Illustration. Depiction of Steven Henty's homestead, overlooking Portland Bay (view from sea, looking towards land). The dwelling is on the top of a hill with smoke coming out of the chimney and a group of people in front. Birds in flight in the foreground. There is a smaller bordered illustration on the bottom right-hand corner featuring a number of small dwellings near water, two people on a boat and a number of people on the foreshore. Image has been cut from a book, text on reverse of the image.STEPHEN HENTY'S HOMESTEAD Signature in left hand side of main image and signature of the right-hand side of the border of the smaller image. Both are illegible.first european settlers, henty, stephen henty

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. The Museum's Decorative Arts & Design collection includes artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).‘Oak Tree’ pattern. Sample of original Morris & Co wallpaper, designed circa 1896 by John Henry Dearle (1859–1932). Oakleaf and acorns in pale blue on cream ground. Sample manufactured ca.1920–ca.1930. Printed border : OAK TREE / MORRIS & COdecorative arts & design, wallpapers -- morris & co, john henry dearle, wall coverings – history, wallpapers – history, interior decoration – history

The pictures represent the memories of Finnish migrants in Melbourne.Only one made by handNine Panels Handicrafts cross tits embroidery weaving Bordered and mounted May 2005 Margaret Vieth

See NA359Unglazed terracotta border tile with pale dots and bordersceramics, terracotta

Soft covered book. Front has cream border, then black border and turquoise centre with a big drop with black and cream border. Inside drop is 7 photographs. Title of book is just above drop in black print.

Zilles Printers was begun by Lewis Zilles in the early 1930s. It was in McKenzie Street Ballarat. His son Jeffrey also became a printer - letterpress, offset and screen printer. The business became Zilles Printers/Graphics and was in Armstrong Street and later Bell Street Ballarat. Ronaldson Bros and Tippett began in Creswick Road Ballarat 1905. They were manufacturers of agricultural machinery and oil engines. In the 1930s they began production of tractors. The company was taken over in 1970 and closed. Framed copies of these posters are in the collection.Large posters - one with red border, one with blue border. zilles printers, ronaldson and tippett, ballarat, agricultural machinery, oil engines, tractors

‘Dressage Quilt’ was made by Jan Ross-Manley for the Running Stitch exhibition Wool Quilts Old and New in 1985. The quilt is made from the sashes of winning female participates of Equestrian Sports in Victoria. The central diamond is divided into quarters, one for each woman who won the ribbons. The piece is about dedication, strength, exertion and achievement. The artist's statement reads: "I have been collecting pennants and sashes for some time now, intending to collate a series of pieces on Australian country life and people. This is a woman's quilt, made entirely from 'horse' sashes won at competition. The central diamond is divided into quarters, one for each lady who won the ribbons. 'Hurdles' are set into the inner borders. The piece is about dedication, strength, exertion and achievement. The all pervading yellow letters cast a tawdriness over the otherwise clean colour scheme." This quilt was later part of an identically titled exhibition held at the National Wool Museum in 1989.Large quilt consisting of numerous winning horse sashes sewn together to create a patchwork quilt separated into quarters, bordered by a royal blue trim. The centre of the quilt is a diamond shape made from various pink cotton strips and bordered by multi coloured horses heads. The quilt is backed with blue cotton and has a polyester fill.quilting history, patchwork history, running stitch group, running stitch collection, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), ross-manley, ms jan, quilting - history, patchwork - history

Reserve Forces Day Council Boer War Commemorative Medallion 2012 Descendant Medallion with ribbon suitable medallion has been struck to allow descendants and supporters to honour those who served in this all-but forgotten conflict 100 years ago. The Reserve Forces Day Council recognises it was a War fought in the main by Reservists. Permanent forces were small in number with only a Permanent Force Artillery unit and a number of staff officers and soldiers serving in the war. The Reserve Forces Day Council’s objective is to "Raise the profile of the Reserve Forces and to thank serving and former members for their service, and their families and employers for their essential support." This medallion has been struck for descendants and in memory of those Soldiers who fought in the War. The "In Memory" medallion is oval 50mm high by 40 mm wide and bears the inscription "BOER WAR 1899-1902" bordering the face within a colour infill and a clear cover of epoxy. The central image is of an Australian soldier in a uniform of the era. The attractive medallion is 'gold', appearing as surrounds for the inscription. The neck ribbon is in the colours of the Queen’s official service medal, all enclosed in a presentation pouch. A space on the reverse side of the Medallion provides for a personal message to be engraved at a later time. An example is "Presented to Leslie Perrett Descendant of Tpr Frederick Avard, NSW Lancers who died in combat 10 October 1900". The Medallion may be worn at memorial ceremonies and will become a family keepsake. It does not matter on which side your ancestor fought, or if the soldier fought in a unit from elsewhere in the then Empire. The Medallion marks an Australian connection, and shows your support for your ancestor's achievement.Associated with the 110th anniversary of the Boer War 1899 to 1902. A descendant's medal issued as a commemorative by the Reserve Forces Day Council in 2012. A round enamel and epoxy medallion issued by the Reseve Forces Day Council for descendants to remember the 110th anniversary of the Boer War and their descendants contribution. The Medallion is round measuring 40mm x 40mm and has the Boer War Campaign Red, Blue and Orange coloured ribbon attached, The medallion has a gold and red border with a photograph of a Boer War Soldier contained in the middle of the medallion. Surrounding wording on the medallion is : Boer War 1899-1902 A War Fought By Reservists. The bottom of the medallion has the letters RFD 2012 (which stands for the Reserve Forces Day National Council). The medallion has a gold and red border with a photograph of a Boer War Soldier contained in the middle of the medallion. Surrounding wording on the medallion is : Boer War 1899-1902 A War Fought By Reservists. The bottom of the medallion has the letters RFD 2012 (which stands for the Reserve Forces Day National Council). boer war descendant's medallion 2012, boer war commemorative medallion, reserve forces day national council boer war commemorative, boer war associated 1899 to 1902

Phenyle has been used for decades as a cleaner and disinfectant. It is well know for its use for cleaning outdoor toilets and easily identified by its strong odour. The brown glass bottle is immediately recognised as containing a poison. We've all seen them in a hundred different mystery movie scenes. The medicine cabinet opens and there, sitting on a shelf, is the incriminating object -- the ominous dark bottle with the skull and crossbones on the label. In off-screen reality, however, poison bottles have quite a different identity -- they are distinctive, varied, colorful -- and definitely collectible. Obviously, the one thing that sets the poison bottle apart from all other bottles is the need for prominent and immediate identification as a receptacle for toxic material, and this was achieved in a number of ways, including shape, color, embossing and labeling. Poisons were commonly found in the home for the purpose of controlling rodents and other pests, and were sold by grocers and druggists. For consumer protection, as far back as 1829, New York State made mandatory the marking of the bottles with the word "poison" in large letters. Then, in the middle of the 19th century, the American Pharmaceutical Association recommended legislation regarding identification of all poison bottles. In 1872 the American Medical Association also made recommendations -- namely that poison bottles be made of colored glass, and also have a rough surface on one side -- making them identifiable even in the dark -- and the word "poison" visible on the other (the skull and crossbones wasn't quite as ubiquitous as those movies led us to believe). However, passing these laws was not easy, and the manufacturers were essentially left to do as they wished. For collectors, the high point of poison bottle manufacturing was the period ranging roughly from the 1870s to the 1930s. At that time some, of the bottles were distinguished by particularly bright colors, such as cobalt blue (the most common) and emerald green. Others, particularly rare and collectible, had unusual -- and appropriate -- shapes, including skulls, leg bones and coffins. In order to better identify these lethal vessels by feel (not forgetting that there were many people in this period who could not read) when groping for them in the dark, they had such elaborate tactile patterns as quilted diamonds, lattices, hobnails and prominent vertical or horizontal ribbing, as well as spiky knobs and ridges. In addition, many had sharp points on top for the same precautionary purpose. Further efforts to distinguish poison bottles from others included uncommon multisided and triangular shapes, and unusual, hard-to-open tops, the predecessors of the modern child-proof openings. https://www.southcoasttoday.com/story/lifestyle/2001/08/19/poison-bottles-steeped-in-history/50352280007/The recognition and awareness of bottles containing poisonpous substances is extremely important for safety reasons.Bottle, brown glass, diamond shaped. "Bright Star" phenyle. Paper label attached, but peeling off and badly damaged. Corked with contents. Text moulded into glass, some with a border of stars. Poisonous contents, not to be taken. Registered Number 2140. Volume is 20 fluid ounces. Printed label "Bright Star". Text is moulded in the glass in raised lettering: "PHENYLE" outlined and decorated with star border. "POISONOUS", "NOT TO BE TAKEN" "V / DM / A" within oval, "REGD NO. 2140" (D and O are smaller and underlined) . Base is marked "F190".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bright star, phenyl, cleaning and disinfecting chemical, poison, bottles

History of the Evening fellowship of the ChurchesWhite card cover with double green border and Green text inside border.Underlined Text:. The Stawell Uniting Church Evening Fellowship - A Long Heritage 103 Years. (Divide) (Text Not Underlined) The Uniting Church Evening Fellowship 1977-2017 The Presbyterian Evening Guild 1951-1976 The Metodist Evening Guild 1914 -1976stawell religion

The Border Regimentbadge/buttons, ww1, army

White singlw card with Gold border on three sides and a white border. Beside the white border is a pink/yellow weaved area which extends slightly to the other 3 borders. There is abunch of 3 daffodils and leaves leaning on a blue border. In the bottom right corner is 'With best Wishes' printed in gold.person, greeting cards, malone collection, malone collection, greeting cards

Variably described as mantel hangings, pelmets or valances, these became a common form of Victorian interior decoration in the second half of the 19th century. The hanging uses arrasene embroidery which was introduced for artistic embroidery c.1883. Arrasene embroidery was a variation of chenille embroidery and was mainly used for curtain borders, mantel hangings and screens. When used to embroider flowers on velvet or plush, it was sewn upon the surface without being ‘drawn through’. Madonna lilies, irises, daffodils and narcissi were commonly used in designs of mantel hangings.Velvet mantel hanging embroidered with chenille thread. The scalloped edge of the pelmet is bordered by multicoloured silk cording. This example was owned by Netty Cornish of 15 Peel Street, Kew, and donated by her daughter, Mrs F Plumridge in 1980. The embroidered flowers in this example include narcissi and roses.mantel pelmet, peel street, kew, nettie cornish, mary plumridge