It was probably made to be placed on the head table at meetings of the Naval Association of Australia.A cut of the Naval Association of Australia Badge attached to a wooden background set on a wooden base. The badge has a King's Crown on top indicating that it is pre 1954. Provision is made in the side for flags to be inserted. It has the Australian Flag mounted on one side and Royal Navy Flag on the opposite side.

German manufactured in Magdeburg.2 pc - Lid & Base. Made from shell case. 3 British 303 bullets on lid & 3 British 303 bullets (parts thereof) on base.collectables, ballarat rsl, ballarat

souvenirs, ballarat rsl, ballarat

souvenirs, ballarat rsl, ballarat

Mother-of-Pearl decorationsouvenirs, ballarat rsl, ballarat

Original use unknown. Found underneath the St Martins Anglican Church Hall building when it was moved from Belgrave South Primary School to Belgrave Heights in 1994.Five-sided piece of wood with carvings of vines and a flower at the centre.

Small clear glass vase with globular base and flanged neck. Base has projecting diamond pattern and neck has leaf-like design and scalloped design along edge.No visible markingsdomestic items, ornaments/ decorative, vase, flowers, diamond pattern, glass, small, ornament, decorative.

Presented to mayor as a memento of Century of ClunesCarved light coloured wood, varnished, with axe mounted on it. Axe head is painted black.To the Mayor, Cr. Lean Celebrating the Century ....1838 - 1939......century, 1939, cr. lean, mayor, memento, clunes

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The fountain is located on the southern side of the ornamental lake and was erected to celebrate the jubilee of the municipality (17 March 1906). Controversy surrounded the commission for the design and construction of the fountain, as it was originally assigned to a contractor in Carlton. Williamstown residents insisted the fountain be designed and constructed locally, and on December 1906 the fountain was tendered by local firm Bliss and Sons and opened for public use in 1906. The fountain features a symmetrical plan, consisting of fur granite columns supporting a granite canopy and is fully operational following restoration work in 2013. The idea for the fountain came from an elderly resident of Williamstown who suggested the council follow the example of Ballarat’s gardens with its many statues and monuments. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The significance of the fountain is its reflection of how Williamstown people felt for their Gardens and the importance placed on investing in locally operated business. It was noted in the Brief Jottings column of the Williamstown Chronicle, February 24 1906, the fountain is a “We favor the erection of the jubilee fountain in the Giffard-street (Williamstown Botanic) Gardens. Ornaments of that kind there will make that beauty spot even more attractive.” Sepia scene of a fountain situated on paths bordered with rocks. The fountain in on a plinth and the postcard shows the plaque and two of the four drinking stations. The fountain features a symmetrical plan, consisting of four granite columns supporting a granite canopy. Front: VALENTINE’S, M.355 THE FOUNTAIN, WILLIAMSTOWN GARDENS MELBOURNE, VICTORIA. REAL PHOTO. Reverse: vertical on left side of card and underlined: ‘Published by the Valentine & Sons Publishing Co. Ltd. / Queen St, Melb’. Top centre of card: Contains logo of ‘VALENTINES / REAL PHOTO SERIES’. The postcard is addressed to ‘Dear Agnes’ from ‘Una’. Marked in pencil on to right hand corner ‘1920 / $8’ believed to be put on the postcard by the vendor. postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, jubilee-fountain, fountain drinking-fountain, 1920, granite, bliss-and-sons, 1906

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The fountain is located on the southern side of the ornamental lake and was erected to celebrate the jubilee of the municipality (17 March 1906). Controversy surrounded the commission for the design and construction of the fountain, as it was originally assigned to a contractor in Carlton. Williamstown residents insisted the fountain be designed and constructed locally, and on December 1906 the fountain was tendered by local firm Bliss and Sons and opened for public use in 1906. The fountain features a symmetrical plan, consisting of fur granite columns supporting a granite canopy and is fully operational following restoration work in 2013. The idea for the fountain came from an elderly resident of Williamstown who suggested the council follow the example of Ballarat’s gardens with its many statues and monuments. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The significance of the fountain is its reflection of how Williamstown people felt for their Gardens and the importance placed on investing in locally operated business. It was noted in the Brief Jottings column of the Williamstown Chronicle, February 24 1906, the fountain is a “We favor the erection of the jubilee fountain in the Giffard-street (Williamstown Botanic) Gardens. Ornaments of that kind there will make that beauty spot even more attractive.” Sepia scene of a fountain situated on paths bordered with rocks. The fountain in on a plinth with a plaque. The fountain features a symmetrical plan, consisting of four granite columns supporting a granite canopy. High stumps of trees are just behind the fountain with larger trees in the background to the right and left of the image.Postcard, Gardens, Post-Card, Williamstown-Botanic-Gardens, Hobsons-Bay-City-Council, Jubilee-fountain, fountain drinking-fountain, granite, Bliss-and-Sons, Madeleypostcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, jubilee-fountain, fountain drinking-fountain, granite, bliss-and-sons, madeley

Albert E. Williams first studied art under Fred Foster after being awarded a scholarship to the Ballarat East Art School. In 1913 he became one of the first intake of 83 students to study the Merit Certificate at the newly opened Ballarat Junior Technical School. Williams was the second person to receive a certificate from that institution. He then studied under H.H. Smith for the Art Teachers’ Certificate at the Ballarat School of Mines Technical Art School between 1915 and 1920. Williams joined the staff of the Ballarat Junior Technical School in 1921, teaching sign writing, ticket writing and house decoration. He taught in other technical schools between 1923 and 1928, returning to Ballarat in that year to fill a vacancy left by John Rowell . Williams continued his teaching career at both the Ballarat School of Mines Technical Art School and the Junior Technical School until 1942. He taught in various other technical schools from 1943, retiring as Headmaster of the Brighton Technical School in 1964. Albert E. Williams continued producing artwork throughout his career, and was responsible for the education of generations of artists and art teachers. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Pen and ink measured drawing showing side elevation, front elevation, sectional elevation and scales.art, artwork, williams, albert e. williams, ballarat technical art school, architecture, art teachers' certificate

Aboriginal necklace made from snake backbones,, threaded on cotton. no catchlocal history, ethnographic material, dress and ornament, necklace, snake, aboriginal

This pair of 19th century candleholders were presented to Nazareth House Ballarat by J.A.Chalk one of Ballarat's richest 19th century gold-mining entrepeneurs. J.A.Chalk was a partner in the Madam Berry Mines together with Martin Loughlin and William Bailey and was Manager of the Buninyong Estate Co., the Band and Barton Co., the Sebastopol Plateau Co., and the Prince of Wales and Bonshaw Co. mines in 1887. Chalk was a Quaker and benefactor to many Ballarat institutions. He arranged for the Council Chambers to be made available for meetings of the Society of Friends (Quakers) in the mid 19th century.One of a pair of large 19th century ornamented candle holders for use in the Chapel at Nazareth House Ballarat presented by 19th century Ballarat philanthropist and gold-mining magnate.The candleholders are in two separate sections the heavy lead-filled brass base with demountable seven-branched candleholders surmounting the base. The lower portion or base form a single candlestick when the branched top section is removed. The branches are decorated with styalised rose petals and the tops of each base decorated with rims of neo-gothic coronas.Presented with King Regards By J.A.Chalk Ballarat.candleholders, candlesticks, nazareth house, ballarat. j.a.chalk, madam berry mines, goldmining, entrepenauer, buninyong, sebastopol, prince of wales, bonshaw co, quaker, society of friends.

Large metal hair clip and an assortment of coloured plastic hair clips and a smaller metal hair clip.hair clips, head ornaments

Porcelain ware with elaborate decoration and delicate colourings, made originally at Dresden in Germany. Part of collection of Dresden China from the collection of Misses Eva, Olive Sebire and Mrs. Annette Lord (nee Sebire). Purchased by the family in Heidelberg from 1952.Dresden China candelabra for table setting. White with gold trim and pink and yellow roses.china, candelabra, candle holders

Bib, index, plates, ill, maps, p.167.non-fictionLovers of gold, wine, and ware, the Celts have no voice because they left no written records. Much of what we know about them comes from their enemies the Romans, who finally crushed them, and from the weapons and ornaments they buried with their dead. From these traces we can now resurrect a sophisticated people who dominated Europe from 500 years. These highly cultured 'barbarians', with their exquisite jewelry and metalwork, were eventually driven to the edges of the known world- yet were destined to shine out once more in the art of Celtic Christianity.civilization - celtic, celts - history

FijiianCarved wood

Made by White Brothers Box Hill (now Vitclay) as a wedding present for T.S. Luke, Accountant of Australian Tesselated Tile Co.Brown glazed traditional Toby JugUncle Tobydomestic items, ornaments / decorative

horseshoe, ornament, luck, tradition, ballarat

Gold and Redgum Inkstand made by Ernest Leviny, c1855-1858. Presented to Mr J.V.A. Bruce, contractor for the Melbourne and Murray Railway by the workmen, at Woodend on Monday 8th July 1861. This gold inkstand was Leviny's first major masterpiece commenced around 1855 and made from gold found on the Victorian fields. It featured four gold nuggets representing the Southern Cross from the goldfields of Ballarat, Bendigo Maryborough and Castlemaine. It was exhibited in Melbourne in 1858, and again in 1861 where it was awarded a 1st Class Certificate at the Victorian Exhibition in Melbourne. In 1862 it was exhibited at the London International Exhibition where it attracted a great deal of attention and was published in The Art Journal Illustrated Catalogue accompanying the exhibition. The whereabouts of the Inkstand is currently unknown.Matt, albumen print, mounted on lightweight card backing. Albumen photograph of a gold and redgum inkstand. Elaborate inkstand highly decorated with cast figures. Mounted on a redgum base.Stamp embossed on upper left corner. Crown in a circle with the words Bristol Paper. Handwritten in ink under image. "Gold inkstand presented at the opening of the Railway, designed by the late Ernest Leviny Esq. October 13th 1862. Made of almost pure gold and cost £700".inkstand, ornament, gold, goldsmithing, london exhibition 1862, melbourne and murray railway, photograph, woodend, 8 july 1861, mr j. v. a. bruce