Shield shaped plaque made of varnished timber with a large RAR badge affixed to its front. The rifle is in red colourrainf, infantry, plaque

Appears to be a millstone that would have been used with another stone to grind wheat.Large circular stone wheel with ridges carved into its outer side. It has a hole through the middle with a metal fixture in it.

A history of Legacy Christmas Toy Appeal. It began in 1949 with Legatee Norman Heathcote who was District Inspector of the Education Department's Metropolitan No 1 area (Port Melbourne to Sandringham). The schools produced toys which were donated to Legacy to distribute. Initially 800 toys were handed to Legacy. In 1950 it increased to 3,000 toys which were shared with Carry On. The document was written in 1967 when approximately 7,000 toys were expected and the total distributed was almost 110,000. Legacy had a Christmas Toy Appeal Committee as part of it's structure. The document includes an agenda for a handover ceremony on 16 November 1967. Was in a binder of documents that is passed from an outgoing President to the incoming President. It is primarily from the 1930s to 1990s. Most documents are being catalogued separately.A record of the beginnings of the Legacy Toy Appeal.White foolscap paper x 2 pages with black type about the Christmas Toy Appeal in 1967 and its history.toys, education, toy appeal

Born in 1904, Opperman attended Melton School 430 1913/14. Achieved fame in bicycle racing, later was a well known Member of Parliament, held ministerial positions both in Australia and overseas. On October 27th he launched Melton’s History – Plains of Promise 1985 The famous bicycle was left at its permanent “home” at the rooms of the Rochester Historical Society formerly Rochester Railway Station 1994.local identities, local significant events

George Smith came to Wodonga c.1885 and carried on a business as a blacksmith and wheelwright in Hume Street. He subsequently erected the very substantial Federal Coach Factory in High Street. In 1901 the Coach Factory was sold to Mr C. E. Jones, but within three or four years George Smith again found himself in the establishment he had built. In 1907/8 Marcus Buntz partnered by a G. F. Simpson took possession of the Federal Coach Factory. In 1912 Buntz bought out the interest of Simpson and engaged a first-class wheelwright to do the woodwork. In 1912 a buggy could be had from £40 and a sulky £18. The business over many years developed from a shoeing forge and wheelwright business to a more modern day garage, keeping abreast with mechanisation. Marcus Buntz was joined in the business by his three sons, George, an A grade mechanic, Edward an auto-electrician and Henry, a blacksmith’s striker. The sons eventually took over the garage and handled both coach building and general service work. The firm also maintained the Wodonga Water Pump for many years, ensuring the town’s water supply. In 1948 the old established motor garage was purchased by Mr Jack Mylon. In July 1960 the building became Wodonga Market, housing a butcher, snack bar, milk bar, fruit and veg, Bill Dunstan’s Boat Centre and an Auction Mart. These images have local significance as they document a long-standing business in central Wodonga.2 black and white photos depicting Buntz Federal Coach Factory at different stages during its period of operation,Photo 1: Above building: FEDERAL COACH FACTORY/ M.H. BUNTZ/ GEORGE SMITH/ COACH BUILDER & BLACKSMITH On side of coach: DRAPERY/ FANCY GOODS Photo 2: BUNTZ BROS" MOTOR GARAGE / ATLANTIC MOTOR OIL On the window: BUNTZ'S COACH FACTORY/ Rubber Tyres Fitted Below image on mounting: BUNTZ BROS. MOTOR GARAGE L to R. Pop Buntz, George Buntz, Les Easto, D. Zeinert, H. Buntz, Ted Buntz. Doug Zeinert buntz federal coaches, wodonga businesses, wodonga pioneers

The notes were read by Beth Ritchie at the official opening of the restored library.old buninyong library, buninyong joint library trust, libraries, visitor centres

Black and white photograph. Orchard in flood: an irrigation ? Pipe is showing. Yarra River broke its bank on the night of 30.11.1934.orchard, yarra river, floods, 1934

Used for writing text with some permanence. Advertisement of the RTBU is printed on one side.A recent item advertising the RTBU.Black, cynlindrical retractable pen with the text "RTBU," the union's phone number and the website for its Victorian branch printed in white.public transport, rtbu, unions

Charles Emerson Blunt built the motor boat, the Souther Cross for the Mission in 1906 when the workshop was in Geelong.The Blunt workshop is heritage listed and has Links with the Mission; they visited the Mission in 2019 and depictions of the workshop are often entered at the Maritime Art Prize.Series of 4 digital photographs depicting the Blunt Boatbuilders workshop in Williamstown, its interior and a portrait of Charles Emerson Blunt.blunt boatbuilders, williamstown, motor boat, southern cross

This electric kettle/Jug is shaped in the style of the Art Deco period 1930's to 1950's (in Australia). It was at the beginning of the wave of creative kitchen ware to stimulate and impress visitors and uplift what used to be a boring kitchen environment.This "art deco" electric kettle is very significant to the Kiewa Valley because it highlight that rural families and areas where in step (fashion wise) to their city "cousins". In the mid 1900's "the fashion" in Australia was (on the whole) always some years behind that of England and Europe. The years after World war II reduced the time lag between the "advanced fashion" of Europe and England and came in step with the emerging modern American fashion. American "film stars" started have their fashion projected onto the silver screens.This electric Fowler ware is a ceramic hot water jug. Its shape is in the "Art Deco" style of the early 1920's.On base "240V - 1650W" below this "AC ONLY" below this "MODEL No. EEJ" "APP. No. N550" below this "JUG BODY BY" under this and in script style "FOWLER WARE" below this "1583"kitchen appliances, tea/coffee preparation, light refreshments, hospitality offerings, art deco styles in appliances

Set of two fridge magnets - titled "I Luv Aus" - one featuring Flinders St station and the other City Circle tram No. 998. Made by Aluminium MagnetDemonstrates a Souvenir featuring a Melbourne W class tram.Set of two plastic printed colour fridge magnets mounted onto a card within its plastic envelope for sale.trams, tramways, melbourne, fridge magnet, tram 998, flinders st station

The 1914–15 Star was authorised in 1918 and was awarded for service in specified theatres of war between 5 August 1914 and 31 December 1915. A recipient of the 1914 Star could not also be awarded the 1914–15 Star. The medal is accompanied by its original box. The Holgate medals were the first war medals held by BCC archives. They have historical and social significance for the College.The 1914-15 Star is a four pointed star of bright bronze, ensigned with a crown. The obverse has crossed gladius, overlaid with an oak wreath that is ensigned with the cypher of King George V. A scroll bearing the legend 1914-15 is centrally placed across the crossed blades. The 1914-15 Star ribbon has the red white and blue colours of the Empire, in shaded and watered stripes. The medal is accompanied by its original box.Engraved on a scroll in the centre of the medal front: '1914-15' The oak wreath is ensigned with the cypher of King George V. The back of the medal is engraved: '3193 / Pte E. S. HOLGATE / 6/F AMB. A.I.F. The box lid is inscribed: 'AMC/13 / 3193 / Pte. E. S. Holgate / 6/F.Amb,A.I.F. / 9350/Decd.'world war one, medal, 1914, the 1914 15 star, w w 1, private e s holgate, holgate, a i f, australian imperial force, holgate medal

The ‘Thornton Estate’ was the final subdivision of ‘Thornton’ in Studley Park Road. Thomas Cubitt Balmain originally owned Thornton, next to John Carson’s ‘Clutha’. Before its final subdivision, the Thomson family owned it. The Estate was a subdivision of 15 residential allotments running between Studley Park Road and Stevenson Street. The allotments faced these streets as well as Thornton Street, which the vendor undertook to make. Contemporary newspaper advertisements advised that ‘The estate possesses many advantages, notably its private and secluded, though convenient, position, splendid frontages and depths, and being close to the electric tram and Kew train, also within easy walking distance of the Victoria-street cable tram’. The terms offered purchasers were ten per cent deposit, with the balance to be paid in ten equal half-yearly payments at a rate of 5 per cent.The ‘Thornton Estate’ was the final subdivision of ‘Thornton’ in Studley Park Road. Thomas Cubitt Balmain originally owned Thornton, next to John Carson’s ‘Clutha’. Before its final subdivision, the Thomson family owned it. The Estate was a subdivision of 15 residential allotments running between Studley Park Road and Stevenson Street. The allotments faced these streets as well as Thornton Street, which the vendor undertook to make. Contemporary newspaper advertisements advised that ‘The estate possesses many advantages, notably its private and secluded, though convenient, position, splendid frontages and depths, and being close to the electric tram and Kew train, also within easy walking distance of the Victoria-street cable tram’. The terms offered purchasers were ten per cent deposit, with the balance to be paid in ten equal half-yearly payments at a rate of 5 per cent.subdivision plans - kew, thornton estate, studley park road -- kew (vic.), thornton avenue -- kew (vic.), stevenson street -- kew (vic.)

The design of the bottle is sometimes called a ‘cottage’ or ‘boat’ shape. This handmade glass ink bottle was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. The nis only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy.This ink bottle still retains its original cork. The method of manufacture is representative of a 19th-century, handcraft industry that is now largely replaced by mass production. The ink bottle is historically significant as it represents methods of handwritten personal and business communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Victorian 'boat' shaped ink bottle; small rectangular clear glass ink bottle with grooves in shoulders for holding pen. Bottle has side seams and a 'burst-lip'. The bottle retains its cork.flagstaff hill, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, stencil ink, copy ink

The spotted quail thrust is a heavily patterned bird native to Australia. It expresses many calls, including a long, very high-pitched "seeeeeep” and a long sequence of doubled whistles, but the main call in inaudible to humans. Due to their heavy camoflague pattern, they are often very difficult to observe. They are often found on the forest floor. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The spotted quail thrush is characterised by yellow and brown tones with black spots on the flanks. The females (10056) have a yellow ochre-coloured throat patch. This particular quail has lost its tail feathers. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 43a. / Spotted Ground Thrush / See Catalogue, page 15. /taxidermy mount, taxidermy, burke museum, beechworth, australian museum, spotted quail thrust, quail

The East Melbourne Cricket Ground was a grass oval sports venue located at the corner of Wellington Parade and Jolimont Parade, in East Melbourne, Victoria, Australia. After the 1921 football season, the ground was closed and then demolished to make way for an extension of the Jolimont Yard railway sidings. In 1921, East Melbourne Cricket Club merged with the Hawthorn Cricket Club, following the loss of the former's ground, to become known as Hawthorn-East Melbourne (or the "Combine"). In 1989, after the club relocated to Glen Waverley, it dropped "East Melbourne" from its title until becoming Hawthorn-Waverley in 1994.Team photo of the Hawthorn East Melbourne Cricket Club, from the collection made by one of its players, Christopher Robinson, pictured middle row, 4th from right. The photo was probably taken at the Glenferrie Oval where the team played. The Club were First Grade Premiers in 1927-28hawthorn east melbourne cricket club, glenferrie oval, cricket, sport, christopher robinson

Hardcover w/ Dust JacketPamphlet for the Norton Simon Museum (Pasadena, California) inserted at p. 168-9. Visitors' information about the museum and its collections.walsh st library

In July 1909, a modest 12-page booklet was put together by members of the fledgling Old Ruytonians Association (ORA) and distributed to the Ruyton Girls' School community. It was one of their first projects, and their aim was to nurture continuing interest in the School among former and current students. They named it "The Ruytonian." At first, The Ruytonian was produced twice yearly, and always bore a plain cover with a simple name banner. Initially, it was the work of volunteer editors from the ORA, but in 1913 they handed the publication over to the first student editors, Esther Gibson and Lucy Tickell. Since that time, the style and content of The Ruytonian has continuously evolved. The biggest shifts occurred in 1942 when it transitioned to a yearly publication, and in 1969 when it moved to a larger A4 format with a cover image specifically selected for that year.The record has strong historic significance as it pertains to the fourth oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication printed on white paper. 104 pages.Front Cover: Ruytonian 2007 / " Each day comes bearing its / own gifts. Untie the ribbons. " / RUTH ANN SCHABCKER /ruyton girls' school, the ruytonian, kew, old ruytonians association, yearbook, school, publication, girls school, junior school, senior school, journal, students, teacher

Commemorative plaque for Mrs James Angus, who was the inaugural Combined Auxiliary President from 1927-1930. Metal boardTo the Memory of Mrs James Angus President of the Combined Auxiliaries 1927-1930 Erected by The Board of Management of the R.V.I.B. and Members of its Auxiliariesroyal victorian institute for the blind, nameplates

Photos show the Legatees and widows marching along St Kilda Road past the Melbourne Concert Hall behind a bagpipe band - it was Widows' Sunday when there is a service at the Shrine for the Legacy Widows. An article in The Answer newsletter in September 1993 mentions that the Legatees and widows set off from St Pauls Cathedral in a 'Pilgrimage to the the Shrine' behind the Hawthorn City Pipe Band. There may be more photos and a proof sheet still to come. It is assumed to be 1993 Widows Sunday as Legatee John Stevenson is in the front row, he was president in 1993 which was Legacy's 70th Anniversary. (NB It is not Anzac Day 1993 as that is shown at 00021 when the Legatees marched behind a 70th Anniversary banner).A record of a march to the Shrine by Legatees and Widows for Widows Sunday.Black and white photo x 2 of a march past the Melbourne Concert Hall.Marked B7 and B8 in blue pen, which are the frame numbers from a B proof sheet but its whereabouts isn't known.widows, 70th anniversary, widows' sunday, pilgrimage

This hand-held signalling lamp could have had a number of uses. It could have been used by groups such as the Boy Scouts or most likely was used by local air raid wardens and other military personnel in World War Two. Its large face and the reflecting mechanism would have made it useful over a long distance.This lamp is of historical interest and is retained for display and research purposes.This is a cylindrical metal lamp with a clear glass front attached to the lantern by metal screws. The lantern has been painted black. There is an electric bulb behind the glass and a reflector disc behind the bulb. A handle, attached to the metal body, has two strands of electrical wiring at its end. The handle includes a finger clip, which, when pressed, produces a signal inside the glass area.signalling lamp, world war two military equipment

Canoeing on the River Yarra at Melbourne was an important and widespread recreational pursuit for Melbournians, especially in the first half of the twentieth century. The Victorian Canoe Club was formed in 1912 at a meeting in Melbourne and its first committee elected in the same year. Records indicate that the Club continued into at least the 1950s .The album has historic and social significance as a record of recreational activities (as well as canoe making) in the early years of the twentieth century. It has local significance as the site of the headquarters of the Club was in Studley park. A number of photographs in the album provide vistas of Kew on the Yarra that are otherwise unavailable.One of 24 labelled photos in part album, originating from the Victorian Canoe Club, which had its headquarters in Studley Park, Kew. The album includes a photographic record of canoe construction and also locations in Studley Park and Kew where the canoes were used. The subject of this photograph is identified as 'Planking' where the wooden planks forming the hull have been softened by steaming and bent to conform to the shape of the mould."Planking"victorian canoe club, canoe making, canoe construction

Canoeing on the River Yarra at Melbourne was an important and widespread recreational pursuit for Melbournians, especially in the first half of the twentieth century. The Victorian Canoe Club was formed in 1912 at a meeting in Melbourne and its first committee elected in the same year. Records indicate that the Club continued into at least the 1950s .The album has historic and social significance as a record of recreational activities (as well as canoe making) in the early years of the twentieth century. It has local significance as the site of the headquarters of the Club was in Studley park. A number of photographs in the album provide vistas of Kew on the Yarra that are otherwise unavailable.One of 24 labelled photos in part album, originating from the Victorian Canoe Club, which had its headquarters in Studley Park, Kew. The album includes a photographic record of canoe construction and also locations in Studley Park and Kew where the canoes were used. The subject of this photograph is identified as 'Planking' where the wooden planks forming the hull have been softened by steaming and bent to conform to the shape of the mould."Planking"victorian canoe club, canoe making, canoe construction

Canoeing on the River Yarra at Melbourne was an important and widespread recreational pursuit for Melbournians, especially in the first half of the twentieth century. The Victorian Canoe Club was formed in 1912 at a meeting in Melbourne and its first committee elected in the same year. Records indicate that the Club continued into at least the 1950s .The album has historic and social significance as a record of recreational activities (as well as canoe making) in the early years of the twentieth century. It has local significance as the site of the headquarters of the Club was in Studley park. A number of photographs in the album provide vistas of Kew on the Yarra that are otherwise unavailable.One of 24 labelled photos in part album, originating from the Victorian Canoe Club, which had its headquarters in Studley Park, Kew. The album includes a photographic record of canoe construction and also locations in Studley Park and Kew where the canoes were used. The subject of this photograph is identified as 'Planking' where the wooden planks forming the hull have been softened by steaming and bent to conform to the shape of the mould."Planking"victorian canoe club, canoe making, canoe construction

Canoeing on the River Yarra at Melbourne was an important and widespread recreational pursuit for Melbournians, especially in the first half of the twentieth century. The Victorian Canoe Club was formed in 1912 at a meeting in Melbourne and its first committee elected in the same year. Records indicate that the Club continued into at least the 1950s .The album has historic and social significance as a record of recreational activities (as well as canoe making) in the early years of the twentieth century. It has local significance as the site of the headquarters of the Club was in Studley park. A number of photographs in the album provide vistas of Kew on the Yarra that are otherwise unavailable.One of 24 labelled photos in part album, originating from the Victorian Canoe Club, which had its headquarters in Studley Park, Kew. The album includes a photographic record of canoe construction and also locations in Studley Park and Kew where the canoes were used. The subject of this photograph is identified as 'Planking racer' where the wooden planks forming the hull have been softened by steaming and bent to conform to the shape of the mould."Planking racer"victorian canoe club, canoe making, canoe construction

Dr. Dai Davies presented this Goblet as a gift to the Faculty as the first appointed Burnell-Jose visiting Professor, Postgraduate Committee in Medicine, S.A. May - June 1976. At the time, Dr Davies was the Consultant Anaesthetist St George's Hospital, London and during this event was elected to Honorary Fellowship of the Faculty of Anaesthestists, Royal Australasian College of Surgeons. The Burnell-Jose Visiting Professorship commenced in Adelaide in 1975 in honor of Mary Burnell, the first woman Dean of the Faculty from 1966 to 1967 and the first woman President of the Australian Society of Anaesthetists in 1955. Very few women had assumed major anesthesia roles in the world during this period. The Goblet's provenance is supported by an original booklet, which certifies its origin from Chichester Cathedral (1075), Sussex, England. In 1975, a limited edition of 600 goblets were commissioned by the Dean and Chapter of Chichester Cathedral, Reverend Walter Hussey, to commemorate the ninth century of the Foundation. This Goblet is number 46 of the edition and the booklet is signed by Walter Hussey. The Goblet is historically associated with Chichester Cathedral and Walter Hussey, who was a great patron of the arts during the 1970's.Solid silver, with pure gold overlaying the modeled stem and interior of the cup. Trefoil shaped goblet cup with tapering profile. The stem is supported by a sheaf of wheat and bird design. The goblet came in its own case with a booklet of authenticity. [central base] NUMBER / 46 / OF A LIMITED EDITION / OF 600 MADE BY ORDER OF / THE DEAN AND CHAPTER / TO COMMEMORATE / THE NINTH CENTENARY OF / THE FOUNDATION OF / CHICHESTER CATHEDRAL / IN 1075 / AURUM / DCM [and hallmarks of the Worshipful Company of Goldsmiths] •[around base] D.M. DAVIES / ADELAIDE 1976dr davies, dai, burnell, mary, chichester cathedral, burnell-jose visiting professor, murphy, desmond-clen, hussey, walter, ninth century of the foundation of chichester cathedral

The diamond firetail bird is native to inland southeastern Australia, inhabiting woodland regions. It is often described as one of the most stunningly coloured birds of the finch family. The nest is built by both partners but only the female does the weaving. Both partners incubate the eggs and care for the young. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The diamond firetail finch it characterised by the top of its body being ash brown, with crown, forehead and neck grey. The under feathers are white with a crimson rump. There is a black band across its neck which continues down the flank to be dotted with white. The bill and eye ring are coral, and the legs and feet are dark grey. The female is similar to the male although sometimes smaller. 10057 comprises of one male and one female. This specimen stands upon a wooden platform and has an identification tag tied around its legLabel: 41a./ Firetialed Finch / See Catalogue, Page 15. /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, finch, diamond firetail