This pennant was donated to the Mission by June Muirhead (nee Richardson) who visited the Mission on two occasions: on the 13 November 2014 and then in 2016. She lived from age 3 to 8, with her parents, Cuthbert (Bert) Richardson and Jane (Jenny) Richardson, and her sister, Edna, in the Cottage at 717 Flinders Street. Her father, was the caretaker of the Flinders Street building between 1943-1949. . In 1943 her father was hired to work at the Mission as a caretaker. The family moved from Wonthaggi. When she lived in the Mission, she would sometimes sneak into the club to look at books and pictures. Some seafarers would give her badges, tokens. One of them gave her this felt pennant. In 1949, the family moved back to Wonthaggi and June started year 5 over there.A number of souvenir gifts and small boxes were apparently available through the Mission To Seamen in the 1940s. This acquisition adds to the small collection of items from the period which could be used to form the core of an informative exhibition. Similar flags were made in other countries depicting an animal (kiwi bird in New Zealand, springbox in South Africa) and other Australian towns.A triangular felted, dark blue pennant with printed cursive inscription and motifs including: the Mission to Seamen Flying Angel flag, an outline of Australia; a Koala wearing a captain's hat; an insignia emblem for the Merchant Navy. A looped cotton binding along left edge of the triangle to thread the flag on a stick or cord support. The printed inscription reads: Greetings from Australia.pennant, flags, koala, flying angel club, merchant navy, d. june muirhead, marketing, caretaker, cottage, bert richardson, june muirhead nee richardson, edna richardson, ww2

The 13th Light Horse was raised at Broadmeadows Victoria in March 1915 from volunteers from across Victoria. The regiment served at Gallipoli, Egypt and on the Western Front. The guidon, emblazoned with the battle honours, was presented in 1927. In 1948 when 8/13 Victorian Mounted Rifles was raised as the descendent regiment of the 8th, 13th and 20th Light Horse Regiments it became the custodian of the three guidons including that of the 13th Light Horse. In 1991, the two Victorian mounted regiments 8/13th VMR and 4/19th Prince of Wales's Light Horse were linked to form a single regiment which had custodianship of six guidons, 4th, 8th 13th, 17th 19th and 20th Light Horse Regiments. All except the 4th Light Horse Guidon were laid up at the Shrine in August 2005. The 4th guidon is to be laid up in November 2017.A representative example of a symbol of the esprit de corps and achievements of a regiment of citizen soldiers drawn from Victoria. Well provenanced and fine example of military heraldic art.Burgundy corded cotton flag with gold thread fringe with rope and tassels. at centre is 13th Light Horse emblem incorporating horse and red and white diamond colour patch, surrounded by wattle wreath and surmounted by king's crown. XIII in top left corner and battle honours on either side of centre motif, "South Africa 1899-1902, Pozieres, Arras 1917, Amiens 1918, France and Flanders 1916-18, Egypt 1915-16, Somme 1916-18, Bapaume 1917, Ypres 1917, Albery 1918, Gallipoli 1915"13th light horse regiment, guidon, flag

Primarily a painter, Mandy Nicholson also produces ceramics, carvings, murals, prints, designs and children’s clothing. Born in 1975, Nicholson was raised in Healesville and belongs to the Wurundjeri-willam (Woiwurrung language) clan of the Kulin Nation. Mandy’s paintings often represent important cultural rituals and are executed in her distinct graphic style. She uses the traditional motifs of her people blended with contemporary interpretation.

This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide.The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads.beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes

This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide. The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads.beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes

This banner was one of five banners gifted to the Beechworth Chinese community in recognition of their support of the Hospital and Benevolent Asylum in 1875, from the Carnival Committee. These banners had been purchased in China by a social envoy from Beechworth then presented to the Chinese community during the Beechworth Fine Arts Exhibition in May of that same year, by Donald Fiddes, President of the Ovens District Hospital. The Burke Museum's Chinese Collection presents the history of Chinese settlement in Beechworth from 1856 and its involvement in local community affairs in the second half of the 19th century. In settling in the area they formed their own community with distinctive Chinese cultural traditions, forming their own 'camps' with laid out streets, housing a Temple, Chinese Theatre and restaurants, hotels, stores, gambling houses and dwellings. Members of the Chinese community took an active interest in town affairs and were generous donors to the appeal to build the Ovens District Hospital in 1856/7. The vibrant colours and dynamic graphics of the silk embroidered Chinese banners were a highlight of Beechworth Charitable processions that took place in the main street. Two of the Chinese banners were conserved for the Burke Museum in 2006 by Carol Campbell of Phoenix Conservation Services with funding from Victoria’s Heritage Grants. In 2015, with the enormous support of the Copland Foundation and fundraising activities by the Friends of the Bur Museum Committee, conservation of the third banner was undertaken by Artlab Australia in Adelaide. The banners display traditional Chinese textile techniques and are visually beautiful and very rare and are considered of local and national significance, with the potential to be deemed internationally significant.Multi panelled banner with embroidery and applied design motifs on front. The front panels have been constructed using strips of various weaves and colours of silk that have been embroidered or had a design applied prior to the overall construction of the piece. The embroidery is predominantly gold work with both plyed and floss silk threads. beechworth, burke museum, chinese, benevolent asylum, ovens district hospital, beechworth carnival processions, carnival, processions, beechworth chinese community, beechworth fine arts exhibition, donald fiddes

This apron was made in 1915 by Irene Broughton, nee Long. She was born in Warrnambool in 1894 and married Arthur Broughton in 1913. She re married in 1924 Reuben Donnithorne and he died in 1931. Irene died in 1982 and is buried in the Warrnambool cemetery. The apron was left to Irene's niece, Helen Thomson who had the apron framed to preserve it. The apron would not have been in everyday use but a special garment worn when entertaining visitors for afternoon tea.This apron is a fine example of a home made house hold article from the early 20th century. The maker was born in Warrnambool.The apron is made of fine black cotton and edged with a broad lace flounce featuring a flower pattern. It is decorated with two sprays of delicately hand-painted motifs featuring Australian native flowers. The apron is in a wooden frame with a silver metal edging with scrolls on the front edge. The glass is clear and the mount is buff coloured card.vintage accessory, irene broughton warrnambool

Postcard showing views of Bendigo within the design of a footprint with native floral motif in top right corner, images of Alexandra Fountain and Pall Mall/Charing Cross. Also on front quotation 'A Foortprint of Memory'. Written on reverse side, Published by the Rose Stereograph Co, Armadale 3143 Victoria. (The 'Rose' series deluxe).person, individual, basil miller

2 Biscuit tins:- 1 round tin with Olympic motif of Melbourne 1956 Games, Made in Australia by Phoenix Biscuits P/L, Melbourne. Tin made by Willow Aust. and 1 oblong tin from Griffiths Sweets P/L Melbourne, with picture of Melbourne Olympic rings and logos on lid and side."XVIth Olympiad Melbourne 1956" - Round tin "Melbourne Home of Olympic Games 1956" - Oblong tintins

This uniform was worn by Bernie Farley, present secretary of Warrnambool RSL (2019), during service with the 8th/7th Battalion, Royal Victorian Regiment.Short sleeve Khaki shirt, two button down breast pockets, two plain khaki epaulettes on either shoulder fastened with a khaki coloured plastic button. Seven button fasteners down the centre front. Patch on left shoulder with rising sun, crown and cross.Printed on tag at interior near collar, "ADA/ [arrow motif]/2910002/OCT 2000/NSN: 8405 66 133 5956/ SIZE: 41/NAME/Service No/65% POLYESTER/35% COTTON/MADE IN AUSTRALIA" Patch on left shoulder reads "THE AUSTRALIAN ARMY".army uniform, military uniform, warrnambool ex service, australian defence apparel

Refer Cat 5825.This is a thick woollen great coat in Khaki green. It has 6 gold buttons on the front. The buttons have the motif of R.A. Inf. The coat had epaulettes held with a gold button. The buttons are of metal. Inside the coat is a small amount of cotton lining in a green colour. There is a woollen adjustable belt at rear with 3 gold buttons.Inside label has written "3795952" "Patterson W. D."winter uniform, great coat, army

Refer to Service of Margaret Dodd (nee Lambie). See Cat 5019.3. Foreword is by HRH Duchess of Gloucester.Booklet cover is khaki coloured cardboard. Printing is in red ink; centre motif is a cross. Top LHS has the crest of WRAAC. Top RHS has Crest of Army Nursing Corp. At bottom of cross is painted issued by the Royal Australian Army Chaplains Department. The book has 181 pages. Printed in black ink.Inside front cover is written in blue ink - F3/631. Georgina M Peters.womens army services, religion

This book was originally written for private circulation among the Royal Family. It was written by Lieutenant-General Charles Grey (1804-1870) and was first published in 1867. It was commissioned by Queen Victoria. Grey had been secretary to both Albert and herself. Contents were sourced from letters and memoranda.This book was a significant contemporary record of the royal family. Originally Queen Victoria had attempted to record "an exact account" of hers and Albert's happy marriage but was unable to complete the project on her own. She commissioned Grey to compile it under her supervision, firstly for the royal family and then for public release. It was an outstanding sucess with many editions being necessary.A 469 page book which has green cloth board covers with gilt lettering on the spine and decorative gilt motifs on the front and rear boards. Compiled by Lieutenant - General Charles Grey, it details Prince Albert's life from his birth through to his wedding to Queen Victoria and the first year of their married life. on 4th page in - handwritten - "T. Faluey, Sydney, 1934"prince-albert queen-victoria royalty

Clothing. Black suede bracelet length gloves, embroidered with floral motifs in the Beauvais style of embroidery, and as stated inside the right glove, ''REAL BEAUVAIS POINT HAND MADE 927 6/14. Embroidery made with a hook. Fifteen tiny flowers in shades of blue, pink, red, green, are scattered across the top of the gloves.REAL BEAUVAIS POINT, HAND MADE 927 61/4 RIGHT GLOVE. MADE IN FRANCE 927,Left glove.costume accessories, female, bracelet length black suede gloves, beauvais is a french term for a form of tambour embroidery, which is decorative needlework technique using a hook.

Children's book of stories awarded to Flora McDonald in 1904. Donated to Whitburgh Cottage museum early 1980's.Red cloth-bound hardcover book, picture of three children in front of a fire and decorative flower motifs on front cover. Back cover stained with loss of colour. Fabric frayed at corners. Cover loose, binding loose. Coloured plate opposite title page. Illustrated. Gilt page edges. Fair-good condition.Inside front cover, 'State School/No.2253/First/Prize/awarded to/Flora McDonald/Class 2/for/Years Work/A. Worthington Head Teacher/Christmas 1904'. Front flyleaf, 'If this book should chance to roam/ Box its ears and send it home./To Flora McDonald'.flora mcdonald, childrens literature, whitburgh cottage collection

1. This is a light blue full length dress, made from polyester and cotton. It has epaulettes. It has 2 breast pockets - held shut with brass buttons, It is held shut with 5 brass buttons. the brass buttons are round with a motif of a crown and an eagle. 2. Light blue belt. It is cotton polyester. Uses a brass buckle.Inside shirt, written on label = W326143 B. Williams.raaf, cadets, female uniform

This item has been brought back to Australia by a returning soldier from World War One (1914-1918). At a time when France was completely disrupted by the ravages of war many French women, especially those in rural areas, earned a living by making souvenir pieces of embroidery to sell to soldiers in the Allied forces. These embroidered pieces took the form of postcards, doyleys, centerpieces, handkerchiefs etc. The items are noted for the handcraft skills shown by the makers and are prized by collectors today. This item, although fragile, is of considerable interest, firstly as an attractive embroidered piece and secondly, because of its association with World War One as an example of the souvenirs brought back from France to Australia by returning soldiers. This is an oblong-shaped handkerchief or doyley. It has a pink or mauve silk square in the middle with a coloured motif embroidered in one corner. This s a shield with representations of several European flags and embroidered wording underneath. The silk square is edged in a wave pattern in pink. The square has a white lace border. The item is slightly stained and has fold marks.Souvenir de Franceworld war one

This is a flat pocket torch shaped like a drink flask. The main body has a patch grey - purple and silver motif. The bottom is a chromed hatch. The top is a chromed hatch with a hemisphere shaped glass dome. On the side is a small slider switch. Inside top it has a small bracket (bowl shaped) which holds a normal filament globe.On the bas is stamped " British make TEC" .torch, flask

Although this book revolves around the supply of power(Electricity) from brown coal it does cover the period 1937 onwards when the Kiewa Hydro Electricity Scheme was first mooted. This area was believed to be far away from aerial bombardment should the coastal power stations be attacked by air in World War II(1939 -1945). After the war, post 1945, the demand for a continual power supply, not affected by seasonal coastal flooding was together with a lower cost of hydro electricity power the major incentive for the Victoria Government of the day to proceed (in the 1940s) with The Kiewa Hydro Electricity Scheme. In 1946 Victorian government sought greater independence from the New South Wales black coal supplies.The significance of this book to the Kiewa Valley and its outlying regions is that it details why the development of an Alpine region was and now still is pocketed with a European flavour both in buildings and in town vegetation(trees and flowers). European (post World War II refugees) where attracted to these alpine areas not only for hard labouring positions but also for their technical skills and some street names offer a distinct European lineage rather than convict or of earlier English settler. The construction phase accommodation continued after completion of the Kiewa Hydro Electricity Scheme to become popular venues for an increasing winter tourism industry. This book has a brown hard cover encapsulated by a cream sleeve with brown and black print. On the front of the sleeve is an embossed circular motif with centre piece S.E.C. emblem and around this the words "50 YEARS OF SERVICE" and below this" STATE ELECTRICITY COMMISSION OF VICTORIA". The book contains 313 double sided pages of black print and black and white photographs.On front of paper sleeve "Brown Power A Jubilee History of the State Electricity Commission of Victoria Cecil Edwards". On the second page, below the Title "Brown Power" there is a pasted, printed presentation certificate, with the S.E.C. emblem and these printed words " Presented by the Chairman and Commissioners to A.G. MILLIST, ESQ. in recognition of long and valued service with the Commission"electricity, victorian power supplies, hydro electricity, brown coal, cecil edwards

This wood carving is handmade and comes from the Schooner Enterprise. The inscription on the rear of the carving was added at a later date. The statement that the vessel "was the first boat up the river Yarra with Fawkner" is incorrect, confusing this Warrnambool wreck "Enterprise" with Fawkner's vessel "Enterprize" (sometimes written "Enterprise"). THE “ENTERPRISE” 1847-1850 The wooden, two-masted schooner Enterprise was built in New Zealand in 1847 and registered in Melbourne, Australia. The Enterprise carried cargos of agricultural produce and other commodities for trade between the ports of the Colony. On September 14, 1850, the Enterprise was at anchor in Lady Bay under its Master, James Gardiner Caughtt, loaded with a cargo of wheat and potatoes. A strong south-easterly wind caused the vessel to drag on its only anchor and the rudder was lost. The gale-force wind blew it sideways and it became grounded. A local indigenous man, Buckawall, braved the rough sea to take a line from the shore to the Enterprise. All five members of the crew were able to make it safely to land. The Enterprise was wrecked. The Enterprise wreck was in an area called Tramway Jetty in Lady Bay. Since then the area became the location of the Lady Bay Hotel and now, in 2019, it is in the grounds of the Deep Blue Apartments. In fact, with the constantly changing coastline through built-up sand, the wreck site is now apparently under the No 2 Caravan Park on Pertobe Road, perhaps 150 metres from the high tide. Its location was found by Ian McKiggan (leader of the various searches in the 1980s for the legendary Mahogany Ship). DIFFERENTIATING the New Zealand Schooner “Enterprise” from John Fawkner’s “Enterprize“ Dr Murray Johns, Melbourne, says in his article The Mahogany Ship Story “… As I documented in 1985, the Warrnambool wreck was of an entirely different ship, also called Enterprize [with the spelling ‘Enterprise’], but built in New Zealand in 1847. Fawkner’s ship had already been sold to Captain Sullivan in 1845 and was wrecked on the Richmond Pier in northern New South Wales early in 1847. “ - (further details are in NOTES: and FHMV documents) The wood carving is significant for its association wreck of the Victorian Heritage Listed schooner Enterprise, VHR S238, being a New Zealand-built but Australian-owned coastal trader. The wreck was also significant for its association with indigenous hero Buckawall who saved the lives of the five crew on board.Wood carving; a handmade, carved wooden board from the vessel "Enterprise", 1847-1850. The board is made from several pieces of wood. It is concave, with engraved border and motifs, and has decorative scrolls on the sides. The inscription, added to the carving at a later date, is on the rear of the board and inscribed in blue ink script. A paper tag marked 'Swinburne' was with the board."Swinburne", "from the vessel Enterprise" Handwritten in blue ink script "Made from / wreck of / "Enterprise" first boat / up river Yarra with / Fawkner later wrecked / at Warrnambool Vic"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood carving, carving, carving craft, 1850 wreck, john watson, james gardiner caught, tramway jetty, lady bay, rescue line, ian mckiggan, vhr s238, relic, buckawall, schooner, enterprise, coastal trader, new zealand, indigenous rescue, indigenous hero

This butter or cheese knife is a decorative example of electroplated cutlery that had become an affordable alternative to more expensive silver cutlery in the late 1800s to early 1900s. The knife has stamp marks in the back of its handle that are a combination of letters and symbols used by British silversmiths to identify their workmanship. The design and type of this knife was not normally used by everyday people but rather those of a higher social class with time and money to have a particular decorative knife to serve butter or cheese. The marks on the handle tell that it was made of nickel silver, and electroplated with superior quality Stirling silver. The Barker Brothers of Birmingham made the knife between 1885 and 1907, but most likely before 1895. It was made for the British, or British colonial, people, connected with a government department such as the navy or defence. This story may be slightly inaccurate, as some silversmiths added extra ‘pseudo marks’ to their wares to disguise the quality. THE MARKS and their meaning – - ‘A1’ The silver used in electroplating this knife was the highest level, ‘superior quality’, measured in grams of silver per table spoon or table fork, with ‘A1’ being 2 2/3 grams, and ‘D’ being 0 1/2 grams of silver. - ‘BB’ The Baker Brothers used these initials from 1885 to 1907. - ‘[crown symbol]’ – This symbol is used for Sterling silver but this knife is a metal alloy. The crown is also the town mark of Sheffield (appointed by the Sheffield Assay Office) but this knife was made in Birmingham, which has the town mark of an anchor. The Barker Brothers may have added the crown mark to this electroplated silverware as a ‘pseudo hallmark’, leading the buyer to think that it was actual Sterling silver. The use of pseudo hallmarks by electroplaters of the Victorian era was common practice but it was illegal. In 1895 the unlawful practice was seen as imitating the Sheffield Silver Mark and the law was firmly applied to eradicate the deception, so items with this mark probably date before 1895. - [EPNS] Electro Plated Nickel Silver, called nickel silver or German silver, is a metal alloy that usually combines copper, nickel and zinc (60 percent copper, 20 percent nickel, 20 percent zinc). It has a silver-white appearance and is sometimes referred to as ‘white ware’. It does not contain any silver but is often used as a base for electroplating, when the item is covered with a thin layer of silver to give it the polished appearance of pure silver. It became popular in the late 19th and early 20th century as an affordable substitute for sterling silver. - Broad Arrow - an official stamp that indicates it was once the property of Britain government, either in Britain or one of its colonies, and used in the defence force. In Great Britain, from an 1875 government act, it was, and still, is a crime to forge or wrongfully use, the broad arrow symbol. The BARKER BROTHERS of Birmingham - Barker Brothers were one of the earlies firms of Birmingham silversmiths, established in 1801 by Mary Barker. They became Barker & Creed, then William and Matthias Barker, then from 1885 they were the Barker Brothers. They were operating in Paradise Street in 1871 until in 1903 they moved to Unity Works, Constitution Hill, in Birmingham. The firm also had a showroom at 292 High Holborn, London, from the early 1900s to the 1980s. In 1907 the firm became Barker Brothers Silversmiths Ltd, then in the 1960s they merged with Ellis & Co, becoming Barker Ellis Silver Co. Ltd. In 1979 they were registered in USA as Ellis & Co., Barker Ellis, and Ellis Barker. The business went into administration in 1992, after almost 200 years of production. The firm advertised as specialists in electroplating, and used the trademarks BRITANOID, UNITY PLATE and THE HYGENIA.This knife is historically significant, dated from 1885 to 1907 but most likely pre-1895, and made by the longstanding Birmingham silversmiths, the Barker Brothers, established in 1801. The knife is an example of decorative flatware used by people of ’class’. It also has the broad arrow stamp, connecting it to the British government, in particular the ordinance department. The stamp also connects it to other items in our collection with that stamp. It may have been connected to pre-Federation government organisations and officials such as the army Garrison, government naval vessel, police, lighthouse keepers, harbour masters. The knife is the only example of its kind in our collection, being a decorative silver butter or cheese knife, made by the Barker Brothers of Birmingham. Butter knife, or cheese knife, electroplated nickel silver (EPNS). Upper blade edge has decorative shape and engraved motifs, lower blade edge is bevelled to a cutting edge, and narrow plain handle flares out to a wide, rounded end. Maker’s marks are stamped on the reverse. Made by Barker Brothers of Birmingham in the late-19th century. Stamps: “

Bendigo Central Bottle Club Newsletter - James Lerk Collection Vol 3, No. 2 1977. Article on the Maldon Brewery & Mr C J Bryant 1856-1898.The Newsletter also contains an article and examples of China's Mystical Motifs - which were used on pottery etc; together with a photo of a list of Essences, Drugs, etc.

This object relates to Edward LE MARSHALL. He was born on 16/09/1914 in Steiglitz, VIC. Edward served in the Army (VX28243) enlisting on, 18/06/1940 in Mount Egerton, VIC before being discharged from duties with the 3 LIGHT ANTI AIRCRAFT REG RAA as a Army Non-Commissioned Gunner (GNR) on 29/05/1941. Edward LE MARSHALL was not a prisoner of war. His next of kin is Ernest LE MARSHALL. Edward LE MARSHALL was awarded the 1939-1945 Star, Africa Star, Australia Service Medal 1939-1946, War Medal 1939-1945.Six pointed star-shaped medallion in dark golden colour, attached by a ring to a ribbon of mustard yellow, navy, red and light blue stripes of varying thicknesses. Ribbon ends are frayed and not attached to a bar. The cast medallion features a circle with text around the circumference and a monogram in the interior, topped with a crown motif. Further inscriptions are stamped into the reverseAround front circle: “THE AFRICA STAR” Stamped into the reverse: “VX28243, J. E. LE MARSHALL”second world war (ww2), 1939 - 1945, medals, ballarat rsl, ballarat

Three square light silk table/food covers with floral flower motifs embroidered in each corner. Main colours are pink, yellow, aqua, purple. Each piece has a slightly different colour combination: the flower pattern is constant in the three cloths. A 5cm border is hemmed along the edges of each cloth. Favaloro collection.silk food covers, favaloro

Part of Victorian Railways crockery. 'When the Victorian railways took over management of the Chalet from 1 october 1924, they ran their dining room and cafe in similar fashion to the dining cars on their trains and refreshment rooms on their stations, using the same ceramic hotel-ware and electro plated nickel silverware (EPNS), all made to order items that are clearly idenitified by the distinctive 'VR' monogram. . ..The Chalet Collecton also incudes items of ceramic stoneware... and these too interpret the function and role of the dining room. The ceramic items items were generally manufactured by 'Grindley' or 'Grafton'... Ceramic ware used at the Chalet from the 1920's to the 1950's had a black VR monogram or badge and was the same crockery used in th VR dining and buffet cars. Crockery used in the VR refreshment rooms had a red monogram." (Pg 104. Historica)' Listed in Draft Inventory of Significant Collection items. Appendix A.3.Tableware. (Pg 166 Historica).Small coffee cup with Victorian Railways in scroll design with a crown motif above scroll. White china with black transfer design. Mark and inscription on base. Handle is broken, cup cracked. Cup possibly broken during removal to Bright in 2005. also two teacups of the same design and inscription. Both have handles but both are cracked.-On base,"DURALINE / SUPER /VITRIFIED / GRINDLEY / HOTEL WARE Co / ENGLAND / 3-41 " On front of cup,"VICTORIAN RAILWAYS"

Mid blue waist length long sleeved jacket to be worn over 11400.522 11cm fold over collar that extends to waistline with crossover front and scalloped lapels. Right over left crossover (3.5cm) fastened with one fabric covered 2.4cm button with centre circle and narrow edge. Lapels have decorative cut out lace motifs attached – match lace across midriff of dress. Ten motifs evenly spaced around collar. Front pieces have vertical darts from hem under bust. Back of bodice has two pieces with centre seam. Vertical dart on either side of the centre seam. Unlined. Machine made. Kimono sleeves. Three quarter length. Gusset under each arm 12 x 13cm. Part of ensemble with 11400.522.Created by ZANKO of Melbournecostume, female daywear, coat

The Ballarat Hibernian Society was a friendly society formed at Ballarat in 1868. In 1871 the group amalgamated with a similar group in Melbourne to form the HACBS. Due to legislative changes the insurance interests of the society were absorbed into those of the IOOF in the late twentieth century . These collars were worn at official functions and meetings of the society. They vary in elaboration from heavily embroidered to very simple silk collars and many are embroidered with motifs such as kangaroos, emus, shamrocks and Irish harps.Large velvet ceremonial collar with gold metal braid trim and PP for Past President embroidered in gold metal thread.hibernian, hacbs, textile, ceremonial collar, friendly society.

This rug was a gift and gesture of friendship from the local Muslim community to the City of Greater Bendigo. It was presented to Mayor, Cr Rod Fyffe on behalf of the people of Bendigo at a 2016 'Thank You Bendigo' dinner. In 2014 approval for a planning application from the Bendigo Islamic Association to build a community centre and mosque in East Bendigo prompted a series of public protests that captured widespread media attention. During this tumultuous period the Council identified the need for a community-wide plan to promote diversity and help address potentially divisive cultural issues. These events led to the COGB becoming the first local government area (LGA) formally accredited under Australia’s Welcoming Cities Standard. Community leaders emerged who wanted to show that the anti-mosque protesters did not reflect the views of the majority of Bendigo residents. The community lead ‘Believe in Bendigo’ movement gained momentum, and the Council and other local organisations joined forces to present a unified message that Bendigo residents do not tolerate racism. Muslims have made Central Victoria their home since the Goldrush, contributing to the community and the economy for the past 120 years. Traditional Islamic rugs, especially their patterns and motifs are intrinsically linked with the design of the Bendigo Mosque and Bendigo Islamic Community Centre providing important points of reference for the architects of the project. Typically, mosques are linked with specific cultural groups but not in the case of Bendigo where the Muslim community is made up of multi-ethnic groups. This meant the building's design was not fixed to a specific style or cultural iconography but instead needed to encompass many. The small local Muslim community selected a specific Australian architect because of their interest and knowledge of Islamic design and iconography gained through family collection of Islamic textiles. In thinking about the design of the mosque and community centre the architects wanted to acknowledge the role of Afghans in Australian history, especially tribal Afghans who helped build connections across the interior of Australia between First Nations communities, European settlers and Central Asian migrants. The gift of this Turkmen rugto the Bendigo community thus symbolises collaborative partnerships across faith and cultural groups based on friendship and mutual benefit. A Turkman rug was specifically chosen as it is the pinnacle of nomadic arts of the Islamic world. It was also important to the architects and the local Muslim community that the gift was a female artistic product as it was mainly a female Muslim architecture team that designed the mosque in Bendigo and there was a desire to select something that celebrated female artistry. This hand-woven rug is an engsi, made for a woman in preparation for marriage. Design work and weaving is a shared experience, between many generations of women and each rug hold the personal story of the woman it is made for and her family and thus holds deep symbolic meaning. There are often songs and poetry that are recited as the rug is made – helping the makers to memorisze the mathematical structure of the design. An engsi is put on the doorway to a yurt as part of a wedding ceremony. During the ceremony the groom turns the engsii upside down to check the quality of the rug makers weaving skills. The nomadic lifestyle of Yomut Turkman tribes determines the size of the rug as the loom can’t be carried. Its size is also restricted by the dimensions of the doorway of the yurt. This rug is dated as c 1880 because of the types of patterns used, the use of natural dyes (synthetic dyes were introduced to the area in 1890s) and with the smoother weaving on the back indicating the quality of craftsmanship dating to this time period. The Yomut engsi rug was made in Turkmenistan c1880 by Yomut Turkmen Tribes people and is designed to fit over the doorway of a yurt during a wedding ceremony. The main field motif is related to Turkoman jewelery design. The women and girls of the tribe spin the wool and design and weave the rugs. The men shear the sheep, dye the wool and clip the rug after it has been woven. The word “Turkoman” is thought to have been derived from Turk-iman, meaning the first nomadic Turkic tribes that began to follow Islam. Dyes used are natural including orange from madder root. bendigo mosque, bendigo islamic association, city of greater bendigo community partnerships, city of greater bendigo community groups

The Ozone Hotel, formerly the Grand Ozone Coffee Palace, was erected in 1890 at a cost of around ten thousand pounds at the corner of Kepler and Koroit streets by a company of local business men and leased out. Coffee Palaces were temperance hotels, which were popular in the latter part of the 19th century and offered recreation and superior accommodation. In 1891, the Coffee Palace was granted a wine licence. In 1895, Thomas Randall was the proprietor of the building and it was renamed the Ozone Hotel. The coffee palace operated until 1915 and was then closed before re-opening in 1920 as Hotels Mansions. It had major renovations including a large theatre area. February 23rd 1929 saw the most spectacular fire in Warrnambool's history when the Hotel Mansions was burnt to the ground. Evelyn O'Brien was granted a temporary licence and in September 1930 she was given permission to rebuild. The new hotel named Hotel Warrnambool was opened in March 1931. This cup is a remnant of the Ozone Hotel.The Ozone Coffee Palace and later the Ozone Hotel Hotel Mansions was a significant grand building in Warrnambool. The destruction by fire in February 1929 was a major loss to the town. This cup, although damaged, is of considerable importance as it is one of the few surviving objects from the Ozone Hotel. The cup provides a link to this important part of Warrnambool's history.Tea cup with broken handle, 3 lines near the rim. The two finer our lines are dark green and the thicker, middle line is dark red with a scrolled banner motif - Ozone Warrnambool Hotel in sienna colour. The cup has a crack on the side and some staining. There is significant crazing of the glaze. The cup has potentially been damaged by fire.Ozone Warrnambool Hotelgrand ozone coffee palace, warrnambool, ozone cup