1, 2. the stained glass window hanging in the Staff Room. Formerly in Principal's Residence May 90. 20 slides : 3, 4. Dairy before it was refurbished for the 1991 Centenary. 5, 6.Media Bins, 7, 8.Sequoia sempervirens, 9. Egg Curator's Cottage, Others unidentified. Mar 90.staff room, principal's residence, dairy, media bins, egg curator's cottage, garden week, 1990, stained glass window, sequoia sempervirens

Agate occurs when amygdales (gas pockets) form in the upper levels of basaltic lava flows. If these pockets or bubbles are iniltrated by water bearing silica in solution, the fluid dries and hardens in layers, forming round or egg shaped nodules or geodes within the rocky matrix. Agate is formed of a silica mineral chalcedony similar to quartz. Although relatively common and semi-precious, agate has been prized since at least 1450 BC - an intricately carved agate seal was found in the 2015 excavation of a grave belonging to a Mycenaeum priest or warrior near Pylos in Greece. Agate is also used in jewellery and other decorative or ritual purposes due to its often striking appearance. Quartz is found all over Australia, including Beechworth in Victoria. It is formed in deep-seated igneous rocks and crystallized through hot aqueous solutions. It can have two forms; Microcrystalline quartz or Crystalline quartz. Microcrystalline quartz is a fine grain quartz where crystalline quartz is often a large crystal. The colour of quartz can vary. These specimens were collected in Victoria in the vicinity of the Burke Museum. Victoria and other regions of Australia were surveyed for sites of potential mineral wealth throughout the 19th Century. The identification of sites containing valuable commodities such as gold, iron ore and gemstones in a locality had the potential to shape the development and history of communities and industries in the area. The discovery of gold in Victoria, for instance, had a significant influence on the development of the area now known as 'the goldfields', including Beechworth; the city of Melbourne and Victoria as a whole.The specimens are significant as examples of surveying activity undertaken to assess and direct the development of the mineral resource industries in Victoria and Australia, as well as the movement to expand human knowledge of earth sciences such as mineralogy and geology in the nineteenth century.Geological specimens of Agate and Quartz respectively; the fist-sized piece of Agate has peach/coral colouring with grey concentric patterning and the smaller piece of quartz is a uniform yellow/orange shade. Existing label: Local pebbles / (agate and / quartz / (yellowish) / egg-shaped). / BB geological specimen, geology, geology collection, burke museum, beechworth, agate, quartz, north-east victoria, indigo shire, geological surveys

Silver plated E.P.N.S set of 6 egg cups on stand with handle & 4 spoons, tray has embossed decoration around edge, indentations for eggs & removable egg cups.Villiers & Co Excella England EPNSdomestic equipment, table setting, egg cups

Manual egg beaterLight Running Pat No. V The Toplin Mfg. Co. New Britain, Conn. USAdomestic items, food preparation

Silver plated ornamental egg cup stand with handle, 4 egg cups and 2 hanging spoons.eggcup stands

Certificate awarded to Messrs. Roger & Andrew at the Burnley Competitions Winter Test 1917 for First Prize Greatest number of eggs laid by one bird - Light Breeds, Section B, 103 eggs. Issued by direction of the Hon. The Minister of Agriculture, signed J.C. Hatton for Director of Agriculture, A. Harts - Chief Poultry Expert, Macaulay - Curator of Exhibitions.Illustration of a certificate on a postcard certificate, mr roger, mr andrew, first prize, eggs, j.c. hatton, a. harts, egg laying competition, macaulay, curator, director of agriculture, chief poultry expert

The Curator’s lodge, designed by the Town Surveyor, HV Champion, was constructed in 1907 following the re-organisation of the north-east corner with the demolition of the old curator's cottage and erection of new gates. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day.A sepia image looking across a path bordered with rocks of a house (the Curators lodge) behind a fence. In front of the fence there is a young girl sitting on a rock with a young boy standing beside her. The house is timber with two brick chimneys, the right hand one half hidden by foliage. The house is federation style with timber battening above the front window. A timber frieze is above a verandah supported by three posts and light coloured brackets. Front: ‘Williamstown Gardens. Vic.’ ‘0457/1’ THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments / from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, curator’s lodge, children, federation style, crown studios, lee heap furniture warehouse

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981These are containers for miso. The wooden box, a product of Osaka, is lacquered in black on the outside and in bright red on the inside. The binding of split bamboo, in natural colour, gives it a sturdy look. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The logo in the middle of the words ‘POST CARD’ indicates the card was printed by M. Schulz in Prague. Schulz was a long-established company from Prague and printed postcards for customers from worldwide. Schulz printed in photo-chromolithography. The Curator’s lodge, designed by the Town Surveyor, HV Champion, was constructed in 1907 following the re-organisation of the north-east corner with the demolition of the old curator's cottage and erection of new gates. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The card also demonstrates how postcards were used as a method of contact in contrast to the contemporary use as souvenirs. A colour image of a house (the Curators lodge) behind a fence with two children sitting on it. There are two large Cordylines, one in the forefront of the image standing in lawn and surrounded by pink flowers, and one closer to the house. The house is brown timber with two brick chimneys and has a green corrugated iron roof with gables over the windows at the front and side.Front: ‘The Lodge, / Williamstown Gardens’. Reverse: Centre top ‘POST CARD’ with a logo [MS] in the middle of the words; left side vertical ‘O. Rippon Series’; left side ‘This space may be used for communication.’; right side ‘For Address only.’; left side bottom ‘Printed in Germany’. There is a one penny red Tasmanian stamp on the top right hand corner. The card is addressed to ‘Miss E G Holford / 60 Upton St, / Launceston, / Tasmania.’ Top left corner in pencil ‘$10’ (believed to be inserted by the vendor.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, curator’s lodge, children, cordyline

Churchill Island Heritage Farm has a large photograph collection dating from the nineteenth century. This series shows the volunteers dressed in late nineteenth/early twentieth century style costumes, attending the Museums Victoria conference, held hosted by Flagstaff Hill Maritime Village and held at the Lighthouse Theatre in Warrnambool. Pictured is the former Churchill Island curator and FOCIS member, Christine GraydenColour photograph of woman in pink jacket posing for a photograph with a woman in period costume with blue skirt, in front of a 'Victorian Collections' bannerFLAGSTAFF HILL VOL GUIDE IN/COSTUME WITH CHURCHILL ISLAND/CURATOR AT MUS AUS VIC/CONFERENCE 2/4/2014 [written on reverse in pen] [catalogue number on reverse in pencil]churchill island, museums victoria, christine grayden

Note by T.H. Kneen, "The vacant ground behind these pens was used by the School of Horticulture for Nursery work during the period of training ex-servicemen and women under the Commonwealth Reconstruction Training Scheme (CRTS). The house under construction was a replacement for the original house occupied by the Macauley family."Black and white photograph. Row of poultry pens approximately where the new Administration Building was subsequently constructed. House under construction behind. 2 men and a child looking into the pens.On reverse, "Note: Poultry Branch Curators Residence under construction."poultry branch, t.h. kneen, school of horticulture, nursery, ex-servicemen, ex-service women, commonwealth reconstruction training scheme, crts, macauley family, egg curator's residence, poultry pens, single testing laying tests

Brian & Jeanette Jasper, members of Rutherglen Historical Society, visited Rutherglen in Scotland in 1987 & took these photographs for the SocietySmall glossy photograph taken by Brian & Jeanette Jasper when they visited Rutherglen Scotland in 1987 - unframed.On back of photo: "Alistair Gordon (Curator of Museum) outside the Museum"rutherglen scotland, alistair gordon, rutherglen

Part of a collection of Rose & Valentine series Post Cards. Copied by John JanssonView on Cape Woolamai of Mutton Birders' Camps and their boats anchored in the bay. Figures on beach and sitting around their tents.Mutton bird eggers camps Cape Woolamailocal history, photography, photographs, postcards, black & white photograph, phillip island, mutton bird eggers camp, cape woolamai

The US M26 grenade replaced the British No.36 Mills grenade in the Australian Army and has been in use since the Vietnam War. Green, Silver Pin. Egg Shaped.

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of nest and eggs of a White Ibislocal history, photography, photographs, natural history - birds, coloured photograph, birds, john jenner, bryant west

Made as a Christmas present for a child in camp 3 by a German POW. Gretl Frank was bought to Australia in September 1941 with her German parents who were residents in Palestine (a British Protectorate at the end of WW1). Temple society members. She was born in Palestine October 1939. Married Hornung, 2 children - Ingrid and Jennifer. She is now resident is Los Angeles USA.Polished wood turned egg cup.GS german pow, christmas present, egg cup, internment camp wood work, gretl frank

Domestic - Wire Egg Beaters (2)stawell

Colour drawing of Slovenian Easter Eggs

Silver, emu egg and ebonised wood

Egg Cup with inscription Hotel Bellfield. halls gap

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The Curator’s lodge, designed by the Town Surveyor, HV Champion, was constructed in 1907 following the re-organisation of the north-east corner with the demolition of the old curator's cottage and erection of new gates. Both the lodge and lake (1904) were built during the curatorship of Mr Thake. The logo in the middle of the words ‘POST CARD’ indicates the card was printed by M. Schulz in Prague. Schulz was a long-established company from Prague and printed postcards for customers from worldwide. Schulz printed in photo-chromolithography. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day.A colour image of the ornamental lake and part of the Curator’s Lodge. The lodge has a green roof, tall brick chimney, is brown timber with brick where the fireplace would be. The small island with a succulent is in the centre of the image. The image looks across the top of the lake where the rock edging can be seen. Reflections of the plantings and lodge can be seen.Front: ‘Williamstown Gardens’. Reverse: Reverse: Centre top ‘POST CARD’ with a logo [MS] in the middle of the words; left side vertical ‘O. Rippon Series’; left side ‘This space may be used for communication.’; right side ‘For Address only.’; left side bottom ‘Printed in Germany’. In pencil top right corner ‘1907 / $7’ (believed to be inserted by the vendor.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, curator’s lodge, ornamental lake, succulents, 1907

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981This tropical-looking package for rice crackers is woven with strips of bamboo sheath - an interesting variation in the use of this ubiquitous material. It comes from the island of Kyushu, from the vicinity of the volcano Asozan in Kumamoto Prefecture. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving