Eureka Circle marks the 150th anniversary of the Eureka Rebellion, and captures its sacrifices, sense of noble cause and spirit of unity. Commissioned by the City of Ballarat and the Victorian Government's Regional Infrastructure Development Fund. Unveiled by Premier Steve Bracks 26th November 2004.Colour photographs of a panel from sculpture in the Eureka Stockade Memorial Gardens.eureka stockade memorial gardens, eureka circle, eureka stockade, sculpture, miltary, soldier

Eureka Circle marks the 150th anniversary of the Eureka Rebellion, and captures its sacrifices, sense of noble cause and spirit of unity. Commissioned by the City of Ballarat and the Victorian Government's Regional Infrastructure Development Fund. Unveiled by Premier Steve Bracks 26th November 2004.Colour photographs of a panel from sculpture in the Eureka Stockade Memorial Gardens.eureka stockade memorial gardens, eureka circle, eureka stockade, sculpture, miltary, soldier

Eureka Circle marks the 150th anniversary of the Eureka Rebellion, and captures its sacrifices, sense of noble cause and spirit of unity. Commissioned by the City of Ballarat and the Victorian Government's Regional Infrastructure Development Fund. Unveiled by Premier Steve Bracks 26th November 2004.Colour photographs of a panel from sculpture in the Eureka Stockade Memorial Gardens.eureka stockade memorial gardens, eureka circle, eureka stockade, sculpture, digger

Eureka Circle marks the 150th anniversary of the Eureka Rebellion, and captures its sacrifices, sense of noble cause and spirit of unity. Commissioned by the City of Ballarat and the Victorian Government's Regional Infrastructure Development Fund. Unveiled by Premier Steve Bracks 26th November 2004.Colour photographs of a panel from sculpture in the Eureka Stockade Memorial Gardens.eureka stockade memorial gardens, eureka circle, eureka stockade, sculpture, digger

An electrified tram route from Melbourne along High Street replaced an original Horse Tram that terminated at the Kew Cemetery. This new tram only reached the bridge over the Outer Circle railway at the Harp Junction. The line was later extended to North Balwyn.Black and white print positive of the Tram Terminus in High Street, Kew at the Harp of Erin hotel. "Harp of Erin Tram Terminus about 1916. House on left still standing behind delicatessen [in 1978]. / Courtesy Mrs E Bennett, Kew East / Property of Miss Foley."tramways, mmtb, tram terminus, no 48 tram route, harp of erin hotel, trams - kew, trams - kew east

An electrified tram route from Melbourne along High Street replaced an original Horse Tram that terminated at the Kew Cemetery. This new tram only reached the bridge over the Outer Circle railway at the Harp Junction. The line was later extended to North Balwyn.Black and white print enlargement of the Tram Terminus in High Street, Kew at the Harp of Erin hotel. The rear of the photograph identifies it as an enlargement donated by Stewart West from an original owned by Miss Foley.tramways, mmtb, tram terminus, no 48 tram route, harp of erin hotel, trams - kew, trams - kew east

A tie clasp and badge remembering Tilly Aston, the founder of the Association for the Advancement of the Blind, was created. It has a cameo of Tilly Aston in gold, against a roughened gold background. A circle surrounds the head and above this "Tilly Aston" and below it, "Association for the Blind" in gold lettering. Metal tie clasp and metal pinTilly Aston Association for the Blindtilly aston, association for the blind, badges

Hugh LEGGE Hugh Legge attended the Canberra School of Art (at time of Alan Peascod) and moved to Rosedale (near Batemans Bay) back in the 1980s where he was wood firing. His work may be marked with an impressed 'HL' in a circleWoodfired bottle with handlehugh legge, ceramics, jan feder memorial ceramics collection, gippsland campus

Illustrated book with dustjacket. The book has a light green cover with purple print. on the front cover is the letter 'M' inside a circle with a snake coiled around a staff. Title, author's surname and publishers name are printed on the spine. The dustjacket has been covered with a clear protective film. The dust jacket has a dark green background, on the front on a cream square the title, author's and illustrator's names are printed in dark green, there are also four illustrations in light brown ink of doctors in various roles (Rafaello Busoni) Title, auth's and publisher's name are printed on the spine. There is a brown and white photograph of the author on the back of the dustjacket. along with some information about himnon-fictionThis book chronicles the lives and careers of the Mayo family, particularly Dr. William Worrall Mayo and his sons Dr. William (Will) and Dr. Charles (Charlie). It tells the story of how Dr William started practicing in rural Minnesota and how with his sons (Dr Will and Dr Charlie) helped build the Mayo Clinic into a world-renowned institutionwlliam worrall mayo, william james mayo, charles horace mayo, mayo clinic

Clothing. Beautiful deep cream silk bodice, fully lined with cream tulle/net. Elbow length sleeves have a semi-circle of embroidered silk, and an embroidered tulle ''flounce'', edged with cream cord - 17 cms long. The bodice has seven pin-tucks, angled from the shoulder to the waistline on each side of the front and back. Between the pin-tucks at centre front panel is an extensive cream silk, floral embroidery. A rounded neckline at front and back, is in-filled with embroidered tulle - small 1 cm diameter flowers, in a 3 cm diameter circle, defined by 12 small (3mm) embroidered circles. The tulle infill extends to a 7 cm high stand-up collar-supported by seven plastic ''bones''. The collar also features the same, circular, floral embroidery, and is also edged at the throat with cream cording. The bodice while in good condition, has been cut at the hemline, and a 10.5 cm strip of fabric has been added but unfinished. 18 metal hooks, and hand-stitched loops fasten the back of the bodice. Sleeves are an extension of the bodice.costume, female, cream silk and tulle bodice

A branch line from the Outer Circle Line was built for the delivery of coal and paper pulp to the Australian Paper Mill at Fairfield. It operated as a branch from the Hurstbridge line until the 1970s, when the Australian Paper Mill plant changed to power by Bass Strait oil. 3 p., text , map and coloured photographs, pp. 4-6 of Nillumbik Custodian December (?) 2012husrstbridge railway line, outer circle railway line, australian paper mill

Photo shows W5 780 turning from Holden St into Pilkington St Fitzroy North. Tram showing Special, has a "Coburg" Auxiliary board on the front and a Preston Run number. Has the grain silos on the form inner circle rail line in the background. Yields information the use of Holden St North Fitzroy.Black and White photograph of Tram 780 at the corner Holden and Pilkington St Fitzroy North.Has details on rear in blue ink.tramways, trams, tours, tram 780, holden st, pilkington st, w5 class

Presented by Lieutenant-General Sir JJ Talbot Hobbs, KCB, KCMG, VD, LLD at a parade held on the Esplanade, Perth, 22 October 1927. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. The above battalion became unlinked in March 1952 and 28th Infantry Battalion (The Swan Regiment) became an independent battalion within its own right. The former colours of 28th Battalion were handed back at a parade at Northam Camp on 24 August 1952. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. At the time of presentation this colour was a plain union flag with no central devices or other distinctions included on it. Following Military Board approval given in 1925 the centre circle and Crown were later added, in accordance with the approved design for a King's Colour. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. The above battalion became unlinked in March 1952 and 28th Infantry Battalion (The Swan Regiment) became an independent battalion within its own right. The former colours of 28th Battalion were handed back at a parade at Northam Camp on 24 August 1952. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. Battle Honours for the Second World War were promulgated under Australian Army Order 135/1961 and the 10 selected honours approved for emblazoning on the Queen's Colour were subsequently added in 1962 These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Dark green with gold fringe. In the centre the battalion colour patch of a white over blue diamond within a circle inscribed "TWENTY EIGHTH INFANTRY", the whole surrounded with a wreath of Australian wattle and surmounted by the Crown. In the upper canton the Arabic numeral "28". Battle Honours emblazoned on the colour:- POZIERES, BULLECOURT, YPRES 1917, MENIN ROAD, PASSCHENDAELE, AMIENS, MONT ST QUENTIN, HINDENBURG LINE, GALLIPOLI 1915, EGYPT 1915-16

This medical / hospital instrument was used in the Tawonga District General Hospital which was built in the 1950s specifically for the increase in population due to the Kiewa Hydro Scheme.Historical: Shows the development of scientific hospital equipment. Provenance: Used in the Tawonga District General Hospital which was remote and therefore required good equipment.2 the same each in a sterilised bag. Long steel forceps with 1 curved hook (for the fingers) and circle for the thumb. The scissor part is serrated with slight hook at end. They are curved from the pivot towards the hook side. Used for lifting instruments out of the autoclave. Was stored by the autoclave in a container of sterilising fluid.Inscribed on inside of hook handle: AH THEATREhospital equipment. medical equipment. forceps. autoclave. mt beauty. tawonga. cheatle's.

John George Duncan McInnes came from Lyall in Victoria. He enlisted in the AIF 29.2.1916 as No 5736 in the 6th Batt aged 26 years. He embarked on 3.7.1916 for England. He then transfered to the 59th Batt AIF. In the field he was hospitalised with Broncho Pneumonia and passed away on 31.12.1916. Refer 782.2, 786P.The outer brown frame has very fine markings in small circle arrangements. The centre photo has a frame edge with a flowing ribbon across the top. The centre photo itself is 100mm wide x 150mm high. The image of McInnes is blurred around the edge of the section in the area with white background. 5736, john george duncan mcinnes, 59th batt, aif

Plain white china feeding cup, provided with a handle and pouring spout at right angles to each other. There is a scalloped half-cover over the cup to prevent spillage. A Red Cross symbol, surrounded by two red circles, is located on the top. Used in hospitals for feeding invalid or bed-ridden patients.This cup has a Red Cross symbol on the upper surface. The underside of the cup has the following imprint: "92". red cross, invalid, hospital, feeding cup

This badge, which was used in the mid to late 1900's (Scouts started in Australia in 1909) clearly demonstrates that the families in the Kiewa Valley although slightly remote were still able to participate in one of the prime "boy" only social groups. The Boy Scouting movement brought together boys from all the socio-economic areas in the Australian population. The scouting group applied the concept of self sufficiency and friendship to all its membership. It was an avenue to cross the boundaries of distance and regional mores. Many of the boys in the Kiewa Valley and its regions would have been more "in tune" with the core principles of the scouting movement because being in a rural environment and "living on the land" was a day to day part of their life. What was an important aspect to they was the "mateship" and the belonging to a very large, and international, group of "like minded" boys. This avenue of interacting with a larger group of boys cut through the "small population" mores of a rural and at times isolated environment. This Boy Scouting activity was both mentally and physically significant to growing boys within the Kiewa Valley as it opened up the world to them.This brass badge has a front formed in a half circle base supporting a "Fleur de Leis" in a spear shape with "cut outs" at the appropriate places to provide the emphasis needed to project the form. Attached to the badge is a crescent moon shaped pronged frame for attaching the badge to lapels or collars or button eyelets. On the bottom scroll "BOY SCOUTS" and on the back type fastener "STOKES & SONS" below this "Melb".societies, boy scouts, apparel badges, numismatics badges

Light pink card with red circle behind a small grey bird which is sitting on a gold branch. In the top left corner is a black triangle bordered by gold. On top of the black and into the pink is a spray of pink roses. Card & insert held together by pale pink ribbon. Inside is a verse by Whittier.Raphael Tuck & Sonsperson, greeting cards, malone collection, malone collection, greeting cards, raphael tuck & sons, whittier

Account written on blue paper with A.O.F. letterhead and dated September 1870. Account is for 200 Envelopes 4/- and 1 Members Col-d Certificate 2/-. Total £0-6-0. Bendigo United District A.O.F. impression stamp on the paper. 182 written in the top left corner and circled.societies, aof, correspondence, ancient order of foresters no 3770 collection - account, a.o.f., court king of the forest, the bendigo united district

"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

Mortlake Waterworks Trust – 18 May 1915 to 1 July 1984 Mortlake Waterworks Trust was constituted on 18 May 1915 following application by the Shire of Mortlake to carry out works for the supply of water to the township of Mortlake. The Trust was abolished on 1 July 1984 under the Water and Sewerage Authorities (Restructuring) Act 1983 when authority was transferred to the Mortlake Water Board. A cast iron seal press. This was used by Mortlake Waterworks Trust to emboss agreements and official documents. Die is still attached to the press. It reads: Mortlake Waterworks Trust 1915. Small metal machine painted black , decorated gold . Dies are attached with the seal of Mortlake Waterworks Trust . Paper is placed between the dies, the handle depressed and the seal embossed on the paper under pressure as a blind (inkless) embossing. The seal consists of two circles with the wording "Mortlake Waterworks Trust 1915". Mortlake Waterworks Trust 1915mortlake, public administration, water supply, amalgamations

Fan was made for Mary Jane Schroder for her marriage to Ralph Pardy Rudd on 24th Nov 1886 in Ceylon. Later carried by three family members at weddings during 1941 by Mrs Kathleen Hubbert then Mrs Mary Barry in 1947 and finally by Sharlene Barry, now Mrs Ron Draeger.1886 bamboo fan mounted with white feathers. Spray of artificial flowers and cream satin ribbon tied in bows and wound round the bamboo handle. Back of fan has circle of boa to conceal joins of white feathers. See also Bodice NA3580, shoes NA3578 and bridal headdress NA3489.costume accessories, female

Presented to 1st Battalion, The Royal Western Australia Regiment by Field Marshall HRH The Prince Phillip, Duke of Edinburgh at a parade held at the Western Australian Cricket Association Ground, East Perth on 25 November 1962. The Royal Western Australia Regiment was formed on 1 July 1960 from the amalgamation of all existing infantry battalions in the State at the time :- • 11th/44th Infantry Battalion (The City of Perth Regiment) • 16th Infantry Battalion (The Cameron Highlanders of Western Australia) • 28th Infantry Battalion (The Swan Regiment) At the above presentation of colours to the new battalion, the Colours of the former battalions (four sets of Queen's and Regimental colours) were trooped through the ranks of the battalion and marched off the parade for the last time. These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. (Refer to Items 4-12 for individual records of these colours) 1st Battalion, The Royal Western Australia Regiment was renumbered 16th Battalion effective from 1st January 1966 as part of a move to reintroduce the old battalion numbers back into the State Regimental system. 16th Battalion, The Royal Western Australia Regiment was presented with a new set of Colours on 27 October 2002. The original 1962 Colours were formally handed over for safe keeping to the Army Museum of Western Australia on 3 November 2002. Battle Honours allocated to the State Infantry Regiments created under the CMF reorganisation in July 1960 were promulgated in Australian Army Order 85/1962. These were a consolidation of the battle honours awarded to the various individual battalions that were amalgamated to form the new regiments. Union flag with gold fringes. In the centre a circle inscribed "THE ROYAL WESTERN AUSTRALIA REGIMENT", surmounted by the Crown. Battle honours emblazoned on the colour : CAPTURE OF TOBRUK, DEFENCE OF TOBRUK, EL ALAMEIN, DAMOUR, BRALLOS PASS, KOKODA TRAIL, LAE-NADZAB, LIBERATION OF AUSTRALIAN NEW GUINEA, BORNEO, LABUAN

Blue cardboard box with white flowery decoration at the edges, Ingram's Perfex enema, English manufacture guaranteed. Inside the box a cake decoration set with a bag and eight nozzles, a metal circle and small tongues, A one page of instructions on how to decorate a cake is included. Aileen and John Ellison Collection. domestic, cake decoration

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Backless lamé one-piece swimsuit (.1) with pattern of silver, blue and bronze circles in various sizes. Waist ties knotted at front for cinched-in waist. Built-in underwire bra. Sleeveless A-line jacket (.2) in same fabric, falling past hips. Front zip and close-fitting hood.Label in bra, blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “32 / Unquestionable Bra”.swimwear, watersun, david waters, ada productions, melbourne designers

Model tram - made from a high density plastic, of the Melbourne City Circle tram, representative of the tram itself, not dimensionally accurate, no pantograph, only one route number box, painted in the burgundy red colour scheme and numbered 957. No indication of manufacturer. See item 6574 for a green versiontrams, tramways, models, city circle, tram 957

Murrup Laarr translates as 'Ancestral Stones' in Wadawurrung. This artwork by Dr Deanne Gilson is located in the North Gardens Indigenous Sculpture Park. The park is a significant project for the City of Ballarat and features works by Aboriginal and Torres Strait Islander artists, celebrating the richness and diversity of culture and telling important cultural stories. Dr Deanne Gilson is a Wadawarrung Traditional Custodian and established artist. She installed the first artwork commissioned by the City of Ballarat for the Sculpture Park in early 2019. Murrup Laarr is a contemporary artwork consisting of a traditionally-built stone hut in the middle of a circle of basalt standing stones, marked with ceramic plates reflecting the stories and symbols of dreaming, memory, ceremony.The artwork is of aesthetic and cultural, social and spiritual significance to the people of Ballarat and to Wadawurrung peopleA traditional hut made from river stone and stacked rocks, with the hut surrounded by large basalt rocks with plaques featuring unique designs on stoneware plates imbedded into them. Murrup Laarr (Ancestral Stones), 2019 / By Deanne Gilson / Wadawurrung people have always used stones to mark places of ceremony and important business. The stones are the holders of memory and knowledge, Country and Spirit. They mark the cosmos and seasons. They follow the sun, marking the summer and winter solstice, important dates for planting and harvesting and telling stories of past, present and future. / The stones are alive and still present. Murrup Laar has been created using local basalt stones to tell Wadawurrung stories of dreaming, memory and ceremony. / “Creating Murrup Laarr (Ancestral Stones) at this time has placed Aboriginal people and practices back on Country and created a place to tell our stories. I am very honoured to have had this opportunity. An Aboriginal stone circle existed in Ballarat pre-colonisation; by putting back what was lost throughout colonisation I pay homage to my ancestors, past, present and emerging”/ – Deanne Gilson, March 2019 murrup laarr, wadawurrung