Presented to players in the Greensborough Cricket Club who were runners-up in the Double Wicket cricket competition during the 1979-1980 season.One of a limited number produced and engraved for this purpose. Owned by player Doug Hall.Pewter mug on a wood base with square pewter and wood handleEngraved on cup: G.C.C. Double Wicket Championship. Runners up. 1979/80. Donated by Sportsfield Bundoora. On base: Selwin Pewter.doug hall, greensborough cricket club

Varnish wood offering plate with a long turned wood handle.offering plate

University of Ballarat is a predecessor institution of Federataion Univerity Australia.Laser cut steel University of Ballarat logouniversity of ballarat, university of ballarat logo, southern cross flag, metal plaque, sign, marketing

.1] Elizabeth Chatham was a past student at Loreto School and was president of the Past Pupils' Association. A gift of $2000 was presented to Loreto Abbey and to Loreto Convent. .2] In 1993, Elizabeth Chatham was elected to the general committee of the Ballarat Golf Club at its 98th AGM - first female to do so. The Golf Club was formed in 1895.Articles cut out from Ballarat Courier.elizabeth chatham, loreto, past pupils' association, loreto abbey, loreto convent, ballarat golf club, agm, general committee

Slide. Ballerstedt's Open Cut at Victoria Hill.mine, gold, ballerstedt's open cut., bendigo mines-jack hattam collection.

Slide. Rae's open cut at Victoria Hill.mine, gold, rae's open cut, victoria hill., bendigo mines-jack hattam collection.

Cut glass container used for salt at the tableglass technology, glassware, domestic items, table setting

Hat Pin with clear cut glass topcostume accessories, hat accessories

Beer Bottle with top cut off and engraved.Around the bottom of bottle-THIS BOTTLE ALWAYS REMAINS THE PROPERTY OF THE MANUFACTURERS BOTTLE CO. VICTORIA PTY.LTD. Engraved on side of bottle-The "Lady Blamey" 9th Aust Div.- April 1940 - 80 7 Div Cav Regt 8 " " " 9 " " " 9 " " C'do

Newspaper article about complaints raised by a lobby group regarding 90 hedges that overhung footpaths and were dangerous for the vision impaired. Council implemented a new policy and the group dropped its equal opportunity complaint against Stonnington Council.1 newspaper article cut from a newspapernon-fictionelizabeth maxwell, neil maxwell, stonnington council, advocacy

Newspaper interview with Neil Maxwell about his white cane and attitudes towards it, and information about White Cane day and what others can do.1 newspaper article cut from a newspapernon-fictionelizabeth maxwell, neil maxwell, white cane day

Newspaper article about Neil Maxwell and his involvement with Malvern's Disability Access and Information Services (DIAS). The work of the group, which includes approaching the council about the change rooms at Harold Holt pool and need to upgrade Malvern footpaths, and details on when the first meeting will be held for 1995.1 newspaper article cut from a newspapernon-fictionelizabeth maxwell, neil maxwell, stonnington council, advocacy

Newspaper article (Aussie Post, February 21, 1998) about Neil Maxwell and his involvement with Malvern's Disability Access and Information Services (DIAS), including issues with overhanging hedges. Article also includes quotes from Murray Mountain, as a consultant with Access Australia.1 newspaper article cut from a magazinenon-fictionelizabeth maxwell, neil maxwell, stonnington council, murray mountain, advocacy

A hand written list of the members of clubs and groups who ordered copies of 'There Goes a Man' which reveals that only a proportion of Legatees purchased the book. Out of a total of 4515 Legatees, 998 ordered a copy. There is no indication of who compiled the list. See also 00876.Reveals that by no means every Legatee supported the project sufficiently to buy a book. Part of the story of how the book 'There goes a Man' came to be created.Ruled white page cut from a notebook.Handwritten in ink and pencilsavige book, biography

Illustration or photograph looking at the Grenville St tram terminus. One of the trams is a Sebastopol-type tram No 22. Has the large shelter in the background and another tram in the view. Taken c1913, following the introduction of the Sebastopol-type tram. From a Rose Series postcard - Rose Number 1710. Note the Mechanics Institute advertising sign on their building advertising the institute rather than a company. The 8-hour monument at the end of the central median can be seen. On the rear is an illustration of Shoppee's Square in the median strip. See item 4083 for a postcard.Yields information about the operation of ESCo trams in Sturt St and in particular the Sebastopol type.Black and white Illustration cut from a journaltramways, trams, sturt st, esco, grenville st, sebastopol type, tram 22, shoppee's square

Illustration of the intersection of Sturt St and Lydiard St Nth with the Ballarat Post Office being the primary feature. Has an ESCo tram turning from Sturt St into Lydiard St. Shows the trackwork at this location and has several horse-drawn vehicles in the photograph. Note the building in the road space on the left-hand side of the photograph. The caption along the bottom edge "View from Lydiard Street South looking across Sturt Street to the Post Office and Lydiard Street North to the Railway Station. On the rear has an item about Ballarat itself and its history. See also item 6245 for a postcard of this view. Yields information about the post office corner at the time of the opening of the tramway and demonstrates printing techniques.Black and white Illustration cut from a journaltramways, trams, sturt st, esco, post office, lydiard st north

Illustration or photograph taken from the Town Hall, looking North East towards Black Hill. The Post Office, railway yards, Sturt St buildings are in view. Has a tram eastbound at Lydiard St and another waiting to depart Grenville St. There are two horse-drawn cabs in the view. The road surfaces have marks - either from being watered or graded. On the rear is a photograph of R O Henderson's New Furniture warehouse, View Point Bendigo. Yields information of Ballarat c1910.Black and white Illustration cut from a journal"1912" in pencil alongside the image title.tramways, trams, sturt st, esco, grenville st, bridge st, lydiard st north, black hill, post office

People in ancient civilisations smoked pipes during various healing and religious ceremonies. By the end of the 15th century, after tobacco was discovered in America, smoking had become a common pastime for everyday people. From that time, tobacco pipes were fashioned from many materials ranging from gold and silver to corn cobs and clay. A popular material was meerschaum, an expensive, soft, white stone from Turkey. In the 1820s, French craftsmen carved pipes out of the wood from the growth on the root of a Mediterranean White Heath. This material became increasingly popular due to its durable, heat-resistant qualities. The growth was called ‘bruyere’, now anglicised to ‘briar’ wood. Bakelite was the first plastic made from synthetic components. It was developed by Leo Baekeland of New York in 1907. The material was heat-resistant and could be moulded into any shape and hardened to keep its shape. This invention greatly impacted the industrial world and the products available to the domestic market, making more objects available at reduced cost.This smoker's tobacco pipe symbolises one of the leisure activities of the early 20th century that has continued into modern times. The shape and materials of the pipe represent a point in time in the evolution of tobacco pipes, including the revolutionary impact that the 1900s invention of Bakelite had on objects available in the domestic and industrial markets.Smoker's tobacco pipe; a round brown wooden pipe bowl joined to a dark brown mouthpiece. The French pipe's bowl is made from briar wood, and its mouthpiece is Bakelite. There is an inscription on the pipe."French Briar Pipe"warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, smoker's pipe, tobacco pipe, briar wood pipe, wooden pipe, smoking, french pipe, bakelite, smoker's equipment

The main gate to the former Gaol is a monumental work. The arch keystone facing Lydiard Street is beautifully executed. The gates and the iron lacework over the top are distinctive.The arch under the flyover is also distinctive; the basalt keystone appears to have been cut from one single block of stone. Most of the gaol has been demolished to allow the School of Mines Ballarat to expand onto the site. The remaining structures at the site include the main gate, warden's residence and governor's residence. These buildings are now used by Federation University.The main gate to the former Gaol is a monumental work. The arch keystone facing Lydiard Street is beautifully executed. The gates and the iron lacework over the top are distinctive.The arch under the flyover is also distinctive; the basalt keystone appears to have been cut from one single block of stone. gate, gaol, arch keystone, lydiard street, iron lacework, flyover, stone, basalt, warden's residence, governor's residence, ballarat school of mines, federation university, former ballarat gaol

The main gate to the former Gaol is a monumental work. The arch keystone facing Lydiard Street is beautifully executed. The gates and the iron lacework over the top are distinctive.The arch under the flyover is also distinctive; the basalt keystone appears to have been cut from one single block of stone. Most of the gaol has been demolished to allow the School of Mines Ballarat to expand onto the site. The remaining structures at the site include the main gate, warden's residence and governor's residence. These buildings are now used by Federation University.The main gate to the former Gaol is a monumental work. The arch keystone facing Lydiard Street is beautifully executed. The gates and the iron lacework over the top are distinctive.The arch under the flyover is also distinctive; the basalt keystone appears to have been cut from one single block of stone. gate, gaol, arch keystone, lydiard street, iron lacework, flyover, stone, basalt, ballarat school of minesfederation university, warden's residence, governor's residence

Jet became popular in the Victorian era for mourning jewellery, which became fashionable after the death of Queen Victoria's husband Prince Albert in 1861. Jet is a dense black fossilized wood, almost like coal, and very light in weight. It is easy to cut, so carved well. It became popular in the Victorian era for mourning jewellery, which became fashionable.This jet necklace is typical of the mourning jewellery worn by early settler women in Moorabbin Shire c1900A continuous circular, long, black necklace with small jet beads.Nonejewellery, mourning wear, jet stone, queen victoria fashion, early settlers, pioneers, black clothing, moorabbin mirror, bader fran, rietman august, rennick stefanie, resin jewellery,

The Dunstan Memorial is a minimal form of rough-cut bluestone and sheet granite in memory of Ballarat born soldier, William Dunstan, who served with honour in Gallipoli, WWI. His unit successfully defended a post despite being seriously wounded. He and one mate were the only survivors of the 10 men defending the trench and all were awarded the Victoria Cross. Following the war Dunstan worked as manager and director of the Herald and Weekly Times.The memorial is of historical significance to the people BallaratThis is a minimal form of rough-cut bluestone and sheet granite in memory of Ballarat born soldier who served with honor in Gallipoli. His unit successfully defended a post despite being seriously wounded. He and one mate were the only survivors of the 10 men defending the trench and all were awarded the Victoria Cross. In honour of William Dunstan, VC 1895-1957. William Dunstan was born in Ballarat East and educated at Golden Point State School. Shortly after the outbreak of the First World War, 19 year old Dunstan enlisted in the 7th Battalion, 2nd Brigade, 1st Division of the Australian Imperial Forces. Within 3 weeks he was posted to Gallipoli and was immediately embroiled in the Battle of Lone Pine. Early on the morning of 9th August, 1915, Dunstan and 10 other men were defending a trench captured from the Turks. The enemy launched repeated counter attacks and suffered heavy casualties. Only 3 surviving Australians remained and were rebuilding the blown-up barricade of sandbags when the Turks launched a final vicious assault to regain the trench. Struggling to defend their position, the three Australians resorted to catching the Turkish hand bombs and throwing them back at the enemy or smothering those that landed with Turkish great-coats. Hand bombs killed a 10th defender and wounded both Dunstan and his only remaining companion. Again the Turks were driven back and this time the two wounded Australians were left alone until later relieved and hospitalised. As a result of the intensity of the fighting and the tenacity of the 3 defenders, each was awarded Victoria Crosses for their most conspicuous bravery. Following the war, Dunstan enjoyed a successful career to become the Managing Director of the Herald and Weekly Times. He died in Melbourne aged 62 and is remembered with respect by the citizens of Ballarat.first world war, wwi, william dunstan, conflict, war

Composite photograph from a journal showing five scenes of the equipment and operational facilities of the cable tram system - a power house, Nicholson St workshops paintshop, the iron shop and the wood shop. Includes an image of the grip mechanism.Yields information about the cable tram workshopsComposite photograph of cable tram maintenance facilities and grip mechanism.Melbourne 1 – Power House No. 3 2 – Paint shop – Nicholson St W/S 3 – Grip Mechanism 4 – Iron Shop – Nicholson St W/S 5 – Wood Shop – Nicholson St W/S Copy neg Mark Plummer collections ex late John Alfred collection. cable trams, melbourne, grip, workshops, nicholson st workshops, power house, engine house

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Hand-cut sections of cryptomeria wood make a simple but dignified box for dried noodles. The shop in Akita City that sells this product was founded in 1665. The label, with its numerous seal impressions, has the look of an old-time legal document, and this is fitting, for it is actually the shop's pedigree. It records, among other things, the name of the founder and the fact that the shop, originally located in Inaba, once sold its noodles to the feudal lord of the region by special appointment. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

The wooden patterns are part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. It may fit together with one of the other patterns with a similar outline. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; a pair of blocks that form a rectangle with a carved centre hole and disc shape inside. The block is made from laminated pieces of wood with cut corners. Both sides have four drilled holes in a square configuration but in different positions. The cut faces and the space carved into them are painted red; one piece has two dowel pins that fit into two drilled holes on the other. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912

This ship's nail in a wood sample was part of the construction of the ship SCHOMBERG. About the SCHOMBERG- James Blaine’s Black Ball Line had commissioned the luxury sailing ship, Schomberg, to be built for its fleet of passenger liners The three-masted wooden ship was launched in 1855, designed by the Aberdeen builders to sail faster than the quick clippers designed by North American Donald McKay. The material used for the diagonal planking was British oak with layers of Scottish larch. The Schomberg’s master Captain ‘Bully’ Forbes commanded the ship on its maiden journey between Liverpool and Melbourne, departing on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. After sailing for 78 days she ran aground on a sand spit at Curdies Inlet near Peterborough, Victoria, on 27 December 1835. At dawn on the next day, the ship’s Chief Officer signalled a passing steamer, SS Queen, for help and all of Schomberg’s passengers were able to disembark safely. The passengers’ baggage and some of the cargo were later collected from the Schomberg. Local merchants Manifold & Bostock bought the wreck and the remaining cargo but did not attempt to salvage the cargo that was still on board. They eventually sold it and after two of the men drowned in the salvage efforts the job was abandoned. In 1975, divers from Flagstaff Hill, including former Director, Peter Ronald, explored the Schomberg wreck site and recovered many artefacts that are now on display at the Museum.The ship's nail in a wood sample is significant for its connection with the Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large and fast clipper ship that sailed on the England-to-Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck. The collection is primarily significant because of the relationship between the objects, as together they can interpret the story of the ship, Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be the fastest and most luxurious of its day.Ship's nail in a wood sample. The object was recovered from the wreck of the SCHOMBERG.flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, schomberg, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, ship's nail, ship's wood, wood sample, ship construction

WILLIAM THOMAS SHUFFLEBOTHAM No 2544 enlisted in 5th reinforcements 58th Batt on 11.6.1916 age 32 years. Embarked for England 25.9.1916. Embarked for France 2.1.1917, hospitalised 22.2.1917 with Gastro Enteritis, embarks for France 30.8.1917, listed WIA and missing 25.9.1917 Polygon Wood. Classed KIA by a Court of inquiry in the Field 25.9.1917.Tan wooden frame with carving, glass front, cardboard backing & hanging cord. Sepia photo of soldier in uniform, jacket, trousers, puttees, boots & peaked cap. Flag draped in background.On front: “WILLIAM THOMAS SHUFFLEBOTHAM, No 2544, 5th REO's 58th Batt AIF, Enlisted 11.06.1916, Report KIA 25.09.1917 at Polygon Wood” On back in black biro: “WILLIAM THOMAS SHUFFLEBOTHAM” info. Sticker on back: Lennox Gallery Pty Ltd, C/N 49592photography-photographs, frame accessories, military history-army, shufflebotham

This swagger stick belonged to Private Ernest LUCAS who served with the Royal Defence Corps between 17/6/1907 and 18/5/1919 including the 6th Battalion Middlesex Regiment In the British Army before World War I, swagger sticks were carried by all other ranks when off duty as part of their walking out uniform. The stick took the form of a short cane of polished wood, with an ornamented metal head of regimental pattern. The usual custom was for the private soldier or NCO to carry the stick tucked under his arm. Until 1939 swagger sticks were still carried by peacetime regular soldiers when "walking out" of barracks but the practice ceased with the outbreak of World War II. The 6th Battalion Middlesex Regiment can trace its history back to 7 August 1760 as part of the Middlesex Militia. In 1778 it was titled the 1st East Middlesex Militia. By royal order the regiment was later designated the Royal East Middlesex Militia on 24 April 1804. By 1855 it was using the formal title of "1st or Royal East Middlesex Regiment of Militia". In 1900 the number of regular Middlesex Regiment battalions was doubled with the formation of a new the 3rd and 4th battalions; and the two militia battalions were renumbered as 5th and 6th battalions of the regiment. The unit's standing orders of 1863 record the regimental insignia as being somewhat unusual, in that it did not include standard royal crown, but featured a five-pointed Saxon Crown atop a shield with the arms of the East Saxon Kingdom i.e. three stylised Seaxes hilted and pommeledpLong narrow round cane made from polished reddish/brown wood with brass metal tip and embossed silver topSilver metal top embossed with a crown above a shield inscribed 6th Battalion Middlesex Regtswagger stick, 6th battalion middlesex regiment, private ernest lucas