It appears that the earliest form of child's high chair is attributed to Jonathan Jacobs (1845-1919) a cabinet maker of Browningsville, Pennsylvania USA around the mid to late 19th century. However, children’s chairs from the 18th century and earlier were being used and are in many museum collections around the world that show woodworkers were adapting chair designs for younger users in Europe and America at this time.An early children's wooden high chair probably made in America around 1890-1900. Many American manufactures made this type of wooden high chair called an “Eastlake” style and many did not mark their work so it is difficult to determine the subject items exact provenance. A significant item giving a snapshot into the evolution of children's furniture and domestic life during the late Victorian era.Convertible pressed back Victorian era high chair with convertible frame, cast iron wheels, Carved picture of a child to back of seatflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, high chair, potty chair, baby furniture, kitchen furniture

A rectangular cream Ivory style relief carved panel of ten Ancient Greek figures playing and listening to musical instruments played outdoors. They are wearing robes; some are standing and some are sitting on or near rocks and a plant. The artwork has a mottled wooden frame and gold painted cardboard mount. It is covered by celluloid or plastic to protect the carving. The backing is wooden with small screws holding it all together.The whole sculpture is carved in fine detail.relief engraving, objects of vertu, carved picture, ancient greece, carvings

This oil painting, mounted in a handmade, carved frame, was originally held in the old Warrnambool Museum and Art Gallery, which was established in the 1880s. A note from the curator of the gallery accompanied the painting: The S.S. "Warrnambool”, 2833 tons. The oil painting by C.K. Miller of Glasgow of the above steamer named after this town was presented to the Town Council of Warrnambool by Mr William Lund Of London, the owner of the “Lund Line” of steam vessels, in recognition of the ladies of Warrnambool having presented the ship with a ‘home flag’ the pattern of which is seen upon the funnel in the painting as also upon the flag at the mast-head. The flags flying at the foremast are the ship’s “number” M.R.V.B. The presentation of the flag and album both took place in Melbourne on December 1st, 1982. On the 6th December, the “Warrnambool” lay-to off this port – on the homeward passage via Adelaide for a short time – see W.S. Dec 7th. The painting depicts the sail and steam-powered ship, S.S. Warrnambool, built in 1892, during the transition period when ship designs shifted from clipper ships with their billowing sails to steam-powered ships that moved at a greater pace. The flag flown from the stern signifies the British Merchant Navy that traded around the world to transport cargo, and later passengers, from one destination to another. During its lifetime, the S.S. Warrnambool underwent several modifications, upgrades and changes in its design. The painting was attributed to the ship portrait painter, the renowned C.K.M. - Charles Keith Miller. At some point, it was catalogued with the date 1883. However, the correct date is 1892. The artist's name and date are covered by the repaired frame, but are verified on the transfer document between the Warrnambool Art Gallery and Flagstaff Hill Maritime Museum and Village. In 1966, between the closure of the old Warrnambool Museum and Art Gallery and the distribution of the painting to Flagstaff Hill, this painting was repaired by David Heysen, son of the German-born artist Hans Heysen OBE. David was born in Hahndorf (called Ambleside for a short period), South Australia, married Lyly Refshauge from Melbourne, and they raised a family on their property in Kalangadoo, near Penola, in South Australia.The painting is of importance to the Warrnambool community, reflecting the excitement of having a ship named after the town. So much so that the ladies made a unique flag in its honour and presented it to the ship's owner when it docked in Membourne. The painting is significant for its handmade, ornately carved frame, joined by a craftsman. It is an example of craft and joinery created in the late 19th century. The artist has depicted the image of a historical sail-and-steam ship of the type in which cargo was traded across the world, including to and from Australia. It is a transitional time between sail and steam, helping to interpret the evolution of power used to move ships. Vessels such as this also brought migrants to Australia.Painting, oil on board, of the screw steamer SS Warrnambool, by artist C.K.M. dated 1892. The painting is mounted in a hand-carved wooden frame with a floral and geometric pattern, and the inner border is painted gold. It depicts a two-masted sail and steam ship, sails raised, and a black funnel emitting smoke. Hull is black with a white horizontal stripe and white trim around the sides of the deck. Three lifeboats are visible. The clipper shape bow appears to have a figurehead. A red ensign flag flies at the stern, and a blue and red flag is attached to the mainmast. The frame has been assembled using Mortice and Tenon joints, one of which is exposed on the back, lower right corner. A chandelier chain has been attached for hanging. The signature, date and title are no longer visible, perhaps due to the The backboard has empty holes around the edge and is held in place by staples. The visible surface has remnants of adhesive from two rectangular attachments. There are two small white stickers attached, one with a handwritten inscription. There are pencil and pen inscriptions. The painting is protected by cardboard with inscriptions made with a marking pen. (A note from the old Warrnambool Museum and Art Gallery accompanied the painting.)On the backboard, written in the style used by the Warrnambool Museum and Art Gallery: - On white sticker, in pen “A-P31/1-74” - Pencil “A27/1883 / Artist CKM 1883 / Title SS Warrnambool / oil on board” Written in pen by the repairer: - “Repaired & re-drilled – cleaned etc. / David Heysen 11/66” Written by Flagstaff Hill’s Cataloguer in pencil: “3031” On a cardboard wrapper, in a marking pen: - “S.S. Warrnambool / by / C.K.M. 1883” * - “A-P/31/1-74” - “3031” *[NOTE: The painting is actually dated "1892" but has been marked in error as "1883"] *[Accompanying note: "The S.S. ‘Warrnambool” 2833 tons. The oil painting by C.K. Miller of Glasgow of the above steamer named after this town was presented to the Town Council of Warrnambool by Mr William Lund Of London the owner of the “Lund Line” of steam vessels in recognition of the ladies of Warrnambool having presented the ship with a ‘home flag’ the pattern of which is seen upon the funnel in the painting as also upon the flag at the mast-head. The flags flying at the foremast are the ship’s “number” M.R.V.B. The presentation of the flag and album both took place in Melbourne, December 1st 1982. See the Warrnambool Standard, December 2nd 1892 On the 6th December the “Warrnambool” lay-to off this port – on the homeward passage via Adelaide for a short time – see W.S. Dec 7th [Warrnambool Standard]. Other notices relative to the ship owner in the first volume, “W.S.” for 1893. See also July 28th 1893.")flagstaff hill, warrnambool, shipwrecked coast, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, s s warrnambool, charles keith miller, charles miller, steam and sail ship, british merchant navy, slipper shaped bow, 19th century sea trade, warrnambool museum and art gallery, old warrnambool art gallery, hand carved picture frame, mortice and tennon picture frame, migrants, c.k.m., william lund, lund line, c.k. miller, ladies of warrnambool, home flag, m.r.v.b., ckm

This wedding photo is of local pioneer families, Cooper and Larkins. John Cooper Jnr. married Annie Emma Larkins. The exact date is unknown. This is not only important for the Cooper & Larkin families but for historical reference for the Tawonga area where these families lived. It shows that even though the Kiewa Valley was considered remote during this period the tradition of a big formal wedding was still held with fashionable weddings. This photo was included in a group of photos. This photo has historical significance as it depicts members of local pioneer families getting married. It also is representative of the style of wedding dresses of the period and the style of men's wedding attire. The photograph itself is also significant as is demonstrates the style and formality of wedding photos during this time. The picture frame is likewise the style of the period. However, this is in bad condition with bore holes in it. This photo has good interpretive value and is well provenanced. Black and white wedding photo of John Cooper Jnr. and Annie Emma Larkins. The centre of the frame has carved hearts 3 cm wide all the way around.Photographer "Mendelsfohn's and Co. Melbourne"mendelsfohn's & co.. photographer of melbourne. wedding. furniture. wooden frame.

This picture frame was hung in the Bridge Hotel in the upstairs display that was assembled in the 1970s and can be seen in some of the photographs taken upstairs over the decades in the Port Collection. A round wooden photo frame decorated with carved circles with a sepia circular photo of young woman with voluminous hairstyle inside it. She has a triple strand of pearls around her neck. At the bottom of the photo if written Talma & Co, Swanston St, Melbourne. A brown string like a shoe lace is threaded through 2 hooks to hang it from.'Part of her mother's effects, K Robertson, born 1886 carved this frame as a girl probably around 1903. Subject not known, a friend perhaps.' written on the back of the photo. bridge hotel, k robertson, talma & co, picture frame

Diggers & Mining. Diggers and miners. Walhalla - Gold Town. Bullock drays were used when possible and later came the teamsters with the covered wagons. Picture shows 3 covered wagons pulled by teams of eight horses. Men with the wagons. On a track carved into a mountain. Markings: 13 995 WAL. Used as a teaching aid.hanimounteducation, tertiary, goldfields

SIGN BENDIGO ANCIENT ORDER OF FORESTERS (B.U.D.A.O.F)Timber hand painted sign with Initials B.U.D.A.O.F with the picture of a staghead between BUD and AOF. Sign is approximately 1000mm wide and with a hand carved scroll approximately 250mm high. All lettering and picture of Staghead is in gold paint on a back ground of reddish/cedar brown.cottage, miners

Shaped, brown wooden picture frame with rectangular picture in the centre and an oval one on each side of it. At each end are carved wooden gumnuts which have been glued on. Some pieces are missing. The left photo is a sepia, waist high portrait of two young women. Both are wearing lacy type dresses with high necklines. One is wearing a locket? and the other a brooch. The centre photo is a young woman sitting at a window. She is wearing a lacy type dress and a bracelet on her right arm and also a ring. There are some flowers in a vase and on her lap. The photo on the right is of an older woman wearing a dark embroidered high neck dress with a white frill collar. She has a brooch at the neckline. Also a waist high portrait.person, family, family, foster & wilson collection, photograph

Print of a ship in the late 1800s set against a background of other ships (one of a steam paddle) and a reddish sky. Wooden decorative frame, with carved oak leaves and acorns and gold edging to print. Handwritten inscriptions on a round yellow sticker on the front and a white rectangular sticker on the back.Yellow sticker "A5". White sticker "67"flagstaff hill, warrnambool

Brown speckled wooden frame with carved floral motifs on corners and sides. Subject is a male portrait in black and white, appears to be a photograph.

Brown wooden frame with carved gold inner frame enclosing a floral print of pink flowers with mountains and a flowing stream in the background.

Dark wooden frame with carved foliage design on top and bottom. Unusual shape. Print of cyclamen flowers with mountains and trees in background.

This photograph depicts HMAT Nestor departing Melbourne 2nd October 1916 with Australian Troops During WW1 HMAT Nestor mainly carried troops to England including the 6th reinforcements of the 57th 58th & 60th Battalions, 16th reinforcements of the 21st 22nd 23rd & 24th Battalions and 21st reinforcements of the 5th 6th 7th & 14th Battalions.During World War I HMAT Nestor was a troopship for the Australian Expeditionary Force, and in World War II evacuated British children to Australia. She completed her final round voyage to Australia in 1950. Carved timber frame containing sepia coloured photograph of ship being towed by tug boat from wharf crowded with people HMAS NESTOR Departed Melbourne 2nd October, 1916 History on paper attached to glass,hmat nestor, troopship

Honour Board listing the 52 names of North Wangaratta State School students who enlisted to serve their country during the First World War and commemorates those who lost their lives. North Wangaratta State School 2391 was opened in May 1881 and closed October 26 1969. Today a plaque commemorates the site of the old school in Eldorado Road North Wangaratta. The Honour Board preserves the names of past students who enlisted to serve their country during the First World War and commemorates those who lost their lives.The North Wangaratta School Trust Committee donated the Honour Board to the Wangaratta RSL for safe keeping and display to the publicOrnate carved wooden frame containing black and white photograph of the North Wangaratta State School Honour BoardFront: North Wangaratta State School Roll of Honour, The Great War 1914 to 1919, followed by 52 names. Back: Written in ink; J.L. Bell East Wangaratta. Sticker; Courtney's Thelma Studio, photographers & picture frame makers. We specialise in enlargements and guarantee our work to be the best that art can produce. Appointments in Town or Country attended to. We carry a complete stock of stationery and fancy goods, Christmas cards and novelties etc, and all school requisites. T. Courtney Proprietor, Phone 55honour board, north wangaratta, world war 1, school, state school

Black machine lace and organza fan with small painted picture of cherubs. The fan sticks are carved.lace, fans

Dong Ho is on the Duong River in Bắc Ninh Province, Vietnam. The woodcut painting (Tranh khắc gỗ dân gian Dong Ho is a line of Vietnamese folk painting originating in Dong Ho village. The traditional themes of Dong Ho painting are good luck signs, historical figures, folk allegories, popular stories, and social commentaries. Elements of everyday life are well integrated in Dong Ho paintings to express the thoughts and wishes of people. (Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) Craftsmen in Dong Ho use a special type of paper named giấy điệp. The bark of dó tree, which normally is grown in Tuyên Quang Province, is soaked in water for months, then mixed with powders of seashells (sò điệp), which is the origin of the paper's name, and glutinous rice to make sheets of paper. The s seashell and glutinous rice results in paper with an exotic sparkling hard background which is able to conserve the durability of colours. The colours are refined from natural materials which are easily found in Vietnam. For instance, the red colour is taken from red gravel in Thiên Thai Mountain, while the black comes from charcoal of burned bamboo leaves. The hand carved woodblock is applied with paint and pressed on a sheet of paper like a stamp. The process is repeated with different colours until the craftsman is satisfied with the outcome. One woodcut is for outline and several others are for each colour printed. The finished picture is covered with a layer of rice paste (hồ nếp) to strengthen the durability of its illustration and colours and afterwards dried under the sun. From beginning to end the process takes six to seven months. (Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) The tradition of Đông Hồ painting dates back to the 11th century during the reign of the Lý Dynasty. Originally, Đông Hồ paintings were made with black-and-white prints of woodcuts, but from the 15th century, different colours were introduced by craftsmen in the village. As a village specialized in making woodcuts and paintings, almost all Đông Hồ villagers were involved in the manufacturing of paintings from carving the woodblocks, producing điệp papers, obtaining natural colours to creating new themes, and printing.(Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) Before 1945 over 150 families in Đông Hồ village were making pictures, but the tradition has rapidly faded. Villagers can no longer make a living based on this production so only a few households in the village still make pictures, while many others have switched to producing joss paper and votive paper object.(Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.)Asian ArtA framed collection of work by children from Dong Ho Village, Vietnam.dong ho, vietnam, woodcut, printmaking, dong ho art, dong ho painting, dong ho village, vietnam.

Print black and white in wooden frame, at bottom of print the words in large font "SAVING AMIENS" / " A brilliant Bayonet Charge by the 9th Australian Brigade" Ornately carved wooden frame with Gold inlay on the inner edge closest to the glass with off white mounting board. The print appears to sit loosely in the frame. The picture is signed by F. Mantania in the bottom left corner and on the picture mounting board "by F. Mantania, R. J." centered on the top mounting board is "Copyright published 15th May 1919 by "The Sphere and Tatler", LTD, 6, Great New Street E.C.4Copyright published 15th May 1919 by "The Sphere and Tatler", LTD, 6, Great New Street E.C.4

The first service of the Surrey Hills Presbyterian Church was held at ‘Kinnoul’, the home of Thomas Hogg, located in The Avenue. This was while the church was being built. St Stephens Presbyterian Church opened in March 1899 on land that had previously been part of Klepper's orchard. The first minister was Rev F A Darling. He resigned in 1892 to open Surrey College. The church building pictured was built in 1910 adjacent on land gifted to the church. Noted features of the interior are the pulpit and honor board carved by sculptor John Kendrick Blogg. There are also memorial windows to Charles de Burgh Hogg and William Thomas Hogg, both killed in WW1.Red brick church with bell tower and slate roof. Cyprus tree at side; other trees fronting Canterbury Road.Canterbury Road - Warrigal Rd (written in biro on th back of photo)stained glass, lead lights, churches, presbyterian church, st stephens presbyterian church, 1980-1989, surrey hills, canterbury road, warrigal road, john kendrick blogg, charles de burgh hogg, thomas william hogg

The picture on the sign shows the door surround, St James's Palace. the portcullis decoration on the top right hand corner is very similar to the spandrel stone excavated at Greenwich. Top shows the stone coping at the base of a crenel opening in a crenellated battlement wall, excavated in 1971 in the grand square; the middle shows the window spandrel, possibly from a two light window similar to the reconstructed window excavated in 2005/6 in the Queen Anne car park; and the bottom shows the tudor portcullis heraldic decoration, carved into an arched spandrel stone formng part of an archway over a door. This was excavated in 1971 in the Grand Square. greenwich, stone, museum, chapel

The picture on the sign shows the door surround, St James's Palace. the portcullis decoration on the top right hand corner is very similar to the spandrel stone excavated at Greenwich. Top shows the stone coping at the base of a crenel opening in a crenellated battlement wall, excavated in 1971 in the grand square; the middle shows the window spandrel, possibly from a two light window similar to the reconstructed window excavated in 2005/6 in the Queen Anne car park; and the bottom shows the tudor portcullis heraldic decoration, carved into an arched spandrel stone formng part of an archway over a door. This was excavated in 1971 in the Grand Square. greenwich, stone, museum, chapel

The picture on the sign shows the door surround, St James's Palace. the portcullis decoration on the top right hand corner is very similar to the spandrel stone excavated at Greenwich. Top shows the stone coping at the base of a crenel opening in a crenellated battlement wall, excavated in 1971 in the grand square; the middle shows the window spandrel, possibly from a two light window similar to the reconstructed window excavated in 2005/6 in the Queen Anne car park; and the bottom shows the tudor portcullis heraldic decoration, carved into an arched spandrel stone formng part of an archway over a door. This was excavated in 1971 in the Grand Square. greenwich, stone, museum, chapel

The picture on the sign shows the door surround, St James's Palace. the portcullis decoration on the top right hand corner is very similar to the spandrel stone excavated at Greenwich. Top shows the stone coping at the base of a crenel opening in a crenellated battlement wall, excavated in 1971 in the grand square; the middle shows the window spandrel, possibly from a two light window similar to the reconstructed window excavated in 2005/6 in the Queen Anne car park; and the bottom shows the tudor portcullis heraldic decoration, carved into an arched spandrel stone formng part of an archway over a door. This was excavated in 1971 in the Grand Square. greenwich, stone, museum, chapel

Painted by Eliza Jane Quayle, mother of Gwen Sebire. Put back where it always was in Mind De Lancey.Oil painting of cottage on wood with gold painted frame. Hand-made frame has floral pattern carved on front edge. oil paintings