British war medal from WWI named to H. Carlow 75561Silver medal with two rainbow design ribbon. Back design is of a man on horseback with skull and crossbones at horse's feet. On Front, effigy of King George V.Back: "1914 / 1918" Front: "GEORGIUS V BRITT. OMN: REX ET IND: IMP" Side: "J 75561 H. CARLOW. A. B. R. N."wwi, medal, british war medal, rainbow ribbon

An aeronautical chart is a map designed to assist in navigation of aircraft. Using these charts and other tools, pilots are able to determine their position, safe altitude, best route to a destination, navigation aids along the way, alternative landing areas in case of an in-flight emergency, and other useful information such as radio frequencies and airspace boundaries. World aeronautical charts have a scale of 1:1,000,000 and cover relatively large areas. Orbost Aero Club began in 1969 with Basil Dowie as Chair, David Nixon as Secretary/Treasurer. The group went into recess from 1977-1991 closing in 1997. The mid 1960s were boom years in flying training in Australia and the number of Aero Clubs grew rapidly. The Club played a significant role in the establishment of the small airport at Marlo and in the ongoing operation and development of the airport over the years particularly for patient transfer by aerial ambulance. The Orbost Aero Club Club played a significant role in the establishment of the small airport at Marlo and in the ongoing operation and development of the airport over the years.A laminated map of eastern Victoria. A World Aeronautical Chart. It shows elevations, longitude etc and is designed for pre-flight planning as well as pilotage. Top left hand corner - D.F.N.Nixon VH-FWD 12 Kristine Ct Cheletenham 27/7/87orbost-aero-club aeronautical-map

White cotton pillowcase with embroidered and applique design. In the right hand corner a design in blue and green of birds over scenery and water. In left hand side an appliqued duck in lemon with blue edging and a small design of flowers - blue, pink and yellow and green grass.toys, dolls' accessories

This drawing was produced by Ron Uebergang in 1919 at the Warrnambool Technical School. Members of the Uebergang families have been in the Warrnambool/Allansford area since the early 1850s. Ronald Uebergang (1903-1971) was born in Warrnambool, the son of Ernest Uebergang and Mary Watson. He lived at the family property, Hopkins Hill, and went to Allansford State School and Warrnambool Technical School. He was mechanically-minded, fond of music and dancing and a keen photographer. He married Myra Hall and they ran a dairy farm at Hopkins Hill and later went in for grazing beef cattle. Warrnambool Technical School was established in 1913, firstly at a Timor Street site and later at Caramut Road. Today it is called Brauer College. This drawing is of considerable interest as it was produced by Ron Uebergang. Members of the Uebergang families have been prominent in the Warrnambool/Allansford area since the early days of the district’s establishment. It is also important as a good example of the type of work produced by students from Warrnambool Technical School in its early years. This is a1919 drawing of a Steam Cylinder for a 45 HP Horizontal Engine. The drawing is half the full size of the cylinder. The drawing is on a white card with the sketches done in black and red ink. The card has a heavy black margin around the edges drawn in black ink. The drawing shows a Sectional Plan and a Half Side Elevation with the Cover Plate Removed. The card has the signature of Ron Uebergang. Attached by a metal clip to the card are four pages of measurements and plans of the steam cylinder. These are in black and red ink. Three of these pages have become partly detached. ‘Designed by R. Uebergang’ ‘Drawn by R. Uebergang’ ‘Date 1/12/19’ ronald uebergang, warrnambool technical school, history of allansford, history of warrnambool

Belonged to Jan Prenpaze and donated by her.Winter coat made of grey figured fabric, with black fur collar. Has satin lining and material-covered buttons.Tag says "designed by Wein Fashions of Melbourne" and "Pinguino Italian Fashion fabric".

DICK SMITH System 80 computer system Cream body with brown sides. Black user interface section and cream keyboard. Ventilation slits in back. SYSTEM 80 third generation computer system DICK SMITH designed for Australia

Four page knitting pattern booklet featuring black and white printed graphics and text. The colour cover shows a woman wearing a knitted jumper, with a man on an exercise bike in the background.front: [printed] 898 / PRICE / CODE / C / VillaWOOL Belvedere / Kwiknit / Designknitting, pattern, fashion, knitwear, women, villawool

Had four feet, Now Two Rusty Made of Metal Dome hand Press Hedged Still has Staples insideVelas Trade, park Model "c" Made in England Reg Design NO 813111

Four page knitting pattern booklet featuring black and white printed graphics and text. The colour cover shows a girl patting a dog, the girl is wearing jeans and a pink knitted jumper.front: [printed] 930 / PRICE / CODE / C / VillaWOOL Galaxy / Kwiknit / Designknitting, pattern, fashion, knitwear, women, villawool

John NEELY (1953- ) Born Leavenworth, Kansas, USA John Neely is the Professor of Ceramics at Utah State University. John has studied Ceramics in Japan, and lectured and conducted in workshops, including at the Gippsland Centre for Art and Design. He is an expert in the technology of clay, glaze and kiln firing with a keen interest in pattern and texture. After completing a Bachelor of Fine Art at Alfred Univerity, New York in 1975, John Neely participated in a one year Foundation Fellowship at Tokyo, Japan. The following year he was the recipient of a Rockefeller Brothers Fund One Year Fellowship in Tokyo, Japan. Neely completed a Ministry of Education Two Year Postgraduate Research Fellowship at the Kyoto City College of Fine Arts, Kyoto, Japan and was awarded a Master of Fine Art at Ohio University, Athens, Ohio in 1982. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. Ceramic salt fired pot John Neely from Logan, Utah, USA, who was a guest lecturer at the Gippsland Centre of Art and Design (later Federation University Australia).ceramics, gippsland campus, jan feder memorial ceramics collection, john neely

Located within the heart of the winery, the atrium style Cellar Door was designed by legendary Australian architect; Robyn Boyd and constructed in 1972. Offering views of the century old storage casks and famous dirt floors, the Cellar Door offers an up close experience to the making of our world famous wines.Black and white photograph of the interior of a wine cellar with stacks of wine casks of various sizes. A substantial number of people are in a glassed-in area at the back of the room. Glassed-in area ( cellar door sales area) designed by Robyn Boyd. 1972On back of photo: "S/S [upper case H in a circle] Morris"wineries, north east victoria, wine industry, morris winery, robyn boyd, rutherglen australia, winery, cellar door

The Geelong Glider Club was formed in June 1929 at a meeting held at the Belmont Common hangar of Percy Pratt. The club built a Zogling (Primary Glider) based on plans obtained from Germany and flew it off nearby hills at Lovely Banks and other places in the Geelong region. The checked rudder design (without logo and markings) is evident in a picture of a Geelong Glider Club Zogling flying at Tower Hill near Warrambool, Victoria, at Easter 1931 and this lends support to the conclusion that the rudder was part of the Club’s first glider. The logo and markings appear to be a more recent elaboration to the design. Exhibit is a historical link to the earliest gliding activities of the Geelong Glider Club.Fabric covered wooden framed primary glider rudder with metal levers decorated with silver and dark red checkered design. The item has a cat logo on one side and markings on the other of places where the Geelong Gliding Club flew in its early years.On port side – Cat logo. On starboard side – Geelong Glider Club; and place names including Geelong Aerodrome, Batesford, Ceres, Lovely Banks, Tower Hill, Koroit, Mount Moriac; and years, 1929-1933 australian gliding, glider, zogling, primary glider, rudder, geelong gliding club, lovely banks, tower hill. koroit

CD Rom catalogue of third year, University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) graduating student work, 2001. Interactive macintosh CD Rom, although limited PC versions were available on request. Successfully tested on vintage Macintosh G4 with Mac OS 9.2.2 No student names available on pack, accessible via CD Rom. CD Rom catalogue of third year, University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) graduating student work, 2001. CD Rom printed three colours (white underprint, black and red)university of ballarat, federation university, graphic design, multimedia

4-page Urban Planning/Urban Design/Landscape Architecture guidelines for the design of street furniture, paving treatments and signage elements throughout the railway station precinct.Department of Transport. Aurecon & Grimshaw Architects.

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. Two small round badges. The NSW CWA badge has a light and dark blue design with orange. The Victorian badge has a yellow, green and gold design.On Victorian badge: "VICTORIA/CWA". On NSW Badge: "COUNTRY WOMENS ASSOCIATION N.S.W./CWA".hamilton-smith collection, hamilton-smith, ellwood, charity, volunteer, voluntering, cwa, country women's association, rural, women, women's history, domestic, cooking, food, community

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Tan/Rust-coloured silk bodice and skirt. The silk used in the garment is self-patterned with a leaf design. The bodice has extensive gold and silver coloured glass beading. The silk used in the sleeves of the bodice and the skirt is badly degraded/‘shattered’.australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s, shattered silk

William Turner, a Scottish born free-lance designer, who was contracted to GP&J Baker, painted the image on which the design was based in 1918. Turner had trained as a furniture designer before leaving for London in the 1890s, where he rose to prominence as an Arts & Crafts designer. The bird that gives this design its name is adapted from Robert Havell’s ‘A Collection of Birds of Paradise’, published in 1835, and was a favourite of Victorian chintz designers.“Paradise Bird” has been in continuous production since its creation. The hand-block print, of which these curtains are an early example, was supplemented by a version engraved on copper rollers in 1962, and was updated onto screens in 1982. The curtains have significance to the collection because of their intrinsic value and for the link to one of the historic mansions in the City of Boroondara. The curtains by G.P & J Baker of London use one of the exemplary designs in this manufacturer’s output. The first use of the design was in 1918, following the Great War, and the design is said to reflect the hope for peace which was a feature of the postwar years. The curtains are an early example of the Paradise Bird design, and were block printed. A pair of curtains originally situated in one of the front reception rooms of 'Tourmont' in Balwyn Road, Balwyn (now Fintona Girls’ School). The fabric in the curtains was manufactured by the English firm of GP&J Baker. The textile design is variably named as ‘Paradise Bird’ or more recently, ‘Hydrangea Bird’. Turner’s bird perches in a blossoming branch directly above a woodpecker, which is an attribute of Mars, god of war. Thus the design reads as a symbolic statement where War is reversed and Paradise returns (a hopeful message at the end of WWI). “Paradise Bird” has been in continuous production since its creation. . curtains, fabric design, historic buildings

Promotion for graduating University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) students, 1999. Students listed: Jodie Grixti, Paul Mah, Taneale Hrymakowski, Wesley Towers, Oliver Wilson, Rebecca Carden, Kelly Tame, Paul Scanlon, Hjoerdis Boulter, Glenn Reynolds, Paul Beseler, Mariya Beale, Heath McCurdy, Meg Williams, Sally-ann McMahon, Leon Dwyer, Kate Sumner, Kerrie Still, Melanie Buckingham, Dean Tonkin. Each page features a varnish on white design and student name. Last page includes details and list of sponsors.Promotion for graduating University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) students, 1999. Cardboard CD case and booklet printed in three special colours (black, green and varnish). Refer also to item 29166.2 for screen captures from accompanying CD Rom.jodie grixti, paul mah, taneale hrymakowski, wesley towers, oliver wilson, rebecca carden, kelly tame, paul scanlon, hjoerdis boulter, glenn reynolds, paul beseler, mariya beale, heath mccurdy, meg williams, sally-ann mcmahon, leon dwyer, kate sumner, kerrie still, melanie buckingham, dean tonkin, university of ballarat, federation university, graphic design, multimedia

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. The Museum's Decorative Arts & Design collection includes artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).‘Oak Tree’ pattern. Sample of original Morris & Co wallpaper, designed circa 1896 by John Henry Dearle (1859–1932). Oakleaf and acorns in pale blue on cream ground. Sample manufactured ca.1920–ca.1930. Printed border : OAK TREE / MORRIS & COdecorative arts & design, wallpapers -- morris & co, john henry dearle, wall coverings – history, wallpapers – history, interior decoration – history

This item has been made to package a ‘Dream Sleep’ underblanket. This item was produced by the Warrnambool Textiles factory in the 1990s. In 1910 the Warrnambool Woollen Mill was established and it produced blankets, rugs etc with a staff of over 700 in the 1940s. In 1958 the Mill became the first in Australia to manufacture electric blankets. In 1968 the business was sold to Dunlop and in 1982 Dunlop sold the Mill to Onkaparinga Woollen Company. In 1983 Onkaparinga was taken over by Macquarie Worsteds and the Warrnambool Woollen Mill then traded as Warrnambool Textiles. In 2000 the Mill closed. This packaging is of some interest as a memento of the old Warrnambool Woollen Mill which operated in Warrnambool for 90 years and was a major industry in the town/city and a major employer of local residents. It is still remembered fondly by many local people today. This is a cardboard sheet for packaging an underblanket for Warrnambool Textiles. It has white printing on a dark blue background on one side and is white and unmarked on the other. It has an image of a sheep, three symbols for ‘Pure New Wool’, a symbol for ‘Naturally Flame Resistant’ and one for ‘Moth-Resist Treated’. The sheet is designed to be folded in four places to cover an underblanket. This is a cardboard sheet for packaging an underblanket for Warrnambool Textiles. It has white printing on a dark blue background on one side and is white and unmarked on the other. It has an image of a sheep, three symbols for ‘Pure New Wool’, a symbol for ‘Naturally Flame Resistant’ and one for ‘Moth-Resist Treated’. The sheet is designed to be folded in four places to cover an underblanket. warrnambool woollen mill, warrnambool textiles, onkaparinga woollen company

Ann Austin of Melbourne was the name of a Melbourne millinery house. Thelma Prentice was one of the partners in the house, and the chief designer/milliner. Very little information about the millinery house and the milliner are available online but there is an interesting article, published in the Brisbane Courier Mail on 8 October 1949 which describes the influence of French style on fashion and design in Australia. The article by Lucy Gough recounts the views of Thelma Prentice who had just returned from the Paris fashion shows. "Australian millinery toes line with Paris From LUCY GOUGH LONDON, October 7 (Special) Australian hats can compare very favourably with those designed in Paris, and are considerably cheaper, says Miss Thelma Prentice, partner in a well-known Melbourne millinery firm, who has just completed six months' visit to England and the Continent. An ordinary hat, Miss Prentice said, would cost at least £15 from any of the top Paris houses. Australia could achieve the same effect for a lot less money. Miss Prentice went to all the Important dress shows as well as the millinery houses in Paris, because she believes that millinery is an accessory to fashion and to obtain the best idea of new trends hats must be shown with frocks to get a complete follow-through and tie-up between the two. At their packed shows, with standing room only, Path and Dior were selling hats they designed, faster than many well known Paris millinery houses, Fath's favourite line was the becoming 'wing treatment,' which he achieved by a profile flattering side swing of material jutting out almost 10 inches from the face. This was completely different to the side drape already seen in Australia. Dior, as a direct contrast, was specialising in skull hats, which almost followed the hair line, to show very little hair at the back of the head. His cocktail hats were heavily sequinned and beaded. Every model was designed exclusively for short hair, and Miss Prentice, whose own hair is beautifully short cut by a Paris hairdresser, said that French mannequins' hair was so abbreviated at the back it was almost a semi-shingle. Hats generally she found were plain, with sharply angled self trimming, and black one of the most popular colours." The hat was donated by Kathleen Gervasoni, a resident of Kew, and during the 1970s a Mayoress of the former City of Kew. The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned hat made of burgundy felt with decorative pink jersey turban folds attached to the side by clusters of pink beads. The hat was designed by Thelma Prentice of the ' Austin of Melbourne' millinery house. Label, inside centre crown, woven in black on white polyester: *ann austin / OF MELBOURNEmilliners, hats, ann austin of melbourne, thelma prentice, australian fashion - 1960s, kathleen gervasoni

stamp with circular design of Port of Melbourne Authority seal"Port of Melbourne Authority" Paper attached to reverse side: "Die block/ of seal/ PMA/ used for/ rubber stamp" "155/ 236" "PWO 2993.2"

Pale blue cover with an anchor and buoy design on cover.non-fictionprayer book, seafarers, apostolatus maris, apostleship of the sea, catholic church, stella maris, pat dann, hastings mission, welfare

The Melbourne Exhibition was held as part of the centennial celebrations in Australia in 1888. This glass engraved with the purchaser’s name, was a souvenir of the occasion.The Melbourne Centennial Exhibition held in 1888 was a major event covering exhibits of most aspects of life. Large numbers of people attended, in this case a Mr Robb, Joseph Robb, grandfather of the donor.Small clear glass tumbler with etched leaf design .Melbourne Exhibition 1888 Mr Robbwarrnambool, melbourne centennial exhibition, 1888 centennial exhibition, joseph robb

This type of implement is used to gather food or if large enough, to carry a baby. The size of this item suggested it could have been used for either purpose. This is a women s implement.A bowl shaped dish, decorated with a witchety grub design.Witchety grub motive characteristic of the Central Desert tribes.coolamon dish, aboriginal wooden implements, central desert tribes.

Found at Allen's Flat on the Buckland Goldfield, site of Allen and Farleys Store which was traded during the 1850s through to the 1860s. Site of reported violence during the Buckland Riot in 1857.Artifact from an area that reportedly had a population of 5,000 during the goldrush of 1850s but now virtually a deserted and overgrown valley. oval, blue and white willow ware design, crockerymakers stamp on back, crown above sash with letters, J ? ? ?, behive underneath, partly surrounded by a laurel ? wreath. Numeral 3 adjacent to the makers stampkitchen ware, flat, crockery, willow ware, buckland, allens