Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, international level. They also undertook Mayoral duties on occasions when their husband was unavailable. Mayoress Craig was born Grace Adeline and was a highly respected teacher at Bendigo Girl's School and Bendigo High School. Grace Craig was the first lady to have an official part in the traditional induction of Mayor ceremony. Framed, oval photographic studio portrait. Hand coloured detail.Mrs A.S. Craig / Mayoress 1956 - 57 / 1963 - 64 / Eric (? aslington )grace adeline, mayoress craig, mayor craig, washington photographer, city of bendigo, city of greater bendigo portraits, lansell pendant

Object, A Programme from the Gold Rush Days,Traditional songs; local ballads, songs to sing and a dance tune or two, presented by members of The Emu Creek Bush Band (…Plus a ring-in!).Songs include; A Thousand Miles Away, The Miner, Road to Gundagai, Write Me A Letter From Home; and Dollie Gray, Waltzing Matilda,Click Go The Shears, The Drover's Dream, Take Me Back To Bendigo, Bendigo Ballard, Sutton Grange, Rose of Allandale- Waltz, Rakes of Mallow and Finnegans Wake - reel, The Irish Lilt - jig. Words of some songs are inside as well as some music. Players; Olive Dobbyn-Piano; Phyllis Swann-Violin; Jo Johnson-Violin.The sketches are mostly from S.T.Gill 1852-53.Concert on the Diggings( engraving from Illustrated Sydney News).The Emu Creek Bush Bandprogram, music, concert

The Peterborough Sandcastle competition has been running for at least 80 years. Wokka Moore was the first "Lady Mayoress", judge of the competition, who arrived with great ceremony using different means of transport over the years - always accompanied by a "Lady in Waiting". Traditionally, this was held on the Australia Day long weekend. Competition was divided into age groups, and the venue depended on whether the river was open or closed. (If it was open there is no sand on the Front Beach). Materials used could only be what was found on the beach. Currently (2021) the Sandcastle Committee is calling for photos, memorabilia and details of winners from over the years.This event has been running for a very long time , apparently uninterrupted. It is significant to the town because of its inclusive nature - there was high anticipation and planning by the children. The roles of Lady Mayoress and Lady in Waiting were keenly sought. Wokka Moore did the job for a long time then passed the baton. Others who were honoured over the years include Alec Calvert, eight posters of various sizes with hand drawn pictures, some with dates but not year of event.sandcastle competition, peterborough, peterborough sandcastle competition, traditional summer event peterborough

The traditional image of a prisoner of war is that of an emaciated, diseased and ill-treated figure humiliated by incarceration. Prisoners of War challenges this image. Using dozens of interviews with former POWs, Patsy Adam-Smith shows the strength and courage of Australians taken prisoner in World War I, World War II and the Korean War. Says Patsy: 'This book has not been written for ex-prisoners: they know the homesickness of exile, the tyranny of bondage; it was written for those people of today who know little of the experiences of these men and women, of their courage, endurance and pain. It has been written for the generations to come.soft cover non-fiction book

Hugh Jeffrey attended the Melbourne Conservatorium of Music at Melbourne University, graduating in 1940. This cloth patch would have formed the breast pocket of Mr Jeffrey's university blazer. The Melbourne University blazer is traditionally black with blue stripes, and organisations such as the Boat Club, Cricket Club or, in this case, the Student Union, would have their particular logo or badge embroidered on the pocket. The logo on this patch is a version of the University of Melbourne coat of arms - with the angel Victory embroidered in white on a black background, offering her laurel wreath. Unlike the official coat-of-arms, the stars of the Southern Cross are not included, nor is the Latin motto. 1 coloured cloth path with embroideryhugh jeffrey, university of melbourne

The British Arts and Crafts Movement was a major influence on handcrafts made by the Leviny women at Buda. This Movement spread knowledge of craft techniques in the decorative arts and encouraged women to partake in fields that had traditionally been the domain of men, such as metalcraft and woodwork. The Leviny women studied art, design and craft techniques at the Castlemaine School of Mines from the 1890s to the early 1900s and this boot stool, hand-carved by Gertrude, is an example of the influence of the Arts and Crafts Movement on her decorative art. See: Zilles, Lauretta (2010), Buda and the Leviny Family, Castlemaine: Buda Historic Home & Garden Inc.This is a rare example of a unique hand-carved boot stool made in Australia by Gertrude Leviny in the British Arts and Crafts Movement style at the turn of the twentieth century.Timber boot stool, hand-carved by Gertrude Leviny. Made using the 'chip carving' technique, with dragon heads on upright at one end, and plant design in relief on the seat. Timber finish has a blackened effect.'K/40' (Old Registration Number)gertrude leviny, wood carving, arts and crafts movement, buda, castlemaine, dragon's heads, c1900, domestic furniture, castlemaine school of mines

These Message Sticks acknowledge the return of Dja Dja Wurrung Cultural material held by the Burke Museum. The Burke Museum is the current custodian of a significant collection of First Peoples’ cultural material from across South-Eastern Australia. These objects were sold to the Museum by Reynold Everly Johns in 1868. We recognise the harm caused by dispossession of cultural material, and by any inappropriate display and interpretation of this collection over the past 150 years. The Burke Museum is continuing to build relationships and collaborate with traditional owners, Aboriginal communities and the museum sector to ensure culturally appropriate outcomes for the collection, including repatriation of objects to communities of origin. Message sticks are a form of communication between Aboriginal nations, clans and language groups even within clans. Traditional message sticks were made and crafted from wood and were generally small and easy to carry (between 10 and 20 cm). They were carved, incised and painted with symbols and decorative designs conveying messages and information. Some were prepared hastily, like you might create a note left on a friend’s desk or a quick text message; others were prepared with more time to make the markings neat and ornate. There were always marks that were distinctive to the particular group or nation sending the message and often marks identifying the relationship of the carrier to their group. This way it could be identified and authenticated by neighboring groups and by translators when the message stick was taken long distances. Two solid cylindrical shaped pieces of wood bound together with black, red and yellow string. Each stick has etchings with angular lines and dots. dja dja wurrung, message sticks, burke museum, beechworth, beechworth museum, repatriation, reynold everly johns

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

‘Ropy lava’ is known for its sculptural and layered qualities. It occurs in specific lava flows that are slow moving and slow cooling, allowing for unique formations to be created out of the motion. Ropy Lava is a flow that has a hardened crust with molten material underneath, the tension between these states is what creates its characteristic form. The brown/red hue of the stone is an indication of age, as it is oxidised iron deposits. This rock deposit is thought to be sourced from the area by Talbot, in western Victoria. This area has a rich mineral history and experienced the gold rush in the 1850's. The traditional owners of this area are the Dja Dja Wurrung people.This geological specimen shows the conditions in which the Australian landscape was created as well as provides an indication as to how these events occurred. It is representative of a common natural process that contextualises the formation of Australia with the formation of other landmasses. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Hand sized specimen in brown/red hues42 / victoria, talbot, lava, ropy, ropy lava, mineral, geological specimen, geological, geological heritage, natural stone, natural history

This trophy has been presented to the Warrnambool & District Football League by the South Warrnambool Football Club. This latter club still plays in the Hampden Football League and dates back to the 1880s and possibly beyond and has always been a traditional rival of the Warrnambool Football Club. West End Football Club dates back to the 1890s and joined with the Allansford Football Club in the 1960s to form the West End Allansford team. In 2001 the name ‘West End’ was dropped from the club’s name. Russells Creek Football Club was established in 1931 and still plays in the Warrnambool & District Football League which dates back to the early 1900sThis football trophy is of interest as it comes from the mid 20th century and concerns two local Warrnambool football clubs still existing today and one club that no longer exists.This is a wooden trophy in the shape of a shield. It has a silver scroll on the top and a silver heart shape in the middle. There is a cord on the back of the shield attached by metal hooks for hanging purposes. There are five small shields with etched writing on four of these. The shield is a little scratched. ‘South Warrnambool Football Club Shield’ ‘Warrnambool & District Football League’ ‘R.C.F.C. Premiers 1947 Tom Zanos (Captain) H. Drewitt (Coach)’ ‘W.E.F.C. Premiers 1948 P. Lake Capt. & Coach G.R.Thomas Pres.’ ‘W.E.F.C. Premiers 1949 W.L. ‘Jack’ McMurrick Capt. & Coach’ ‘West End F.C. Premiers 1950 W.L. McMurrick Capt. & Coach’ south warrnambool football club, warrnambool & district football league

Organza is a thin, plain weave, sheer fabric traditionally made from silk. Many modern organzas are woven with synthetic filament fibres such as polyester or nylon. Silk organza is woven by a number of mills along the Yangtze River and in the province of Zhejiang in China. A coarser silk organza is woven in the Bangalore area of India. Deluxe silk organzas are woven in France and Italy. Organza is used for bridal wear and eveningwear. In the interiors market it is used for effects in bedrooms and between rooms. Double-width organzas in viscose and acetate are used as sheer curtains. Nylon organza was very popular as the new fashion material in the 1950’sA lady's collar white embossed nylon organza with machine lace edge. C1950clothing, nylon, organza, dressmaking, moorabbin, bentleigh, cheltenham, fashion

The autoharp is a portable, stringed musical instrument. It is a member of the zither family but differs from the traditional zither in that chords can be easily played. The buttons on the chord bars of the autoharp can be pressed onto the strings to make different sounds. The labels on the autoharp denote the chords and the notes that the strings play. The instrument is played with the box resting on a flat surface such as a tabletop, with the left hand moving the chord buttons and the right hand strumming the strings, usually with a pick or plectrum . The autoharp was invented around the mid-1880s. There are models now available that have variations in the numbers of strings the instrument has, and differences in the sounds of the chords. Typically the autoharp has 36 strings.This autoharp is an example of musical instruments played at social gatherings and concerts in the late 1800s and early to mid 1900s. It was easily carried by the player. It is usually held in the crook of the left arm with the narrow end resting on the should and the left hand supporting the wider end, the hand pressing on the chord buttons. The right hand strums in a similar way to a playing a guitar, usually holding a soft pick or plectrum.Autoharp, painted dark brown with red rose flower decals. The portable stringed musical instrument is a member of the zither family. The autoharp is shaped like a hollow box with one corner cut off. Strings of various lengths are attached with equal spacing, parallel to the long edge of the box. A slotted board rests over the top of the strings at one end, and buttons on the slots can be pressed onto the felt-padded bars below them to produce chords. There are labels on the upper and lower boards that denote chords and musical notes.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, musical instrument, stringed instrument, harp, auto harp, zither, portable

Originally, May Day was a holiday of ancient tradition in England to celebrate the arrival of Spring. It was celebrated with joyous dancing around a garlanded pole , called a Maypole, from which streamers/ ribbons hung. Each dancer held the end of a streamer, and as they danced, the ribbons became entwined creating one of the several traditional and colourful patterns. In Australia, 19thC & early 20thC, Maypole dancing was incorporated in some School's curriculum. as it was deemed to be 'lady like' exercise for girls.The Maypole dance was spectacular when performed for special occasions. It required precision 'drilling' with many rehearsals to prevent any mistakes in the routine. ( H. Stanley 2007 CMHS )Early settlers in Moorabbin Shire enjoyed coming together to celebrate various events by organising a Maypole dancing display and this reminded them of their homeland customs.Black & White photograph of community Maypole dance c1890

The photograph features many prominent members of the Ithacan Philanthropic Society during the early 1920s a number of whom were founding members of the Society, including A. J. Lucas (Lekatsas) the founding president and Angelos Lekatsas (Lucas) who was the second president. Archimandrite Irineos Kassimatis is pictured with the group. Most of the group are wearing a buttonhole pin on their jacket lapels which indicates the photo was taken at gathering to celebrate a baptism. It was traditional that following the baptismal service a small icon or cross was pinned on each of the guests to symbolise they were witnesses to the baptism. This pin is called a 'martiriki' derived from the Greek word 'martiras', which translated means a witness. A black and white photograph of eighteen men gathered together in a garden and posing in front of a weatherboard building. Three of the men are sitting on the ground in front of the group. Hand written signature - ? Varvarigos - written in Greek in the bottom left hand corner. Written on the back: STRONG MEN OF THE ITHACAN COMMUNITY

Montagnard Dagger, C 1964, souvenired by Major Ian McKeown, Australian Army Training Team Vietnam (AATTV). The Central Highlands emerged as a strategically important area during the Vietnam War, because it included the Ho Chi Minh trail, the North Vietnamese supply line for Viet Cong forces in the south. communists passing through the highlands had, however, to contend with the Montagnards who they called Thurong (highlanders). The Montagnards were a formidable opponent in their home terrain and were not adverse to using their traditional weapons when dispatching their enemies, particularly when maintaining silence was critical. On loan courtesy the collection of Ian McKeownWooden handle. Metal reinforcement both ends of handle. Metal curved blade with concaved tip.maj mckeown, aattv, australian army training team vietnam (aattv), montagnard dagger, montagnards

Buninyong Bivium (2016) by Cliff Burtt engages with the geography and history of the Buninyong region in both pre and post settlement. The town of Buninyong is dominated by the profiles of Mt Helen and the extinct volcano Mt. Buninyong. Traditional land of the Wadawurrung people, today the area remains a significant site for the culture of indigenous people and their connection to the land. The profile of this sculpture is based on topographical mapping of the area, depicting sections of the landscape. The gaps between the elements of the work can be viewed as representations of the shafts sunk into the earth by the early gold miners and compound curves on the upper surfaces are mirroring the topography of the area, while cut-aways in the sides are suggestive of rock strata.The artwork is of aesthetic and social significance to the people of BallaratCorten steel sculpture made of five unique sculptural pieces secured to at concreate base at pavement levelbuninyong, cliff burtt, sculpture, public art, mining, ballarat

Catafalque party members were traditionally invited to an after service function. The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Black and white photograph of dinner following Anzac Day Service, Corowa, 1985. Cataflalque party members Trooper Roberts ( far left ) Trooper Stevens ( nearest camera ) and Warrant Officer 2 D. Coxhead, all of ' A ' Squadron 8/13 Victorian Mounted Rifles.

In 1995, the upper school students from Bulla Primary School attended a camp at Hanging Rock Reserve which is part of the Macedon Ranges. At this camp the students were shown basic rock climbing skills and explored the rock for its interesting geological formations. Hanging Rock, also known as Mount Diogenes, is the traditional land of the Dja Dja Wurrung, Woi Wurrung and Taungurung people. It is a mamelon formed when magma poured from a vent and congealed. There are interesting rock functions at the site such as the Colonnade, the Eagle and the UFO. The highest point on the rock is 718metres above sea level and 105 meters above the land at its base.Hanging Rock is an important geological and volcanic structure in the Macedon Ranges area and in central Victoria. A non-digital coloured photograph of three holiday cabins and a barbecue in a bushland setting. A red car is parked outside one of the cabins as well as two permanent picnic tables.hanging rock, mount diogenes, mamelons, volcanoes, school camps, bulla primary school

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

This hat is one commonly called a fez but there are many variations of the style and colour and many different names according to the country or group wearing this type of hat. The name fez comes from the city of Fez, the capital of Morocco up to 1927. This style of hat was part of the traditional clothing of Cyprus and introduced into the Balkan countries in the Byzantine era. In the early 1800s it was made part of men’s clothing by the Sultan of the Ottoman Empire and was used particularly as part of the military uniform. Today in military circles it is used as part of a dress uniform only but is extensively worn by men in many countries and is now seen to be part of oriental cultural identity. This particular fez appears to be a theatrical prop.This hat is not an authentic one, being a theatrical piece, but it will be useful for display.This is a short cylindrical peakless hat made of cardboard covered with a burgundy-coloured felt. There is a black tassel attached to the top and hanging down the side of the hat. The inside of the hat has a green and white striped material around the edge and patterned material covering the rest of the inside. ‘8’men’s headwear, history of warrnambool

A shaving scuttle and shaving mug were developed around the 19th century with the first patent for a shaving mug dating to 1867.[8] As hot water was not common in many households, one way to provide hot lather was to use a scuttle or mug. A traditional scuttle resembles a teapot with a wide spout where hot water is poured in, and this is where it differs from a shaving mug, which has no spout. Both shaving scuttles and mugs usually have a handle, but some have none. Shaving mugs often look like a standard mug, however, some also have a built in brush rest, so the brush does not sit in lather. Modern versions of the scuttle are in limited production, usually by independent potters working in small volumes.[9] At the top of the scuttle or mug is a soap holder. Traditionally, it was used with a hard block of shaving soap (rather than soft soap or cream) and therefore had drain holes at the bottom. Later scuttles and mugs do not include the holes, and thus can be used with creams and soft soaps. Some scuttles and mugs have concentric circles on the bottom, which retain some water thus helping to build lather.[9] In use, the shaving brush is dunked into the wide spout, allowing it to soak into the water and heat up. The soap is placed in the soap holder. When needed, one can take the brush and brush it against the soap, bringing up a layer of lather; excess water is drained back. This allows conservation of water and soap, whilst retaining enough heat to ensure a long shave. Source: www.wikipedia.org Local social historyOrnate white china mug with handle. Cup side to hold brush and saucer shaped top with 3 drainage holes. Gold painted decoration and flower garland of pink and yellow roses. Mother of pearl effect over sides.Made in Germanyshaving, item, china, mug, bathroom, men, personal, toiletry

Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar