Sohrai embroidery is a traditional art form inspired by the, ritualistic, nature-based wall paintings of Jharkhand, India, created by tribal women, often during harvest seasons. This style features intricate, geometric, and figurative motifs—such as animals, birds, and plants—translated onto fabrics using techniques like Kantha stitch, embroidery, and sometimes mirror work.Indian embroidery on cream cotton fabric with a tamboured design of dragons in brown and black.embroidery, tea cosy, india?, tambour work

Sohrai embroidery is a traditional art form inspired by the, ritualistic, nature-based wall paintings of Jharkhand, India, created by tribal women, often during harvest seasons. This style features intricate, geometric, and figurative motifs—such as animals, birds, and plants—translated onto fabrics using techniques like Kantha stitch, embroidery, and sometimes mirror work.Tea cosy is probably Indian. It is of cream cotton fabric with a tamboured design of dragons in brown and black. Includes tea cloth and napkins.embroidery, tea cosy, india?, tambour work

Prue Acton launched her label in Melbourne in 1963. Initially celebrated for capturing the youthful energy of the 1960s "Youthquake" movement, her brand underwent a significant maturity shift during the late 1970s and early 1980s. As her original teenage and twenty-something clientele entered the professional workforce, Acton transitioned her designs from playful boutique mini-dresses into sophisticated, structured, and upscale ready-to-wear pieces. This wrap day dress perfectly exemplifies that evolutionary step. It offers practical utility for the contemporary working woman while maintaining the high-impact visual flair she was known for. This specific garment reflects her obsession with pure, interacting hues. The combination of saturated teal against coral-red and gold metallic trimmings is a masterclass in complementary color dynamics. Instead of relying on traditional printed patterns, she used the structural trim itself to dictate the architecture of the dress. The wrap dress style allowed for physical ease in warmer climates, while the sharp graphic lines gave it an assertive presence. A midi-length day dress in deep teal featuring a wrapped crossover V-neckline, short fluttering tulip sleeves, and a defined waist. The dress is accompanied by a wide, matching self-tie fabric belt. The garment features striking, avant-garde contrast borders in coral-red and gold metallic ribbon. This graphic trim accents the length of the belt, forms a bold, geometric zig-zag pattern around the lower hips, and finishes in parallel horizontal bands directly above the hemline. While the tailored cotton construction echoes late-1970s daywear, the hyper-saturated colorblock palette and bold geometric patterns strongly align with Prue Acton's transition into the vibrant, structured aesthetics of the early 1980s.Label 1: "Prue Acton" Label 2: "Size 14 ..."prue acton, australian fashion -- melbourne -- 1970s, dresses

Textiles, brown linen embroidered double sided peg bag. Cream ribbon draw ties. Pockets at both ends-one 20 cm deep, one 28 cm deep. Geometric patterns on both pockets of blue, black, green and red embroidery plus green and brown fabric paint.textiles, domestic, peg bag

The Palais de Danse was a large dance hall located next to the Palais Theatre on the foreshore of St Kilda. Built in 1919, it featured a remarkable geometric interior created in 1920 by the renowned architects Walter Burley Griffin and his wife, Marion Mahoney and it was a popular entertainment venue throughout the early 20th century. The building was destroyed by fire on 27 December 1968.black and white photographpalais de danse, walter burley griffin, marion mahoney

Textiles. Basically circular in shape, but cut and hemmed in a geometric 16 sided manner. Edges are cut and hemmed in a drawn fabric manner, and this is repeated in a decorative way, in the centre of the doyley, echoing the outer shape of the doyley. ''Spots'' are embroidered in white thread, as are small flowers and leaves, in an arching shape on each side of the central square.textiles, domestic, pair of pink organza doyleys

This is a vintage clothing item , probably specifically made in the 1950s for a woman of some means. It may have been made in Tasmania. Ownership of a fur coat was once considered to be a valued item in a woman's wardrobe.This item is retained for display purposes.This is a light brown fur coat with long sleeves and three metal fasteners in the front. It is unlined except for strips of stiffening material on the inside edges. There is a short collar. A tear is on the upper right side. It is considerably worn on the sleeves. Internal stitching has created a geometric pattern on the external fur. It is considered that the fur is Tasmanian wallaby.vintage clothing, fur coats, warrnambool and district historical society collection

Part of a collection of historic wallpapers collected by Phyllis Murphy, most of whose wallpapers were donated to the collection of Historic Houses Sydney. This wallpaper sample, annotated and encased in mylar was used by Phyllis for educational purposes, and donated by her son to Villa Alba Museum's collection in 2025.Wallpaper border printed on embossed paper, circa 1880. Background gilded and embossed to achieve a raised textured appearance. Features a detailed floral and acanthus leaf motifs with a geometric border. This kind of design was popular during the Aesthetic and Victorian design movements. The gilded finish was common to high-end interior decoration of the 1880s. P. B. 16 (f)heritage interiors, wallpapers, 19th century design, borders, 1880s, aesthetic movement

Part of a collection of historic wallpapers collected by Phyllis Murphy, most of whose wallpapers were donated to the collection of Historic Houses Sydney. This wallpaper sample, annotated and encased in mylar was used by Phyllis for educational purposes, and donated by her son to Villa Alba Museum's collection in 2025.c.1900 Simulated tile design made by Osborn and Shearman, Chelsea, London. In order to produce a high-quality washable surface, known as a "sanitary" paper, the printing was done with engraved rollers. Features intricate floral and geometric motifs, including a prominent central urn-like structure and repeating mosaic-style segments.P.I2 (f)heritage interiors, wallpapers, 20th century interior design, sanitary wallpapers

It is likely this item was received from the estate of John 'Jack' Courier. Courier left a bequest to the College consisting of a significant number of artworks by himself and others.Untitled abstract painting. Painting consists of a range of geometric shapes in blues, browns, yellows and greys, with a larger white shape occupying the majority of the centre third of the painting. There is a small sticker from Gibson's Auctioneers attached to the back of the artwork. Two D-ring fittings, attached to small blocks, are attached to the back of the board for hanging.

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Red children's wool jumper with green and white geometric tartan/plaid pattern on front. Has long sleeves with ribbed cuffs and ribbed crew neck and closes with four red plastic buttons at back neck. Coloured pattern is worked in lines on top of finished fabric in surface crochet in pattern of green, white, green[white label at back neck with blue stitching] ALL WOOLknitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting

Round china plate with small handles, probably hand decorated before glazing and firing. Plate has pink geometric and floral pattern around edge, green and yellow floral decoration towards centre. Plate may have been designed to sit beneath a cup or bowl. Some gilt trim. No manufacturer's marks.plates

Part of a collection of historic wallpapers collected by Phyllis Murphy, most of whose wallpapers were donated to the collection of Historic Houses Sydney. This wallpaper sample, annotated and encased in mylar was used by Phyllis for educational purposes, and donated by her son to Villa Alba Museum's collection in 2025.c.1880 Asymmetrical dado design showing Japanese influence featuring stylised floral motifs including chrysanthemums and geometric borders in the "Aesthetic" style. This style was part of the 19th-century artistic movement that incorporated nature-inspired elements in structured, layered compositions. A strong Japanese/Chinoiserie influence was a hallmark of the era's decorative arts. P.D9 (f)heritage interiors, wallpapers, 19th century interior design, dado borders, aesthetic movement

Black and white photo of unknown woman with slick hair and curl on her forehead stands with a closed smile in front of a tree. She is wearng diamond shaped dangly earrings and a knitted jumper with geometric patterns with a black collar and three buttons in the centre. Roll of negatives of the Eltham Art and Craft Market dated June 1988. The market was regularly held in the carpark in front of the Safeway supermarket.Roll of 35mm black and white negative film, 24 shots; 7 stripsKodak TX 5063eltham, arts and craft, markets

Black and white photo of unknown woman with slick hair and curl on her forehead stands with a closed smile in front of a tree. She is wearng diamond shaped dangly earrings and a knitted jumper with geometric patterns with a black collar and three buttons in the centre. Roll of negatives of the Eltham Art and Craft Market dated June 1988. The market was regularly held in the carpark in front of the Safeway supermarketRoll of 35mm black and white negative film, 24 shots; 7 stripsKodak TX 5063eltham, arts and craft, markets

This object was donated by Dr Susan Kelly in memory of Dr Loraine Hibbard (1916-2002) Emeritus Consultant, St George Hospital, Kogarah, NSW. The maker and date of this object is unverified due to lack of supporting evidence. It is unknown as to the significance of the engraved Phoenix. Antique Sheffield electroplated silver, copper basket with swing handle. The bowl of the basket is octagonal with incised geometric and circular pattern along the perimeter. Engraved in the bowl of the basket is an image of a phoenix including a smaller image of a phoenix engraved on the swing handle. The silver has worn in some places in particular around the image of the phoenix in the bowl of the basket.electroplated silver, loraine hibbard, st george hospital, phoenix, susan kelly

White serviette with red oval badge printed in the corner. The badge is red with South Bendigo Football Club around the edge and SBFC in a white diamond in the centre. A + in each corner of the diamond. White rays from the edge of the diamond to the outside lettering. A football is at the top and S.B.F.C. is underneath and 1932 under the initials. The paper has geometric raised pattern.business, printers, cambridge press, cambridge press collection, south bendigo football club, serviette

This medal was produced in 1988 by the Australian Bicentennial Authority as a memento for distribution to all school students in Australia. It was one of many medals struck to commemorate 200 years of European settlement in Australia.This medal is of some interest as it is a memento of Australia’s Bicentennial celebrations and it is one that all school children in Warrnambool and district would have received at that time. This silver circular medal has five stars and a large group of men, women and children some of whom are holding hands and dancing on the reverse. On the obverse is a geometrical shaped logo and two sprays of leaves. The medal is encased in a three page green , gold, blue and red coloured card folder The inside area has the Australian flag and streamers. Medal: AUSTRALIA on reverse. AUSTRALIAN BICENTENARRY 1788-1988 On the back cover of the folder: A Coat of Arms and Governor General of Australia During 1988 we commemorate 200 years of Australia's history in the modern world and will be celebrating our Bicentenary in many different ways. But one thing that we should all be doing is thinking about what it is to be an Australian. We should be learning about our past, trying better to understand the present, and thinking of the part we can play in the Australia of the future. You are Australia's future . Keep this medallion as a reminder of this important year in our history. Signed Ninian Stephen bicentennary, schools

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. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Born digital photograph of the decorative tiles used in the surround of the fireplace in the second bedroom of Villa Alba. The brick red, monochrome, geometrically patterned tiles feature a neo-classical Late Victorian use of Ancient Greek fretwork. Each side of the surround has four of these large tiles. All of the tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- second bedroom

This photo album was collated by Ray Pearson, a tramways history enthusiast and collector. It was donated to the museum in 2012 along with one other photo album, by his grandson.This photo ablum is significant for containing a large volume of historic photographs of vehicles, personnel and events related to the the Victorian tramways - particularly Victorian Railways, Ballarat, Bendigo and Geelong tramways - from c1920's to c1994.Brown rectangular photo album (landscape format) containing photographs, newsclippings, postcards and other paper documents. The album contains 25 separate leaves plus a front and back cover. The album is bound on the left edge with brown cord, tied in a knot at the front. The spine and page edges are tattered and many of the photographs and documents within are loose.The front cover has a printed decorative border, rectangular in shape with a geometric pattern. The corners of the border also have decorative geometric shapes. Printed inscription within the border: PHOTOGRAPHS Hand written inscription in white-out or white pen: TRAMS of VICTORIAN RLYS. / BALLARAT. BENDIGO. GEELONG. Hand written inscription in black biro pen: RAY PEARSON collection Hand written inscriptions in biro and white-out or white pen for photographs and documents within. Sticker on inside left of back cover. Printed fine rectangular border with logo (depicting a lion holding a flag within a shield shape) and text within. On left: DICKINSON / LION BRAND / PHOTO ALBUMS On right: When ordering ask for / THE LUCETTA / ALBUM / Size of Leaf / No. 3011 10 X 8 / Also Stocked in / No. 3010 8 X 6 / No. 3012 12 X 10 Bottom edge outside of border: BRITISH MADE.victorian railways, photo album, victorian tramways, ray pearson, melbourne tramway museum, ballarat tramways, bendigo tramways, geelong tramways, melbourne tramways, vintage trams, historic tramways, cable tram, steam tram, dickinson, lion brand, lucetta album

Brown leather photo album with floral embossed front cover and a geometric embossed back cover. Inside back and front covers is blue and gold patterned paper. Album has broken silver catch. Album has Thirty one photographs. M/K 606 written in pencil on the first photo page. Photographs are not named and not dated. There is no record of the Donor.book, brown photo album

Samplers served as both a learning tool and a showcase of a young girls skill in needlework, literacy and numeracy.Sampler with floral border surround. Multiple rows of uppercase and lower case letters with numbers 1-11. Separated by rows of geometric and floral patterns. A row of Crowns, each has an initial above to indicate the title eg. K for King, D for Duke. Embroidered in Cross and half cross stitch in greens, browns with a small area of red stitching.Anne Fletcher 1841 " Sigh not for beauty nor languish for wealth But grant me kind providence virtue and health Then richer than kings and more happy than they May my time be spent sweetly and swiftly away"

Bought by Valda Arrowsmith during 1980sBeaded handbag. Background beading is in small grey beads. There are four square sections on each side with coloured beads forming geometric patterns in red, green, pink and white beads. There are two handles which are beaded in small grey beads with grey silk lining. The bag is lined with grey silk. There is a zipped compartment inside and a metal clip to close it.costume accessories, female

The geometric pattern mimic Ukrainian embroidery design,using straw marquetry technique (which is similar to that of wood marquetry). The wheat straw was soaked in different pigments to achieve the required shades,dried,split and ironed flat. Then cut into various sizes and shapes to create this pattern. The pieces where then glued onto a backing board.The backing board was then glued on the back of the photo album. This album was received as a birthday gift in early1960's.This form of straw art is very rarely seen today.Book is black.Back page is coloured straw design. photographsphoto, book, straw, ukrainian design, 1960, family dutka

This purse is an example of what is often described as the 1930s anachronistic meeting of industrial Art Deco and the arts and crafts movement, hand crocheted silk meeting geometric frames made of the 'modern' xylonite, an early version of bakelite. The Australian Arts and Crafts movement was at this time very focused on creating a notably 'Australian' design, utilising brown earthy tones and 'natural' shapes, such as this purse's spiral drawing on straw and taffeta purses of previous decades.Circular mount purse with xylonite chain interwoven with brown crocheted chain. Outside brown hand crocheted criss-cross stitch with scalloped edge. Xylonite mount with fleur-de-li patterning, edged with gold and black bead seed bead clusters. Opens with a push latch. Lined with a pink silk jacquard, opening embroidered with pink and green flowers. handicrafts, crochet, bags, handbags, purses, crocheting, wool, silk, cotton, 1930s, 30s, art deco, xylonite

The booklet outlines in detail all aspects of Orthophoto mapping including current equipment, reproduction techniques and the role of orthophoto maps as produced by the Royal Australian Survey Corps. An orthophoto or orthophoto map is a highly accurate geometrically corrected aerial or satellite image where distortions from camera tilt and terrain relief have been removed, resulting in a uniform scale. It therefore acts as a "map accurate" photograph allowing for precise measurements of distances and areas. A4 size booklet of 23 numbered pagesroyal australian survey corps, fortuna, army survey regiment, rasvy, asr

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Two identical black and white photographs of two men and one woman sitting on camels with two keepers standing in front holding their ropes. The man on the left is wearing a fez and white double breasted jacket, the woman in the middle is wearing a geometrical design dress and head scarf and the man on the right wearing a hat, shirt and tie is Frank Wright. They are posed in front of an Egyptian pyramid.frank wright, egypt, pyramid, camel, fez

Postcard with black and white image of Marle Hall Llandudno woven in pure silk surrounded by 1.5cm border with printed geometric pattern frame. Handwritten on top of postcard "How do you like this style Will". On reverse, addressed to Miss Dean McKenzie Street Golden Square Victoria Australia. 2/1/2 penny blue stamp posted in Australia attached W. H. Grant and Co Coventrypostcard