Large umbrella with the VCAH Logo printed on two sides. Wide green and white stripes. Logo in darker green. Wooden handle.VCAH Burnleyadvertising, vcah, umbrella

According to the handwritten information accompanying the item this umbrella has an ivory handle carved by native Africans on a Christian mission station in South Africa. The umbrella was sent to Mrs Donohue of Warrnambool who was an active member of the Church of England in Warrnambool early in the 20th century. No further information has been found on Mrs Donohue. This umbrella is of interest because of its carved ivory handle and because it was sent from South Africa to an Anglican Church adherent in Warrnambool early in the 20th century. This is a black silk umbrella with a carved ivory handle. The carving includes representations of leaves and seeds. Some of the silk is torn, some has disintegrated and some of it is detached from the metal spokes. The umbrella top is wooden. The information about the umbrella is handwritten in blue ink and is contained in a small wooden frame. church of england,, warrnambool

Slawa built the umbrella using existing and modified umbrella parts purchased from manufacturers and other sources with the idea to develop a more practical umbrella. At the time Slawa was a student studying sculpture at the Akademie der Bildenden Kunste Wien (Academy of Visual Arts). She spent many months developing the prototypes in secret before she applied for and received a patent on 19 September 1929. The patent documentation for Flirt noted that although foldable umbrellas with telescopic shafts were not new, the inventor's umbrella was a significant improvement as it was smaller and more practical as the folding mechanism had been considerably simplified. The umbrella was included in the Inventors’ pavilion at the Vienna Spring Fair in 1931. In a contemporary newspaper report it was described as ‘the magic umbrella of the sculptress’. After the design was granted a patent, it was contracted to the firm Basch and Braun, which authorized its manufacture under licence by the largest Austrian umbrella manufacturer in Austria Bruder Wuster and a German firm Kortenbrach und Rauh. It was called Flirt. In the first year of production sales reached 10,000. This number increased steadily each year as sales spread throughout Europe and the Flirt umbrella was still being produced in the post-war period. Slawa was paid royalties till 1938, the year that she left Vienna and fled to Switzerland. In 1939 with pressure from the Nazis she sold her rights to the company Bruder Wuster. Ann Carew 2016The umbrella prototypes have national and international aesthetic significance as examples of technological innovation in industrial design. The archive has national and international scientific and research potential – detailed records concerning the development of the design, patent and its manufacture are held in the studio. The archive demonstrates the links between the realms of fine art, industrial design and manufacturing in Vienna in the early twentieth century. The sale of Slawa Horowitz-Duldig’s rights to the umbrella under duress from the Nazis makes this archive historically significant. The provenance is excellent, and the prototypes and accompanying documentation have national and international interpretative potential. Ann Carew 2016Three handmade compact foldable umbrella prototypes. The prototypes have black silk covers, a metal shaft, handle, ribs and ferrule. The shaft has a telescopic mechanism. The top and the end of the handle are metal disks. The related documents, designs, patent documentation, a hand written record of her inspiration for the design, and other archival material are also held in the Studio’s Collection.

Photograph of a cast iron umbrella stand made by the Phoenix Foundry.ballarat town hall, phoenix foundry, cast iron, umbrella stand

Studio Portrait of older lady seated with umbrella. Stawell Photographic Co.stawell

non-fictionUmbrella Dementia Cafes provide vital support and resources for dementia sufferersbox hill south neighbourhood house, koonung cottage community house, one community church

Studio Portrait of older Lady with umbrella and glasses wearing a Toque - a lace Cape - pinned at neckline with a cameo Brooch and Chain. Note fine Dress.stawell

Donated by Christine Pitt, Whitehorse Historical Society member. Umbrella is from the 1920's, belonged to her mother, Fay Pitt of Box Hill, and her grandmother, Myrtle Grant of Richmond and Brighton.Red cotton umbrella with plastic handle and paint in a marble pattern. Ten black metal spokes are tipped with red, clear plastic. Wooden shaft. Material fastened with red elastic and metal button and eye clasp. Red material covers the join of spokes to shaft. Brown cotton cord fastened around shaft for hand-hold. From the 1920's'British Make' on one spoke.costume accessories, female

Johnson Family Albumstawell

A small booklet of 70 pages including photos, interviews and text outlining the history of "Age Concern Albury Wodonga.non-fictionThis book outlines the history and development of "Age Concern Albury Wodonga Inc." a not for profit organisation that operates in the Albury Wodonga area with some services provided operating across The Riverina Murray region. It provides services and social activities for frail aged people or people with disabilities and their carers. The objective of Age Concern is to lessen the mental and physical stress of growing older by advocating preparation and education of people approaching retirement as well as encouraging the provision of services within the community designed to improve the physical, mental and social well being of the aged.aged concern albury wodonga, aged care, aged care services albury wodonga

In 1984 Nat Young released his ground breaking documentary The History of Australian Surfing. This DVD of that film tells the story of the evolution of surfing in Australia from its origin in Sydney through to the development of wooden, fibreglass and short surfboards. The film features footage of Australia's greatest surfers including Midget Farrelly, Mark Richards, Tom Carroll, Wayne Lynch and many more.Groundbreaking documentary that for the first time attempted to tell the unique history of Australian surfing on film.Colour cover art including barrel background and images of surfing and beach culture forming the films titles.Distributors logocheyne horan, nat young, tom carroll, mark richards, wayne lynch, midget farrelly, michael petersen

Tumble grass or umbrella grass surrounding house at Brimin 1955Black and white photograph of the veranda of a house, with trellised grape vines across the front, and windblown weeds drifted in a mound against the veranda.On back of photo: "Umbrella grass banked up around 'Carinya' May 1955"carinya, buildings, umbrella grass, tumble grass, brimin

Tumble grass or umbrella grass surrounding house at Brimin 1955Black and white photograph of the veranda of a house with mounds of dry weeds banked up against it.On back of photo: "Umbrella grass banked up around 'Carinya' May 1955"buildings, carinya, umbrella grass, tumble grass, brimin

Guiseppe Cinquegrana's umbrella and parasol shop was a prominent one in Liebig Street for over 40 years. He came to Warrnambool about 1890.This label is of some significance as it concerns an umbrella business and this is the only one we know that was ever in Warrnambool.Rectangular white label with purple text, decorative border and lines adhered to a piece of pink cardFROM G. CINQUEGRANA Umbrella and Parasol Manufacturer. The Cheapest and Most Durable Umbrellas in Victoria. Re-covering from 2s. 6d. LIEBIG ST., WARRNAMBOOL Modern Print, Warrnamboolumbrellas, parasols, warrnambool, guiseppe cinquegrana, cinquegrana

Clothing. Cream coloured silk parasol with 40 cm wooden handle with 4 cm diameter gold coloured metal knob at the end. Parasol has silk fabric with ribbed border stretched over eight ribs. Silk twisted cord wound around stick above the handle. Two ends of the cord have 14 cm tassels with 5cm twisted cord with 9 cm velour strands.Paper sticker on ferrule of umbrella, ''G Buongiovana Napoli''costume accessories, female, cream coloured silk parasol

A hat coat and umbrella stand is a device used to store hats and often coats on, and umbrellas within. Some catalogues in Europe marketed this furniture as a portmanteau from the French words Porter (carry) and Manteau (cloak). The front hall was the introduction to the house, and as such was an important part of the Victorian home. Furnishings were selected not only to make it a useful place to hang a hat and coat, store an umbrella and leave a calling card but also to show family wealth, social position and knowledge of current styles. A hall stand or a hat rack was the most important piece of furniture in homes at this time. New and more elaborate designs began to appear about 1840, as homes became larger and social visits became more structured. Usually made of wood and standing at least 1.5 meters tall, they have a single-pole making up most of the height, with a sturdy base to prevent toppling, and an array of lengthy pegs or hooks at the top for placement of hats. Smaller houses had smaller front halls, so a single-pole type as by the 1920s houses had become smaller. A household furniture item possibly from the 1920s that was common in houses from the early 1840s, it's significance is social, demonstrating how furniture trends change over time with the more elaborate the item the more social standing was attributed to the owners' position in society. even today persons association and ownership with inanimate objects tend to represent their social standing along with their financial and community acceptability. Coat rack with four curved legs, circular holder for umbrellas and walking sticks. Four metal hooks, screwed onto main column of stand. Condition: one curved leg broken. 2 hooks broken.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

These umbrellas are typical of the ones women would have used early in the 20th Century. It was important to keep the rain from damaging their clothing as washing facilities were limited. .These umbrellas are charming and retained for display purposes..1 An umbrella with a wire frame and a wooden handle. The frame is tipped with ivory coloured composite material. The handle has a red tassel. The covering is a multi coloured cloth with a pink edge. The inner section has a cream background with pink and light brown leaves, branches and flowers. The outside is faded. .2 An umbrella with a black wire frame and a wooden handle. There are tips on the end of the frame. The handle is varnished and ornamented red and black. It has a string tassel in red, white and blue and a corded wrist band. There is writing on the frame. The covering is corded rep with a multi-coloured floral pattern and has a faded, wide navy edging..2 BRITISH MADEumbrellas, vintage clothing

This postcard depicts the urban setting of the Mission to Seafarers a few years after its construction. (the Dome, the last part erected, was opened on 21 October 1921). It demonstrates a lack of urban surrounds or buildings as well as a paved road and a horse-drawn wagon. The figure in the photo is also a record of the dress style of the era. The lady is most likely a member of the Ladies' Harbour Lights Guild.This postcard demonstrates that the building was deemed important enough to be photographed for a postcard. It is a record of what the Mission to Seafarers looked like two years after its construction, and its urban surrounding.Sepia postcard of the Mission to Seafarers building complex and surrounding streets. The postcard depicts a wagon and a woman walking by the complex wearing a black dress and coat and black hat and holding an umbrella. Front: THE MISSIONS TO SEAMEN INSTITUTE, MELBOURNE VICTORIA REAL PHOTO SERIES.M.1696 Reverse: PUBLISHED BY THE VALENTINE & SONS PUBLISHING CO.LTD / MELBOURNE SYDNEY & BRISBANE. Contains logo of VALENTINES REAL PHOTO SERIES POSTCARD. Stamp logo lists: BRANCHES / SYDNEY / LONDON / DUNDEE / DUBLIN / CAPETOWN / MONTREAL / TORONTO Handwritten in blue: 1919mission to seafarers, melbourne, mission to seamen, seamen's mission, norla dome, flag, flying angel, lady, horse cart, umbrella, flinders street extension, ships, australian wharf, valentine's postcards, real photo series postcards, st peter chapel, lhlg, architecture, walter richmond butler

World War IBook, paperback, sepia photo of Grace Wilson with an umbrella on Lemnosnonethe western front, gallipoli, the marquette (ship) aegean

For information on Grampian House, refer to "Victoria's Wonderland" pp. 69-75.Post card of House with cars, women in door way and umbrella outside with tableThe Rose Series P 4513accommodation, guesthouses, grampian house

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull

Donor unknownSepia coloured photograph, unframed, mounted on cardboard. Subject: man with umbrella. Subject unknownWritten on back of mount: "Rushton - Photo - Pakenham"