Two cardboard wall hangings with religious Psalms. One with floral decorations & silver lettering & one in shape of sail with silver lettering on pale portwine background.To Ruby Dowsey for highest possible marks for attendance and good behaviour for year ending Dec 1908. 1st Place. To Arthur Dowsey for Choir Year ending December 1908.personal effects, religious, malone collection, malone collection, religious wall hangings, ruby dowsey, arthur dowsey

Mother Of Pearl wall Hanging 11,609-2 Floral Mother Of Pearl Hanging 10,609-3 Floral Mother Of Pearl Hangingmother of pearl, wall hanging

This broderie perse' wall hanging was donated to the Kew Historical Society in 1980 by Mrs Joy Ivory. The hanging had belonged to her mother - Amy Grigg - and was used by the latter to demonstrate skills in darning (the red stitching). Provenance includes a certificate dating from 1889 which records an award to Amy Grigg of Pakington Street (Kew) for skills in needlework, issued by the Kew Floral Industrial & Art Society. Amy Grigg later married Albert Watson, the son of John Watson. The latter was an early pastor of the Kew Methodist Church in Highbury Grove, Kew. Both the Watson and Grigg families were early pioneers of Kew. While the hanging was modified by Amy Grigg in 1889, the original textile dates from an earlier period when 'Broderie Perse' (Persian embroidery) was used to create quilts and wall hangings. It is estimated that the hanging dates from the first half of the 19th century. An exact dating will require a detailed examination of the cotton chintz fabrics used to embroider the hanging. This appliquéd wall hanging is one of the earliest textiles in the Kew Historical Society's fashion & textiles collection. Similar examples are held in major international collections such as the Victoria & Albert Museum. This example of broderie perse is significant for the cross-cultural influence of Indian textiles on European taste, not unusual given the English foothold in India during this period. Additional interest is due to the mixing of Indian and European textiles in the design, while staying true to the derivation of the design. The textile is both well-provenanced and rare. While it is unlikely to be Australian-made, it is probably an example of a textile brought to Australia during the colonial period that indicates a desire to decorate interiors using items created in and for the English home. On another level, the wall hanging is a fine example of 'women's work' in the first half of the nineteenth century.Small wall hanging, comprised of five panels that are each appliquéd by hand in herringbone stitch using a range of decorative figurative motifs including flora and fauna. The design is based on an Indian palimpore representing a tree of life design. The base textile is a cream linen while the appliquéd figures or shapes are cut from cotton chintz. These additions are probably a mix of Indian and European designs. The quality of the herringbone stitching is very fine. Later stitching in red wool was added in the 1890s to demonstrate skill in darning. The main panel is bordered by a narrow green and ecru braid. It has a narrow tan braid at the top and bottom of the two side panels. A surrounding tan braid around the entire textile is missing in some places. textiles, applique, broderie perse, amy grigg, wall hangings, migration

Embroidered for the 150th anniversary of Victoria. Presented to the Collection by the participants in February 1987. Makers listed on reverse of hanging.Canvas wall hanging made up of 63 panels commemorating Victoria's 150th anniversary in 1985. Included are the symbols for this anniversary, the Guild and the Guild house. Lower right corner has the initials W.S. (Win. Saunders) who co-ordinated the project, having members (listed on the reverse of wall hanging). Work 15 cms. squares. Lined with purple cotton, 10 loops across top through which a brass rod is passed.1986 in pen on reverse, and list of names of embroiderers.embroidery, wall hangings, 1980-2000, australia, canvas work

Beige, diagonal-shaped wall hanging pouch to hold letters and papers, with tapestry floral pattern and white and silver beading. The pouch has a crimson, satin lining, gold-colouring backing and brown and black braid edging.pouches, wall hangings

Gift of the late Mrs Lily Louch via her daughter Mrs D. Anderson.Persian design covered with wool embroidery. Dull orange, peacock blues, pink. Gold metal thread outlining design. Small clusters of tiny red beads. Red velvet edge and red fabric backing. Five tabs for hanging on a rod.embroidery, wall hangings, late 19th century, surface stitchery

Four large wall hangings joined depicted the Trung Sisters on Elephants defeating the Chinese Rule over 2,000 years agomother of pearl, wall hanging

These types of wall hangings are commonly used in homes, temples and meditation spaces to bring blessings, good fortune and to remind practitioners of the Buddhist teachings.The eight auspicious symbols represent blessings, spiritual qualities and the path to enlightenment. They symbolise the totality of the Buddha’s teachings and the harmony of the universe.Two identical hangings feature the eight auspicious symbols of Buddhist iconography: the precious parasol, white conch shell, two golden fish, eternal knot, treasure vase, victory banner, lotus flower and dharma wheel.holy objects, worship devices

Made by Mavis Kaross people in South Africa/Mozambique and presented to Pam Breukhoven in friendship. Embroidery is a traditional skill for most Vatsonga and Northern Sotho people. Kaross revived this skill by making it commercially viable and has grown into a South African success story that now employs around 1300 embroiderers in the Letsitele/Giyani area. It produces a comprehensive range of premium quality products from placemats to cushion covers, handbags and wall hangings. These individual hand-crafted works of art retail through outlets in major tourist hubs such as our international airports, or direct to the public through the newly launched Kaross online shop.Irma van Rooyen, Founder of Kaross, says - the Tsonga people told me their stories and I became inspired. By their humanity, their space, their life - so utterly proud. By their eagerness to be involved and to be part of the project. These talented women and men, together, raised up the Kaross project from its beginning. And now, the drive to never give up, to keep on exploring and developing and growing. And learning to be stronger together. To you, whose path I am privileged to share, I owe my inspiration. The Tsonga people (Vatsonga) are a diverse Bantu ethnic group primarily inhabiting southern Mozambique, South Africa (Limpopo/Mpumalanga), and parts of Zimbabwe and Eswatini.Picture of a rhinoceros and a tree, stitched in perle threads, navy, rust, cream, blue, aqua, purple, green. Mounted in a frame (dark brown timber) and steel mount.MAVIS KAROSSembroidery

Photograph of Daylesford Visit 24 September 1997 Main Passae with displays of walls Berry Wegener and Charlie Bonved Photograph of Daylesford Visit 24 September 1997 Main Entrance and end of Passage Photograph of Wardrobe Photograph of Wardrobe and Wall hangings Photograph of Room with Large Painting on Wall Photograph of White Machine Photograph of room with Blue Door Photograph of Room with Big Mirror Photograph of Ceiling with Multiple wall hangings Photograph of Room Photograph of Room set up for showing of jackson Films L2R Wally OBrien Dorothy Carlton John Willaton Les Nulde Charlie De Photograph of Room Photograph of L2R John Willaton Unknown Wally OBrien Dorothy Carlton Ray Carlton in Projection room Daylesford Museum Photograph L2R Max Unknown Norm Carlton Eric Wegnener John Willaton Lunching in eating area Photograph Hayrake Tractor at Rear of Rake Photograph Reaper Binder in Museum Photograph Potato digger LH in front Wet Stone Grinder rear of Digger Photograph of equipment Photograph of building Photograph of landscape Photograph of bus in the landscape Photograph of pond in the landscapedaylesford historical society

Inge Cammans was born Ingenborg Flachs on 13 March 1932 in the Netherlands. She married Theodore Cammans on 27 April 1959 in Valkenburg. Inge was a dressmaker, and Theo a butcher. Later that year they emigrated to Canada, then in the mid 1960’s arrived in Australia. After arriving in Australia, they settled in East Gippsland. After some time in Sale, they moved to the small country town of Buchan and for two years they operated the local butcher shop and then took over the kiosk at Buchan Caves Reserve, which they ran for 13 years while raising their four children. Around 1980 they retired to the main street of Buchan. There they bought and restored the "Callemondah" property and opened a small craft and gallery space called the Buchan Black Marble Hut to display and sell Theo’s beautiful woodwork, stone craft and paintings. Although they were quite busy with the tourist trade, Inge fast became restless and borrowed a spinning wheel from a friend to try out. She taught herself how to spin and knit over the course of two months. From there, Inge went on to win a vast array of awards for her knitting - the house was full of walls upon walls covered in certificates, sashes, newspaper articles and pennants. She never used dye and only ever worked with natural wool, and would regularly travel out to the local farms to choose the colour of sheep she wanted. She would take the fleece to spin and then design and knit, crochet or latch hook every item from scratch, often inspired by techniques from dressmaking, and make knitted garments appear or behave the same way, despite its very different construction. This outfit was made by Inge in 1998. She was intrigued to figure out how to create the kilt pleats, the plaid pattern and the structure of the head piece. It was never intended to be worn out and about. She did knit items to wear, gift or sell, but the vast majority of her creative pieces were specifically intended as show submissions. This outfit was entered in the National Wool Awards competition in 1999 and won first prize. Hand knitted cream and brown outfit consisting of a skirt (kilt), jumper, hat (beret), scarf, socks and bag. Outfit is made using hand spun wool from local East Gippsland area, Perendale and Mohair. An artist tag and rosette award accompany the outfit.tag [front]: [handwritten] SCOTTISH OUTFIT / DESIGNED HAND- / SPUN + KNITTED OUT / OF PERRIDALE + / MOHAIR BY / Inge Cammans / [printed] BUCHAN / BLACK MARBLE HUT / GALLERY / Main Street, Box 9, / Buchan, Vic. 3885 / (051) 55 9296 / AUSTRALIA tag [back]: Theo Cammans / is an exceptionally talented individual. / He is responsible for not only / the beautiful paintings and / woodwork throughout the / shop, but also fashions the / unique Buchan Marble / into many varied and / stunning designs. / Inge Cammans / using her own hand spun / wool she has made multi / award winning garments / and wall hangings. / Each item in unique and / renowned world wide / She has taken first prize at - / National Wool Awards, / Melbourne, Lakes, Bairnsdale, Omeo / Paris Exhibitor front [rosette]: OMEO & DIST. A.&P. SOCIETY / WOOL DESIGN AWARDS / 1stknitting handicrafts, cammans, mr theo, knitting, handicrafts, east gippsland, inge cammas, buchan, migration, buchan black marble hut, awards

This item is part of the Giles Collection, dating back to the late Victorian era, from the 1880s to the early 1900s, in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hangings that enjoyed the height of their popularity during the Victorian era were of the spiritual type with either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, enamelled or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society. The Giles Family There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as a family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940.The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established. This wall decoration reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. Printed card wall hanging with floral design. Religious text on the sign is embossed onto the card and highlighted in silver print. There is a handwritten ink inscription, and a pencil inscription, on the back. A string is attached to two holes on top of the card. Embossed"THE BLESSING / OF THE LORD/ BE UPON YOU." "PS 129.8." In pencil "H/S" In ink "To dear Granny with lots of love / from Dorothy. X X."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, paper wall decoration, religious, home decoration, societal values, victorian moral values, wall hanging, wall decoration, spiritual decoration, bible verse, giles collection

Handmade decorative wall hanging, possibly made in the late 19th or early 20th century.Pictures like this handmade example of 9th or 200th century craftwork were often used as decorative wall hangings in the home. Currently there is no connection of this work with people, places or historic events.A picture with a small black and white print of a country landscape and house mounted on embroidered and beaded yellow fabric.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, picture, embroidery, landscape scene, beading

To celebrate the 2001 International Year of the Volunteer, each Vision Australia Foundation site constructed a wall hanging. These were proudly displayed in the various offices until refurbishments and reduction of physical office space reduced the ability to do this. Various hangings have been stored by volunteers or former staff members, however digital images were secured where possible. Ballarat's wall hanging shows Lake Wendouree and the Ballarat area around it. Mildura's wall hanging shows paddleboats on the Murray River, with grapes, a hot air balloon and a large sun.Cloth banner made by volunteers to celebrate 2001vision australia foundation, volunteers

Textile artist Catherine O'Leary was commissioned to make the hanging. It took approx. 50 hours to complete. The squares were made by Guild members, a list of whom are in the Media section.Wall hanging made from entries in the 2001 Federation Challenge at Annual Exhibition. The challenge was to depict various aspects of Australia to commemorate Federation. Pieces are arranged on a background of handmade felt. The squares are linked by hand stitching and beading.embroidery, hangings, 2000-2020, australia, felt, mixed media, federation wall hanging

Synonymous with Uzbek tradition, often used as decorative wall tapestries, table runners or bed hangings.Silk embroidered panel of floral design in royal blue, cream, grey and black silk on cream silk background, attached to paper backing. Bold floral motifs, large central flower and scrolling design common in Uzbekistan. Outlined by fine, tarnished metal thread.