Off white quilted silk cape, with bands of red wool. The shoulderless cape is tied at the neck by a simple cord. The overall shape of the cape includes two- triangular panels, one overlaying the other. Each panel is fringed. There is one tassel hanging from the outer cape from centre back. The cape is lined with a cream cotton fabric. Measurements - Inner panel: Length neck to hem front 81cm; Neck to hem back 100cm; Circumference 158cm; Shoulder width 29cm. Outer panel: Neck to hem front 43cm; Neck to hem back 55cm; Circumference 114cmName in ink on lining at neck: capes, clothing

The banner and frame were carried by representatives of the 38th Battalion during parades..1) Rectangular red cloth banner with gold coloured fringing sewn to the bottom edge. Red cloth loops are sewn onto each side and the top to facilitate attachment to the metal frame - see .2). Printed on both sides in gold, black and white - '38 Battalion AIF'. The '38' is printed on a replica of the 38th Battalion colour patch. .2) Rectangular frame in khaki coloured tubular metal. Each corner is clamped and secured with bolts and wing nuts to allow for the frame to be dismantled. The top LH and RH corners are topped with a cast meat Rising Sun Badge over the letters AIF.Nilbanners - military, 38th battalion, metalwork, badges, passchendaele barracks trust

The Pink-eared Duck can be found throughout Australia, commonly in locations that are timbered and near water. This species of Duck prefers to reside in areas which are shallow, temporary waters and on occasion may venture into open wetlands if with a large flock; however, this species is highly dispersive and often nomadic. The special bill of this Duck is designed to enable the bird to catch their food. The bill is fringed with grooves which filter out microscopic plants and animals from the water which makes up the birds diet. 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 Pink-Eared Duck is named for the small pink spot of feathers which feature on the sides of the drake's head. Another name for this bird is Zebra Duck because of the striking bold black and white striped plumage which decorates the duck's neck, breast and stomach. The bill is spoon shaped and the eyes are made of dark coloured glass and surrounded by brown colouring. The bird has brown wings and light coloured legs with webbed toes. This particular specimen stands on a wooden square platform. There are signs of damage on the platform and a wooden identification tag is tied to the upper right leg of the bird.6a./ Pink-eyed Duck / See Catalogue, page 39 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, duck, pink-eyed duck, pink-eared duck

About the specimen: The Californian Quail is a highly sociable bird commonly seen in small flocks. They have a distinctive appearance with the black plume on top of their head and white markings on the head and torso. This species reside in open woodland, bushy grassland, roadsides and fringes of urban areas. They are native to western America but have been introduced to areas outside this location including King Island. This species was established as the state bird of California in 1932. Explain how it should look: Copy and paste: 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.Copy and paste this section: This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This male Californian Quail has a black forward drooping plume on the top of its head. It has a dark brown/black coloured cap on its head and a black face with distinct white markings on the sides of its face and neck. The back of the bird is brown.The belly is a lighter brown colour and the chest and back of the neck is a blue-grey. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing-tag: 46 / (b)? Californian Scrub Quail / Catalogue Page, 30. / Metal tag: 4341 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, californian quail, california, american birds, quail, californain sub wren, wren

This opera coat was made for Louisa Jane Cam, nee Rust, born 24/6/1873. Her parents were John Rust born in Hamburg, Germany and Jane Mc Meekin from Port Patrick, Scotland. In 1892 Louisa married John Cam the director of the Hawthorn Brick Company. It is understood Louisa wore the coat to the opening of the first Federal Parliament in the Exhibition Buildings in Melbourne in 1901.This item being an early nineteenth century opera coat has aesthetic interest. It is also important because of its provenance being worn by Louisa Cam at a significant event in Australia's history.A three quarter length Mandarin styled gold threaded brocade, lined coat dress with long sleeves. The fabric is black with gold patterns of leaves and circles. Large circles feature gold, red, yellow, pale and dark blue flower like images surrounded by gold fringes. The yolk section finishes with a small pleat over the flared bottom section. Edging around the neck is black lace. It is understood a fur collar was previously in place. The cuffs of the sleeves are pleated and have a wide frill above the pleating. The lining is pale blue silk . At the end of the sleeves the lining has hand ruched binding. Nil

Wool bale from the last of the wool stockpile. The wool stockpile accumulated when the price of wool fell - growers were protected by a reserve price scheme (first established in 1974) which meant that the former Australian Wool Corporation purchased wool that did not meet the reserve price. The wool was kept until the prices rose. Unfortunately the stockpiled wool accumulated until the reserve price scheme collapsed in 1991. At its peak the wool stock pile reached 4.7 million bales. This particular bale is one of the last from the stockpile which has gradually diminished since 1991. This bale was part of a nine-bale lot from the clip of Richard Froomes (Seaspray, Gippsland) and was purchased by the Australian Wool Corporation from Brian Rodwell and Co. Pty Ltd's (stock and station agents) November 1989 catalogue. It is marked as bale no. 2 and carries Richard Froomes' 'Kullingral' brand, and is classed at AAAFM (best wool) and is 21.1 microns (see AWTA certificate in supp. file). The 'Kullingral' branded bales were from a 3500 head fine wool flock, based on Merryville and The Fringe bloodlines. Richard Froomes moved out of wool production in 1996.TA PACK / BATCH NO T-291 M8754 KULLINGRAL / AAAFM / 2 KULLINGRAL / PI / BI / 651390 / AAAFM / 2 / BR / WIwool sales - reserve price plan wool stockpile textile mills textile mills, wool sales - reserve price plan, wool stockpile, textile mills

The 67th Battalion was raised in mid 1912 as a local militia training battalion in Bendigo. During World War One, many of its members enlisted in the newly formed 38th Battalion which was raised in Bendigo in 1916. At one point it was a garrison battalion stationed at Queenscliff. It was disbanded in 1918 and became the area 38th Battalion. The colours were laid up in St Paul's Cathedral in Bendigo on October 25th 1929. In 2006, with the cathedral needing to carry out repairs and alterations, the colours were offered to Bendigo's Soldiers Memorial Institute Military Museum. On 17th April, 2007 under direction from RSM Ceremonial, the colours were re-laid up in the museum in a ceremony conducted by the Reverend Peta Sherlock and witnessed by church and RSL members after 12 months of planning and putting together..1) Middle banner in the photograph. Rectangular banner representing the colours of the 67th Battalion on an olive green background. In the centre is a circular red medallion featuring an embroidered battalion badge. A purple circular border with 'Bendigo Infantry' on it surrounds the red medallion. All are surrounded by a gold and silver wreath depicting the flowers and leaves of the golden wattle. '67' is embroidered on the top right hand corner. The banner is fringed on three sides in gold. Two cords with gold and olive tassels are attached to the top right hand corner. A sewn sleeve for the pike is on the right hand side. .2) Wooden pike with metal spear head on end. A metal ring encircles the handle of the pike.battalion colours, 67th battalion, military banners, unit badges

The first sculpture awarded the Shire of Eltham 'Art in Public Places' Award/Commission. The Judges were Inge King, Jenny Zimmer and Daryl Jackson. The work deals with the juxtaposition of suburban and rural surroundings. This scupture is a typical example of the artist's oevre of the period. This sculptre is site specific and refers to the nature of the environment. The colour - bushfire red / sienna - alludes to the history of fire in the urban/rural fringe and the title, as well as the sculpture's shapes, forms and material refer to the natural and local elements. Judges report noted: "The most vital and expressive work for the site...with a great sense of dynamic movement and vibrant colour. Its' abstract forms will enliven the surroundings and the urban and natural environment. This work is the most appropriate for the site and expressive of the dynamics of an evolving community in which artistic discourse and debate has always thrived." The work has acquired the status of a major landmark from the National Trust. The Breeze is an abstract work made out of welded steel and painted in enamel in bush fire red / sienna. It comprises a series of flat, cut-out shapes, interlocking at different angles, giving the impression of being hinged together rather than fixed. The work references nature and the built environment. Its geometric shapes suggest man-made structures within industry and suburban life, while rural areas can be identified by the organic flame-like shapes fanned by the wind. The circular cut-out in the eye mimics the sun, symbolising the intense heat of the Australian climate, while the colour red alludes to the history of bushfire within the urban and rural fringe. N/Apublic art, ginger, red, sienna, elements, steel, abstract, breeze, fire, sculpture

Ceremonial purple velvet collar with gold metallic bullion fringe to outside edge and gold metallic ribbon and ribbon lace to all edges. At each end is a five point star in gold zardozi work in sequins and metallic thread with central couched button. Above the stars on the LHS is couched zardozi work initial G and on RHS couched zardozi work initial M and above these are two identical five point stars as lower ones with the addition to each of two metallic thread tassles. At the bottom centre of the collar are two small rings. In a separate bag is a purple velvet rosette with central sequined button and braided surround with large tassle all in gold metallic thread.ceremonial collar, grand master

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.Black silk satin, lace and beaded pelerine from c.1890. The pelerine features a silk high stand collar covered in black lace. It secures around the neck and down the centre front to the waist by seven hook and eye closures. A black lace frill extends down the centre front from the throat to the centre front tip of the garment. The shoulders feature a heavy, intricately beaded floral design open sleeve through which the arm would be visible. The sleeve finishes around the elbow in a point, however the beading hangs down to below the hip in a loose fringe. At the back from below the shoulder, the garment shapes in to finish in a tapered 'V' shape over the wearer's coccyx. There is a hand stitched "M" in white thread on the inside lining of the pelerine near the neck.pelerine, brighton, barone, seaview

Presented to 1st Battalion, The Royal Western Australia Regiment by Field Marshall HRH The Prince Phillip, Duke of Edinburgh at a parade held at the Western Australian Cricket Association Ground, East Perth on 25 November 1962. The Royal Western Australia Regiment was formed on 1 July 1960 from the amalgamation of the following existing infantry battalions in the State at the time :- • 11th/44th Infantry Battalion (The City of Perth Regiment) • 16th Infantry Battalion (The Cameron Highlanders of Western Australia) • 28th Infantry Battalion (The Swan Regiment) At the above presentation of colours to the new battalion, the Colours of the former battalions (four sets of Queen's and Regimental colours) were trooped through the ranks of the battalion and marched off the parade for the last time. 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. (Refer to Items 4-12 for individual records of these colours) 1st Battalion, The Royal Western Australia Regiment was renumbered 16th Battalion effective from 1st January 1966 as part of a move to reintroduce the old battalion numbers back into the State Regimental system 16th Battalion, The Royal Western Australia Regiment was presented with a new set of Colours on 27 October 2002. The original 1962 Colours were formally handed over for safe keeping to the Army Museum of Western Australia on 3 November 2002. Battle Honours allocated to the State Infantry Regiments created under the CMF reorganisation in July 1960 were promulgated in Australian Army Order 85/1962. These were a consolidation of the battle honours awarded to the various individual battalions that were amalgamated to form the new regiments. Royal blue with gold and red fringes. In the centre the main device from the regimental badge consisting of a black swan upon a pair of crossed rifles on a red background, within a circle inscribed "THE ROYAL WESTERN AUSTRALIA REGIMENT". The whole enclosed within a wreath of Australian wattle and surmounted by the Crown. Across the lower portion of the wreath a scroll inscribed with the regimental motto "VIGILANT". In the upper canton the Roman numeral "XVI" (Originally this was the numeral "I" - changed to "XVI" in 1966 - see Historical Background details below) Battle honours emblazoned on the colour : SOUTH AFRICA 1899-1902, SOMME 1916-18, POZIERES, BULLECOURT, MESSINES 1917, YPRES 1917, PASSCHENDAELE, AMIENS, MONT ST QUENTIN, HINDENBURG LINE, LANDING AT ANZAC

The dress was in the cupboard of Muriel Kerr, the donor's recently deceased mother. The donor remembers being shown it and trying it on in the late '70s or early '80s and being told that it belonged to her great-grandmother, Lilian Armstrong Ballantine (nee Power) [1887-1967]. Lilian Ballantine lived at 31 Harp Road (now the site of the Leo Baeck Centre) from the early 1920s to 1967. Lilian's married Archibald Dill Ballantine [1883-1947], in 1910. He was a member of the Monumental firm of A&G Ballantine, responsible for the Kew War Memorial (and possibly the Springthorpe Memorial). Lilian was highly involved with the Finlay McQueen Memorial Church [ie the East Kew Presbyterian Church]. Lilian's daughter, Mary (the donor's grandmother) married Alan McQueen, the son of Finlay McQueen, the first Minister of the East Kew Church. Mary Macqueen lived at 1 Oswin Street; she was a well-known artist. The dress is significant due to its associations with a family with strong connections, through a number of generations, to Kew East and its spiritual institutions. The garment's integrity and design also contribute to its aesthetic significance as a representative item of women's outerwear during the first decades of the twentieth century.Pale blue striped muslin single-piece dress with lace, tulle and embroidery at the neck and on the cuffs. The lace at the neck and cuffs is embroidered with coloured flowers, and edged with tulle. Bordering the v-neckline is a deeper blue guipure lace (possibly added later). There is a satin flower on the right side of the skirt which gathers the hem, exposing the deeper blue cotton underskirt. The dress has a narrow band of blue satin at the high waist. The cotton underskirt is attached by thread in places to the outer layer. Both the outer and under layers are attached with metal hooks and eyes. Edging the cuffs and hem of the dress is blue commercial fringing. The exterior of the dress has a slight brown tinge which is not apparent on the inside hem, suggesting that it has been discoloured through exposure. There are minor stains.women's clothing, edwardian dresses, lilian ballantine, australian fashion - 1910s, mary macqueen, finlay mcqueen memorial church, east kew presbyterian church, alan mcqueen, kew war memorial, archibald dill ballantine, leo baeck centre, 31 harp road -- kew (vic.), a&g ballantine, women's clothing -- 1900s, fashion - 1900s, fashion design

The Freshwater Crocodile can measure up to 3 meters and is generally not considered to be a threat to humans. They reside in Northern Australia, Western Australia and the northern part of Cape York Peninsula in Queensland. They live in freshwater environments and make burrows among the roots of trees which fringe the waters they can be found in. This species of Crocodile mainly feed on invertebrate and vertebrate prey which includes insects, spiders, frogs, fish and small birds and mammals. They are also recognized as "cannibalistic" with the older Freshwater Crocodile occasionally preying on young hatchlings. These crocodiles are known for their "high walk" which they do to move on land. It is named "high walk" because the animal lifts their body off the ground using their long legs for height. They are able to walk considerable distances on land using this technique. In captivity, Freshwater Crocodiles are known to be hostile and aggressive to others of its species. 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 and the National Museum of Victoria, as well as individuals such 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 Freshwater Crocodile has a slender snout which is much smaller and thinner than its Saltwater counterpart. This specimen has dark grey and brown colouring with the darker colours concentrated around the face and upper torso of the Crocodile. There are darker stripes along the tail which features triangular scales and is long in length. The teeth are visible and bright yellow glass has been used to replace the eyes of this particular specimen. The crocodile has long but thin limbs which protrude from the sides of the body.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, crocodile, freshwater crocodile, johnstone's crocodile

Clothing. Double sided silk woman's scarf. One side of cream coloured silk has ten clusters of embroidered silk flowers each end. The reverse side of pink silk has a row of ruffled dark pink ribbon across each end (18cm above hem). The row of ruffled ribbon has a circular loop in the centre and half loop on each side edge. Along one long edge are three decorative pink rosettes of ruffled ribbon. The middle rosette joins the two sides of the scarf together 20 cm from the centre point to form a small hood section. At the centre of the scarf on this side above the hood is a 28cm tassel of pink and green silk cotton strands attached by a 4cm cord of twisted pink silk cotton. At each end of the scarf is a 15cm fringe of pink and green silk cotton strands.costume accessories, female, woman's silk scarf

Bendigo Operatic Society Production Oklahoma Capital Theatre Bendigo Opening Friday, 14th July, 1961 For Six Nights. Produced By Norman Lee. A Rodgers & Hammerstein Musical based on Lynn Rigg's play 'Green Grow the Lilacs.' A Chappell & Co. Ltd Production. Songs Include: 'Oh What a Beautiful Morning,' 'The Surrey with the Fringe on Top' 'Many A New Day' People Will Say We're in Love,Oklahoma. Cast: Gertrude Perry, Harry Brewer, Dawn Beckwith, Leonard Carr, Peter Houston, Gerald Gleeson, Bryan Brewer, Brian Thomas, Annette Wilson, Alfred Annison, Wendy Griffiths, Emily Westgarth, Joan Crane, Carol McKenzie, Aileen Simmonds, Patricia McCraken, Frederick Trewarne, Reginald Boromeo, Gerald Hayward, Victor White, Peter Haines, Terry Carr, Bronwen Townsend.Cambridge Press.clubs and associations, theatre, bendigo operatic society, https://en.wikipedia.org/wiki/oklahoma!_(1955_film)

Kylie THOMAS (14 May 1973 - ) Born Creswick, Victoria A graduate of the Bachelor of Arts (Visual Arts) (1993) and Diploma of Visual Arts (1995) from Federation University (then University of Ballarat) Kylie Thomas continued her art practice after studying under distinguished sculptors Peter Blizzard and Adrian Mauriks. This work was acquired from her graduate folio. Soon after completing her studies Kylie Thomas became an artist in residence at Ballarat Grammar School building a public sculpture for the grounds conceived by one of her selected students as part of the program. She became the youngest exhibiting applicant to be awarded the City of Port Phillip, Rupert Bunny Foundation artist in residence program. After moving to Mallacoota she was absorbed into the community as a visual artist, actor, playwright and assistant publicist. Her commissioned public artwork and sculptures as part of residences collections were all lost in the 2019 bushfires that decimated Mallacoota. Moving back to her hometown of Creswick Kylie Thomas completed a Diploma in Education qualifying as a secondary teacher, always continuing her art practice while teaching. Needing to work again, but with no desire to teach, Kylie Thomas studied Building Design and Architectural Drafting, homing in on other areas which could link back to her artistic practice. Working in this field for a short time she moved to Melbourne where she exhibited paintings and sculpture installations as part of The Melbourne Fringe Festival. She also worked in set design, and as a stage manager and theatre actor. 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.This work is a spiritual totem created in the tradition of the bricoleur, dedicated to bygone cultures, lost technology and mystery referencing nature, humanity and technology. Humanity to use technology with and for nature. The materials are symbolic, the use of bone, Perspex, computer parts, found and crafted objects constructed in a resulting harmony creating a symbiotic relationship. Tapping the 4th dimension that could lift off into space and come back again, with a feeling of weightlessness, awe and suspension captured. A sculpture which stands on a white pedestal with perspex cover. 'Cultural Dedication' is the final work in a series of sculptures influenced by the ancient cultures of Egypt. art, artwork, kylie thomas, sculpture, alumni

Green silk sash, Ancient Order of Foresters. Court King of the Forest 3770. Sash has embroidered all seeing eye, a deer's head, a shield divided into four, the top left corner has shaking hands, the top right has three deer, one above the other, the bottom left has a sheep?, and a horn separated by a red band, and the bottom right has a quiver, an arrow and a horn. In the centre are three arrows in front of a horn. On each side is a man dressed in yellow boots, white trousers,slightly different green jackets, and green hats with white feathers. One man has a bow and arrow and the other has a club and a dog is behind him. Underneath are four women circling the top part of a sphere above the words 'Unity Benevolence and Concord. Underneath is Ancient Order of Foresters, then there is some yellow and brown filigree above Court King fo the Forest. 3770. The sash has a red fringe on each end.organization, club/society, ancient order of foresters, ancient order of foresters sash, carl mueller

A dress believed to have belonged to a family member of Mrs. Jessie Somerville Singer (nee Watson), 1849-1935. As the dress dates from circa 1850, it could have belonged to someone from one generation previous, possibly her mother Elizabeth Watson. Jessie Somerville Singer was the second wife of Mr. Edward Singer (1829 – 1904) of 'Somerville', New Street, Brighton Beach. Edward's first wife, Maria, died in 1861; their son William died approximately 12 months later. In the 1861 census of North Bradley England, Edward was recorded as a carpenter journeyman. After these tragedies Edward, then aged 30, left England to start a new life in Australia. He emigrated as an unassisted passenger on the steamship 'Great Britain', departing from Liverpool and arriving in Melbourne in April 1863. Edward worked as a joiner and overseer for a timber merchant in Franklin Street, Melbourne. In December 1869 he bought a property at 1115 Hoddle Street, East Melbourne, between Hotham and George Streets. At some stage he also acquired 1117 Hoddle Street. He also owned another property in Rushall Crescent, North Fitzroy. On 10 July 1873 Edward married Jessie Somerville Watson, the daughter of William Watson and Elizabeth Martin. They lived at Hoddle Street for some years, later moving to Rushall Crescent, North Fitzroy before in the 1880s settling in what was then the semi-rural suburb of Brighton. Edward is recorded as working there as a joiner. The house 'Somerville' was built by the Singers in circa 1880 at 100 (now 78) New Street, Brighton. The family moved there upon Edward's early retirement and lived there until 1941. 'Somerville' was sold, the house demolished and the land subdivided in the 1930s. Edward and Jessie appear to have lived comfortably. Edward died on 30 July 1909. Jessie died on 11 November 1935. Many members of the Singer family have lived in and around Brighton since Edward and Jessie first made their home there. The donor, Mrs Dorothy Constance Cook, was Jessie's granddaughter.A silver and brown striped silk taffeta dress comprising separate bodice (.1) and skirt (.2). The dress features a high round neckline fastening down the centre front with concealed hook and eye closures with ten (two missing) decorative brown silk velvet buttons. The front and back feature a briown silk velvet ribbon that forms a v shape from the shoulder to the centre front just below the bust and centre back below the shoulder blades. From the ribbon falls a brown and silver silk fringe approx seven cms deep. The bodice is shaped and boned into the waist and finishes in a deep v over the stomach. At the back the bodice is shaped to the body finishing in a smaller curved v over the small of the back. The sleeve attaches to the bodice at the true shoulder and falls in a pagoda sleeve to the mid forearm. The sleeve is also trimmed with brown silk velvet ribbon near the base of the sleeve. The full skirt is pleated at the waist, falling to the floor, longer at the back to accommodate the crinoline.somerville, new street brighton, jessie somerville singer, edward singer, elizabeth martin, brighton, 1850s

This glass slide presents an image of the Old Beechworth Post Office and was taken in the year 1900. The building displayed within the image is not that of the post office in its original form; the post office originally consisted of only a simple wooden building. With the establishment and growth of new towns across Victoria, as well as an increased need for more consistent communications with the City of Melbourne, this modest building was soon deemed inadequate. In 1858 it was brought into the style of the changing times, with the tall clock tower added in 1865. This transition aligned with a pattern of refurbishment and conversion of many Beechworth buildings (which could be seen during the 1860s-70s), aiding in the growth and prosperity of the town. Early makeshift homes were turned into more substantial dwellings, featuring elements such as weatherboard, brick, and granites materials, and gabled or hipped roofs with iron lacework fringing the verandah. These refurbishments were temporarily halted in March of 1867 when a fire swept through the town, damaging many buildings including the post office. This led to further reconstructions on the building, including heightening of the clock tower, and in 1870 the two-storey Italianate style building was completed. The Old Beechworth Post Office itself also holds significance due to its connection with one of Australia's most infamous families. It reportedly played an important role in communicating the news of the 1880 murders of police at Stringybark Creek by the Kelly Gang. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide captures social and historical significance as it displays the Old Beechworth Post Office in 1900, a building that demonstrates the prosperity and growth of Beechworth as a town during this time period. This slide also holds a level of aesthetic significance due to the Italianate style building that is featured in its image; a style that became very popular during the nineteenth-century. Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: x / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth post office, beechworth post office kelly gang, 1900, 1900 beechworth, growth of beechworth, 1867 beechworth fire, old beechworth post office, beechworth post office reconstructions, italianate style, italianate style buildings, italianate style beechworth post office

This picture shows an angle of Beechworth Primary School (State School number 1560) which is also pictured in the building's entry in the Victorian Heritage Register (VHR record 1718). The school began as a national school in 1858 as an alternative to Wesleyan and Anglican schools already operating in the area. Its name was changed to Common School number 36 in 1862 and the Beechworth Academy prior to being taken over by the Education department in 1873. The new premises were built in 1875 utilising the skills of architect Henry Bastow though the original design may be attributable to the firm Wharton and Vickers. The design was used with modifications for other schools in Victoria, including the Competition School in Errol Street, North Melbourne. The school moved to the building pictured from its original premises in Loch Street, designed by Thomas Dalziel, which later became the office of the Ovens Advertiser. The school was opened on 2 July 1875 by former Beechworth resident G.B. Kerferd, who was then the Premier of Victoria. The image shows approximately ninety older students at the school in approximately 1900. There are approximately equal numbers of boys and girls pictured, with most of the individuals pictured appearing to be between the ages of twelve and fifteen. Although the school had more than 1000 students enrolled at its height, enrolments had declined to 304 in 1890. Also visible is a fringe of sequoia pines which were planted by the school children as a project lasting through to the late 1930s. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.The image is significant because it sheds light on the educational infrastructure present in Beechworth in the early part of the Twentieth Century, including the prevalence of education for students after current-day primary-school age and the education of girls. It also provides insight into the building and design practices used by Government departments at the time. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: L / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, schools, education, high school, primary school, common school, state school, state school 1560, common school 36, beechworth academy, g.b. kerferd, thomas dalziel, henry bastow, victorian heritage register, beechworth primary school, girls education, boys education, public schools, education department, pines, trees, sequoias, competition school

Address given by Mrs Lavender on the presentation of the Kyneton Colours on 28 February 1861 “Gentlemen of the Kyneton District Mounted Rifles, I feel proud of the honour done me in being deputed by the ladies of Kyneton to present the colours to your honourable Corps. There has always been a peculiar honour and responsibility connected with the colours of a Regiment. They have been unfurled on a battlefield as rallying points for many a splendid troop of gallant soldiers and courageous hearts. They have been spread to the breeze on the storming of many a city and battles hardly fought and dearly won. To retain their position and maintain their integrity, many a brave soldier has freely offered his life in their defence and, when in the hour of adversity they have been lowered, overpowered by the foe, many a brave heart has bit the dust. We might say that the history of our country is written on the banners of our “Fatherland”. The names emblazoned there speak, it is true of many a battlefield, of many a desperate struggle and of many a glorious victory won by British bravery. Gentlemen, your colours are not decorated by names such as Waterloo, Alma, Inkerman, Delhir Cawnpore, and many others I might mention. They are blank and may the God of Peace grant that in this land of adoption, it may be long before necessity of duty calls upon you to maintain the integrity of your colours and win their names. But if in the providence of God, either from internal commotion or external aggression, you should be called into action, may these colours, the token of your Corps, be upheld with the bravery of British Soldiers, their honour maintained with your lives, and may they never be lowered to a foe. Gentlemen, your motto directs: Onward, onward; may it be so Onward at the shout of victory” This item is significant as The Kyneton Colour is the 2nd oldest Regimental Colour knownin Australia, and the oldest Australian Cavalry Colour. It is unique, in that it is hand made from an original design, there is no other colour of this type known to exist. The Kyneton District Mounted Rifles is the oldest ancestor unit of the 4th/19th Prince of Wales's Light Horse Regiment and therefore is historicaly significant to the Regiment in particular and to Australian Military History in general.Regimental Colour of the Kyneton Distric Mounted Rifles. A double sided blue silk damask standard bounded on three sides by 30mm coiled metal fringing. It is heavily embroidered through a silk and cotton layer and these sections are are put back to back forming a sandwich of four layers. Several kinds of metal threads and sequins have been used for the embroidery as well as coloured silk floss, employing satin and stem stitch. The front shows a central insert in white silk divided into four and with a steam engine, bull, plough, and wheat sheaf in the segments. This crest is flanked on the left by a kangaroo and the right by an Emu. Above the crest is a horizontal baton, and above that a smiling sun sitting on a bed of clouds. The initials KD are in the upper hoist area and MD in the upper fly region.Below the crest is a red ribbon with the Latin words VESTICIA NULLA RETRORSUM in metal thread. Below this applique is a green satin stitch shape. The reverse has a red cross with stars surrounded by a green and gold laurel wreath. This is surmounted by a Queen's crown in embroidered metal thread over a base of red silk velvet. The bottom third of the flag is decorated with the words KYNETON DISTRIC MOUNTED RIFLES in embroidered metal thread.See description.standard, colours, kyneton district mounted rifles, kyneton

1 - Issue 1 - March 2007 - with photo of the Police Tram (2109) - Welcome message from the CEO Dennis Cliche, Good Friday appeal, Burwood highway works, new sub-stations at Coburg, Royal Park, Brunswick depot, Camberwell depot, East Preston, Essendon, Bundy Clock, Glenhuntly, Kew Depot, Malvern, Southbank,, Safety, events, Lunar Festival .2 - issue 2 - June 2007 - 18 pages, Malvern Depot (a green depot), Paul Matthews profile, trackwork at Glen Huntly and Essendon depots, Depot news, Joyce Barry tribute, Hawthorn depot museum, fund raising. .3 - issue 3 - Octr. 2007 - 16 pages - fund raising - Melbourne city romp, Des Davies retirement, CPR rescue of a collapsed driver, depot news, retirements and a chemical and fire incident on the Vermont South line. .4 - issue 4 - Jan. 2008 - 12 pages - fundraising, family events, depot news, retirements, TramTracker Jake .5 - issue 11 - Winter 2010 - 16 pages - St Kilda Road Superstops, Michel Mason - CEO, Malvern depot centenary, Transformation, new maps on trams, fundraising, the leadership team, depot news, uniforms, South Caulfield Junction upgrade. .6 - 20 pages issue 12, Summer 2010, published soon after Keolis took over operations of Yarra Trams. The first 10 pages, look at Trams on the Fringe, Feedback, Football trams, staff matters, and features a story on page 10 of the Hawthorn Tram Depot museum and Driver Shaun McCarthy wearing the brown uniform in front of tram 1041. Fully Scanned. The second ten pages are reversed (upside down) and titled "Le Pantographer", featuring a Bordeaux tram on the cover. Provides details of Keolis operations such as Lyon, Bordeaux, Lille, Le Mans, Caen, Angers, Dijon and other operations. .7 - issue 6 - Spring 2008 - Meerkats, fleet operations, training, Art Alive, Kew depot - new inspection pits, Long Lay Malvern, Did You Know campaign, and looking for Cricket players - part scanned. .8 - issue 13 - Autumn 2011 - Michel Masson CEO, visit of French Media, Ron Scholten Retirement, photo of Geoff Dean of Camberwell, - part scanned. .9 - issue 5 - June 2008 - Tram works Swanston and Flinders, tram 111, cricket .10 - issue 8 - Autumn 2009 - Good Friday appeal, public transport ombudsman, Malvern centenary, my friend Mike .11 - issue 9 - Spring 2009 - Chris Cairns safety campaign, route 48, Myki, Tramtracker, Jake.Demonstrates Yarra tram staff newslettersEleven issues of Yarra Tram's internal newsletter "The Pantograph", all A4, center stapled. Issues not fully scanned, unless noted.trams, tramways, keolis, yarra trams, fohtd, hawthorn, uniforms, coburg, substation, royal park, burwood highway, fund raising, bundy clock, environment, glenhuntly depot, essendon depot, malvern depot, south caulfield, tram 2109, tram 84, route 48, tram 111, good friday

This dress was donated as having belonged to Annie Elizabeth McLean, who worked as a maid to the daughters of Samuel Renwick of Caulfield. Annie was born in Argyllshire, Scotland in 1853. This dress appears to have been originally made circa 1855 and then modified circa 1872. As Annie would only have been two years old in 1855, this indicates that the dress would most probably have been originally made for someone else and later acquired by Annie. Annie Elizabeth McLean arrived in the Colony of Victoria from Argyllshire, Scotland with her aunts and cousins in 1867, aged thirteen and a half. She had been educated in Scotland and eventually became a personal maid and then companion to the Renwick girl, daughters of Samuel Renwick of Caulfield, Victoria. The Renwicks' home, 'The Garrell' on Glen Eira Road, was one of Caulfield's earliest residences, having been built around 1854. Samuel was a business partner of William Kerr Thomson, a well-known Brighton resident and the original occupant of the North Road mansion 'Kamesburgh'. During her time with the Renwick family, Annie travelled with them to England, then to Scotland, then back to Victoria. She left the family upon the marriage of the youngest Renwick daughter, then went to the household of Sir William and Lady McCullough until she left to be married to Alfred John Ashfold in 1878.This c1872 grey and white silk pin stripe dress features a high round neckline with eleven decorative blue silk buttons and secured by a concealed line of fifteen hook and eyelet closure. The bodice (.1) has decorative blue and green braid over the shoulder and bust and across the base of the bodice. The dress features three darts shaping the dress to the body. The sleeve is cut high but relatively full and tapers to the elbow then flares again in Pagoda like style but ends at the wrist or hand. The skirt (.2) opens over the left hip and features a pocket over the right hip. The skirt at the front finishes at the ankle or just above the ground. At the back the bodice features panels shaping the dress into the body and pleated and flared from the waist. At the small of the back is a decorative bow with pinked edges and decorative braid. The skirt at the back is uncommon in shape most likely as the result of modification. It appears to have had panels removed reducing its original fullness. It has a tape inside the back of the skirt that would draw the skirt in creating a bustle like shape . It would appear that the dress had been modified in order to create a more fashionable silhouette most probably in circa 1872. There are three separate pieces of fabric. One is made up into a semi-circular over-skirt trimmed with blue braid and fringing (.3). Two pieces are unpicked skirt gores, one still has its cotton lining attached (.4 and .5).annie elizabeth mclean, samuel renwick, the garrell, caulfield

Presented to 10th Light Horse Regiment (West Australian Mounted Infantry) by Lt-General Sir Harry Chauvel, GCMG, KCB on the Esplanade, Perth, 10 March 1928. Consecrated by Senior Chaplain COL Riley, OBE, VD, DD. Later carried by the post-World War Two unit, 10th West Australian Mounted Infantry, raised as a CMF unit of the Royal Australian Armoured Corps in 1949 as a direct successor unit to the above light horse regiment. This unit was redesignated as 10th Light Horse in 1956. The Guidon was laid up at the State War Memorial, King's Park on 10 June 1967, following presentation of a new Guidon to 10th Light Horse in 1966. It was transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Crimson with gold fringes, swallow tailed end (traditional cavalry Guidon shape). In the centre a black swan within a circle inscribed "10th LIGHT HORSE (WAMI)", across the lower portion of the circle a scroll inscribed with the regimental motto "PERCUTE ET PERCUTE VELOCITER", the whole surrounded with a wreath of Australian wattle and surmounted by the Crown. In the upper canton the roman numeral "X" Below the whole centrepiece is the regimental colour patch in black over gold diagonals in a rectangle and below that is the battle honour SOUTH AFRICA 1900-02 . Emblazoned on either side of the centrepiece are ten selected battle honours from the Great War: DEFENCE OF ANZAC, SARI BAIR, RUMANI, MAGHDABA-RAFAH, GAZA-BEERSHEBA, JERUSALEM, JORDAN (ES SALT), MEGIDDO, SHARON, DAMASCUS. The battle honour for South Africa for unknown reasons was not included on the guidon when originally presented in 1928, and was not emblazoned on the Guidon until the early 1950's. Other related facts:- • The battle honour "South Africa 1900-02" was granted under MO 123/1908 to 18th Australian Light Horse Regiment which was the predecessor Militia Light Horse regiment existing at the time. • This battle honour appeared under 10th Light Horse Regiment in the Australian Army List from 1928 onwards. • Having the battle honour added at a later date would explain why this battle honour is positioned on the lower portion of the guidon in the centre. At the time of approving battle honours for the Great War, the authorised position for any pre-existing South Africa battle honour was in the top left corner of the Guidon or colour, followed by the battle honours of the Great War. (AAO 112/1927).

This gown, one of two similar items in the collection, belonged to one of the daughters of George Ward Cole, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A black and mint green wool, velvet, lace and silk dress from circa 1882. The bodice features a wired, standing collar, finishing just under the chin and open at the front of the throat. On either side at the front of the throat it features long black lace ties with black jet bead fringe. The centre front of the dress from the neckline to the base of the skirt features an insert panel of mint green corded silk. The silk is gathered and the neckline and waist and overlaid a panel of gathered lacy net. Inserted into the seam at either side of this panel at the waist are two velvet ties. The dress secures closed with eight black buttons and one hook and eye down the right side of the mint panel to mid thigh. The edges of the collar and black front panels are finished with a looped ribbon trim. The remainder of the dress is made of a black wool fabric woven a checkered pattern of larger and looser threads and smaller and tighter threads creating a seersucker like pattern. The bodice features a natural shoulder line and an Amadis sleeve of full cut gathered to the bodice at the shoulder and finishing at the elbow with a large black lace flounce. The front panels of the dress are flat and shaped neatly to the body from neck to hip line and gently out to create the Victorian silhouette. On the back of each shoulder the dress features a leaf like, small jet beaded embellishment with multiple long loops of jet beads falling down the back to the waist. Underneath this embellishment is a pleated black ribbon that runs from the shoulder to the back of the pelvis. Over the pelvis are another two jet beaded embellishments of a floral design with two tassels. The skirt is full and pleated in under this embellishment and fulls to the floor with a small train. The base of the dress is finished with a ruched band of the main dress fabric.st ninians, george ward cole, visiting gown, brighton, miss margaret morison ward cole, miss agnes bruce ward cole, 1880s

Kids of all ages enjoy the Miniature Railway. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p163 On Sundays in Eltham thousands of children, mums, dads and grandparents can be seen travelling around Lower Eltham Park in tiny trains. They are among the two and half million passengers who have travelled on the Diamond Valley Railway since it officially began in 1961. The miniature railway originally operated from the 1940s at Chelsworth Park, Ivanhoe, until flooding caused it to be moved to the Eltham Lower Park in 1959. The railway is modelled on the 1920s era – the heyday of passenger rail travel – and the trains are built on a scale of two inches to the foot (1/6). Although not exact replicas, trains include models of the Spirit of Progress, Puffing Billy, The Overland, Dog Boxes, Vic Rail S class, G class and a NSW 81 Class. The three and a half kilometres of track is set amongst native plants and picnic areas. A friendly hoot or the clang of a bell occasionally punctuates the tranquillity as a train emerges from a treed bend with passengers excitedly waving to onlookers. For $3 the train takes you on a 13-minute two-kilometre ride. Passengers sit in single file in the narrow train, which clatters along tracks built to the scale of the Australian narrow gauge of three feet six inches (1.1m). These are used in Queensland, South Australia, Tasmania and Western Australia. Safety standards are stringently kept. Even before you buy a ticket notices tell you that you must wear closed shoes. You can even borrow these, and you are given a pair of socks for the ride! Blue-overalled volunteers check tickets, see you aboard, and drive the train. They are mainly retired men who can at last devote their time to what little boys dream of – playing with trains. Passengers are instructed in safe behaviour, then the station master waves a white flag and off we go. The guard sits at the back with his whistle and green flag at the ready. The winding track, fringed by native trees and bushes planted by volunteers, stands on crown land managed by Nillumbik Council. The train clatters along the track and crosses a bridge over a drain elevated by name to The Blow Fly Creek. We pass by Meadmore Junction at a speed of three kilometres an hour. Then on through a tunnel, accompanied by squeals of delight, and after a few moments of blackness, light glimmers at the end. On we go, past the original platform, along another route past busy Main Road through Pine Creek Station, over a bridge and through another tunnel with more screams of delight.Then a signal stops us before the ‘all clear’ to return to our original point of departure. The railway services its passengers – the largest number of any miniature railway in Australia – with a fleet including: six diesel locomotives, three steam locomotives, eight sets of passenger cars and one battery electric Dog Box set. Members also privately own 20 locomotives and powered carriage sets as well as four carriage sets.1 All the trains are stored on-site in workshops, sheds and a tunnel. The railway is entirely run by volunteers, so that all ticket money is used for maintenance and extensions, and some goes to local charities. Since 1991, the entire railway has been rebuilt, including an upgraded signalling system. About half of the 120 volunteer members are active with about 35 working each Sunday, and a dozen or so working every Wednesday. Members are trained to positions of station assistant, booking officer, train guard, train driver or signalman. Members construct new carriages and locomotives as well as maintaining track, signalling and rolling stock.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, diamond valley railway, eltham lower park

Fitted bodice with 1.5 cm deep stand-up collar. Long curved sleeve, tapering at the wrist, has a fine piping around the armhole. Wrist is trimmed with a piped, plain silver peaked false cuff, and two 3 cm deep pleated and piped ''frills''. Three covered buttons trim the diagonally cut decorative cuff. One metal hook, and hand stitched loop on the stand-up collar. 23 covered buttons ( one missing,others in various states of disrepair) extend from the neckline to the lower skirt. Front skirt is trimmed with a 7 cm deep band of plain silver silk, bordered by the striped fabric piping, and a 3 cm deep pleated frill on either side. Below this is a 25cm deep band of the striped fabric, at the lower edge of which are sewn four X 5 cm deep bands of pleated frills. At the centre back neckline are two X 20cm ''tails'' curved at each end and lined in plain silver silk. These are to be wrapped around the neckline, and fastened with a metal hook and eye, to form a 4cm deep rounded silver collar. Skirt back extends into a 34cm deep train. Brown cotton tape binds the hemline. Front of skirt is ruched from the centre buttoned section, in three sections either side, to the centre back panel, which is pleated, and extends into the train. Back waistline is trimmed with a 14cm wide bow, striped fabric, lined with plain silver fabric.A 7cm wide, and 34 cm long loop is stitched into the centre back seam, presumably used to hold, and lift the train above the ground. (The ends of the bow are trimmed with 10 cm deep black and silver fringing.) One metal ''bone'' in left front dart(now causing damage). One tiny 5.5cmX5.5cm shield shaped pocket on left front. Dress fully lined with cotton fabric.costume, female, victorian silver striped long silk dress