Shire of Eltham, Feb. 1987, p49)Colour photographactivities, banner project, local history centre -
Kiewa Valley Historical Society
Pat Butter, Circa 1950
This butter pat profiler may have been manufactured post 1967 (year post codes appeared in Australia) however the post code was only stamped on after it was machined. This type of butter mould was used by rural families to fashion home/farm made butter. This period was in most rural regions a time of self sufficiency where any domestic type implement which could be fashioned by the family would be crafted with skill. Shopping for goods required catalogues from stores located in major rural towns and cities and involved lengthy waiting times. Travelling to and from these specialised stores was not pleasant due to the relatively poor quality of the roads and the lengthy times taken. The small general stores in the Kiewa Valley could not cater for all the needs of the valley. The 1960's was a time when facilities especially goods and services started to improve drastically. The S.E.C. of Victoria with its Kiewa Hydro Electricity Scheme provided not only an improvement of facilities in the valley but also a increase in the population. This increase resulted in a greater demand for local produce.This item is one of many domestic food processing implements used by Kiewa Valley households in the mid 1900s, whether on the farm or in the small towns and hamlets. Self sufficiency was the key to survival during these early times. Where ever possible supplies from within the valley were preferred to that brought in by travelling salesmen or traders. This butter mould and butter pat was commonly used to fashion "home" made butter throughout the valley and in some cases supplied to "outside" regional towns. Although this method of production was phased out by better access to goods from nearby cities the revival of the good organic home grown produce in the 1980s saw a greater demand of this type of farm based produce.This butter pat is one of two,see KVHS 0071 (B). It has been crafted from wood. One side has grooves running from the handle to the square shaped bottom. These grooves would stop the wet butter from clinging to the pat. The top side of the pat has been bevelled on both sides and the bottom edge. The hand grip is flat and curved to allow for a comfortable hold.domestic food preparation, wooden butter pat, butter mould circular, dairy industry, butter -
Kiewa Valley Historical Society
Pat Butter Profiler, Circa 1950
This butter pat profiler may have been manufactured post 1967(year post codes appeared in Australia) however the post code was only stamped on after it was machined. This type of butter mould was used by rural families to fashion home/farm made butter. This period was in most rural regions a time of self sufficiency where any domestic type implement which could be fashioned by the family would be crafted with skill. Shopping for goods required catalogues from stores located in major rural towns and cities and involved lengthy waiting times. Travelling to and from these specialised stores was not pleasant due to the relatively poor quality of the roads and the lengthy times taken. The small general stores in the Kiewa Valley could not cater for all the needs of the valley. The 1960's was a time when facilities especially goods and services started to improve drastically. The S.E.C. of Victoria with its Kiewa Hydro Electricity Scheme provided not only an improvement of facilities in the valley but also a increase in the population. This increase resulted in a greater demand for local produce.This item is one of many domestic food processing implements used by Kiewa Valley households in the mid 1900s, whether on the farm or in the small towns and hamlets. Self sufficiency was the key to survival during these early times. Where ever possible supplies from within the valley were preferred to that brought in by travelling salesmen or traders. This butter mould and butter pat was commonly used to fashion "home" made butter throughout the valley and in some cases supplied to "outside" regional towns. Although this method of production was phased out by better access to goods from nearby cities the revival of the good organic home grown produce in the 1980s saw a greater demand of this type of farm based produce.This butter pat is one of two,see KVHS 0071 (A). It has been crafted from wood. One side has grooves running from the handle to the square shaped bottom. These grooves would stop the wet butter from clinging to the pat. The top side of the pat has been bevelled on both sides and the bottom edge. The hand grip is flat and curved to allow for a comfortable hold.domestic food preparation, wooden butter pat, butter mould circular, dairy industry -
Kiewa Valley Historical Society
Book - Reference Teaching, Handwork for Schools, circa 1944
... the importance and the growing recognition of various hand crafts as part ...A text book designed as an aid to teachers in Victorian Primary Schools in the 1940's. It teachers the value of art and handwork as a necessary part of general education.This text book shows the importance and the growing recognition of various hand crafts as part of general education in Victorian schools in the 1940's and also that handcrafts are an integral part of the curriculum, leading towards an improvement in artistic appreciation by raising handwork from the level of manual exercises to that of creative applied art.A hard covered text book, faded blue cover.Front cover: Handwork for Schools, W.R. Dean and H. Jolly, and at the bottom of cover 'Oxford University Press, Leighton House, Melbourne, London: Humphrey Milford.' On the first page, handwritten in red, is a signature 'N. Rodgers' and the title is repeated. The price is marked as 6/6 ( Six shillings, six pence)hand crafts, schools, curriculum, education -
Warrnambool and District Historical Society Inc.
Book, If These Walls Could Talk, 1995
This publication is a result of funding made to the Corangamite Arts Council in 1990-91. Its aims were to identify and research the dry stone walls of the region, to raise their profile and through workshops continue the skills of those wanting to learn more about the craft. The book gives the history of the practice in the area and the various different styles with photographs to illustrate the different features. It also has a number of first- hand accounts written by stonewallers.This study has social, historical, artistic and interpretive significance as the walls are an important feature of the district. The account written by former builders of the walls provides an interesting insight into the various styles and reasons for their construction.Light green card cover. Front cover has 4 photographs of dry stone walls with title and other text in black. Back cover is plain. 144 pages. It contains a large number of black and white photographs of stone walls from around the district as well as maps. Report of the Corangamite dry stone walls Conservation project.dry stone walls, corangamite stone walls, warrnambool and district history, constructing dry stone walls -
Streatham and District Historical Society
Post Card, Circa 1914-1918
... from combat. ww1 hand papercraft crafts On the front ...This Post card is an example of the skill that the men or women learned during the War time for relaxation or during recovery periods in hospitals.This item demonstrates the skills of those that were involved in the First World War and the hobbies that enlisted men participated in when Ill or having leave from combat.White card with hand stitched holly leaves and berries in green and red on fine cotton with light blue hand stitched trim. The words Merry Christmas stitched towards the bottomOn the front are the words Merry Christmas. On the back written in pencil are the words Belguim 1916-1917. "To Dear Bess Wishing her a Merry Xmas & a Happy New Year from Donald."ww1, hand, papercraft, crafts -
Orbost & District Historical Society
doilies, first half 20th century
... gippsland This item is an example of a hand crafted item showing ...This item is an example of a hand crafted item showing the needlework skills of women in the early 20th century.Two small square handmade doilies. Tattered centres and crochet edging of bells. On white linen.doily handcrafts needlework linen embroidery -
Orbost & District Historical Society
teapot stand
... gippsland This item is an example of a hand crafted item showing ...This item is an example of a hand crafted item showing the needlework skills of women in the early 20th century.Square brown and white beaded teapot stand. Handmade. -
Orbost & District Historical Society
doily, Ralston, Marion, first half 20th century
... gippsland This item is an example of a hand crafted item showing ...This item is an example of a hand crafted item showing the needlework skills of women in the early 20th century.Hand embroidered linen doily. Round. Blue, yellow, green and red flowers.doily handcrafts needlework linen embroidery