These badges appear to have been issued as part of Wattle Day celebrations in the period 19910 to 1919. The use of wattle as an Australian symbol was strong during the pre- Federation and Federation days and was particularly promoted by the Australian Natives Association, a prominent campaigner for Federation. Wattle Day was established in Melbourne, Sydney and Adelaide in 1910 and the wattle symbol was a strong one for servicemen serving overseas in World War One and wattle badges and pins were used to raise funds for funds such organisations as the Red Cross.These badges are of interest as an example of the strong national sentiment engendered on Australia by World War One..1 circular metal concave badge featuring a cream map of Australia with dark green outline. An image of wattle flowers and leaves is in the centre of the map. Surrounding the map is a pale green border with text. The edge is dark green. It has a pin clip on the reverse. .2 As above .3 As above .1 WATTLE DAY .2 WATTLE DAY .3 WATTLE DAY

Ron White's Collection. Possibly a gift as this type of container was popular.Ron White. See KVHS 1282Round pale green 'pumpkin' shaped porcelain container decorated with 'hand painted?' red, blue, yellow flowers and green leaves. The lip & handle are steel. The lid is pewter with a decorated ring on top. The steel wire handle is vertical then bent to join at the centre. The bends have decoration on their inside.Nilron white' collection, porcelain container

Detaching Hook used in a gold mine. Used to detach the cage from the cable if the winder doesn't stop winding as the cage is being brought up Previously labelled #146 from mechanics Institute Eaglehawk. Consists of three large steel leaves bolted together. 35cm x 20cmcottage, miners

B/W. Engine G41, showing the sign "Puffing Billy Preservation Society, Beech Forest, 21-11-59", leaves the balloon loop at Beech Forest Railway Station, with guard and child hanging from the engine. A number of people are in the area, particularly two on top of a stack of timber. beech forest; railways;

Leslie van der Sluys (1939-2010), an Australian artist - painter and printmaker - was born in Victoria. He grew up in Mary Street, Kew with his family before moving to Deepdene. His sister Robin Kelly (nee Vandersluys) donated this artists' linocut to the Kew Historical Society as part of a larger collection in 2018.Original linoleum block of Kookaburra and Waratah, 1982, by the Melbourne artist Leslie Van Der Sluys. The block is broken, preventing its use for further editions of the print. The incised linoleum block shows the reverse of the finished print. The design is of a kookaburra, in profile perching on a Waratah with eucalyptus leaves at the top.leslie vandersluys, robin kelly collection

Presented "In Appreciation of Service/ rendered in the/ Second World War 1939-45".Certificate - appears to be an original certificate on thick paper which has been laminated. Red and dark blue print on beige background surrounded by colour illustrations - red, white, and blue flag, the Australian Coat of Arms; Navy, Army and Air Force badges, laurel leaves and scroll work.Certificate presented to "LAC E.R. Bassett" by the "Citizens of California Gully".certificate, ww2, raaf, lac e.r. bassett

Also enlargement 17 x 25.5 cmBlack and white postcard in memory of six crew of fishing boat Orme lost on 15 June 1909 between Lakes Entrance and Mallacoota. Compilation shows images of six men and the Orme surrounded by ivy leaves. Background behind sails has been painted. Lakes Entrance VictoriaIn memory of crew of the 'Orme' who were lost on 15 June 1909 between Lakes Entrance and Mallacoota Inlet.ships and shipping, shipwrecks, waterways

This medallion was issued to surviving members of the Defence Force who served on the Gallipoli Peninsula, or in direct support. NOK or other entitled persons can aapply to receive the medallion on behalf of the relatives.The medallion is to be issued to ANZACs who were at Gallipoli between 15 April 1915 and the final date of evacuation in January 1916.Round medallion, bronze in colour, crown on top and ANZAC inscribed on the bottom of medallion. There is a lapel badge "A". The medallion is cast in bronze and the lapel badge will be a metal of bronze colour.Obverse of medallion depicts Simpson and his Donkey, lower border is a laurel wreath above the word ANZAC. The reverse shows a map in relief of Australia and New Zealand superimposed by the Southern Cross the lower half is bordered by the New Zealand fern leaves. Inscribed J.C. Martin.anzac, medallion, gallipoli, commemorative

This shield was awarded in 1909 by the Rifle Clubs of South Western Victoria for a rifle-shooting competition. Rifle Clubs operated in Warrnambool from 1860 and possibly earlier and in 1904 a union of rifle clubs in the Warrnambool district was formed - the South Western District Rifle Clubs' Union. Edward Geary was a member of the Mounted Rifles, G Company in the 1890s and served as a sergeant in the Boer War, 1899-1900. He was commended by the founder and commandant of the Victorian Mounted Rifles, Colonel Tom Price, for his bravery in South Africa rescuing wounded soldiers under heavy fire. After the Boer War Geary continued to serve in the Mounted Rifles local unit (later called Australian Lighthorse). He was also a long-time member of the Warrnambool Rifle Club and won this trophy as a member of a Lighthorse unit. This shield is of interest as an example of the early 20th century trophies awarded by the Warrnambool district Rifle Clubs. Gun Clubs and Rifle Clubs have been existing in the Warrnambool district since the 1860s. This is a small wooden shield, lightly polished on the front surface. It has silver-coloured metal plates attached by metal pins to the front of the shield in the form of a scroll, two fern or laurel leaves, printed information and a crown with two crossed rifles. At the back is a metal clip to enable the shield to stand up. 'The Warrnambool Citizens Challenge Shield for Competition by Teams, 1909, of Rifle Clubs in the S.W. District of Victoria won by No.1 Sq. XI, A.L.H. Handicap 65, Total Score 579, Arm. Sgt. E. Geary 88'warrnambool rifle club, edward geary, south western district rifle clubs union, warrnambool history

This is a photo of one of a series of wildflower paintings by Henrietta D'Alton. This is one of twelve separate original wildflower paintings mounted within one large frame (this one is the larger centre painting). Beneath the frame in its current (2010) location in the Halls Gap Hall is a plaque which reads "Henrietta D'Alton (1836-1922). This collection of wildflower water-colours won an award at the Colonial & Indian Exhibition of 1886 in London".This is a photo of a painting of a spray of flowers and leaves. There are red flowers in the centre; yellow/red "pea" flowers and white flowers on the upper left, with white, purple and one small spray of yellow flowers beneath them and white flowers and green/red "bells" on the upper right with white flowers beneath them.painting, floral

Colored photograph of interior showing portions of five photographs on wall behind two chairs and jug containing gum leaves and flags. Central frame is gold coloured. Inscriptions: on back - 'Australia Day Celebrations, Dudley House, 1993', 'Agfa, quality paper, made in Germany', 'snap 1607 NNNA'buildings, dudley house

2 small off white wedding invitation cards and envelopes. The edges are pattern cut and they have 'Marriage' printed in silver. It has silver bow and ribbons underneath. Around the word are embosed leaves and flwoer stems. Silver printing on card insert. Card and insert held together with white cord.British Manufactureperson, greeting cards, malone collection, malone collection, invitation cards

White singlw card with Gold border on three sides and a white border. Beside the white border is a pink/yellow weaved area which extends slightly to the other 3 borders. There is abunch of 3 daffodils and leaves leaning on a blue border. In the bottom right corner is 'With best Wishes' printed in gold.person, greeting cards, malone collection, malone collection, greeting cards

Document. Greeting Cards. Small, single white card with a brown basket of pink roses in the bottom left corner. The basket has a blue ribbon tied on the handle. At the top are stems with leaves which have 6 flags standing among them. Underneath on an angle, printed in blue is: Sweetheart mine.person, greeting cards, malong collection, malone collection, greeting cards

Document. Greeting Cards. Beige coloured card with a green & brown sketch drawing of 2 trees, one with and one without leaves. On the left is: All Sincere Good Wishes. To the left and underneath are straight lines and scrollwork. Edge of card is ripple cut. Card & insert held together with a tan cord.person, greeting cards, malone collection, malone collection, greeting cards

Clothing. Cream coloured triangular ladies silk scarf. Mid blue border on two short sides with pattern of triangles and vine. Cream coloured centre has printed pattern of vines and leaves. Long edge of scarf is a raw edge that has been over locked. Old box 573.costume accessories, female, triangular silk scarf

"The fist references the Black Lives Matter movement and also represents the strength of Indigenous peoples all over the world and symbolises solidarity and justice for everyone affected by systematic racism. Bunjil (wedge-tailed eagle) is flying high on the building. He is the creator spirit for Wurundjeri people who looks over us and protects us. Bunjil represents healing and power to our people. The blue circles and lines represent revival and waterways; in particular, they depict the Birrarung (Yarra River), which is very significant for the Wurundjeri people. Our people are known as the Manna Gum people. The leaves in the artwork highlight Wurundjeri people and their Country. These leaves also represent the cleansing of negative spirits. The Manna Gum leaf is also an important symbolic offering in our traditional Welcome to Country ceremony. Leaves are offered to visitors as they are granted safe passage through our land. They are made welcome to everything from the tops of the trees to the roots of the earth. We ask that they take care of the land, plants and animals and to respect the protocols and rules of the Traditional Owners whilst on our Country."In 2020 Council declared its support for the global Black Lives Matter (BLM) movement. In consultation with Yarra City Council's Yana Ngargna advisory group a motion was prepared and passed unanimously by all Councillors. A number of actions were generated from this decision; one of which was for Council to commission a large-scale mural that aligned with the movement. Emerging artist Ky-ya Nicholson-Ward, a proud Wurundjeri, Dja Dja Wurrung, Nguarai Illam-Wurrung, German and Irish woman, created the mural installed on a building in Peel Street Park, Collingwood. Selected by Council's Yana Ngargna, Black Lives Matter Working Group the artwork identifies the cultural importance of the local area to the Wurundjeri Woi Wurrung people as the Traditional Owners. With a strong focus on Aboriginal identity the mural outlines the local context of the Black Lives Matter movement, which is connected to racism, policing of Aboriginal and Torres Strait Islander peoples and associated deaths in custody. The artwork acknowledges the ongoing challenges faced by Aboriginal community members and their struggle to survive white systems, policies and institutions. Ky-ya's mural tells the story of Aboriginal resilience, strength and self-determination; and will support the process of healing. It is a celebration of the local Aboriginal and Torres Strait Islander community; the significant Aboriginal history of Fitzroy, Collingwood and surrounds; and community's continuing cultural connection to the area. Importantly, this artwork provides a platform to educate a broader audience about the local context of the Black Lives Matter movement and Aboriginal deaths in custody. The mural will activate this site, enliven the area, promote inclusion, incite conversation and contribute to the creative capital of this locale. A welcoming environment for Aboriginal and non-Aboriginal communities.Aboriginal Lives Matter Ky-ya Nicholson WardOn a black background a hand fist (strength, solidarity and justice) is placed at the centre of the building; Bunjil (wedge-tailed eagle) is depicted flying high on the building; blue circles and lines represent revival and waterways (Birrarung-Yarra River) and the leaves in the artwork highlight Wurundjeri people (cleansing of spirit and welcome to Country)The artist name 'Ky-ya Nicholson Ward' painted in white, low right of the wall facing into Peel Street Park. black lives matter (blm) movement, wurundjeri woi wurrung, bunjil, identity, birrarung, country

Made by internee at Camp 3, TaturaHandmade wooden wall plaque. Two small pin holes at the top with length of cotton threaded through as hanging device. Adhered to plaque :handcarved white, yellow centred flower in middle and 'banner' at top with, in German script, two words, translating as "love me". Painted leaves on plaque in green.Wied, Nellyplaque, wood, bissinger g, wied k and n, camp 3, tatura, ww2, handcrafts, woodcarving

Chris. Christiansen was the photographer in Sunbury from 1892 to 1916. St. Andrew's Church in Sunbury have organised an annual flower show for many years and it is held in the Sunbury Memorial Hall.A black and white photo of a flower show mounted on a cream frame. Flowers and wreaths are displayed on two raised shelves along the wall on the RHS and there are palm leaves in the foreground. There is another display across the back wall. The cream mounting has been cut across the top and there is fine embossing around the photo.CHRISTIANSENflower shows, sunbury, shows and exhibitions, christiansen, chris., photographers, memorial halls, churches, st. andrew's church, george evans collection

Colour photograph stuck to a heavy paper card. Christmas themed card with holly berries and leaves. Peter Ellis school children. Inside of card is a thank you letter from Flora Hill Secondary College thanking Peter Ellis for his Contributions. Ernie Fleming. Principal team 2004.photo, group, flora hill secondary

Beige, linen note holder, embroidered with blue blue flowers with yellow centres and green leaves and the word "Notes" above the flowers. The holder is edged with narrow blue bias binding and a loop for hanging. It also has a 1 cm wide cardboard strip as a stiffener across the top, stitched into place.holders, note accessories

BHS CollectionSmall metal jug (possibly made of pewter). The jug has a decorated handle. The lid has what looks like a bird of prey, on three leaves, a snake is sliding out behind the bird. On the bottom what's looks like an H has been scratched on. From George Harris estatedomestic equipment, containers, jug

Hand written certificate of appreciation presented to P. H. MacGillivray, Resident Surgeon, Bendigo Gold District General Hospital from the patients upon his resignation. On stiff paper with a hand painted border of leaves, flowers and patterns in blue, green, yellow and pink. Markings - Sandhurst October 1873.person, individual, paul howard macgillivray

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath, peacock statue, loch ard peacock, majorca peacock

Black sewing machine and cover. Model A6? Vibrating shuttle. Serial no. S907389. Machine has coloured decorations of flowers and leaves. Set on wooden base with inlaid decorated edge. An equipment drawer contains instructions for use of machine, attachments, needles needle threaders and five spools, one empty.'Freya'domestic items, sewing, textile machinery

Document. Malone Collection. White folded card with gold border top, bottom and right side. The front has been folded back and the left edge has been cut along and between the ivy leaves. A large gold ivy leaf in the centre has been cut out and extends past the fold. The ivy leaves and stems are bordered in gold. Over the large ivy leaf is a bunch of small blue flowers and one pink one. There are some small blue flowers along the bottom edge. When the card is opened, on the right side is another bunch of small blue flowers and one pink one with some buds. There are two gold flying about the flowers.Raphael Tuck & Sons, Limitedperson, greeting cards, malone collection, malone collection, greeting cards

This wedding dress and headpiece were worn by Emily Elizabeth (Betty) Cock (1907-2001) when she married Euston Murray Nutchey at St Andrew's Church, Brighton, on 28 April 1938. The bride's great-grandmother, Emily Cock (nee Smith), was married in the same church 69 years earlier; Emily's dress is also in the Brighton Historical Society collection. The dress was made by Melbourne dressmaker Beatrice Cook, with distinctive blue beaded panels worked by Betty's younger sister Margaret (1915-2006) to match the wedding's blue-and-pink colour scheme. The dress was accessorised with a pale blue tulle veil and a bouquet of blue hydrangeas, delphiniums and pale pink roses.Satin dress cut on the bias, originally ice-blue, now faded to cream. The dress features a long train and broad v-neck. The bodice and waist are softly ruched and gathered on either side of a finely beaded centre panel running from the neckline to the hem. The beadwork features a design of small cream-coloured leaves winding between large stylised blue flowers and leaves, all bordered with silver beads. Full-length sleeves are slightly puffed at the shoulder, narrowing to a close fit, with beaded cuffs matching the centre panel. The dress is accompanied by a matching blue, cream and silver beaded coronet or headpiece; this was originally worn with a pale blue tulle bridal veil.Label, woven mauve on beige silk, centre back: Beatrice Cookbetty cock, betty nutchey, emily elizabeth cock, emily elizabeth nutchey, euston murray nutchey, beatrice cook, wedding dress, st andrew's church brighton, 1930s, frances margaret cock, frances margaret ward