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Villa Alba Museum
Collection of curtains and curtain accessories, 1850s-1890s
The curtains are significant for their comparative rarity of survival in Melbourne, and at the same time, are highly representative of opulent colonial taste in interior decor in the boom period. The curtain panels are of high quality materials and in unusually good condition, indicating they were used in a window with relatively little sunlight shining on them. They can be imagined in a grand room with one or more matching dressed windows.Collection of 7 panels of a sky blue and gold figured silk/wool damask curtain set; 6 tiebacks (3 pairs) with bullion tassels; padded and braided silk "rope" for draping; and 2 cards wound with detached braids and bullion fringe from further curtains and decorations which have not survived. The items appear to be the remains of very fine bay window decoration of the later 19th century, almost certainly used in a Melbourne mansion of the boom period, likely in the 1880s. The 3 sets of curtain tiebacks are particularly grand, featuring tassels made with gold ? bullion fringe. The original bright gold ? finish is still evident in the card on which many metres of detached fringe are wound - the inner layers have been protected from oxidation by the outer layers and are still bright. It is not known on what curtain part this fringe was used (it is clear that nothing has been removed from the 7 damask panels surviving). There may have been pelmets or further sets of curtains decorated with the fringe. The materials and workmanship of all items are of high quality, and would have looked magnificent, fulfilling the tastes of the richest inhabitants of Marvellous Melbourne.curtains, curtain furnishings, 19th century, tassels, window furnishings, gold boom melbourne, interior decoration - melbourne, upholstery trimmings, colonial taste-victoria -
Buda Historic Home & Garden Castlemaine
Decorative object - Metalcraft - Silverware, Silver Mounted Emu Egg Goblet with Emu Figure, c1855 - 1858
Decorative object made by Ernest Leviny probably to sell in his jewellers and watchmakers shop in Market Square Castlemaine.Silver mounted emu egg goblet with gold-wash interior and cast emu figure on lid. Silver stem has elaborate scrolled ribbon design and cast decoration topped by four heads of the god Pan. Filigree silver design of grapes and vine leaves above base. 'Egg' rests in 'cup' of filigree feathers/shell and acanthus leaves. Lost wax casting method used.Noneernest leviny, silversmithing, colonial silverware, decorative arts, natural history specimens, ornithology -
Buda Historic Home & Garden Castlemaine
Metalcraft - Silverware, Silver Mounted Emu Egg Goblet with Aboriginal, c 1855-1858
Decorative object made by silversmith Ernest Leviny.Silver mounted emu egg goblet with detachable silver lid decorated with a kneeling Aboriginal figure holding weapons (spear is missing). Emu egg is mounted on a silver base with filigree acanthus leaf designwork on the stem, leading to four sprays on the egg surface with a rose, thistle and shamrock design. The inner egg is lined with a gold wash.Noneernest leviny, silversmithing, colonial silverware, castlemaine, emu egg goblet, buda, c 1859 -
Buda Historic Home & Garden Castlemaine
Drawing - Illustration - Design for Jewellery, Ernest Leviny - Britannia pendant jewellery design, c1851
Original jewellery design for 'Britannia' pendant by Ernest Leviny, designed when he was living in London c1851, before travelling to the Australian goldfields of Castlemaine in late 1852. Leviny and his partner, Frederick Boocke, supplied jewellery designs to Watherston and Brogden in London. This design was made into a pendant by another London company, S.H. & D. Gass and was awarded a prize medal at the Great Exhibition of 1851 at the Crystal Palace in London. Leviny brought many of his original jewellery designs with him when he came out to Australia from Britain. See Schofield, Anne & Fahy, Kevin (1991), 'Australian jewellery: 19th and early 20th century'; Woodbridge, Suffolk, Antique Collectors Club, p. 39; Gere, Charalotte & Rudoe, Judy (2010), 'Jewellery in the Age of Queen Victoria', Pub.The British Museum p.340.This original jewellery design for the 'Britannia' pendant by noted colonial silversmith and jewellery, Ernest Leviny, is significant due to its link with the 'Britannia Pendant' awarded a prize medal at Great Exhibition of 1851, held at the Crystal Palace in London.Original jewellery design for a pendant featuring a standing woman (Britannia) holding a trident in her left hand and possible oar in her right hand, with Gothic style ornate pillars on each side and an archway overhead. Beneath the figure are three pearl drops. Drawn in pencil on grey card with gold ink highlights and red watercolour tinting.ernest leviny, jewellery, design, illustration, brittania, 1851, great exhibition of 1851 -
National Vietnam Veterans Museum (NVVM)
Book, Doyle, Edward and Weiss, Stephen, The Vietnam Eexperience: A Collision of Cultures (Copy 2)
The East is the Republic of South Vietnam, half a truncated nation, recently freed of colonial control. The West is the United States, most powerful nation in the world.The East is the Republic of South Vietnam, half a truncated nation, recently freed of colonial control. The West is the United States, most powerful nation in the world. vietnam war - 1961-1975, saigon, us military -
National Vietnam Veterans Museum (NVVM)
Book, Doyle, Edward and Weiss, Stephen, The Vietnam Experience: A Collision of Cultures (Copy 1)
The East is the Republic of South Vietnam, half a truncated nation, recently freed of colonial control. The West is the United States, most powerful nation in the world.The East is the Republic of South Vietnam, half a truncated nation, recently freed of colonial control. The West is the United States, most powerful nation in the world. vietnam war - 1961-1975, saigon -
Coal Creek Community Park & Museum
Sewing Box
The sewing box was crafted in about 1900 by carpenter, Mr W. SmithThis item has historic and aesthetic significance. It was made in about 1900 by a well-known and colourful Korumburra identity, Mr W. Smith, of polished Fiddleback blackwood. Showing excellent craftmanship, particularly in the joinery, it has functional efficiency and simplicity in design. It was exhibited at the National Gallery of Victoria in 1978-79 and featured in the catalogue of that exhibition as a fine example of colonial craft.