Edna Wark made the silver brolga while on holiday and Winifred Clayton suggested she repeat the design in different techniques.Six panels, each are a brolga in different stitches. Pulled thread, metal thread, petit point, blackwork and quilting.embroidery, folder, metal, quilting, black work, petit point, birds

This is a map produced to attempt to bring order to the cemetery. Originally the layout was not well defined and it is difficult to use this plan to locate a particular grave, also the fact that not all graves are marked and foot paths are not defined has exacerbated this issue. Photocopy, White paper, black printing, black line work showing lot and compartment boundariesReferences Grid Survey points at 50 feet centres shown (as a cross with the reference mark number in brackets) Lot Number shown at left side of graves. Burial Number shown at right side of grave. Lots with unidentified burials show with dashed cross with in the lot. topographic survey, cadastral survey, carlyle cemetery, burials, graves, lot boundary, rotunda

This is a map produced to attempt to bring order to the cemetery. Originally the layout was not well defined and it is difficult to use this plan to locate a particular grave, also the fact that not all graves are marked and foot paths are not defined has exacerbated this issue. Photocopy, White paper, black printing, black line work showing lot and compartment boundariesReferences Grid Survey points at 50 feet centres shown (as a cross with the reference mark number in brackets) Lot Number shown at left side of graves. Burial Number shown at right side of grave. Lots with unidentified burials show with dashed cross with in the lot. topographic survey, cadastral survey, carlyle cemetery, burials, graves, lot boundary, rotunda

This is a map produced to attempt to bring order to the cemetery. Originally the layout was not well defined and it is difficult to use this plan to locate a particular grave, also the fact that not all graves are marked and foot paths are not defined has exacerbated this issue. Photocopy, White paper, black printing, black line work showing lot and compartment boundariesReferences Grid Survey points at 50 feet centres shown (as a cross with the reference mark number in brackets) Lot Number shown at left side of graves. Burial Number shown at right side of grave. Lots with unidentified burials show with dashed cross with in the lot. topographic survey, cadastral survey, carlyle cemetery, burials, graves, lot boundary, rotunda

This is a map produced to attempt to bring order to the cemetery. Originally the layout was not well defined and it is difficult to use this plan to locate a particular grave, also the fact that not all graves are marked and foot paths are not defined has exacerbated this issue. Photocopy, White paper, black printing, black line work showing lot and compartment boundariesReferences Grid Survey points at 50 feet centres shown (as a cross with the reference mark number in brackets) Lot Number shown at left side of graves. Burial Number shown at right side of grave. Lots with unidentified burials show with dashed cross with in the lot. topographic survey, cadastral survey, carlyle cemetery, burials, graves, lot boundary, rotunda

Red soft cover, black name and author, fine black scroll work border. Book name and author name on spine

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women.This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women’s history.Bronze and gold embroidery and bead work on black mesh.needlework, beading, sewing, sew, hamilton-smith collection, hamilton-smith, ellwood, handmade, domestic, women, women's history

These boots are an example of a successful Australian product which has been continuously manufactured since the early 20th century.A pair of men's black leather work boots. They have steel toe caps and steel edging on the heel. There are 6 X 2 eyelets.There is a wooden sole studded leather. reinforcements. On the sole is a shoe shape with "Rossi" on the sole and "Shoes Made by Rossiter's LTD ALL LEATHER SOLE" on the heel.boots footwear

Sleeve band is believed to have been brought from China by a sea captain.Turquoise blue silk band embroidered in a delicate design of flowers, birds, butterflies and insects in classical Chinese style. The edge is bound with black silk worked with a bright blue design and the lining is a magenta brocade. garments, 1900-20, china, silk embroidery, flowers, birds, butterfly

Designed and worked by the donor as a teaching aid for her classes. Figure of dancer is painted and embroidered using long straight stitches in red and black. Door and windows are applique. Background is finely checked grey cotton. Narrow black frame. Worked and designed by Wendy Lees.embroidery, creative, pictures, 1980-2000, england

Model of the second wooden floating dock at willianstown. Length o/a 206 feet. Beam inside 35ft 6in. Operated 1895-1958. Constructed from the burnt Hull of the sailing ship Habitant which caught fire on the 7th June 1894. Model constructed by Cliff Gibson. Large wooden model of the second floating dock at Williamstown. Made from wood painted black with the work dock painted in white "DOCK"

A History of Riding for the Disabled covering the Second ten yearsBinder Book, Green Spine, white paper covers with black print and art workRiding for the Disabled Stawell Centre RDA The Second Ten Years 1998-2008stawell sport

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown. City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of a white rendered brick house. Other features include two tall chimneys, sash windows, tiled roof and the word "GLOUCESTER" on the front of the house, in a well established garden. Part of a black metal-work gate is just visible in the foreground.GLOUCESTERmurrumbeena, houses, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, gloucester court, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, rendered houses, chimneys, house names, cast iron work, sash windows

Science workbook used by Ted Harris in 1917.Black covered Science school work book by Ted Harris starting date of 2nd April 1917.book, science, ted harris

Donor note - bought (probably at auction) in London by Pat Earnshaw (Lacemaker).Rectangle of linen with embroidered diamonds in muted colours and outlined in black, designs are counted work with varied patterns.embroidery, counted thread, india, portugal

Students attended Sunday School classes at the Kergunyah Presbyterian Church. Sunday school was held in a little 16 foot square wooden building which came from Rocky Valley after it was no longer needed there. Ewen Wallace's father initiated and organised the move. C2011 the building was knocked down because of white ants. The Presbyterian Church will be 125 years old in 2015.Historical: Religious Education: This book was used by students who attended the Sunday School classes at Kergunyah Presbyterian Church. Religion: Presbyterian Church at Kergunyah, in the Kiewa Valley, celebrates its 125th anniversary in 2015 after being handed over to the Uniting Church in the 1970s.Light blue Student's Book stapled with 1 staple. Paper cover with 'Understanding' in white block print and the rest of the title in black. A Student's work book. 32 pagesreligion, christian, religious education, presbyterian church, methodist church, church of christ, congregational church, kergunyah, ewen wallace, ewen wallacesunday school

Jessie STEINFORT Steinfort was Studied Graphic Design at the University of Ballarat (later Federation University) After 12 years of working in design studios and advertising agencies, Steinfort is now a Senior Designer at Ogilvy Melbourne. And previously, he has been responsible for work on BMW & Mini, Carlton Football club, Melbourne Convention and Exhibition Centre, Melbourne Food & Wine Festival, AAMI, Yarra Valley Water, and Arts Centre Melbourne. From 2008 to 2011 Steinfort was lead designer and front-end web developer at clickDM (now HARDWIRE). Where he worked with such clients as HOSTPLUS, GSK, UniSuper and Swann Insurance. From 2000 to 2008 Steinfort was a designer at Mediation Communications working on print and interactive projects for; City of Melbourne, City of Greater Geelong, City of Port Phillip, Mentor Education, and ACMA. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Framed photograph of three mushrooms in a black background. This work was won the 1998 Student Acquisition Award. If you can provide information on this artist or artwork please use the email link below. photography, foto, mushrooms, food, close up, macro, colour, photo, jessie steinfort, alumni, available

Newspaper published by Williamstown High School. Contains, school events, school news, sports results, student work and black and white photographs.williamstown high school, 1987, school magazine, between the lines

Apron belonged to the donor's father-in-law Roy Wesley Mullens of East Burwood. He wore it to the Victoria Market. Inside pocket was to carry the cash.Men's black leather work apron with three pockets on the front and one pocket added on the inside. Pockets have been stitched on and also have metal studs on each corner. A leather strap which goes around the neck, down the back and around the waist has a silver buckle and metal studs to secure. The inside pocket was to carry cash safely.costume, male working

The Ithacan Philanthropic Society, 'The Ulysses' celebrated its 80th Anniversary at the Debutante Ball on Saturday 21 September 1996 at the Carlton Crest Hotel Grand Waldorf Ballroom. Much loved Ithacan actress Irini Papas was MC for the evening and guest of honour was the Consul of Greece, Mr. George Veis. Dance instructor and coordinator of the debutante group was Olga Black who worked with the fourteen debutantes and their escorts and the young flower girl to prepare for the memorable night. Pictured (above left) are debutantes Faye Baker and Angela Thomas. For the Ithacan Philanthropic Society to endure as an active organisation for eighty years was a memorable achievement. Debutante balls was an Anglo tradition that was taken up by the Ithacan Philanthropic Society and were particularly popular in the period 1940 - 1960. There was a resurgence in popularity in the 1980s - 2000. A black and white newspaper photograph of five debutants and one flower girl on the dance floor. The photograph has been backed onto white cardboard and laminated. The photograph is one of a pair which was published in the 'Neos Kosmos' newspaper.

Designed and made by Lorna Law, with inspiration from the program of the "Cats" musical, and her daughter's gymnastic exercises.Seven cats in black and golds, worked in needle-lace inside a 27" ring wrapped in black thread, the whole mounted on a soft-gold fabriic, and mounted on black, in a narrow black frame. Cats eyes are silver metallic thread.embroidery, pictures, needle lace, australia, 1980-2000

The boot consisted of a complete man's black leather work-boot resting on the ground sub-floor surface (Layers A-B) in front of the fireplace. Although the uppers had folded inwards and hardened, the fabric was in generally good condition. The newspaper consisted of a single folded sheet, comprising the front and rear pages of 'The Age' (January 2nd, 1872), which was crumpled together with a contemporary theatrical flyer. As the items were removed prior to inspection, a direct association between these items cannot be made, though it is possible that the crumpled newspaper had been originally been inside the boot. The boot is significant based on its connection to the construction of the former Royal Mint building and its potential in demonstrating a ritual building practice. Leather boot - Black leather men's ankle-high boot. The leather is dry and desiccated leading to hardening. There is a layer of dirt and mud over all surfaces. Most of the sole has been lost. Nails revealed in this area are corroding, the heal remains and is well attached - there has been a pronounced shrinkage of the leather of the heal. The lace is missing from the boot. buildings, history, architecture, former royal mint, historic building

Poster features headlights from some of the Transporting Art program. Document acts as a catalogue for a 1983 Arts Exhibition. Gives a background to the project, lists the trams, notes on the artists, notes from the artists on their work, black and white images of the tram parts. Printed for the Victorian Ministry for the Arts Gallery, exhibition 12/9 to 14/10 1983Yields information about the first series of Transporting Art trams.Folded A2 (into A4 sheets) printed on gloss paper.Tram No. for 396 changed to "336" in ink.trams, tramways, transporting art, decorated trams, exhibitions, tram 234, tram 525, trtam 607, tram 345

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in progress in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.