To honour 25 years of service provided, a silver coloured medallion inset to a wooden column was awarded to individuals. On the front is a cameo of a woman (Tilly Aston) wearing a pendant and an old-fashioned ruffled blouse. Around the outside is written 'Vision Australia Foundation Tilly Aston Award' and below this '25 Year Award'.1 maroon wooden stand with silver tone inlaid medallion, with illustrations25 Years Awardvision australia foundation, awards

To honour 35 years of service provided, a bronze coloured medallion inset to a wooden column was awarded to individuals. On the front is a cameo of a woman wearing a pendant and an old fashioned ruffled blouse. Around the outside is written 'Vision Australia Foundation Tilly Aston Award' and below this '35 Year Award'. 1 maroon wooden stand with bronze tone inlaid medallion, with illustrations35 Years Awardvision australia foundation, awards

This photographic magazine attaches to the gear box universal ( see cat 4531). As an assembly, the type F22 aerial camera came into RAF and RAAF service c1942. It was used by the RAF over Europe and by the RAAF extensively through the Sth. West Pacific area of operations, during WW2. This type of camera was used through the Vietnam war up to the early 1980's. The F22 camera assembly when mounted in the reliable Canberra aircraft, did aerial survey work in PNG, Indonesia, Malaysia and Sumatra and the Australian mainland. This type of camera was used in Spitfires, Mosquitos, Avro Lincolns and Canberra aircraft.This is a heavy metal container painted in a grey colour. The label is on the top. One side has two enlarged oval sections. in those two ovals is one hole of 22 mm diameter. In those holes is a disc painted half red and half white. Below the ovals are two levers connected to the internal mechanism. Bottom RHS has a disc with 2 pins, red dots are printed on it. Nearly level with the top of ovals is a kidney shaped hole. In that hole is a rotating disc with graduations and numbers. the action side of magazine has a rectangular opening size 83/4" x 7/16". It is covered with a black soft material.Top has “serv 18-10-73” The number '20' has been stenciled on two surfaces.aerial photography, magazine, ww2, raaf

Two Sepia toned photographs mounted on card., (a) Front shot of the Bendigo Hospital circa 1885, Left and right Gabled wings and centre section have arched windows, gardens in foreground and four women and two men standing in front., (b) The School of Mines and Industries in McRae Street.buildings, hospital, bendigo hospital, bendigo hospital, scholl of mines and industries

This altar and rear reredos were part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. The Church was operated by the Mission to Seamen organisation. The reredos was donated to the Williamstown chapel by Miss. M. Breaks, in memoriam Miss. L.A. Breaks, who served a very active part in the Seamen's Mission, and the altar was donated by Mr and Miss J R Schutt. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This altar and reredos are significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. They are historically significant for their connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this furniture to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Altar and reredos or altar panel, wooden. The timber is panelled, stained and has a varnished finish. The base has a detachable vertical panel with the decoration of a sword and two anchors, the reredos has a cross on a panel. It was made by Hadwen and Houghton, Malvern, Victoria. A plaque at the bottom right edge is marked with the maker's name. The altar is part of the St Nicholas Seamen's Church collection.On removable panel; logo of [sword and two anchors] On bottom right of base: "Hadwen and Houghton, Malvern"flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, altar, reredos, church furniture, religious furniture, miss m breaks, miss l a breaks, mr and miss j r schutt., worship service

Rohan Robinson is an artist born in Geelong, and attended “the Mill” part of Deakin University in 1980-82, studying Fine Art. In 2010-11, he was the manager of Kayili Artists Aboriginal Corporation, at Patjarr in the Gibson Desert W.A., where he oversaw the development and marketing of artworks of the corporation’s members. The community is the remotest in Australia and averaged 25 people, mostly consisting of elderly people and part of the Ngaanyatjarra region, with some members not having any consistent contact with white fellas up to the mid 1960’s. During his time it was common for all the community members to go out hunting and having a visit to important areas, where members would get some tucker of rabbits and lizards and honey ants and perhaps some “meow meow” and have a nice sleep in the shade on the warm sand. Robinson would often take his painting gear along and do some work on unstretched linen on the desert ground, he would paint for a while and then perhaps lie around with the elders or follow one of the expert hunters and observe from a distance [several meters] the skills of elderly women casually walking through some recently burned spinifex knocking cowering bunnies on the head with a steel rod. It was on one of these occasions, when this particular painting was being conceived, that after returning from the hunting mission, he was informed by some of the mob, that an elder had been spending time looking at this work in it’s infantile stage...”You know the old fella over there, he been looking at that painting of yours” It was later in the day, when returning to Patjarr, that the elder Arthur Robertson approached Robinson, and demanded/asked that Robinson paint his stories for him. Mr Robertson was suffering from Parkinson’s disease, and was having trouble painting, but had been doing some brilliant work with Posca markers. It was with a certain reluctance that Robinson agreed, as he felt this to be a “political hot potato in some quarters” but also respected a relationship between artists beyond the cultural divide. Mr Robertson demanded that they start immediately and armed with pencil and paper they created the notes for several paintings under Mr Robertson’s direction. The painting that you are viewing is signifcant in that it was the catalyst for this relationship between the two artists. Mr Arthur Robertson died later that year 2011.Gold framed blue and earth tone painting. Painting depicting four circles with mountain and sky in the background.

Sepia toned photograph of two motor cars each with LELSC banner on bonnet. Lifesaving reel beside car. Jack Harbeck standing with one foot on running board of single seater car. Esplanade Paynsville Victoriagenealogy, transport

This image has been taken at the side of St Matthew's Church, Cheltenham. Sepia toned image of cricket team. There are twelve (12) people in the photograph, including two men lying down at the front, with cricket bats in their hands. While it appears to be a men's team, there are three young boys in the back row.sport, cricket, cricket club, cheltenham, cheltenham cricket club, st matthew's church

The houseboat Baang Yarnda on the Tambo River for angling season, September October November. Tariff 2 pound 2 shillings Particulars Miss F Broome Swan ReachSepia toned postcard of the houseboat Baang Yarnda associated with Broome's Federal Hotel houseboat is moored in the Tambo River, people fishing from two small rowing boats and motor boat on river. Tambo Upper VictoriaThe Boat Baang Yarnda On the Tambo River. For Angling Season September, October, November Tariff Pounds 2/2/. Particulars:.Miss F Broome Swan Reachguesthouses, tourism, boats and boating

Stawell Tourist InformationA Page folded in half to make 4 pages with large print and small print split into two columns as well as two photographs on the right side"Stawell" with Two photographs showing Pioneer's Lookout on Big Hill. " "The Gateway" to the Grampians" above the other Photograph which shows a rock formation known as The Grand Canyon. which is located in the Grampians.stawell tourism

John Brownless No 6317, 4th FAB. Refer Cat No 21 for his service details..1) Sepia tone photo showing group of 6 soldiers in uniform holding placard. J BROWNLESS left front row. .2) Studio portrait sepia tone in uniform minus hat of J BROWNLESS..1) On placard at bottom: MERRY CHRISTMAS From Francephotography, military

The Warrnambool Shire commenced in 1863 and was 613 square miles in area and had a population of about 8000. It was divided into three ridings each with three councillors. Its industries were dairying, general farming, cheese and butter making, wool growing, sheep and cattle raising. There are more than 20 parishes and more than 29 small townships in the area The industries, agriculture, and people of the Warrnambool Shire provided substantial support to the city of Warrnambool over a long period of time. Three audio reel to reel tapes two in green and white boxesShire Centenary meeting 1963 tape1, 2, 3. depth. Two tapes stored in grey and white cardboard box, Irish recording tape, a product of AMPEXwarrnambool, warrnambool shire council, warrnambool shire centenary

Refer Cat 5547 - Matheson.This is a single sided map, printed in colour. Scale 1:253,440, 4 miles to an inch, grid squares are 10mm x 10mm. Top right side shows Finschafen. Top centre is Lae, Middle is Salamau. Bottom is Lasanga Island. Top left vicinity is Nadzab and Markham River.There are four "corner" marks in pencil. Two on land and two out in the gulf.ww2, new guinea, map

This photograph was taken in approximately 1870 and depicts four male miners standing in mining sluice at the Three Mile Goldfields. These men are wearing typical attire for 1870s gold miners. They wear white shirts, tan coloured pants with water proof shoes and most of the men are wearing an apron to prevent their clothing from becoming too dirty from the mud. Each man is wearing a wide brim hat and hold large wooden tools used for sorting through the sluice. Three of the four men have full beards. The photograph was donated to the Burke Museum by R. Ziegenbein before 2001 but the photographer and the individuals captured in the photo are unknown. The image depicts the landscape of the Three Mile Goldfields during a period when open cut sluicing was undertaken to reach gold. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The Three Mile Goldfields was a site of rich alluvial gold deposits located about 5 km south of Beechworth in Victoria. Today, the location of this gold deposit is called Baarmutha. It was a popular area for gold mining in the 1850s but became largely abandoned by the following decade. In 1865, a man named John Pund recognized that the area could be potentially rich if a better water supply could be obtained. He secured a 15 year license with three other miners. Within the next five years, these men had constructed 19 km of water race going from Upper Nine Mile Creek to Three Mile Creek. By 1881, these four men had delivered 950,000 gallons to the Three Mile Sluicing area which is depicted in this photograph. Pund was later go into partnership with John Alston Wallace who would become owner of the Star Hotel in Beechworth. The Three Mile sluicing location continued to be operational until 1950. Sluice box workers were a vital part of gold mining regardless of how inefficient they were in the recovery of gold. After using hydraulic sluicing to cut away the earth, miners would use the big wooden boxes depicted in the image to catch the earth which would then be sifted for gold. However, accidents would occur often which would result in the gold washing away and unable to be recovered. It was not a very efficient system because the gold, which was alluvial and thus very fine, would often pass through the sluice box undetected.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.[illegible] about 1870 / 97 2514.1 / 2594 30three mile goldfields, goldfields, 1870, 1870 gold, australia, australian landscape, miners, gold miners, diggers, gold diggers, beechworth, victoria, sluice box workers, sluicing, sluice, mining

Roy Leslie Thurlow, refer Thurlow collection Cat No 4688PPhotograph sepia tone of a soldier in uniform with a beret on, backing is fawn coloured cardboard,On front, “Vincent Kelly Bendigo”photographs, portraits, ww2

See attached photograph for excerpt from The Minervan Dec 1953, p.24-27Grey-toned photograph on large mount with hand scripted title and borders on mountOn mount: Ballarat College / Trial by Jury / August 7th-8th, 1953 / Photograph Presented by W L Harvey, Press Service. 1953, trial by jury, gilbert & sullivan, dramatic productions, ballarat college

Captain Henry Southby, later 39th Batt AIF, KIA 12.10.1917. Refer Cat No 1906 for service details also 1903.2.Photo, sepia tone, portrait of a soldier Henry Southby with Boer War medals.photography-photographs, military history

Item in the collection of RSM Edgar Frederick Dawson DCM No 4472 AIF. Refer Cat No 893 for his service history.B&W sepia tone portrait of the bishop of Amiens seated, item is a postcard.Written on back “Bishop of Amiens”photography, documents postcards

Gilbert Turner "MM", No 1410. Refer Cat No 1038 for his service details.Photograph, sepia tone, portrait of Gilbert Turner. Shows no unit or rank badges.photography-photographs, military history-army, turner

Copy of sepia toned photograph of a British female Sergeant being Beryl SCRIMSHAW.photography, portraits, british military

Hand painted china side plate in 2 tone orange mottled pattern.D M Peters 11domestic equipment, table setting, plate

Hand painted china plate with grapes and vines in autumn tones and gilt edging.Zena ( Cohn)domestic equipment, table setting, plate

Faded sepia toned photograph of the Bendigo (Sandhurst) Post office under construction.buildings, government, post office, bendigo post office

1 small sepia toned photograph of a male by Photographer Charles Mitchell Glasgow.Charles Mitchellphotograph, portrait, male

Margaret Amess was the youngest child of Samuel and Jane Amess, who first purchased Churchill Island in 1872. Margaret Amess was renowned for her china painting.1 sepia toned head study of Margaret Amess, face turned to left."MONTEATH"margaret amess, samuel and jane amess

Hardcover book bound in red cloth - "Pianoforte Tone-Production" by Tobias MatthayA/C 5 30ci Altona Wagga Wagga 25/9/21

Sepia toned head and shoulders cabinet card portrait of Mr Peter McKenzie