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Kew Historical Society Inc
Album - Photograph Album No.2, Henry Beater Christian, 1928-30
Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the eldest.An album of photographs, compiled by Henry Beater Christian (1886-1962) of Pakington Street, Kew, depicting individuals, natural and settled environments and the interactions between these worlds. Henry Christian, was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention.Digital copy of a photograph 24-page album loaned by Diane Washfold with permission given to photograph and hold a copy in our collection. The album contains series of photographic positives taken by Henry Christian (a resident of Pakington Street), of places in Kew and throughout regional Victoria during the late 1920s. The mainly sepia photographs, while small, are of a very high resolution. Photographs are typically lightly glued onto pages. Individual pages may be identified by white ink, which in a number of cases is illegible due to wear. Identifiable locations include: Walhalla, Thomson River, Aberfeldy, Matlock, Jericho, Jordan River, Jamieson, Harrietville, Mt Feathertop, the Alpine Road, Cape Patton, Melbourne, and Kew.henry christian (1886-1962), landscape photography, photograph albums, walhalla (vic.) -- history —— photographs, thomson river (vic.) — history —— photographs, aberfeldy (vic.) -- history —— photographs, matlock (vic.) -- history —— photographs, jericho (vic.) -- history —— photographs, jordan river (vic.) -- history —— photographs, jamieson (vic.) -- history —— photographs, harrietville (vic.) -- history —— photographs, mt feathertop (vic.) -- history —— photographs, alpine road (vic.) -- history —— photographs, kew (vic.) — history—— macauley’s boathouse — photographs, kew (vic.) —— history - kew lunatic asylum — photographs, kew canoe club history — — photographs, cape patton — history— photographs, coronation — george vi — melbourne (vic.), christian-washfold collection -
Kew Historical Society Inc
Photograph - Zig-zag Bridge on the Yarra River at Kew, Henry Beater Christian, 1920-28
Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the eldest.Small black and white photograph of the Yarra River at Studley Park. In the middle ground, a man is paddling a canoe upstream. On the horizon, the tower and buildings of Raheen in Studley Park Road can be seen.henry christian (1886-1962), landscape photography, kew canoe club history — — photographs, yarra river -- studley park -- kew (vic.), christian-washfold collection -
Kew Historical Society Inc
Photograph - Walkway, Zig-zag Bridge on the Yarra River at Kew, Henry Beater Christian, 1920-28
Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the eldest.Small black and white photograph of the walkway of the Zig-zag Bridge over the Yarra River at Studley Park.henry christian (1886-1962), landscape photography, yarra river -- studley park -- kew (vic.), zig-zag bridge -- yarra river -- kew (vic.), christian-washfold collection -
Kew Historical Society Inc
Photograph - Zig-zag Bridge on the Yarra River at Kew, Henry Beater Christian, 1920-28
Henry Christian (c.1809-91), the grandfather of the photographer, was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children of which Henry Beater Christian (1886-1962) was the eldest.Small black and white photograph of the Zig-zag Bridge over the Yarra River at Studley Park.henry christian (1886-1962), landscape photography, yarra river -- studley park -- kew (vic.), zig-zag bridge -- yarra river -- kew (vic.), christian-washfold collection -
Ballarat Heritage Services
Photograph - Photograph - Colour, Clare Gervasoni, St Laurence O'Toole Catholic Church, Sandon, 2017, 16/07/2017
A small wooden school (22' x 14') was erected in Sandon by Father Patrick Smyth in 1859 (and at Golden Point) which was used for Mass and came to be regarded as a chapel. Twenty-three years later, a brick church was built by Father Allen at a cost of 1,000 pounds. The Church was blessed by Archbishop Goold on May 6th 1883 and dedicated to St Laurence. The 1940s saw some refurbishment and in 2002 a major restoration project was undertaken. St Laurence's was restored from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence's was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a brick church at Sandon, Victoria. sandon, sandon cemetery, st laurence o'toole catholic church, sandon -
Mission to Seafarers Victoria
Magazine - Periodical - Quarterly, Melbourne Harbour Trust, Port of Melbourne Quarterly, Official Magazine of the Melbourne Harbour Trust Commissioners, 1959
non-fictionpadre frank leslie oliver, port of melbourne, beverley kent nee oliver, music, photographs, jacki fowler -
Warrnambool and District Historical Society Inc.
Card - Postal Envelope, 1937
This envelope and its unknown contents were sent in 1937 to Fred Miller of Boughton Farm at Cassady's Bridge. west of Warrnambool. The envelope advertises an Annual Gala Week in Warrnambool from December 26th 1937 to January 2nd 1938. This was an event organized by the Warrnambool Progress Association as a tourist promotion exercise. The Secretary of the Association at the time was Martin Carter, a well-known Warrnambool saddler and local band conductor. The envelope also advertised the forthcoming Warrnambool Centenary Celebrations in 1939-1940 but these were not held because of the outbreak of World War Two. The Centenary celebrations were eventually held in 1947, a more appropriate year as Warrnambool was founded in 1847. This envelope is of interest as a memento of the 1930s in WarrnamboolThis is a bone-coloured envelope with images on the front of three people on the left and in the centre, red printing, black typing and postal franking. The back has a postal stamp.Mr. F. Miller Cassidy's (sic) Warrnambool P.O. Warrnambool Centenary Celebrations 1939-40 For Your Next Holiday Warrnambool the Garden City by the Sea Annual Gala Week --Dec.26,1937 to Jan.2 Under auspices of Warrnambool Progress Association Particulars from M.L.Carter, Sec.gala week warrnambool 1937, m.l.carter warrnambool, warrnambool progress association, warrnambool centenary celebrations, fred miller boughton cassady's bridge -
Surrey Hills Historical Society Collection
Photograph, Parade in celebration of King Edward VII's birthday, 1902
The parade was held in celebration of King Edward VII's birthday on 4 July 1902. This was the first public appearance of the German Band formed on 30 May 1902. The leading horseman is Mr Rowland Coe. He is followed by Mr George Robinson, a butcher of Canterbury Road. The man in the white hat is Mr Sam Kellett, businessman of Erasmus Street. Behind him on foot and partly obscured is Mr Alexander McNeill of the Surrey Family Hotel. Band master is Harry Pollard, painter and paper-hanger, and next to him is Constable Hill. The small boy in the sailor suit is Perc Venman of Essex Road and in the buggy near the footpath is Mr and Mrs William Maling. Information came from David Staig senior. Further research: William Saunders Maling, a son of John Butler Maling, was a builder who lived at 17 Balwyn Road, Canterbury. Rowland Coe, a butcher and son of James and Elizabeth Coe of Sunbury Crescent enlisted in AIF in WW1. He later lived at 233 Elgar Road, Box Hill. William Percival Reginald (Perc) Venman was born in Surrey Hills in 1894; he died in Surrey Hills in 1951 and lived at 27 Essex Street for much of his life. He and his wife are buried in Box Hill Cemetery. The identity of Sam Kellett of Erasmus Street is questioned. Edward Kellett built 'Yielma' in Erasmus Street but was deceased by 1902. He had 3 sons: Edward Allan (1854-1932); George Henry (1858-1921) and William John (1865-1945).Black and white photo of a number of men on horses leading a parade down Station Street (Windsor Crescent) to Union Road. Street trees on the RHS are mature whilst the ones on the LHS look to be newly planted. They have wooden guards around them. The area to the left is blurry but would be the railway line and station surrounds. Roads are well formed with bluestone channels.parades and processions, bands, german band, windsor crescent, william saunders maling, mrs hannah maling, miss hannah miller, constable hill, perc venman, george robinson, sam kellett, alexander mcneill, rowland coe, harry pollard, william percival reginald venman -
Kiewa Valley Historical Society
Photographs – Set of 25 colour photographs of the street parade to celebrate the first Official Hoppet race run at Falls Creek in 1991, 1991
In 1977 a group of Mount Beauty cross country skiers formed the Birkebeiner Nordic Ski Club. In 1979, a version of the famous Birkebeiner race, the first Australian Birkebeiner was held at Falls Creek. In June 1990 representatives from Australia put their case for a southern hemisphere race in the series. Following a trial event in 1990. Australia became the 12th member of Worldloppet in the winter of 1991, with the first Kangaroo Hoppet. In 1991 a parade and commemorative torch lighting ceremony were organised in Mt Beauty as part of the celebrations to mark the first official Kangaroo Hoppett with participation from local community groups and commercial organisations, the Chamber of Commerce, local government representatives and individuals.Kangaroo Hoppet caters to diverse interests by offering a 42km and 21km event. It also offers a 7km event that attracts skiers, ranging from elite juniors to parents, grandparents, babies and first time skiers. It is recognised on the world cross country ski race calendar. It brings large numbers of participants and spectators to the area which support tourism, local businesses and employment. The 2018 event will be the 28th Kangaroo Hoppet, with cross country skiers travelling from across the country and overseas to compete.PHYSICAL: Set of 22 colour photographs of the street parade to celebrate the first Official Hoppet race run at Falls Creek in 1991. Participants from a range of local community groups are traveling along Kiewa Cres. Photos are taken near the corner of Maddison St 1&2 – Horseman & accordion player leading the parade Sign reads ‘Falls Creek The Happy Mountain’ 3-4 Birkbeioner Nordic Ski Club with Chinese Nordic ski representatives 5 & 6- Girl Guides & Brownies 7, 8 & 9- Mt Beauty Primary School & Netball team 10 & 11- UKV Calisthenics Club 12- Lawn Bowls Club 13- Junior Football Club 14- Mt Beauty High School Band (on Wodonga Timber & Hardware truck) 15, 16 17 & 18- Mt Beauty Kindergarten 19,20, 21 & 22- Local Community Vehicles including Community Transport and Fire Brigade 23 & 24- Mt Beauty High School Band 25- Fiat 500 Topolino Vintage Car No markingskangaroo hoppet; cross country skiing; ski race; bogong high plains, mt beauty, parade -
Ballarat Tramway Museum
Photograph - Digital image Set of 25, Warren Doubleday, 26/12/2004 12:00:00 AM
Set of 21 Digital Images of the recommencement or reopening of tram services following the reconstruction of the power supply and substation on 26/12/2004. .1 - Sign announcing free rides today in the front of No. 27 .2 - Peter Winspur and Garry Wood showing Peter the process for turning the power on .3 - ditto .4 - closing the Circuit Breaker .5 - 27 runs across Wendouree Parade .6 - 27 leaves the depot .7 - Peter Winspur removes the sign on the pole saying we were not running .8 - 27 in Wendouree Parade .9 - Carolyn Cleak removing a sign .10 - Placing signs and turning the pole at Carlton St .11 - Carlton St and waiting passengers .12 - Pole sign and bicycle warning sign re tram tracks .13 - Sam Boon and band at Gardens Loop .14 - ditto .15 - ditto .16 - Happy passengers .17 - Richard Gilbert - reopening speech. .18 - No. 26 and happy passengers .19 - 27 and 26 at the loop .20 - No. 26 at the loop, with passengers and the band. .21 - as for 19trams, tramways, btm, substation, wendouree parade, reopening, carlton st, gardens loop, tram 27, tram 26 -
Whitehorse Historical Society Inc.
Clothing - Negligee Set, 1948
Negligee set or Wedding trousseau for the marriage of Charlotte Edith (Tottie) Ryder (aunt of donor) to Alfred George Tooke (b 1898 England d 1998) held at Church of England, Thornbury on 13 March 19481948 negligee set comprises two pairs of knickers, camisole, bed jacket, petticoat, nightgown. All items are cream coloured satin with appliqued coffee coloured lace. One pair of knickers has appliqued coffee lace encircling each leg with a hand-worked buttonhole and is missing a button. Second pair of knickers has appliqued lace floral design on each leg with an elasticised waist band and a plain band on the legs. Camisole has coffee coloured lace along the top edge and rouleau style shoestring straps. Bedjacket is short with long sleeves and a front fastening with four self-covered buttons and rouleau fastenings. Coffee coloured hand appliqued lace is around the neck and along the bottom. The shoulders are padded. The petticoat has coffee coloured lace around the hem and yoke. It has rouleau style shoestring straps. The nightgown is long with a coffee coloured lace Vee front. Two satin ties attach to slightly gathered waist. See also Knickers NA4921, Wedding Dress NA4923, Horseshoes NA4924 and Wedding Veil NA4925trousseau, tooke, wyatt m, wedding -
Bendigo Historical Society Inc.
Document - MERLE HALL COLLECTION: COMMUNITY ARTS CENTRE SPACE REQUIREMENTS
Community Arts Centre - a. Space Requirements: 'Spreadsheet' - single page ruled up with horizontal rows listing 21 Bendigo arts organizations and vertical columns inserting 20 varied space requirements (e.g. main auditorium; stage; back stage; wings; etc) + Total space requirement for each organization. No date or author provided; b. Same 'spreadsheet' but specified as space in square feet. Attached is a handwritten note (no stated author) entitled ''Plaza Proposal'' (19/1/77) stating that the schedule is for the area requirements of local groups with information as to spending money of architectural surveys of existing buildings and time constraints on putting forward any proposition. List of Community Arts organisations; M.A.S.B.,M.L., Competitions society, Repertory society, Shakespeare Society, Operatic Society, concert Orchestra, Benola Choristers, Brass Bands Association, Pipe Bands Association, Victorian Society of Organ's, Film Group, Bendigo Arts Council, Photographic Society, W.E.L., Music Teachers, Spinners & Weavers, Wyse Players, Organ Club, Friends of the Art Gallery, California Gully Youth Club. -
Bendigo Historical Society Inc.
Clothing - VICTORIAN BLACK SILK AND VELVET BODICE, Late 1800's
Fine, soft silk, woven with a two mm spot, spaced at one cm all over the fabric.Above the wrist-length sleeves finished with a six cm wide black velvet cuff. Sleeves are gathered at the shoulder and the cuff. A 26cm long ''over -sleeve'' is gathered at the shoulder, and edged with two bands of black velvet-one of .8 of 1cm, and one 2cm wide. Bodice has a 6.5cm stand-up mandarin style collar, which is boned in three places. Three metal hooks, and embroidered eyelets fasten the collar - (2 damaged). The shoulder line has 12 pintucks, 20 cm long, and finishing to give fullness to the bustline. Six pintucks either side of back opening. Over the shoulders is a loose panel - 25cm wide at the shoulder, tapering to 7.5cm wide at the waistline - five bands of velvet taper from shoulder to waistline, emphasing a V shape, from shoulders to narrow waist. A 17cm deep panel of pintucking extends from shoulders at front and back. Six X 4cm deep tucks extend from the pintucks to the waistline.costume, female, victorian black silk and velvet bodice -
Bendigo Historical Society Inc.
Clothing - CREAM SATIN AND LACE WEDDING DRESS, 1850
High waisted bodice, with centre front seam, back opening fastened with metal press-studs, and finished on the right side, with ball-shaped pearl buttons sewn in pairs - six groups of two. A placket extends into the skirt at back, and is fastened with metal press-studs. Bodice is gathered onto skirt at waistline, and defined with a 1.5cm wide tape. An 8.5cm wide cotton lace frill is gathered around the high neckline. The wrist-length sleeves are an extension of the bodice and have a 4cm band, and 4cm wide gathered frill at the wrist. The sleeves are shaped from the high waistline, and also at the cuff edge. The skirt has an overlay of fine lace, made up of six X 17cm wide bands of lace, with a scalloped edge. No shoulder seams. Back opening and centre front seam indicate the cutting out layout of fabric. A one cm wide ribbon finishes the neckline, and the lace frill is hand stitched to the ribbon. Some seams are hand neatened. A 2.5cm wide flat bow finishes the back neckline.costume, female, cream satin and lace wedding dress -
Bendigo Historical Society Inc.
Clothing - MERLE HOULDEN COLLECTION: CHRISTENING DRESS AND PETTICOAT, 1960's
White embroidered nylon. Tiny yoke topped with a Peter Pan collar, edged with gathered fine lace. Puff sleeves - pleated at shoulder, and gathered into a 1.75cm band, edged with fine, gathered lace. Gathered lace and two white ribbon( .5cm wide) bows define the yoke.Skirt 40 cm long, edged with embroidery and scalloped hemline. Two pearl buttons fasten the back of the yoke. Dress has been made to take advantage of the embroidered fabric of the train of Merle's own wedding gown.Merle Houlden made this gown for her first child, Bronwyn, using fabric from the lower tier of the train of her own wedding gown. Bri-nylon sleeveless, and embroidered nylon skirt, edged with fine lace (on the frill of the skirt). Skirt has an 8 cm frill, attached with an embroidered band of ribbon insertion. The ribbon insert is finished with two small .5cm ribbon bows. Both dress and petticoat have been made to take advantage of the embroidered fabric of Merle's own wedding dress train.costume, children's, christening dress -
Bendigo Military Museum
Postcard - POSTCARD, ALDERSHOT, UK, Valentine's Series, c 1914 - 1918
R..H. Baron took leave from Herdcott Camp between 4.10.19918 and 8.10.1918 to visit Aldershot. See Catalogue No. 7743 for leave pass details. Relatives lived in the Aldershot area. Part of the 'Robert H. Baron', No.3596 and Cooper Collections. See Catalogue No. 19819 for details of Baron's service.1. Coloured street scene with buildings, groups of people and horse drawn transport. 2. Coloured street scene with buildings, groups of people and horse drawn transport. 3. Coloured street scene with buildings, groups of people. 4. Coloured scene features a canal with boat, tow path, bridge and house. 5. Coloured, Band marching down a street. Spectators lining the road. Church in background. 6. Coloured Group of soldiers in uniform marching along the road. Spectators, church in background. 7. Coloured statue of a man on a horse. Statue located on a hill 8. Coloured scene of gardens surrounded by buildings and a church. Groups of women. 9. Coloured - Large building with a clock tower. 10. Coloured column of uniformed soldiers on horseback. Buildings lining road. Horse drawn transport sharing road. 11. Coloured street scene with red brick building and pedestrians. 12. Coloured Monument with inscription. Buildings in background. 13. Black and wgite street scene. Street lined with buildings. Horse drawn transport. Pedestrians.1. High Street, Aldershot. 2. Wellington Street, Aldershot. 3. Union Street, Aldershot. Handwritten in black ink on back: (Notice how narrow the streets are). 4. Wharf Bridge, Farnborough Road, Aldershot. Handwritten in black ink on back: "I was all over these places with Uncle. I had a good time in Aldershot, Bob. 5. Wellington Avenue (Church Parade), Aldershot. Handwritten in black ink: 'One of the Aldershot bands', R.H. Baron.' 6. Queens Avenue and St. George's Church, Aldershot. Handwritten in black ink on back: 'Soldiers going to church". 7. Wellington Monumental, Aldershot. Handwritten on back in black ink: 'I was right up around this place!' 8. Municipal Gardens, Aldershot. Handwritten on back in black ink: 'This place is very pretty, Bob'. 9. Cambridge Hospital, Aldershot. Handwritten on back in black ink "This is a fine place!". 10. Hospital Hill, Aldershot. 11. Smith Dorrien Home, Aldershot. Handwritten on back in black ink. 'I was all over Aldershot with Uncle. I have saw all these places. Bob.' 12. R.A.M.C. Memorial, Aldershot. 13. Victoria Rd, Aldershot.robert h. baron, cooper collection, aldershot uk, postcards -
Flagstaff Hill Maritime Museum and Village
Domestic object - Candle Mould
Candles were the main source of lighting during the Colonial era. The candles were made at home from tallow, or animal fat, which was readily available and inexpensive. The tallow was soft, often had an unpleasant smell, band burned with a low, quickly fading light. Beeswax candles could be bought ready-made and lasted longer when lit. Bayberry wax could also be made into candles but was the process was labour intensive and time consuming. Spermaceti was from whale oil, a growing industry in the late 1800's, made firmer candles. Around this time wooden candle moulds were invented and uniform size and shape candles could be produced using the spermaceti wax. The candle mould is significant in the evolution of household lighting. It was an asset to the 19th century homemakers, allowing the production of their own candles in a uniform size. Candlelight allowed for the extension of time available for duties.Candle mould of tinplate for one dozen (12) candles. The tubular moulds stand upright, three rows of four, in a fitted tray. Another concave tray fits over the top ends of the moulds and has a hole above each of the candles, which is used for filling the moulds with melted wax. Ends have wire-reinforced edges.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, candle mould, candle making, lighting, candles, tallow, beeswax, bayberry wax, spermaceti was, whale oil, candlelight -
Kiewa Valley Historical Society
Whistle Penny, circa 1950s
This item is a cheap Penny Whistle made in Thailand Circa 1955. The item was one of the first wave of imports from the growing Asian steel producers. This was an era where cheaper Asia based steel companies did not compete against the stronger, and well established Australian ones. This Penny Whistle was "roughly" made and possibly purchased by the Victorian Education Department for use in school bands and music classes. Schools within the Kiewa Valley would have used them to integrate students the fundamentals of reading music and playing basic musical scores. Later conversion from steel to plastics would have been more conducive to multiple users in a classroom environment (more hygienic and rust proof.This item shows how the "cheaper" invasion of all types of manufactured goods from the Asian regions have altered the purchasing patterns of rural Australians(the more traditional consumer). The cost imbalance of purchasing from "The Mother Country (England)" or European supply versus the Asian manufacturers was due to not only the financial pressures post World War II but also in the elimination of Tariff restrictions placed on non favoured suppliers.This tin Penny Whistle is made from rolled tin(steel), cylindrical in shape, with a wooden Fipple plug at the mouth end and six note holes starting half way down the front side evenly spaced and ending 35mm from the bottom. This whistle is in the key of D"G steel & Co. D"music, wind instruments, whistle, celtic music -
Federation University Historical Collection
Costume Accessories, Noone Imagewear, University of Ballarat Ties, c2000
These ties were made as merchandise for the University of Ballarat in the early 2000s..1) & .3) A cream box with University of Ballarat and the Emblem printed in red. Inside is a polyester black tie woven with a small diagonal band of three stripes (top is blue, middle is gold and bottom is red) and a small emblem of the University of Ballarat on the right side. It has a navy blue lining. .2) A cream box with University of Ballarat and the Emblem printed in red. Inside is a multi-striped silk and polyester red, blue, gold and black tie with heraldic device of the University of Ballarat on the right bottom corner. It has a black lining..2) woven - University of Ballaratuniversity of ballarat, ties, merchandise, costume, uniform, textiles -
Walhalla Museum
Merryweather Fire Cart, Merryweather & Sons, 1903
Item is a red Merryweather Fire Pump. Item is pulled to scene of the fire by horses and the a team of men move the handles on each side in a see-saw motion pumping water from the creek into hoses to fight the fire. Item is situated on top of fore wooden Spock wheels, each with a steel band around the out side. The cart features leaf suspension, outlets on each side, foldable handles on each side, Compartments on each side for hose storage and room to seat six firefighters plus the driver. -
Frankston RSL Sub Branch
Hat, RAAF (female), 1970s
Standard issue Royal Australian Air Force female officer's cap. The crown is light blue and the brim is dark blue. The brim, which is stiffened and has several rows of top stitching around it, is turned up at the back. The hat has a detachable band that attaches to the back of the crown with black Velcro. The inside crown is lined with silver coloured nylon cloth and has a black sweatband. A label on the inside of the hat gives manufacturer information. A thin piece of black elastic is secured on either side of the hat to help secure it to the head.hat, headwear, headgear, women -
The Beechworth Burke Museum
Animal specimen - Belted King Fisher, Trustees of the Australian Museum, 1860-1880
The Belted Kingfisher is commonly seen near bodies of water or coasts in Canada, Alaska and the United States. During migration periods these birds may stray far from their usual habitat. Interestingly, the female of this species, as is the case for this specimen, is often larger than the male. They are also more brightly coloured. This species feed on amphibians, small crustaceans, insects, small mammals and reptiles. They lie await perched on a tree located close to water and remain there watching until they see their prey. When they have located their prey, the Belted Kingfisher plunges its head into the water and catches its food. 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 Belted Kingfisher stands upon a wooden perch with a light brown paper tag attached to leg. This specimen has pale cream/white and slate grey/blueplumage. The head and back are coloured the blue-grey while the neck and stomach are cream/white. The bird has a black ring around its upper chest. The stomach has a chestnut brown band which identifies this particular specimen as female. The bill is long and pointed and the eyes and legs black. The bird is small and stocky with a large head and a square-tipped tail.95.a / Belted / Kingfisher / Catalogue page, 25 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, kingfisher, small birds, belted kingfisher, king fisher, female bird -
The Beechworth Burke Museum
Animal specimen - Diamond Firetail, Trustees of the Australian Museum, 1860-1880
The diamond firetail bird is native to inland southeastern Australia, inhabiting woodland regions. It is often described as one of the most stunningly coloured birds of the finch family. The nest is built by both partners but only the female does the weaving. Both partners incubate the eggs and care for the young. 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 diamond firetail finch it characterised by the top of its body being ash brown, with crown, forehead and neck grey. The under feathers are white with a crimson rump. There is a black band across its neck which continues down the flank to be dotted with white. The bill and eye ring are coral, and the legs and feet are dark grey. The female is similar to the male although sometimes smaller. 10057 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 41a./ Firetialed Finch / See Catalogue, Page 15. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, finch, diamond firetail -
Friends of Westgarthtown
Set, manicure
manicure set in black vinyl case, oval shaped with clasp on front. Satin purple lining on inside lid, velour lining on base. Nail buffer with elliptical casine top and handle, suede buffing material with silver retaining band. Thin nail file in vinyl case. Pink nail polish crayon in steel case. Casine handled metal nail file. Metal cuticle stick. All objects secured in case by straps or cavities. One object missing (probably clippers or scissors).Makers symbol imprinted on file and cuticle stick. 'Nagel-Polier-Stift', 'Polideur', 'Ges.Gesch.', 'Verleiht den Fingernagein eleganten Hochglanz' all printed on nail polish label.toilet requisites, manicure, nail, set, casine, file, polish, buffer, toiletries -
Nillumbik Shire Council
Artist Book: Tommaso DURANTE (b.1956 ITA, arrived. 2001 AUS) with text by Chris WALLACE-CRABBE (b.1934 AUS), Skin, Surfaces and Shadows, 2007
'Skin, Surfaces and Shadows' was created by Tommaso Durante in 2004 during his stay in Bundanon (gifted to the Australian people by Arthur & Yvonne Boyd - South East Australia) as international artist in residence and it was enriched during the artist’s stay in Broome (Western Australia) in 2005. On that occasion he collected the raw materials that were subsequently wrought to develop the actual bookwork.On the edge of artistic practice and philosophical inspiration, 'Skin, Surfaces and Shadows' pushes the boundaries of art, craft and design by combining digital technologies with traditional techniques and materials. Durante visually explores the surfaces of organic things (trees, surface textures, etc.) and the figurative dividing line of the shadow. The poet Wallace-Crabbe responds to these images in words. The poet and the artist flit in and out of shadows, skin and the surfaces of paper and life.(a) prints, artist's book (80 pages), ink; Somerset Book White paper (175gsm), digital images, printed in eight inkjet colour pigments, from digital files. Set in digital typefaces Utopia STD Display, Italic and Bold, Frutiger 57 Condensed, 67 Bold Condensed, and 56 Italic. Section sewn around 3 tapes. Full paper binding with blind blocking on front cover handmade head and tail bands. (b) CD of slide presentation to accompany bookwork on display Primary Insc: In black biro, signed and editioned by Tommaso Durante and Chris Wallace-Crabbe (last page '8/25 T DURANTE CWallace-Crabbe')prints, artist book, skin, surface, shadow, poetry, durante, wallace-crabbe -
Flagstaff Hill Maritime Museum and Village
Clothing - Mourning Outfit, petticoat, Late 19th to early-20th centuries
This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made petticoat is one of three pieces of a ladies’ Edwardian mourning outfit. The petticoat is made from black silk lined with lightweight cotton. The petticoat and lining are constructed from eight panels each, brought together at the waist and gently gathered into the band. The back seam opening is fastened with brass hooks and fabric eyes. The lining has been reinforced with a heavier-weight hem. The hemline is finished with black velvet ribbon than encloses both the petticoat and lining. flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria, petticoat, undergarment, slip -
Phillip Island and District Historical Society Inc.
Photographs, 1968 to 1995
A collection of photographs left by an anonymous donor under the Museum door in Cowes, Phillip Island.236-01. Black & White photograph of a koala in low down in the fork of a tree, possibly the Main Street in Cowes. 236-02, 03 & 04. Colour photographs of motor bikes arriving on Phillip Island for the Super Bikes held in November 1995. Taken near the Rhyll turn off from Phillip Island Tourist Road. 236-05. Colour photograph taken from the Cowes Pier looking towards Cowes beach. Band Rotunda obscured in left hand side. Taken 1985236-01 On front: Holiday Cowes 1968. On back: Main Street, Cowes. 236-02 to 04. On back: Super Bike Arrivals & Crowd Nov 95. 236-05 On back: Cowes 1985.wildlife - koalas, motorbikes, superbikes phillip island, cowes beach phillip island -
Warrnambool and District Historical Society Inc.
Knife, Knife and sheaf
Information on the history of this knife and sheaf is not known. They were popular items for boys and young men to carry, especially when working in the bush or fishing. They are still in use today. These items have no known provenance and are useful for display only This is a belt knife, much rusted with a curved blade and a brown metal handle, silver-coloured at the top and end and brown-coloured with red and black bands near the end. The handle has a metal screw at the tip. The knife is in a leather sheaf or holder which is curved to suit the shape of the knife. It has stitching on the curved section with metal studs, two slots to enable the sheaf to be attached to a belt and a circular leather strop with a metal stud to hold the knife in place. The leather is rubbed. The belt may not originally have been for this knife.belt knife and sheaf, warrnambool -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, c1960
Black and white photograph of SEC tram No. 20 standing in the northbound track at Gardens Loop, c1960, photo taken after tram has been fitted with dash canopy lights, but not with enlarged white band under lighting. Photo taken looking at rear of tram, with a family walking away from the tram towards the Gardens Pavilion (Lake Lodge in 1997). Has two ads beneath the drivers windows, one about the dancing, the other cannot be read. See Reg Item 3847 for another print of the same photograph.trams, tramways, ballarat, gardens loop, sec , tram 20 -
Ballarat Tramway Museum
Photograph - Black and White photograph/s - mounted, Hornly's Ballarat, 24/01/1926 12:00:00 AM
Block mounted photograph of the ESCo Employees Tramway Picnic 24.1.1926. Photograph is of the workers and families standing in front of seven buses or trucks, possibly at Moorabool Reservoir. On the left hand side is a truck with a ladder on the side, sign written to show it belongs to the Electric Supply Co. of Victoria. The black and white photograph has been mounted on to a heavy cardboard grey coloured with dark grey bands around the photograph and the edge of the mounting. The bottom right hand corner has been indented with the studio's name "Hornly's Studio Ballarat".trams, tramways, esco, hornly's, picnics, employees