The stamps advertise a 5-day festival in 1926 to raise funds for the Bush Fire Relief Fund, Soldiers' Memorial Hall, St Vincent's Hospital and the Catani Memorial (St Kilda cenotaph).Series of five identical stamps, printed in red and pink on a sheet of perforated white paper, discoloured with age, and backed with gum. st kilda carnivals, st kilda beach, wwi fund-raising

Dr Carl von Brandenstein was born in 1909 in Hanover, Germany. He studied oriental languages and the history of religion at Berlin University (1928-1934) and Leipzig (1938-1939). His doctoral thesis was a dissertation on the iconography of Hittite gods. He was arrested in Persia in 1941 and sent to Australia where he was interned at Loveday Camp South Australia and in Camp 1 Tatura from January 1945 until his release in August 1946.Four artworks in a dark wood frame with terracotta coloured matte. Item 1: Hospital Waranga. Tall gum trees in foreground, blue sky . Staff standing under the veranda and a red cross vehicle parked in front. A barbed wire fence surrounds the hospital. Item 2: Inside the Library. Item 3: Camp Barracks. Four huts in a row . A tree and garden in front. Item 4: Reading Room. A table in centre of the room with a single chair. Books and stationery items on the table. A lamp hangs from the ceiling. Bookshelves along the walls and paintings on the wall. Item 2: "am letzten Tage deiner Internierung dem lieben Hans Wulff fur Errinnerung an gemeinsam gebautes" (English Translation: On the last day of your internment to dear Hans Wiulff for remembrance of what we built together. camp 1, tatura, carl von brandenstein, internment camp loveday, waranga hospital, library, hans wulff

Commissioned by the Friends of Wombat Hill Botanical Gardens and gifted to the Hepburn Shire in 2012. Historical Significance - In 1848, Irish immigrant John Egan took up land on the future town site then known as Wombat Flat. He and a party of searchers found alluvial gold in 1851 on ground now covered by Lake Daylesford initiating the local gold rush. Other finds quickly followed. With the finding of alluvial gold a town site was surveyed and founded in 1852. Initially called Wombat, it was renamed Daylesford. Cultural and Artistic Significance - Miriam Porter's 'Wombat' is a symbol of the Wombat Hill Botanical Gardens where visitors and locals alike love being photographed. Large scale solid redgum wombat sculpture.Artist intends to sign the work with 'M' on one leg.daylesford, hepburn shire, public art, miriam porter, wombat, art, sculpture, red gum, australian wood, australia, tourist attraction

This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace

The inks used were fabric printing inks and two colours were applied at the one time on the same roller, the roller being inked with green on one side and red on the other. The roller was a sponge paint roller 100mm wide. The technique used was 'soft bed release'. This is where the fabric is placed over a soft bed (woolen blanket with cotton overlay) and the inked block is placed on top of the fabric, then body weight is applied to the back of the block by placing the hands on the block and transferring weight through the body and into the hands. The block is then lifted and the process starts allover again.Rural City of Wangaratta CollectionA repetitive pattern of gum blossoms that has been printed on a rectangular piece of pure silk twill in green and red ink by a lino block.wangaratta art galley, print, lino block, flora, gum, christine upton, textile, australian flora

Although the Beenak Post Office officially closed on 31 August 1951, the Mail Box continued to be used until 1976. The history of Beenak (the town that never was) is part of the Yarra Valley Ranges, and this picture tells the story of the historic MailboxBlack and White Picture of the original Beenak Post Office Letter Box, used for collecting mail during the Beenak Sawmilling operations. The Friends of Kurth Kiln have errected a Commemorative Plaque on site next to the huge gum tree that still carries the scar where the the mail box had been mounted. A full scale replica of the box has been fitted to the shed at Kurth Kiln, made and painted by Henk Bouck under the supervision of ex PMG officer John Waghorn beenak, post office

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

Part of a set of 11 slides depicting scenes relating to sheep pastures.35mm colour slide in a red and white paper slide mount, depicting a rural scene with gum trees and pasturesPrinted: SHEEP PASTURES / Set No. A868 No.9 / Western District Pasturessheep nutrition, wool growing, sheep - nutrition, western district, gum trees, pastures, farm

This gum is part of an Australian ration pack, possibly from 2002. Ration packs are provided to soldiers and contain daily necessities such as food, matches and tobacco. These items were found together in a showcase at Dandenong RSL, suggesting that they came from a single ration pack.Ration packs are significant as they represent the daily life of military personnel.Small yellow and red packet of PK chewing gum. Wrigley's / P.K / Chewing Gum

The tee shirts were manufactured for a game of cricket held on the sports oval at Rupertswood and called the "Origin of the Ashes" on 18 January 1995. The Australian team was captained by Allan Border with past and present players of the time. David Gower captained England with past and present players. The tee shirts were sold as souvenirs.White tee shirt with a large green, red and yellow "Origin of the Ashes" motif screen printed on the front.front "ORIGIN OF THE ASHES..."1990s, sunbury, rupertswood, clothing and dress, george evans collection

The Gallipoli Star and its ribbon were designed in 1917 by R K Peacock, but official approval from King George V for the proposed campaign medal was withdrawn after the ribbon, but not the medal, had been manufactured, because it was to have been presented only to Australians and New Zealanders, but not British or other Empire soldiers involved in the campaign. Some Anzac veterans are known to have been issued with lengths of ribbon during the war in anticipation of the medal's production. In 1990, Mr Ross Smith, a former Australian Army Warrant Officer and Vietnam veteran, arranged, at his own expense, for dies from the original design to be manufactured, and for A J Parkes & Co Pty Ltd, of Brisbane, to strike 1000 examples of the medal. 200 of these stars were presented to surviving Australian and New Zealand Gallipoli veterans to mark the 75th anniversary of the campaign. The remainder were sold to the public. A further 1000 were later struck for sale to collectors. The design features an eight pointed star, representing the states and territories of Australia (seven points) and New Zealand. The colours of the ribbon are blue, representing the ocean, gold, representing Australian Wattle, silver grey, representing New Zealand fern, and red for the colour of Australian gum blossom and the New Zealand Rata flower.Gallipoli Star is a star shaped medal with raised crown at centre suspended on a coloured ribbon.medal, gallipoli, world war one, wwi

Yields information and demonstrates the tickets used to transport parcels on the SEC tramway operations.Set of five packs or blocks of 25 SEC 10c Parcel Tickets. Two part printed and perforated ticket, using red or orange ink on white paper with a gummed back - used 1966 to 1969. Form No. TYE-3-590 The upper portion has a gummed strip on the rear, with price and ticket number printed onto the lower edge. The lower portion was retained by the sender, was to be initialled by the conductor, organisation name, "Parcel Ticket 10c", conditions of use, ticket number and a space where to be initialled by the conductor. The 1966 Schedule of Fares and Charges gives the conditions of the use of these tickets. See Reg. Item No. 705. .1 - A023850 to 74 .2 - A023650 to 74 .3 - A 023900 to 24 .4 - A023625 to 49 .5 - A023500 to 24 trams, tramways, secv, tickets, parcels

Block of 50 2d Newspaper package Tickets. Two part printed ticket, using red ink on 60 gsm cream paper with the top half part having a part gummed back, stapled with a single staple at the top onto a cardboard sheet. The ticket butt has the form number "TYE 2-8". The top portion of the ticket was to be affixed to the newspaper package to be carried. It has the name of the organisation (SECV), "Newspaper Package Ticket 2d", conditions of carriage and ticket number. The lower portion was retained by the sender, was to be initialled by the conductor, "Newspaper Package Ticket 2d", conditions of use, ticket number and a space where to be initialled by the conductor. Each ticket has been stamped "CANCELLED" First two bottom half tickets missing. Heavy silverfish damage in places. First ticket (450) and lower portion of tickets 451 and 452 missing. Tickets in full numbered in both portions Aa 1458453 to 499. trams, tramways, secv, tickets, parcels

Block of 43 No. 3d Newspaper package Tickets. Was originally a block of 50 two part printed ticket, using red ink on 60gsm cream paper with the top half part having a part gummed back, stapled with a single staple at the top onto a cardboard sheet. The ticket butt has the form number "TYE 3-17". The top portion was to be affixed to the newspaper package to be carried. It has the name of the organisation (SECV), "Newspaper Package Ticket 3d", conditions of carriage and ticket number, prefixed with the letter B. The first seven tickets have been removed or used. All the lower tickets have been torn from the top half of the block, it would appear in they were damaged. Tickets in the full book would have been numbered from B39050 to B39099.trams, tramways, secv, tickets, parcels

Block of 41 No. 3d Parcel check tickets. Was originally a block of 50 two part printed tickets, using red ink on 60 gsm gold paper with the top half part having a part gummed back, stapled with a single staple at the top onto a brown cardboard sheet. The ticket butt has the form number "TYE 2-9". The top portion was to be affixed to the parcel to be carried. It has the name of the organisations (SECV), "Parcel Check 3d", conditions of carriage and ticket number, prefixed with the letter Ba. The first nine tickets have been removed or used. The lower portion was retained by the sender, was to be initialled by the conductor, "Parcel Check 3d", conditions of use, ticket number and a space where to be initialled by the conductor. Lower portions not on block are 8659 to 8564, though 8561 present loose. Tickets in full book numbered on both portions from Ba008650 to Ba008699. Each ticket has been stamped "CANCELLED" Inside of cardboard back has number "8699" written in ink on back.trams, tramways, secv, tickets, parcels

Set of three SEC Parcel Tickets. Two part printed and perforated ticket, using red or orange ink on white paper with a gummed back. 3073.1 - 6d ticket - A46756 - red ink - used 1963 to 1965 3073.2 - 8c ticket - A005643 - orange ink - used 1965 to 1966 3073.3 - 10c ticket - A012401- red ink - used 1966 to 1969 The upper portion has a gummed strip on the rear, with price and ticket number printed onto the lower edge. The lower portion was retained by the sender, was to be initialled by the conductor, organisation name, "Parcel Ticket 13c", conditions of use, ticket number and a space where to be initialled by the conductor. The 1969 Schedule of Fares and Charges gives the conditions of the use of these tickets. See Reg. Item No. 704. See Reg Items 705, 1731 and 1732 for dates of use. trams, tramways, secv, tickets, parcels

Yields information about the style and printing of parcel check tickets used in Ballarat and Bendigo tramways and how they were presented.Block of 10 No. 4d Parcel check tickets. Prepared as a block of 10 two part printed tickets, using red ink on 60 gsm reddish paper with the top half part having a part gummed back, stapled with a single staple at the top onto an off white light weight cardboard sheet. The ticket butt has the form number "TYE 3-18". The top portion was to be affixed to the parcel to be carried. It has the name of the organisations (SECV), "Parcel Check 4d", conditions of carriage and ticket number, suffixed with the letter D. The lower portion was retained by the sender, was to be initialled by the conductor, "Parcel Check 4d", conditions of use, ticket number and a space where to be initialled by the conductor. Lower portions not on block are 02560D - 02569D Tickets in full book numbered on both portions from 02560D - 02569D. See Alan Bradley's notes "Fares in Ballarat"trams, tramways, secv, tickets

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). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red and black 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, cloak

Product label in tones of red, blue and yellow showing printed text and a graphic of sheep under a gum tree. front: [printed] NO RUG TO EQUAL / THE / TRADE MARK REGISTERED / Ba-Ba / RUG / GUARANTEED / ALL WOOL / ABSOLUTELY THE BEST / FOR / WARMTH / WASHING / WEARING / & HEALTH / MADE FROM / PURE / AUSTRALIAN WOOL BY AUSTRALIAN MILLS / No. A W / Size: 72 x 60 / Weight lbsalbion mills, archives, wool industry, blankets, rugs, products, advertising, geelong, packaging, label, graphic design

Commemorative Bottle of Red Wine issued at VVAA National Congress, Seymour, May 2015.Significant as a memory of the State Conference in May 2015.Commemorative Bottle of Red Wine issued at VVAA National Congress, Seymour, May 2015.Label comprises: Background of blue sky and gum tree. Vietnam Veterans Association of Australia logo is front and top of label; text beneath the logo is in upper case: "Vietnam Veterans Association of Australia National Congress, May 2015, Seymour, Vic". Below that text are two pictures of the Vietnam Wall in Seymour - the Honour Roll with an Australian Flag overlay and, the Long Tan Cross. Capacity: 750mm. At the bottom of the label is text: Hosted by the VVAA Victorian Branch and Mitchell Sub-Branch.vietnam, vietnam war, diamond valley vietnam veterans sub branch, vietnam veterans association of australia

Cliff Beauglehole was an orchardist at Portland, Victoria, who throughout hislife took an intense interest in the plants of Victoria. Over his lifetime he collected 90,000 plant specimens as part of a comprehensive study of Victoria's plants and wrote thirteen books under the heading The Distribution and Conservation of Vascular Plants in Victoria, each written to cover the 13 study areas of the Victorian and Conservation Council.A mounted botanical specimen.beauglehole herbarium, herbarium specimen, botany, herbarium, plant science, plant specimen, field naturalists' club ballarat, federation university herbarium, eucalyptus camaldulensis, river red gum, myrtaceae

Image digitised from colour slide

At the height of the river trade, there was a town surveyed and laid out, and streets were named. This town was to house the workers at the river port of Red Bank when the paddle steamers plied the Murray River as far as Albury, carrying produce such as wool and wheat to the various towns along the river in the 1800s. As the river trade died away, this town never went ahead – one might say, “The town that never was.” A lone gum tree stands on the site today.This item is significant because it documents plans which were made for the early development of Wodonga.A black an white map depicting the proposed location of the township. The map is based on a sketch and is not to scale,early wodonga, boorgunyah - "the town that never was", wodonga heritage

Land for the Bendigo Chinese precinct was set aside by an Act of parliament' Bendigo (Dai Gum San Village) Land Act 1975' to be administered by the Bendigo Trust. The cultural precinct includes the Golden Dragon Museum, Yi Yuan Gardens and the Kuan Yin Temple.DAI GUM SAN BENDIGO'S BIG GOLD MOUNTAIN - CHINESE VILLAGE TOURIST PROJECT Softcover booklet with red cover and black and silver printing. Booklet contains 31 pages with description of the project to be built and outlining the benefits to the community. Also contains colour photographs.The Bendigo Trustchinese