Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could officially undertake civic duties. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and federal level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Mayoress O'Brien was born Annie Webb at Dunolly in 1893 and died in 1938 aged 68. Mayoress O'Brien was interested in child welfare and gave devoted service to the baby health centre (1). (1. Jackman, Mayors of Bendigo)Framed, oval photographic portraits with convex glass and print, created using a collodion wet plate process. Hand coloured detail.ll, Mrs M.E. O'Brien / Mayoress 1929 - 30 lr; Vincent Kelly / Bendigovincent kelly, studio photography, o'brien, annie webb, city of bendigo maternal health, city of bendigo mayoress, city of greater bendigo portraits

Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could officially undertake civic duties. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and federal level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Monica Cecelia Murray was born in 1910 in Strathfieldsaye and married Thomas Flood in 1934. She served as Mayoress for four terms and died in 1973. Mayoress Flood was president of the St Mary's Past Pupul's Association and a patron of the Bendigo Girl Guildes. Reproduction of photographic studio portrait sitting behind oval mount.studio photography, raymond kelly, city of bendigo mayoress, city of greater bendigo portraits, city of bendigo mayor, mayoress flood, mayor t.r. flood

Esther Bottomley was born on 8th February 1983 in Terang, Victoria but moved to Mount Beauty and became affiliated with the Birkebeiner Nordic Ski Club. She was the first female Australian athlete to compete at three WInter Olympic Games in Cross Country. She competed at Torino in 2006, Vancouver in 2010 and Sochi in 2014. Esther has also competed in events in the FIS Nordic World Ski Championships in the sprint event in 2003 and 2005. Her best World Cup finish was 18th in a team sprint event at Canada in 2009. Esher was also the winner of the Women's Kangaroo Hoppet in 2010 and 2011. This image is significant because it depicts an Australian Winter olympian and dual Kangaroo Hoppet winner.A coloured image of Esther Bottomley competing in the Kangaroo Hoppet 2010.australian winter olympians, esther bottomley, kangaroo hoppet

The Golden Whistler is native to coastal areas of Australia, from Queensland around to Southern Western Australia, including Tasmania. It usually lives in dense forested areas. The males have bright yellow plumage, whilst the females have only pale yellow plumage. The males and females work together to build the nest and raise chicks. They eat spiders and insects. The taxidermy specimen is not a good example of a Golden Whistler. Its feathers are very faded and ruffled. There looks to be some damage on the throat of the specimen. The Golden Whistler has usually vibrant colours, whilst this one is almost white. The colour markings on the bird indicate that it is male; the specimen should be a bright yellow. 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 in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as 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. This male Golden Whistler has a black head and stripe on chest, brown-grey wings and tail and white patches on throat and neck. The belly is a white-yellow, though significantly faded. Its feathers are quite ruffled and there is sign of damage to the throat. The specimen stands on a wooden stand and has an identification tag attached to its leg. Label: 24a / white throated Thickhead / See catalogue, page 11taxidermy mount, taxidermy, golden whistler, beechworth, burke museum, australian bird

The Eastern Spinebill is found along the eastern coast of Australia, from Queensland to South Australia. It lives in wooded areas. It is an insectivore and also eats nectar, which is why its beak is a long slender shape. Females and males have slight aesthetic differences; the males have more distinct markings on the head. The female birds build nests and incubate eggs, but both parent birds will feed the young. The Eastern Spinebill has a bright rust coloured belly and throat, with black wings, crown and tail. Its back is light brown. There is a white stripe on its chest which stretches up underneath its eyes. The eyes are red. This taxidermy specimen is not a good representation of the live bird because it is considerably faded and their feathers are very ruffled. 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 in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as 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.There are two birds on a wooden stand. One has its beak in the air and the catalogue tag attached to its foot (main bird). It has some minor pest damage around its eye. The opposite bird looks straight ahead. The birds are placed next to each other, facing opposite directions. They are faded and have some ruffled feathers. 60a/ Spine Bill / See catalogue, page 18taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, eastern spinebill

For generations, Bushells Coffee has been a part of everyday Australian life. It is an iconic household brand name that generations of families have grown up enjoying. These tea and coffee tins or caddies were commonly purchased from suppliers selling the well-known products of Bushels or Robur. The empty tins would have been used for storing other foods, household or farming items.A badly damaged square, Bushells Ltd 'Barley' tea canister or tea caddy with a rusted on lid and faded mountain scenes depicted around the four sides of the tin. There is indecipherable print at the bottom of each side, however, some details can be read - No. 144 (of a series) Net 1lb. Weight and other words not clearly read. The lid has a picture of the Bushells man with a long beard. This canister is from c.1920's and is very rare. There is indecipherable print at the bottom of each side, however, some details can be read - No. 144 (of a series) Net 1lb. Weight and other words not clearly read. The lid has a picture of the Bushells man with a long beard. The pictures on each side are very worn, but are of a female tea picker in traditional clothing working on a mountainside, standing near a shed with a cow and another one of her standing near an ox driven cart. metal, tea caddies, tea accessories, containers, food containers

The New Holland Honeyeater can be found throughout southern Australia, from about Brisbane, Queensland to just north of Perth, Western Australia. They are native to Australia and are named after Australia's first name (new Holland). This specimen is mounted correctly but looks different to the typical images of this bird because it is a younger New Holland Honeyeater and is; therefore, brown in colour instead of the typical black. 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 in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as 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.The Young New Holland Honeyeater is brown in colouring and has grey glass eyes (like this one) while adults are black and white with white eyes. Both have a large yellow wing patch and yellow sides on the tail. It has a small white ear patch, a thin white whisker at the base of the bill. This honeyeater is an active bird, and rarely sits still long enough to give an extended view. Sexes are similar in looks, but females are slightly smaller in size.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, new holland honeyeater, brown, black, yellow, australia, new holland

The Australian Wood Duck is commonly described as 'goose-like' in appearance. They reside throughout Australia and Tasmania in regions including grasslands, open woodlands, wetlands, flooded pastures and along the coast and bays. Unlike some breeds of ducks, this species can walk on land with ease and can often be seen perched on logs and in trees. The Wood Duck eat grass, clover and other herbs. On occasion they eat insects. 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 in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as 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.The female Wood Duck has a pale brown head with dark glass eyes. The head is looking backwards over left shoulder. The bill is a dull grey colour and the legs are a similar grey.The breast is speckled cream-grey with a white lower belly and under-tail. There is a paper tag tied to the upper part of the Wood Duck's right leg, a white label attached to the front right of the wooden platform and a grey label on the left beside the white label.....[missing] Goose / ....[missing] page 38. / 133 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, australaisian shovelor, shovelor, wood duck, australian wood duck, female duck, maned duck, female

This certificate is an invitation to the opening of the first Parliament of Australia on January 1st 1901 in Melbourne. On this date the six Australian self-governing colonies were federated to become the six states of Australia. The designers of the certificate were Norman Lindsay and John Longstaff. This particular invitation was sent to George Rolfe and his wife and two of his stepdaughters, Annie and Florence. George Rolfe (1836-1919), a tea merchant from Melbourne, began buying blocks of land near the mouth of the Hopkins River in Warrnambool in the 1870s. By the early 1880s Rolfe owned 50 acres in the town, including farming properties and used the buildings near the mouth of the Hopkins as holiday accommodation. He called his property Lyndoch which he improved with the addition of stables, chaff and bone sheds, jetty, boathouse, reservoir, water well and windmill and extensive gardens and he spent most of his later life in this Warrnambool area. Lyndoch today is the site of an aged care facility. This certificate is of considerable importance for two reasons: 1. It is an important memento of a signal event in Australia’s history - the Federation of the States in 1901. 2. The certificate was an invitation to the family of a prominent Warrnambool person – George Rolfe of Lyndoch.This is a piece of thick paper with illustrations and decorations in brown, red, blue, yellow and green tonings. The lettering is in white with coloured capital letters. The images include the shields of the six Australian States, the Coat of Arms of Britain and Australia, outlines of two trees (gum tree and oak tree) and three symbolic female figures representing Justice, Britannia and Australia. The top border decoration represents the waratah flower. The names of the invitees on this certificate have been handwritten in black ink. ‘Opening of the Parliament of the Commonwealth by His Royal Highness The Duke of Cornwall and York’ ‘Mr G and Mrs Rolfe and the Misses Rolfe (2)’ george rolfe of lyndoch, federation of australia, history of warrnambool, george rolfe, opening of first parliament of australia

Black and white photo: single storey stone building with shingle roof, 3 chimneys, verandah, clock in large gable, notices on board under verandah, picket gate at left, gas lamp at front right. Adult males on at front, 2 boys at front centre left. 3 storey building at back right. 2 females at right on verandah. On back in pencil '48' In image at bottom right. In image at bottom right 'Batchelder/Sandhurst'Batchelderbuildings, post office, view street, bendigo historic buildings p 22 and 90. 'butcher & flanders'

Coloured slide transparency. Image is of a female seated at a bench wearing a pink knitted jumper and short tartan skirt. She is holding a glass beaker with a dark coloured liquid in it, below a tall glass burette supported in a frame. There is a whiteboard with writing on the wall in the background above another bench with many glass vessels. The words Lyn Wingrave titrating Biochem Prep Room are handwritten along the top border and the words McCrae St (Old Physics area).Kodachrome Transparencyslide, bendigo, bendigo institute of technology

1884 Correspondence relating to life of Mrs C Tyrrell between Mr Ken Tyrrell (Maldon) and BHS (F. Kingerlee). Attached was newspaper clipping (no source cited - no date, but possibly 1920s?) headed ''Pioneer Passes'' related to the life and death of Mrs C Tyrrell , wife of Thomas Tyrrell, Mention is made in the letter and the article that Mrs Tyrell and her newborn baby girl were ''the first white females on that (Bendigo) goldfield''. (Left Bendigo 1853 for Maldon).document, newspaper, mrs c. tyrrell

This postcard was hand-embroidered in France and sent to Australia during World War I. A large piece of silk would be hand-embroidered by French women with the same pattern 20 times or so, then the large completed piece would be sent to a factory to be cut up and the individual pieces mounted on card. They had varying themes and patterns, greetings such as happy birthday or thinking of you, featuring butterflies, flowers and sometimes patriotic flags of allied countries involved in the war. They were marketed to troops to send home to female members of the family and girlfriends. It was estimated 10 million silk postcards were produced in Europe between 1915 and 1919. During World War 1 postcards were a welcome means of personal communication for many people. Most information came from newspapers or broadcasts.A small Christmas postcard of fabric with embroidery of flowers around the British flag and "Happy Christmas" sewn along the bottom."I am still going well & strong Love to all Maurie"ww1-correspondence ww1 postcard

These two badges came from the estate of Dorothy and Agnes Ardlie of Warrnambool. Dorothy Ardlie (1910-1993) and Agnes Ardlie (1915-1993) were the daughters of Arthur and Ethel Ardlie of Warrnambool, the granddaughters of the prominent Warrnambool lawyer, William Ardlie and his wife Mary and the great granddaughters of John and Mary Ardlie, pioneer settlers in Warrnambool. The badges appear to have belonged to Agnes Ardlie who was known to have been a keen sportswoman. The Warrnambool Racing Club was founded in the 1870s and annually produced badges for members, both men and women. Female membership of the Warrnambool Golf Club was well established by 1890 and the course then was in Albert Park. These two badges are of interest as having local provenance, belonging to a member or members of a prominent family in Warrnambool in the mid 20th century..1 This is a metal badge in an elliptical shape with gold edging. The image on the badge shows a horse and jockey clearing a hurdle with wording around the image. The colours used are blue, red, gold and green. The badge has a metal clip at the top with a blue cord attached. The back of the badge has wording imprinted on it. .2 This is an oval-shaped metal badge with an image of two golf clubs in blue and gold and the word ‘Associates’ in gold and green. On the back is a metal clip and some hand writing scratched on. The maker’s name cannot be deciphered. .1 Warrnambool Racing Club Not Transferable Season 1965-66 9 Stokes .2 Warrnambool G.C. Associates Ardlie A.A. ardlie family, history of warrnambool

Dr Leona Willson was the first female to be elected president of ANZCA (2008 - 2010) and the first New Zealander to hold the position. In 2011, Dr Wilson was awarded the New Zealand Order of Merit in which she is proudly wearing this medal in the portrait. The portrait was commissioned by ANZCA to mark the presidential term of Dr Leona Wilson which was unveiled at the ANZCA Council meeting June 2013. The artist, Jude Rae, is a Sydney based artist primarily known for her still life paintings, portraits and architectural interiors. Her artwork is held in major public and private collections in Australia, New Zealand, UK and USA. Dr Leona Wilson was the first female ANZCA President and first President from New Zealand to hold the position.Oil on canvas portrait of Dr Leona Wilson wearing the Presidential medal without the Presidential gown. She is wearing the New Zealand Order of Merit medal on her left lapel. She has her hands clasped in front of her and is seated on an angle in a chair in front of a plain grey background. The painting is mounted in a thin black frame and sits in a box frame coloured brown and gold.painting, wilson, leona, rae, jude, new zealand order of merit

Prior to the election of female Councillors and Mayors in the 1960’s, The Lady Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, international level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Mayoress Bolton was born Jemima 'Mina' Vance in White Hills in 1866. She died on 7th December 1946 aged 80 years. Mayoress Bolton was an ardent worker for charitable bodies, particularly Baby Health Centre and Children's Welfare department. Framed, oval photographic portraits with convex glass and print, created using a collodion wet plate process. Hand coloured detail.jemima vance, mayoress bolton, mayor bolton, vincent kelly photographer, city of bendigo, city of greater bendigo portraits

A photo of a group of female junior legatees in sporting outfits entering the Annual Demonstration with a prop of a totem pole. There are 14 young girls and part of the audience is visible. Legacy clubs ran classes for junior legatees for many years such as gymnastics, swimming or dancing classes. It was part of providing for the children of their deceased comrades. The skills they learned were show cased in an annual demonstration usually at the Melbourne Town Hall. It appears to be photo taken professionally, as there are several photos of different classes (see 00862 - 00873) perhaps to record Legacy classes for promotion purposes. A note with the photo identifies two young ladies; "Kneeling at the front Michelle and Anne O'Connor.A record of a way Legacy provided classes for junior legatees and the skills learned were displayed in the Annual Demonstration.Black and white photo of girls in sports outfits with the Legacy logo carrying a totem pole into a venue.Handwritten 'Legacy P2' in blue pen and 'Annual Demo 1963' in pencil.junior legatee, annual demonstration

.1) Medallion, round, metal silver colour, front has rising sun and crown at top, each side is an Australian sailor and soldier centre is a wreath with "Victory, The Triumph of Liberty and Justice the peace of 1919". Rear has a female form in billowing robe with "Peach 1919 Australia". .2) Medallion, round, metal, gold colour front has a kangaroo with "Anzac Day 1994 commonwealth medallion". Rear has a koala with "Anzac Day 1994 Commemorative Medallion. medallions, anzac, victory

The donor was given this doll about 50 years ago by her grandfather (in the late 1960s). He used to be a handyman at a high rise building in St Kilda, Melbourne. He had been doing some work for one of the old ladies and she gave him the doll to give to his granddaughter, who collected dolls. The doll has spent a few years at the Nagambie museum until it closed down and returned to the donor The origins or age of the doll are unknown. Originally it was thought to be a Fashion Doll dating from around the 1880s but the painted face together with the bisque legs and gold painted shoes are similar to those found on Boudoir Dolls (also known as Bed Dolls, Sofa Dolls, Flapper Dolls and French Dolls) of the early 20th century. Fashion dolls were sent from fashion houses to advertise the latest styles, fabrics, trims, hairstyles and accessories. Dressmakers would show these dolls to their customers. Ladies would then place their order and the dressmakers would make the dress to their size. The dressmakers would learn the construction techniques from examining the dolls. Boudoir Dolls dolls usually had no maker's marks and were primarily used as bedroom decorations for ladies rather than as children's toys. This doll appears to date at about the early part of the 20th century, but the petticoats are much older - possibly from a child's christening gown. At the time that the donor received the doll, it had a coloured lace over-gown that was badly torn so her mother removed it to replace with more lace but this never eventuated. The pink silk dress also appears to have been remodelled into a 19th century style with gathered sleeves and a gathered skirt. This fashion or boudoir doll is significant for being a rare example of a doll made in the late 19th or early 20th centuries. The doll is wearing clothing representing the fashion for young girls in that era. The doll is also significant as an item possibly used by fashion houses and dressmakers to advertise the latest fashions in clothing, trims, accessories and hairstyles. A doll such as this may have been found in a Victorian dressmaker's premises for use as a pattern and technique template and for a display to customers. It may also have been used as a decorative item in a lady's bedroom.Female boudoir doll with silk face and body, and porcelain lower arms and legs. She has plaited blonde silk hair. Her painted face has brown eyes and her shoes are painted gold. The doll is dressed in a long pink puffed-sleeve dress with a gathered waist and a ruffle at the hem. A pink ribbon around her waist is tied at the back. There are small silver balls hand-stitched around the neckline. She has a white, hand-embroidered lace petticoat and bloomers.warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, doll, boudoir doll, female doll, dressmaker's doll, display doll, late 1800s doll, fashion doll, antique doll, 19th century doll, children's fashion, girl's fashion, late 1800s children's fashion, early 20th century doll, composite doll, french doll

Part of the collection purchased by the City of Portland from Kurtze's museum. Brendon Kurtze believed it was from the 'Constant', but the wreck was later proven to be the 'Regia' by V.A.S.Wooden painted figurehead believed to be from the barque 'Regia' (built 1835). Painted white female with floral wreath in hair, holding a scroll in both hands, sash over right shoulder, diamond-shaped object on ribbon around neck, beaded necklace, dress with puffed short sleeves, bare arms, hair set in curls and a bun on the back of head. Figurehead is torso only. Inspection suggests that it has been cut from the wreck or from the rest of the figurehead's body.Front: (no inscriptions) Back: (no inscriptions)

Black and white photo of 6 people - 3 females front row, 3 males back row, all wearing white t-shirts with the words ''Gas people are good sports''. Same photo as 11518.344 Kevin Shuttleworth and Bryan Baker, others unknown. On the back the words '' This one preferably and Frame 7'' In this photo the 3 males are standing. Date and location unknown. Back row; Kevin Shuttleworth, unknown, Brian Baker. Girls in front row are unknown.person, group, employees

Eighteen tin type photographs mounted in a card. The card has a dark red border and small oval windows with a photo behind each one. Each opening has decorative work in dark red. Photographer's name and address printed at the bottom. The photos consist of male and female adults, children and young people. Other addresses for the photographer are: 95 Swanston St., Melbourne; 23 King William St., Adelaide; 6 Sturt St., Ballarat; and Brisbane St., Launceston.Gove & Allen, 324 George St., Sydneyphotograph, portrait, male & female, tin type collage, gove & allen

Black and white photograph of shops with verandah. One adult female looking in shop windows. Bicycle leaning against verandah post.. In image: 'Tivey Bros, RG Nixon Proprietor', 'Bushells', 'Lan-Choo Tea'. On back: 'MP 283, copy 1', '2 copies', '95', Circular stamp 'Royal Historical Society of Victoria, Bendigo Branch'. History of object: Previous Acc. No 'MP 283', James Lerk 10.3.2000 'Inglewood. Constance (Con) Doney on footpath. Photograph by Alan Doney'.Alan Doneyplace, streetscape, inglewood, see also 2000.555.01

sepia studio study with some hand tinting shows upper body of young female adult. Plaid skirt, leather gloves, purse ? Floral spray, tinted. Pale buttoned blouse, hip length fur. Collared long sleeved jacket, floral decorated stgraw hat atop curled hair. Image is mounted on stiff card with commercial details theron. In gold lettering on lower front, coat of arms, ' Charlemont, Sydney, by appointment to his excellency, Lord Carrington.Charlemont & Co., Grosvenor Studioes, Royal Arcade, Sydneyperson, individual, female portrait