Manufactured in Australia from Late in the year 1940.Manufactured by GMH Australia25 Lb cannon painted in desert camouflage paint. Fitted with detachable steel turntable mounted on the underside of the tow bar.cannon, 25 pound, field gun

Used by students for garden maintenance.3 pitchforks each with 3 tynes and Wooden handles. 2 painted green and 1 painted blue. used by the students2 green and 1 bluegarden maintenance, students, pitchforks, tools

Japanese sword with aluminimum handle and steel scabbard. Scabbard has been painted black still with traces of the khaki paint.Sword is numbered 18634 (on the blade). Japanese hieroglyphics on the handle. Missing tsuba/handguard.

This is one of a series of eighteen plaques which commemorated some of the winner of the Grand Annual Steeplechase which is held each year in Warrnambool. The first Grand Annual was held in 1872 as the Warrnambool Handicap Steeplechase. Mudeet won the race in 1960 with Warrnambool jockey E Byrne. Mudeet was trained by Alex Fullarton ,a leading cross country rider and later trainer of jumps horses. This series of plaques were painted by local artist Leslie Lamey and were originally in the members enclosure at the Warrnambool RacecourseThese items relate to a significant part of Warrnambool's sporting and social history..1 Painted white rectangular tin plaque with rolled edges with painting of jockeys silks and cap. The colours are black sleeves with light and dark green panels on the front with a light green cap. Fourteen holes are around the edge. .2 Galvanised rectangular brass plate with engraved black text .1.Mudeet and Strasbourg written in red and black texta on the reverse. .2 Mr E.A.Alstergren MUDEET. Winner of the Grand Annual Steeplchase.warrnambool, grand annual steeplechase, alex fullerton, mudeet, e byrne jockey warrnambool

Peter Minko is a ceramic artist based in Bendigo, Victoria. His hand-thrown works using a fine porcelain body are usually a combination of burnished and bisque-fired ith hand-painted metallic oxides and sometimes fired a third time to apply gold or platinum to the design. He began potting in 1977 and has built a strong reputation as a porcelain artist, with work being commissioned by the Federal Government for official presentations and his designs being used by Australian Fine China for a range of dinnerware. Hand thrown, burnished, porcelain vase. Amphora shape with swirling design which flows around the body of the vase from base to top. Short necks with wide shoulder and rounded body with foot. Decoration is a combination of decals and hand painted elements. Heavily gilded. Interior glazed with tenmoku.Minko / (signature) / Bendigo / Australia / 2001

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.It’s Louise’s masterpiece, come heaven, hell or high water Report: SARAH TURNER PICTURE: LEIGH HENNINGHAM When her Little Bourke St studio was pulled down to make way for a carpark, artist Louise Hearman, above, contacted The Seamen’s Mission in Flinders St to see whether she could use their cottage. They agree. But neither knew what it was going to lead to. When Hearman saw ‘the Elephant Room’ at the mission, a big domed room, she felt she “just had to do something with it”. She applied for and was granted a $3250 grant from the Australia Council, with which she was able to buy the necessary scaffold and paint, and then set about transforming the room. Now, a year later, her masterpiece is complete. Hearman emphasised the the mural doesn’t represent “heaven and hell”. Rather, she said, “people should make their own interpretations”. She said it was “not particularly heaven and hell, it’s not particularly anything”. And there is “no narrative” to the mural. It “just developed with the building”, out of whatever images and feeling Hearman had at the time. Sadly though, Hearman said the mural was likely to fall off the walls and domed ceiling unless the room was waterproofed - water damage is a serious problem at the mission. louise hearman, norla dome, exhibitions, 1988, elephant room, flinders street, melbourne, leigh henningham, cultural events

Colour slide, 35mm of SW6 class No. 923 painted for the RAAF recruiting campaign, Camberwell Depot 6/12/53. Tram has the destination of Camberwell Junction, route 7A. .1 - Duplicate cardboard slide by Keith with his notes. .2 - duplicate plastic mount slide duplicated by Dr Wilfred Brook of Glen Waverley. Both slides located within a small envelope with Wilfred's card and an apology for the delay. This item stored with Reg Item Document No. 4644. See Reg Item 5180 for another photo.In ink on the rear: "Copy of K(b)(12), MMTB SW6 class tramcar No. 923 painted for RAAF recruiting campaign Camberwell Depot 6/12/53" Has other reproduction notes as well.trams, tramways, camberwell depot, decorated trams, sw6 class, camberwell junction, route 7a, raaf, tram 923

Cyril Henry Woodford Kett FBOA FSMC (1890-1971) was one of the five people who signed the Memorandum and Articles of Association of the Australian College of Optometry in 1939. He was a councillor of the College from 1940 to 1970 and First Vice President 1944 to 1947. He was made an honorary life member of the College in 1954. He donated numerous items of historical interest to the College that provided the foundation of the Museum which now bears his name. It was painted by another optometrist, John Nathan.This painting is significant to the College as it is one of only ten portraits in oils of individuals who have been leaders in the development of the College.This framed oil painting shows Mr Cyril Henry Woodford Kett FBOA FSMC (1890-1971),Councillor and Vice President of the Australian College of Optometry, an important figure in Optometry in Victoria. It was painted in 1980 by another optometrist, John Nathan,and is signed by the artist at lower right corner: 'John Nathan'.Signed by artist at lower right corner: 'John Nathan'. Plaque on frame reads:'Cyril H W Kett FBOA(Hons) FSMC FVOA c1890-1970/ Councillor of the College 1940-1970/ Vice President 1940-42, 1944-47, 1948-50, 1954-70/ Chairman of Council 1944-1947/ One of the five signatories to the original Memorandum of Association of the Victorian College of Optometry'.optometry, painting, oil painting, portrait, cyril h w kett

Item issued to Maxwell Sydney ANDERSON VX139912, 2nd AIF. Enlisted on 22.5.1943 age 21 years. Discharged 26.11.1945 with the rank of Sapper in 2/4th Aust Field Sqd.Brown canvas kit bag with cord & 12 brass eyelets. Painted one side is a stylized Rising Sun with black center & white triangle rays tips. An emu on the left & kangaroo on the right. Original number was 167211 painted over in yellow paint is VX139912. The name Anderson in light blue is painted below.Stenciled on base in black print: “V167211 ANDERSON M.S”equipment, kit bags

Cypriot Bichrome ware from Cypro-Geometric PeriodWith an inward turning rim, two bands are painted on the inside of the twin loop handles (one missing). The interior has a painted dot and a set of concentric lines between two painted bands. The exterior has a broad band painted beneath the handles, a set of concentric black circles and a broad red band at the foot. cypriot

The first local government authority for Marong was the Marong Road District (an early form of single-purpose local government), which was proclaimed on 19 August 1860. Its boundary was altered twice in 1862 and on 12 December 1864 it was re designated as a Shire. It absorbed Raywood Borough in 1915, and was proclaimed a Rural City in 1990. On 2 December 1994, with the creation of Greater Bendigo City Council, it was abolished through the amalgamation which took place between Bendigo City, Eaglehawk Borough, Huntly Shire, part of McIvor Shire, part of Metcalfe Shire and Strathfieldsaye Shire to form the City of Greater Bendigo. This box would have been used to collect votes during council elections.Wooden painted, lidded box with hinged opening lid. Central slit in lid to insert ballot papers. Front face painted in black and gold paint. Hinged at front of box with lock on back. Handle attached to the back.Front of box; Shire of / Marong / 21shire of marong

Three photos showing Stawell Shire Hall after trees removed in 2011. The building is painted a brown colour and in all 3 photos the Australian flag is flying on the flag post out the front. The three photos show different views of the building. One of the photos on page 29 Album 14 shows a deciduous tree also planted on the right side of the building. Three colour photos of Stawell Shire Hall taken in 2011 showing the building without the Norfolk Island Hibiscus trees. The Shire Hall is painted a brown colour and show the brick veneer addition on the left. The three photos are in Album 14 pages 26 & 29 showing the new deciduous tree planted out the front and the brick veneer addition on the left of the Shire Hall. stawell

Part of the Kevin John Herdman, No. 397661, Collection. See Catalogue No. 5942P for details of his service record.Khaki coloured polyester webbing belt with black painted metal slide buckle. Opposite end is tipped with black painted metal.Stamped in black ink on inside of belt: “C.G.C.F., (upwards arrow) 1967, 40, 8440-66-012-6301”.uniform, belt, kevin joh herdman

Steel helmet, painted khaki colour with white coloured paint on the brim, etched mark on the inside of the brim. There is no chin strap or liner.Etched mark on the brim crown, “8”steel helmets, british pattern

Model of the second wooden floating dock at willianstown. Length o/a 206 feet. Beam inside 35ft 6in. Operated 1895-1958. Constructed from the burnt Hull of the sailing ship Habitant which caught fire on the 7th June 1894. Model constructed by Cliff Gibson. Large wooden model of the second floating dock at Williamstown. Made from wood painted black with the work dock painted in white "DOCK"

Large Oar, wooden, white painted blade with brass capping painted white, restored, 411cm x 14cm x 6.6cmflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

White china moustache cup with hand-painted floral decoration. Gild-painted line on rim, around insert and base of cup.moustache cup

Red painted metal car with painted windows depicting people, White and black grille and headlights. Movable wheels. Possibly windup.British Madetoys, general

Cypriot Bichrome Ware from Cypro-Geometric PeriodThe interior is painted with three concentric bands, the twin wishbone handles painted to exterior with concentric bands and circles, a single red band. cypriot

Provided details to the crews of the trams allocated for each run number in order of the time of departure from the depot on a Sunday.Demonstrates how tramcars allocation was advised to tram crews on Sundays.Sign - made from chip board with two hanging hooks on the top, blackboard black paint and white paint "Sunday Cars". trams, tramways, sign, sec, depot, sunday services, tramcars

Used to hang, organise and store tools associated with the operation of the battery or the assay.Large white painted, rectangular board made of 5 slats, with rusty nails in board and black painted tool mark silhouettes.

The grey painted heavy wooden, homemade box has a freehand inscription in black on outside, which reads ‘LEVINGS To MAAT IS’. The writing refers to Alan and Marlene Levings, who began their twenty-two year career in lightkeeping with a posting to Tasman Island, off Port Arthur, in the 1960s. After four years they moved to Maatsukyer Island off south-west Tasmania, Australia’s southern-most lightstation, followed by postings to South Bruny, Eddystone Point and Wilsons Promontory. The robust box journeyed with the Levings through their postings to five lightstations and came to rest at Wilsons Promontory when Alan retired. It is not known whether the box was used in an office or domestic context. The movement of people and objects is a significant and unique theme that runs through the history of Australia’s lightstations. This historical process relates Victoria to the much bigger story of Australia’s network of lightstations. Alan Levings has been described as an extremely interesting character and artist. When Levings was a lightkeeper at Wilson’s Promontory, delivery of goods was by boat, then off the boat by a winch and onto the back of a truck. For this reason, packing boxes in earlier years had to be extremely robust. Today, anything that is not carried into Wilson’s Promontory Lightstation by foot, comes by helicopter, eradicating the need for heavy packing boxes such as Levings’. This humble box has first level contributory significance for its reliable provenance which traces its journey through five lightstations; for its association with a former lightkeeping family; and for contributing to an understanding of the pattern of lightstation life.Wooden box, light blue/grey painted. Made of horizontal pieces of timber with some tin reinforcment on the sides. Writing in black on side of box.On side of box in freehand,"LEVINGS To MAAT IS"

Original ship - 11,741 gross tons. 589' x 70' x 30' (179.5 x 21.34 x 9.14m). Oil tanker built by Eriksberg Motor Vessels at Gottenburg, Sweden in 1951 for Hjalmar Bjorge of Norway as the Storheim. Purchased November 1964 and renamed R W MILLER. Had a crew of 39 seamen, including the officers. 1973 sold to Independent Shipping Company Pty Ltd of Singapore. Renamed Cherry Victor. Scrapped 1979. Robert Miller traded under the name R W Miller and Company from early 1912. One of Miller's first contracts was to pick up overburden and spoil from the sinking of the Balmain Colliery shaft and dump it at sea. Miller saw the opportunity to sell this material and he ended up getting a sixpence a ton from a local council and other contractors for use as road bases and building foundations. This close association with coal led to Robert W Miller on 15th January 1913 being given the contract for coal distribution from Sydney Harbour Colliery (Balmain mine). So began a long association with coal. Miller built a fleet of lighters that were used to transport blue metal, sand and coal around Sydney Harbour. This introduction into coal transport opened a prospect for him to enter the larger coal shipping transport. During 1917 Miller purchased a vessel, the taking over 1985 by Howard Smith Industries Pty Ltd, Melbourne. Build date 1951-1979. Ship builders model of the tanker R W Miller in a glass case. The body is painted in colours of maroon, green and grey, the deck with detailed fittings and superstructure, an Australian merchant flag flying from the stern, within a mahogany framed glazed display casePlaque at foot of model: M/T R.W. MIILRT/ BUILT GOT. 1951/ OWNERS R.W. MILLER & CO. PTY. LTD/ LENGTH OVERALL 559.04"/ LENGTH BETWEEN P.P 526.06"/ EXTREME BREADTH 70.00"/ MOULDED DEPTH 39.03"/ DEADWEIGHT TONNAGE 18,500/ MACHINERY B & W TYPE A I.H.P 7, 600" on model: "R.W Miller" painted in black

British painter Howard Jarvis was best known for his maritime landscape paintings. An early member of the Society of Marine Artists (UK), formed in 1939, he went to sea on merchant ships and served in the Royal Navy during World War II. His works were influenced by marine artist Kenneth Shoesmith. Jarvis was commissioned by the Cunard-White Star Cruises to create a stone litho poster, which was quite well known, giving passengers a birds-eye view of a cruise ship.SS Orsova, built in 1954, was a British ocean liner for the Orient Steam Navigation Company until 1960, then P&O Orient Lines between 1960-1966, although the Orient ships retained their corn-coloured hulls and sailed under their own house flag. The colour of the hull on the print indicates it was made between 1954 and 1966. On 24 May 1956, Orsova ran aground off Port Phillip Bay, Melbourne, for twelve hours. In 1966 P&O acquired the balance of the Orient Line shares and all their ships were painted white. In the 1960s, Orsova carried many thousands of emigrants from Greece and Italy to Australia. It was staffed by approximately 600 crew and carried over a 1000 passengers. Maritime Art, Marine artColour printed reproduction of a painting or lithograph print featuring 20th C passenger liner, hull and superstructure primarily painted pale yellow, under steam at sea. Print is mounted glazed with thin gilded and moulded frame.Printed inscription on border of print at lower centre edge: "Orient Line S.S. Orsova / Off San Francisco"s.s. orsova, passengers ships, steamship, emigration, greece, italy, australia, passenger liner, melbourne, port phillip bay, artwork-paintings, w. howard jarvis, orient line, p and o, peninsular and oriental steam navigation company, ocean liner, passengers liners, passenger ships