Use: Domestic. Household trimming A heavy linen laceBobbin lace edging. Sample

Fine old Mechlin lace used as a costume trimmingBobbin lace edging

The jug depicts the original Catholic Church in TaturaSmall white china jug with a painted coloured picture of the Tatura Catholic Church. Decorative handle and lip with the remain of gold trimmings. Lip of jug damaged and there is a crack on the side of the jug.RC Catholic Church Taturataura, sacred heart church tatura, local history, jug

Used in the 19th century.A forged steel hatchet No 4 with a handmade short wooden handle used as a trimming hatchet or axe. It is branded: 'Golden Berg' curved around a swan in a circle. It was used in the 19th century.No 4. It is branded: 'Golden Berg' curved around a swan in a circle.woodworking tools, steel, froes, cleaving axes, axes, cutting tools, hand axes, hatchets, cleavers, tomahawks, wood

Used in the 19th century.A wide bladed forged steel adze with a smooth curved wooden handle. It was used by woodworkers for cutting and trimming rough wooden planks and shaping and smoothing wooden surfaces in the 19th century.woodworking tools, steel, froes, cleaving axes, axes, cutting tools, hand axes, adzes, wood

Weatherboard Home Napier Street Stawell. Corrugated Iron Roof wrought iron Lattice Work on Veranda. Front picket fence with iron gate.Black and white photograph of a weather board home and corrugated iron roof. Wrought iron lace work trimming on veranda. Front fence wooden pickets. Iron single gate. stawell houses

Cardboard Certificate from the MUIOOF (Manchester Unity Friendly Society Independent Order of Oddfellows) to W McMillan, 5th June 1916 (Recognising his contribution to the Society)w mcmillan, certificate, muioof

Cover shows Collins Street with tram, Town Hall and Manchester Unity building. [24] p. : all ill. (some col.) ; 22 x 27 cmnon-fictionPictorial tourist folio of the City of Melbourne including black and white and colour photographsmelbourne (vic.) -- pictorial works, christian-washfold collection

This photograph is recorded as depicting a street of shops and London houses at Burke Museum in the 1990s. It features an indoor recreated historical streetscape of the 19th century. Within the shop window recreation are objects on display, including hats. The Street of Shops exhibition is still on display at Burke Museum and features objects collected in 1979 through the community by Roy Harvey (also author of Background to Beechworth from 1852), to provide insight into eras of the past. This exhibit displays a collection of over 30,000 items, many dating back over 150 years. The ‘street of shops’ tell the story of the changing town and its community.This photograph is of social significance to the Beechworth area and the Burke Museum as it depicts a still-exhibiting museum display that is of value to the community. The artefacts exhibited in the photograph all have a strong connection to the Beechworth area, having been donated by members of the local community, and are of special value to that community. It is also a record of the curating work of Roy Harvey, a local historian, author and museum curator, as well as a depiction of the curating and exhibition practices of the 1990s, when the photo was taken.This is a colour rectangular photograph printed on paper.Obverse: Est London House 1856 / mantles, manchester, robes, gowns, bonnets / rundle and roberts. Reverse: 53307street of shops, historical streetscape, recreated shops, roy harvey, museum exhibit, burke museum, beechworth, 19th century museum display, victorian artefacts, community, exhibition history, shop history, shop recreation, hats, bonnets, manchester, robes, gowns, rundle and roberts

Use: Domestic. household trimming Crochet imitating Torchon laceCrochet insertion. Sample

Very fine old Mechlin lace used as a costume trimmingBobbin lace edging

0007-013. Bream A Project , Bass Strait 1987. The project is just starting. This photograph shows Anchor Handling Tug Supply (AHTS) vessels Lady Lorraine, Lady Cynthia, and Lady Carojine, Anchor Handling Tug (AHT)Lady Florence, and Derrick Barge DB 29 alongside Barry Beach Marine Terminal, Gippsland, Victoria. The DB 21 is taking on board equipment for the project prior to be towed out and positioned at the location in Bass Strait where the production platform Bream A will be installed. 0007-014. Bream A Project , Bass Strait 1987. Derrick barge DB 29 loading project equipment with Lady Lorraine alongside Barry Beach Marine Terminal, Gippsland Victoria. Also alongside the wharf is the barge Intermac 256 which is being prepared to having the Bream A Jacket (a Jacket is the base of the platform that will be landed on the sea floor and will then be pinned in place with piles driven down into the sea bed). 0007-017. Bream A Project , Bass Strait 1987. Helicopter on DB 29 helipad ready for take off with Lady Lorraine, Lady Gay and Lady Cynthia at Barry Beach Marine Terminal, Gippsland, Victoria. 0007-016. Bream A Project , Bass Strait 1987. Helicopter taking off from DB 29 with Lady Lorraine and Lady Gay at Barry Beach Marine Terminal, Gippsland, Victoria.Green, with gold border trimming photo album, containing 38 photographs depicting ships, barges and the construction of the Bream A oil and gas production platform in Bass Strait, Victoria, Australia 1987.

Illustration, ink pen and water colours of W2 515 (City Collins St, Route 12) in Collins St by Trish Hill with the Town Hall and the Manchester Unity building.trams, tramways, collins st, illustrations, town hall, w2 class, tram 515

Very fine old Flemish lace. Use - Fashion trimming or ecclesiasticalBobbin lace Flouncing

Very fine linen thread. Fine lace used for costume trimmingBobbin lace edging. Sample

A Guipure lace, having a bar background. Fashion item. Costume trimmingBobbin lace edging. Sample

Bobbin made lace with needle made flower centres. Use: Costume trimmingBobbin lace edging. Sample

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future).The sacred banksia tree was a favourite for Wadawurrung people. Flowering before deep Winter, the banksia was used for spear making and other wooden tools. The sap was drunk as a sweet drink and the seed pods used for water straining and fire sticks. The banksia tree flowers at the time when fire sticks farming is practiced marking the days before the coldest days and nights and the hotter days.White, orange, and yellow banksia design on outer cloak, yellow and white circle and diamond design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The white ochre was used to create the feather pattern. White ochre is deeply connected to spirit or ‘murrup’ as we call it in language. The ochre is used on our bodies in ceremonies to paint our body up and is also placed on graves when someone passes. The white ochre is our most sacred connection to our ancestors and is used to celebrate both life and death. I source the white ochre from the You Yangs and only take what I need for ceremony and my painting.White and black feather motif with yellow eye design on outer clock, brown feather motif in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Waa the Crow Totem Cloak (Waa represents our ancestors watching over us). Waa and all the birds get their names by the sounds the bird makes.Blue feather motif with blue star background on outer clock, blue and black feather design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak

A 5 page document detailing the history behind Long Gully's Manchester Arms Hotel founder Mr William Henry French and the United Pyrite Company located on Marong Road

This badge has been produced for the Warrnambool & District Base Hospital, probably in the 1970s or 80s. It is a good quality badge and may have been sold for hospital funds or issued to hospital employees and supporters. The Warrnambool & District Base Hospital commenced in 1854 as the Villiers and Heytesbury Hospital and Benevolent Asylum and building on the current site in Ryot Street began in 1860. It was then known as the Warrnambool Hospital and Benevolent Asylum until early in the 20th century when it no longer accepted those needing care in old age. Today the hospital is part of a wider organization and is known as South West Health Care (Warrnambool Base). This badges is a local one and is retained as a memento of the Warrnambool Hospital in the second half of the last century and will be used for display purposes. This is a round metal badge with gold outer trimming, an outer circle of white with gold lettering and a red cross with gold edging set into the centre of the badge. There is a metal brooch clip at the back for attachment to an article of clothing.Warrnambool & District Base Hospital 9 ct. Stokes warrnambool & district base hospital, badge, history of warrnambool, warrnambool hospital and benevolent asylum

The Royal Australian Navy Uniforms are based on the uniform of the Royal Navy. They reflect traditions that can be traced back to the Royal Navy (England) and demonstrate the relationship between the two. This shirt is one of four parts to a Naval Ratings Uniform which was presumably owned by J.M. Parsons.This shirt is one part of a naval ratings uniform which consists of four parts. The uniform is representative of the Royal Australian Navy uniform and can be traced to the Royal Navy (England). The complete uniform shows the connection between Australia and England since European settlement.White cotton short sleeved shirt with blue trimming around a square neckline. There are two slits on either side of the base of the shirt with rounded edges. There is a label stitched in the top/centre of the interior back of the shirt.Owners name printed in capitals on the lower part of the back exterior fabric: "J.M.PARSONS"navy, naval ratings uniform, ran, royal australian navy, j.m. parsons, j parsons, parsons, military uniform, naval ratings shirt, shirt

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The circle and diamond pattern are ancient symbols used by Wadawurrung people dating pre-colonisation on possum skin and kangaroo skin cloaks, other artefacts like spear heads (carved), wooden shields, stone tools and caves were painted with blood, ochre and bound with grass tree sap, black wattle tree sap and kangaroo fats. The diamond pattern was a strong design used by men on shields and women on baskets and adornments. Shields were taken from the tree in the colder months when the tree was cold as the wood came off cleaner. Ochre colours of red, white, yellow and charcoal were often used to colour in and decorate the skin side of possum skin cloaks, wooden shields, spear heads, baskets and some coolamon bowls.The design for this cloak has been simplified from the original artefact design.Cloak with black and white diamond and circle design on outer cloak and coral and white line pattern within lining. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung, first nations, cloak