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                <text>Cardboard box (originally containing Ella Grainger's hair); Ella Grainger's hair</text>
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                <text>Box which contained Ella Grainger's hair; &#13;
Ella Grainger's hair from shoulder to waist length, cut off by RIche LTD. 14 Hay Hill Berkely Square, London W.1. in order to give to Grainger Museum, The University of melbourne ( cut off Sept. 20 1948)&#13;
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                <text>1948</text>
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                <text>01.3529&#13;
01.3528</text>
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                <text>Cardboard box containing Percy and Rose Grainger's hair; Lock of Percy Grainger's hair (aged 7)</text>
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                <text>1. Box containing PG and RG hair&#13;
2.A lock of Percy Grainger's hair, yellow blonde in colour and tied with a red ribbon. Sent to the museum in an elaborate handmade cardboard envelope. Other Information: Stored with original cardboard packaging.</text>
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                <text>c.1889</text>
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                <text>01.3533&#13;
01.0824</text>
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                <text>2 silver gelatin prints enclosed in a photo wallet. "P.G. initials are embossed in gold on the front of the wallet. 'Cross' is also embossed along the internal fold line of the wallet, perhaps indicating the manufacturer or photographer. Photo 1 on proper right panel: Portrait of Percy Grainger and Rose Grainger dressed in coats and finery. Photo 2 on proper left panel: Portrait of Rose Grainger dressed in finery with Percy Grainger on her right and another gentleman to her left."</text>
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                <text>17.0054</text>
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                <text>Display of towelling costume from the Grainger Museum Collection, in the exhibition 'Fabric Culture' (2019)</text>
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                <text>1. Ella and Percy Grainger, Jacket, c.1934. Hand sewn from manufactured towels 04.5367&#13;
Ella and Percy Grainger, Shorts, c. 1934. Hand sewn from manufactured towels and bathmats. 04.5380&#13;
&#13;
Percy Grainger, Leggings created from plain linen squares of fabric tied with ribbons, c. 1910. 04.5376&#13;
&#13;
2. Ella and Percy Grainger, Jacket, c.1934. Hand sewn from Australian brand 'Dri Glo' towels with velvet lining. 04.5234&#13;
&#13;
Ella and Percy Grainger, ‘Brisbane skirt’, c. 1934. Hand sewn from Australian brand towels. 04.5400&#13;
&#13;
&#13;
3. Shirt&#13;
Ella and Percy Grainger, Striped towelling tunic made from two English towels, hand stitched and pleated, c.1934. 04.5401&#13;
&#13;
 ‘American workman's’ shirt belonging to Percy Grainger, c.1930s. Denim, buttons. 04.6970  A label attached to the shirt by Percy and Ella Grainger, in preparation for display in the Museum in the 1950s, notes: “"PG's clothes Museum. American lighter weight workman's shirt (price about 35 to 50 cents) prized by PG because of its lovely colour." &#13;
&#13;
Pair of cream towelling breeches belonging to Percy Grainger, c. 1930s. Towel, buttons.04.5309&#13;
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                <text>English-born George W.L. Marshall-Hall (1862–1915) was a composer, musician and conductor. He established the Conservatorium of Music at the University of Melbourne in 1895, and became the first Ormond Professor of Music. In 1892 Marshall-Hall founded the Marshall-Hall Orchestra, which was to have 111 concerts before foundering due to financial problems and Union action in 1912. He was a bohemian, and maintained close friendships with artists Tom Roberts, Arthur Streeton and others of the Heidelberg School. &#13;
&#13;
Percy Grainger met Marshall-Hall on a number of occasions. Grainger described Marshall-Hall as ‘a real good sort, &amp; lots of fun’, and appreciated his ‘many practical tips’ for Grainger’s career development. Grainger deliberately sought out the portrait of Marshall-Hall by Tom Roberts for acquisition for the Museum, as part of a larger collection of Marshall-Hall material which he acquired in 1938 and 1939 from Marshall-Hall’s family.  The Marshall-Hall Collection in the Grainger Museum is extensive, numbering in excess of 50 archive boxes of material. It includes musical manuscripts, and a supporting collection of letters and memorabilia.&#13;
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                <text>Invitation to the Presentation to the University of the Music Museum and the Grainger Museum by Mr. Percy Grainger and Official Opening, 10 December 1938. Ink on card, addressed to Mr and Mrs Percy Grainger</text>
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                <text>1938</text>
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                <text>Display of costume from the Grainger Museum Collection (2018)</text>
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                <text>Left to right&#13;
Mannequin 1 &#13;
Ella and Percy Grainger, Shirt, c.1930s. Machine sewn shirt with manufactured towelling hand sewn to sleeves. 04.5228&#13;
Ella and Percy Grainger, Tunic, c. 1930s. Towel, Machine and hand-sewn using Australian Dri-Glo towels. 04.5396&#13;
&#13;
Mannequin 2&#13;
Ella Grainger, Jacket, c.1933. Towel, cotton tape. 04.5381&#13;
Ella can be seen wearing this outfit in a photograph taken by Frederick Morse in 1933, standing on her veranda in White Plains, New York. &#13;
&#13;
Unknown maker, Striped top, c.1930s. Cotton. 04.6812&#13;
&#13;
Unknown maker, Shorts, c.1930s. Linen, hand sewn patches. 04.6887&#13;
These white linen shorts are heavily patched and hand mended. They were worn by Ella Grainger on her 1933-1934 L'Avenir voyage to Australia. Grainger’s original museum label labels reads: “Worn on L'Avenir 1934 originally trousers (mother's time) shortened by Ella on board" and "Shorts worn by Ella Grainger in photo taken in White Plains Summer 1933 before leaving with L'Avenir for Australia".&#13;
&#13;
Unknown maker, Espadrilles, 1930s. Canvas with cotton laces and rope soles. 04.5107&#13;
&#13;
Mannequin 3&#13;
Jean-Philipe Worth (1856-1926), France, Coat and skirt, 1920. Black silk taffeta 04.6882, 04.6883&#13;
The historic French high fashion House of Worth was founded in 1858 by designer Charles Frederick Worth. It continued to operate under his descendants until 1952, and finally closed in 1956. This skirt and coat was purchased by Rose Grainger from the American speciality store Henri Bendel, on 57th St, New York.  The original receipt for US $425 is held in the Grainger Museum. Percy Grainger’s published tribute to his mother, Photos of Rose Grainger (1923) features multiple photographs of Rose Grainger wearing the Worth outfit.&#13;
&#13;
Unknown maker, Blouse, early 1920s. Cream crepe de chine 04.6810 &#13;
&#13;
Edward Gersett, London, Mauve glacé kid leather court shoes with Louis heels belonging to Rose Grainger, c. 1908. Leather, with diamanté trim, pink satin and white kid leather lining. 04.5093.&#13;
&#13;
&#13;
Mannequin 4&#13;
Ella and Percy Grainger, Towelling outfit belonging to Percy Grainger, c.1934. Towel, buttons. 01.3351, 04.5372, 04.5374&#13;
&#13;
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                <text>Carved box  漆器雕花盒</text>
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                <text>DESCRIPTION: Oblong, hinged lid, on four ball-shaped legs. Inscribed brass plaque on inside lid (see Inscriptions). Currently contains 7 silver-coloured large beads. Inside it is another box, cardboard, also with an inscribed lid. &#13;
INSCRIPTIONS: On inner lid: "Percy Grainger Hon. Musician Art Club SASKATSEN 1936". On outer lid: "Miss Hedley Yule 1922". Cinnabar lacquer over brass. Size: 4.4 x 10.0 x 8cm.&#13;
OVERVIEW: The elaborate decoration of lacquerware requires intensive labour to produce. Carved lacquer is the purest form of lacquer art and a uniquely Chinese achievement in lacquer art. The decoration to the lacquerware is carved on built-up layers of thinly applied coats of lacquer into a three-dimensional design. This method of lacquer production reached its greatest flourishing from the thirteenth to the fifteenth century in China. This carved lacquer box depicts a young scholar with his boy attendant paying a visit to a senior scholar. It may relate to the Confucius tale about Confucius visiting Laozi for philosophical discussion on the meaning of life. The tale symbolises eagerness to seek new knowledge.&#13;
Text:  XiXi, 2020</text>
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                <text>Chinese ceramic ware is an art form that has been developing for thousands of years and prospered in various forms. Prior to the seventh century, monochrome wares dominated the ceramic production and favoured by the aristocracy class. It is not until the ninth century, multicoloured ceramic ware became popular in China. The increasing trades and importation of foreign pigments in Ming dynasty brought a greater range of colour and tone to Chinese porcelain. More complex patterns and subject matters start to appear the surface of the Chinese porcelain. During this period, craftsmen draw inspiration from folklore engravings and closely related to civilian’s life and work. This pair of Chinese vases is a fine example of the close-to-life subject matter used on porcelain. It provides a lively depiction of people in the vegetable garden.</text>
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