A vintage early 1800's brown hardcover children's book with the title The Adventures of a Three Guinea Watch printed in gold diagonal letter on the front cover with a black lined illustration of two boys playing with a fob watch sitting inside a large barrel. The spine has the title and RTS symbol for the publisher printed in gold lettering. The back cover has a black lined drawing of a boy reading a book in front of a bookcase with the heading: THE BOYS OWN BOOKSHELF printed in a banner above. There are flowers and butterflies too. The frontispiece illustration depicts a woman and a man with a boy in football clothes talking. It is covered with faded tissue paper. The title page has the title, author, publisher details and the same black lined illustration as is featured on the back cover. Throughout the book are many black lined illustrations. At the back is page of further Books for Boys published by The Religious Tract Society. The author,Talbot Baines Reed wrote school stories for boys. Pp. 226.fictionA vintage early 1800's adventure story for teenage boys with black lined illustrations. A boy is given a watch for his 13th birthday as he goes off to school. The watch narrates his own story as he changes 'owners' and travels to London, a pawn shop, a university, to the seaside, India and back to..... There are strong religious themes throughout.children's books, books, children's stories, adventure stories, teenage stories, boys' stories

Set of twelve crew timetables known as "blocks" or "depot table sheets" for Kew depot - printed on A4 sheets stapled together. Has various symbols explaining crew movements. Last two sheets give graphical details of tramcar operations and a list of tables and duties indexes. .1 - Sunday 27-8-2006 .2 - commencing Monday 28-8-2006 - annotated in ink "Collins St Review Block, Comm 10th Sept 06?" .3 - Sat 2-9-2006 .4 - Friday 1-9-2006 .5 - Thurs 9-1-2014 with a notation "Wed 8-1-14" .6 - (6a and 6b) - two versions for Friday 1-6-2010 .7 - (7a and 7b) ditto for Monday 14-6-2010 .8 - Thursday 8-1-15 .9 - Sunday 9-2-1997 .10 - Saturday 15-2-1997 .11 - Monday 24-2-1997 .12 - Friday 28-2-1997trams, tramways, kew depot, timetables, crews, table cards

Set of six large posters, featuring the tram map of Melbourne, Inner City, Northern and Southern sections. Items .1 to .3 have an adhesive backing for application onto a tramcar advertising rack. Items .4 to .6 are photocopies of the same with corrections or suggested changes, all c1990. .1 - Inner City - approx. A3, Has the revised The Met symbol with a key along the lower edge detailing route numbers and routes. .2 - Southern Region Tram Map with a map key showing hospitals, points of interest, parks and gardens, some schools and zones. Also shows trams routes through the city, rail lines, stations and major roads with bus routes. .3 - ditto for the Northern Region .4 - Photocopy of the Inner City area with corrections which have been picked up on the final version. .5 - ditto for the Southern Region, two sheets joined together with tape. .6 - ditto for the Northern Region. Items .4 to .6 not scanned.trams, tramways, ptc, posters, trams, the met, map, tram routes, bus routes, route numbers

Magazine, published by the Metropolitan Transit Authority of Victoria "Met Lines" (Metlines) - A4, printed on white gloss paper, with the MTA logo or symbol. Issued under the name of Kevin Shea as Chairman. Continues from Reg Item 1086 "Met Lines" - printed in an A4 version. Major tram and bus items listed. Tramway names only listed, not railway. .1 - Vol 3 - No. 1 - April 1987 - 20 pages - (See also Reg item 981 for more detail) - -Tramway Bowls Association, Melbourne and Metropolitan Transit band, Transporting Art featuring trams 731, 816 and 721 along with a photo of David Larwill working on 722, and painted trams co-ordinator , Wendy Miller and "20 million Americans see Melbourne and its trams" - a story about the NBC USA, breakfast broadcast on 4/2/1987. (further items of this volume to be sourced - they may not have been any??) For next volume - see Reg Item 1142.trams, tramways, transporting art, decorated trams, the met, mta, sports, bowls, tramways band, tram 2001, tram 129, tram 234, tram 50, tram 504, tram 871, tram 967, tram 223, tram 758

Magazine, published by the Metropolitan Transit Authority of Victoria "Met Lines" (Metlines) - A4, printed on white gloss paper, with the MTA logo or symbol. Issued under the name of Kevin Shea as Chairman. Continues from Reg Item 1141 "Met Lines" - printed in an A4 version. Major tram and bus items listed. Tramway names only listed, not railway. .1 - Vol 4 - No. 2, November 1987 - 20 pages - Mental as anything standing in front of their painted tram - No. 726, along with Brian Carter, Senior Foreman, 130 Light rail vehicles for the Met, - Light rail vehicles for Hong Kong, Conductors find the driving seat is just the ticket - Hawthorn driving school and Bundoora tram extension opens (further items to be sourced) Notes on page 2 that this is the final edition for 1987 and that from Feb. 1988 a quarterly magazine and also a staff news letter as well. For next year 1988 - see Reg Item 1183.trams, tramways, transporting art, decorated trams, the met, mta, sports, bowls, tramways band, tram 726

This chart shows a possible site for the fabled wreck called the 'Mahogany Ship'. Flagstaff Hill’s collection includes other objects that some say could be relics from this Ancient Wreck, (also called the Gold Ship, or the Ancient Vessel). The chart shows the coordinates for the Summits of Griffith Island and of Middle Island. It also has the depths of the sea at various intervals and shows the shore and sand dunes, lighthouses and other reference points. The mystery of the Mahogany Ship began in 1836 when two shipwrecked sealers discovered the remains of an “ancient vessel” in the sand dunes about four miles west of Warrnambool. Since the last recorded sightings in the 1880’s the true origin of the Mahogany Ship has remained one of Australia’s most famous historical mysteries or fables. One of the more recent theories is that the vessel was one of the Portuguese ships exploring the Australian coast in 1522. For over one hundred years searchers have attempted to locate and identify the wreck. The search continues for the tangible evidence which will once and for all establish the Mahogany Ship’s place in Australia’s History.The chart represents the worldwide interest in locating the wreck of the Mahogany Ship. Locating the actual wreck or proving the existence of a Portuguese ship's wreck could change the history of the discovery of Australia. A Mahogany Ship committee was formed to gather and research information about the discovery of the wrecked ship. A large amount of money was offered as a prize for finding the wreck or parts of it. People have written books, painted images, made videos and told tales of the ship but it continues to remain a mystery or even a fable. The chart is significant for its possible link to one of Victoria’s and Australia’s maritime mysteries, the Mahogany Ship (also known as the Ancient Wreck). It is one of very few known relics that could give evidence of the existence and history of the vessel. It is listed on the Victorian Heritage Register S438 as it is one of Victoria’s oldest recorded shipwrecks. The identity of the vessel has the potential to change Australia’s history.A chart in a wooden frame, behind glass. The chart shows the approximate position of the mystery Ancient Wreck, later called the "Mahogany Ship". The chart is a copy and is based on the Admiralty Chart by Lieut. Stanley, dated 1872. Lower left: "THE MAHOGANY SHIP" "LOCALITY PLAN, ENLARGED FROM LIEUT. STANLEY'S ADMIRALTY CHART 1872" "APPROXIMATE POSITION OF WRECK MARKED [symbol of a Portuguese cross]" Other labels on chart: "BELFAST" "PORT FIARY" "GRIFFITHS I" "RIVER MOYNE" "RIVER MERRI" "ARMSTRONG BAY" " GORMANS LANE" "TOWER HILL" "KOROIT" "HELEN ROCK" "WARRNAMBOOL" "LADY BAY" "MIDDLE I" "LIGHT HO." Lower right: "G 410 B" Label on the back; "This chart presented to the Mahogany Ship Committee and Flagstaff Hill by Avis Quarrell, April 2007"warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, mahogany ship, ancient vessel, ancient wreck, portuguese ship, coastal reserve, fabled wreck, gold ship, griffiths island, belfast (now port fairy), koroit, location plan, leuit. stanley, admiralty chart 1872, tower hill, merri river, moyne river, middle island, helen rock, armstrong bay, griffiths land

The platypus is a semi-aquatic, egg-laying mammal endemic to eastern Australia. It is the sole living representative of its family and genus. They can grow up to 63cm in length and weigh up to 3kg, and their life span is typically 6-15 years. The unique mix of physical features of the platypus make it an important subject in the study of evolutionary biology, and a recognisable and iconic symbol of Australia. Furthermore, the platypus is culturally significant to several Aboriginal peoples of Australia. The animal has also appeared as a mascot at national events and features on the reverse of the Australian twenty-cent coin, and is the animal emblem of the state of New South Wales. 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 and the National Museum of Victoria, as well as individuals such 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.A long, stocky platypus with a streamlined body and a flat bill. The platypus has four short limbs with webbed feet, and the front-right foot is positioned upright. The hair is short and dense; the upperbody fur has an auburn tint, and the underbody fur is a silver/cream colour. The platypus has two beady black glass eyes.On tag: BMM / 5899 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, platypus, monotreme, mammal, ornithorhynchus anatinus

The Loreto Chapel, or Children’s Chapel as it was known, was built between 1898 and 1902. The architect was William Tappin and the builder, George Lorimer. It is built in an English Gothic style with French influence. The stone is Barrabool Hills sandstone from near Geelong with white Oamaru, New Zealand, stone detailing. Building was interrupted through lack of funds but the project was finally completed with a large bequest from the German Countess Elizabeth Wolff-Metternich, who had been a student at the Convent in 1898. The Countess tragically died on a return visit to her family in Germany. The inside of the Chapel is decorated in soft pastel colours with artwork and statuary donated to the sisters by Ballarat and Irish families. The Rose Window over the Organ Gallery depicts St. Cecilia, patron saint of music, surrounded by symbols of the four Evangelists, Matthew, Mark, Luke and John. The windows over the altar depict the instruments of the Passion of Christ. The marble altar features the Nativity scene as was requested by the children. The interior of the Chapel was restored in 1999 through the bequest of past pupil, Lucy Kerley and maintenance is continued with a bequest from past pupil, Eileen Macintyre (McGrath) (https://loreto.vic.edu.au/loreto-college/facilities/loreto-chapel/, accessed 06 June 2019_ Colour photograph of a chapel at Loretto convent, Ballarat. The chapel is made of Barrabool sandstone. loreto chapel, ballarat, children's chapel, william tappin, george loromer, english gothic, elizabeth wolff-metternich

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The circle and diamond pattern are ancient symbols used by Wadawurrung people dating pre-colonisation on possum skin and kangaroo skin cloaks, other artefacts like spear heads (carved), wooden shields, stone tools and caves were painted with blood, ochre and bound with grass tree sap, black wattle tree sap and kangaroo fats. The diamond pattern was a strong design used by men on shields and women on baskets and adornments. Shields were taken from the tree in the colder months when the tree was cold as the wood came off cleaner. Ochre colours of red, white, yellow and charcoal were often used to colour in and decorate the skin side of possum skin cloaks, wooden shields, spear heads, baskets and some coolamon bowls.The design for this cloak has been simplified from the original artefact design.Cloak with black and white diamond and circle design on outer cloak and coral and white line pattern within lining. Trimming is solid black. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung, first nations, cloak

Legacy has a programme of donating trees grown from seeds descended from a pinecone of a Lone Pine in Gallipoli. One photo shows President John Stevenson by the newly planted tree, and making a speech, also Legatee Lucky Luscombe speaking. The plaque shown is now known to be incorrect. The species of tree is not an Aleppo Pine but a Pinus Brutia (also known as Turkish Pine). From the early 1970s Legacy had a commemorative programme of providing trees grown from seeds from Gallipoli to various towns throughout Australia. This may be part of that project (see the Lone Pine brochure at 00593) or subsequent propagation undertaken by Legacy. Melbourne Legacy‚ Commemoration Committee was responsible for the collection, propagation, presentation and dedication of Lone Pines from the 24th Battalion tree at the Shrine of Remembrance. On the 14th September 1989 further seedlings were collected with the hope to raise 1,000 trees from the seeds. Thus, Legacy is helping to keep the memory of the Gallipoli 'Lone Pine' alive, its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of nationhood and of its just pride, devotion, courage, selflessness and sense of service to others.The planting of Lone Pine trees, donated by Legacy, has promoted the memory of Australian servicemen in many places around Australia.Colour photo x 6 of a planting of a Lone Pine by President John Stevenson at Springvale Garden of Remembrance.lone pine, tree planting

Wooden plaque with metal plate with English and Japanese writing "In Commemoration of FRIENSHIP PORTS' Day/ On the occasion of the Yokohama Exotic Showcase '89, celebrating/ Yokohama's centennial as a municipality and the 130th anniversary of the/ opening of is port, 29 August 1989 has been designated as Friendship Ports'/ Day. The day's activities and the participation of Melbourne have brought/ about mutual understanding and have strengthened the ties of/ friendship between Melbourne and Yokohama./ We present this plaque as a symbol of our deep appreciation and of/ our desire for continued friendship and exchange/ 29 August 1989/ Nichachiro Hanamura/ Chairman/ Association for the Yokohama Exotic Showcase '89" Japanese writing on reverse : "PMA 0135"

This uniform belonged to Sapper Hughes 3795948 of the Royal Australian Engineers Corps. By the date on the uniform, it is assumed that he served C 1968.This uniform has significance as an example of a uniform worn by soldier ranks for daily work and dress parades.Khaki coloured long trousers with attached suspenders. They have a button up front (5 brown plastic buttons). There are two pockets on either side of the trousers and one button up pocket on the back right with a flap that is fastened with a single brown plastic button. There are three extra brown plastic buttons on the back exterior of the waistband and six belt loops on the whole length of the waist band. The interior pocket fabric is more light weight and a slightly more green in colour. The interior of the right back pocket includes a white patch of fabric with printed inscriptions and further inscriptions written in black ink just above. The suspenders are composed mostly of blue, grey, beige, black and cream striped thick fabric. There are also silver coloured metallic components (which include inscriptions) and leather sections, most of which have a reddish/brown coating on the exterior and a white coating on the interior. One leather component has inscriptions in black ink on the interior as opposed to a white coating. The suspenders are attached to the trousers by six brown plastic buttons on the interior of the waistband. Back pocket interior inscriptions on the green fabric: HUGHES / 3795948 Back pockket interior inscriptions on the white fabric: E.W. P/LTD. / SOUTH AUSTRALIA / 1968 / (a symbol of a broad arrow) / Class 8405-66-025-6405 / Batch 67 / Mill / Size and Waist 28C / Matching Jacket 35 /36C / DRY CLEAN ONLY / CREASES SET BY SIROSET / REPRESS ON ORIGINAL CREASES / MENDING PATCH ATTACHED / NAME HUGHES. J.W. / ARMY No. 3795948 8PL Bcoj Identical metallic clip inscriptions on two of the suspenders: POLICE / (embossed image of a police baton)royal australian engineers, warrnambool rsl, warrnambool, engineer, hughes, sapper hughes, 3795948, hughes 3795948, uniform, army uniform, trousers, army

The poster has the following instructions for the treatment of snake bite:- "A ligature, that is, a strong string or narrow strip of clothing if no string is to be had, should be at once applied near the bitten part, and between the bite and the heart. tight enough to stop the circulation. The bitten part should then be immediately cut out by making, in the manner shown in the engravings, two curved incisions, which should be, where practicable, a quarter of an inch deep. The wound should then be well sucked for then minutes, by persons who have no wound, cut, sore or ulcer in their mouths, or on their lips. When the bite is on the head, face or body, or on any place where a ligature cannot be applied, the bitten part should be kept tightly pinched up till it can be cut out." The poster was authorised by T.R. Wilson, Secretary of Melbourne's Central Board of Health, between 1865 and 1881. It was printed by John Ferres, Government Printer, Melbourne, 1865-1881. The Central Board of Health, Melbourne, was in existence between 1855 and 1889. This poster has significance as an early record of public health instruction issued by the Central Board of Health in Melbourne for the treatment of snake-bite. The materials used to mount and frame the poster are also of significance, with the printing being done on fabric, and the newspaper inserted between the poster and the backboards.Timber-framed rectangular poster with printed instructions for treating a snake bite. The poster is printed on fabric. Between the poster and the backboards is a layer of newspaper, revealed by the damaged fabric. The back of the frame is filled by three vertical timber panels that are strengthened by three horizontal timber slats across the top, centre and bottom. The timbers are fixed in place with nails. The edges of the frame at the back have remnants of paper. Two metal eyelets are inserted into the top edge of the frame. The poster was issued by the Central Board of Health in Melbourne and printed by the Government Printer in Melbourne. It has the British Coat of Arms on top, diagrams and text, plus sections of newsprint.Symbol of [British Coat of Arms] between the letters "V." and "R." Headline "CENTRAL BOARD OF HEALTH" Subheading "WHAT TO DO IN CASE OF SNAKE-BITE" Instructions are printed on the poster. Diagrams include a bite on the knee and bites on the hand. Publisher "Central Board of Health, Melbourne, 28th February ----" "(By Order of the Board), T.R. WILSON, Secretary" "BY AUTHORITY, - - - - - - - - -, GOVERNMENT PRINTER, MELBOURNE" Newsprint includes:- "Duties in the bay were put ... --rried out. On ... harbour boat's cr-- ... , and formed of sufficient ... given ... to vessels in distress, and ... life-b- ... the help of a few..." and "last, a Gold English ... engraved -- cove-- to leave it at F.P. ..."flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, central board of health, melbourne, t.r. wilson, secretasry, government printer, john ferres, snake-bite, treatment, first aid, 19th century, poster, government health announcement

Clothing. Pointed lapel collar, with underside of collar lined with felt. Two brass metal badges in a Leidertafel style - one on each side of collar. Cloth circular badges at the top of each sleeve are embroidered with a coat-of-arms, below which are two shields, one blue, and embroidered with a bunch of grapes, one red embroidered with a sheaf of wheat, a sheep, and perhaps a symbol of the landscape. Two breast pockets, rectangular with rounded lower corners and a shield shaped flap, closed with a 2 cm brass button impressed with a laurel wreath, and horn, suspended by a cord, and triple loop-a replica of British Light Infantry buttons. Two lower ''pockets'' are flaps only, giving the impression of a pocket only. Jacket lined with blue taffeta-like fabric-possibly polyester. One internal bound pocket inside right front. Four 2.5cm brass buttons (as on pockets) at centre front opening. All buttons have a metal back, and metal loop, which enables the buttons to be pinned to the garment, enabling removal for cleaning purposes.On inside breast pocket: A Quality Garment by Australian Government Clothing Factory. On back of buttons : Stokes Australia.costume, male ceremonial, marong municipal band blazer

This coat would have been part of a St Johns Brigade ambulance uniform. The buttons were made by A J Parkes, who manufactured buttons for the Australian Defence force. A J Parkes began manufacturing plastic injection moulded buttons from the early 1980's which suggests that the coat would have been made and worn during the late 20th century.This item is representative of a particular piece of uniform that would have been worn by a member of the St Johns Ambulance Brigade. It has historic significance as an item dating to the late 20th century which may have been used in the service of wounded military personnel. It also has some areas of staining which could have been coused by contact with blood. This could potentially be useful for scientific research purposes.Off white knee length coat with long sleeves. There is an epoulette on each shoulder and pointed collars. There is a deep waist pocket on either side of the coat. There is one silver plastic button at the top of each pocket. These have the St John Ambulance symbol on the front, which consists of an eight pointed cross, with two very small lions and two very small unicorns nestled in the corners of the cross. These motifs are surrounded by the words "THE ST JOHN AMBULANCE BRIGADE". The epoulettes are fastened with one identical button each. Underneath each epoulette there is also a clear plastic button attached the shoulder seam. Each sleeve has a 36mm long cuff which is fastened with one St John Ambulance Brigade button each. There are 10 clear plastic buttons that fasten the entire front of the coat. The back has two pleats commencing near the nape of the neck. The back of the collar on the interior seam has a label which has been cut and shows only a small amount of detail. Printed in faded blue on the label is: "E.R. TIMMINS".military, coat, st johns brigade, uniform, ambulance, st johns brigade ambulance, st johns

Pyott's Ltd., was an merchant and novelty shop in Vancouver, Canada during the early-20th century. An advertisement for the shop was published on February 9, 1922 in the Ubyssey News (issued Weekly by the Publications Board of the University of British Columbia. It reads: 'We carry one of the largest lines of Indian Burnt Leather Goods, Moccasins and Baskets in the city; also Beads, Purses and Hand Bags; View Books, Post Cards and Novelties of all kinds. Your inspection invited, 524 Granville St. Vancouver B.C'. History of shopping bags: Before the late 1800s, shopping bags didn’t exist. Shoppers would either carry their goods home in baskets, or have the merchant deliver them to people's homes, until 1852 when Francis Wolle, a schoolteacher in Pennsylvania, invented a machine to produce paper shopping bags. This invention would allow customers to carry items home in disposable paper bags. Soon after, owners of department stores and retailers began to realise that paper shopping bags could be used to help market their brands, and as such custom shopping bags with printed logos became common place. Carrying a shopping bag from certain shops became a type of status symbol for consumers, providing evidence that one was well-off, had good taste, or both. The paper shopping bag is a rare survival of ephemera related to a retail store that existed in Vancouver, Canada during the early-20th century. The arrival of waves of more than ten million migrants by boat is one of the major themes in Australia’s history. The paper shopping bag is representative of personal items purchased for migrant journeys as markers of domesticity, warmth and making oneself at home in a new land that speaks of the transnational lives embedded in threads of migration. A brown paper shopping bag with a printed logo and store information in black inkPyott's, Indian Souvenirs & Novelies. 524 Granville St, Vancouver- B.C. On the reverse side in handwriting: 'Red + dark red beadsshopping bag, marketing, ephemera, pyott's, vancouver, canada, migration, flagstaff hill, merchant

The paper shopping bag was most likely used for carrying garments, silk or woollen fabrics home from the Wallace Hughes department store. This substantial drapery operated from the late 19th-century-to the mid-20th century, and had 30 departments and stood at 464 - 470 Brixton Road, south London, U.K. The building was destroyed during the second World War and rebuilt in the 1950s. Brixton was once home to several large department stores, none survive today. History of shopping bags: Before the late 1800s, shopping bags didn’t exist. Shoppers would either carry their goods home in baskets, or have the merchant deliver them to people's homes, until 1852 when Francis Wolle, a schoolteacher in Pennsylvania, invented a machine to produce paper shopping bags. This invention would allow customers to carry items home in disposable paper bags. Soon after, owners of department stores and retailers began to realise that paper shopping bags could be used to help market their brands, and as such custom shopping bags with printed logos became common place. Carrying a shopping bag from certain shops became a type of status symbol for consumers, providing evidence that one was well-off, had good taste, or both.The paper shopping bag is a rare survival of ephemera related to a department store owned by Wallace Hughes in Brixton, South London, Britain that operated during the early-20th century, The arrival of waves of more than ten million migrants by boat is one of the major themes in Australia’s history. The paper shopping bag is representative of personal items purchased for migrant journeys as markers of domesticity, warmth and making oneself at home in a new land that speaks of the transnational lives embedded in threads of migration.The green coloured paper shopping bag with a printed logo and store information in red ink.Wallace Hughes, Brixton; For jumpers; For blouses; brixton's most fashionable draperwallace hughes, shopping bag, draper, migration, brixton, flagstaff hill

Minnie PWERLE (c1910-2006) Atnwengerrp/Utopia Minnie Pwerle's Dreamings consist of elements of 'Bush Melon' and 'Awelye'. Awelys-Atnwengerrp' is depicted by a series of lines painted in varying widths and colours. These patters represent the lines painted on the top had of women's bodies during ceremonies in Minnie's country of Atnwengerrp. 'Bush Melon' is depicted using linear design of curves and circles in different colours creating a very loose and bold design. This dreaming tells the story of this lovely sweet food that comes from a very small bush and is only found in Atnwengerrp. Once very abundant and fruiting in the summer season, the Bush Melon is now hard to find. Minnie and other women used to collect this fruit (that was green in colour and then ripened to a brown colour) and scrape out the small black seeds. They would then eat the fruit straight away or cut it in pieces and skewer them onto a piece of wood to dry then to be eaten in the coming months when bush tucker was scarce. These artistic symbols carry potent spiritual meanings.. The physical creation of these Dreamings in an important part of the continuation of an ancient and rich cultural heritage. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Awelye & Bush Melon Dreaming, 2004 Acrylic on canvas, over three panels art, artwork, minnie pwerle, aboriginal, anmatyerre language, atnwengerrp country

"The dry stone walls provide a tangible link to the area’s white settlement, and they remain a symbol of the profound change in land usage from the original Kulin custodians to the European arrivals of the nineteenth century. The bulk of dry stone wall construction in Victoria occurred between the 1850s and 1880s. The gold rush of the early 1850s in particular inspired a flurry of construction. At this time, labour previously available for shepherding livestock dried up, as men gravitated to the goldfields to seek their fortunes. This necessitated the building of fencing to contain the district’s growing number of sheep, cattle and horses. An explosion in surveying, subdivision and the sale of Crown lands also contributed to a boost in construction. Government regulations that punished pastoralists for allowing their livestock to stray provided further incentive to fence-off previously open expanses of land. The major benefit of this type of fencing was that it utilised the materials at hand; the plentiful grey basalt that scattered the landscape. In the case of the dry stone walls built around Melton, the characteristic round or oval shape of the volcanic fieldstones on the western plains inspired some distinctive designs.54 Another advantage of dry stone walls was their ability to withstand the ravages of flood, fire and drought often experienced in the district. This durability accounts for the fact that many of these fences still exist today". Dry Stone Wall trail brochure/pamphlet for visitors provided by Melton Visitor Information Centrecouncil, landscapes of significance

A bookmark made to commemorate the creation of a labyrinth in 2012 at the Heidelberg Repatriation Hospital in honour of Jessie Vasey, the founder of the War Widows Guild. It has a photo of a labyrinth symbol on the front. It also says labyrinths are places of contemplation and renewal. An ideal place of reflection to acknowledge and remember those that we love and have loved. Where we can take time to reflect upon our thoughts and feeling and make peace with ourselves and others. Mrs J M Vasey was the founder and president of the War Widows Guild. During the second world war she became secretary of the AIF Women's Association, a body which sought to help soldiers' wives. Her work with this body drew her attention to the plight of war widows. After her husband Major-General George Alan Vasey died in an aircraft accident on 5 March 1945 she became a widow herself. At the end of the war Mrs Vasey founded the War Widows Guild, established on 22 November 1945. The Victorian War Widows Guild closed in 2021. Some items, including this bookmark, were donated to the Legacy archive for preservation. It was possible for a widow to be members of both Legacy and the War Widows Guild. Both organisations helped war widows in various ways.A record of the work done by Jessie Vasey and the War Widows Guild.Bookmark honouring the creation of a labyrinth in honour of the founder of the War Widows Guild.war widows guild, wwg, jessie vasey

This reproduction of the first R.S.L. Badge is a Limited Edition released as a commemorative badge cira 1980-1990The First R.S.L. Badge/ This specially crafted lapel badge is a/limited edition replica of the very first/ R.S.L. badge which decorated our soldiers/ and sailors returning from WW1/ This badge was worn with Pride from/ 1919-1926 by the founding members of/ the R.S.L., as they Returned Home to a Victorious Australia./ Right side of paper: Oceanic Life is proud to present this commemorative Badge to you, as a small/ token of our continuing commitment to/ the Men and Women who have served/ their country. Reverse Sise left: Symbol of Oceanic Life Ltd./ Right side: The Returned & Services League/ Commemorative Lapel Badge/ Circ 1919-1926badge, r s l, commemorative, circa, 1980 1990

Clothing. Navy blue wool (or polyester?) fabric. Pointed lapel collar, lined on the underside with felt. Two brass Leidertafel style badges-one either side of collar. Two rectangular shield-shaped breast pockets have rounded lower corners, and a shield-shaped flap closure, fastened with a 1.8 cm brass like plastic button. All buttons have an impressed laural wreath and horn, (suspended by a three looped cord) - a replica of British Light Infantry buttons. Three brass like plastic buttons at centre front (4th one is missing). All buttons are pinned onto the garment to enable easy removable for cleaning. Two inside breast pockets. Fully lined with blue taffeta-like fabric. On each upper sleeve, at shoulder level there is an 8 cm diameter circular cloth badge, embroidered in blue, red, and gold, displaying a Coat-of- Arms, and two shields - one blue embroidered with a bunch of grapes, and one red, embroidered with a sheaf of wheat and a sheep. These are probably symbols of the rural aspect of the town of Marong. Two lower ''pocket flaps'' are decorative, but not real pockets.Back of buttons: STOKES AUSTRALIA. On inside breast pocket: Embroidered label featuring Australian Coat-of Arms, and Quality Garment by Australian Government Clothing Factory.costume, male ceremonial, marong municipal band blazer

Pattie BEERENS (1962- ) Born Sunshine, Victoria Pattie Beerens was enrolled in the Graduate Diploma of Ceramics at Federation University in 2018 after completing a Graduate Certificate Visual Art at the Victorian College of Arts, University of Melbourne in 2017.Artists' Statement: Red. Broken structure on its side supported with an unrecognisable form. It is cast from an electronics packaging carton. Triangular arrows piece the structure with a spider on either side. I created fertility spiders to protect the Minoan women from predators. I collected spiders as a child to ward off the bullies and, like the octopus, spiders have eight legs and a head and body. The stylised spiders reference links between the Minoan octopus and other symbols of fertility. The natural light elongates the form in a shadow reflection on the floor. The form is surrounded by black space. This piece took on an anger I felt on the day that [Malcolm] Turnbull was overthrown and materialises the bully-boy behaviour we were witnessing. What is most interesting about this piece is that I created it as a Minoan reflection. It dawned on me , when I had it ready for the kiln - on the day that Dutton challenged the Turnbull leadership, that my anger was both reflective and contemporary because nothing seemed to have changed. We were witnessing first hand how the power struggles continue and goodwill suffers." Winner of the 2018 Deputy Vice-Chancellor's Awardpattie beerens, ceramics, sculpture, available ceramics

These Message Sticks acknowledge the return of Dja Dja Wurrung Cultural material held by the Burke Museum. The Burke Museum is the current custodian of a significant collection of First Peoples’ cultural material from across South-Eastern Australia. These objects were sold to the Museum by Reynold Everly Johns in 1868. We recognise the harm caused by dispossession of cultural material, and by any inappropriate display and interpretation of this collection over the past 150 years. The Burke Museum is continuing to build relationships and collaborate with traditional owners, Aboriginal communities and the museum sector to ensure culturally appropriate outcomes for the collection, including repatriation of objects to communities of origin. Message sticks are a form of communication between Aboriginal nations, clans and language groups even within clans. Traditional message sticks were made and crafted from wood and were generally small and easy to carry (between 10 and 20 cm). They were carved, incised and painted with symbols and decorative designs conveying messages and information. Some were prepared hastily, like you might create a note left on a friend’s desk or a quick text message; others were prepared with more time to make the markings neat and ornate. There were always marks that were distinctive to the particular group or nation sending the message and often marks identifying the relationship of the carrier to their group. This way it could be identified and authenticated by neighboring groups and by translators when the message stick was taken long distances. Two solid cylindrical shaped pieces of wood bound together with black, red and yellow string. Each stick has etchings with angular lines and dots. dja dja wurrung, message sticks, burke museum, beechworth, beechworth museum, repatriation, reynold everly johns

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink and white diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art

For many years Legacy had a "Back to Caulfield Race Day" for Legatees, widows and their families. 1995 was the 50th anniversary of the end of World War 2 and the race day was part of the "Australia Remembers" commemorations. Also a Legacy 'Lone Pine' was planted. The article in the Answer says: "Over 800 members of the Legacy family (past and present) reunite at the "Australia Remembers" Back to Caulfield Commemorative Race Day held on August 12th. It was a special day which incorporated a wide range of activities, including a display of military vehicles, a flyover, a parachute jump by the Red Berets, military bands, and displays of memorabilia when the racecourse was used as an army camp. An official ceremony also included the presentation of a Legacy 'Lone Pine' (a descendant of the Gallipoli 'Lone Pine') by the President of the Melbourne Legacy, Legatee David Millie, which was very warmly received by the Chairman of the V.A.T.C., Mr Peter Lawrence. " Official guest was the Premier of Victoria Jeff Kennett who is seen being greeted as he arrives. And photos of the planting of the 'Lone Pine'. See also photos at 01003 and 01092 and 01093. Legacy is helping to keep the memory of the Gallipoli "Lone Pine" alive - its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of nationhood and of its just pride, devotion, courage, selflessness and sense of service to others.Legacy retains a tie with Caulfield racecourse as it was once an army camp and staging post of young men going overseas to war and now it is the site of a lone pine. The annual gathering at Caulfield racecourse was an event that gets the Legacy family together.Colour photo x 8 of an event at Caulfield racecourse, and an article in The Answer.Printed on the back film number 783, 786, 787, various frame numbersanswer, events, lone pine, wreath laying ceremony

Photos of President Chas Wilks collecting pine cones from the Lone Pine descendant at the Shrine of Remembrance, the 24th Battalion tree. The cones dropped to the ground and school children are seen collecting them. Legacy has run a programme since the 1970s of propagating saplings taken from seeds of pine descended from a pine tree from Gallipoli and giving them to various clubs, schools and town councils. The photo appeared in the President's Highlights report in 1989. The caption says '1,000 seedlings from the historic Lone Pine tree near the Shrine of Remembrance will be propagated on behalf of Melbourne Legacy by the Department of Conservation Forests and Lands. Melbourne President Legatee Chas Wilks, along with the Minister for CFL, Ms Kay Setches and pupils from South Yarra Primary School helped to collect the seeds. The trees, once grown will be distributed to schools by Melbourne Legacy. Also see item at 01334 in 1993 when President Woodward was giving out saplings, it was three years later was when the saplings grown from these seeds were distributed. Legacy is helping to keep the memory of the Gallipoli "Lone Pine" alive - its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of nationhood and of its just pride, devotion, courage, selflessness and sense of service to others.A record of the way Legacy was propagating Lone Pine saplings for schools and organisations. The Lone Pine programme show the type of work done by Legatees to keep the memory of Gallipoli and fallen comrades alive.Colour photo x 4 of President Chas Wilks in a crane collecting pine cones at the Shrine and children collecting the cones.Handwritten '10' in a circle in blue pen.tree planting, lone pine

William Corbould was the son of a Ballarat tailor. He attended Ballarat College, and obtained certificates in assaying and metallurgy at the Ballarat School of Mines (SMB) in 1883, studying under the revered Professor Mica Smith. Corbould was not a born student and remembered his first experience at SMB: 'From the Registrar's Office I was led to be introduced to the Professor of Chemistry, one Mica Smith. The initial encounter gave me little encouragement - his large laboratory was filled with hundreds of bottles bearing strange labels with queer symbols on them. My heart sank. At the first opportunity I grabbed my hat and made for the door, but the good professor called me back. I pointed out that I was never any good at school ... so it was no use pretending to be clever enough to understand all those weird symbols! The Professor told me not to worry about that and took me to one of the benches where he found a blowpipe and a charcoal block. Mixing together two powders from bottles on the shelf he transferred a sample to the charcoal and directed the bunsen flame onto it. Soon it began to melt and a white bead appeared in front of my eyes. He then took a test tube and added a little colourless liquid from each of two bottles. A beautiful dark blue colour appeared. My interest was won.' During Corbould's mining career he travelled to Europe twice, and visited most of Australia's main mining fields. Corbould started his career as an assayer at Pinnacle Silver Mine, Silverton, and was then a self-employed assayer at Broken Hill. Corbould became an assayer for the infant BHP mine, and later worked in Kalgoorlie and Coolgardie, including managing Hannan's Reward, the oldest gold mine on the Kalgoorlie gold field. He spent 13 years at the Mount Elliott copper fields as general manager. In 1923, at the age of 57, Corbould went to Mount Isa and reported on options, experimented with new metallurgical processes and floated a company. John Carden of CRA said: 'Corbould was the man who brought Urquhart to Mount Isa. He was the man who made it all possible. He is tremendously important in the Mount Isa story, because he was the first technical man, the first professional man on the scene. He was responsible as I said, for bringing finance to the place, but I think even more importantly he was the first man to recognise the need to put all the little claims in the Mount Isa discovery together. I think perhaps his major contribution to Mount Isa was this amalgamation on the various claims. He recognised that the ore bodies at Mount Isa were not as rich as Broken Hill and they would never have survived had it been fragmented, so he was terribly important.' After completing major financial negotiations for Mt Isa Mine from London in 1927 Corbould remained in Europe where he remained until his death. Corbould was awarded the Legion of Honour of the American Institute of Mining and Metallurigical Engineers for fifty years service. Corbould died at Monaco in 1949 at the age of 82. (http://guerin.ballarat.edu.au/curator/honour-roll/honourroll_Corbould,William.shtml)A white paper certificate with black printed and handwritten text, and a blue Ballarat School of Mines seal. The certificate is signed by Andrew Berry (Registrar) and James Oddie (Vice-President).Signed on the left 'W.H. Corbould'mining, ballarat school of mines, mining alumni, metallurgy, james oddie, andrew berry, william corbould, corbould, berry, oddie