Folder marked "Letters". Box like with hinged lid and metal latch. Resembles a book. Constructed from wood and cardboard and covered with brown patterned paper, faded.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

A woomera is a wooden Australian Aboriginal spear-throwing device . It is an extension of the human arm that enables a spear to travel at a greater speed and force than possible with the unaided arm.The necessary tools and equipment for hunting, fishing and warfare were one of the very few items that Aboriginals carried with them from place to place. Most were used for a multiplicity of purposes. Because many were made from raw natural materials, such as wood, generally only partial remains are found today. This woomera is an example of an implement used by early Indigenous people.A flat hand-made dish like wooden spear thrower with curved edges. It has a small spike tied at one end and hardened black gum at the other.woomera aboriginal hunting spear-thrower

Photograph of sign that appears to have been painted on rocky hill side of road' It states "THERES NO PLACE LIKE HOME - SOUND YOUR HR & YOU WILL GET THERE"g.o.r: early example of roadside graffiti

Charles Gabriel Pravaz (1791-1853) was a French orthopedic surgeon and inventor of the hypodermic syringe. In 1844, Irish physician Francis Rynd (1811-1861) invented the hollow needle. In 1853, French physician Charles Pravaz developed the first practical metal syringe. Pravaz added a fine, hollow needle to the end of his syringe instead of the tube. This was an important innovation. Yet in the pre-antiseptic era it was a mixed blessing. The use of injections rather than oral drug administration can more readily promote the spread of disease as well as facilitating its cure. An understanding of the germ theory of disease - and the cardinal importance of using sterile needles - awaited the discoveries of Lister, Pasteur and Koch. But intravenous injection allows extremely rapid pain-relief - and the induction of general anaesthesia when suitable agents were developed.Small ornate metal syringe with raised ridge at either end and in the middle. Tapers to a point at the distal end with pencil like extrusion. Finger ring at the proximal end.pravaz, intravenous, hyperdermic, subcutaneous, syringe, needle

A silver ring that was discovered by QC Binks while he was out metal detecting for gold. The ring also has engravings on it which look like falling leafs.bendigo, gold mining, qc binks, qc binks

Black and white photograph of Gertrude Perry , dressed in costume relative to the Act of the show. Black top with broad satin like collar and similar marterial in her skirt.entertainment, theatre, costume

Black concertina accordion with some snake skin like pattern on box, gold trim around keys and silver trim. Made by Gebr. Ludwig Accordeon, Germany

The early forties saw rapid growth of Bogong Village, with single and married men’s quarters, workshops, mess huts and administrative offices. The facilities necessary for communal living were quickly in place- a post office, police station, co-op store, medical centre, community hall/theatre, tennis courts and school. Bogong Primary School opened in 1941 to provide an education for the families of employees of the State Electricity Commission of Victoria. The school had up to date equipment and received glowing reports from school inspectors. It closed circa 1970.The Bogong State School was opened for the children of S.E.C.V. workers who lived in Bogong in a remote part of north east Victoria. The nearest school would have been 14 miles away and over mountain roads subject to heavy construction traffic and extremes of climatic conditionsBlack and white photograph of a group of 6 children playing on play equipment in the schoolyard at Bogong Primary School. The area is enclosed by tall trees in a bush-like settingbogong state school; secv; kiewa hydro electric scheme;

Part of a collection of historic wallpapers collected by Phyllis Murphy, most of whose wallpapers were donated to the collection of Historic Houses Sydney. This wallpaper sample, annotated and encased in mylar was used by Phyllis for educational purposes, and donated by her son to Villa Alba Museum's collection in 2025.Mid 19th century border featuring an architectural floral pattern in shades of green and cream, similar to designs produced by historic Victorian manufacturers like Jeffrey & Co. P.B21 (f)heritage interiors, wallpapers, 19th century design, architectural friezes

Entry into the 2009 Nillumbik Prize. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Angela Nagel's creative practice is informed by an interest in the human condition, universal symbols, mythology and Jung's theory on the 'collective unconscious'. Her hybrid part human/animal creatures reference introduced species and indigenous Australian animals as a way for her to explore a personal mythology, and narrative, of home and environment. Recent work is developing around the relationship of ceramics to other materials such as glass, printmaking and found objects. Angela holds a Masters of Fine Art and has worked with clay for over 20 years. Her work is held in collections around Australia.Human and animal like figure in the stance reminiscent of classical sculpture. Hand built ceramics with engobes, oxides, glaze and gold leaf Medium: Porcelain, oxide, underglazeangela nagel, nillumbik shire council collection, victoria, nillumbik prize, ceramic

'Surveyor of Suburban Environs' was one of the acquisitions from the 1991 Eltham Art Awards (now known as the Nillumbik Prize - and formally the Nillumbik Art Awards). This was the first piece acquired from this award which was suitable for a public space. Nillumbik is referred to as the "Green Wedge" and the sculpture "Surveyor of Suburban Environs" suggests a watchful observer of the surrounding landscape. The sculpture's central motif represents an eye held up on a pedestal by a tail. Its form has been likened to the Eye of Horus, an ancient Egyptian symbol of protection, royal power and good health personified in the goddess Wadjet or 'green one'. This likeness would suggest that the observer or surveyor has a divine status and spiritual connection to its environment. Polished stainless steel sculpture comprising an eye reminiscent of ancient egyptian hieroglyphics, which is held up with a tappered and jaggered tail like pedestal. Concrete base. N/Apublic art, fries, spiritual, eye, stainless steel, goddess, surveyor, sculpture, environment

Crafted by Camp 1 interneeVarnished cigarette box with a lid and a brass hinge. Slot for cigarettes in the box and a pull out draw like cavity at the bottom to release the cigarettes. There is a black knob in the draw.camp 1

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

This photo taken before a detachment from the Sunbury Battery left for England to participate in the Military Tournament in May 1893.B/W framed photo 13 men (in uniform) of the Sunbury Battery in May 1893. Photo unframed, mounted on cardboard with a paper-like frame pasted on surround.(written in ink) OUR BOYS AT HOME / in May 1893 Driver Wallace, Gunner Breen, Gunner Harrison, Major F. C. Hughes, Driver W. Paterson, Driver Ryan, / Sergt. Looney. Driver T. Paterson, Lieut. C. G. Ryan, Corp. MacKinnon, Sergt. Shannon. Corp. Nicholson, Sergt. Shields / The Detachment from Sunbury Battery now on the way to England to participate in the Military Tourament.rupertswood, battery, breen, - (gunner), wallace, - (driver), harrison, hughes, f. c. (major), paterson, w. (driver), ryan, looney, - (sgt), t. (driver), mackinnon, - (driver) (corp), c. g. (lieut), shannon, nicholson, - (corp), shields, military, england, armed forces, 1890s, uniforms, clothing and dress, george evans collection

Unknown use but probably removed from use due to damage to the part.A pair of circular iron lids concave in shape with three handle like appendages with square holes and a handle on top. The base on the second is thicker and therefore it is a heavier lid

Collection of 13 colour slides. Some groups and some individuals. Groups not official, looks like they were taken before they were ready. Dec 83 M7.Labelled "Graduation 1983"graduation, students, graduation 1983

These small Chinese-influenced ornaments were popular in Australia in the early 1900s.This item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. 2 small metal containers with with embossed designs. The rectangular container has a leaf design whilst the rectangular container has dragon-like creatures on each side.decorative items, jewellery, lacquerware

Black and white photograph of a MMTB Leyland TD5c in the Central Bus garage North Fitzroy. Post 1945, looks like it has hit shop awning corner. tramways, buses, north fitzroy, accidents, leyland, double deck buses, mmtb buses, td5c class, central bus garage

A copy of an extract of Robin Boyd's book 'The Great, Great Australian Dream', and a brief review, published in 'The Times' in Hamilton New Zealand It is accompanied by a letter dated 19 September 1972 from Andrew Fabinyi from Pergamon Press to Patricia Boyd.Photocopy of an article, with an original letter enclosed in an envelope.walsh st library

This spoon, made by William Page & Co., is electroplated nickel-silver and was recovered during the late 1960s to early 1970s from an unnamed shipwreck along the coast of Victoria. The shipwrecks in the area range from around the 1840s to the early 1930s. The spoon is part of the John Chance Collection. This spoon is likely to have been recovered be from the wreck of the Loch Ard (1873-1878) as other cutlery in the Flagstaff Hill’s Shipwreck Collection made by William Page was also recovered from the Loch Ard. The ship’s Manifest included a large quantity of cutlery. Also, other objects in the John Chance Collection were also recovered from wreck of the Loch Ard. In the mid-1800s electroplated cutlery became a popular substitute for the traditional but more costly sterling silver pieces. The ‘new’ cutlery was made from a more common base metal, such as nickel or a nickel alloy, then electroplated (coated) with a very thin layer of silver. The eating utensils looked like the expensive, pure silver version but eventually, through use and wear, the base metal would show. Some producers warranted their electroplated silver to be ‘white throughout’. WILLIAM PAGE & CO., BIRMINGHAM, ENGLAND - Although the electroplated cutlery of William Page & Co. was made in Birmingham, it does not include the embossed Birmingham Assay’s mark of an ‘anchor’ because the metal used for the spoons is not silver. William Page used various Maker’s Marks on his cutlery. The pattern of five embossed marks on this spoon is a typical example, with the embossed sunken crown containing ‘W P’ being the first in the column of symbols. - ‘W P’, within raised diamond outline, within sunken crown - ‘Cross above Triangle’ symbol within sunken oval - ‘Maltese Cross’ symbol within sunken, six-sided shape - ‘crab-like’ symbol within sunken oval - ‘R D’ within sunken diamond William Page established his business in 1834, according to the text around a printed Trademark. The firm William Page & Co. began electroplating in 1855, and from 1880 it operated from Cranemore Street, Cattle’s Grove and also at 55 Albion St, Birmingham. The firm registered a new Trademark [‘W P’ within a diamond boarder within a sunken diamond] in 1897; previously the Mark were the initials WP within a crown, but the British legislation prohibited the use of a ‘crown’ mark on electroplated ware in 1895. In 1936 the firm became William Page & Co. Ltd and became a supplier of spoons to the British Government in 1938, marking its products with the ‘broad arrow’ symbol. The firm also traded with the brand names Armour, Asrista, Bolivian Silver, Roman Silver, Roumanian Silver, Silverite and Trevor Plate. Although this spoon is not linked to a particular shipwreck, it is very likely to have come from the wreck of the Loch Ard; the ship’s Manifest includes a large quantity of cutlery. Regardless, it is recognised as being historically significant as an example of cutlery carried onboard a ship as either personal belongings or cargo and brought into Colonial Victoria in the 19th to early 20th century; through this we have added opportunity to interpret Victoria’s social and historical themes of those times. The spoon also has significance for its connection with many similar William Page pieces of cutlery in our collection that were recovered from the wreck of the sailing ship Loch Ard (1873-1878). William Page & Co. of Birmingham is one of the renowned 19th century manufacturers and electroplaters and was supplier of spoons to the British Government in 1938. The spoon has added significance, as it was recovered by John Chance, a diver of wrecks, including the Loch Ard, in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Spoon; teaspoon, electroplate nickel-silver, discoloured to green and red-brown in places. Fiddle design. Bowl has indents and holes. Five embossed Maker’s Marks on back of handle, arranged in a column from tip towards bowl. Made by William Page and Co., Birmingham. The spoon no longer has its silver plating. The surface has encrustations. Bowl has nicks, indents and holes. Stem is very bent at the shoulder. Discoloured to green and red-brown in places. Embossed Maker Marks - ‘W P’, within raised diamond outline, within sunken crown - ‘Cross above Triangle’ symbol within sunken oval - ‘Maltese Cross’ symbol within sunken, six-sided shape - ‘crab-like’ symbol within sunken oval - ‘R D’ within sunken diamondflagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, loch ard, cutlery, flatware, silverware, tableware, eating utensils, dining, spoon, electroplated cutlery, william page & co, william page & co. ltd., birmingham plate, silversmith, antique, vintage, fiddle design, fiddle pattern, teaspoon

This spoon, made by William Page & Co., is electroplated nickel-silver and was recovered during the late 1960s to early 1970s from an unnamed shipwreck along the coast of Victoria. The shipwrecks in the area range from around the 1840s to the early 1930s. The spoon is part of the John Chance Collection. This spoon is likely to have been recovered be from the wreck of the Loch Ard (1873-1878) as other cutlery in the Flagstaff Hill’s Shipwreck Collection made by William Page was also recovered from the Loch Ard. The ship’s Manifest included a large quantity of cutlery. Also, other objects in the John Chance Collection were also recovered from wreck of the Loch Ard. In the mid-1800s electroplated cutlery became a popular substitute for the traditional but more costly sterling silver pieces. The ‘new’ cutlery was made from a more common base metal, such as nickel or a nickel alloy, then electroplated (coated) with a very thin layer of silver. The eating utensils looked like the expensive, pure silver version but eventually, through use and wear, the base metal would show. Some producers warranted their electroplated silver to be ‘white throughout’. WILLIAM PAGE & CO., BIRMINGHAM, ENGLAND - Although the electroplated cutlery of William Page & Co. was made in Birmingham, it does not include the embossed Birmingham Assay’s mark of an ‘anchor’ because the metal used for the spoons is not silver. William Page used various Maker’s Marks on his cutlery. The pattern of five embossed marks on this spoon is a typical example, with the embossed sunken crown containing ‘W P’ being the first in the column of symbols. - ‘W P’, within raised diamond outline, within sunken crown - ‘Cross above Triangle’ symbol within sunken oval - ‘Maltese Cross’ symbol within sunken, six-sided shape - ‘crab-like’ symbol within sunken oval - ‘R D’ within sunken diamond William Page established his business in 1834, according to the text around a printed Trademark. The firm William Page & Co. began electroplating in 1855, and from 1880 it operated from Cranemore Street, Cattle’s Grove and also at 55 Albion St, Birmingham. The firm registered a new Trademark [‘W P’ within a diamond boarder within a sunken diamond] in 1897; previously the Mark were the initials WP within a crown, but the British legislation prohibited the use of a ‘crown’ mark on electroplated ware in 1895. In 1936 the firm became William Page & Co. Ltd and became a supplier of spoons to the British Government in 1938, marking its products with the ‘broad arrow’ symbol. The firm also traded with the brand names Armour, Asrista, Bolivian Silver, Roman Silver, Roumanian Silver, Silverite and Trevor Plate. Although this spoon is not linked to a particular shipwreck, it is very likely to have come from the wreck of the Loch Ard; the ship’s Manifest includes a large quantity of cutlery. Regardless, it is recognised as being historically significant as an example of cutlery carried onboard a ship as either personal belongings or cargo and brought into Colonial Victoria in the 19th to early 20th century; through this we have added opportunity to interpret Victoria’s social and historical themes of those times. The spoon also has significance for its connection with many similar William Page pieces of cutlery in our collection that were recovered from the wreck of the sailing ship Loch Ard (1873-1878). William Page & Co. of Birmingham is one of the renowned 19th century manufacturers and electroplaters and was supplier of spoons to the British Government in 1938. The spoon has added significance, as it was recovered by John Chance, a diver of wrecks, including the Loch Ard, in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Spoon; teaspoon, electroplate nickel-silver, silver discoloured to brown. Fiddle design. Five embossed Hallmarks. Five embossed Maker’s Marks on back of handle, arranged in a column from tip towards bowl. Made by William Page and Co., Birmingham. The spoon no longer has its silver plating. Bowl has a cut in the side, and is nicked and dented. Embossed Maker Marks - ‘W P’, within raised diamond outline, within sunken crown - ‘Cross above Triangle’ symbol within sunken oval - ‘Maltese Cross’ symbol within sunken, six-sided shape - ‘crab-like’ symbol within sunken oval - ‘R D’ within sunken diamondflagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, loch ard, cutlery, flatware, silverware, tableware, eating utensils, dining, spoon, electroplated cutlery, william page & co, william page & co. ltd., birmingham plate, silversmith, antique, vintage, fiddle design, fiddle pattern, teaspoon

A gentleman's chair, gent's chair or grandfather chair is a term usually applied in Australia to a deep upholstered Victorian easy chair, often button-backed and with upholstered arms. The chair generally stood on short cabriole legs and had a 'spoon' or a wide balloon back. The 'show wood', that is, the polished frame, was usually mahogany or walnut, although many examples in Australian red cedar have survived. There are Australian versions of the gentleman's chair, lady's chair and matching settees, usually made from cedar, and occasionally from blackwood. As cedar is a softer timber than walnut, mahogany and rosewood, from which the English versions were made, the carving is usually not as crisp as in the imported version. However, the Australian blackwood gentleman's chair is often difficult to distinguish from a good-quality English walnut example. The Edwardian form of the gentleman's chair is much squarer in outline, with short turned legs and the arms are often supported by spindles. There was sometimes a row of spindles, like a gallery, beneath the top rail. The chairs were frequently upholstered in leather.An item probably made in Australia during the latter half of the Victorian era and is significant as it was made in Australia at a time when furniture and many other household items were imported from either America or England.Armchair: gentleman's armchair of Cedar wood with brown leather upholstery, tacked and buttoned in a crocodile-skin-like effect. The wood is scalloped and carved with a Prince of Wales Feather on the back. The arms are scrolled and carved with an Acanthus leaf design, finished on tulip turned legs. All four legs have brass and porcelain castors. circa 1870, Australian-made. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, furniture, chair, armchair, gentleman's chair, lady's chair, leather upholstery, buttoned upholstery, living room furniture, lounge room furniture, formal furniture, domestic

Single sheet pamphlet/flyer re Complimentary Concert and Presentation to Mr H G A Winkelmann, Payne's Theatre Royal, Bairnsdale Wednesday March 30 1898. Programme (songs and piano solo) including song ''Gondola Dreams'' sung by Mr Bush. Presentation to Mr Winkelmann by Dr Duncan. Tickets - One shilling. Printer: Vogt, Bairnsdale. (Two copies in similar condition).person, individual, bush collection - personal

This recipe book was produced by the Mt Beauty Kindergarten Management Committee to commemorate the Kinder's 40th birthday in 1992.The Mt Beauty Kindergarten was established by the SECV during the construction of the Kiewa Hydro Electric Scheme. Spirax loose leaf recipe book with black spirax spine. Yellow cardboard cover with plastic overlay. It includes diagrams/drawings and each of the 8 sections is divided by coloured cardboard. It has 140 pages including the covers. A5 sizeOn the inside front cover "To Dear Nana & Grandad / with lots of love / for Christmas 1992 / Heather. / Hope you like my Kinder / Cookbook. I have a / drawing of me in it.mt beauty kindergarten, recipes, cooking

Sent to Dorothy Davidson from Charles Sands from TB Signal School, Sutton Veny, England, Colour postcard showing face of young girl with a flower in her hair. Also message on reverse side dated VTMH05479.1aLOVING BIRTHDAY GREETINGS May every gift thats sweet and fair On this bright Birthday you share, And life be like a summers day Sunshine and roses all the way ww1