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Kyneton Fire Brigade
Memorabilia - Trophy
Fire Brigade Trophy - no inscriptionPart of Kyneton Fire Brigade trophy collectionSilver teapot decorated with floral pattern with arms to fit matching standkyneton fire brigade, fire brigade demonstrations, country fire authority, trophy -
Kyneton Fire Brigade
Memorabilia - Trophy
Fire Brigade Trophy - no inscriptionPart of Kyneton Fire Brigade trophy collectionSilver biscuit barrel. Lid integrated with handle. Body and lid heavily decorated with floral motifskyneton fire brigade, fire brigade demonstrations, country fire authority, trophy -
Kyneton Fire Brigade
Memorabilia - Trophy
Fire Brigade Trophy - no inscriptionPart of Kyneton Fire Brigade trophy collectionSilver teapot with handle above . Centre of handle is plastic. Two arms each side for resting on stand.kyneton fire brigade, fire brigade demonstrations, country fire authority, trophy -
Kyneton Fire Brigade
Memorabilia - Trophy
Fire Brigade Trophy - no inscriptionPart of Kyneton Fire Brigade trophy collectionSilver teapot stand with four legs. Filigree decoration at top of bracket. Separate oil container fits into base. kyneton fire brigade, fire brigade demonstrations, country fire authority, trophy -
Kyneton Fire Brigade
Memorabilia - Trophy
Fire Brigade Trophy - no inscriptionPart of Kyneton Fire Brigade trophy collectionSilver teapot decoration on lid and top section of pot. Lid surmounted with acorn as knob. Decorative handle with centre piece of turned wood. Four arms that link to stand. Card inside teapot : "UNDER THE PATRONAGE OF HIS EXCELLENCY / THE EARL OF HOPETOUN / Country Fire Brigades Demonstration / WARRNAMBOOL / 6th, 7th & 8th March 1894 / SECOND PRIZE / PRESENTED BY ??? Hose (?) Race for 4 Men kyneton fire brigade, fire brigade demonstrations, country fire authority, trophy, warrnambool -
Bendigo Military Museum
Book - BOOK WW1, The All Australia Memorial, 1917
The All Australian Memorial (Victorian Edition) A Historical Record of National Effort During The Great War. Australians Roll of Honour 1914 - 1916, Heroes and Helpers.Hard cardboard cover, black buckram, gold print on front & spine. Australian Military Forces badge illustrated on front. 158 cut, gold page edges, beige paper. Black / white / sepia photos, drawings, maps, portraits, etc. Many photos mounted on cardboard mounts. Fold out photos & maps. Fly leaf & end papers are dark green. Some photos missing. Inscription stamp.Inscription on front end paper handwritten in blue ink: “Desmond V B?er 146 Queen Street Bendigo” Title page: “RSL stamp”book, memorial, all australian -
Montmorency/Eltham RSL Sub Branch
Weapon - Scabbard for German Bayonet, WWI Scabbard
WW1 German steel scabbard for the 1898 German Bayonet. Painted blackNo inscriptions -
Phillip Island and District Historical Society Inc.
Photograph, Mr George Cox, fisherman, Cowes
Part of a collection of 'Rose & Valentine' series of Post Cards. Copied by John Jansson 1984B&W postcard. Photograph of Mr George Cox, an elderly fisherman sitting outside his hut, which was near the end of the Cowes Jetty (East).No Inscriptionslocal history, photography, photographs, postcards, local identities, black & white postcard copy, george cox, fisherman, jetties, cowes, phillip island -
Ringwood and District Historical Society
Photograph, Ringwood Elderly Citizens Club, Ringwood East early 1970
Black and White Photograph. Date derived by comparing to later photo of same buildingNo Inscriptions. -
Ringwood and District Historical Society
Photograph, Ringwood State School No.2997, Maroondah Highway, Ringwood (corner of Ringwood Street) - c.1900
Sepia Photograph, also B&W large print. Mr. Hocking (left), was Headmaster 1898-1917.No inscription -
Flagstaff Hill Maritime Museum and Village
Functional object - Portmanteau
The etymology of the word portmanteau: A portmanteau was a travelling bag used as a mailbag. During the eighteenth and nineteenth centuries, both newspapers and letters were transported in these leather mailbags that opened into two sections. A portmanteau is a word created by the blending of two other words in terms of the sounds and meaning. Portmanteau itself is a portmanteau; made up of the French ‘porter’ meaning ‘to carry’ and ‘manteau’ meaning ‘cloak’. The other meaning of this word is ‘a travelling case or bag' but was coined by Lewis Carroll with its new meaning in 1882. History: English merchant Thomas Witherings established mail routes throughout Europe in the 1620 s. He drew up a proposal in 1635 for an English mail system based in London in which portmanteau (containing 2 leather bags lined with cotton) could travel to European towns with sealed bags of mail for protection against spies. The system was put into motion and some 26,000 letters were mailed safely and unopened between London and European towns each week. In the nineteenth century, the official portmanteau was used to carry the mail, letters and newspapers on Americas New England stagecoaches that travelled the postal routes. Before 1789 newspapers were mostly excluded from the mail and the official portmanteau. After the first United States Congress (1789–1791) the postmaster general allowed printers free postage to communicate reports and articles of Congressional informational newspapers with other publishers in other towns and cities for distribution. Example of a mid-20th-century leather bag not connected to a person of significance from history or a historic event. The significance lies in the historic social aspect of this type of bag and how it got its name. This type of bag was popular from the mid 19th century for personal use and fell out of Portmanteau soft leather bag with lock, leather handles (one broken) and with metal plate on front.No inscription flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Dutch Australian Heritage Centre Victoria
Breadbin (broodtrommel), mid-20th century
A common item in the kitchen. Breadbins held a staple food item for breakfast/lunch. The need to have a enough bread to feed the family for a number of days.White enamelled metal bin with hinged lid. Handle on top of the lid. Basic lock with a twist key. The lid has a dark blue lining on the edge. The lid also features a series of 19 ventilation holes along its back No inscriptions -
National Wool Museum
Textile - Blanket
Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket. Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized cream blanket with watermelon and mint stripesNo inscriptionwool, blanket, blanket fever, no label -
National Wool Museum
Textile - Blanket, 1960s
Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket.Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized, checked blanket, brown, blue and creamNo inscriptionwool, blanket, blanket fever, no label -
National Wool Museum
Textile - Blanket, 1960s
Collector says: As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket."Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized multicolour checked blanketNo inscriptionwool, blanket, blanket fever, no label -
Sherbrooke Foothills Historical Society
Upper Ferntree Gully and the Belgrave Line rolling stock and buildings
inscriptions -
Tramway Heritage Centre
Photograph Album (part of), Ray Pearson's Photo Album - Trams of Victorian Railways, Ballarat, Bendigo, Geelong
Page 2 of Ray Pearson's Photo Album. Brown card page with two photographs (landscape format) placed on page with plastic photo corners. The bottom photograph also has decorative metallic card photo corners beneath the newer plastic ones. Both photographs depict trams in streetscapes. The photo corner plastic is perishing and one photograph (top left) is loose on the page. Hand written inscriptions are written under the both photographs and also appear on the back of the loose photograph. One inscription beside the bottom photo is scribled out. Hand written inscription in biro under photographs. Top photo: VICTORIA ST TERMINUS Bottom photo: LYDIARD ST BALLARAT Beside bottom photo, scribbled out: SORRENTO STEAM TRAM To back of loose photograph - In top left corner with an underline: 8 To centre: Victoria St Terminus / Ent Route to Sardess / 20th Aug 1971 -
Flagstaff Hill Maritime Museum and Village
Tool - Bevel gauge, Mid-to-late 20th century
The double bevel gauge is used as a drawing tool, to measure, set angles and transfer angles. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.This double bevel gauge has three lengths of flat brass that swivel at the joints. The long piece has curved ends and indented arcs, one on each side, along the length. The short pieces have diagonal ends. The centre length has a hole through the middle. The short pieces have a screw with its head above the flat brass. The tool has an inscription. It once belonged to shipwright Laurie Dinks.Bevel marked "L DILKS" "G. M."flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, bevel, drawing tool, measuring tool, laurie dilks, l dilks, port and harbours melbourne -
Christ Church Anglican Parish of Warrnambool
Memorial Window: Susan FLEETWOOD, "Saint Mary"
The inscription tells of the person, Susan Fleetwood. That Susan Fleetwood was the daughter of William Rutledge, and the wife of Thomas Falkner Fleetwood places her with two men of historical importance in Warrnambool and district.Stained glass lancet window, west wall, north nave, second light from the left in the group of five lights, Depicting the Blessed Virgin Mary facing towards the central light of the Crucifixion, the predominant colours are blues and purple/magenta. Towards the top of the design is an angel holding the Alpha symbol. At the peak of the design is a golden crown. To the Glory of God, and in loving memory of/ Susan, daughter of William and Eliza Rutledge/ of Farnham Park Dennington, and wife of/Thomas Falkner Fleetwood/ born at Port Fairy, July 9th 1848, Entered into rest April 18th 1932./ By her devoted affection to her family and friends, and/ her generous help to all who were in need and distress/ she won the love and gratitude of many./ "Then are they glad because they are at rest, and so/ He bringeth them into the haven where they would be."/ This window is erected by her Son and Daughter.rutledge, fleetwood, st mary -
Federation University Historical Collection
Booklet, United Services: A Story Book with Eighteen Coloured Plates, c1932
The Geoff mentioned in the inscription is Geoff Biddington.Children's book with colour and black and white illustrations.Inside front cover "To Geoff With Best Wishes From Aunty Vi 1932army, airforce, navy, armed service, royal marines, sailors, naval aircraft carrier, signalling, submarine, royal horse guards, military band, drum major, argyll and sutherland highlanders, royal artillery, machine gunners, tanks, bridge building, the piper, whippet tank, airmen, armstrong whitworth atlas machine, hawlker fury aeroplance, super-marine napier, schneider racing aeroplane, fairet iiif sea-plane, hawker hart day bomber, parachute jumping, schneifer trophy sea-plane, bristol bulldogs, iris flying-boat, geoff biddington, uniforms -
Uniting Church Archives - Synod of Victoria
Photograph, Mr. Harbison, trustee, C. late 19th/early 20th century
No further information other than the inscription.Sepia portrait."Mr Harbison, A Trustee and loyal supporter of the Lower Hawthorn church"harbison, lower hawthorn -
Uniting Church Archives - Synod of Victoria
Photograph, Spencer of Lower Hawthorn Methodist Church
No other information other than the inscription.Mr. Spencer's head and shoulders portrait He is wearing a beard."Mr Spencer the oldest member in Lower Hawthorn & still connected with the church."mr. spencer, lower hawthorn methodist church -
Frankston RSL Sub Branch
Souvenir, Trophy
A trophy in the form of a small replica of an Australian Army 'slouch hat' mounted on a circular stand. The 'slouch hat' is silver plated, has a turned brim on the left hand side and has a 'rising sun' hat badge. The circular stand is made of a light gauge steel which has been pressed in the form of an inverted dish and is coloured with a mid brown finish. There is a silver plated label attached to the dish which has been engraved indicating that this item was originally a trophy (origin unknown). The label has the following engraved inscription "R. Donowa Trophy, 1966, won by, G. Plant."The label attached to this trophy has the following engraved inscription "R. Donowa Trophy, 1966, won by, G. Plant." -
Tatura Irrigation & Wartime Camps Museum
Photograph, Bathurst Goal 1939, 1990 copy
Sketch of Hans Beck by Max Graf; unknown who did other two sketches. Hans Beck, Sydney based wool buyer, interned Bathurst Goal and Camp 1.Square cream board with 3 Black and white photograph of 3 sketches, laminated onto board: a head and shoulders sketch of a man in a suit and tie, drawn by Max Graf (internee), inscription Max Graf 1940; looking into a cell, inscription H M G Bathurst 30 Sept 1939; Sketch of a section of Bathurst goal, inscription Mr H Beck Esq Goal Bathurst A Hall.wool buyers, camp 1, bathurst goal, hans beck, max graf -
Tennis Australia
Racquet, Circa 1920
A wooden, slotted handle racquet. Inscription along neck and stem of obverse: BLUE RIBBON. Inscription across neck of reverse: HARRY C. LEE & CO/NEW YORK. Inscriptions featuring manufacturing and patent details situated along the sides of the stem. Company logo 'LEE' printed on leather and cloth butt cap. Materials: Wood, Glue, Lacquer, Ink, String, Gut, Leather, Paint, Metal, Clothtennis -
Tennis Australia
Racquet, Circa 1928
A wooden, open throat, slotted handle racquet, with a 13 1/2 inch head. Inscription along base of head of obverse: LAKEWOOD. Inscription across base of head of reverse: HARRY C. LEE & CO/NEW YORK. Inscriptions featuring manufacturing and patent details situated along the sides of the stem. Materials: Wood, Glue, Lacquer, Ink, String, Gut, Leather, Paint, Metal, Clothtennis -
Tennis Australia
Racquet, Circa 1928
A wooden, slotted handle racquet. Inscription across throat of obverse: VINCENT RICHARDS/GOOD SHOT! Inscription across throat of reverse: HARRY C. LEE & CO/NEW YORK. Inscriptions featuring manufacturing and patent details situated along the sides of the stem. Company logo 'LEE' is stamped across leather butt cap. Materials: Wood, Glue, Lacquer, Ink, String, Gut, Leather, Metal, Plastictennis -
Tennis Australia
Racquet, Circa 1890
A transitional flat top tennis racquet with a convex throat. Inscription across throat on obverse: ECLIPSE/TRADE MARK/HORSMAN/N.Y. Across the top of the head is a partly illegible inscription, which may spell 'SPECIAL'. Across the length of the side of the stem is the inscription: ORIENTAL/GUT. Ornamentally latticed cuts into the handle around all sides act as the grip. Materials: Wood, Gut, Metal, Lacquer, Leather, Stringtennis -
Tennis Australia
Racquet, Circa 1922
A wooden racquet with a concave throat and an octagonal handle. Throat on obverse features decal inscription: HARVARD. Throat on reverse features a decal of a crowned garter with the inscription: E. KENT. Company logo also features on blue butt cover, impress in gold. Handwritten inscription across handle on reverse reads: WILMA D. Materials: Wood, Glue, Lacquer, Metal, Gut, Ink, Leather, Paint, Clothtennis -
Tennis Australia
Racquet, Circa 1930
A wooden racquet with a split open throat, and long handle. The base of the head on the obverse features decal inscription: WOVEN-WOOD. The short stem on the reverse features a decal of a crowned garter with the inscription: E. KENT. Patent information across left side of stem. A hand poked, then inlaid inscription across the handle on obverse: CED. Materials: Wood, Glue, Lacquer, Metal, Gut, Ink, Leather, Cloth, Stringtennis