Showing 1989 items
matching colour and design
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Bendigo Historical Society Inc.
Clothing - JOAN FILBY COLLECTION: WEDDING VEIL, 29 July 1972
Wedding veil and headpiece. Soft cream in colour, the fine soft tulle is embroidered with a continuous, curvaceous, chain stitched embroidered leaf design. The tulle has been cut to follow the curves of the embroidery.The three tier veil is tightly gathered onto a one cm band, which is stitched to a clear plastic, curved comb 8.5 cm long and which would hold in the hair of the bride. The headpiece is made from cream coloured ribbon and simulated pearls. WITH 11400.1105 AND 11400.1107costume accessories, female, tulle three tier wedding veil and head p -
Ballarat Tramway Museum
Document - Display Board with mounted signs, Peter Lambert, 23/04/2020 12:00:00 AM
Set of 12 A3 proofs, colour, for comment in a large envelope with notes on the outside written by Dave Macartney of the almost final versions of the 12 panels that were installed in Shelters through a Public Records Office of Victoria grant during March 2020. Designed by Peter Lambert Design. 1 - Depots backed by Victoria St 2 - Tram Types - backed by the Mt Pleasant Line 3 - Beginnings backed by the Lydiard St Line 4. - Conductors backed by the Sebastopol line 5 - Carlton St backed by Trams in the City 6 - The Gardens backed by The Gardens lines. The final version for the two at St Aidans drive were changed following Council consultation into a different sized panel but with the same content. Image files are those from Peter Lambert that went to the panel makers. Panels by The Sign Shop The image files are not opened by this program. trams, tramways, displays, interpretation, pro, grants, st aidans drive, gardens, depot, tramcar design, carlton st, world war i -
Federation University Historical Collection
Drawing - Artwork, Architectural Drawings by Alice Watson, c1930
Alice Watson completed a course of work at the Ballarat Technical Art School, a division of the Ballarat School of Mines. Her complete folio is held by Federation University Australia. Nine works were undertaken at the Ballarat Technical Art School by Edith Alice (Alice) Watson. Seven pencil sketches on paper. Two black ink drawings on paper .1 has sketches on both sides; .2 pen and ink table and chair design; .3 pencil sketch of a castle; .4 sketches on both sides - pen and ink doorway and on reverse pencil and water colour (partly coloured) wallpaper border design; .5 pencil sketch of a well and a church; .6 two pencil sketches of bridges; .7 three pencil sketches - two of partial rooves and one of a bridge drawn from a photo; .8 three pencil sketches - a window, a doorway and a thatched roof cottage; .9 pencil sketches on both sides - a village scene with gateway, church and cottages on one side and trees on the reverse. .3 lrs "A. Watson Pencil Sketch" .4 ink sketch tr "New Door" .5 lrs "Pencil Sketches A. Watson" .6 lrs "Pencil Sketches A. Watson" .7 rs" Pencil Sketch", under bridge drawing "Pencil Sketch from Photo", lrs "A. WATSON" .8 lrs "Pencil Sketches A. Watson .9 Village scene - lrs" A.Watson Pencil Sketch" ballarat technical art school, ballarat technical art school number 10, ballarat school of mines, alice watson, edith alice watson, artwork, architecture, alumni, pencil sketches, sketches of buildings -
8th/13th Victorian Mounted Rifles Regimental Collection
Medal - Gallipoli medal
The Gallipoli Star and its ribbon were designed in 1917 by R K Peacock, but official approval from King George V for the proposed campaign medal was withdrawn after the ribbon, but not the medal, had been manufactured, because it was to have been presented only to Australians and New Zealanders, but not British or other Empire soldiers involved in the campaign. Some Anzac veterans are known to have been issued with lengths of ribbon during the war in anticipation of the medal's production. In 1990, Mr Ross Smith, a former Australian Army Warrant Officer and Vietnam veteran, arranged, at his own expense, for dies from the original design to be manufactured, and for A J Parkes & Co Pty Ltd, of Brisbane, to strike 1000 examples of the medal. 200 of these stars were presented to surviving Australian and New Zealand Gallipoli veterans to mark the 75th anniversary of the campaign. The remainder were sold to the public. A further 1000 were later struck for sale to collectors. The design features an eight pointed star, representing the states and territories of Australia (seven points) and New Zealand. The colours of the ribbon are blue, representing the ocean, gold, representing Australian Wattle, silver grey, representing New Zealand fern, and red for the colour of Australian gum blossom and the New Zealand Rata flower.Gallipoli Star is a star shaped medal with raised crown at centre suspended on a coloured ribbon.medal, gallipoli, world war one, wwi -
Melbourne Legacy
Coin, Centenary of Legacy. 100 Years of Service, 2023
In 2023 The Royal Australian Mint has released a Legacy Centenary Coin. The coin is available in a limited mintage of 30,000. The reverse of the coin features a sculpted interpretation of the Legacy logo torch cupped by a pair of hands with the title text ‘Centenary of Legacy • 100 Years of Service’ circling the design around the edge of the coin. The front side of the coin features the Queen Elizabeth II Memorial Obverse which will only be featured on coins made in 2023, making this coin even more collectible. The coin was released in two different presentation cards. Australia Post also issued a stamp featuring the Legacy Torch. It will be in general circulation as well as available as commemorative packs and first day covers. The stamp design presents the iconic branding of Legacy Australia and echoes the colours of the Australian flag. The torch design prominently placed in the stamp represents the undying flame of service and sacrifice, the foundation of Legacy’s existence. The body of the torch is presented in a gold colour, signifying generosity and compassion. In its wreath of laurel, with its points inverted in remembrance, is the guerdon of honour, to represent those who gave their lives for their country. The coin was released in two different presentation cards. One was $15. This one appears with the Legacy Stamp and postmarked as a first day of issue and cost $18.95 in a limited edition of 7,000. A record that Legacy's reputation is such that the centenary was marked by the Royal Mint and Australia Post.An uncirculated Australian $1 coin in a protective pack with the Legacy Stamp.100th anniversary, centenary -
Federation University Historical Collection
Photograph - Documents, Installation of Emeritus Professor Geoffrey Blainey as the Foundation Chancellor of the University of Ballarat, 1994
The Chancellor is the head of the university and presides over meetings of Council. The Chancellor is also an ex officio member of all other bodies of the University. As well as being the traditional colour of embellishment on a Chancellor's gown, gold also provides a tangible link between the new university and its Ballarat ancestry. Academic gowns distinguish between the university's senior office holders, The design of the Chancellor's gown at the University of Ballarat is based on an Oxford and Cambridge tradition for university Chancellors' robes. It is made after the style of an English Queen's Counsel gown, with appropriate traditional adornment (chevrons) on the sleeves and edges. The decorative braiding is in gold oak-leaf braid. The velvet trencher with gold tassel is the traditional headwear for a Chancellor. Black and white 16 page booklet with a primarily black cover. The booklet is the programme for the installation of Emeritus Professor Geoffrey Blainey as the foundation Chancellor of the University of Ballarat. The contents include an order of proceedings, history, Geoffrey Blainey, the role of Chancellor, the chancellor's regalia, University of Ballarat logo.university of ballarat, chancellor, geoffrey blainey, blainey, governor of victoria, richard mcgarvie, bill pryor, nina valentine, david james, vern robson, lee francis, david fitzgerald, redmond barry, ballarat school of mines -
Flagstaff Hill Maritime Museum and Village
Equipment - Camera Housing, Wills Camera Housings, Late 1960s to the mid-1970s
This is an early underwater camera housing for a video camera. It was sold by Wills Camera Housings from Kaniva, Victoria. It is dated around the late 1960s to the mid1970s. The history of underwater photography began with the first protective camera box for underwater photography was made in 1856. In 1914 the first underwater video footage was taken. Colour underwater photography was first shot in 1926. In 1950 the first commercially available underwater camera housing, the "Tarzan" was designed by Henry Broussard, an underwater photographer, for his own camera. It was produced by the French company Beauchat. In 1957 the revolutionary underwater camera was invented by Jaques-Yves Cousteau and Jean de Wouters. The new amphibious "Calypso" changed the nature of underwater photography.This underwater video camera housing is significant for its purpose of underwater photography. Camera housings such as this were used to record the position and layout of shipwrecks along coast of the Great Ocean Road. Flagstaff Hill Maritime Museum and Village has underwater footage of dives that show the now protected shipwrecks.Underwater camera housing for a video camera. Perspex and metal, made by Wills Camera Housings of Kaniva, Victoria. flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, camera housing, underwater camera housing, video camera housing -
Mission to Seafarers Victoria
Painting, Robert Thomas Miller, The Busy Tug Boat, c. 2000
Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime ArtContemporary framed in limed wood, mounted and glazed watercolour painting by R.T. MILLER in portrait format. Mat mount is white. Image features freighter with black hull at mooring in dockland setting; wire hanging systemInterpretation label adhered to back, includes photographic portrait of the artist Value on label Signature M4 in black markermarine painting, port melbourne, artwork, docklands, tug boat, robert thomas miller, robert t. miller, r.t. miller, artwork-paintings, tugboat -
Mission to Seafarers Victoria
Painting - Watercolour, R.T. Miller, Harbour Reflections, c. 2000
Robert Thomas Miller Born in Melbourne in 1916 Studied commercial art at RMIT and for many years worked as graphic designer and design director at ACI Ltd. Member of the Victorian Artists's Society (Council member since 1965), Australian Guild of Realist Artists, Old Water Colour Society Club (past president), Australian Watercolour Institute, Hughesdale Arts Group (past president), Burnie (Tas.) Coastal Art Group. His watercolours have won over 40 major awards, including Victorian Artists' Society, 1973 Artist of the Year Award, and the Rotary Club of Camberwell Watercolour Prize (twice). Represented in many Australian collections both public and private.Maritime artA framed and glazed mat mounted watercolour painting by award winning artist Robert T Miller in ''landscape" format showing moored, masted ships; The modern frame is of moulded or carved wood with appearance of brushed gilt type gilding; image is mounted with pale grey window mount; Backing sealed with paper wire strand hanging system;Artist signed front lower right corner of painting in black ink; no date; sepia label adhered on top centre Verso with artist bio and brief CV ; Other exhibition labels adhered ; inscription describing acquisition and title of work; ( details TBA) M3 in black markerharbour, dockside, artwork, marine art, robert thomas miller, robert t. miller, watercolour, artwork-paintings -
Duldig Studio museum + sculpture garden
Fabric, Mathilda Flogl, Falter designed by Mathilda Flogl 1924-31, 1924-31
This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl. Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna. -
Churchill Island Heritage Farm
Clothing - Lace Trim
A machine made length of lace trim which is off-white in colour, the delicate design features a six-petalled flower with a zigzag motif and a scalloped picot edge. Close inspection reveals subtle picots in the square net to achieve shading. One can imagine how feminine a woman would feel with this lace adorning her garments, possibly at the neck and cuffs of an afternoon dress or as an edging on a petticoat or nightgown. By the mid 19th century, machine made lace had improved so much that it was used by the couture houses on fashionable garments and the handmade lace makers countered by broadening the scope of their lace and marketing it as ‘real’ lace. By the end of the 19th century machines could make perfect copies of any handmade lace.The Amess family owned Churchill Island from 1872 to 1929machine made off-white length of lace trim with zig-zag and flower motif and scalloped picot edge.churchill island, lace, janet amess lace collection, amess -
Wangaratta RSL Sub Branch
Framed Medal, Gallipoli Star
The Gallipoli Star and its ribbon were designed in 1917 by R K Peacock, but official approval from King George V for the proposed campaign medal was withdrawn after the ribbon, but not the medal, had been manufactured, because it was to have been presented only to Australians and New Zealanders, but not British or other Empire soldiers involved in the campaign. Some Anzac veterans are known to have been issued with lengths of ribbon during the war in anticipation of the medal's production. In 1990, Mr Ross Smith, a former Australian Army Warrant Officer and Vietnam veteran, arranged, at his own expense, for dies from the original design to be manufactured, and for A J Parkes & Co Pty Ltd, of Brisbane, to strike 1000 examples of the medal. 200 of these stars were presented to surviving Australian and New Zealand Gallipoli veterans to mark the 75th anniversary of the campaign. The remainder were sold to the public. A further 1000 were later struck for sale to collectors. The design features an eight pointed star, representing the states and territories of Australia (seven points) and New Zealand. The colours of the ribbon are blue, representing the ocean, gold, representing Australian Wattle, silver grey, representing New Zealand fern, and red for the colour of Australian gum blossom and the New Zealand Rata flower. This full size accurate replica was presented in the early 1990's to the remaining survivors of the 1915 Gallipoli landing. The Gallipoli Star Medal 1914-1915 was to be awarded to survivors of the Anzac landing but a political dispute of the exclusion of British Soldiers saw the idea withdrawn. Timber look frame containing medal on yellow/blue/red ribbon and paper with black writing on grey cardboard surround.gallipoli star, medal, 1914-1915 -
Federation University Historical Collection
poster, J. Kemp, Education Department Victoria Technical School Timetable for Examinations, 1910
Large printed timetable for Technical School examinations in 1901. Subjects included Chemistry, Geology, Asssaying, Hydraulics, Agriculture, Engineering , Mine Surveying, Algebra, Mineralogy, petrology, Botany, Trigonometry, Euclid, Land Surveying, Steam and gas Engines, Applied Mechanics, Drawing, painting, engineering drawing, building construction, architecture, drapery, modelled design, casting clay models, composition of form and colour, Lettering, Wood Carving, historic ornament, Wood Carving. .1) Trade Subjects .2) Other subjects, including artexaminations, technical schools, trades, art, technical art school, timetable, clay modelling, ceramics -
Villa Alba Museum
Decorative object - Furnishing gimp (braid), Decorative furnishing gimp, detached from curtains, 1850-1900
This is the same gimp as on the curtains. Probably saved because it was beautiful and expensive, but inherently decontextualised from its original historic use.Length of decorative upholstery gimp, unpicked from original curtains and wound onto a piece of card for storage. Gimp is a type of upholstery trim. a flat tape made up of threads or fine cords forming a wave or chain design, held in place by another wavy cord to produce an openwork, geometric braid. In this item, the cords are respectively light blue and metallic gold (much of it tarnished to silvery colour). The gimp is en suite with the set of curtains and their ornaments (qv) - another luxurious trimming for expensive furnishings.upholstery trimmings -
Melbourne Tram Museum
Poster, State Library of Victoria, "Light Rail towards 2020", 2006
Poster - A3 full colour printed on heavy paper, titled "Light Rail towards 2020", advertising an exhibition show casing the finalists in a tertiary design competition for a futuristic transport vehicle for the year 2020. To be held at the State Library of Victoria October 2006. See: http://www.butterpaper.com/vanilla/comments.php?DiscussionID=633&page=1 accessed 29-6-2017 and printed and stored with item. Sponsored by lab.3000, Alstom, Yarra Trams, United Group and the State Library of Victoria - has their logos.trams, tramways, tramcars, competition, alstom, yarra trams, united group -
Melbourne Tram Museum
Poster, Pulp Free Design, "The Melbourne International Tap Festival", Sept. 2006
Poster - A3 full colour printed on light paper, titled "The Melbourne International Tap Festival", 12 - 17 October 2006. No year on poster - located by a web page -"Tap Dancing Resources" - http://www.tapdancingresources.com/events/festivals/australian/melbourne-tap-festival-editions.htm, accessed 2/7/2017. Was the 2nd festival. Poster features a tam and tap dances, headline starts, web site, booking number, with Connex, Yarra Trams, City of Stonnington and other sponsors. Artwork by Pulp Free Design.trams, tramways, posters, festival, yarra trams, connex -
Melbourne Tram Museum
Functional object - Seat Fabric Samples, Camira Fabrics, The Age, sample green cloth, Jul. 2017
Seat fabric sample green cloth as used in various trams with a light/dark triangular motifs / moquette with a green background. Has a label "Camira Development Sample", dated July 2017. Gives details of the product number etc. See Reg item 4585 for the priority seat colour - orange. See htd4584i4.pdf for an Article in The Age 4/3/2019, downloaded 16/5/2020. Gives the design details, designer and background. Title "No more sad streamers: the redesign of Melbourne's garish train seats".trams, tramways, ptv, public transport, equipment, seats, fabric -
Melbourne Tram Museum
Ephemera - Greetings Card, VicRoads, 2001
Christmas Card - c 2000 with a C class tram in Collins St at the Spring St Superstops, made by VicRoads, full colour on white card. The photo has been printed with a gloss finish. Designed and produced by graphic and publication services. Has the "think tram" logo on the inside. Address to Colin of Yarra Trams, with the first names of 5 VicRoads staff. Cannot read tram number. Most likely Christmas 2001 - see Reg Item 1106 re intro of C class trams and Superstops.trams, tramways, yarra trams, superstops, c class, collins st, vicroads, tram c -
Bendigo Historical Society Inc.
Clothing - JOAN FILBY COLLECTION: CREPE AND GUIPURE LACE WEDDING DRESS, 29 July 1972
WEDDING DRESS. Made by brides mother, the empire line dress of crepe fabric, with guipure lace trim, in 1972. Long slim fitting sleeves, with a 3 cm wide band of lace in a flower and leaf design, around the wrist. The lace also edges the high round neckline, and defines the curve of the panels in the high empire line bodice, and the centre panel of the long princess-line skirt. The long sleeves have three darts at the elbow. A long zip fastener in the centre back seams. Cream in colour. WITH 11400.1106 AND 11400.1107costume, female, crepe and guipure lace wedding dress -
Australian Army Museum of Western Australia
Queen's Colour - 44th Battalion (The West Australian Rifles)
This former King's Colour was originally authorised by King George V in 1919 in recognition of services of 44th Battalion (AIF) during the Great War. Presented by HE the Governor General Sir Ronald Munro-Ferguson, PC, CGMG at a parade in King's Park on 2 October, 1920, however was not passed on to any AMF counterpart unit of the Citizen Forces, as one did not exist at the time. 44th Battalion (AMF) was formed in 1921 from elements of 16th and 51st Infantry Regiments and was presented with this colour by the Governor of Western Australia Sir Robert Furse McMillan at the Anzac Day parade on the Esplanade, Perth on 25 April 1922. The colour was subsequently consecrated by the Chaplain General, Archbishop COL Riley, OBE, VD, DD at a parade on the Esplanade, Perth, 15 November 1924. At the time of presentation this colour was a plain union flag with no central devices or other distinctions included on it. Following Military Board approval given in 1925 the centre circle and Crown were later added, in accordance with the approved design for a King's Colour. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 11th/44th Infantry Battalion (The City of Perth Regiment) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 11th and 44th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Union flag with gold fringes. In the centre the Arabic numeral "44" on a red background within a circle inscribed "FORTY FOURTH INFANTRY ", surmounted by the Imperial Crown. -
Australian Army Museum of Western Australia
Queen's Colour - 28th Battalion (The Swan Regiment)
This former King's Colour was originally authorised by King George V in 1919 in recognition of services of 28th Battalion (AIF) during the Great War. Presented by HE the Governor General Sir Ronald Munro-Ferguson, PC, CGMG at a parade in King's Park on 2 October 1920 and handed over to 2nd Battalion, 28th Infantry Regiment of the Citizen Forces. This colour was passed on to 28th Battalion, which was created, from other units in 1921. The colour was subsequently consecrated by the Chaplain General, Archbishop COL Riley, OBE, VD,DD at a parade on the Esplanade, Perth, 15 November 1924. At the time of presentation this colour was a plain union flag with no central devices or other distinctions included on it. Following Military Board approval given in 1925 the centre circle and Crown were later added, in accordance with the approved design for a King's Colour. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. The above battalion became unlinked in March 1952 and 28th Infantry Battalion (The Swan Regiment) became an independent battalion within its own right. The former colours of 28th Battalion were handed back at a parade at Northam Camp on 24 August 1952. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. Battle Honours for the Second World War were promulgated under Australian Army Order 135/1961 and the 10 selected honours approved for emblazoning on the Queen's Colour were subsequently added in 1962 These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Union flag with gold fringes. In the centre the Arabic numeral "28" on a red background within a circle inscribed "TWENTY EIGHTH INFANTRY ", surmounted by the Crown. Emblazoned on the colour are the following Second World War Battle Honours:- DEFENCE OF TOBRUK, DEFENCE OF ALAMEIN LINE, QATTARA TRACK, EL ALAMEIN, LAE-NADZAB, BUSU RIVER, FINSCHHAFEN, SIKI COVE, BORNEO, LABUAN -
Flagstaff Hill Maritime Museum and Village
Bottle, circa 1899
This clay soft drink bottle was made by Bendigo Pottery circa 1899. It was badged for and sold by A. [Alfred] Darby of Henna Street Warrnambool, (between Raglan Pde and Lava St). The internal screw thread in the neck of this bottle allows for an applied ‘blob’ top stopper to be added. The company A. Darby bottled soda water, cordial, lemonade, ginger ale and ginger beer. Darby’s also made cider, lime juice, raspberry vinegar and other specialties. There was a branch of Darby’s cordial factory in Shepparton Victoria. The building has the year 1910 on it and is now the council office. The bottle’s manufacturer, Bendigo Pottery, was established in the 1858 during the gold rush era. The bottle is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928. Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community. They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. This glazed clay bottle represents early Warrnambool industry. It is also a good example of soft drink containers used in the late 19th and early 20th century and of Australian made products. Bendigo Pottery is Australia’s oldest working pottery. The kilns at Bendigo Pottery are now on the Victorian Heritage Register. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine, administration, household equipment and clothing from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Earthenware soft drink bottle, part of the W.R. Angus Collection. Glazed clay, 'champ' shape, two-toned colour; caramel from mouth to shoulder, beige on lower section. Inside of neck has an internal thread that could have been sealed with an applied internal ‘blob’ top stopper. Black stamped Maltese cross design emblem on front with each quarter containing text, black oval stamp on back with maker’s details. Bottle was made by Bendigo Pottery of Victoria circa 1899 and sold by A Darby of Henna Street Warrnambool.Maltese cross design, each quarter has text "A. DARBY", "HENNA", 'STREET,", WARRNAMBOOL" Oval stamp” - - - - - -RE BENDIGO POTTERY [EPSO] M - - - - - O” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, nhill base hospital, mira hospital, flying doctor, department of defence australia, australian army, army uniform, bottle, earthernware soft drink bottle, earthernware bottle, a. darby, henna street warrnambool, soft drink industry warrnambool, bendigo pottery, 1899 soft drink bottle, champ shape soft drink bottle, ginger beer bottle, cordial bottle, blob top, blob stopper, internal stopper -
National Wool Museum
Tool - Drench Gun, 1940-1950
There are several different designs of drench guns within the NWM Collection that show the change in their development over time. This drench gun has a large diameter curvature suggesting this gun was typically used for dosing ewes as opposed to lambs. The attached spring-loaded hose is the only example in our collection how this mechanism works. The hose will be screwed into the liquid which is used to drench the sheep. This liquid is typically located on the back of the operator who will wear a large container in a backpack. This gun also has a adjustable dosing mechanism located on the right side of the gun.Silver metal with black finishing drench gun. Large curvature tip on gun protrudes from the body which feature a thin squeezable trigger to the front of the body. The main bulk, which the trigger is squeezed towards, has badge which reads “Manufactured and designed by N.J. Phillips Pty Ltd, Sydney”. Behind this body is silver cylinder featuring attachment point for the tubing which would have carried the liquid drench into the gun. The attached tubing has a yellow/orange appearance from remanence of drench which would have been this colour.Left rotated lettering: MANUFACTURED/ & DESIGNED BY/ N.J.PHILLIPS PTY. LTD./ SYDNEY . AUSTRALIA/sheep drenching, veterinary instruments -
Glen Eira City Council History and Heritage Collection
Pamphlet, "CAULFIELD CITY COUNCIL CIVIC CENTRE CONCEPT", c. 1976
Pamphlet commissioned by Council to promote and call for resident's comments on the Caulfield City Council's proposed Civic Centre by the 28th May 1976.Cream colour paper pamplet folded to create 4 panels with text and images printed in blue and orange ink on recto and verso of the four panels. The cover panel has "Caulfield City Council Civic Centre Concept" printed in orange with a blue copy of an artist's impression of the new Caulfield Centre and a blue representation of the City of Caulfield Coat of arms at the top. The other seven panels have been individually numbered from 1 to 7 however panels 1&2, 3&4 and 5&6 have been designed to be viewed together. -
Federation University Art Collection
Drawing - Texta sketch, [Flower Bowl] by Sybil Craig, 1979
Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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.ModernismDrawing in texta of a bright bowl of flowers.art, artwork, sybil craig, craig, texta, flowers -
Federation University Art Collection
Drawing - Texta sketch, 'In Chamber African Daisies' by Sybil Craig', 1978
Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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.ModernismFramed sketch of flowers undertaken in texta colour.art, artwork, sybil craig, craig, flora, texta, texta colour, available -
Federation University Art Collection
Drawing - Coloured pencil sketch, 'Untitled' by Sybil Craig
Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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 pencil drawing of a flower.art, artwork, sybil craig, craig, flowers, drawing -
Federation University Art Collection
Drawing - Artwork, [Tree Study] by Sybil Craig
Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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 pencil and watercolour sketchart, artwork, sybil craig, craig, available, pencil drawing, watercolour -
Federation University Art Collection
Drawing - Drawing - charcoal sketch, [Seated Woman] by Sybil Craig
Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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 life drawing by Sybil Craigart, artwork, sybil craig, craig, life drawing, life model, charcoal, drawing, available -
Federation University Art Collection
Drawing - Pencil ink & Water colour on paper, [Flower Study] by Sybil Craig
Sybil CRAIG (18 November 1901-09 September 1989) Born London, England Arrived Australia 1902 The National Gallery School, Melbourne, gave Craig a sound training for her popular flower and portrait studies. However, her association with leading modernists between the wars led her to pursue her art in a deliberately experimental and spontaneous way. Sybil Craig was the third woman appointed by the Australian War Memorial as an official war artist. She was the first woman to paint women working in the munitions’ factories. The Castlemaine Art Gallery & Historical Museum, held the first retrospective exhibition of Sybil Craig's in 2006. The exhibition highlighted her wonderful use of colour and design in a diverse range of media, techniques and subject matter. 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 sketches of plantsSigned lower left side "Sybil Craig"art, artwork, sybil craig, craig, flora, plants, flowers, available