The Medal was won by WJ Mahon, Best Bowling Average, Yackandandah Cricket Association 1923-1924' It was donated to Yackandandah Cricket Club by Mrs Evelyn Drummond, daughter of William James Mahon. An Allans Flat cricketer, Jim Mahon was a third-generation Allan's Flat/ Osborne's Flat resident. His father, Henry, keenly followed football and cricket. His son, Mervyn, Captained Yackandandah in cricket and served as Club Treasurer. Jim, like Merv, represented his association at Country Week Cricket. (notes accompanying medal on donation - source Yack Cricket Club)The item is of local significance, in the story of cricket in Yackandandah. Cricket has been played in the district since 1860, and the Medal was an important exhibit in a celebration of 150 years of cricket in Yackandandah, 2010. The medal is a good example of a practice used in the creation of trophies, where a base item is created, and a sport-specific item added. In this case the addition is a representation of a cricketer, with arm aloft, ie a bowler. Cavell, 1990, observes that Aronson & Co used this to create medals/medalets for a variety of sports, and includes a selection of images of different bases to which representations of different sports are added. Another example is the Woy Woy Champion 1925 awarded to cyclist K. Ross, held by the National Museum of Australia. The same practice is used extensively now, albeit in plastic and synthetic wood, rather than gold.Gold, wreath shaped fob medallion/medalet. Central circle (attached as a separate item) shows cricketer holding aloft a ball. Back engraved. Attached to silver-coloured, metal link chain with bar and hook fastener. Won by WJ Mahon, Best Bowling Average, Yackandandah Cricket Association, 1923-24 season.Bryson's Medal / won by / W.J. Mahon / Best Bowling Avg / Yack Assn / 1923'24. Marks: maker's mark (Aronson & Co), 9, sheaf of wheat; PT APPFORsport, trophies

Lane's pottery was established in Burwood in 1936 at 109 Highbury Rd. Burwood. In1962-1966 it was located at327 Warrigal Rd. Burwood. The company was known as Lane, Kemp, Willis Potteries p/l, but was trading under Lanes Potteries in 1940. The company produced household pottery including lamp bases and artware vases.Pink shell shaped vase. Yellow and silver paper sticker on front. 213 on base of vase.Lane Potteries Burwood Victoria. Sticker 213ornaments, ceramics

Yields information about incidents of an unusual nature that can happen on an operating tramway - the loss of the trolley pole apparatus. The tram is awaiting recovery.Black and White copy photograph of a newspaper photograph taken by The Courier - photo taken 2/08/1971, published 3/08/1971 of No. 17 with broken trolley pole, Barkly St. Has a crewman looking out the door, some children looking out the window and a lady looking at the trolley pole spring mechanism on the ground. The tram has an "Everything's under control in my all-electric kitchen!" roof advertisement. Collected by Alan Bradley from the Ballarat Courier early 1980's. See Excel file "Record of Ballarat Courier Photos SEC era" (Archive Documents) for source of details.tramways, trams, trolley pole bases, barkly st, mt pleasant, accidents, tram 17

Range cards are used to estimate ranges between certain objects or positions. Military personnel use range cards as temporary maps to identify objects and ranges for fire control and other military operations. Corporal Bob Gladwin served in Vietnam, but this range card would have been used after the Australian withdrawal from Vietnam in 1973. Range cards were everyday objects used by soldiers throughout the 20th century. They represent the day to day life of military personnel in bases and in the field. Green plastic card, square with rounded edges. Has a series of white, concentric circles in the centre of the front, with white text explaining use. Owner's name marked on the rear.Front: Various markings and text. Rear: CPL Bob Gladwinrange card, army, australia

non-fiction“King of the Weir” documents motorcycle racing in the Albury Wodonga region which has a rich history dating back to the 1920’s when speedway was king. Speedway gave way to scrambles, and then tarmac racing on aerodromes, army bases and circuits. The Hume Weir circuit held the “King of the Weir” race for ten years attracting such riders as Ron Toombs, Greg Hansford, Murray and Jeff Sayle, and Kenny Blake. Overseas champions Jim Redman, Tom Phillis, Geoff Duke, Bill Lomas and Dickie Dale came to do battle with the locals in the 50’s and 60’s.hume weir circuit, albury-wodonga motorcycle club, motorcycle racing, motor sports albury

Black and White photograph of a Ohio Brass Trolley Pole Base. Photo by MMTB and used in the group of trolley pole base photographs - See Reg Item - 304.trams, tramways, mmtb, trolley poles, trolley pole bases

Black and White photograph of a PCC Type Trolley Pole Base. Photo by MMTB and used in the group of trolley pole base photographs - See Reg Item - 304.trams, tramways, mmtb, trolley poles, trolley pole bases, pcc

Black and White photograph the MMTB Type trolley pole base with lines and markings drawn on it in ink as part of an printed illustration.trams, tramways, mmtb, trolley poles, trolley pole bases

Viola Annie McVicars (1911–1990) was born in Korumburra on 29 April 1911. At the age of 21, she married William John Ayling (1909–1995). After their marriage in 1932, they moved to Kew, initially to 81 Tennyson Street, and later to 180 Pakington Street. A professional tailoress, Viola Ayling was also a talented amateur potter, creating her ceramics at her home in Pakington Street, where she had an internal studio and a handmade, wood-fired brick kiln in her backyard. Following her death in 1990, her studio pottery passed to her daughter, and following the daughter’s death, to her granddaughter. This piece of glazed earthenware is part of a collection of 15 functional and decorative ceramic items donated by Viola’s granddaughter to the collection in 2024.A handmade lamp base, expertly potted and glazed. The style is representative of Australian ceramic design of the period, particularly that employed by Klytie Pate.Handmade lamp base, irregularly ridged with applied green and yellow glazes. The lamp base has a hole for a cord above the foot.Signature to base: "V. Ayling"ceramics, pakington street -- kew (vic.), lamp bases, viola annie ayling, viola annie mcvicars

These captivating pieces are part of a series called "FOOD / FLESH / FAME," a collaborative effort between Melbourne-based Thai artists Bundit Puangthong and Vipoo Srivilasa. Drawing from Buddhist teachings, the series explores the three elements of attachment: Food (consumption), Flesh (sex), and Fame (power). Although these elements are known to cause suffering, they remain persistently alluring, a paradox that the artists intend to explore further in the future. In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FOOD" depicts a durian, the king of fruits, painted by Bundit Puangthong. He notes, "Despite its pungent aroma, many people still love to eat it."Donated the by the artists

In creating these pieces, Vipoo Srivilasa initiated the process by sculpting three figures with bare surfaces. Bundit Puangthong then added his artistic touch by painting each sculpture. The artists' conceptual visions harmonized perfectly, especially considering their shared commitment to Buddhist principles, which frequently inspire their respective artistic practices. After Bundit completed his painting, Vipoo enlivened the pieces by adding eyes to the figures. He also embellished the works with pom-poms, lending them a softness that makes them appear both approachable and innocent, despite the weightiness of their themes. Each sculpture embodies a specific teaching from Buddhism: "FLESH" features a golden umbrella, serving as a metaphor for sex.