This is a photo of one of a series of wildflower paintings by Henrietta D'Alton. This is one of twelve separate original wildflower paintings mounted within one large frame (this one us on the upper right). Beneath the frame is a plaque which reads "Henrietta D'Alton (1836-1922). This collection of wildflower water-colours won an award at the Colonial & Indian Exhibition of 1886 in London".This is a photo of a painting of a spray of flowers and leaves. There are blue flowers in the upper centre, yellow/red flowers to the right and left and white flowers near the bottom. A few pink flowers are on the lower right."2" appears on the right side of the photo. It is on the original painting.painting, floral

This is a photo of one of a series of wildflower paintings by Henrietta D'Alton. This is one of twelve separate original wildflower paintings mounted within one large frame (this one is the larger centre painting). Beneath the frame in its current (2010) location in the Halls Gap Hall is a plaque which reads "Henrietta D'Alton (1836-1922). This collection of wildflower water-colours won an award at the Colonial & Indian Exhibition of 1886 in London".This is a photo of a painting of a spray of flowers and leaves. There are red flowers in the centre; yellow/red "pea" flowers and white flowers on the upper left, with white, purple and one small spray of yellow flowers beneath them and white flowers and green/red "bells" on the upper right with white flowers beneath them.painting, floral

In the late 19th and early-20th centuries household heaters burned wood and coal for heating. In winter the warm air from the fireplace would flow into the room through a round flue in the face of the chimney. In the warmer months the unnecessary heater and flue was removed and the chimney cleaned. Homemakers then covered the circular flue hole with a decorative and usually inexpensive wall hanging to prevent draughts and dust. The practice was especially popular in France and Germany where a lot of the artwork originated. The covers were no longer needed after households changed over to more modern designs of heaters. The flue covers were known as Wall Art or Flue Cover Art. They were usually round and illustrated with a lithograph or chromograph print. The picture was then mounted on card, covered with glass, and framed with a brass or tin rim. The border was commonly gilt with a black stripe around the centre. There were numerous illustrations, many with a European appearance, and were easily bought through local merchants for a small price.This pretty flue cover is significant for representing a common domestic wall decoration from the late Victorian to the Edwardian eras, when solid fuel heaters were used in low to high income homes. The picture is similar to many other flue cover images, apart from the holly clutched in the girl’s hand, which gives the cover a Christmas theme. This flue cover is the only one in our collection and appears to have a unique design; the hand painted floral decoration on the glass and the two crimson rings around the edges of the frame’s white border haven’t been seen on other flue covers. Flue cover, metal and glass. Print of a young girl with blue eyes and curly blonde hair, a hooded blue cape, a silver clasp with blue stones, and a sprig of holly in her hand. The round metal frame forms a deep, white-painted, crimson-edged border for the illustration. The hand-painted blue flowers on the glass front form add to the border and give a 3-dimensional effect. The picture is between the cardboard backing and the glass front, with the metal frame holding them together. There is a metal chain attached for hanging the cover.warrnambool, flagstaff hill maritime museum, picture, handpainted, portrait, girl in blue cape, metal frame, round picture, illustration, print, holly, christmas, child in blue cape, silver and blue clasp, holly sprig, late 19th century, early 20th century, 1890s-1930s, victorain, edwardian, flue cover, flue cover art, wall art, chimney flue cover, chimney hole cover, stove pipe cover, fireplace flue cover, antique, victorian, glass frame, chromograph, lithograph, tin, brass, lithograph print, chromo print, christmas girl, blue cape, blonde girl

A copy of an early oil painting of Fernshaw in Victoria.A copy of an early oil painting of Fernshaw in Victoria by Isaac Whitehead. Isaac Whitehead (1819–1881) was an Irish-Australian artist who worked in watercolour and pastel. He was also a picture framer and art promoter. It is believed that Isaaz Whitehead emigrated to Australia with his family in either 1853 or 1858. Isaac Whitehead died at his home 50 Punt Road, Prahran, Melbourne, on 21 April 1881. Isaac Whitehead had established himself as the foremost picture framer in Melbourne by 1860, known for his highly ornate frames with floral decorations. Among the clients of his framing business were Louis Buvelot, Nicholas Chevalier, and Eugene von Guérard. In his own paintings, he painted a number of scenes of the forests of Gippsland, Victoria. His work focused on the rich landscapes with trees and ferns, with a high degree of botanical detail. His work won him two medals and his work was posthumously exhibited at 1884 Victorian Jubilee Exhibition, the 1886 London Colonial and Indian Exhibition, and the 1888 Melbourne Centennial Intercolonial Exhibition. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.isaac whitehead, fernshaw, victoria, louis buvelot, nicholas chevalier, eugene von guerard, gippsland, victorian jubilee exhibition, london colonial and indian exhibition, melbourne centennial intercolonial exhibition, watts river, healesville, blacks spur, mount juliet, mount mondah

This spiky, pointy metal flower holder, often called a flower frog or kenzan, was made around the late 19th to the early 20th centuries by Stayput Products of Melbourne, Australia. The flat metal base has been made in layers with the head of the spikes between the layers. It is likely to be handmade. Heavy flower holders made of non-corrosive metals are designed to sit in the base of a vase, dish, bowl or other suitable holder so that cut flower stems can be pushed into the spikes and held firmly in the arrangement. Flower frogs can be made of glass, ceramics or, more recently, synthetic materials.The flower holder is an example of Victorian era domestic decoration aids that have carried through to the 21st century.Flower holder, rectangular block made from layers of metal, with spikes embedded into the metal. The block is heavy, likely to be lead, and the spikes are strong brass pints arranged evenly in rows. There are remnants of florist's putty between some spikes. An inscription within concentric oval rings is moulded in the flat base. Made by Stayput Products, Melbourne, Australia.Stamped into the metal: "STAYPUT / PRODUCTS / MELB. AUST."flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, flower frog, flower arrangements, flower holder, pin-holder, stayput, flower aid, ikebana flower arrangement, kenzan, moribana style, flower support, melbourne manufacturer, spiky pin frog, metal flower holder, stayput products, flower block, flower arranger, vintage, antique, late 19th to early 20th centuries, vase accessory, decorative item, floral arrangement support, florist accessory, floral art, needle aids, victorian era

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .3) A tintype portrait of a woman, attached to a card. little gem, tintype, woman, unidentified woman, women

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .8)A tintype portrait of a man's head, attached to a card. The cheeks have been hand coloured.little gem

Brought to the Ovens Goldfields by Chinese men working in the area in the 19th century. Most likely made in China.Aldo Gios recorded the location of where most of the pieces in this collection were found. Some maps drawn by Aldo Gios also give more detail. This detail is rare, as most pieces of broken crockery were discarded and complete items were usually collected with no thought to recording the location they came from. Part of one of the largest collections of Chinese ware found in the Upper Ovens area and the only one recording the location where found.Chinese porcelain wine cup. Chinese tableware decorated with handpainted flowers and leaves in colours, pink, green and brown.Chinese writing or maker’s stamp on base, in orange ink / dye..chinese, cup, floral, goldfields, gios, tableware, glaze, porcelain, harrietville, wine, handpainted

The former gold town of Ballarat is situated in Central Victoria, Australia.Stapled colour brochure outlining places to visit in Ballarat.ballarat, ballarat botanical gardens, wildflowers, canadian, floral clock, lal lal falls, arch of victory, ballarat avenue of honour, landscape

Plant display by Knight Bros. of Sandhurst, Nurserymen, at the Exhibition Building, Melbourne, circa 1880.Bent,. Pall Mall , Sandhursttopic, floral display, knight bros. nurserymen, exhibition building, bent

Objet: White china jug decorated with flowers and gold trim, inscription in gold on front reads a present from George Bowers Jun to his friend Mr James Bailis 1853domestic equipment, table setting, jug

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, hager, cafe, gresham, lydiard st sth, 1938, centenary, floral festival

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, gollers, lydiard st, 1938, centenary, floral festival, tourist bureau

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, wattle tea rooms, lydiard st sth, 1938, centenary, floral festival, cooke, cars

This photograph is held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries. Norma Lillian Henshall nee Sterritt biography (by son in law Rod Sharp) Norma was born on the 14th November 1912. She was a forward and independent child and always did what others would not consider appropriate at that time and you could say she was a hit of a rebel. Norma worked in Fairweather's in Pleasant Street and while she was there was taught to drive. She later drove Fairweather's Taxi being one of the first ladies to do so in Ballarat. Norma put her age up from 17 to 18 so she could get her license earlier and purchased an Austin 7 red sports car complete with a fishtail back. Norma taught herself the fundamentals of developing photographs and in 1938 rode her man's bicycle around Ballarat taking photographs of the various businesses decorated to celebrate the centenary of Ballarat. During the Second World War with her husband serving overseas in the Middle East Norma enlisted in the Army and served from 1942 through until 1945 as an Ambulance driver in the 3rd Ambulance and was stationed at Camp Pell which was located adjacent to the Melbourne Zoo. Norma transported wounded servicemen to the various hospitals around Melbourne.ballarat, centenary, floral festival, 1938, sterritt, sturt st, unicorn hotel

This photograph is held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries. Norma Lillian Henshall nee Sterritt biography (by son in law Rod Sharp) Norma was born on the 14th November 1912. She was a forward and independent child and always did what others would not consider appropriate at that time and you could say she was a hit of a rebel. Norma worked in Fairweather's in Pleasant Street and while she was there was taught to drive. She later drove Fairweather's Taxi being one of the first ladies to do so in Ballarat. Norma put her age up from 17 to 18 so she could get her license earlier and purchased an Austin 7 red sports car complete with a fishtail back. Norma taught herself the fundamentals of developing photographs and in 1938 rode her man's bicycle around Ballarat taking photographs of the various businesses decorated to celebrate the centenary of Ballarat. During the Second World War with her husband serving overseas in the Middle East Norma enlisted in the Army and served from 1942 through until 1945 as an Ambulance driver in the 3rd Ambulance and was stationed at Camp Pell which was located adjacent to the Melbourne Zoo. Norma transported wounded servicemen to the various hospitals around Melbourne.ballarat, centenary, floral festival, 1938, sterritt, fire station, sturt st

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, centenary, decorated, bridge st, shops, faulls, tylers, floral festival

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, town hall, crowd, 1938, centenary, floral festival

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, opening, sturt st, 1938, floral festival, centenary, crowd

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, grenville street, 1938, floral, festival, centenary

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, botanical gardens, fernery, statue

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, lydiard, sturt, 1938, centenary, floral festival

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, town hall, floral festival, 1938, sturt, lydiard, national mutual

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, hotel, red lion, 1938, floral festival, centenary

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, hotel, red lion, decorated, 1938, floral festival, centenary

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, hotel, red lion, decorated, 1938, floral festival, centenary

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, hotel, unicorn, 1938, floral festival, centenary, sturt

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, cars, parade, 1938, centenary, floral festival

This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, lido, spot, centenary, floral festival, sturt st, union hotel