A SCH Mahboob tennis racquet, with ribbon whipping around shoulders and shaft, and leather handle grip with patterned perforations. Materials: Wood, Nylon, Ink, Glue, Lacquer, Metal, Leather, Ribbon, Paint, Adhesive tapetennis

A Royal Staff Mark II tennis racquet, with plastic ribbon whipping around shoulders and shaft, and leather handle with quatrefoil perforations. Materials: Wood, Ink, Glue, Lacquer, Metal, Enamel, Leather, Plastic, Rubbertennis

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico flour bag with red, blue, white and yellow graphic image and text. Image shows head and shoulders of a woman wearing a bakers hat. Reverse side shows same image with slightly different text.Front: O*SO*LITE \ SELF-RAISING \ FLOUR \ 25lb \ NET \ THE \ FINEST \ FLOUR \ O-SO-LITE \ PRODUCTS PTY. LTD. \ LENNON STREET, SOUTH KENSINGTON \ VICTORIA 13 0261 \ SELF RAISING \ SELF RAISING \ SELF RAISING Back: O*SO*LITE \ SELF-RAISING \ FLOUR \ PREPARED WITH PROSPHATE AERATOR \ 25lb \ NET \ THE \ FINEST \ FLOUR \ O-SO-LITE \ PRODUCTS PTY. LTD. \ LENNON STREET, SOUTH KENSINGTON \ VICTORIA 13 0261wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink and white diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The black swan cloak refers to the black swan of Geelong and Ballarat were the swan has had its own fight to survive during the early colonial years where white swans were introduced by colonisers and the black swan fought back as they do not naturally get along. The wave pattern is taken from a traditional shield pattern held in the Melbourne Museum, South Eastern archive collection of shields. The wave refers to the water and travelling across water to fish, hunt and survive. This cloak is about survival, water, and the swan living on the water. It also refers to a contemporary dance of Kunuwarra the black swan, which was performed by a group Wadawurrung women (including artist Deanne Gilson) for Tanderrum (Melbourne – Naarm) in 2016. The dance is available to watch on youtube.Black swan, heart motif with water design on outer cloak, female figure and red native flower design on lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, first nations art, wadawurrung dja

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The murnong was one of the main food sources for First Peoples before colonisation as it grew right across Wadawurrung Dja. The introduction of the sheep and cattle saw the murnong eaten roots and all and it quickly became less plentiful. The tubers were eaten raw or roasted on a fire. Water could be added to make a paste for small children to eat. The woman’s wooden digging stick that was used to gather and harvest plants was often buried with the woman for her afterlife and is considered sacred women’s knowledge. All parts of the plants and trees were and still are honoured as sacred medicine, healing plants and bush food knowledge.Yellow flower and female figure motif on black background on outer cloak, black and white diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). This cloak represents a traditional shield and stands for strength, resilience and standing proud. It protects us as we move forward. The gold represents the gold fields of Ballarat and Golden Plains shire. It also represents fool’s gold (pyrite) as First People had no use of gold, instead the people are the gold.Black, white, and red stripe design with flower and stem motif on outer cloak. Lining is a red and white stripe motif. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Deanne states that this is her favourite season and she loves painting the small orchids as they flower after the cold season begins to clear.Black cloak with pink and purple toned flower motif on outer cloak, purple and black diamond, and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak, murnong

The district of Strathfieldsaye was proclaimed in 1861 and named a Shire on the 17th September in 1866. It remained a shire until amalgamation in 1994 when it became part of the City of Greater Bendigo. The shire was located 8 km to the south- east of Bendigo and covered an area of 601 square kilometres and extended from the Calder Highway to the Coliban and Campaspe Rivers. The shire's administration centre was in Strathfieldsaye until 1972 when new offices were opened in Kennington. Eppalock Ward is one of three wards in the Greater Bendigo municipality which includes the former Strathfieldsaye Shire. Framed black and white head and shoulder portrait with hand coloured detail. Man with profile slightly to right, walrus moustache, image encircled. Photograph is attached to mount card. Hand written title lower centre.Ex. Councillor / F. Orr / Eppalock / The / Yeoman / Studiosshire of strathfieldsaye, councillor orr

Captain John E D White, Australian Army Training Team in Vietnam (AATTV) took over command of 11 Mobile Strike Force (Mike Force) Company in Da Nang, Vietnam, in February 1968. He was 26 years old. The 2 NVA Division was moving from Laos into South Vietnam and his mission was to establish contact with the division and trace its movements south. In mid-March the company was air lifted to the Special Forces camp of Kham Duc, near the Laotian border. They used an old French Foreign Legion fort as a temporary base from which patrols could be sent out. White called it Ngok Tavak after a nearby mountain. Initially, patrols failed to find the enemy, but in late April a patrol clashed with the enemy. At the same time, White received intelligence that the NVA division was closing in. At night they could hear explosions in the distance heading toward them. White decided their best chance was to leave the fort and take to the jungle to adopt guerrilla tactics. However, in the meantime a platoon of United States Marine Corps artillery arrived bringing with them two howitzers and a stockpile of ammunition. To abandon the fort was to abandon the guns. White contacted Da Nang, explaining the predicament, and was ordered to remain where he was. A Civilian Irregular Defense Group (CIDG) platoon was sent to reinforce his numbers. This was a para military force comprised mainly of indigenous highlanders, trained by United States Special Forces. They also brought with them two mortars and their crews. At 3.15am on 10 May 1968 some members of the CIDG chose to assist the NVA to attack the fort instead of supporting Mike Force, and close hand to hand fighting followed, along with grenade attacks and heavy machine gun fire. Air support offered a brief respite from the NVA attack, and some NVA forces were pushed back outside the perimeter by counter attacks, but at 9am White contacted Da Nang to advise that his position was untenable. A second attack was imminent and they could not withstand it, so they would have to withdraw. The wounded were evacuated by helicopter (under orders from Major Mai, the NVA had not attacked the previous medical helicopters that collected the wounded under the cover of air strikes) and at 1pm the rest of the force evacuated east, into the jungle. The NVA did not notice their withdrawal, and continued mortar attacks on the fort for another ninety minutes. Seven kilometres from the fort White called for a helicopter withdrawal of his forces. The force was successfully lifted to Kham Duc and then Da Nang. (Credit AWM)Coloured image of John (Jed) White, aged 26 arriving at Tan Son Nhut Airport in full uniform, bag straps over left shoulder. Close- up of chest and head with plane visible in the background.AWM - p 11058,001capt john (jed) white, aattv, battle of ngok tavak

Worn by Donor's brother, David MartinsonBlue Leather Bomber Jacket. Padded shoulders and back panel. Slit pockets on front panel. Heavy black plastic zip down front. Waist band 6cm. Fully lined in black cotton material.Pariellecostume, male

Black and white portrait of a man. and a jumper. He has shoulder length hair and a beard. He wears black rimmed glasses. The man is Gordon Stokes. White matt board, blonde wood frame. 'Dignified'1/3 / Dignified / Lynne Hollisgordon stokes, portrait

Daisy Livingstone Smith was born in Linton in 1903, a daughter of Shire Secretary Alfred John Smith (Alf J Smith) and Ada Smith née Watson. After first being privately educated, she attended Linton State School from 1911, and went on to Queen's College in Ballarat (a Church of England grammar school for girls), where she was Dux in 1918. After leaving school she worked as Linton librarian, and then as a financial officer for the Shire of Grenville. In 1941 she married Roy Brown. Daisy died in 1945, and a lectern dedicated to her memory is in St Paul's Church of England, Linton.Black and white copy of original photograph, shows head and shoulders of a young woman with dark hair cut fairly short. She is wearing a collarless plain dress or blouse, with slightly puffed sleeves and large buttons.daisy livingstone smith, daisy brown

Hames are attached to a horse collar used to distribute the load around a horse's neck and shoulders when pulling a wagon or plough. The collar often supports and pads a pair of curved metal or wood pieces, called hames, to which the traces, which attach to the wagon or plough, of the harness are attached. The collar allows the horse to use its full strength when pulling. This pair of hames would have been used on a farm in the Orbost district.Horses were a vital part of the agricultural industry in Orbost before the mechanisation of farm machinery. This item is associated with that time.A pair of hames, joined together by a metal chain. Iron has been cased over wood to form the hames. Each has a hook attached and a ring.WARRANTED picture of bull's head FORGEDsaddlery equestrian agriculture horses hames

Hames are attached to a horse collar used to distribute the load around a horse's neck and shoulders when pulling a wagon or plough. The collar often supports and pads a pair of curved metal or wood pieces, called hames, to which the traces, which attach to the wagon or plough, of the harness are attached. The collar allows the horse to use its full strength when pulling. This pair of hames would have been used on a farm in the Orbost district. Horses played a vital role of the agricultural industry in Orbost before the mechanisation of farm machinery. This item is associated with that time.A pair of hames, iron shaped over a wooden frame. They are linked together by a metal chain. Each has a hook attached and a metal ring at the end.WARRANTED PLOUGHMANBRAND FORGEDequestrian saddlery rural agriculture horses hames

Hames are attached to a horse collar used to distribute the load around a horse's neck and shoulders when pulling a wagon or plough. The collar often supports and pads a pair of curved metal or wood pieces, called hames, to which the traces, which attach to the wagon or plough, of the harness are attached. The collar allows the horse to use its full strength when pulling. This pair of hames would have been used on a farm in the Orbost district. Horses were a vital part of the agricultural industry in Orbost before the mechanisation of farm machinery. This item is associated with that time.A pair of horse hames, iron shaped over a wood frame and linked together by a metal chain and hook. Each has a hook attached and a ring at the end held by string,WARRANTED SWAN BRAND FORGEDsaddlery horses hames agriculture rural equestrian

Hames are attached to a horse collar used to distribute the load around a horse's neck and shoulders when pulling a wagon or plough. The collar often supports and pads a pair of curved metal or wood pieces, called hames, to which the traces, which attach to the wagon or plough, of the harness are attached. The collar allows the horse to use its full strength when pulling. This pair of hames would have been used on a farm in the Orbost district. Horses were a vital part of the agricultural industry in Orbost before the mechanisation of farm machinery. This item is associated with that time.A pair of all metal horse hames, flat and angular shape. They are held together by a metal chain. Each has a hook attached and a metal ring at the end. One of the chain links has been repaired with wire.DOWNEE ALL STEELequestrian saddlery horses agriculture rural hames

Both photos are Charles Barkell No 811 C Coy 38th Bn AIF. Enlisted 29.2.1916 age 21 years 11 months, embarked for England 20.6.1916, hospital at sea with Chill, embark for France 22.11.1916, hospital 7.1.1917 with Mumps, rejoin unit 30.1.1917, made L/Cpl 4.6.1917, Cpl 7.10.1917, WIA 19.5.1918 SW shoulder contusion severe, rejoin unit 4.9.1918, RTA 27.5.1919, discharged from the AIF 4.9.1919.Photos sepia tone rectangular shape, same soldier in uniform, studio background. .1) Soldier standing hands behind his back. .2) Soldier sitting astride a small table, Cpl stripes on arm.photographs, 38th bn, c coy

Francis John WILLIAMS No 7326 enlisted on 22.9.1916 in the 24th reinforcements 8th Batt AIF aged 18 years 1 month. Embarked for England 19.2.1917, embarked fro France 18.10.1917, WIA 9.8.1918 GSW to right shoulder. Promoted Temp Sergeant 1.6.1919, discharged from the AIF on 11.7.1920 medically unfit not due to misconduct. Pre War he had 3 years in Snr Cadets. Refer Reg No's 66 & 68P. .1) Medal & ribbon set, court mounted - British War medal 1914-1919. Ribbon on own is for the Victory medal. .2) Badge, copper coloured - Returned from Active Service WW1..1) Engraved: 7326 T-SGT F.J.WILLIAMS-8BN-AIF .2) Engraved on rear: 117672awards, numismatics - medals, metalcraft, military history

Containing a colour copy photograph of Conductor Archie Viccars, leaning out of a bogie tram. He has cap number 2 with the conductor's bag slung over his shoulder. The donor noted that Archie worked as a Trammie from the 50's to the 60's when he transferred to the Ripon St offices on clerical duties. See acquisition notes for a story from Noel Forster - email of 1-3-2017 re Archie. Has a strong association with the family of SEC Conductor Archie Viccars and demonstrates the uniform of the time.Wooden frame, with carved out front edge, inner gold lining, varnished with title "Archie Viccars 1950 Ballarat". Printed onto Fujifilm Crystal Archive paper. Has a strip of tape at the base of the photograph ""Archie Viccars 1950 Ballarat".trams, tramways, conductors, ballarat, crews, archie viccars

Braces - straps worn over shoulders for holding up trousers http://en.wikipedia.org/wiki/Suspenders Suspenders (Am. English) or braces (British English) are fabric or leather straps worn over the shoulders to hold up trousers. Straps may be elasticated, either entirely or only at attachment ends and most straps are of woven cloth forming an X or Y shape at the back. Braces are typically attached to trousers with buttons using leather tabs at the ends or, incorrectly according to traditional protocol, clips.. HISTORY the modern type were first invented in 1822 by Albert Thurston and were once almost universally worn due to the high cut of mid-nineteenth and early twentieth century trousers, a cut that made a belt impractical. After losing popularity in the first World War, as men became accustomed to uniform belts, suspenders were still standard throughout the 1920s. TODAY http://www.fabsugar.co.uk/Love-Hate-Trousers-Braces-1585776 Androgynous fashion nearly always appears on the catwalk and trousers with braces made an appearance this season at Paul Smith...Grey Elastic braces forming a y shape at the back, with leather tabs to hold clips and braided loops to attach to buttons on trousers. trousers, braces, straps

Air Force Uniform owned by Bob Hodges.Uniform consists of one coat, pair of trousers, two shirts. 1. Dress coat - navy blue colour, wool/polyester fabric with sateen lining. Gold colour plastic butons emblazoned with crown and eagle in flight, shoulder insignia "Australia". Makers label. 2. Trousers - Navy blue colour wool/polyester fabric. Makers label. 3. & 4. Shirts - long sleeve, light blue cotton/polyester fabric. Shoulder Insignia - RAAF, Wings and "AIR FORCE". Makers label.Makers labels - black print on white label. 1. "ADA"/VICTORIA 2004/NSW 61929/NAME:/ SERVICE NO." "DRY CLEAN ONLY" 2. "ADA"/VICTORIA 2004/NSW 61929/NAME:/ SERVICE NO." with "LAUNDRY INSTRUCTIONS"' 3. & 4. "ADA/4500297929/NSW 8405 66 148 2384/SIZE 42/89/NAME/ SERVICE NO/ 65% POLYESTER/ 35% COTTON.raaf, uniform

This jacket is part of the dress uniform of a Major in the Army Reserve. Major Bernard Farley who owned this jacket wore it to official functions in the Mess dining room. He served in this capacity from 1998-2001.Bernard also served in the RAAF for a number of years.This jacket has significance as it is typical of dress requirements which were worn to official Army functions.Short white jacket with wide front lapels epaulets at the shoulders and a small V shaped downward peak at the back. The sleeves have a stitched over section at the cuff with a point in line with the shoulder. On each epaulet from the collar edge side there is a brass coloured button with the Rising Sun in low relief and on the lower edge of the epaulet a brass coloured crown with red nsert and a circular shaped badge with the word Australia. There is a badge on each lapel two crossed rifles holding a crown in brass colour over the top of a silver VLabel states ,' Fetcher Jones Victoria 1998 NSN 8405-NIC Name....... Service No......... Polyester / Viscose Dry Cleanable ( A) Warm Gentle Machine Wash Rinse well. Warm iron. ZC785 BR1689 425267911.ZC785 107 R 347 044 05037649 cloth br 1689 17. J10129 OW Wwarrnambool, army reserve, dress jacket

The toy soldier is a relic from the shipwreck of the LOCH ARD in 1878. It has a companion piece in the Flagstaff Hill collection. The toy soldier is unpainted, but the style of uniform, and the weapons carried (a musket and a basket-handled cutlass), indicate it is a representation of the Napoleonic Wars period from the beginning of the nineteenth century. Mass-produced toy soldiers made of cast metal (lead or tin) became popular during the 1800s. Heyde of Germany manufactured silhouette-shaped ‘flats’ early in the century; then Mignot of France released three-dimensional ‘solids’; and later (1893) Britain of England made ‘hollow cast’ figures. These innovations were designed to make sets of toy soldiers more affordable for middle and lower-class children, extending the market beyond the intricately made and hand-crafted replicas that were the preserve of the rich in the eighteenth century. Wooden military figures, specially carved and unpainted ones, were therefore not particularly common at the time when the LOCH ARD went down on Victoria’s southwest coast. Mignot was the first to sell unpainted soldiers, leaving their customers to fill in the colours according to their own patriotic preferences. If a similar attitude is assumed for the two virtually identical figures in the Flagstaff Hill collection, it is possible they were part of a new set intended for sale, rather than part of a passenger’s existing collection. A similarly light composite material of sawdust, glue and linseed oil (press-moulded onto a metal frame) was used by the German firm O & M Hausler to create toy soldiers, but this type of modelling was not commercialised until after 1912. The first heat-moulded plastic toy soldiers did not become available until after 1945.The toy soldier represents a 19th century child's interest in military history. The item is one of two toy soldiers recovered from the Loch Ard that are in Flagstaff Hill's collection. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.An unpainted replica or toy soldier, presented in a Napoleonic Wars era uniform. The moulded figure is in a standing posture and is bearing a musket at the slope-arms position, with a sabre or cutlass slung behind. It wears a plumed helmet, short-fronted coat with longer buttoned tails at the back, button-fastened bib-front trousers, a pair of crossed bandoliers, and tasselled shoulder epaulettes. The figure is a creamy colour with red-brown stains on the head and shoulder. There is a hole in the end of the musket. The model is detailed and sharp. It was recovered from the wreck of the Loch Ard.Cataloguing numbers: “6599” on the rear of the left trouser leg “PWO 2308” on the sole of the left boot, (partially obscuring “R122” written in biro) “2218” on the sole of the right boot.flagstaff hill, warrnambool, loch ard, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, napoleonic uniform, toy soldier, replica soldier

WW2 Army uniform (jacket and trousers) belonging to 1494723 MAJ Derek MATHER, Royal Military Police. Campaign ribbons on left breast are: 1939-1945 Star, Africa Star, France and Germany Star, Defence Medal, War Medal 1939-1945 (Oak Leaf), General Service Medal 1918, Queen Elizabeth 2 Coronation Medal and the Efficiency Medal. Badge of the Royal Military Police on both lapels. Patch of the Cyrenaica District Middle East Land Forces on both shoulders. Lanyard of RMP on left shoulder.Army catalogue tags on both items

Royal Australian Army WRAAN Corps. 00066 .1 Silver buttons made by K.G.Luke Melbourne Kings crown & map of Australia 1 centremetre x 2 00066.2. Hat badge, Queens crown, white metal, slider fitting. 00066.3 Buttons, grey felt covered, 2 centremeters x2 00066.4 Officers shoulder pips, white metal & enamel. 00066.5 Cloth shoulder boards with maroon officers pips, cut off uniform 10 x 5 centremeters plus buttons x 2

An late 18th century court tennis racquet, made from two pieces of interlocked wood, secured with two screws. One is the handle/throat, the other is the shoulders/head. The latter unfortunately had, at some point in the past, split at the crown, and whipping was applied to reinforce it. The gut stringing is three-way. The throat and lower shoulders have been hand painted, with both linear and floral designs. Across the thoat on the obverse is the monogram which reads 'BWB'. Materials: Wood, Lacquer, Metal, Gut, Paint, Stringtennis

A wooden racquet with white cloth tape over parchment reinforcing, and a fine-grooved handle grip. The parchment reinforcing continues from the shoulders down the throat, creating the outline of a heart shape. Inscription across crown on obverse: SLAZENGERS'.Inscription along right side of handle: SLAZENGERS' NEW YORK. Inscription across throat on reverse: PATENT SHOULDERS. Butt cover features racquet maintenance instructions. Materials: Wood, Gut, Metal, Glue, Lacquer, Ink, Cloth tape, Leather, Parchment, Stringtennis

A Chemold Owen Davidson Hawk tennis racquet, with ribbon whipping around shoulders and shaft, and a plain black leather handle grip. Chemold logo features across base of head. A pink and purple toned wave pattern features from shoulders to handle. Model name features along shaft. Chemold trademark with large 'C' features on lower shaft. Plain white plastic butt cap. Materials: Wood, Nylon, Ribbon, Paint, Ink, Plastic, Leather, Glue, Lacquer, Metal, Adhesive tapetennis