This locket is from the museum's collection of objects relating to Wilfred Clarence Busse. Busse was born in Chiltern in 1898, completed his secondary education as Wesley College in the early twentieth century, and went on to study law at the University of Melbourne. As a lawyer, he spent time in the room of Supreme Court Judge Bernard Cussen (1859-1933). Judge Cussen was popular, known for being just and precise and for completing through statutory consolidation in his spare time. As well as working as a lawyer, Busse wrote historical fiction inspired by his life in Chiltern, these included The Blue Beyond; A Romance of the Early Days in South Eastern Australia" and "The Golden Plague: A Romance of the Early Fifties," which won the T.E.Role gold medal for the best historical novel in 1930 and went on to become a best seller. He was a member of the Chiltern Athenaeum until his death in 1960. The placing of hair in lockets was a common 19th and early 20th century, with Queen Victoria wearing a locket containing a piece of Albert’s hair after his death in 1861. Wearing a loved one’s hair or giving a lock of your hair to someone for wearing, could be a gesture of love and friendship, or of mourning. The tangibility and personal nature of hair made it a common keepsake, especially in cases of high mortality or where family members were separated by oceans without the possibility of air travel. The intention and origin of this locket is currently unknown, but it is likely it was a keepsake of love or mourning, either way, a emotional object. This object artistically significant as an example of late 19th/early 20th century jewellery, and social and spiritual sigifiicance as locket containing a piece of hair, which, regardless of exact intention, imbues it with a strong emotional aura. A small dark metal locket with a decorative leaf pattern on the exterior. The locket contains a small amount of reddish hair, supposedly from a loved one or family member of the original owner, and a degraded image that may have ocne represented a person. busse, w.c. busse, wilfred clarence busse, chiltern, chiltern athenaeum, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, locket, hair locket, hair jewellery, jewellery

No specific information is available for this item. However, ivory was common in early 20th century household items, which were often purchased overseas as souvenirs. Many ivory items originated from Asia. Letter openers are still used today; however, they are now made out of steel as ivory is illegal.This item is an example of the use of ivory in domestic households early in the 20th century. A long, cream-white letter opener made out of ivory with a plain blade and rounded handle.There is decorative patterning on the handle consisting of holes and circles.ivory, letter opener, letters, chiltern athenaeum museum, mail

No specific information is available for this object. However, fountain pens originated in France in 1827, with the first patent attributed to a Parisian student named Romanian Petrache Poenaru. The fountain pen typically has a fine stainless-steel tip that is filled with ink via an ink well. Widespread production of fountain pens occurred from 1857, with new designs having improved filling techniques. Fountain pens became popular with professionals, such as barristers, professors, doctors, and accountants for over 100 years. The only downside to using fountain pens was their tendency to sometimes leak onto documents, so in the 1950s, they were made with disposable cartridges. The cartridges made the pens more popular, especially with university students. For this reason, in the early 1960s, fountain pens were renamed cartridge pens and were deemed the best writing instrument in most schools.This object is an example of the use of fountain pens in domestic households and professional workplaces since 1827.A solid and complete green and gold patterned fountain pen.There is green shimmer-like decorative patterning on the body with gold-coloured veining.pen, fountain pen, ink, france, chiltern athenaeum museum, victoria

No specific information is available for this object. However, fountain pens originated in France in 1827, with the first patent attributed to a Parisian student named Romanian Petrache Poenaru. The fountain pen typically has a fine stainless-steel tip that is filled with ink via an ink well. Widespread production of fountain pens occurred from 1857, with new designs having improved filling techniques. Fountain pens became popular with professionals, such as barristers, professors, doctors, and accountants for over 100 years. The only downside to using fountain pens was their tendency to sometimes leak onto documents, so in the 1950s, they were made with disposable cartridges. The cartridges made the pens more popular, especially with university students. For this reason, in the early 1960s, fountain pens were renamed cartridge pens and were deemed the best writing instrument in most schools.This object is an example of the use of fountain pens in domestic households and professional workplaces since 1827.A solid and complete black patterned fountain pen.There is black decorative patterning on the body.pen, fountain pen, ink, france, chiltern athenaeum museum, victoria

.1 PAINTING OF ORIGINAL CRESWICK HOSPITAL ON CERAMIC PLATE, THEN GLAZED. .2 PAINTING OF MOUNTAINS, RIVER AND COTTAGE.1 CREAM COLOURED CERAMIC CIRCULAR PLATE, PAINTING OF ORIGINAL CRESWICK HOSPITAL. .2 CREAM COLOURED CIRCULAR PLATE OF MOUNTAIN AND RIVER SCENE.local history, ornament, ceramic

LADIES BROOCH, CIRCULAR MINIATURE, SURROUNDED WITH 18 DIAMANTESlocal history, costume accessories, jewellery, personal effects

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

Jane Annois had a long involvement with Potters Cottage in Warrandyte, where she taught for many years. Potters Cottage was established in the late 1950s in Warrandyte as an artist co-operative. Founding members included Reg Preston, Phyl Dunn, Gus McLaren, Artur Halpern, Sylvia Halpern and Elsa Ardern. These talented artists had the ingenuity and foresight to create a teaching studio, gallery shop and restaurant to experiment, make, promote and sell predominantly domestic wares of the time. These activities helped financially sustain each member’s individual creative practice. Potters Cottage was influential in the development of contemporary ceramics, building and developing practices that experimented with traditional ceramic processes, raw materials and locally sourced clay. The group mentored and nurtured many interested in the art of ceramics, producing alumni and teachers such as Peter Laycock, John Dermer, Greg Daly and Jane Annois. Jane Annois is a ceramic artist who has lived and worked locally in Warrandyte for many years. She focuses primarily on exploring the art of Japanese raku, adapting the technique to develop the typical characteristics of crackle glazes and lustres, with contrasting areas of black. Jane also applies a fine slip called terrasigillata which gives soft, warm ochre colours. This technique was once used by the Greeks over 2000 years ago to seal and decorate their pots. She is also strongly onfluenced by the French potters, particularly in the style of terre vernissee, a decorative form of terracotta tableware. Three piece stoneware and raku fired ceramic sculpture. The first piece is a hollow, dome shaped object. It is orange (terracotta slip) in colour with a copper metallic band and a black edge on one side with a small yellow glazed rounded triangle and metallic strip of colour on the otherside. The second piece is shaped like a traditional vase. It is orange (terracotta slip) in colour with white crackle on the inside. It has a yellow slip edge with a dark glazed square on one side and on the other side a black thick edge that mirrors the contour of this shape. The third piece is shaped loosley in the form of the letter 'z'. It compliments the second piece with a yellow slip edge and black glazed square to its lower left side and top right as well as on its' other side a black thick edge that mirrors the contour of this shape. This piece has a very small skewed square opening at its' top. All three pieces have elements of crazing and variations of colour and lustre, caused by the raku process. 2006.52.1VA has the artist name/signature 'J. Annois' inscriped small (with fine point ceramic tool?) on the front of the piece, bottom right; 2006.52.2VA has the artist name 'Jane'? inscribed (unlegible - with fine point ceramic tool?) underneath; 2006.52.3VA has the artist name/signature 'Jane Annois' inscriped (with fine point ceramic tool?) inside its hollow form. evolution, raku, stoneware, terrasigillata, terracotta, glazes, slip, terre vernissee

Isobel Clement has been practising since the 1980's. She completed her post graduate diploma at Phillip Institute (RMIT) in 1990. She paints, draws and uses installation for creative discourse. She has had more than ten solo exhibitions. Her work is included in collections such as National Gallery of Australia, the Australian Print Workshop Archive, Art Bank Australia and The Bundanon Trust. She has been shortlisted for the contemporary painting prize, the Bayside Art Award, on three occasions in recent years and was the winner of the Nillumbik Prize in 2009.Isobel Clement is a local artist who won the 2008 Nillumbik Prize. Painted in monochrome the artwork depicts two vases (with decorative edges) and two cups on a table in a row. Each of the four objects are slightly different in scale and shape and parallel to the picture plane. N/Astill life, nillumbik prize, painting, monochrome, vases, cups

Purchased in Bendigo in 1973. Previous history unknown. Provided with laminated account of Sessions clock Co history. Mantle clock black wooden casing with embossed "flourishes" on front base and around the clock face. Fancy gold painted face featuring numbers. Black hands. Detachable back reveals the mechanism. Has key attached inside . In working orderMade in USA on face. Labelled on back, eight day, half hour, cathedral gong, turn back. The Sessions Clock Co successors to the E. N. Welch MFG Co, Forrestville, Conn, USA

The Geelong Harbour Trust (GHT) was formed in 1905. This seal was used by the Trust Commissioner from 1909-1981 for impressing official documents. It's use was strictly controlled and dictated by the Regulations as contained in the Geelong Harbor Trust Annual Report from 1909. "The common seal of the Commissioner shall be kept under lock and key. Two locks shall be kept by the Chairman of Commissioners and the other of which the Secretary shall have a key. A duplicate key of each lock shall be lodged at such Bank as the Commissioner may direct. The common seal shall be used only by order of the Commissioners" (Regulations, Geelong Harbor Trust, Annual Report 1909). Captain George A. Molland was appointed Harbor Master of the Port (1900-1905) and then Harbor Master of the GHT from 1900-1936 when he retired, aged 88 years. He was replaced by Captain H. Saunders (1936-1950) followed by Captain D.G. Hancox.The seal is significant for its connections to physical changes made to the Geelong waterfront by the Harbor Trust from 1905. The Official Seal was a highly regarded formal object that was used for nearly 80 years by the Trust. The object is significant for its historic connections to the Harbor Masters and Commissioners who used it as part of official communication from the Trust.A seal used for impressing official stationary from the Geelong Harbor Trust. Object is made of cast iron, brass and steel with a large winding handle, screwed to a wooden board and painted black. Gold decorative paint is on the main body and a small portion of the winding handle."F.J. King/ Maker Melbourne"geelong harbor trust, commissioners seal, official seal, geelong maritime museum, captain h. saunders, captain d.g. hancox, captain george molland

In the early nineteenth century larger Australian wool producers sent all their wool by sailing ship to London, where colonial auctions were held in November, January, February and March. Wool bales were carried from the farm on drays or wagons pulled by bullocks, horses or camels to port warehouses. In these times, wool transport could take anything from a week to six months. Ships, such as the Lightning, were then loaded and raced each other to get to London ahead of their rivals. The wooden ship 'Lightning' was destroyed by fire while loading wool at Geelong 31 Oct. 1869. Scuttled in Corio Bay and the remains later blown up. Reputed to be one of the fastest sailing ships. Famous in the Australian passenger trade.Model of a clipper ship with hull painted brown and black. Red Ensign flag attached to flag pole.On label - Lightning Black Ball Line 1854-55geelong, transport, model ship, lightning, wool transport

Taken from a curtain panel. Australian animal.Cream Fillet Lace. Australian design of Koala Bear sitting in a gum tree, set in centre of square.domestic items, ornaments / decorative, handcrafts, lacemaking

Taken from curtain panel. Australian flowers.Cream Fillet Lace 14cm Sq. Australian Waratah Flower set in centre of sq.domestic items, ornaments / decorative, handcrafts, lacemaking

See Ref. 4362Round material school badge. Cream/Maroon edge on maroon rising sun and Blackburn East printed under the sun in black.Blackburn Eastnumismatics, badges, school, equipment, costume accessories, clothes accessories

See Ref. 4302Irregular shaped metal trophy on plastic base. Trophy has illustration of two girls playing softball. A metal strip is attached to the base with 'NDSSSA Softball 2nd Blackburn East 1970' inscribed on it.'NDSSSA Softball 2nd Blackburn East 1970'trophies & awards, education

See Ref. 4362Wooden Shield with seven silver shields surrounding a central plaque depicting sporting achievements. The silver shields were awarded from 1967 - 1973. The trophy was donated by Ringwood Timber and Trading Co. shown on a silver plate on the bottom of the shield. The shield was awarded by Mitcham and District State Schools Sports Association as shown on a silver nameplate on the top of the wooden shield.Mitcham and District State Schools Sports Associationtrophies & awards, sports

See Ref. 4362Oblong wooden shield with large shield in the middle with a circular medallion in the centre of a large metal shield. This is surrounded by six small metal shields. |Large metal shield engraved 'Blackburn East Primary School - House Athletics Sports'.|Smaller Shields:|1. Mackellar 1983-2. Paterson 1984-3. Mackellar 1985See abovetrophies & awards, sports