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

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984. Work used as cover for A Community View Catalogue.Laminated screenprint of Portland Bay focusing on Portland Baths. The image depicts the beach, several piers and the Bath House. The image is predominately red, orange, blue and grey.Front: 3/12 (lower left) Umbrellas at the Beach (lower centre left) Angela Gee '84 (lower left) (pencil) Back: 13

On Monday, the 5th of May 1986, the Arthritis Foundation of Victoria (AFV) held a special fundraising dinner and auction during National Arthritis Week. The Celebrities Dinner was held to fund the foundation's strategic plan for the next three years. In this photo, television newsreader, Jo Pearson, holds up her donation for the auction - an umbrella marked with the text "ROB GELL IS A LIAR". This photo appears on the cover (page 1) of the No 41, August 1986 issue of the Arthritis Foundation of Victoria's News Review. It is captioned: "Jo Pearson holding her donation to the Auction. This is the umbrella Jo takes to all her garden parties and outdoor engagements! The umbrella raised $60.00." Rob Gell was a television news weather presenter and, at the time, Jo Pearson's husband. They both worked for Network Ten news.B&W photo of a woman holding up an open dark coloured umbrella. The words "ROB GELL IS A LIAR" have been written on the umbrella in large text. Behind her is a long table covered with a tablecloth. There is a scooter leaning against the table. Behind and above the umbrella, there is a plastic chicken.[Typed directly onto the photo in black ink] JO PEARSON HOLDING HER DONATION TO THE AUCTION. THIS IS THE UMBRELLA JO TAKES TO ALL HER GARDEN PARTIES AND OUTDOOR ENGAGEMENTS! THE UMBRELLA RAISED $60.00. [Handwritten in red ink] IC [Handwritten in black ink] 80%arthritis foundation of victoria, afv, national arthritis week, afv, fundraising, celebrities dinner, auction, jo pearson, newsreader, rob gell, weather presenter, channel 10, network 10, umbrella, donation, 1986

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

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

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

G. Bona & Figlio was a store located in Venezia (Venice) Italy. It sold a wide variety of consumer goods including coats, furs, fans, walking sticks and travel items.The wrapping paper is a rare survival of ephemera related to a business, G. Bona & Figlio from Venezia (Venice) Italy. The arrival of waves of more than ten million migrants by boat is one of the major themes in Australia’s history. The paper shopping bag is representative of personal items purchased for migrant journeys as markers of domesticity, warmth and making oneself at home in a new land that speaks of the transnational lives embedded in threads of migration.A poster, rectangular, on cream paper with words and text printed in blue ink print. The poster has illustrations of a fan, umbrellas and a luggage case. It advertises addresses in Milano and Venezia (Milan and Venice)."G. BONA & FIGLIO" "VENEZIA" MILANO" "Merceria S. Salvatore" "assortmento" "Portagog, Portamonete" "Bastoni da Passeggio"venice, venezia, italy., shopping, flagstaff hill, maritime museum, g. bona & figlio, travel goods, italian merchant, luggage, umbrellas

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

Photos from a Comradeship album showing an outdoor gathering of Legatees and their wives for a social event. It appears to be at Stanhope from other events that were held there. Photos show men in chefs hats and people sitting under picnic umbrellas. In 1975 the Bulletin mentions a BBQ for legatees at Stanhope, it may have been an annual event. The Comradeship committee, including Fred Holdsworth gathered photos of events and compiled them in a Comradeship photo album for Legatees to look through. They were removed from the self adhesive pages of a photo album of Comradeship activities (from 1930 to 1977).The Comradeship photo album was put together by the Comradeship committee and records events that Legatees did and places they lived or visited. Some appear to be trips to visit other Legatees living overseas and social occasions held in different places. It shows the bond that Legatees have with each other.Colour photo x 10 of a gathering of Legatees and their wives from a Comradeship committee photo album.comradeship, legatee event, umbrellas

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.

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

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

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

Wooden walking stick which pulls apart to reveal a black umbrella.personal effects, walking sticks

One of a series of gilt bookmarks in the large bookmark collection at Hymettus Cottage dating from the late twentieth or early twenty-first century.Bookmarks created more for the tourist market than for the bibliophile.small stamped out framed and gilt figure of Japanese lady with umbrella.bookmark, metal, gold, souvenir items, japan

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

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

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 painting in an aluminium frame of six people relaxing around a green beach umbrella.signed lower right "Neville M Bunning"art, artwork, neville bunning, available, beach umbrella, bar

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

Archie McArthur grew flowers and vegetables and sold them from his house in Canterbury Road, Forest Hill. Later owners used the property as a restaurant and plant nursery. About C 2011, the property was completely demolished and flats were erected.Coloured photograph of the facade of Archies Restaurant, Canterbury, Forest Hill. White umbrella in centre.archives restaurant, forest hill, mcarthur, archie, canterbury road, forest hill no 259-261

World War IBook, Hardcover. brown. Dustjacket, black and white photo of Grace Wilson with an umbrella on Lemnosnonethe western front, gallipoli, the marquette (ship) aegean

Lansell collection - Man's walking stick with pull out umbrella, telescopic with pointed end, made of thin celluloid type material with a chalky composite filling, outer casing striated in brown, black & grey to resemble bone, umbrella of black silkcostume accessories, male, walking stick

Worn by Pastor Steinicker (?)These three items, a black top hat, white leather gloves, and a white pastor’s collar, form a significant ensemble representing the life, service, and cultural legacy of Pastor Ewald Herman Otto Steiniger. Donated by his son, Dieter Steiniger, the objects provide rare, tangible insight into the clerical traditions and community leadership of the German Lutheran congregation at Westgarthtown. Pastor Steiniger served both Trinity German Lutheran Church in East Melbourne and the Thomastown congregation from 1935 to 1964. Over nearly three decades, he guided his community through socially and politically turbulent times, including the years surrounding the Second World War. In April 1942, he was suddenly interned by the Australian Government and held at Tatura Internment Camp for 930 days before his release in 1944. Despite this profound disruption, he returned to his pastoral duties, continuing to support, stabilise, and preserve the cultural and spiritual life of his congregation. The black top hat reflects formal clerical dress of the early–mid twentieth century. Within German Lutheran tradition, such hats were worn to important services and solemn occasions, particularly funerals, symbolising respect and reverence. The accompanying white gloves and pastor’s collar complete the ceremonial ensemble, offering a fuller understanding of pastoral attire and the visual language of Lutheran liturgical practice of the time. Together, these objects hold strong historical, cultural, and interpretive value. They honour the enduring contribution of Pastor Steiniger and deepen the connection between the Westgarthtown site and the community it served. Pastor Steiniger and his wife, Annemarie (née Kraemer), are buried in the historic Westgarthtown Lutheran Cemetery, further strengthening the significance of this ensemble as part of the precinct’s heritage story. White pastor's collar with two reinforced holes at front.Reliance Trademark' with umbrella stamped inside at back, 'chaplain made in in England', size '1 1/4" 15 1/2'costume, male ceremonial, pastor, collar, lutheran, steinicker

Skein holder is from c1890-1900 and used by four generations of the donor's family who lived around Woori Yallock and Yellingbo. Donor's family descended from settler John Douthie (1831-1897), his son Andrew Douthie married Jessie Sands Smith (1875 - 1948). Item believed to have been owned by Jessie who passed it on to her fourth child, Mary, who passed it to her child Lillian who passed it to her daughter Leanne, the donor. No makers mark on item. Mary worked as a teacher and sewing mistress at Woori Yallock Primary School and used the item in her personal time to make clothing for the family.An umbrella-style wooden skein holder with a metal clamp at the base to allow it to attach to a table or similar. When not in use, item is small and compact, however once unfolded the arms extend out in an umbrella shape with thin timber rods bound together with leather ties.

Farmer is driving the tractor under the shade of a garden umbrella. Markings: Stripping Oats. Used as a teaching aid.Kodakfarming, wimmera, wheat, mouat crawford collection, stripping oats