This photograph appears as an illustration in, "Green Grows Our Garden," A.P. Winzenried p15. (b) this is a photograph from the "Report of the Principal of the School of Horticulture (C.Bogue Luffmann) for the year ended 1899." The original is at the Victorian Department of Primary Industries (2010). Classroom No 2 known as the Botany Room, on the Eastern side of the Pavilion. 3 copies black and white print.. Male and female students in the Lecture Room of the Pavilion. Note the Sutton's Seed Collection on the walls, presented by J. Bosisto CMG and MP, Richmond.(See B92.600). (b) Small copy of photograph has stamp on reverse,On reverse, "Photograph by Information Branch Victorian Department of Agriculture Ref. No. 1981 (889-11)"female students, lecture room, pavilion, sutton's seed collection, green grows our garden, a.p. winzenried, students in class, j. bosisto, publicity

A sample of beaded workA strip of lace made of beads made of dotted stripe along each edge with design resembling bee hives and plants with palm shapped leaves. - Bronze seed beads - Some silver/bronze beads - Some pearl beads - On beige nylon netting beaded lace border, bronze neads, elsie doris whitten, patrice jennigs

Invoices issued by various businesses to the Loco Enginemen Union, Bendigo. The invoices are from: Bolton Bros, Hasman's Tailors, Hatters, W.J Ireland Nurseryman,Florist, Seed Merchant, Andrew Wilson Monumental Mason, Matthews Bros, Hartleys, Stilwell's, Hospital Benefit Association.organisation, union, a.f.u.l.e

The ploughshare cuts grass and soil loosening or turning the soil before sowing seed or planting. Ploughs were drawn by oxen and horses. Now drawn by tractors.Farmers in the Kiewa Valley used ploughs before tractors became available.Formerly KV 060. Made of steel and a component of a plough. It is the cutting or leading edge of a mouldboard which closely follows the coulter wen ploughing. Attached picture shows the ploughshare as part of a plough. Ref. Farmyard Relics by Ken Arnold Page 49ploughshare, agriculture, farming crops

Churchill Island - Lieut. James Grant visited 21 March - 9 April 1801 and planted seeds. Story of the development of the Island and people who lived on it.Churchill Island History and Her Story by Patricia Baird, 3rd Edition. Revised by Christine Grayden and David MaundersAs Abovechurchill island, patricia baird, christine grayden, david maunders, george bass, james grant

From the estate of Jenny Lang, 11 Pearcedale Grove, NunawadingCream satin beaded evening purse. Metal frame along top with metal clasp. Purse lined with pale gold coloured silk with a small pocket on one side. Metal chain handle on top. Bag is beaded both front and back with gold seed beads.costume accessories, female

Colour photograph of eleven people believed to be Friends of the Environment seated around a picnic table in what appears to be Lions Park Eastern Beach Lakes Entrance Victoria. Also another colour photograph of a man collecting seeds from grass in bushland coastal banksia in backgroundenvironment, politics, conservation

This unused bag would have been used by the snowy River Co-Op in Orbost during the 1960's-1970's to pack selected seed beans.Snowy River Seeds started life as a farmers' co-operative (Snowy River Co-op) in 1967. This item is significant because it was specially made for the seed bean industry which was a major industry in the Orbost district for over a century. A bag made of white woven synthetic material. It is unused. On the front is the logo for the Snowy River Co-Op Ltd - the 'man from Snowy River" in red print inside a blue circle. Other print is red and blue.On front: Produce of... Snowy River Co-Op Ltd Orbost - Victoria V73 25 kg NET snowy-river-co-op seed-bag

Letter written on blue, watermarked paper. Dated 28th April 1868. Letter mentions that Bro. Coath be fined 1/6 for absenting himself without apology. It was found that he was at work and a second time with the same result. He was found at work in the garden planting some seeds.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, commercial hotel, cr skeats, french, philpott, batiste, stoppelbein, weller, clevr, murray, crath, le leiver, hattam, w b evans, finessy, powell

Snowy River Seeds started life as a farmers' co-operative (Snowy River Co-op) in 1967 specialising in horticulture. Gordon Andrews was the author of the book Snowy River Pioneers.This a documented history of the Snowy River Co-op the original creators of Snowy Seeds.A grey plastic display book containing computer printed pages, copies of newspaper articles and photos. it has been compiled by Gordon Andrews.on label on front cover - Foundation and Establishment of the Snowy River Co-op Recollections by Gordon Andrews, Sept 2006 snowy-river-co-op andrews-gordon

According to the handwritten information accompanying the item this umbrella has an ivory handle carved by native Africans on a Christian mission station in South Africa. The umbrella was sent to Mrs Donohue of Warrnambool who was an active member of the Church of England in Warrnambool early in the 20th century. No further information has been found on Mrs Donohue. This umbrella is of interest because of its carved ivory handle and because it was sent from South Africa to an Anglican Church adherent in Warrnambool early in the 20th century. This is a black silk umbrella with a carved ivory handle. The carving includes representations of leaves and seeds. Some of the silk is torn, some has disintegrated and some of it is detached from the metal spokes. The umbrella top is wooden. The information about the umbrella is handwritten in blue ink and is contained in a small wooden frame. church of england,, warrnambool

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 two medallions. Large one won by one of the West brothers in Amsterdam for Mustard Seed grown on Phillip Island - about 1890. Small one won by John West about 1860 at exhibition of Port Phillip Farmers Society founded in 1848, the forerunner of Royal Agricultural Society.local history, photography, medallions won by west brothers, black & white photograph, medallions, exhibitions, port phillip farmers society, john jenner, bryant west

Bag was bought as a present for the owner, Margaret Skey, to wear to an evening at the Calvin Club, which is in Collins Street Melbourne.Black beaded evening purse with gold frame and long gold handle. Front and back of bag is beaded with black seed beads and small navy bugle beads. A pattern on both sides has pink bugle beads with gold and silver forming an oval design. Black silk lining.CLAUDIA BARNES. MADE IN CHINAcostume accessories, female

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection. A black and white photograph of Engineer 'Tunnel Rats' prepare to blow a NVA/VietCong bunker complex and its connecting tunnels, and at the same time seed the underground area with C.S, gas crystals North West of the 1st Australian Task Force Base, Nui Dat, Phuoc Tuy Province.photograph, 1st atf base, nui dat, tunnel rats, nva/vc, gibbons collection catalogue, engineers, c s gas, nva viet cong, phuoc tuy province, denis gibbons

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

Antonio Casonato sowing seeds with a device in furrowed soil on the river flats in front of Eltham High School at Fabbro's farm, Eltham. The Fabbro Family operated their farm in Bell Street, Eltham. No date1 colour photographfabbro's farm, eltham, bell street, antonia casonato, seeds

Picrotoxin is a bitter crystalline compound derived from the seed of an East Indian woody vine (Anamirta cocculus). It is a central nervous system and respiratory stimulant formerly used in barbiturate and other anaesthetic poisonings. Hexagon shaped amber glass bottle with red rubber stopper. There is an ivory coloured manufacturer's label with black printed text adhered to the front of the bottle, along with some handwritten notations. The bottle has powdery contents.Handwritten on manufacturer's label: PURE FIRST USED 8/10/64 •Moulded into base of bottle: T195respitaroty stimulalnt, t and h smith, barbiturate poisoning, edinburgh, blandfield chemical works

Black has for centuries been associated with mourning but it rose to new heights during the Victorian times with Queen Victoria wearing black from the time of her husband’s death in 1861 until her death in 1901. There were different stages of mourning from the severe plain black clothing of the first period to items of decoration or adornment such as this collar with other items such as brooches, hair and dress adornments which were used at the later stages of mourning. This second stage often went for extended periods especially for widows who often remained in mourning until or if they remarried. Other colours such as dark greys and purples were also acceptable as mourning clothes. Such was the practice in England that jet from Whitby was used extensively by the more well to do. Later on black glass was used which was cheaper.An item which relates to customs which were prevalent in the late 19th and early 20th centuryBlack beaded collar with seven lengths of beads coming from a section which joins at the back with a hook and eye. The seed beads are stitched to a dark cotton backing. The neckline is square. It also has a number of larger flatter beads across the yoke and down the centre of each of the seven lengths of beads.warrnambool, mourning collar, black beaded mourning collar, beaded mourning collar,

From the estate of Jenny LangEvening bag of -hand beaded oval shape attached to tortoise shell frame. Beads are royal blue, gold, blue and brown seed beads forming pattern front and back of peacock tail. Base has five bead tassells in brown and royal blue. A beaded handle is attached to the frame.costume accessories, female

From the estate of Jenny LangBlack velvet oblong evening clutch bag. Gold and silver thread, red and blue seed beads worked into design of embroidered pattern on front. Gold cord handle and small amount of embroidery on back. Lined in black satin with two pockets for mittens or comb. Front closing with press stud.costume accessories, female

Part of "Woolcock Gallery Collection". Exhibited CEMA 1989.Drawings of cutting and flower head of plant with brown stem, green foliage and long white flowers. Seven drawings include two branches with foliage and flowers, two flower details and three details of buds or seed pods. The work is on white paper, mounted in a double matt (grey on maroon), unframed.Front: CEW/82 (signature, lower left in image, next to stem) (maroon pencil) Nodding Beard-heath - Leucopogon woodsii (lower centre) (pencil) Back: 25 (upper left) (pen) Nodding Beard-Heath $80 (Leucopogon woodsii) CE Woolcockcema, botanical, collin woolcock

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular event took place at the property of Lisa and Marcus O'Connor in Wooragee. This photograph shows farmer and Greening Australia Project Officer James Scholfield giving a demonstration on the Hamilton Tree Seeder (a soil ripper). This machine is used to loosen tough, compact soil in order to prepare it for the planting of seedlings. This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA EONA2N2. NNN 0 4240 / lisa and marcus o'connor, direct seeding expo, direct seeding, seedlings, seeding methods, wooragee landcare group, wooragee, james scholfield, greening australia project, hamilton tree seeder, soil ripper, ripper

The seed bean industry was a major industry in the Orbost district for the first half of the 20th century. The total area sown with beans for seed at Orbost was estimated to be about 1000 acres. Fisher Bros, grew or supervised the growing of approximately one quarter of the bean seed produced at Orbost, and, in addition, prepared for market and sold a considerable quantity for other growers. From Newsletter February 2015 : "the Fishers took over the old Butter Factory in Lochiel Street. They had sorting tables there in the 1920s. In Orbost, the Fishers had a Shell fuel depot at the back of the bean factory. The Fishers were very enterprising people, very smart. One of their uncles is supposed to have invented the knot that was used to tie the sheaves of hay in the fields. At their Lochend Barn, they had a Blackstone engine which ran on oil. They used to light a fire under it and hot it up to start it. This engine drove all the bean machinery in the barn" The seed bean industry was a major industry in the Orbost district for the first half of the 20th century. the Fisher Brothers were a significant part of that industry.A black / white photograph tajen from a river bank. On the right behind some trees is a barn. On the left between tres is a small building. Reflections can be seen in the water.on back - "Snowy River, Fisher barn on right. Mary Gilbert"bean-industry fisher-beans snowy-river

In approx 1971 Legacy distributed pine trees grown from seeds of a pine cone from Gallipoli, this brochure lists the towns that received the seedlings. It includes "The Story of the ANZACS" and "The Legacy Lone Pine Project". A record of a type of work done by Legatees to keep the memory of Gallipoli and fallen comrades alive.Single page printed brochure folded in three.legacy promotion, lone pine

Letter, "The University of Adelaide, Waite Research Institute", 9th March 1945, from H C Trumble, Professor of Agronomy, to W R Lang, regarding supply of Erodium seed for research into the destruction of burrs in wool.wool - research wool - testing sheep pastures world war ii, gordon institute of technology nsw; department of agriculture, lang, dr w. roy, wool - research, wool - testing, sheep pastures, world war ii

Item in the collection re Ron Bollard VX14150, refer Cat No 5919P.Soft cover book. Cover - cardboard, dark brown print on front and back on light brown background. Cover illustration dark brown sketch of a soldier in a trench (Sketch by Walter SEED). 40 pages - cut, plain, off white paper. Illustrated, sepia colour half portrait of "Signaller Tom Skeyhill".books, military history, ww1, anzac, songs