Slide. Garden 12 Hope Street. Shrub losing leaves.slide, bendigo, garden 12 hope street., garden 12 hope street.

Red wooden with gold crown laurel leaves and silver cauldron3802011 Cpl G.H. Britton "Nasho" 71 signed on Reg Army 1982plaque, aust army catering corps

Made and used by Mrs Jean Ashcroft (nee Broad) originally from Galasheils ScotlandSquare hand crocheted doiley. Design of clover leaves in centre.manchester, table linen

256 p., [8] leaves of plates : ill. ; 19 cm.non-fictionJuvenile Fiction held in Reference Section. Illustrated by J. Macfarlane. lillian pyke, country life -- queensland -- juvenile fiction., railroads -- construction -- juvenile fiction., children's stories., railroad construction workers -- queensland -- juvenile fiction., railroads -- design and construction -- juvenile fiction., australia -- social life and customs -- juvenile fiction., target audience, book

White china specimen vase with pink flowers and green leaves.vases

BlundenPeaked cap RAN. White crown, black cotton band, insignia, peak - hard plastic. Inner lining - plastic.Badge Naval Insignia - Petty Officer - Embroidered crown, gold laurel leaves, Anchoruniiform, peak cap, ran

The 50 Reichspfennig coin was minted by Nazi Germany between 1939 and 1944 during World War II. It is worth 1/2 or .50 of a Reichsmark. Made entirely of aluminium, the 50 Reichspfennig is an emergency issue type, similar to the zinc 1, 5, and 10 Reichspfennig coins from the same period. Country Germany - Third Reich Denomination 10 reichspfennig Year 1939 Period Nazi Germany (Third Reich) (1933 - 1945) Coin type Circulation coins Edge type Reeded Shape Round Alignment Medal (0°) Obverse: Eagle above swastika within wreath Reverse: Denomination, oak leaves belowthird reich, beck, coin, currency

Third Reich 5 Reichspfennig Edge Description: ReededObverse: Eagle above swastika within wreath Reverse: Denomination, oak leaves belowbeck, coin, currency, third reich

Sample of wallpaper from the "North wall" of Horticultural Hall.Sample section of wallpaper from Horticultural Hall. Flora design of leaves, possibly for a frieze or cornice. Green, red and purple colours visible. wallpaper, horticultural hall

A set of four panels that make up one painting 11,999 gold and brown background one stork with leaves 11,999.1 gold and brown background three storks with nest 1 egg 11,999.2 gold and brown background onestork in flight with leaves 11,999.3 gold and brown background one small stork flying with leavespainting

Cardboard Album Khaki coloured 8 leaves with photos and written descriptionsFront sleeve To Allan Groves With Christmas greetings from Will Adams YMCA Secretary with A.L.H. Brigade There are explanations under each couple of photos too much to write in this space. In general the photos are of Will Adams experience in Egypt The Rafa Raid Prisoners of war, Beni Selah women waiting for water. Women making bricks, 53rd Casualty Clearing Station destroyed by a bomb, Royal Scots Fusilier Pipe Band after church parade, The Sultan Hasser Mosque photograph, album, egyp, ww1, allan groves, will adams, rafa raid, 53rd casualty clearing station

Dyes such as these were used to change the colour of fabric garments or household linens. These dyes come as coloured 'pages' in booklet form. Instructions for use are included on the inside cover.Two booklets containing boiling colour leaves (dyes): black and scarletdyes

Also titled: Eltham Shire "As We Are"The 'As We Are' Community Banner Project was the first major Community Arts project initiated and co-ordinated through the resources of the Shire of Eltham. It was originally conceived and inspired by a local textile artist, Tracey Naughton, who, together with the Community Services Manager of this local government council, made the idea a very concrete and flourishing reality. As the following report reveals, the project grew from the original fourteen or so intending participant groups to fifty-seven banners; expressions of those diverse groups' interests and identities. As a first major project it was rightly felt by Tracey Naughton, who became the Shire's first Community Arts Officer in March 1985, that it should be fully documented, so that an appraisal of the extensive growth of this community arts development process could be assessed. Given the time and money available to do this the writer, Jacky Talbot, and her advisors, decided it was appropriate to select fifteen or twenty banners for detailed analysis. This was done by taping interviews with members of the chosen groups. The groups were chosen to cover all ages participating, from the toddlers in the Playhouse to our grand elder citizens in their Nursing Horne, and to cover a wide range of different types of groups - schools, scouts, churches, youth issue based, and the numerous women's groups of various combinations, localities and concerns. ·. Some groups who presented their banners for the culminating highlight of this project - the Exhibition, held at the Eltham Community Centre on October 9th, 1986, had no contact with the Shire or project co-ordinator, but heard about the project through the local news' networks or other participants. The extent of community participation was enormous. It involved hundreds and hundreds of people. It changed some people's lives, enlivened others. As a first step on a new road its success is notable. The 'As We Are' Community Banner Project took place in the Shire of Eltham and neighbouring environs for approximately 12 months, from October 1985. Paperback; 68, [10] leaves : ill. ; 30 cm. Two copiesflags, emblems, banners, eltham, shire of eltham, community

Carved wooden bookends with gumnuts and gum leaves surrounding the School Crest.Sint Lucernae Ardenteseducation, school, morongo, geelong, girls, boarding, presbyterian, uniting, history, private-girls-school, lucy-shaw, gertrude-pratt, dulcie-brookshaw, 1920-1994, kindergarten-year-12, bookends

A visiting card, also known as a calling card, is a small paper card with one's name printed on it, and often bearing an artistic design. Visiting cards became an indispensable tool of etiquette, with sophisticated rules governing their use. The essential convention was that one person would not expect to see another person in his own home (unless invited or introduced) without first leaving his visiting card for the person at his home. Upon leaving the card, he would not expect to be admitted at first, but might receive a card at his own home in response. This would serve as a signal that a personal visit and meeting at home would be welcome. On the other hand, if no card were forthcoming, or if a card were sent in an envelope, a personal visit was thereby discouraged. As an adoption from French and English etiquette, visiting cards became common amongst the aristocracy of Europe, and also in the United States. The whole procedure depended upon there being servants to open the door and receive the cards and it was, therefore, confined to the social classes which employed servants. Some visiting cards included refined engraved ornaments, embossed lettering, and fantastic coats of arms. However, the standard form visiting card in the 19th century in the United Kingdom was a plain card with nothing more than the bearer's name on it. Sometimes the name of a gentlemen's club might be added, but addresses were not otherwise included. If a card was left with a turned corner it indicated that the card had been left in person rather than by a servant. Visiting cards were kept in highly decorated card cases.A timber calling card case, heavily carved with flowers, leaves and huts.craftwork, woodwork, visiting cards, early settlers, moorabbin, bentleigh, cheltenham, market gardeners

8337.1 - Grey mudstone; one face showing numerous plant leaves.

Probably made for a churchPaartly glazed terra-cotta tile with Christian Pascal sign and leavesCrudely hand etched on back - chrismaceramics, terracotta

Decorative silver type box. Separate lid. Bamboo leaves pattercontainers, domestic

Two vases with grey background and blue pattern of birds, leaves and flowersdomestic items, ornaments / decorative