Fine white cotton round neckline edged with lace. Three lace panels on centre bodice. Long ties are stitched down at the centre of the gown, with an embroidered cotton lace overlay, defining the bodice and skirt. Narrow pleats between the three lace panels, give fullness to the front bodice. Long sleeves are edged with narrow lace, and slight gathering gives the impression of a cuff. A six cm band of cotton lace edges the hemline. Six cm wide band of lace at hemline.costume, children's, night gown

White child's dress of heavy cotton lace. Sleeveless bodice with arm holes edged with 3cm ungathered broderie type lace. High round neckline with 5cm lace flat collar. Back opening to waist with 5 x 1cm white buttons. LHS is seamed with buttons attached. RHS edge has button holes pushed through edge of lace. 5mm cotton tape is threaded through seam at neck line to form ties at the back. Skirt is made up of two layers of fabric gathered onto the bodice. Underneath layer is 25 cm deep - 12 cm plain fabric from waist with 13 cm edge of broderie type lace with scalloped edges. Top layer of 13cm of broderie type lace with scalloped edges. Unlined. Machine stitched. Skirt pieces are single pieces of lace fabric with seam at centre back.costume, children's, infant boy's dress

Heavy white cotton lace dress. High round neckline with cotton drawstring ties. 6cm lace collar with scalloped edged. 7cm cap lace sleeves with fine scalloped edges. Casing at the waist with cotton ties to back. Back opening from neck line to 9cm below waist. Cotton tie at neckline at back. Two x 1cm white buttons spaced at 6cm and 12cm below neck. Hemmed edges of lace form the edges of the back opening. Two machine stitched button holes on RHS with 4.5cm layer of lace covering the button holes. LHS of opening is plain. Lace skirt made of single piece of lace fabric gathered at the waist. Seam at centre back. Skirt 31 cm. Scalloped edges dipping to V shapes. 5mm cotton ties at waist and neck go through metal ties. Machine stitched.costume, children's, infant boy's dress

472 black & white photos of Bendigo pioneers, from 1850 - 1859 All photos numbered & in rows. Index of names included with photo. This is a larger version of the same photo in 366/14 (unable to be located on 6.8.2019) Gilt frame. Deframed 2022.Hanson photoperson, group, bendigo pioneers

B+W Photograph. Copy of 'Sandhurst - Victoria a Gold-Mining Town'. View from Rosalind Park. Notable BLDOR Shamrock Hotel, St Pauls Church, railway station. Inscription: on RH 'Extract from cement -???'. Photograph shows early Sandhurst with Chimney of Goldmine of R.H.S(R.S.L now occupies this site).place, landscape view, sandhurst from rosalind park

Australian Etiquette. Rules and Usages of the Best Society. Sports, Pastimes, and Amusements.history, etiquette

Faded sepia toned photograph that contains individual photos of all the members (55) of the Sandhurst City Drum and Fife Band. It was presented to Marcus Tweed.person, group, band, sandhurst city drum and fife band, marcus tweed

150 years of experience and commitment. Norwegians have been producing and exporting cod liver oil for more than 1000 years. But it was not before 1645 it was reported that cod liver oil could be used to prevent and cure disease. At the end of the 18th century the first scientific article was published to support this. In the middle of the 19th century, the pharmacist Peter Möller observed that people along the west coast of Norway consuming cod liver oil regularly were rarely ill. He dedicated himself to finding out how this healthy liquid could be produced with better taste and pureness at a lower price. He developed a method of using steam to extract the oil from fresh cod livers. Based on this technological advance, the company Peter Möller was founded in 1854 in Lofoten on Norway’s arctic coast, where you find pure, cold, clean seas and high quality raw material. Peter Joachim Möller (1793-1869) At first Möller’s Cod Liver Oil was believed to be a good source of vitamin D and A, and the health benefits were associated with these vitamins. Peter Möller believed, however, that there were other significant benefits from fatty acids and other ingredients in the cod liver oil – both known and unknown. Peter Möller was dedicated to understanding more about these benefits. His dedication and commitment is clear in Möller's vision to improve people’s health by delivering the highest quality omega 3 products. Timeline 1793 Peter Möller is born in Røros, Norway 26 April. 1819 Peter Möller travels to Christiania (Oslo) and is employed by the pharmacist Frantz Peckel at the Svane chemist. He is employed on condition that he passes his pharmaceutical exam within one year. 1822 Graduated as a pharmacist with a unanimous first grade and with the award of the Professor's special satisfaction. 1842 Together with professors A. Holst and Chr. Boeck, Peter Möller participates in the commission which develops the first Norwegian Pharmacopoeia. 1853 Peter announces his method to cod liver oil works along the coast. He equips cod liver oil factories with new equipment in Lofoten, Ålesund and Kristiansund. The facility outside Ålesund is the most important for testing the method. 1854 The Peter Möller company is established as production has started at the three factories. Sales are lower than anticipated even though the quality is considerably better with the new method. The consumers of cod liver oil had been used to the fact that “good medicine must taste bad” and would not believe that the new and better quality was as healthy. Therefore, the following years are used to introduce consumers to the product, and also to convert more producers to the new method. 1869 Peter Möller dies. There are 70 cod liver oil steamers which use his steam rendering method, and 5000 barrels are produced every year. Möller’s company increases the quality by better routines for quality controls. 1870 Severin A Heyerdal, Möller’s son-in-law, assumes the leadership of the firm after Peter's death. He continues the work by improving the quality of the cod liver oil. The goal was to make it as pure and unaltered as in the liver. At this time, Möller had already started selling its product in the USA. In 1870, WH Schieffelin & Co. ("The oldest drughouse in America") was engaged by Peter Möller in the USA. 1881 Frantz Peckel Möller assumes the leadership of the Peter Möller company. He saw it as his duty to further the work on cod liver oil, and through a combination of solid scientific education and an eminent sense of the great mercantile possibilities, he made Möller’s cod liver oil the number one in the world market. 1914 The first world war leads to Möller’s bottled cod liver oil being shut out of the export market. However, domestic sales are good. 1924 The subsidiary Møystad Möller & Co. is established for bulk exports and the Association of Medicinal Cod liver oil Exporters is established in Bergen in 1925. 1925/26 The green bottles are introduced. Medicinal cod liver oil exports remain almost constant, while total Norwegian cod liver oil exports increase. 1938 The factory on the Løren grounds in Oslo, Norway is built. The factory is in the same place today. Peter Möller’s Pharmaceutical Laboratorium A/S is also established to separate out the scientific business. Investment is made in a new facility for refining and bottling veterinary cod liver oil, and increased production of industrial cod liver oil. 1940 The outbreak of the 2nd world war sees exports fall dramatically, while cod liver oil’s significance as a dietary supplement receives increased attention. Domestic sales increase strongly. 1945 After the war, medicinal cod liver oil retains its high status as an important dietary supplement in the “rebuilding" of the country. Cod liver oil becomes an ”emergency product in ravaged areas where the supply situation is difficult. Competition from other countries such as the USA, England and Iceland increases, and Norway no longer dominates the market. 1983 Möller’s cod liver oil in capsule form is launched and palatable cod liver oil is launched. 1990 Peter Möller A/S merges with Orkla Borregaard A/S (now ORKLA) 2005 Peter Möller merges with CollettPharma. The new company is called MöllerCollett. 2007 Merger between MöllerCollet and DanskDroge. The new company is called Axellus. Oval in section with a thin neck, mauve tinted clear glass bottle with text embossed on side.On side : 'P.MOLLER', 'OL JECOR', 'GADOR VER', 'CHRISTIANIA'.cod liver oil, norway, peter moller, christiana, oslo

Certificate of Appreciation from the Council of the Borough of Eaglehawk to J Green Esq upon his retirement from the Mayoral Chair mounted on card and printed in black, red, blue and gold. Bordered with handpainted floral decorations, a mine scene, and topped with an eagle.person, individual, john green

Canvas backed paper map of District of Yering, Country of Evelyn, showing proposed waterworks for township of Lilydale. Signed by Hodgson & Smith, water supply engineers. Proposed waterworks for the township of Lilydale. Signed by Hodgson & Smith, water supply engineers. Proposed water main shown with of reservoir etc. Canvas backed paper map of District of Yering, Country of Evelyn, showing proposed waterworks for township of Lilydale. Signed by Hodgson & Smith, water supply engineers. Proposed waterworks for the township of Lilydale. Signed by Hodgson & Smith, water supply engineers. Proposed water main shown with of reservoir etc. evelyn, lilydale, waterworks and irrigation

Born: Dorchester, Dorset, England 1856; Arrived: Melbourne, Victoria, Australia 1869; Lived and worked: Spain, England, France 1883-1885; Died: Kallista, Victoria, Australia 1931ImpressionismGift of Wooleen Pty. Ltd., 1980Seaside Landscape with small figures playing and trees, water, grass, flowers and buildings in the distance. Unframed.Recto: Signed and dated "Tom Roberts / 1888" in mauve oil in l.r.c of composition; Not titledpainting, landscape, trees, figures, buildings, colonial, children, flowers

Born: Vienna, Austria 1811; Arrived: Melbourne, Victoria, Australia 1852; Died: London, Middlesex England 1901RomanticismLedger Gift, 1984Rural valley and mountain landscape with two figures walking down a track beside a waterfall towards a river. Gold brushed gesso decorative edged timber frame.Recto: Signed and dated "Eug.V.Guérard / D. 85" in red oil in l.r.c of composition; Not titledpainting, landscape, river, cliff, mountain, figures, buildings, waterfall, sky, clouds

The Flight from Pompeii was designed by Professor Carlo Benzoni and carved by Charles Francis Summers, one of five white marble statues housed in the Statuary Pavilion, Ballarat Botanical Gardens.The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database.White marble statue of a male, female and baby (family) in flight.The Flight From Pompeii by Charles Summersflight, pompeii, benzoni, summers

Ruth was designed and carved by Charles Francis Summers, one of five white marble statues housed in the Statuary Pavilion, Ballarat Botanical Gardens. The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database. the artwork is of historic and aesthetic significance to the people of BallaratWhite marble statue, Ruth is in a seated position with a loosely draped dress.Ruthruth

Rebekah was designed and carved by Charles Francis Summers, one of five white marble statues housed in the Statuary Pavilion, Ballarat Botanical Gardens.The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database. White marble statue of a woman standing with left arm raised to her head and draped in cloth to form a robe tied at the front.Rebekah

Modesty was designed and carved by Charles Francis Summers, one of five white marble statues housed in the Statuary Pavilion, Ballarat Botanical Gardens. The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database. The artwork is of historic and aesthetic significance to the people of BallaratWhite marble statue, Modesty standing with right arm folded over chest, robed and with veil over face.Modestymodesty

Susannah designed and carved by Charles Francis Summers and accompanies four statues in the Statuary Pavilion in the Ballarat Botanical Gardens. The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database.The artwork is of historic and aesthetic significance to the people of Ballarat White marble statue, female seated with cloth draped over lower body.Susannahsusannah, summers

Embossed black leather bible with gold lettering on spine. The bible has 2 embossed gold labels on the front end paper. On spine: "Holy Bible". End paper: "PRESENTED TO THE REV. N. BENNETT AT THE CLOSE OF HIS YEAR OF OFFICE AS PRESIDENT OF VICTORIA AND TASMANIA WESLEYAN CONFERENCE JANUARY 1889. JAMES W. CRISP President. E. WATSON NYE Secretary." "PRESENTED TO THE BUCKLEY PARK METHODIST CHURCH BY Mrs A.H. Mitchell DUAGHTER OF THE ABOVE FEBRUARY 18TH. 1928."bennett, natheniel, rev., crisp, james w., rev., nye, edward wason, rev., wesleyan methodist conference

Dark burgundy coloured leather bible with gilt page edges. The bible has been mended with black tape. There is printed sheet pasted inside the front cover of the bible. "PRESENTED TO THE Rev. Henry Worrall ON THE OCCASION OF HIS ORDINATION TO THE CHRISTIAN MINISTRY IN CONNECTION WITH THE Australasian Wesleyan Methodist Church AT THE New South Wales and Queensland Conference at Stanmore Sydney Febr. 4th 1886"worral, henry, rev., wesleyan methodist conference

Pocket Eastman Kodak Camera & Photo Equipmentstawell

The quilt, alternatively known as a wagga due to its improvised nature of creation, was made by Harry Walter Hewitt Wilton (great grandfather of donor), b.1872, d.1950. Harry joined the Essex Regiment and served in the British Military in India, as well as seeing action in the Boer War. Married wife Mary Elizabeth in India in 1895, she was a seamstress. Harry was injured during a battle and made this quilt as part of his rehabilitation. Quilt was made using woolen army singlets. Harry and Mary moved to Victoria, near Orbost, in 1914. Patchwork style quilt with coloured pieces of dyed woolen singlets stitched together over a backing. Features feather stitching between pieces and around border edges. Size of a double bed.wagga, harry walter hewitt wilton