Mrs. Beeton’s Book of Household Management, published in 1912, is “a guide to cookery in all branches” with several chapters on International cooking. The large volume includes Daily Duties, Mistress and Servant, Hostess and Guest, Marketing, Trussing and Carving, Menu Making, Home Doctor, Sick Nursing, The Nursery, Home Lawyer. The book has advertisements, illustrations and photographic plates in black and white, a double page coloured illustration of a large table setting, A newspaper clipping titled “Tasty Dishes” was also found between the pages. Book, Mrs Beeton's Book of Household Management. New Edition. Revised, Enlarged, Brought up to Date, and Fully Illustrated. Large book has green fabric covered boards front and back. Spine s dark red leather with gold embossed text and decorative design around text. Published by WARD, LOCK AND CO. LIMITED. London, Melbourne and Toronto in 1912. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, mrs beeton's, mrs beeton's book of household management, ward, lock and co. limited, early 20th century cookery book, household management, cookbook, beaton

There has been a fair amount of confusion about this object as the paperwork states that a 'greenstone' gavel with a maori head carving and plaque mounted on green nephrite stone' was gifted when in fact the gavel is made of wood with a silver plaque. There has been no suggestion made as to what happened to the greenstone gavel. We can assume that it was lost or stolen and replaced with a plain wooden one that we now hold at ANZCA. From the attached plaque the Gavel was gifted to the Faculty of Anaesthetists by the New Zealand Fellows of the Faculty in 1965. Plain highly polished wooden pestle sits on a central walnut block on a flat wooden board, a silver plaque is attached on a piece of nephrite stone to one side of the board.[silver plaque] PRESENTED BY THE / NEW ZEALAND FELLOWS / 1965 [in black ink on back of stand] 1992/9aotearoa, new zealand, wood, nephrite, corporate gift

Red brochures from Duango Foreign Language Teachers College and Jiangsu Foreign Language School; two Japanese international exchange program partner schools. These schools have donated a number of gifts including a metal war elephant artwork (1999, Miss Nuttakarn Witoon), a wooden box with stamp collection, a stone carving (2008), a photograph and decorative box, a commemorative coin in specialty case (1994-2004), photographs and a kimono, and the heraldic shield (1997).

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

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

These items come from the house "BIRCHWOOD" in Koroit Street, Warrnambool belonging to Dr. Angus and family. Dr. William Roy Angus (1901-1970) practised in Warrnambool from 1939 to 1970. In his later years Dr. Angus was an important ophthalmologist. He was prominent in Warrnambool in both medical and community affairs. The Angus home "BIRCHWOOD" at 214 Koroit Street (the site of the Warrnambool Police station today) was noted for its beautiful garden, lawns and croquet court and used as a meeting place and entertainment centre for vice-regal personnel and community organisations.These items are of considerable interest as they are connected to a well known doctor in Warrnambool and a notable house..1,.2,.3 These are three wooden door plates with a fine ridged front and a curved top and base. They have four holes to be used with nails to attach to the door. .4, .5 These are two wooden key hole covers with half spherical shapes at the top, ridging and carving towards a tapered base. .4 has a brass circular plate at the back with two small decorations protruding at the top. The screw attaching it to the front is broken..5 As for .4 but the brass section is missing and the screw is intact..2 East side door, front passage. .3 West side door dr. angus warrnambool, birchwood warrnambool, door plates, key hole covers, warrnambool, warrnambool history

This collection of photos is of President John Dalgleish Esq.and all councilors for the year 1883-84. Councilor Dalgleish was elected to council in 1866-72 and 1880-87,serving three terms as President1869-70,1883-84,1884-85. The other councilors represented are J.W.D.Innes,J.King,A.Findlay,G.Rennie,J.Baird,F.Edwards,J.Spiers,W.Uren M.L.A. and secretary L.Bregenzer.Original collection of photos of councilors taken "circa 1884"A collection of photos of President J.Dalgleish Esq. and all councilors for the year 1883-84. The Frame is wide brown with decorative carving to the outer edges and "gold" paint on the inner plain edge. The photos are oval with gilt on edge of "cutout" and set in a circle around the inscription PRESENTED by the President J.DALGLIESH ESQ. to the BALLAARAT SHIRE COUNCIL 1883-84.Around each photo is a fine black line "linking" each.The mount is very light "tan"in colour.At the base is the name Richards & Co.Photos, Ballaarat.PRESENTED by the President,J.DALGLEISH ESQ.TO THE BALLAARAT SHIRE COUNCIL.1883-84.baird j, ballaarat shire council 1883 84, dalgliesh john esq, innes j, king j, findlay a, rennie g, edwards f, spiers j, uren w mla, bregenzer l

Green cloth hardcovered book with black leather spine, featuring the art deco work of Bernaux, Beligant and Feseau, Binquet, Bouchard, Bouraine, Bourdelle, Chassaing, De Bardyere, Gallerey, Gauvenet, Guenot, Hairon, Jallot, Lalique, Le Bourgeois, Malcles, Joel and Jan Martel, Max Blondat, Follot, Sad, Sue et Mare and Vera and J. Martin. Monochrome prints numbered 1 to 32, showing examples of modern wood and stone carving, all by named people. Text in French.non-fictionsculpture, carving, art nouveau, art deco, seguin, joel et jan martel, repousse, plaster, modelling

Bomford Bas Relief Eagle. Created from Sheet Copper. Carved and hammered Bas relief of a large Eagle.. The Carving was created by an artist in residence at the Bendigo Psychiatric Centre ( Golden City Support Services) prior to closure. It is approximately 2.00 metres high and 1.20metre wide. Mounted on a Large green wooden board. See 7311 also. Items represent the constellations Capricorn and Aquila. Once completed, they were used to identify the Squila and Capricorn patient areas at the Psychiatric Centre.artwork, sculpture

Primarily a painter, Mandy Nicholson also produces ceramics, carvings, murals, prints, designs and children’s clothing. Born in 1975, Nicholson was raised in Healesville and belongs to the Wurundjeri-willam (Woiwurrung language) clan of the Kulin Nation. Mandy’s paintings often represent important cultural rituals and are executed in her distinct graphic style using the traditional motifs of her people blended with contemporary interpretation. Cultural Map of Melbourne shows significant sites across Melbourne. These include scar trees, corroboree trees, stone quarries, bush tucker sites, significant rivers, fresh water wells and traditional campsites.

Ward & Payne was founded in Sheffield by David Ward, an edge-tool manufacturer in 1803. The company had the name, David Ward. David Ward's son Edward joined the company around 1837 and the company name was changed to David Ward & Sons or David Ward & Co. Perhaps both names were used in succession it is unclear. Henry Payne appears as an edge tool maker in 1837 and joins the company before 1845. Perhaps he joined in 1837, as a result, this caused the name change to David Ward & Co. In 1843 Henry Payne registered the trademark name of Ward & Payne consisting of the crossed hammers above an anvil with W to the left and P to the right. Henry Payne became the junior partner in 1845 and died in 1850 and ownership of the company then reverted to the Ward family. After 1845 the firm built a large business in edge tools concentrating on carving tools, chisels, and gouges. Another David Ward (1835 - 1889), possibly the son of Edward Ward, took over the company in 1855 and was an aggressive young executive with the company before that. He grew the company's fortunes in both the sheep shearing scissor and carving tool businesses. The company grew and expanded its factory to a full city block and published a 501-page catalog in 1911. The company was still in business up to around 1970.A tool made by a well-known company and regarded today as a collector's item for those enthusiasts that collect vintage woodworking tools. However for further details regards provenance see the note in the provenance section this document.Socket chisel cast steel "Ward Cast steel" inscribed on blade flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, hand tool, ward chisel, woodwork chisel

Ward & Payne was founded in Sheffield by David Ward, an edge-tool manufacturer in 1803. The company had the name, David Ward. David Ward's son Edward joined the company around 1837 and the company name was changed to David Ward & Sons or David Ward & Co. Perhaps both names were used in succession it is unclear. Henry Payne appears as an edge tool maker in 1837 and joins the company before 1845. Perhaps he joined in 1837, as a result, this caused the name change to David Ward & Co. In 1843 Henry Payne registered the trademark name of Ward & Payne consisting of the crossed hammers above an anvil with W to the left and P to the right. Henry Payne became the junior partner in 1845 and died in 1850 and ownership of the company then reverted to the Ward family. After 1845 the firm built a large business in edge tools concentrating on carving tools, chisels, and gouges. Another David Ward (1835 - 1889), possibly the son of Edward Ward, took over the company in 1855 and was an aggressive young executive with the company before that. He grew the company's fortunes in both the sheep shearing scissor and carving tool businesses. The company grew and expanded its factory to a full city block and published a 501-page catalog in 1911. The company was still in business up to around 1970. A tool made by a well-known company and regarded today as a collector's item for those enthusiasts that collect vintage woodworking tools. However for further details regards provenance see the note in the provenance section this document.Socket chisel with 1 inch blade end of handle has been sawn off.Has "E" stamped on bladeflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, hand tool, ward chisel, woodwork chisel

Bomford Bas Relief Mythological Goat. Created from Sheet Copper. Carved and hammered Bas relief of a mythological creature resembling a goat with long straight horns. The Carving was created by an artist in residence at the Bendigo Psychiatric Centre ( Golden City Support Services) prior to closure. It is approximately 1.5metres high and 1.00metre wide. Mounted on a Large green wooden board. See 7312 also. Items represent the constellations Capricorn and Aquila. Once completed, they were used to identify the Squila and Capricorn patient areas at the Psychiatric Centre.artwork, sculpture

Selwynite is a fine-grained, compact green rock made primarily of chromian muscovite (fuchsite) and diaspore. Corundum and fuchsite can occur together in the form of massive aggregates or nodules. Often, copper carbonates are found as earthy films or tiny crystals in joint planes. The mineral name honours the late A. R. C. Selwyn, founding Director of the Geological Survey of Victoria. The particular specimen, a mottled green stone suitable for carving was recovered and found in Heathcote, Victoria, Australia. The rarity and qualities of this mineral attracted commercial mining, which was not successful, but traces of the mine shafts still exist today, and it is still highly valued by mineral collectors.Selwynit is considered to be one of the rare forms of rock because it is composed of phosphate minerals containing zirconium. This is an extremely rare combination found in nature. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A fine grained rock composed of mainly of chromian muscovite (fuchsite) diaspore and corundum.geological specimen, geology, geology collection, burke museum, beechworth, mineralogy, heathcote, mineral collectors, selwynite, green rock, rock specimen

Yang Deliang was from the Jinshan Peasant Painting Academy where Chinese folk art of southeastern Yangtze River area of Shanghai is undertaken. The paintings integrate the folk arts of printing and dyeing, embroidery, paper cutting, wood carving, and cook stove painting, and depict the peasant's colorful customs and daily life. This style of folk art was born in 1972, under the guidance of a professional painter Wu Tongzhang. Jinshan Peasant Painting made its international debut in the Expo 1980 in Brussels, Belgium. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed silkcreen An artist's 'chop' is evident on the lower right cornerart, artwork, yang deliang, chinese, silkscreen, jinshan peasant painting academy, j

This cocktail cabinet is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A beautifully hand carved ornate wooden cocktail cabinet featuring two female carved busts, carved mythical beasts on the front, sides and two doors of the cabinet underneath the drop down mirrored shelf. The shelf is attached by two gold linked chains screwed onto the sides. Two drawers at the top are elaborately decorated. The cupboard doors at the bottom open to show a shelf inside. This cabinet is part of a special bequest to the Mont De Lancey Museum of handcarved items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection.On the top shelf, carved into the relief panels at the back is 'WELL BEFALL' and 'HEARTH HALL'bar equipment, cocktail cabinets, cabinets, furniture

This card table is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A handmade square wooden card table featuring an ornately patterned inlaid top of lighter coloured woods. It has a beautifully carved four legged base with a shelf at the bottom above the four clawed feet. The top lifts up to reveal a storage box below which is attached with screws to the base. The lid is attached with brass hinges and screws.furnitue, tables, card tables

This magazine holder is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A highly decorated wooden hand carved rectangular magazine holder. The back of it is plain. functional objects, magazines, magazine holders

Application for Permission to Publish or reproduce material, dated 7/5/07. Permission was sought to use a wood engraving of a Masquerade Ball given by the German Turn Verein as fill in art in a publication titled The Waltz, The Polka and All Kinds Dance Music, publisher FSDV. The wood carving was in the 'Illustrated Australian News' 24/8/1881. Included is a letter from (Dr.) Dianne Reilly, La Trobe Librarian, granting permission to use material from the Library's collections in a Book, providing acknowledgement appears adjacent to the image. Dated 2/7/2007.State Library Victoriacommunication, postal, letters, peter ellis collection, state library of victoria, madeleine say, dr dianne reilly, la trobe

An adze is an ancient and versatile cutting tool and has been in use for thousands of years. Adze are similar to an axe but with the cutting edge perpendicular to the handle rather than parallel. They have been used since the Stone Age. Adzes are hand tools used for smoothing or carving wood. The subject item was made by Ward & Payne of the Limbrick Works at Hillsborough, Sheffield England manufacturers of hand-forged tools. Their trademark registered in 1850 was a Letter "W" & "P" stamped into the steel. The firm was established by David Ward (1767-1822) in 1803 the company became David Ward & Sons, in 1837 after Ward's son Edward joined the firm. In 1845 Henry Payne the founder's son-in-law became a partner but died in 1850 after which the company reverted to the Ward family. The business then concentrated on making carving tools, chisels and gouges. In 1882 David Ward's grandson David Ward Jr. (1835-1889) purchased land and built a factory at Sheffield North known as the "Limerick Wheel". For a time Wards operated from both 106-114 West Street Sheffield and at Limbrick Road, Hillsborough on the river Loxley. By 1911 they had expanded into making spades, forks, sheep shears and many other types of edged tools including drills and wood planes. In 1967 Wilkinson Sword purchased all the company's share capital and continued to sell Ward & Payne tools until 1970 when a fire burned the factory down and housing development was built on the site.The subject item is significant as it gives a snapshot of the technological development of sailing ships and their operation before steam-powered vessels took over around the world. Tools such as the subject item demonstrate the traditional craftsmanship and skill of the shipwright and the aesthetic quality of the timber ships designs of the time. Adze with wooden handle curved painted green with patent number and maker's name inscribed on inside curve of blade. Inscribed "Patd 561 Ward" "2w". flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, smoothing tool, hand tool, carpenders tool, adze, coopers tool, woodworking tools

Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar

The Medallions and the Magazine are dedicated to National Service and National Servicemen who served during the period 1951-1972. The Memorial for National Service is located at the Australian War Memorial, Canberra.The items are the original that were raised to acknowledge National Service and National Servicemen, 1951-1972.1 x round Medallion on a wood base in a lined cardboard case 2 x round Medallion in a lined black case 1 x magazine 'Australian War Memorial, National Service MemorialThe large medallion has a carving of the Memorial that is at the Australian War Memorial, around the medallion 'Dedicated to all Australian National Servicemen and in Memory of those who died. Thh two smaller medallions has the tri service logo in the centre and round the outside of the medallion is Anniversary of National Service 1951-1972. The Magazine 20 page history of National Service in Australia and the history of the National Service Memorial Dedicated 8 September 2010.awm, national service, magazine, medallions

Margaret Young studied at Ballarat West Art School in 1894. This was one of Ballarat's Art schools. In 1907 they merged and became Ballarat Technical Art School (BTAS). Margaret became a teacher and taught for many years at BTAS, specialising in woodcarving. At the end of the First World War, Honour Boards were requested to be made to honour the men who had served. Ballarat was the main provider of these boards. Margaret Young was one of the people responsible for the carvings and specially mentioned for her work by the Caulfield School in Melbourne. On her resignation, Margaret moved to Adelaide. At the past students Reunion Celebrations in 1930, Margaret Young was to be the Guest of Honour. Unfortunately she was unable to attend due to ill health.women of note, teacher, ballarat school of mines, smb campus, margaret young, woodcarving, ballarat west art school, ballarat technical art school, reunion celebrations, world war 1, honour boards, caulfield school, guest of honour, 1930, adelaide

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.An elaborately carved wooden framed mirror with two carved kookaburras, one with a lizard in its beak as well as some Australian flora - eucalyptus leaves, flowers and gumnuts around the edges of the frame.mirrors, functional objects, wall mirrors, objects

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A rectangular beautifully carved wooden framed mirror featuring a gold painted carved lion head at the top and gold painted crest shaped ornamentation around the edges of the frame.mirrors, functional objects, wall mirrors, objects

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.An ornately hand carved rectangular wooden framed mirror with a shelf at the bottom and a carved ancient Egyptian style head in the middle of the frame at the top. There are two carved gargoyles on each top side. The mirror glass is shaped.mirrors, functional objects, wall mirrors, objects

This lockable wooden inlaid box is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Hilda Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A lockable rectangular handmade lidded wooden box with inlaid patterned wood panels on each side and the lid. It has red velvet lining inside the lid and inner base. There is a lift our red velvet lined wooden tray. The lid is attached with brass hinges. Keys for the inlaid cabinet in the same room are stored in the tray in this box.L W is written in grey pencil on the base of the box.boxes, objects, containers, storage boxes

This nursing chair is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Hilda Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable. An ornately hand carved dark wooden heavy nursing chair with a carved figure of a child and gargoyles on the front of the back rest. The seat is highly patterned too. The back and front legs are carved in one enclosed piece of wood with a gargoyle face and spirals on them.chairs, nursery furniture, nursing chairs, seating furniture