Mouat Collection - Farming in the Wimmera. Slide is out of focus. Markings; Stripping Oats. Used as a teaching aid.Kodakagriculture, farm, crop

Diggers & mining. The gold era. - - - and finally quartz mining was begun, chiefly by companies. Machinery was used to develop these deep mines. Slide shows a deep mine layed out on a hillside. Markings 32 994.031 GOL:5. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Diggers & mining. The gold era. As the surface workings became worked out, deep alluvial mines were developed. - - - Slide depicts different sediment layers above the mine, and the above ground workings. Markings 31 994.031 GOL:5. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Diggers & Mining. Life Of The Selectors. Picture titled A Bush Idyll. Free (and Easy) Selector: ''Hi young ooman, when you to the corner of the track, 'just sing out 'Pig. Pig. Pig' once or twice, will ye so that this blooman wretch will think it's my ole ooman, and follow yer.'' Picture shows the man talking to the woman as he wrestles with the pig on the track near his home. The woman appears well dressed. Markings; Life Of The Selectors 1860-1890 Set 432 No. 23. A Bush Idyll- ''Sydney Bulletin,'' Nov 28, 1885. Used as a teaching aid. Used as a teaching aid. Used as a teaching aid. Used as a teaching aid.Vicual Education Centereducation, tertiary, goldfields

Diggers & Mining. Life Of The Selectors. A BIT FROM THE SQUATTING DISTRICTS. Station Hand.-''That there was a furrin language you were speaking to your brother this morning , weren’t it, sir?.'' New Chum Brother.- ''Yes, Jerry, it was.'' S.H.- ''Learn it easy, sir!'' N.C.B.- ''Well, yes, I picked it up in about a year.'' S.H.- ''Well, Sir, I know the french man 'as been out here nigh two years, and he can't speak enough English to bail up a cow. The picture show the 2 men having the discussion with one leaning on a wooden fence. Markings; Life Of The Selectors 1860-1890 Set 432 No. 21. A Bit From The Squatting Districts- ''Melbourne Punch,'' March 31 1870. Used as a teaching aid. Used as a teaching aid.Visual Education Centereducation, tertiary, goldfields

Diggers and miners. Diggers and Miners. Miners at Bendigo. Gold mining is carried out with elaborate and expensive machinery; . . . Photo shows miners at work drilling. Markings: 4 994.5 WAL. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Diggers & Mining. Diggers and miners. Walhalla - Gold Town. For many years the residents of Walhalla agitated for a railway. At last, in 1910, a narrow gauge line from Moe was completed. It has been recorded that ''the railway line came just in time to take the people out of Walhalla''. Markings: 23 995 WAL. Used as a teaching aid.hanimounteducation, tertiary, goldfields

The Lutheran Church in Bendigo 1856 - 1986. 43 (Corner of Galvin Street and Barry Street, Bendigo. Red Brick with white trimmings.) Anniversary Celebrations in St. Paul's Cathedral, Sunday, 23rd February, 1986. Introduction: Clem Schmidt, Lutheran Pastor at Bendigo. Henry Prove: The Lutheran Church of Australia - Its development in the first five decades. Frank Cusack: The German contribution to early Bendigo. We express out special thanks to: The Melbourne Lutheran Singers, Conductor: Graham Wiebusch, Organist: Alan Collyer : Mr Frank Cusack, noted local historian : Pastor Henry Proeve of Adelaide, Immediate Past General Secretary, Lutheran Church of Australia : The Very Reverend John Bedford & Congregation of St. Paul's, for the use of these facilities. Markings: signatures of C J Schmidt, H J W Proeve, Frank Cusack. First 2 in blue pen 3rd in black pen.church, celebration, anniversary celebrations, the lutheran church 1856 - 1986. 43 galvin and barry street, . red white trimmings.) anniversary celebrations st. paul's cathedral, 23rd feb, 1986. clem schmidt, lutheran pastor. henry prove: the lutheran church of australia development decades. frank cusack: the german contribution: melbourne lutheran singers, conductor: graham wiebusch, organist: alan collyer : immediate past general secretary, lutheran church of australia : the very reverend john bedford & congregation of st. paul's, markings signatures c j schmidt, h j w proeve, frank cusack

Black and white photo. Cohn Bros. float for the Easter Fair. The dray is decorated with pictures around the base of the dray (using 2 pictures alternately) bottles are lined up on the dray. A number of barrels are used on the float, there are large cut outs of bottles surrounding a stack of barrels with the CB label, which reads 'CB Cohn Bros LTD Made From The Pure Fruit'. There are 4 men in front of the dray and 5 on the dray which is being pulled by 4 horses. Markings/Inscriptions: Front; MP 195 Back; W H Robinson, Photographer, Mundy St., Bendigo. Bendigo Historical Society (INC)W H Robinsonorganization, business, cohn bros. limited

Polishing irons were used for ironing collars and frills. Historical information Sad-irons (the term comes from an old word sald for solid) were made by blacksmiths and used to smooth out material by pressing the hot iron over it. A piece of sheet -iron was placed over the kitchen fire and the irons placed on it could be heated whilst remaining clean of ash.. The women used 2 irons - one heating while the other was used. Thick cloth or gloves protected their hands from the hot irons. The cool iron was replaced on the fire or stove to heat again. These irons were cleaned with steel wool to prevent them marking the material. If the iron was too hot the material would scorch. Most homes set aside one day for ironing and some large households had an ironing room with a special stove designed to heat irons. However, most women had to work with a heavy, hot iron close to the fireplace even in summer. A solid piece of cast iron, the base is triangular a shape with an eight centimetre base with curved sides coming to a point 13 centimetres from the base and is three and a half centimetres Thick. The bottom of the iron is curved. Two curved pieces two and a half centimetres wide, half a centimetre thick and six centimetres apart rise from rise up seven centimetres, between them is a two centimetre diameter and nine centimetre long hollow handle. Embossed on the iron is - 4 SILVESTERS PATENT SALTER and an arrow with a knotted rope around it. K13polishing iron, silvesters patent, sad iron

Flat irons were used for general ironing. Historical information Sad Irons (the term comes from an old word sald for solid) were made by blacksmiths and used to smooth out material by pressing the hot iron over it. A piece of sheet -iron was placed over the kitchen fire and the irons placed on it could be heated whilst remaining clean of ash. The women used 2 irons - one heating while the other was used. Thick cloth or gloves protected their hands from the hot irons. The cool iron was replaced on the fire or stove to heat again. These irons were cleaned with steel wool to prevent them marking the material. If the iron was too hot the material would scorch. Most homes set aside one day for ironing and some large households had an ironing room with a special stove designed to heat irons. However, most women had to work with a heavy, hot iron close to the fireplace even in summer. A solid piece of cast iron, the base is triangular a shape with a ten centimetre base with curved sides coming to a point 15.5 centimetres from the base and is three centimteres thick. The bottom of the iron is flat. Two curved pieces three centimetres wide, half a centimetre thick and seven centimetres apart rise from rise up eight centimetres, between them is a two centimetre diameter and ten centimetre long hollow handle. Embossed on the iron is - 4 SILVESTERS PATENT SALTER and an arrow with a knotted rope around it. K5polishing iron, silvesters patent, sad iron

Index, notes, bibliography, ill, p.421.non-fictionMarking the fiftieth anniversary of Winston Churchill's death, Boris Johnson explores what makes up the 'Churchill Factor' - the singular brilliance of one of the most important leaders of the twentieth century. Taking on the myths and misconceptions along with the outsized reality, he portrays - with characteristic wit and passion-a man of multiple contradictions, contagious bravery, breath-taking eloquence, matchless strategizing, and deep humanity. Fearless on the battlefield, Churchill had to be ordered by the King to stay out of action on D-Day; he pioneered aerial bombing, yet hated the destruction of war and scorned politicians who had not experienced its horrors. He was a celebrated journalist, a great orator and won the Nobel Prize for Literature. He was famous for his ability to combine wining and dining with many late nights of crucial wartime decision-making. His open-mindedness made him a pioneer in health care, education, and social welfare, though he remained incorrigibly politically incorrect. Most of all, as Boris Johnson says, 'Churchill is the resounding human rebuttal to all who think history is the story of vast and impersonal economic forces'. THE CHURCHILL FACTOR is a book to be enjoyed not only by anyone interested in history: it is essential reading for anyone who wants to know what makes a great leader.great britain - politics and government - 1936-1945, winston churchill - biography

Eppalock. Construction. Family group out looking at the construction of Lake Eppalock. Markings: Near Eppalock Dam 1961.Agfacolorcivil engineering, water supply, eppalock

Eppalock. Construction. Lake appears to be full or close to it with beautiful blue water. The bank to the left is the bank which the road goes across, the walkway out to the water tower and the water tower. Markings: Eppalock Dam March 1963.Kodakcivil engineering, water supply, eppalock

Document: Hard Cover Crocodile deisgn with dark blue binding, receipt book Nos 201 - 298 used, 299 - 300 Unused, Receipt No 218 made out to 'State Rivers & Water' written out but never removed folded into buts, receipt No 277 removed, folded then pinned to but (3 pins) pins rusted, Markings read 'Central Napoleon' on a label on the spine.organization, business, industrial - mining, mccoll rankin & stanistreet, mining, gold mining, central napoleon

This theodolite was used by `Mr Dawson' (presumably William Tennant Dawson c.1820-1873) who `surveyed much of the area around and beyond Stratford'. It was damaged by the fire which burnt the original Roseneath home in 1921, when the Macleods were in residence. (Mrs W.T. Dawson was a Macleod). One little boy aged 3 years was given the job of saving everything on the kitchen table when the fire started at breakfast time. The theodolite was possibly in use by Dawson when he laid out St Kilda Road.This theodoite consists of a bottom plate, which is damaged and has melted metal. This rises to a ball joint, on which is pivoted another plate on which were housed four screws, of which three remain, to adjust the level. Above this is another plate, with compass markings and melted glass."Troughton and Simm's/London" in fine engraving on upper plate.surveyors, instruments

This mask was obtained by Charles Quon, probably from Hong Kong, and used by the Young Chinese League in their processions.This mask is significant for its links to the Chinese Young League. The League was formally established on 4 October 1932 to to promote free social intercourse and goodwill among its members and their mutual improvement. Membership was open to all persons, with one or both parents or grandparents born in China. Wives of Chinese members were permitted as members with the same privileges. It was a significant social organisation for Chinese-Australians in Melbourne in the mid to late twentieth century.A costume mask of a male character. He has a silver headdress with pink, green and yellow decorations. He has black horns, a black face with pink cheeks, red lips and markings on his forehead, nose and chin. The eyes has been cut out for the wearer to see out of. There is a strap that runs behinds the mask.young chinese league, melbourne, victoria, australia, processions, masks

It is unknown how this came into the collection at the Warrnambool Museum. However, during the 18th and 19th centuries it was fashionable for young men of means to undertake a 'grand tour'. During their travels they would often pick up souvenirs with these sometimes being ancient artefacts from classical Greece or Rome. It is thought that the item most probable came to the museum in this manner.From discussion with specialists at the British Museum and the University of Reading it was ascertained that the oil lamp is indeed ancient Roman and over 2000 years old. The marking on the top could be Venus although it is quite worn away so it is difficult to tell for sure.A terracotta oil lamp housed in a wooden box. On the top of the lamp are 3 circle incisions and in the centre of the circles is a depiction of a figure. There is a small finger sized handle on the side of the lamp. The handle has 2 incised lines leaving 3 raised ridges. It is squared off at the top. The top of the oil lamp has a hole in which to place a cloth wick and a spout from which the smoke would have come out. The spout is blackened from smoke. The container box is guessed to be from the time of acquisition which would be around the early 1900s and is made from a polished wood. Light in colour.In the box was a label saying, 'Venus coming out of the gate of the temple'. It also stated that the lamp may have been placed at the feet of the dead in the catacombs.oil lamp, roman, terracotta, classical, archaeology, victorian, grand tour

This work forms a pair with Untitled #4 (fox bones – pattern) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series. This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an orderly fashion according to size and shape / Beige/neutral in colour / Blonde timber frame.No signatures / no personal markings / no framers identified. digital print / fox / bones / ordered / photograph / laughing waters / birrarung / imam / death

This work forms a pair with Untitled #3 (fox bones – ordered) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series.This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - A digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an outward circular pattern. Beige/neutral in colour / Blonde timber frame. No signatures / no personal markings / no framers identified.digital print / fox / bones / pattern / photograph / laughing waters / birrarung / imam / death

Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog

This work is a serigraph (screenprint) on cartridge paper using blue oil based inks of the 'Brolga' (Australian Crane); a common, gregarious wetland bird species of tropical and south-eastern Australia and New Guinea / It is a tall, upright bird with a small head, long beak, slender neck and long legs / The pose of the bird represents their stance when calling out to their mate, which sounds like a loud trumpet / The decorative markings on the bird's plumage is from the traditional carved/etched Gunnai shields from Gippsland Eastern Victoria, which is where Thomas' people are from. Underneath 'Brolga', on slant, lower right in greylead pencil (?) handwritten artist signature and language group "Ray Thomas - GUNNAI"

This camera went ashore at Gallipoli on the first day of the invasion 25/04/1915.Metal silver Vest Pocket Kodak Camera. Rectangular box type with scissor pop out lens. Bellows made of leather During WW1 it was marketed as a camera suitable for soldiers due to size and portability, often referred to as "The soldiers camera". It has small shutter release button mounted above the lens plate and below the lens there is a slider for choice of apertures, It originally used A127 autographic roll film. The case is small leather black rectangular shaped with flap and press stud to keep shut.On plate holding the lens-:VEST POCKET KODAK Patented Mar 4,1902,May 6,1913 On bronze piece surrounding the lens -: 25BT50 clear ...brilliant tripod gray 1/2 sec ...dull 3/4 sec...very 01 sec Made by Eastman Kodak Co Rochester USA Autotime patent 1908 cloud marine distant view ave rge view nearview portrait No markings on leather case.

Round Compass of Alloy Material. Fold out cap with clear glass viewer. The inner top has has numerical markings 1-36. The actual compass movement also has many numerical markings & EWNS, Around the side direction indicators. Screw on attachment on side.Inscription on base,- Compass Prismatic Liquid. MK III (Aust) No 8668 - J.W.H./V. Other markings as listed in Physical Description.

Doug ‘Pudden’ Wade Born: 16/10/1941 From: Horsham Height: 188cm Weight: 92kg Natural kicking foot: Right Guernsey number: 23 First senior match for Geelong: Round 1, 1961 v Collingwood at Kardinia Park Regarded by many as Geelong’s greatest ever full-forward, his greatest attributes were determination, fast leading, strong marking and prodigious kicking. Often he was able to score goals with 70-metre torpedo punts. Occasionally he scored from drop-kicks. When in top form he was a most inspiring player. If opponents tried to upset his game with niggling tactics he displayed a fiery aspect of his nature, which kept spectators ‘interested’. He played the forward role like an aggressive defender. Probably his most outstanding performance was a 13-goal effort at the Lake Oval in heavy conditions in 1967. A severe knee injury suffered in an interstate match in 1964 restricted his performances for about two seasons. In his time at Geelong he seemed to perform better as the seasons rolled on. He played in North Melb’s Premiership-winning team in 1975, twelve years after the same achievement with the Cats. Total Brownlow Medal votes for Geelong: 34 Premiership team selection: 1963 Night/Pre-Season Premiership team selection: 1961 Captain: 22 matches (1971-72) Club Best & Fairest: 1969 Fifth in club B&F count: 1961 Sixth in club B&F count: 1962 (equal), 1967, 1971 Seventh in club B&F count: 1964, 1972 Tenth in club B&F count: 1966, 1968 Club leading goalscorer: 1961 (51 gls), 1962 (68 gls), 1963 (48 gls), 1964 (41 gls), 1966 (52 gls), 1967 (96 gls), 1968 (64 gls), 1969 (127 gls), 1970 (74 gls), 1971 (94 gls), 1972 (90 gls) Competition leading goalscorer: 1962, 1967, 1969 Instances of seven goals or more in a match for Geelong: 35 Australian Football Hall of Fame inductee (2000) GFC Team of the 20th Century selection (full forward) GFC Hall of Fame inductee (1996) GFC Hall of Fame Legend GFC Life Membership (1968) Career span for Geelong: 1961-72 Total matches for Geelong: Premiership 208, Night/Pre-Season Series 4, Interstate 7 Total goals for Geelong: Premiership 834, Night/Pre-Season Series 11, Interstate 31 Finals matches for Geelong: 12 Finals goals for Geelong: 46 Last senior match for Geelong: Round 22, 1972 v North Melb at Kardinia Park Transferred to North Melb in 1973 Wayne Closter Born: 26/02/1945 From: Darley Height: 180cm Weight: 81kg Natural kicking foot: Right Guernsey number: 1 First senior match: Round 1, 1964 v Melbourne at the MCG In his first season as a listed player, he was selected in the Reserve Grade 1963 Premiership team. A favorable impression of his ability was created in his debut. He was opposed by Melbourne's Frank 'Bluey' Adams on a wing and out-pointed him convincingly. Initially he played many fine matches as a wingman. Later he moved into the centre where his good form continued. Features of his play were strong marking, good control and excellent kicking. He became one of the greatest ever exponents of kicking ambidextrously, and it became difficult to judge which was his natural kicking foot. National Service training obligations during a number of seasons deprived him of the chance of playing 200 matches and to represent Victoria, however the AFL acknowledged his contribution by inducting him into the 200 club during 2007. From 1977 until 1979 he coached the Reserves before spending 10 seasons as a 3GL/K-Rock football commentator. Total Brownlow Medal votes: 29 Captain: 1 match (Round 9, 1974 v South Melb at Kardinia Park) Fourth in club B&F count: 1967, 1971 (equal) Fifth in club B&F count: 1966 Sixth in club B&F count: 1964, 1968, 1972 Eighth in club B&F count: 1970, 1974 Ninth in club B&F count: 1973 GFC Hall of Fame inductee (2002) GFC Life Membership (1971) Career span: 1964-75 Total matches: Premiership 191, Night/Pre-Season Series 2 Total goals: Premiership 72, Night/Pre-Season Series 0 Finals matches: 8 Finals goals: 1 Last senior match: Round 22, 1975 v Fitzroy at Waverley Park Information provided by Col Hutchinson Geelong Cats HistorianRed, slightly deflated Ross Faulkner football. In black on one side of the white laces states - MATCH/Native Brand/ ROSS FAULKNER - with a symbol of figure, and is repeated on the other side states - the football is on a small wooden stand stained dark brown with the text engraved donated by Ross Faulkner - The Football a large player signature on one side in white texta it is believed to be Wayne Closter. There is a signature in pen above the text native on one side of the football by Doug Wade. The football has blue and white ribbons threaded through the laces.Signature Doug Wade and Wayne Closter doug wade, wayne closter, ross faulkner, football, gfc, geelong football club, vietnam war