On the 27th of May, 1994, the foundation plaque of the Arthritis Foundation of Victoria's new headquarters was unveiled. Named the Percy Baxter Arthritis Centre, the official unveilling was conducted by the Premier of Victoria, the Honourable Jeff Kennett (1948-). Located at 263-265 Kooyong Rd, Elsternwick, the construction of the new building was nearing completion. This photo is a close up of the foundation plaque hanging on a board between two gold curtains.COL close up photo of a bronze plaque hanging from a chain on a board. The board has two gold curtains which have been drawn open to reveal the plaque. The text on the plaque is: "ARTHRITIS FOUNDATION OF VICTORIA IN... [partially obscured] THIS PLAQUE COMMEMORATES THE FOUNDATION OF TH... [partially obscured] PERCY BAXTER ARTHRITIS CENTRE AND WAS UNVEILED ON THIS DAY THE 27TH MAY, 1994 BY THE HONOURABLE JEFF KENNETT, MLA PREMIER OF VICTORIA FOUNDER AND PRESIDENT DR LES KOADLOW CHAIRMAN BUILDING APPE... [partially obscured] WILLIAM L DIX, AO".[On a yellow sticky note, handwritten in black ink] May, 1994 Opening Percy Baxter Centrearthritis foundation of victoria, afv, percy baxter arthritis centre, new building, new premises, foundation plaque, unveiling, bronze plaque, easel, gold curtains, 1994

The Arthritis Foundation of Victoria's new headquarters was officially opened on the 19th of October, 1994, by the Governor of Victoria, Richard E McGarvie. Named the Percy Baxter Arthritis Centre, the new building is situated at 263-265 Kooyong Rd, Elsternwick. In this photo, Governor McGarvie, Mrs Lesley McGarvie, and the AFV's founder and President, Rheumatologist Dr Leslie Koadlow, pose for a photo beside a bronze plaque commemorating the official opening of the new building. This photo appears on page 2 of the Vol 7 No 4, Summer 1994 issue of the Arthritis Foundation of Victoria's quarterly magazine, Arthritis Update. It is captioned: "At the official opening of out [sic] new headquarters, from left AFV President, Dr L Koadlow, Mrs Lesley McGarvie and the Governor, Mr Richard McGarvie." A cropped version of the photo also appears (with other photos) on the front cover of the Vol 19 Issue 2, Winter 2006 edition of Update. The photos accompany an obituary for Dr Leslie Koadlow AO (1920-2006).COL photo of three people standing beside a plaque, which is handing on a board resting on an easel. Across the board is a small set of gold curtains, which have been drawn open to reveal the plaque. The text on the plaque is: "ARTHRITIS FOUNDATION OF VICTORIA INC. THIS PLAQUE COMMEMORATES THE OPENING OF THE PERCY BAXTER ARTHRITIS CENTRE AND WAS UNVEILED ON THIS DAY THE 19TH OCTOBER 1994 BY HIS EXCELLENCY, THE HONOURABLE RICHARD E McGARVIE AC, GOVERNOR OF VICTORIA PRESIDENT DR LES KOADLOW ARCHITECT MR GRANT ROSE".[Handwritten onto photo, in pencil] 2A [On a yellow sticky note, handwritten in pencil] Official opening of AV offices Elsternwick 1994 R Dr Les Koadlow - AV President Mrs Leslie McGarvie Mr Richard McGarvie - Governor of Vic.arthritis foundation of victoria, afv, percy baxter arthritis centre, new building, new premises, official opening, richard e mcgarvie, governor of victoria, leslie mcgarvie, dr leslie koadlow, rheumatologist, founder, bronze plaque, commemorative plaque, gold curtains, arthritis update, update, 1994

On the 27th of May, 1994, the foundation plaque of the Arthritis Foundation of Victoria's new headquarters was unveiled. Named the Percy Baxter Arthritis Centre, the official unveilling was conducted by the Premier of Victoria, the Honourable Jeff Kennett (1948-). Located at 263-265 Kooyong Rd, Elsternwick, the construction of the new building was nearing completion. In this photo, Dr Leslie Koadlow (Rheumatologist and Foundation founder), takes to the microphone while Premier Jeff Kennett, looks on.COL photo of two men standing at the front entrance of a reddish-brown brick building. One of them is behind a microphone on a stand. Behind them, there is an easel onto which rests a rectangular bronze plaque on a board. The board has a small gold curtain, which has been drawn open to reveal the plaque. There is also a freestanding, vertical "Move it or Lose it" banner on a stand. There are two people (partially obscured) standing in the background.[On a yellow sticky note, handwritten in blue ink] Dr Les Koadlow welcomes The Hon. The Premier. [On a MOVE-branded sticky note, handwritten in blue ink] Arthritis Update 1994 Vol. 7 No. 3 Unveiling a plaque commemorating the construction of the naw ['naw' is crossed out] new Elsternwick buildingarthritis foundation of victoria, afv, percy baxter arthritis centre, new building, new premises, foundation plaque, unveiling, jeff kennet, premier of victoria, dr leslie koadlow, rheumatologist, founder, bronze plaque, easel, gold curtains, move it or lose it, 1994

The Royal District Nursing Service (RDNS) Sisters are using a hoist to transfer a lady who has limited mobility into her wheelchair. The photograph is taken in the lady's home. From the founding of the Melbourne District Nursing Society (MDNS), in 1885, known as the Royal District Nursing Service (RDNS) from 1966, equipment was loaned and demonstrated to patients, and their family members, to enable them to care for their loved ones in their home. RDNS employed a Physiotherapist who taught RDNS staff the correct transferring techniques. New lifting techniques, such as the use of a hoist, was taught to RDNS staff and were used in patient's homes to undertake safe transfer of the patient and to reduce physical strain on RDNS nursing staff and family members. The Trained nurses of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.Coloured photograph showing Royal District Nursing Service (RDNS), Sister Helen Pelosi on the left hand side. She has short dark hair; is wearing a a light blue apron over her RDNS uniform, and is moving a lady in a hoist to a wheelchair. Another RDNS Sister, who has short blonde hair, is wearing her RDNS uniform of Royal blue V neck tunic style frock, with part of her white blouse seen and a navy blue cardigan. She has her right arm extended towards the top of a hoist. The lady is laughing and is suspended in a sling attached to the metal hoist. Around her neck is a white scarf with blue dots which is hanging over her red jumper. She is wearing a blue dress and long dark socks. Both her hands are extended upward holding onto the metal cross bar of the hoist. Part of a wheelchair is seen in the left foreground. Open long gold curtains with voile curtains in the centre can be seen in the background.royal district nursing service, rdns, patient care, rdns equipment, sister helen pelosi

The photograph is taken at a function in the Board Room of RDNS Headquarters, 452 St. Kilda Road, Melbourne. Miss Mary Evans was the RDNS Director of Nursing from 1963-1978,From its founding in 1885 until 1891, the Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS) worked from their own homes which were located in the vicinity of their areas (districts). The Committee meetings were held at the Religious Tract Society rooms at Queen’s walk, off Swanston Street and then at the Library Room at the Melbourne Town Hall. The Annual General Meeting was held at the Town Hall. In November 1891 MDNS was able to rent a two story terraced house at 66 Cardigan Street, Carlton, at £65 a year, which contained accommodation for three Nurses and one pupil nurse as well as being used as their Headquarters. They left from their Nurses Home each morning and returned at the end of their shift to write up their book work before retiring for the day. Three years later they moved into a larger terraced house at 49 Drummond Street Carlton which was rented at ‘a very moderate rental’. There was a Board room, apartments for the Nurses and pupil nurse, a large dispensary which patients could attend each evening to have prescriptions signed and bottles refilled with ‘homely remedies’ and elixirs, which were administered for e.g. to Consumptive cases. Doctor’s prescriptions were filled at the Pharmacy. Cupboards containing donated blankets and bedclothes for needy patients were kept in this room, and it was here where the Nurses kept their nursing bags which were refilled at the end of each shift ready for any emergency and for the next day. A list of Doctors the Nurses could call was kept by the telephone. The home also had a kitchen where nourishing soup was made and distributed twice a week to the needy. Milk was also distributed when needed. In 1902 they moved into rented premises at 188 Leicester Street, Carlton and two years later, in 1904, to premises at 5 Royal Terrace, Nicholson Street, Fitzroy where they remained for ten years. In June 1914 at last the Society had sufficient funds to purchase their own terraced premises, ‘Floraston’ 39 Victoria Parade, Collingwood which was their Headquarters and Nurses Home. In 1926 the After-Care Home for recovering patients, (later called After-Care Hospital) was built by the Society next door, running from 41-47 Victoria Parade (became No. 45); the District nurses (Sisters) continued to live at No. 39. In November 1953 the District Nursing Division moved into their new Headquarters and Nurses Home at 452 St. Kilda Road, Melbourne. As RDNS expanded and now, with Centres opening throughout the suburbs, the Sisters lived in their own homes and the Nurses Home at 452 closed and those rooms used for administrative purposes. On April the 1st 1996 RDNS Head Office relocated to 31 Alma Road, St. Kilda. Coloured photograph taken at a function in a room at Royal District Nursing Service (RDNS). It shows, left to right, Sister Bev Armstrong, who has short blonde hair, Miss Mary Evans, who has short curled brown hair and another RDNS Sister who has short dark hair. The two RDNS Sisters are wearing the RDNS summer uniform of a white blouse under a royal blue V neck tunic style dress with the RDNS insignia on the left hand side. Miss Evans, is wearing a long dark coat. The three are smiling and the Sister on the right is looking at Miss Evans who is turned slightly and has part of her right arm resting over the top of the back of the chair. They are sitting in front of a window and opened gold long curtains. A tree is seen through the window. Both RDNS Sisters have cups in their hands.royal district nursing service, rdns, rdns headquarters, miss mary evans, sister bev armstrong

The RDNS Sisters are attending a functions being held in the Board Room at RDNS Headquarters, 452 St. Kilda Road in Melbourne.From its founding in 1885 until 1891 the trained nurses of the Melbourne District Nursing Society (MDNS) worked from their own homes which were located in the vicinity of their areas (districts). The Committee meetings were held at the Religious Tract Society rooms at Queen’s walk, off Swanston Street and then at the Library Room at the Melbourne Town Hall. The Annual General Meeting was held at the Town Hall. In November 1891 MDNS was able to rent a two story terraced house at 66 Cardigan Street, Carlton, at £65 a year, which contained accommodation for three Trained nurses (Nurses) and one pupil nurse as well as being used as their Headquarters. They left from their Nurses Home each morning and returned at the end of their shift to write up their book work before retiring for the day. Three years later they moved into a larger terraced house at 49 Drummond Street Carlton which was rented at ‘a very moderate rental’. There was a Board room, apartments for the Nurses and pupil nurse, a large dispensary which patients could attend each evening to have prescriptions signed and bottles refilled with ‘homely remedies’ and elixirs, which were administered for e.g. to Consumptive cases. Doctor’s prescriptions were filled at the Pharmacy. Cupboards containing donated blankets and bedclothes for needy patients were kept in this room, and it was here where the Nurses kept their nursing bags which were refilled at the end of each shift ready for any emergency and for the next day. A list of Doctors the Nurses could call was kept by the telephone. The home also had a kitchen where nourishing soup was made and distributed twice a week to the needy. Milk was also distributed when needed. In 1902 they moved into rented premises at 188 Leicester Street, Carlton and two years later, in 1904, to premises at 5 Royal Terrace, Nicholson Street, Fitzroy where they remained for ten years. In June 1914 at last the Society had sufficient funds to purchase their own terraced premises, ‘Floraston’ 39 Victoria Parade, Collingwood which was their Headquarters and Nurses Home. In 1926 the After-Care Home for recovering patients, (later called After-Care Hospital) was built by the Society next door, running from 41-47 Victoria Parade (became No. 45); the District nurses continued to live at No. 39. In November 1953 the District Nursing Division moved into their new Headquarters and Nurses Home at 452 St. Kilda Road, Melbourne. As RDNS expanded with Centres now opening throughout the suburbs, their Trained nurses (Sisters) lived in their own homes and the Nurses Home at 452 closed and the rooms used for administrative purposes. On April the 1st 1996 RDNS Head Office relocated to 31 Alma Road, St. Kilda.Colour photograph of Royal District Nursing Service (RDNS), Sisters who are standing in a room - left to right - .....Pat (Paddy) Rowley, with short brown hair and wearing glasses, Kath McLean, with short dark hair, Betty Harris, who is wearing glasses and with short brown curly hair and on the far right Ruth May, wearing glasses and with short dark hair, Sister May and the unknown Sister on the far left hand side, are wearing the RDNS summer uniform of a white blouse under a V neck royal blue tunic style frock. The three Sisters in the centre of the photograph are wearing the RDNS winter uniform of blue/grey skivvies under their blue/grey herringbone woollen V neck tunic style frocks. The RDNS insignia is on the upper left of the uniforms. Opened gold long curtains are in the background, along with three wooden chairs which have green backs and seats. The chairs are partly hidden by the standing Sisters. A vase of plumed feather flowers is behind Sr. Harris. Part of a white clothed table, with silver cutlery and white plates on it, is the the foreground.rdns, royal district nursing service, rdns uniform, rdns headquarters, sister ruth may, sister kath mclean, sister pat (paddy) rowley, sister betty harris

In 1989, Glen Arbuckle was awarded the Pfizer Young Achiever’s Award for Victoria. In this photo, Glen (centre, front) with his parents, Lorraine and Gavin Arbuckle, and sister, Michelle, pose for a photo with Victorian Football Leauge (VFL) footballer, Michael Roach (Richmond player, 1977-1989), Geoff (a Pfizer pharmaceutical company representative) and Barry Cummings. (L-R, back): Michael Roach, Geoff, Michelle Arbuckle, Barry Cummings, Lorraine Arbuckle, Gavin Arbuckle. (Centre, front): Glen Arbuckle.COL photo of a small group of people posing for a photo. A boy, who is a wheelchair user, is positioned at the front and centre of the group, while the others, all adults, are standing behind him. A woman has one hand on one of the wheelchair hand grips. A man on the left of the frame is holding a large open bound book, while the boy has a large closed book on his lap. Behind the group are some gold and beige striped curtains covering the large floor to ceiling windows. The windows are situated on either side of an open doorway. To the right of the frame, affixed to the wall, there is a smoky grey perspex telephone booth surrounding an orange public phone (partially obscured).[On a pink sticky note, handwritten in blue ink] Lorraine Gavin Arbuckle sister Michelle Arbuckle Barry Cummings Michael Roach Geoff (Pfizer)arthritis foundation of victoria, afv, children with arthritis, juvenile arthritis, glen arbuckle, young achiever’s award, lorraine arbuckle, gavin arbuckle, michelle arbuckle, barry cummings, sponsors, pfizer, geoff, michael roach, richmond football team, victorian football league, vfl, 1989

Seafarer playing snooker in the Billiard Room.This photograph shows that the room marked "Billiard Room" in gold lettering on the door, was once used exclusively for that purpose, although no longer. Billiards was once a very popular pastime for visiting seafarers. The billiard table has long since gone and the room is now used as a karaoke and music room. There is still the option of playing pool or table tennis but these have been moved out in the main hall.Black and white photograph of a man leaning across the billiard table in the Billiard Room of the Mission to Seafarers Melbourne. The man is aiming to take his shot. There are curtains covering the windows in the background and pendants lights handing down over the table. There is a couch against the rear wall of the Billiard Room.Pen on reverse of photograph: "2" enclosed in a circle.couch, curtains, pendant-lighting, billiard, billiard room, balls, pool, seamen, sailors, seafarers, seamen's mission, mission to seafarers, flinders street, melbourne, billiard table, billiard cue

Whitish card with pale green shaded edges. Near the top is a brown window with green curtains and looking out to a rural scene. In front of the window is a table with a green cloth on it, a green vase of pink blossom and an open book with 'Best Wishes' printed on it in black. At the bottom, printed in brown and gold is a verse by Whittier. Card & insert held together with a greyish ribbon.Raphael Tuck & Sonsperson, greeting cards, malone collection, malone collection, greeting cards

Small creamy card with celluloid front sewn onto card back. At top are two small scenes as seen through a window with purple curtains on each side. Window frames are gold. Below is a gold horseshoe. Below on the left is a blue & gold vase with 3 dark pink roses in it. In the bottom right corner printed in gold and embossed is: To Greet You. Card & insert held together with pale blue cord.Raphael Tuck & Sonsperson, greeting cards, malone collection, malone collection, greeting cards, raphael tuck & sons

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

B&W photo showing the altar in the St Martins Anglican Church, Belgrave South, prior to its relocation. The photo shows the wooden altar, covered with a gold and white altar cloth and a white lace overlay. On the top are two candlesticks and a small vase with flowers, and behind them in a raised part are two larger vases with flowers and a cross on the top of a stepped plinth. The top of the altar is surrounded by riddels (curtains) supported by riddel posts. On the wall behind the altar is the stained glass window, 'The Light Of The World'. In front of the altar on the right can be seen part of the railing between the sanctuary and the nave.

Rectangular, wooden 10 Half Corona cigar box with a Henri Wintermans logo in the centre of the lid and a red, white and gold floral border around the lid and box.Henri Winterman logo on lid with a coronet surmounting a pair of stage curtains and five gold coins underneath, all surrounded by a gold border. "Holland 10 cigars" on the base and "Half Corona" surmounted by a coronet along front edge of the box.boxes, smoking equipment

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. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).The tiebacks complete with tassels are historically significant for being associated ensuite with DAD-035-0001, the suite of curtains. The tassels have aesthetic significance as beautiful and intricate pieces of late 19thC interior decoration.6 parts of a total of 3 pairs of curtain tiebacks. Each pair comprises a length of plain gold silk cable cord plus a second, equal length with a magnificent tassel in the middle; the two pieces would loop around the lower-middle length of each curtain, pulling it open in a graceful drape. One pair is slightly shorter than the other two. The tie backs are made of floss (soft, shiny) silk cord, composed of two thick strands twisted together into a cable cord. Three lengths have an elaborate tassel attached to the middle of each cord, to weight the tieback in an elegant loop, with the loose ends attached to hooks or pins on the window frame. Each tassel is formed on a turned wooden core, wrapped with floss silk thread; further decorated with knotted netting, applied braid, and 16 glass beads. The big end of the mould forms a large, flattened shape, from which hangs a ring of long bullion fringe. Today this looks tarnished-silver (nearly black), colour, but as shown by the card of detached lengths of bullion fringe (DAD-035-0005), the untarnished colour would have been bright gold. Part of a group of 7 curtains with associated furnishings which includes a curtain with original fittings, fringe and braid unpicked from other curtains, and these 6 curtain tie backs. The six curtain tie backs are identical, though one pair is shorter. These curtain decorations are truly luxurious; the original suite of curtains would have been very expensive, an eloquent item of conspicuous consumption of luxury goods.Attached handwritten note : "VA Th. 7/6/2012 Ric Freeman 0419875707 (Nat Trust member) & Julie Freeman 0419875706 / re soft furnishings, tassels, trimmings, braid set / Jessie, Terry (and Chris St) to view, collect". The phone numbers were tried in October 2024, and though picked up, the contacts did not want to talk about the curtain donation.interior decoration - history, curtain accessories, tassels

It is not clear that this fringe was ever attached to the curtain suite; it may have come from an associated part of the original ensemble (eg pelmet) or from associated furniture. However, it is certainly connected to the fringe on the tieback tassels, whose tassels are finished with the same product. The detached gilt metal fringe has aesthetic significance as specimen of an opulent furnishing decoration in very lavish contexts, such as gold rush Victoria. Part of it still preserves the original bright gold metal, ie is untarnished; this is probably quite rare in Australian collections.Board wrapped w c.17m of heavy gilt metal fringe (known as bullion fringe) in several pieces, evidently detached from curtains, and/or furniture items. (No sign of it having been attached to the curtains). The fringe is composed of metallic thread very tightly wound over a cotton/linen thread, attached to a narrow header braid with an ornamental design worked in metallic gimp cord. The colour was originally gold, now tarnished on all parts exposed to air, but sections of the fringe under the top layers retain the luxurious gold finish. Westman (2019: 242) explains that 'gold thread' was made of gold fired onto silver bars from which thin, flat or round wires were cut to wrap around a core linen thread for use in trimmings. Shen notes that the very thin layer of gold often wears away, exposing the silver which tarnishes. Bullion fringe: fringe made of bullion, in the sense of precious metal, used for prestigious royal, ecclesiastical and military garments and furnishings. Westman (2019: 193, 240) says that by the 19thC, the name was also used for twisted thread long fringe made of wool, silk, cotton or a mix, as it is today. In this form, 'bullion fringe' became a lavish edge-trim in the early-mid-19thC wherever its vertical look could add richness to drapery. interior decoration - history

The curtains are significant for their comparative rarity of survival, 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.7 curtain panels, all the same size, possibly to fit a 3-light bay window; or alternately, to fit 3 windows in the same room (or something else altogether, if this is not the original total number of panels). Fabric: silk-wool mix, sky blue ground with narrow vertical gold stripes. The fabric is a damask weave with a watered (moiré) finish; the large, woven motif depicts an urn filled with stylised flowers, leaves and curlicues; the spacing of the motifs is more 19thC than older styles using much the same motif. Each curtain drop is decorated with an applied band of narrow, colour-matched gimp braid around the sides and lower end. The bottom hems are weighted with what feels like lead shot. The curtains are lined with sturdy brown cotton. They are gathered at the top edge on drawstring tape; and hand-sewn with small metal hanging rings. Faded vertical bands of sun exposure are visible on most of the curtains, and one panel has a mended tear on a lower side. Otherwise they are in excellent, sound condition.interior decoration-19th century, curtains-19th century, colonial taste-victoria, gold boom melbourne

This is the same gimp as on the curtains. Probably saved because it was beautiful and expensive, but inherently decontextualised from its original historic use.The detached gimp has some (but perhaps not much) historical significance, having some association with highly decorated suite of curtains DAD-035-0001. Length of decorative upholstery gimp, unpicked from original curtains and wound onto a piece of card for storage. Gimp is a type of upholstery trim. a flat tape made up of threads or fine cords forming a wave or chain design, held in place by another wavy cord to produce an openwork, geometric braid. In this item, the cords are respectively light blue and metallic gold (much of it tarnished to silvery colour). The gimp is en suite with the set of curtains and their ornaments (qv) - another luxurious trimming for expensive furnishings.upholstery trimmings

The striking fabric of this wall hanging was recovered from the sinking Schomberg. It was originally one of the many curtains adorning the captain’s cabin and ladies’ saloons that attracted first-class passengers to this luxury vessel, built for comfort and speed. The clipper ship was on its maiden voyage, full of passengers emigrating to Australia in 1855. Its commander was Captain James Nicol Forbes, who had been selected by James Baine & Co for his navigation skills, experience, and reputation for breaking sailing records. However, on December 26th, 1855, the vessel became stranded and sank west of Cape Otway, not quite reaching its destination of Melbourne. A reporter explored the Schomberg before its journey; the following detailed description is an excerpt of his article published in a newspaper after the disastrous voyage was announced. “ … descending by a flight of stairs, covered with carpet of a very rich pattern, we came to the saloon passengers’ cabin. This is a noble place, and all that refined taste would suggest has been done to make each berth a miniature palace. The bedding is of the very best material, and the fittings are replete with every convenience. The carpets are of various coloured velvet pile, and the curtains are of satin damask, lined with white satin … The fronts of the berths are highly decorated, and festoons of flowers are painted on the panels … No two berths are furnished with the same-coloured material … the visitor is, therefore, much pleased with the variety which he has to inspect….” (Trove: Shipping Gazette and Sydney General Trade, 31 Dec 1955, p. 283) The curtain material, ‘folded into a single piece and parcelled for protection’, has been passed down through generations of Captain Forbes’ relatives, starting with his half-sister Isabella Jeffrey Nicol. The curtain has remained with the family, although some transition details are incomplete. About a century later, Isabella and Blakiston Robinson’s great-grandson and his wife had the fabric professionally mounted as a wall hanging to showcase the beauty of the woven brocade. Eventually, the custodianship of the curtain was transferred to the donor, who is also a great-grandson of Isabella and Blakiston. He and his wife hung the curtain on the wall of a high-ceilinged room in their home, away from direct light, making it visible for all to appreciate its beauty and significance. In 2024, they donated the curtain for inclusion among the collection of artefacts that help tell the story of the Schomberg and those who sailed on its first and last voyage. The donor’s aunt was highly involved in the family’s history. She had collected and recorded information that dates back to pre-1341. A footnote included in a handwritten letter dated April 20, 1959, from the late Arthur William Rudd, OBE, MA, LLB, husband of another of the donor’s aunts, states, “The curtains you mentioned came from the Schomberg. AWR.” CAPTAIN JAMES NICOL FORBES (1821-1874) and the donor’s family: - Captain Forbes was born in Aberdeen. In his late teens, he moved to Liverpool, a hub for international trade and an emigration port. By the age of 25, he was master of the Prince of Waterloo and later, the Wakefield. He then commanded the Cleopatra for the James Baines Co., which, two years later, transferred him to command the Maria, providing fast and lucrative passage to the gold fields in Ballarat, Australia. James Baines Co. and shipbuilder Thomas Mackay formed the Black Ball Line of clipper ships in 1852. Forbes was appointed master of the largest ship in the fleet, the marvellous Marco Polo. He broke the record time for the passage to Australia, taking only 68 days at sea, and the return journey in only 76 days, a total of 5 months and 21 days. On his second voyage to Melbourne in the Marco Polo the following year, he took 75 days, and 95 days on the return trip. His accomplishment made him famous. James Baines reported that the Marco Polo was the only ship, sail or steam, to do the round trip within 6 months, and it had done it twice. Captain Forbes then took command of the American-built clipper Lightning, one of four built for the Black Ball line. His 19-year-old half-sister, Isabella Jaffray Nicol, was also onboard when he sailed for Melbourne in 1854. During the 77-day voyage, Isabella met Blakiston Robinson, and not long after the ship arrived in Melbourne on July 31, the couple married, with James Nicol Forbes as a witness, on August 16. When Forbes returned to Liverpool, he took a record-breaking 63 days, which has never been bettered. James Baines Co. ordered a new luxury emigrant ship from Alexander Hall of Aberdeen; the Schomberg was the largest sailing ship ever built in Britain. On October 6, 1855, the vessel departed Liverpool commanded by Captain Forbes, with 430 passengers on board, 54 of whom were First Class. It had almost completed its voyage to Melbourne when, on the night of December 26, it ran aground west of Cape Otway. Captain Doran, master of the steamer Queen, responded to the distress signal while on its way to Portland and, with the agreement of his passengers, rescued as many as possible from the Schomberg and returned to Melbourne with them. Captain Helpman, master of the steamer Champion, rescued most of the remaining Schomberg passengers on December 27. On Friday, 28th, Captain James Lawrence was on his way to Adelaide in the steamer Burra Burra, and called past the Schomberg. He reported that the remaining crew were all doing their duties, but the Schomberg was deteriorating on a sand spit and had about 16 feet of water in its hold. That same day, the schooner Jane Elizabeth collected 220 packages of passengers’ luggage to deliver to Melbourne on the 29th. Two steamers also arrived on the 29th with 20 men to collect passengers’ luggage and valuable ship’s cargo items. They were accompanied by water police, customs agents, company representatives and a Lloyds agent. The decision was made to abandon ship on the 30th due to rough and unsafe conditions. The officials and Captain Forbes voyaged to Melbourne, while the seamen remained behind awaiting rescue. Evacuation by sea became too risky, so on January 2, 1856, while the first Mate and Steward remained at the wreck site, the rest of the crew began the 70-mile march to Warrnambool, led by the band. They arrived on January 5th and left for Melbourne on the steamer Champion on January 10th. Parts of the Schomberg wreck ended up in New Zealand. The curtain is important for its connection to the Schomberg, which was unique for being designed and built in Aberdeen, and commanded by an Aberdonian who was the most celebrated clipper captain of the age. The ship was the largest sailing ship ever built in Britain, and reported as the largest vessel that sailed to Australia. The curtain is an example of the rich decorative furnishings available in 1855. The preservation and respect the donor and his family have shown towards the curtain over many decades reflect its important role in telling the family’s history; the journey, the romantic attachment, the family connection to the sea, and travel in gold rush times. The curtain is significant for its connection to James Nocol Forbes, a famous sailing ship commander who broke several sailing records, one of which has never been bettered. This wall hanging, also known as the Schomberg Curtain, was created from a curtain recovered from the stranded luxury ship Schomberg in December 1855. The woven satin damask fabric in blue and cream has been meticulously joined to blend the intricate pattern. The reverse features a soft cream lining. The hems at the top and bottom of the fabric hold wooden rods. The side edges feature decorative braid that has been hand-stitched in place. On the reverse, the bottom hem includes the same braid, which remains unseen from the front, and the centre of the top hem has a hand-worked, unused buttonhole. Each of the hems varies in depth. The curtain was tastefully mounted later to highlight the beauty of the original saloon curtain. A decorative twisted cord of cream silk threads, accented with gold highlights and decorative tassels, was coiled and attached to the ends of the top rod. The elegant display was completed with an ornate gold hook, chosen to complement the wall hanging.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, shipwreck artefact, memorabilia, curtain, saloon curtain, schomberg, wall hanging, decorative object, domestic item, warrnambool, flagstaff hill, maritime museum, maritime village, maritime history, shipwreck, stranding, schomberg curtain, schomberg wall hanging, luxury ship, 1855, damask, silk damask, blue and cream, captain’s cabin, ladies’ saloon, clipper ship, migrant, emigrant, liverpool to australia, captain james nicol forbes, james forbes, captain forbes, bully forbes, james baines & co, james baines, cape otway, aberdeen, prince of waterloo, wakefield, cleopatra, maria, thomas mackay, black ball line, marco polo, sailing record, lightning, isabella jaffray nocol, blakiston robinson, alexander hall, steamer queen, captain helpman, james lawrence, steamer burra burra, steamer jane elizabeth, water police, customs agents, lloyds agent, ship’s band, walk to warrnambool, march to warrnambool, steamer champion, agnes nicol robinson, arthur william rudd obe ma llb

Part of a suite of decorated curtains, DAD-035-0001 to DAD-035-0005Though partial and damaged, these decorative 'ropes' are historically significant as evidence of further elaborate decoration of the curtain ensemble.2 lengths of decorative trimming; one piece longer (5.4m) than the other (4.5m). Essentially composed as long thin ropes of gold-coloured silk satin, stuffed with cotton wool, and twisted with a narrow gold-coloured woven metal braid. They function as soft, loose cords for ornamental draping around/in front of the curtains, perhaps on a pelmet (though no pelmet of valance survives). The longer piece contains 3 groups of furniture tacks for pinning the cord to enable loose, draped sections. interior decoration, curtain accessories, interior decoration - history