Donated to Sir Reginald Ansett Transport Museum. Worn by former Ansett employee.Complements the collection of air flight crew attire.Navy blue cotton pull-on bucket hat with button in middle of crown. Hanging loop on brim. Navy blue cotton inside lining.No inscriptions. No markings.

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot. Complements the collection of air flight crew attire.Pilot's peaked cap. black cotton treated crown. black cotton exterior band supported by rigid internal rafia band. Acrylic interior lining. Has perforated leather sweat band. Rigid visor made of green vinyl, covered by navy blue cotton fabric. Insignia features a golden bird in flight, with a depiction of Australia, in red, as background, beneath a golden royal crown, and surrounded by a golden wreath of feathers. Black mounting. Gold strap above peak on frontNo inscriptions. No markings.peak cap, crown, black, cap badge

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot. Complements the collection of air flight crew attire.Pilot's peaked cap. Black wool treated crown. Black woollen exterior band supported by leather band. Acrylic interior lining. Has leather sweat band. Rigid black visor cotton fabric. Insignia features a golden bird in flight, with a depiction in red, as background, beneath a golden royal crown, and surrounded by a golden wreath of feathers. Black mounting. No inscriptions. No markings.peak cap, crown, black, cap badge

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot. Complements the collection of air flight crew attire.Pilot's peaked cap. black cotton treated crown. black cotton exterior band supported by rigid internal rafia band. Has perforated leather sweat band. Rigid visor covered by black cotton fabric. Insignia features a red and black bird in flight, with a depiction in black as background, beneath a royal crown, and surrounded by a golden wreath of feathers. Black mounting. Gold strap above peak on frontNo inscriptions. No markings.peak cap, crown, black, cap badge

Object: Salvation Army Mallet. Turned polished wooden Mallet. In scripted '' Presented to, John Green ESQ. Mayor of Eaglehawk on the occasion of laying Memorial Stone Salvation Army Barracks, Eaglehawk Feb 25th 1885. REV . W. Boot. General. James Barker Major.Plaque with inscriptioncivic mementoes, presentations, wooden salvation army mallet, salvation army. wooden mallet. eaglehawk. james barker. john green esq

In a frame Formal Medal Display Featuring: Three black and white Photograph of L/CPL Cocks in jungle greens. Signal Squadron cap badge Three Medal cluster Plaque with L/CPL Cocks detailsMedal Inscriptionsframed medals, photograph, badge, l/cpl cocks, 103 signal squadron, 1st australian task force

No inscriptions Not dated.decorative arts, furniture, table, side table, round table, wooden, woodwork, interior

No inscriptions Not dated.decorative arts, bedside cabinet, mahogany, cupboard, interior, furniture

No inscriptions Not dated.decorative arts, furniture, bedroom, interior, bedside cupboard, cupboard, woodwork, mahogany

black and white photograph adhered to cardboardInscription: IIC

Industrial Forge from Newport Railway WorkshopsIndustrial Forge is an excellent example of equipment used in the early 19th century through to the mid 20th century for industrial iron working. It directly links a fabrication method that is widely used across several of the other collection pieces.Large Industrial Forge made of cast metal and wrought ironNo markings or inscriptions puffing billy, industrial forge

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton tea) from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Purina 'fancy feast') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton 'Green Tea') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

This letter is from the wool brokers and stock agents Strachan, Murray & Shannon of Geelong to P.E. Hann of Kiata East. It concerns the sale of two bales of cross bred wool owned by Mr Hann. It is dated 3 March, 1925 and is signed by D.A. Milne, one of the directors of Strachan's.Letter, from Strachan, Murray and Shannon to PE. Hann, 1925.[multiple inscriptions]strachan, murray and shannon ltd, milne, mr d. a. - strachan, murray and shannon ltd hann, mr p. e.

Belonged to donor's mother-in-law, the late Mrs Doris Keene.Two silver plated thimbles used for sewingNo inscriptions or markingsdomestic items, sewing

Belonged to the donor's mother-in-law, the late Mrs.Doris Keene.Pair silver coloured metal coated book ends with curled decorative design. Green baize on base.No inscriptions or markingsdomestic items, ornaments / decorative

The collar stud belonged to Charles Clarence Victor Schwerkolt (1892-1964). It was worn with a detachable collar on special occassions throughout his life after his marriage in 1929. Charles was father of Rosalie Whalen (nee Schwerkolt).Charles Clarence Victor Schwerkolt handled Mary Schwerkolt's business affairs in order to re-claim Schwerkolt Cottage from Australian Government confiscation during World Wars 1 and 2.A plain nickle plated man's shirt collar studNo inscriptions or markings

A small metal silver coloured box with a fitted lid.no inscriptions or markings

William Taylor was one of the original white settlers in the area around modern day Keilor. He had a large amount of land and ran sheep in the area. Taylors Lake and Taylors Creek now bear his name. Figure of local historical significanceMarble bust on pedestalInscription on plinthwilliam taylor

The horseshoe was found during excavating the site for the development of GESAC, East Boundary Road, Bentleigh. Iron horseshoe, U-shaped, dark and corroded with concretion / accretion of rusty coloured debris over much of the surface.No legible inscriptions.

Single horse drawn dray (non-tipping) made of timber with metal fittings and wheel rims. Open all round with uprights spaced along the tray. Rail at the top of the uprights. Painted dark brown with unpainted tray boards.No inscriptions or markings.transport - goods; horse - drawn

Belonged to Colonel Otter.16 Military uniform round brass buttons.Various inscriptionsmilitary buttons

Sgian-Dubh belonging to Brigadier Lowen, Brig Lowen served in 2/5 Australian Infantry Battalion in WWIISigan-Dubh belonging to Brigadier Lowen. Brig Lowen served in 2/5 Australian Infantry Battalion in WWIISgian Bubh is of a black plastic handle with Crome blade, it has a fake jewel on the pommel. Has a black plastic sheath.There is no inscription on the item5/6 rvr, bhq, brig lowen, 2/5th bn

WWI coin purse, personal use by soldier Small leather coin purse. Four compartments, front compartment has leather lip, third compartment has button lock. Metal latch lock.No markings or inscriptionsww1, purse, leather, wark vc club

A handmade slasher with a long wooden handle and a heavy sharp steel blade attached with a rivet to the handle. It was efficient for clearing thin and dense low-lying scrub or bush where an axe would be too clumsy. Indiscernable inscriptiontools, agricultural equipment, agricultural tools, slashers, gardening tools