Showing 244 items
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Ringwood and District Historical Society
Memorabilia - Presentation Medal in Case (x2), P J A, Circular metal medal with gold coloured rim, in brown leather case with red velvet cushion and white lining in lid, commemorating the Ringwood Clocktower Diamond Jubilee 1928-1988, 1988
Circular metal medal with gold coloured rim, in brown leather case with red velvet cushion and white lining in lid.On lid: Exclusive Presentation Medal; On medal: The Ringwood Clocktower (on back) Ringwood Clocktower Diamond Jubilee 1928 - 1988 -
Ringwood and District Historical Society
Souvenir - Folder, Samuel Lee and Co, 12 Black and White Souvenir photos of Ringwood, 1975, 1957
Souvenir photos sent to Terry Schwab in 1957 from Mick who hoped he would have many memories of Ringwood. Donated to the Society by Terry.Buff coloured folder with red printing containing 12 black and white favourite photos of Ringwood. Streetscapes, buildings and Ringwood lake. 4 separated from rest. From Mick. +Additional Keywords: Schwab,Terry -
Ringwood and District Historical Society
Photograph, 50th Birthday Ringwood No1 Red Cross Unit 1989
Black and white photo showing Red Cross members at 50th Birthday at Ringwood RSL - 1989"Attached to photo- List of members names" Front Row L to R :Grace Smith, Win Cassidy, Vera Wigley, Norine Barry. Second Row L to R: Judy Harris, Helen Niegerg, Dot lunn, ? . Third Row L to R: Norma Biddlecomb & Grand daughter Victoria, Buelah Martin, Dot Whitehead,Ivy Philps, Jean Keiting, Kath Perks, Maiser Peats Photo June Richardson -
Ringwood and District Historical Society
Photograph, Maroondah Highway Ringwood - 1926
Black and white photograph of unmake street lined with shops. Names on shops are, "Red Shop Tea Rooms - T. Reid", "Ringwood Fruit Palace - N. Gray", "Geo. Newman, Butcher", "R.C. Stoney, Electrician", ".....Furniture Store", "Tortice & Porter, Norfold Fruit Palace" and "P. Bamford Pty. Ltd. Timber Merchants".Typed below photograph, "Maroondah Hwy. 1926. Shops now Safeway and Eastland carparks". Written on backing sheet, "Main St. 1926". -
The Beechworth Burke Museum
Animal specimen - Red Headed Woodpecker, Trustees of the Australian Museum, 1860-1880
Red Headed Woodpeckers can be found in Southern Canada and a large portion of the United States of America, generally migrating to the south if they originated in the northern regions. Their habitat is open forests or savannahs. They are classed as omnivores, finding food from pecking at wood or in flight. The Red Headed Woodpecker is threatened in Canada and some areas of the United States due to deforestation, lack of deadwood for nesting, competition with other birds, and a lack of food. They are an important part of the ecosystem, controlling insect populations and pollinating flora. Red Headed Woodpeckers typically have a beautiful, vibrant red neck and head, a stark white chest, black back, and black wings with white secondary remiges. They have a large chisel-like beak, suitable for foraging for their food. Their heads are rounded and they have short tails. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Red Headed Woodpecker is a small to medium-sized bird found in North America. This specimen is tricoloured: it has a red head and neck, a white chest, a black back, and black wings with white secondary remiges. It has a large chisel-like beak. This specimen has pest or humidity damage on the neck and head area. This specimen is standing on a wooden mount with a swing tag attached to it's leg.Swing-tag: 151a. Unnamed / Catalogue page, 60 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, red headed woodpecker -
The Beechworth Burke Museum
Animal specimen - Noisy Friarbird, Trustees of the Australian Museum, 1860-1880
The Noisy Friarbird are conspicuous and active Honey-eaters mainly seen in small groups and often active in flowering plants, especially eucalyptus trees. Noisy Friarbirds are found along the east coast of Australia, from north-eastern Queensland to north-eastern Victoria. They often feed in noisy flocks, alongside other Honey-eaters such as the Red Wattlebird. This specimen has been mounted in an accurate, yet stylised fashion. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Noisy Friarbird has a characteristically black head which lacks plumage and has a prominent casque (bump) on the base of its strong bill. The specimen has an off-white underbody and neck, a light brown back and tail with a white tip at the end of the tail. This specimen stands upon a wooden platform and has an identification tag tied around its leg.59a / Friarbird / See Catalogue Page 18 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, noisy friarbird, friarbird, australian birds, oz animals, wattlebird -
Warrnambool and District Historical Society Inc.
Book, Hazells Offset Ltd, The Little Girl and the Tiny Doll, 1966
This is a child's picture book from 1966 which belonged to the Framlingham State School which is situated approximately 15 ks north of Warrnambool. Of limited significance apart from being an example of books which were in use in primary schools in the 1960's.Hard cover book with title in red text. Image of child reaching into freezer with smallish doll figure below.back cover has image of two women in grey and white coats. Names of authors is in black text on white background.48 pages.Stamp " S.S Framlingham" dedicated to Miss Irene Theobald.warrnambool -
Tennis Australia
Racquet, Circa 1945
A wooden racquet, partially painted white,with red rubber gripped handle. Inscription across the throat on obverse, accompanied by an emblem of a male tennis player: EXPE[RT]. Manufacturer's emblem, featured on throat on reverse, comprises of text box framed by a ribboned wreath below, and a spread eagle above. Inscription: N.J. MAGNAN/CORP./NORTH ATTLEBORO/MASS. Materials: Wood, Nylon, String, Leather, Cloth, Metal, Glue, Lacquer, Ink, Plastic, Adhesive tape, Rubbertennis -
Robin Boyd Foundation
Functional object - Cushion
These are not original cushions in the photos by Mark Strizic in 'Living in Australia' p 83 and p129. Penleigh Boyd recalls: "the upstairs living room in the 1980s and 1990s was a much more colourful space. Arthur Boyd’s large paintings dominated the south wall and the Phillip Fox paintings as well as Tony Wood's 'In the Studio Psychologically Challenged' coloured the north wall. Patricia Boyd was experimenting with colour". These cushions were on the bed in Walsh St until around 2019.Indian cotton red, emerald green, mustard, white. Tassels and white stripes along centre. Zip on opposite side through centre square.walsh st furnishings, robin boyd -
Geelong Naval and Maritime Museum
Souvenir, Miniature Life Buoy from the Ozone Paddle Steamer
The Ozone was built in 1886 in Scotland. She was commissioned by the Bay Excursion Company and serviced Port Philip Bay from 1886 with Melbourne to Queenscliff her first run. She was involved in a number of collisions and was withdrawn from service by 1918. She was purchased by Melbourne ship breaker J. Hill in 1925 and was scuttled later that year at Indented Head. Souvenir life buoys were often made by the ships crew as an additional source of income.The souvenir life buoy is likely to have been made during the service of the Ozone paddle steamer from 1886 to 1918. It may have been made by a former crew man. The buoy is significant for its connections to the former transporation of Victorians by sea. A miniature souvenir life buoy, handmade and painted white. Cloth attached to make the stripes on the buoy and fastened by small tacs. Lettering is in red and gold paint. Decorated with painted anchors and flags."PS Ozone Melbourne"ozone, paddle steamer, bay excuersion company, indented head, geelong maritime museum, port philip bay, j. hill -
Emerging Writers' Festival
Emerging Writers' Festival Badge
In 2010, Emerging Writers' Festival Director Lisa Demspter, ran a Zine Bus, which travelled around Melbourne's inner north and city running workshops, panels and events. The Zine Bus was held on Saturday May 29th, 2010. The badge is most likely form 2010.A small white badge with black text and a red love heart, produced for the Emerging Writers' Festival, mostly likely in 2010 and 2011.2010 emerging writers' festival, lisa dempster, literary programming, the wheeler centre, emerging writers', literary, festival, melbourne, zine bus -
Chiltern Athenaeum Trust
Painting - Oil painting on gumleaf by Alfred William Eustace, circa 1851 to 1907
This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace -
Chiltern Athenaeum Trust
Booklet - Booklet of Selected Verse by A.W. Eustace published 1992, Selected Verse/ A.W. Eustace of Chiltern/1820-1907
Alfred William Eustace was a well-known self-taught Australian artist who spent his spare time painting the local landscapes in the Chiltern area. When not doing his work or painting, Eustace regularly contributed letters and verse to the Chiltern newspaper "The Federal Standard". A collection of A. W Eustace's verse and other writings, written between 1845 and 1899, was presented to The Chiltern Athenaeum Trust by Cam Boadle, a grandson of A.W. Eustace, and his wife Connie. The Chiltern Athenaeum Trust created a booklet of some of his poetry which was published in 1992. Copyright for the booklet is held by Chiltern Athenaeum Museum 1992. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. A.W.Eustace was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederich of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Alfred William Eustace made a valuable contribution to the culture of 19th century Chiltern and his booklet of Selected Verse gives us an insight into life during that time.22 page booklet of Selected Verse/ A.W. Eustace of Chiltern/ 1820-1907. Printed on thick cream paper with a copy of an oval photograph of the author.a. w. eustace, selected verse, chiltern -
Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape -
Chiltern Athenaeum Trust
Painting - Oil painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape, with creek and grassland in foreground surrounded by bushland and hill in distance, by A.W. Eustace, under glass in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, oil painting, landscape, chiltern -
Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape -
Chiltern Athenaeum Trust
Photograph
This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery -
Chiltern Athenaeum Trust
Photograph
Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern -
Chiltern Athenaeum Trust
Photograph - Reproduction
These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern -
Tatura Irrigation & Wartime Camps Museum
Banner, Afrika Korps Banner, 1941
Captain Robert Ure Bain was Adjutant to Lt. Col. Bush, POW Group Commandant from 1942 - 1947. He was chosen to be one of the Australian Army officers who escorted the German POW's back to Germany in January 1947. A German POW and former member of the Afrika Korps made the item and donated it to Robert.Afrika Korps banners, embroidered, one piece of material. Large hemmed square of white/ cream cotton material embroidered with two unfinished Afrika Korps banners. Line drawn around both, to indicate edge/cutting point/unfinished embroidery point. The photograph show banner 1 which has a palm tree & swastika (emblem of the Afrika Korps). Swastika has been left outlined in pencil but not embroidered, probably so as not to create trouble by displaying the now banned swastika: Banner 2 has red stylised German eagle over the number 8. Also in picture is a model of an aeroplane and a framed coat of arms with Braunschweig (a place in north west Germany otherwise known as Brunswick).Banner 1: Afrika Korps (pink lettering); 1941 (light blue lettering). Banner 2: Zullighau (brown/gold lettering); 4. KOMP / M. G. BATL. (green lettering). (Number 4 company of the Machine Gun Battalion); framed coat of arms "Braunschweig"afrika korps, internment camps, camp 13, garrison, military, handcrafts, embroidery, captain robert bain, german pow's -
Wangaratta RSL Sub Branch
Memorabilia - Framed Photograph, Private Cyril Buckler, c1916
Studio portrait of 5347 Private Cyril Buckler, 14th Battalion, presented in his memory as a past student, by his parents to North Wangaratta State School. Cyril was a postman from Wangaratta Victoria, prior to enlistment on 16 February 1916. He embarked from Melbourne aboard HMAT Euripides on 4 April 1916 for Egypt. His unit relocated to the Western Front, France, in June 1916. Private Buckler was killed in action near Pozieres, France, on 7 August 1916. He has no known grave and is commemorated on the Villers-Bretonneux Memorial. This image of Cyril Buckler in uniform with the rank of Sergeant was probably taken while he was serving in the Senior Cadets or Citizen Forces prior to enlistment in the AIF Framed photograph presented to North Wangaratta State School in memory of a past student killed in action at Pozieres, France on 7 Aug 1916 during the First World War. North Wangaratta State School 2391 opened in May 1881 and closed on October 26 1969. Today a plaque commemorates the old site in Eldorado Road North Wangaratta.Wooden frame with gold insert, wooden mount. Coloured paper Union Jack on top left of mounting, Red Ensign on top right of mounting. Inscriptions in white paint. Glass front. Back has wire hangings. Has paper backing has stitching on three sides, some paper backing is ripped.For King and Country. Presented to North Wangaratta State School No 2391 by Mr & Mrs W. Buckler in memory of their son Sgt Cyril Buckler who was killed in action at Pozieres France 7 Aug 1916 world war 1, france, pozieres, north wangaratta state school, cyril buckler -
National Wool Museum
Handbook, 1966
Donated by Mrs Robyn Adams, daughter of Victor Clyde- a wool grower from North-Eastern Victoria who used this itemWhite paper booklet with four staples on left spine. Front cover has heading -ELDER SMITH / GOLDSBROUGH MORT / LIMITED-. at top centre. Text also reads -WOOL HAND-BOOK / AND WAYBILLS-. Text is black and there are four red horizontal bars on the cover. Inside front cover has list of points to remember. First pages have instructions. Booklet contains several lined yellow pages which can be copied with carbon paper, or removed. Inside back cover has a foldable map. Back cover had a ready reckoner printed.wool sales, wool auction, wool transport, mrs robyn adams, elder smith goldsbrough mort limited, dalgety and company limited elder smith goldsbrough mort limited -
Hume City Civic Collection
Photograph - Train smash, 17th April 1919
17th April 1919 a stock train travelling north crashed head-on with a goods train coming in the opposite direction. The driver thought he had been given the all-clear to proceed into Sunbury and it was only when the train was approaching the Macedon Street bridge that he saw the red light and it was too late. The accident caused damage to rolling stack and disruption on the Bendigo and Maryborough lines. The train coming from Bendigo smashed onto the platform at Sunbury. The driver of the stock train was thrown under the van and suffered a broken arm and facial injuries. The fireman was thrown clear of the tracks. A local Sunbury doctor treated them before they were taken by a casualty train to hospital. A crew from Melbourne came to Sunbury to repair the damage. The track was cleared by that afternoon. This photograph shows the crane lifting steam engine off the platform at Sunbury Station. This rail crash was one of many that has occurred in and near Sunbury and further on the tracks on the Bendigo Line over the years. A black and white photograph with a cream border of a steam train engine on its side with a crane lifting it back onto the rails. Two workmen are standing by the tracks.train crashes, sunbury station -
Lake Bolac & District Historical Society
Black and white photograph, Diving Board, 2nd Beach, Lake Bolac
Red gum diving board and pontoon at the second swimming beach on the north side of Lake Bolac, circa 1935.lake bolac, swimming , diving board, pontoon, 1935. -
Ambulance Victoria Museum
Vehicle, motor, Ambulance, Ford Mainline, 1957
This vehicle was owned and operated by Rural Ambulance Victoria. It was first used by the Snowy Mountain Hydro-Electric Authority as an ambulance, and was stationed at Adaminaby. It was later transferred for use by the North Eastern Regional Ambulance Service (1977)Four-wheeled vehicle fitted out as an ambulance. Bodywork painted white with chrome trim. Red light located on roof. The word "Ambulance' painted in red above the front windscreen.Registration number 148164 .ambulance, motor vehicle, ford, ford mainline 1957, rural ambulance victoria, snowy mountain hydro-electric authority, adaminaby -
Ringwood and District Historical Society
Album - Group/Class Photos, Ringwood Technical School 1963-1964 bound Album, c 1963
Red Bound Photograph Album of Black and White Class/Group Photos from 1963-64rts, ringwood tech -
Ringwood and District Historical Society
Album - Group/Class Photos, Ringwood Technical School 1965-1966 bound Album, c 1965-1966
Red Bound Photograph Album of Black and White Class/Group Photos from 1963-64rts, ringwood tech -
Flagstaff Hill Maritime Museum and Village
Document - Navigation Chart, Admiralty Office, Lady Bay and Warrnambool Harbour, 03/04/1871
This Chart titled “Lady Bay and Warrnambool Harbour” was surveyed by Nav. Lieut. H.J. Stanley, of Britain's Royal Navy, in 1870 and printed in April 1871. The chart was made before the Warrnambool Breakwater was built (construction had begun in 1874 and was completed in 1890). The chart includes Directions for entering Lady Bay, Warrnambool Harbour. These are "Vessels entering Warrnambool Harbour must bring the Red Light in sight and steer in with it in line with the upper white Light bearing North, until the Green Light on the Jetty is opened, when steer towards it and anchor. The best anchorage is in 2 ¼ fms [fathoms)] of water, about a cable from ledge off Breakwater rock. Or where convenient, according to draught of water, only endeavouring to anchor as close as possible to Breakwater rock. It is not safe to enter or leave the Harbour in south westerly or Southerly gales.” This chart is significant for its strong connection to the maritime history of Warrnambool Harbour and Lady Bay, and eventually to the Warrnambool Breakwater. The Warrnambool Breakwater is registered as a place of significance on the Victorian Heritage Database (VHR H2024). A copy of the same chart was used to plan several submissions for future changes to the jetty and breakwater. The chart is a historical record of structures existing in 1870; the Warrnambool Jetties, Lady Bay, the leading lights (lighthouses), streets, roads, bridges and many buildings. It also shows the lay of the land and seabed.Canvas chart of Australia, South Coast, Victoria Title: Lady Bay and Warrnambool Harbour Surveyed by Nav. Lieut. H.J. Stanley, R.N., 1870. Magnet Variation, 1870 Published April 3, 1871, by the Admiralty, London. Directions for vessels entering Warrnambool Harbour are printed on the chart. The chart has a lacquer or seal over it.Top of chart has logo "HYDROGRAPHER OFFICE" "Price Eighteen Pence". "Engraved by Edward Weller" Along bottom of Chart: “London… Published at the Admiralty, 3rd April 1871, under the Superintendence of Rear Admiral G.H. Richards, F.R.S. Hydrographer, Corrections July 71” Bottom of chart “Australia South Coast Victoria Lady Bay and Warrnambool Harbour. 2494”flagstaff hill, warrnambool, chart of lady bay warrnambool 1870, warrnambool harbour, cartography, navigation, warrnambool breakwater, 1871, australia – south coast / victoria, lady bay, 1870, nav. lieut. h.j. stanley, r.n, directions for entering warrnambool harbour, hydrographer office, rear admiral g.h. richards, edward weller, port of warrnambool, flagstaff hill maritime museum & village, maritime museum, maritime village, shipwreck coast, map, chart, navigation chart, admiralty chart, breakwater, jetty, pier, vhr h2024