Acetylene lamp with metal base and white glass lampshadeRiemann DR.M.SCH - on upper body|Herm Reimann Chemnitz Gable N Zlighting, kerosene & oil

This is an example of a home craft object, designed for the user to decorate various objects.Multi-coloured beaded fringe used to decorate an object such as a lampshade.Nilfringes, glass beads, homecraft

This is an example of a home craft object, designed for the user to decorate various objects.Multi-coloured beaded fringe used to decorate an object such as a lampshade.Nilfringes, glass beads, homecraft

Owned by Mrs. Almeda BellRound cream lace covered lamp shade with floral design. Ribbon trimming.lampshades, lighting equipment

Etched glass shades provided a decorative way to enhance oil or kerosene lamps. Decorative shades became popular in the 1700s and the etched glass shade reached peak popularity in the Victorian era.This lamp shade is part of a large collection of different types of lamps and burners and provides interpretive context to the history of lighting and its development as a decorative item.Glass domed lampshade. It has an opening at the top and the bottom. The top opening is larger than the bottom opening. The glass is etched with floral motifs and patterns.lamp, lighting, domestic item, glass etching

Enamel lampshades (often called “shed shades” in farm or industrial settings) are durable, functional lighting accessories designed for tough environments like shearing sheds, barns, workshops, and outdoor areas.Round metal lamp shade with blue enamel exterior and white enamel interior.lamp shade, shed

Purchased by Christian Ziebell on one of his two visits back to Germany.This object is of primary significance. Christian Ziebell brought it back from Germany on his return visit to Germany in 1856. It always hung where it is now and it is retractable to different heights. It hung on the lowest chain length over the table and was only raised when the family had festive events such as dances when Dorothea would accompany them on the piano. Great care had to be exercised when the lamp was raised because if it went up too high, and therefore became too close to the wooden ceiling, it could cause a fire. Francis Adams – son of Sylvia Adams (Ziebell) restored the lamp in the 1990’s. This Miller-style hanging oil lamp is a rare and culturally layered object that connects American industrial manufacture with German domestic life and early migrant history in Victoria. Produced by Bradley & Hubbard (B&H) in the United States in the 1890s, the lamp displays characteristic features of the firm’s Rayo line, including a brass body, opaque white glass shade, quality burner mechanism, and a chain-operated raising and lowering system. The inscriptions “B&H Valpirfor” and patent dates 1894-1895 confirm its authenticity as an American-made B&H Rayo lamp. This lamp was likely purchased in Mecklenburg, Germany, reflecting the export of modern lighting technologies into rural German households in the late 19th century. The lamp’s significance is further enhanced by its believed association with the Ziebell family. It is understood that a family member brought the lamp to Melbourne on a subsequent return journey to Germany after the family had established themselves at Westgarthtown. As a result, the lamp embodies themes of migration, technological adaptation, and the lived domestic environment of the Ziebell family across two continents. Its high level of intactness, combined provenance and dual- history contribute to its importance as a culturally rich artefact within the Ziebell’s Farmhouse collection. Original Miller hanging lamp, made of brass and opaque white glass. Lamp has chain-operated raising and lowering mechanism. Decorative brass trimming around widest edge of glass lampshade. Contains tubular wick.B & H Valpirfor written on lowering mechanism on top of the lamp. Rayo 24.98, PAT'D. NOV. 20.94, FEB 28.95, written on top of oil compartment.lighting, kerosene & oil, oil lamp, hanging lamp, original.

Made by former internee of Camp 3 Handmade model of hut with front section of roof removed to show interior of kitchen, food preparation and food storage areas. 3 stoves, each with a flue to outside, 4 lampshades, 4 windows and 2 serveries and 2 doorshut - model, kitchen, streker l, camp 3, tatura, ww2 camp 3

Group photograph taken on the occasion of the opening of Lilliput Bridge in July 1911. Two individuals are identified on the back of the photograph: Olive Hiskins and her father John Hiskins.Group photograph, mounted on brown cardboard, Photographic studio identified at bottom of cardboard frame on front. Details of event and names of two individuals written on back.On back "Lilliput Bridge, opened July 1911". "Lady in lampshade like hat - Olive Hiskins, man to her right standing out front, her father - John Hiskins" On front "Thalma. Ilsley Opp. P.O. Rutherglen"olive hiskins, john hiskins, lillput bridge

Possibly made by the donor.This object is an example of trench art. .1 The lamp base consists of a chrome plated deactivated mortar bomb attached to a turned brown wooden base. A globe and switch socket are attached to the tip of the bomb. An electrical cord with power plug is threaded through the base of the bomb. .2 The lampshade is made of stiffened brown paper laced to a wire frame with dark brown cord. Handpainted coloured flowers decorate the outer surface of the shade. The shade is attached to the globe via a wire clamp.On the base of the mortar bomb: ' ?LB, IM, MF, 1940'ornaments, lighting - electrical, trench art, souvenir

Black and white photograph: 10 women standing in front of display of lamp shades. Photo taken in 1940's (? ) judged by attire of women. On back of photo written in blue: from left to right, Mrs. Carter, Mrs Hosking, Madge Mrs. W. Draper, Mrs. Grocott, Mrs. Wallace, Miss Stritch, Miss Lanyon, Mrs Theodore, Self - Mrs. N. McL. Young, Mrs Jennings. Photo given to 'Advertiser' by Audrey McKenzie for the 'as you were' section of paper.bendigo, clubs, mrs. carter, mrs hosking, madge mrs. w. draper, mrs. grocott, mrs. wallace, miss stritch, miss lanyon, mrs theodore, self - mrs. n. mcl. young, mrs jennings. women, lampshades

Originating in Sweden as early as the 17th century, Näversöm embroidery gets its name from a piece of birch bark that was used as a frame. Since the birch bark frame could be easily rolled up and carried to protect her work, the Shepherdess did her Näversöm embroidery while tending her animals. The Näversöm embroidery technique is unusual because it is entirely stitched from the back. The birch bark protected the front of the piece, and the final design was not revealed until the folk art was completely finished. This embroidery would have become extinct had it not been for a Swedish woman, who owned a needlework shop in Hudiksvall, Sweden, who studied the Näversöm stitchery and began teaching this specialized embroidery in the late 1800s. Näversöm had a revival in the 1960s and '70s in Sweden when several instructional articles were published. Näversöm was used as household linens, and in earlier times as lampshades that would display the beautiful artistry as the light shined through the needlework. Examples of new and old patterns are still available from Sweden. Swedish Näversöm MatCream mat in Swedish Näversöm technique. Mat design forms a diagonal cross.embroidery, mats, drawn thread

"26th March 2019 In contribution to the historical account of the Mission to Seafarers, Melbourne. To whom it may concern, In 2005, the Mission to Seafarers’ Padre Bevil Lunson assigned an upgrade to the existing bar and gift shop. The brief outlined alignment with health code and liquor licence regulations, rethink of stock display and aesthetic upgrade of white peg-board and fluorescent-lit display-case. Two students of architecture answered the call and provided pro bono design, building and installation services. Beyond the updated flooring, work surfaces and new hand-wash point their ethos of sustainable design presented a strategy of redressing the existing on a shoe-string; helping minimise trades and protect the heritage substrate. A new standing-bar was proposed to envelope the display case and re-orient the hall back toward the stage. Punters were directed to the seated-bar for purchases. The chosen palette aimed to anchor the bar below the hall’s half-timbered dado-line utilising the muted tones of recycled materials. Glass bottles set in resin diffusing panels and timbers sourced from throw-outs were dressed and composed to suggest the multiple approaches to a calling of the sea. This flotsam and jetsam was intended to provide a shifting background that is representative of the many walks of life that support and are supported by the mission. Two uninstalled elements further accented the design: -the flying angel logo was to appear hovering within the bar’s archway and also inverted by the dado-line in the bar’s rear mirror (refer attached sketch), -and the two lampshades, referencing the inverted form of nautical beacons, were to shepherd clientele to the bar (refer attached sketch). Where are they now? Derek Stevenson – Turner Townsend Thinc Stuart Webber – ARM Architecture The bar was dismantled during the renovation mid 2019 and replace by another bar.These documents provide insight into an early 21st C refurbishment to the interior of the MTSV and Mission club operations in the early 21st Century and provides names and details of both the consideration of the need to: protect heritage components, provide a functional service point, incorporate recycled materials that related to aspects of the sea and environment, the flotsam and jetsam that is found where the sea, and those from the sea meets the land. Also provides an example of early career designs by two practising 21st C Australian architects and designers. During the renovations in winter 2019, the decision was made to demolish to make space to another more convenient one brought from a cafe, along with new chairs and tables for the club.Digital copy files sent in March 2019 by architect Stuart Webber after a visit to the Mission. Along with two sketches he submitted, he sent a document telling how the bar came to life in 2005.bar, stuart webber, derek stevenson, mts club, mts interior, bevil lunson

Belonged to the Baroness Felicitas Wiedersperger of Tazvitz. The embroidery was worked by her sister, the Baroness Viola.Gold silk fabric with matching ribbon ties, trimmed with gilt handmade lace from the village of Tazovitz. Oval canvas, motif in petit point at the front. Lining is bright yellow cotton.embroidery, furnishings, canvas work, lamp cover, mid european, bird, floral, flowers

Two volunteer Arthritis Foundation of Victoria members chat while arranging clothes on the clothes racks at the Arthritis Foundation of Victoria's Malvern Opportunity Shop. The op shop was located at 1428 High Street, Malvern.COL photo of two women standing between several racks of hanging clothes inside a shop. The woman on the left is wearing a jade green Club Med t-shirt, and an aqua name badge with the text, "VOLUNTEER Arthritis Foundation of Victoria". The woman on the right is wearing a plain black t-shirt, and a yellow name badge with the text, "SUPERVISOR Arthritis Foundation of Victoria". Above the clothing rack behind them, there are several shelves on the wall containing basketry, electrical kitchen appliances, a lamp shade, and other miscellaneous items.arthritis foundation of victoria, afv, opportunity shop, op shop, charity shop, thrift store, fundraising, crocheted blanket, clothing, apparel, kitchen appliances, lampshade, baskets, basketry, volunteers, supervisor, members, malvern, 1999

Worn with going away outfit -Estelle Bannister 1963.Pale green velvet hat