Polished wood in the shape of a shield, with a central silver plate inscribed with the name of the award and multiple smaller silver plates with individual winner names. There is also a round copper medal hanging from a chain decorated with a soldier pointing a gun on the front, leaves around the edge and on the back: 'In Pace Paratus', '1812 - 37 - 66' 'Presented by the Ontarion Rifle Association.' Winners were: 1972-73 A McKay 1973-74 I Leggett 1974-75 H Eyre 1975-76 J McKay 1976-77 J Musgrove 1977-78 J Musgrove 1978-79 J Patterson 1979-80 H Kakol 1980-81 J Musgrove 1982 H Kakol 1983 J Musgrove 1984 H Kakol 1985 H KakolPolished wood in the shape of a shield, with a central silver plate inscribed with the name of the award and multiple smaller silver plates with individual winner names.RVIB Rifle Club The Ann Andrew Perpetual Trophy Best Marksmanroyal victorian institute for the blind, rvib rifle club

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An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

Celluloids are a class of compounds created from nitrocellulose and camphor, with added dyes and other agents. Generally considered the first thermoplastic, it was first created as Parkesine in 1856 and as Xylonite in 1869, before being registered as Celluloid in 1870. Celluloid is easily moulded and shaped, and it was first widely used as an ivory replacement. The main use was in movie and photography film industries, which used only celluloid films prior to acetate films that were introduced in the 1950s. Celluloid is highly flammable, difficult and expensive to produce and no longer widely used, although its most common uses today are in table tennis balls, musical instruments and guitar picks. Celluloid was useful for creating cheaper jewellery, jewellery boxes, hair accessories and many items that would earlier have been manufactured from ivory, horn or other expensive animal products. It was often referred to as "Ivorine" or "French Ivory". It was also used for dressing table sets, dolls, picture frames, charms, hat pins, buttons, buckles, stringed instrument parts, accordions, fountain pens, cutlery handles and kitchen items. The main disadvantage the material had was that it was flammable.. It was soon overtaken by Bakelite.A miniature, oval, Ivorine hand mirror with floral engraving on back. An accoutrement for use in a lady's Evening bag c19thCFloral design engraving on back of mirrormoorabbin, brighton, early settlers, pioneers, cheltenham, craft work, mirors, ivorine, evening bags, celluloids, bakelite, plastics,

A copy of an early wood engraving taken from a photograph of the township of Marysville in Victoria.A copy of an early wood engraving taken from a photograph of the township of Marysville in Victoria. The Yarra Track is the former name of the gold fields road from Healesville to the Woods Point and Jordan Goldfields in Victoria.victoria, frederick grosse, albert charles cooke, thomas waters, wood engraving, marysville, wood's point road

Cigarette lighters with personalised engraving were extremely popular with servicemen in Vietnam and carry a range of messages.Silver zippo lighter re Service In Vietnam. Personalized with engraving.Front of lighter - Danang Vietnam 1968 - Air Borne, back of lighter "If you think sex is exciting try incoming"zippo lighter, airborne, sempel, cigarette lighter

A copy of an early wood engraving of the construction of the road over the Black Spur in Victoria.A copy of an early wood engraving of the construction of the road over the Black Spur in Victoria. The Black Spur is known to be one of Victoria's most scenic drives. The road winds through a majestic forest of trees and tree ferns from Healesville to Narbethong and is part of the Maroondah Highway.black spur, wood's point, narbethong, maroondah highway, victoria, wood engraving

A copy of an early wood engraving taken from a photograph of the deserted township of New Chum, near Healesville, on the Yarra Track in Victoria.A copy of an early wood engraving taken from a photograph of the deserted township of New Chum, near Healesville, on the Yarra Track in Victoria. The Yarra Track is the former name of the gold fields road from Healesville to the Woods Point and Jordan Goldfields in Victoria.new chum, healesville, yarra track, victoria, frederick grosse, albert charles cooke, thomas waters, wood engraving

Engravings of looms produced by George Hodgson Limited, Frizinghall Works, Bradford, Yorkshire, England.Engravings of looms produced by George Hodgson Limited, Frizinghall Works, Bradford, Yorkshire, England.textile machinery, george hodgson limited

EPMS Cylindrical Trophy 2 Heart shaped handles with wider base with engravingEngraving 3rd M.D SPORTS /Lloyd Lindsay / 1st / TPR J.G. GIBBS 8 L.H / 1932trophy, presentation, 1932, lloyd lindsay, tpr j.g.gibbs

Trench Art is the name given to objects manufactured by both soldiers and civilians from shell casings, bullets, shrapnel and miscellaneous battlefield debris, and is predominantly associated with World War I (1914 – 18). The most common material used for trench art are brass shell casings, which, once decorated, can be utilised as vases. Often items will bear an inscription such as the name of a French village or theatre of war and engraved decoration or embossing. There is no known history in relation to this vase.Large brass shell casing with decorative engraving.Engraved - Les Halles D'Ypres 1914-19 with engraving of building possibly town hall or church . Several symbols, numbers and letters imprinted on base of casing. brass shell casing, trench art, world war one, first world war, wwi, ww1, ypres, flanders, vase

Awarded to Penny Harris 1982 - 83. Donated by Helen Harris on behalf of daughter Penny Harris.Plastic statue of an athlete on wooden base with engraving as follows: F.H.L.A.C. U/7 1982 -83 1st Penny HarrisF.H.L.A.C. U/7 1982 -83 1st Penny Harris Anthony's Trophies Engraving 546 8733penny harris, forest hill little athlete club, trophy, sport.

Presented to Private T.T. Crossman for his skills and marksmanship with the F88 AuSteyr rifle on 22 June 2007 A lacquered wooden plaque featuring a small model of the F88 Austeyr rifle on a red felt inlay above a gold plaque engraving. The left side features the Royal Australian Infantry Corps badge and the right side features the Royal Australian Regiment Badge. Engraving - SKILL AT ARMS / PTE T.T Crossman / 22 June 2007 / Royal Australian Infantry Corps badge - Engraving: ROYAL AUSTRALIAN INFANTRY CORPS / Royal Australian Regiment Badge - Engraving: ROYAL AUSTRALIAN REGIMENT /plaque, skill at arms

George ‘Speca’ Moloney Born: 07/08/1909 From: Claremont-Cottesloe (WA) Height: 174cm Weight: 73kg Natural kicking foot: Right Guernsey number: 14 First senior match: Round 1, 1931 v Collingwood at Victoria Park The remarkably effective full-forward created an impact in his relatively short career. Although quite short for a key position, he was able to produce spectacular results frequently. He possessed remarkable ground play, elusiveness and goal sense. Amazingly, he was able to snap goals with either foot from virtually anywhere within range. Many of his goals came from kicks over his head or shoulder as he ran away from the scoring area to dodge opponents. He was fast, clever and a good mark. His League career commenced spectacularly; in his first two matches he scored a total of 19 goals. He later became the first player in history to score 10 goals or more in two successive matches (Round 15 and 16, 1932). In that year he became the first Geelong player to score 100 goals in a season. During 1935 he played successfully in the centre. Total Brownlow Medal votes: 33 Premiership team selection: 1931 Runner-up in Brownlow Medal count: 1932 (equal) Club Best & Fairest: 1932 Club leading goalscorer: 1931 (74 gls), 1932 (109 gls), 1933 (68 gls) Competition leading goalscorer: 1932 (109) Instances of seven goals or more in a match: 12 Australian Football Hall of Fame inductee GFC Hall of Fame inductee (2002) GFC Life Membership (2012) Career span: 1931-35 Total matches: Premiership 88 Interstate 1 Total goals: Premiership 303, Interstate 3 Finals matches: 7 Finals goals: 15 Last senior match: Round 17, 1935 v Hawthorn at Corio Oval Died: 05/01/1983 Information provided by Mr Col Hutchinson GFC HistorianGeelong F.C. GFC 1931 Victorian Football League Premiers Medallion Gold with blue enamel. Circular shape with VFL in the centre. Back of medallion has engraving Geelong F.C 1931 George MoloneyBack of medallion has engraving Geelong F.C 1931 George Moloneygfc, 1931 premiership, grand final, medal, george moloney

When scrimshaw is mentioned, most people think of carving on sperm whale teeth only. But scrimshaw also includes engravings on skeletal whale bone–such as the jaw bone, called panbone–and ivory from other marine mammals such as walrus. Although scrimshaw is widely associated with nautical themes and designs of the 19th century whaling industry, vintage scrimshaw was also produced as tribal art in many cultures. Today, scrimshaw is recognized as a unique medium in which present-day artists have developed their own modern themes. Scrimshaw reproductions may take several forms. There are - New carvings on genuine ivory or bone with the deliberate intent to create an "antique” - New carvings on genuine ivory or bone sold as signed and dated contemporary art - Clearly marked synthetic museum reproductions and mass marketed - Unmarked synthetic replicas Painstakingly carved deliberate replicas are directed towards the scrimshaw collector and seldom appear in the general market. Pieces of contemporary art and museum copies are usually clearly marked and openly sold for what they are. The biggest problems in the general antiques market are the mass produced synthetic reproduction pieces, such as this item, that can be mistaken for the genuine item. The scrimshaw is a modern reproduction of a typical scrimshaw scene and engraved onto a synthetic substance. It has been created as a decorative piece and is currently displayed as a representation of the craft of scrimshaw.Scrimshaw carved on a non-natural material in the shape of a whale tooth. Engraving depicts a grizzly bear with two cubs next to a fallen tree. Nonewarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, craft work, carving on bones, whale bone carving, engraving, scrimshaw, carving, reproduction scrimshaw

The text reads: "This Print Represents The Chapel for Seamen... Port of London Society... Instituted March 18th 1818... Chapel for Seamen is moored off Wapping Stairs in the River Thames. View of the Interior (inset)"Excerpt from the autobiography of Robert Humphrey Marten (1763-1839) which he wrote at the request of his children on his 60th birthday. (As far as the donor's knowledge it only circulates within the family, so some of these details may not be recorded elsewhere about how the Mission to the Seafarers began. --------- Robert Humphrey Marten (1763-1839) left school at the age of about 14 to be employed in a “Counting House” in the City of London. Unfortunately, before the five years of his apprenticeship expired, the merchant ceased trading as he had lost a lot of money gambling. Marten made his way however and took opportunities which offered and eventually set up his own business with two of his sons, Robert and Charles. He was a Dissenter (non-conformist), active in his church and in many charitable works, as overseer of the poor for his parish, raising money for families in Germany impoverished by the Napoleonic wars, was a member of the Royal Humane Society and so it is not altogether surprising to find him in 1817 taking up the cause of sailors discharged from warships living on the streets: --- The Autobiography of R H Marten Esq of Plaistow Essex (1763-1839) “The deplorable condition of sailors discharged from the ships of war and now wanted for commerce – (trade being most woefully dull) attracted towards the close of the Year the notice and began to press upon the feelings of the Public. To relieve their urgent and personal distress I proposed a Public meeting – This was agreed to and Mr. Wilberforce was voted into the chair – A committee was formed and a noble subscription was most voluntarily supplied – Navy Captains and others gave most efficient assistance and Govt. lent some large ships to which the sailors were sent from the streets – were clothed and fed and the sick attended to and on the Sabbath Public Worship was performed on board. I was on this Committee which fully accomplish’d its humane purpose – and out of the Surplus fund sprang the present seaman’s floating Hospital where a sick or diseased seaman is received only on his presenting himself alongside and without any ticket or recommendation. For the greater benefit of seamen was sketched the present excellent establishment of the Merchant Seaman’s Auxiliary Bible Society of which Admiral Lord Viscount Exmouth is President. This was more formally instituted on the ---[space left to add date later]. I drew the outline of the address to the Public which was afterwards much improved by the Revd. Mr. Draltry and I had the honour to chalk out the plan which has been so well executed by the pious Lieut. Cox at Gravesend – to whose zealous and judicious activity the success of the institution is much indebted, and in December I published my ideas on the necessity and advantage of making some permanent accommodation for preaching the Gospel to the numerous sailors always to be found in the Port of London. This led ultimately to a public meeting on the 5 Feb. 1818 and to the formation of the Port of London Society for promoting Religion among seaman [sic]. As the Founder of the Society I became its Chairman and Treasurer and on its formal Institution on the 18 March 1818 the public appeared much gratified with the attempt about to be made to raise the moral character of a class of men who had been unaccountably and far too long in this respect overlooked. The large ship fitted by the Society most commodiously as a Chapel was in May following moored nearly on the spot where in October 1803 I was run down by a Gravesend Hoy and narrowly escaped with life – Churchmen and Dissenters contributed cheerfully to the cost – Officers of the Navy became subscribers, Noblemen visited this strange and converted ship – the Admiral Lord Gambier became the avowed President and the Chairman of the public Meetings, and what is of far more importance – sailors came to it on the Sabbath by hundreds willingly to worship their maker, and listen to instruction – until the Language in common use on the Thames was divested of its Blasphemy – and the voice of Prayer was heard from the mouths of Seamen; and the outposts and many Foreign ports imitated and thus honored the example of the Port of London in her society for promoting Religion among Seamen. The Floating Chapel was solemnly dedicated for divine worship on the 4 May 1818 when the morning sermon was preached by the Revd. Rowland Hill to a very crowded auditory. “[see illustration in separate email] Autobiography of R H Marten esq pp 33-34 (privately published monograph) Note: The incident (c 1803) he refers to in which he “was run down by a Gravesend Hoy…” is graphically described earlier in his memoir. The donor's family has a connection with R.H. Marten. through his sister Mary, who married Cornelius Berry on 9 February 1793. The donor's father, Hugh William Berry (1905-?) reprinted the autobiography of R.H. Marten. And, she has herself a connection with the Mission as she used to collect money for the Mission at school. Large print depicting a floating church in Londonfloating church, seamen, sailors, religion, london, r.h. marten esq, wapping stairs, river thames, port, robert humphrey marten (1763-1839), cate lewis, seamen's hospital, welfare, napoleonic wars, royal navy, merchant navy

For Trafalgar Day, 20 October 1914, the Archbishop of Canterbury in England had "drawn up a new form of private prayer to be offered up specially for the sailors of the Fleets in the present crisis. He suggested its use particularly at noon as a silent prayer, when those at work may be reminded by the ringing of the " Angelus" bell to lift up their hearts to the Lord. The prayer was as follow: "O Thou that slumberest not nor sleepest, protect, we pray Thee, our sailors from the hidden perils of the sea, from the snares and assaults of the enemy. In the anxious hours of waiting, steady and support those on whom the burdens of responsibility lies heavily, and grant that in dangers often, watching often, in weariness often, they may serve Thee with a quiet mind, through Jesus Christ our Lord. Amen.” The prayer illustrated by English artist G.M. Langley became popular. Prints were sold as gift for 7/9 each with an oak frame. As mentioned in the ' Quarterly Jottings from our log" no 47 midwinter 1917: the etching was gifted to the Mission for display in the new Chapel by the Godfrey sisters. The frame was gifted by their cousin's wife, Mrs William Scott Purves Godfrey ( ' Quarterly Jottings from our log" no 48 Michaelmas 1917).The print was gifted by the Misses Godfrey, influential and long term members and supporters of the Ladies Harbour Light Guild. At the time of the completion of the St Peter's Chapel in September 1917, it was dedicated to the memory of all merchant seamen serving in the long war. The print subject, of the sailor guarded by Jesus was no doubt intended to inspire faith and hope but also acknowledges and reflects the anxious days of waiting not only of the sailors and seafarers negotiating the dangerous waters and oceans but also the challenge for families, experiencing the widespread anxieties of a world at war. Wood framed and glazed engraved print of Jesus Christ with sailor in the foreground and printed inscription on mount belowSignature of artist lower left of print.: G M Langley Printed on mount at lower right: "In the Anxious hours of waiting"g.m. langley, prints, engravings, merchant seamen, seafarers, ww1, godfrey family, ethel augusta godfrey, frederica godfrey, first world war, great war, mrs william scott purves godfrey, rica godfrey, rita godfrey, artwork-paintings

The Sailors' Rest, located in Ann Street, Williamstown opened on 24 May 1878. An article dating 25 May 1878, in the Williamstown Chronicle, describes the interior of the renovated Wesleyan chuch as depicted on the print: "Inside the building the carpenters and painters have been busily engaged. It has been painted throughout, the lower part of the walls be ing stained blue. There is a form all round the building with tables up the sides, and a number of small round tables are scattered about the roomi. In the centre is a splendid wire stand for pot plants, of which there is a grand display. Pictures adorn, the walls; singing birds warble their sweet strains ; and the silent gold fish of which there are several globes add to the beauty of the display. At the east end of the room is the bar, occupying one corner, while in the other are the shelves which accommodate the books of the Library, while last evening across the end wall was in large illuminated letters-'" The earth is the Lord's and the fulness thereof." On the platform are a piano and harmonium. The room is very presentable whether in day light or illuminated vith gas." Eva Carmichael, one of the two survivors of the Loch Art tragedy, visited here on 19 July 1878. She had stayed with Mr and Mrs Gibson and travelled from Camperdown to Melbourne (15 July 1878) to sail back to Ireland. Article in the Leader, 20 July 1878, Page 19: "The Saitors' Rest at Williamstown was yesterday visited by Miss Carmichael, Mr. T. Pearce and Mr. and Mrs. Gibson. The objects of the institution were explained to them, and after a brief stay they complimented the committee on their arrangement. The attendance has ho largely increased that the receipts now average £80 per month. The print is a rare insight of the Sailors' Rest in Williamstown, depicitng the room filled with plants, birds in cages, the seamen enjoying some board games, and coffee.Illustration depicting the interios of the Williamstown Sailors' Rest in 1878 with decoration (plants, paintings, birds in cages), and sailors at tables busy playing chess, talking, having a drink.sailors' rest, williamstown, 1878, plants, books, library, tables, sailors, games, chess, coffee, seamen, sir william stawell, hugh ronald reid

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 drawing. If you can provide information on this artist or artwork please use the email link below. art, artwork, tania leslie, horsham student collection

This padlock was used on the cells of Old Ararat Gaol in the 1800's. This padlock is significant in its interpretative abilities of showing what equipment was used in containing prisoners on the Victorian goldfield. Metal gaol padlock with open hinged clasp. Front view of open padlock with hinged keyhole cover with two engravings. Five bolts. Back view of padlock with 12 bolts. Large dent at the base. Two bolts on each side. Scratches and dents from repeated usage. Some spots of corrosion.Two engravings on keyhole latch - the word "SECURE" and a twelve prong star or flower.gaol, prison, prisoner, padlock

Black and white photographic postcard of an illustrative collage of two wood engravings, one showing view of the Western Spit of the natural entrance, with a steamer anchored and three cottages on the bank. The second illustration shows the wreck of the trading schooner Latrobe, at the natural entrance. Lakes Entrance VictoriaView of the Western Spit, 1878 (Wood engraving form Australasian Sketcher, Sale Regional arts Centre)jetties, public works

Common cigarette lighter amongst Australian Servicemen; facilitated calming within stressful situations ie smoking eased stress and fatigue.This lighter will have memories of great significance and feeling with soldiers who had used it after very stressful situations - it would have served to facilitate relief and calmness when most needed including some giving emotional escape from immediate circumstances..Silver lighter with engravings: angel on front and text on back: Silver metal, rectangular shape; flip top.Front: Engraving of classic woman with bird in hand. Rear: Engraved text: Ba Ria Nui Dat 67-68; Yea though I walk through the valley of the shadow of death I will fear no evil for I am the evilest son of a bitch in the valley"".vietnam, vietnam war, diamond valley vietnam veterans sub branch

Very early scene of Cowes showing the jetty, Isle of Wight Hotel and jetty shed. Charles Turner was an English mezzotint engraver and draughtsman who specialized in portraiture. HistoricalA4 colour photocopy of a print of a wood engraving by Charles Turner of the Cowes jetty. Large beige frame around print.At Cowes, Phillip Island. from the commemorative work, Victoria in 1880, published in Melbourne to mark the International Exhibition held that year. Fine prints of notable buildings and street scenes, as well as views of the country and suburban areas of the colony. Wood engraving.cowes jetty, charles turner, isle of wight hotel, jetty shed, wood engraving

Item belonged to William David Maher No 68, 8th LH Regt AIF. Refer 532 for main details. .1) Container, brass, round, made from possibly a 3" shell, engraved all around with depictions of small branches, leaves etc. Engraving is "Souvenir from the Great war " - "Made by G. KAMPER Duisberg Germany." .2) Lid, brass, round for .1) Lid is possibly a 3" shell with a small handle centre made from a round possible .303 size.,1) Marz, 1917. ST.G33,HL25 .2) DEZ 1917 ,ST, G,297 ,67,HL31arms - ammunition, brassware, engraving, trench art